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monotonous-minutia · 4 years

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My super long autobiographical essay recounting the harrowing tale of my experience with my favorite opera

So I think it’s about time the world knows the story of my experience with Don Carlo, specifically, the Met 2010 production that will be streaming Thursday night. It’s a long story and some of it is ridiculous and half the time people don’t believe me when I tell them about it, but if you’re interested in my nerdy ramblings, read on.

On February 27th, 2010, my dad turned on the radio in the living room thinking noon would be a good time to hear the news. Instead of the NPR news anchors, however, we heard the sound of a tenor singing, a strong orchestral accompaniment, and the sounds of a live audience reacting.

“It’s an opera!” I said. (For curious parties, it was La Boheme.)

I was 14. I was a nerd. I was in love.

Up until that point I’d heard a few operas (Zauberflote, Barbiere, Carmen, Nozze) because my mom randomly brought them home from the library. From the moment I first heard the opening chords to the Zauberflote overture, I was madly, ridiculously, insufferably in love.

Tuning in at noon on Saturdays became my new favorite thing. “Live from the Met” broadcast a live performance each week of one of the Met’s shows. I loved not only hearing the operas, but the commentary as well. I learned so much about the genre, as well as history, music theory, literary criticism, acting, and the life of a singer. I dedicated an entire journal to writing notes on what I heard each week. Yes, I was that nerd.

I found out the hard way that operas have seasons. One sad day in May I tuned into NPR at noon and, tragically, the voices of news anchors met my ears.

I wasn’t always able to listen to the entire opera each week, because I had four cats and three annoying brothers to take care of. (Two of the brothers were older than me. Figure that.) I’d missed the announcement that the season was over.

So I waited all summer. I was still listening to operas, but I missed the hosts and the interviews. Plus, I didn’t have access to the Internet, so finding new operas on my own meant relying on my library’s tiny collection. Hearing them on the radio let me hear a new one every week.

After several boring months, I finally heard the news that the first opera of the broadcast season was going to be on December 18th. The opera? Don Carlo.

Two important facts to know right now. 1) There are many different versions of this opera. 2) The opera can be up to 4 hours long.

The one I heard on this day, December 18th, 2010, was the “five-act Italian version with the shortened first act.” About 3.5 hours long, it begins with an exhilarating fanfare that does a terrible job of telling us what the opera is going to be like. Listening to that music--the burst of horns and strings--I actually cried because I was so excited.

I told you. Nerd.

The story of Don Carlo is really complex, but if you’re taking the time to read this and have come this far you probably know at least a bit about it. Because I wasn’t able to sit and listen to the whole thing, just bits and pieces, the day ended with me knowing the following things.

1) Carlo is a prince who is in love with Elizabeth, who then gets betrothed to his father.

2) Carlo’s best friend (Rodrigo) is a baritone which automatically made him more interesting than the lead, and was also a revolutionary who was so firey he was in danger with someone called the Grand Inquisitor

3) Princess Eboli loves Carlo and is enraged when she finds out he’s in love with his mother and Rodrigo almost stabs her

4) Carlo tries to stop some Flemmish people from being burned at the stake but is stopped himself when Rodrigo takes his sword.

And that’s where I left off.

Again, no Internet access, so I wasn’t able to look up a summary and find the ending. So I waited around for days wondering what happened next. I was especially concerned about Carlo and Rodrigo’s relationship, which was (and still is) my favorite part of the opera.

On Christmas I got a book that was full of detailed summaries of famous operas. The good news: Don Carlo was considered famous. The bad news: I read that my favorite character died and spent the next hour or so locked in my room trying unsuccessfully not to cry.

I got a few operas for Christmas as well, so when I decided I had to see or hear Don Carlo in its entirety, it got put at the bottom of the list, because I’m borderline OCD (seriously, my diagnosis is literally “borderline OCD”) and couldn’t mess up the order of things. Since I was also listening to the Saturday operas, as well as taking a lot of time to process each on my list as it came along, it was almost spring before I finally got to Don Carlo.

In the meantime, I couldn’t get the opera out of my head. For one thing, as anyone who’s seen it knows, it’s the kind of opera that just grabs you and won’t let you go. For another, in a bizarre series of events, it literally popped up almost everywhere I looked. Open to a random page in my opera book? See a reference to Don Carlo. Tune into the “Live from the Met” broadcasts? Somebody mentions Don Carlo. Grab the closest volume from a 7-book collection of Schiller plays? It’s the one that has Don Carlo. Find a random copy of the Met’s opera magazine on the free table at the library? It’s the issue that has the review for, and a dozen glorious pictures of, the Don Carlo performance I’d heard on the radio. I looked at those pictures a lot. Finally I had faces to match the voices of the singers I’d heard.

In a crazy coincidence, it was the first week in April of 2011 that the next event occurred. I engaged in some poor planning and finally checked out a CD recording of Don Carlo the day before our yearly family trip. I didn’t have any time to listen to it and I knew it was going to bother me the entire week.

We took the 13-hour drive to visit my grandparents, and at my mom’s parents’ house, somebody randomly turned on the TV. My grandparents watch a lot of PBS so that’s what was on. And what was on?

The Met’s 2010 production of Don Carlo.

I died about a million times.

It took me a while to figure out what it was; I hadn’t heard it all the way through yet, so the music wasn’t familiar to me. But after watching for a minute, I realized that the actors all looked familiar to me. I was watching Simon Keenlyside as Rodrigo hand Marina Poplavskaya’s Elizabetta a letter. When she opened it and read the name “Carlo,” my head exploded.

What are the odds that when someone randomly turned the TV on that the opera I’d been dying to see just happened to be on? And not only the same opera, but the exact same production I’d listened to live four months ago?

Of course I couldn’t watch the whole thing because we had family stuff to do, which was probably okay in the long run, because I can’t imagine people’s reactions if I started bawling watching Rodrigo die, which may very well (as in totally) would have happened.

Life goes on. I listened to the Don Carlo CD and cried, got a DVD of the Met’s 1986 Don Carlo and cried, looked at the pictures in my magazine and cried. The broadcast season of “Live from the Met” ended and I cried. I was a very emotional teen. (Keep in mind I was home-schooled by agoraphobic parents and literally had no friends. The radio was my friend.)

Two years later I was in college. Sophomore year I started spending breaks on campus to avoid my abusive family. I still didn’t have any friends, but I did finally have access to the Internet, in addition to listening to the Saturday operas whenever I didn’t have homework. I had also watched the Royal Opera House’s version of the same Don Carlo production, which someone had posted on YouTube. This was back when YouTube still had a time limit on videos that were posted, so the opera was broken into about forty pieces and none of them were listed in order. I probably spent more time piecing the thing together than actually watching it.

On a day during sophomore winter break, I was particularly bored. I decided to listen to the advice of the Met hosts and signed up for the 7-day free trial of Met Opera on Demand, their version of Netflix.

And of course the first opera that popped up on the screen was Don Carlo.

I died another million times.

I watched it twice in the span of 24 hours. I may have taken some screen shots. I felt like a criminal, but I also felt like I deserved it at this point. This whole thing was just bizarre and I couldn’t be happier that I was finally seeing the production of the opera that had been following me around for the past four years.

About a year later I took a study abroad trip to Germany. And because I was in Germany, I had to see an opera, of course. We had one free weekend during the month-long trip, and while my classmates were off getting high in Amsterdam, I took a train to Frankfurt to see the opera that just so happened to be playing at the house that Saturday.

Which opera, you ask?

I think you can guess by now.

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newyorktheater · 4 years

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Andrew Barth Feldman singing from Godspell in Living Room Concerts

Zalmen Mlotek in Folksbiene Live

Elīna Garanča in Carmen at Met Opera

Margot Seibert singing from Unknown Soldier on Theatre without Theater Instagram account

As a follow-up to my post “What can I watch online that’s like Broadway?” below is a list with links to newly created/promised livestreamed theater, mostly free, from La MaMa to the Metropolitan Opera, or concerts by theater artists, including schedules when they exist. Added in the mix are also some newly posted recordings of past musicals and concerts, but the strange new world of mandated social distancing is already starting to create some new forms of theater.

The 24 Hour Plays Viral Monologues

I’m not sure this is a great title, but it sounds like a terrific project: 20 theater writers have been paired with 20 actors — including Hugh Dancy, Rachel Dratch, Marin Ireland, Richard Kind, Bobby Moreno — for 20 original monologues, which will be posted from 6 p.m. to midnight on Tuesday, March 17.

92Y live-streaming Wednesday, March 18 – Mezzo-soprano Fleur Barron gives her New York debut recital, singing songs of Beethoven and Mahler.

Thursday, March 2 – Beethoven interpreter Jonathan Biss performs the composer’s final three piano sonatas.

You can also view the 92nd Street Y’s previously recorded events in its archive.

Folksbiene Live.

Tues March 17: Zalmen Mlotek’s Living Room Concert

Wed & Thur March 18 & 19: Yiddish Theater, past, present and future

“Ghost Quartet” by Dave Malloy

A newly released recording of this 90-minute musical by the creator of “Natasha, Pierre and the Great Comet of 1812.” Hell, I’ll just share it here

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Katsura Sunshine’s Rakugo

This humor-filled adaptation of a tradition of Japanese storytelling was at New World Stages. It will now be on the performer’s Facebook Page Thursdays and Fridays at 8 p.m. for free.

Living Room Concerts on Broadway World

A series of one-song performances by Broadway stars from their own homes. Since it began March 13th, there have been performances (which you can still see) by Jagged Little Pill’s Kathryn Gallagher, Dear Evan Hansen’s Andrew Barth Feldman singing from Godspell (pictured), Andy Karl and Orfeh, Carolee Carmello singing from Hello, Dolly, Hadestown’s John Krause.

Stars in the House via The Actors Fund

This twice daily combination performance and talk show, with hosts Seth Rudetsky and James Wesley, was launched on Monday March 16 with Kelli O’Hara,

March 17: Judy Kuhn at 2 p.m., Lindsay Mendez at 8 p.m.

“Teenage Dick” at Theater Wit

The play by Mike Lew imagines Richard III as a disabled h.s. student, will be livestreamed starting 3/20. It’s a production of a Chicago company, but thanks to the miracle of Livestreaming, it’s available to New York theatergoers. I’m not sure how they’re going to be doing this, but the theater is promising talk-backs after each performance.

Theatre Without Theater

An instagram account that’s been offering a nightly “theatrical broadcast,” and soliciting artists to contribute more. Among the broadcasts so far (and still available) are Emily Walton singing from “Darling Grenadine” and Margot Seibert from “Unknown Soldier,” (which I reviewed.) both musicals that were playing Off-Broadway until all theaters were shut down.

La MaMa plans to start live-streaming its productions soon, as it did already for the Re-Fest festival.

The Metropolitan Opera is offering a different opera every day., each starting at 7:30 p.m. and staying up for 20 hours. During this period of shutdown and social distancing, they are offering it for free.

New Live Theater Online Preview Guide. Don’t Scream, Livestream! As a follow-up to my post "What can I watch online that's like Broadway?" below is a list with links to newly created/promised livestreamed theater, mostly free, from La MaMa to the Metropolitan Opera, or concerts by theater artists, including schedules when they exist.

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patreviewsopera · 4 years

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Review #3: Carmen at the Metropolitan Opera

17 March 2020, recording from 16 January 2010

Thank you, Metropolitan Opera, for opening up your archives during the closure.

The popularity of this service shows in how slowly the Met Opera’s website loads. They recommend you watch the stream from the app instead. The app has two main advantages: 1) it loads faster than the browser 2) it provides subtitles.

Turns out I’m also reviewing opera streaming sites now too lol.

Loved the heck out of the show! Amazing Carmen! Stunning visuals! Especially the last scene with the revolving stage revealing the dead bull.

Another thing that I appreciate about the Met Opera’s recordings is that they show the scene changes behind the curtains, which showcases the hard work behind the scenes that goes into the breathtaking sets.

(Image source)

#pat reviews opera #carmen #bizet #metropolitan opera #recording

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acrosstheboardmusic · 5 years

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“WILD ONES” ALBUM REVIEW & INTERVIEW: Jackie from Across The Board shares her insights on being the lone wolf who still needs her pack

by Carmen Toth, special to ListenUpIndie!

March 23, 2019

On March 15, 2019, I and 400 other fans had the pleasure of seeing Across the Board do a live debut of their new album “Wild Ones” at The Opera House in Toronto. I was so encapsulated by their stellar performance that I didn’t take a single video or photo the whole time! Luckily, there were a handful of pro photographers there who got some great shots, like this one by Joanna Glezakos:

If you’re a fan of 80s era inspired pop-rock like me, I can pretty much guarantee you’ll enjoy “Wild Ones,” the latest offering and fifth album from Across the Board. I find their sound to be like a unique fusion of 70s/80s rock like Stevie Nicks, Journey and Heart, mixed with energetic modern alternative pop like Paramore and Walk Off The Earth. And this makes perfect sense, considering that they list all of those artists as influences, and have at some point covered them all within their extensive collection of over 600 videos on YouTube/Facebook/Instagram.

One of the most tightly themed albums I’ve ever heard (from one of the hardest working bands I’ve ever met), “Wild Ones” in the band’s own words: “explores the concept of the lone wolf who lives for the independence of running beneath the moon and the stars but understands the need for a pack.”

The album opens with a dramatic spoken prologue from lead singer Jacqueline “Jackie” Auguste, before launching into the super riff-y, upbeat and harmony-rich title track, where we are introduced to “the wolf,” the musical embodiment of Jackie herself. The danceability continues on “Monster,” which “celebrates the beauty in the ugly.” Next up is what just might be my favourite track on the album – “Eye of The Storm” – an epic and beautifully vulnerable power ballad which Jackie and co-producer Matt Makarenko wrote during the early days of her breast cancer diagnosis in July 2018. The following track “Calling,” according to the band, is meant to be a “cry of support in turbulent times,” but for me, it just gives me a serious “slow dance” romantic vibe. Then the pace picks up again on the uplifting rock anthem “All Gone,” which is co-written by the band’s keys player Martin “Marty” Heller and is his first ever contribution to the ATB catalogue. I call the next track “Graffiti,” ATB’s “ode to graffiti,” – a very poetic explanation of why graffiti exists and the “funkiest” track on the album. The album finishes up with another gorgeous ballad “Alpha Wolf,” which has a very ear-worm-y line; “howl at the moon,” which sounds almost like an actual howl, but prettier. All in all, a very strong, well-written and produced album that just gets better with every listen.

You can listen to WILD ONES on SOUNDCLOUD.

You can find your favourite streaming service HERE.

Album credits: Co-written and produced by MC2 Music Media’s Darnell Toth & Matt Makarenko with ATB’s Jacqueline Auguste, Andy Ramjattan and Martin Heller. Published by MC2 Music Media.

Lead singer: Jacqueline Auguste Backing vocals: Shezelle Weekes, Tasha Lorayne Keys: Marty Heller Guitars: Ben Healey, Matt Makarenko Bass: Andy Ramjattan Drums: Darnell Toth, Ryan Sousa

I had a chance to talk with the band’s frontwoman Jackie about the making of the album, and here’s what she had to tell me:

C: You’re releasing “Wild Ones” less than a year after “Sonic Boom,” which you released May 2018. Any particular reason for releasing them so close together?

J: Because it was ready! We were in a full-on writing mode after “Sonic Boom” and we just kept going to maintain our momentum. In this day and age of the music industry, you have to keep moving forward, creating music from your heart and sharing it with your audience. One of the best things about being signed by an indie label as opposed to a major label is that we have so much creative control. There was a really powerful creative force moving through everyone after Sonic Boom and we decided to hold a writing workshop last summer – we basically cloistered ourselves away at the ATB cottage up at Lake Simcoe one weekend and wrote 18 songs – 8 of which we chose for the album, and 7 that are being released currently. We had to hold back one song as we did a little mash up of a song that was already written and are waiting for the lawyers to do their thing.

C: This is your fifth album. What has become easier having done it so many times? Has anything become harder?

J: What’s easier is the time it takes – in the sense that it takes fewer takes to get what we want, and less explaining to one another where we are coming from because we know our sound now and we know what we want – we are all on the same page and it becomes rather intuitive now – fewer question marks! There is nothing harder per se about it. Possibly making sure we have fresh chord progressions and don’t get stuck writing the same song every time. That certainly hasn’t happened yet and I think it’s because we’ve moved to a more collaborative inclusive model of writing as opposed to the songs all being mine.

C: Have you used the same producer and studio for all five albums?

J: Four of the five, yes. Our first album was actually produced by my brother, Tom Smith, who’s a kick ass engineer, musician and producer. He also produced all our early covers that you can find on Spotify and iTunes pre-‘Jane On Fire’ – which was our debut album in 2016. Our second album, which was actually an EP, was the first project we did with our current producers MC2 Music Media.

C: What is your usual writing process and how was the process for this album? Were there some songs that were harder to complete than others?

J: My writing process starts with a chord progression and a hook. Then lyrics and a melody emerge, the lyrics get filled in and the song goes off to our producers Darnell Toth & Matt Makarenko at MC2. They rearrange it, give it a beat, genre and cadence, then send it back for me to create a demo. I usually create a demo in the same way we record our YouTube cover videos and those demos become the basis for starting to record the individual parts.

For this album we did it slightly differently – although there were several of the 18 songs that we wrote for the album that we do with the usual process I just described, there were three that were musically driven. Matt and Darnell had banked some jam sessions and experimental instrumentals and I went through them and chose some that I thought I could write melody and lyrics to – that was the process for “Monster,” “Graffiti” and “Eye Of The Storm.”

The song “Alpha Wolf” was a little different – I had written some poetry about the wolf theme of the album – and his relationship to the circadian rhythm of the earth. I wanted to write a song in 6/8 time for a change – a rock ballad – I love the triplet feel to a solid 6/8 structure and this song basically ended up writing itself: “Alpha Wolf” and “Calling” –two of the slow songs on the album were written this way – and they seemed to write themselves.

C: You have been pretty open about your recent diagnosis and treatment for breast cancer. How did making this album help get you through it? Do you believe in the healing power of music?

J: I find that music boosts my serotonin! I feel calmer and happier and less down about things. Music can also excite me and make me want to move and dance or jump around. The album theme – ‘the independent lone wolf who recognizes the need for a pack’ – represents my struggle with breast cancer. I had to be able to ask for help, to accept it, and give up control to those who knew what was best for me. “Eye Of The Storm” represents my attempt to find the peace within the chaos – to find a place of comfort amidst all of the stress and turmoil that is chemo and surgery and tests and needles. Each song on the album really was born during the time of my diagnosis and early treatment. It’s like an Ode to the struggle with mortality.

C: Who have been your biggest musical influences?

J: I would say my biggest musical influences are Stevie Nicks, Bonnie Raitt, Steven Tyler and bands like Journey, Paramore and Walk Off The Earth.

C: What advice would you give to aspiring independent musicians?

J: Don’t wait to create content until you think it’s flawless or perfect – let your fans progress and develop with you. Put out content every day! The more you do, the better you will get at doing it! The more you create, the more people can consume and it makes for a nice deep rabbit hole where folks can dive in!

C: Do you have a favourite song on the album?

J: “Eye Of The Storm” – it’s fun to play, fun to sing, and speaks the most to me about my personal struggle with breast cancer.

C: As a fan, I can hear a real evolution in your singing on this album. What kind of vocal training/exercises did you do in preparation for the recording sessions?

J: I would love to tell you I have a defined set of exercises and techniques, but I don’t. I sing along with the radio in the car on the way to studio – belt a few lines, sing some high notes and some low notes and flex my vocal chords a bit – like stretching before a run. I was trained by Russian opera star Helena Holl, one of my favourite people on the planet. She’s just lovely and had taught me to control my diaphragm, breathing, mouth and throat shape and vocal chords. Although I have very little time any more for training sessions, I do think of all her teaching when I’m singing a challenging song, like if it’s something I have to belt or a high note.

C: Is there anything else that you want to say to all your new and old fans?

J: I would just love to hear from people what they think of the new songs – what do you like, dislike, what caught your ear, or bored you. And then tune in and follow us on YouTube, FB and the Gram! Introduce yourself! Let’s connect – check out all things ATB at http://acrosstheboardmusic.ca

Carmen Toth is a freelance writer, singer songwriter, senior copywriter and voiceover artist- visit Carmen’s website here.

#wild ones #across the board #carmen toth #listen up indie #new music #music reviews #new music reviews #new rock music #new rock music reviews #new canadian music #canadian music #canadian music reviews #canadian bands #canadian rock band #canadian rock bands #jacqueline auguste #toronto music scene #new albums

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spotlightsaga · 7 years

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Kevin Cage of @spotlightsaga reviews... GLOW (S01E04) The Dusty Spur Airdate: June 23, 2017 Ratings: @netflix original Score: 8.75/10 **********SPOILERS BELOW********** 'The Dusty Spur' is only the 4th episode out of 10 in S1... That's really not a whole lot of screen time for such a big cast of 'larger than life' personalities. I saw Kenny Herzog of 'Vulture' (that's right I call out names. This is GLOW, bitch. Step into the ring!), get a bit restless in his review of the episode. Kenny is calling for a bit more action, but I believe GLOW is exactly where it needs to be, doing exactly what it needs to be doing... Really exploring origin stories and holding up a magnifying lens to its characters in a careful and steady manner. Any true fan of wrestling knows that it's all about the build and you simply don't have wrestling without well rounded characters... And you don't have well rounded characters unless you give them as many dimensions as possible, not worthwhile characters anyway. Truly, these characters in GLOW are so electric, they're literally sparking with depth. I want to see GLOW explore that depth, because once we get to the main events, that's the only way it's ever really going to take it to the next level and really put the show over with fans. I remember JBL recalling a match he had with the late, GREAT Eddie Guerrero on a podcast a few years back. I can't quote him verbatim but he broke down the psychology and and anticipation needed to truly make 5-Star matches. At the time JBL was no rookie, but the main event scene on such a grand platform is obviously one that can easily rattle one's nerves. Eddie had some wise words and tidbits of much needed inspiring motivation at the time. He literally told JBL that they would tease the crowd a bit, give them a slow back and forth, go into a headlock and hold it for an unnecessarily long time. Basically, bore them to death. Now, GLOW is anything but boring, but surely Creator Liz Flahive & 'The Dusty Spur' writer, Sascha Rothschild, took a page out of Eddie's book. The crowd will never genuinely connect in the truly engrossing and all-encompassing way that it needs to if we don't know who these people are. There is no need to rush... It's not about the finish line or immediate gratification, it's about building anticipation with the audience so that the show resonates with them long after S1 is over... Just like Eddie Guerrero's grandiose, emotionally charged matches. I doubt there is fan out there that can recall an important match of Eddie's that doesn't have a few points that they can still remember like it was yesterday, making the hairs on the back of their neck stand up as they tell it... Not just triggering nostalgia, but triggering greatness. That's what Netflix's GLOW team is creating here, something that will stick with us forever... Leave us pissed off we have to wait a whole year between seasons. That's how you do it! To be fair to Kenny, he wasn't bashing the show, quite the opposite really. Although he does go on to say that 'The show is sacrificing a bit of humor for authenticity'. See, now they just can't win... As if I recall Vulture saying the very opposite about OITNB. Both of these comments just struck me the wrong way. I know everyone is eager for these women to get in the ring, but we got a little ways to go. I doubt anyone will have to wait to much longer as the experiment has to begin sooner than later. None of these women who the creative team of GLOW are reimagining in their brilliant dramatization have a story like WWE's Sami Zayn. They didn't tour almost 15 years working their asses off in the Indies, then hit a performance training center and introductory WWE promotion like NXT for three years, and then finally and triumphantly make it to the main stage. No, no... They were pushed right into the fire, but that doesn't mean we still don't need to get these episodes where we truly get to know these women. Just like in OITNB, GLOW does a fantastic job of juggling many different character arcs, subplots, and focused character work, all while moving the core narrative at a respectable speed. We got a flash of the exact vision that Sam (Marc Maron) has for his big main event. Obviously, Debbie (Betty Gilpin) is already there... She may have her own drama, but she knows who she is and can naturally step into any part she's given anyway. It's Ruth who is still struggling with her 'would-be' personas. She comes up with a few ideas and pitches them to Sam but she's shot down. Sam even goes as far as to suggest that her gimmick's fate isn't even necessarily in her own hands... And can you blame him? Obviously there's something inside Ruth that's worth tapping into, but it feels like no one, especially Ruth, knows where to even start. Maybe Sheila the She Wolf (Gayle Rankin) can give Ruth a helping paw. Their pairing is so odd, but the fact that these two have ended up in the same room together makes for both great comedy and one of the most awkwardly dramatic scenes in the entire episode. Sheila has big issues with sharing living space with another human being... No, this isn't because Sheila identifies as a wolf, it's much deeper than that. Clearly, Sheila has worked hard to not only accurately express how she feels on the inside, but to keep any possible vulnerability that may open her up for ridicule swept under the rug. Ruth acknowledging that Sheila was sleeping with a wig on was probably the straw that broke the camels back, but as we've mentioned before... Ruth may not know who she is quite yet, but her passion and aspirations help define her while she embarks on her own existential quest. It's a bit like Ruth is a cockroach... It's going to take more than a couple of traps and putting roadkill in her bed to get rid of her. Ruth is just about awkward in everything she does, and that includes opening to Sheila and attempting to find common ground. I loved that Ruth was absolutely terrible at doing so, but just the fact that she was making an effort was met with respect from Sheila. These women are all making the most of their scenes and I hope that this becomes a huge launching pad for talented women like Rankin who have never been given this type of platform before. Another big shout out to our girl Tammé (Kia Stevens aka Awesome Kong/Kharma). Everything she's been handed in this series so far has been elevated to another level by her clear vision of her character and obvious professionalism. I think a lot of people are ready to easily dismiss wrestlers as jokes when it comes to the acting world but we continue to see many who have not just succeeded, but exploded into both 'Main Stream Blockbusters' & respected dives into nuanced character work. Dwayne 'The Rock' Johnson immediately comes to mind. Sure he can carry a big film, but look at the incredible depth he provides his Spencer character on HBO's 'Ballers'. I honestly believe that Kia Stevens has what it takes to not just create a splash in Hollywood, but to inspire real, honest to God respect from fans, critics, and her fellow peers in the industry alike. Tammé is having some issues with her 'Welfare Queen' persona. It's an obvious insulting stereotype when looked at through a certain lens. She's literally wrestling with the fact that she's worked hard in life to give her children a chance to be greater than any stereotype society associates with people of color, especially in the 80s. But with the help of Cherry's husband, Keith (Bashir Salahuddin), and his very simple remark that he finds Marc 'to be more sexist than racist' paired with watching an old shlock film of Marc's that has an oddly timed video dating cut right near the end of the film, Tammé appears to be coming to terms with the character. She's learning how to separate pointless stereotypes with the benefits of 'kitsch' and championing irony in the stereotype's context... And in pro-wrestling, both men's and women's wrestling, that's something that's extremely important. It would be disrespectful for me to end this review without noting that our man, former WWE Superstar Brodus Clay aka TNA hired gun Tyrus (George Murdoch) makes an appearance as Carmen's sympathetic brother who appears at their training camp with their legendary wrestling father, Goliath Jackson (Winston James Francis). They are there strictly to retrieve Carmen after they quickly realize that the giant pile of pillows and shoes in Carmen's old bed are not actually Carmen. Goliath and Carmen's two brothers are primarily used as a reminder to the audience that no one, not even the parent and member of a wrestling dynasty family, believes that these women will be taken seriously on any level. Carmen is one of those characters on GLOW that I tend to perk up for. Her lovable giant and adorable 'Machu Picchu' persona aren't exactly cutting edge material here (not quite yet, anyway), but actress Britney Young is proving that she can hang with best of them. Her scenes with her new roomie Rhonda aka Brittanica (real life singer-songwriter Kate Nash) give off a bit of 'explorative' vibe, possibly lesbian or it could be as simple as the differences in body image as Carmen is so quick to point out. Whatever direction they go with these two is ok with me, the pairing up of all the characters in the hotel is doing nothing but helping the spotlight shine on each and every character just a little bit more... And trust me, to all those pining for action, you'll appreciate all this character work they're doing now when these women finally step in the ring and start doing what they all came here to do... Wrestle!

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Logentries & New Relic Webinar: How to Create Your Modern DevOps Tool Kit

By Matt Kiernan

Auto-scaling environments, micro-service architectures and globally-distributed teams are just three common examples of why organizations today need automation and interoperability more than ever.

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About SYS-CON Media & Events

SYS-CON Media (www.sys-con.com) has since 1994 been connecting technology companies and customers through a comprehensive content stream - featuring over forty focused subject areas, from Cloud Computing to Web Security - interwoven with market-leading full-scale conferences produced by SYS-CON Events. The company's internationally recognized brands include among others Cloud Expo(R) (@CloudExpo), Big Data Expo(R) (@BigDataExpo), DevOps (@ThingsExpo), Containers Expo (@ContainersExpo) and Microservices Expo (@MicroservicesE).

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