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#that they could have up and coming musicians guest feature on episodes
thislovintime · 6 months
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During the filming of “Monkee See, Monkee Die,” June 1966.
“Midway through the season, we shot one of my favorites episodes of all time, ‘Getting Davy Jones.’ As the head of Fernwood Junior High’s Davy Jones Fan Club, Marcia is responsible for getting the impossibly cute lead singer from the Monkees to appear at their prom, and after various miscommunications and lots of worry, she comes through. […] Davy’s arrival on the set created a buzz greater than any other guest star we had on the show. Of course I was thrilled to be the one who got to interact with him. I can see why Eve could get jealous. Davy was a lovely guy, and it was a big deal to have a pop star of his caliber on the set. I noticed Barry watch him the way one might if looking for pointers. Though excited to be the object of his affection, or rather attention, I didn’t show it. I’d learned to play it cool around stars. My heart fluttered when he kissed me at the end, I’ll admit it, but Peter Tork was always my favorite Monkee. That was the difference between Marcia and me. She was predictable, a straight arrow. My taste was quirky, offbeat, and different.” - Maureen McCormick, Here’s The Story: Surviving Marcia Brady and Finding My True Voice (2009)
Q: “What do you want to do when The Monkees break up? Peter: “I try not to think too much about what happens after the Monkees break up. It’s rather depressing since I don’t know what I want to do. So far, I’ve found my greatest joy in being a performer and musician. When I’m on stage performing, I get a feeling of fulfillment that I don’t get at any other time. I’m inclined to think that I wouldn’t spend much time on television unless there was a live audience. That’s what really makes it fun — having the people right there. I like to work with a crowd, to sort of mold the act to suit the type of people in your audience. You don’t get that kind of challenge on a television set, except an occasional laugh from the crew. They get so used to your antics and they’ve seen you when you’re not quite so clever, so it’s very difficult to get a reaction from them. With a normal audience, however, even when they don’t react, it’s some kind of non-reaction. Maybe they can’t hear you or they can’t understand you or they just don’t like you. So, in conclusion, more or less, I think I’d want to do something for a live audience, but what sort of thing, I don’t know yet. Maybe I never will.” - Flip, August 1967
“[Peter] has reactivated some old contacts and recently tried out at Paramount for comedy spots on ‘Happy Days,’ ‘Laverne and Shirley’ and ‘Mork and Mindy.’ ‘
I’m trying comedy because I know I’m glib, and I know I’m good at it,’ he said. ‘And I’m taking acting lessons. I’ll be glib one day in drama too. ‘Maybe first I can get a walk-on, then some solid comedic roles, then maybe in time a feature role in another series, then films, then maybe I can make enough to finance my music, which is really what I want to do,’ he said, the bounds of his quite sincere fantasy mushrooming in a minute.” - article by Steve Sonsky, The Miami Herald, February 18, 1979 (x)
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randomvarious · 5 months
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Motown Live: Two Episodes (Live in Los Angeles, CA) 1998/1999 R&B / Soul / Hip Hop
Oh, man, I had no idea that this show ever existed! Apparently, back in '98/'99, a little syndicated program called Motown Live was trying to compete with the likes of Soul Train. Only 13 episodes appear to have ever aired, but what Motown Live attempted to do was present a different slate of black musicians in every episode, mixing still-intact legends from the past with contemporary stars. And the coolest part about all of it was that they'd get those past legends and then-current stars to perform some songs together.
So, this video here presents two separate episodes. The first one, hosted by Robert Townsend—star of 90s sitcom The Parent 'Hood—appears to be the pilot, and features The Temptations, Earth Wind & Fire, Wyclef Jean, and Next. And Wyclef brings some other people along with him too, like The Product G&B, who'd go on to star on Carlos Santana's massive hit, "Maria, Maria;" fellow Fugee Pras, who'd get himself caught up in all sorts of seriously thorny financial and high political drama in the 2010s, and against the advice of his counsel, testify on his own behalf, only to then be found guilty on ten different counts; and female rapper Free, who'd later become co-host of 106 & Park on BET. Remember her?
Anyway, unfortunately, for this particular episode, the audio quality isn't great, but at least things like the footage of Wyclef and Earth Wind & Fire performing "That's the Way of the World" together was salvaged and posted to YouTube.
The second episode in the video doesn't suffer from the same audio issues, though. And this one appears to be the premiere for the second season, with Robert Townsend gone and replaced by the great Montell Jordan, famous for such hits as "This Is How We Do It." In this episode, The Temptations are back again, and with them are male R&B/soul duo K-Ci & Jojo, as well as Snoop Dogg, who, like Wyclef, brought a whole bunch of people along with him too, including Xzibit, Nate Dogg, Daz Dillinger, and Kurupt. And their lively finale of "Gin & Juice" with K-Ci & Jojo is really nothing short of spectacular 🤩.
Now, two things here: one, I definitely find it a bit odd that whoever was responsible for conceiving of this show decided to call it Motown Live, because it seems like most of the performers were never actually on the Motown label itself? They couldn't come up with a different, more accurate name for it? And two, I think I can see why this show ran out of gas as quickly as it did. The idea of presenting both past-and-present, while great, probably ended up becoming too big of a burden to bear. I mean, no shade to The Temptations at all, but if a show like this only has 13 episodes and they've already circled back around to them once, that tells me that the showrunners were having trouble with booking guests. I guess there were only so many legends from the 60s, 70s, and 80s who were: a) still around; b) would agree to go on the show; and c) could also draw enough eyes. A pretty tough balance to strike on what appeared to be a planned weekly basis.
Motown Live seems to have barely left any footprint, though, so I'm pretty delighted to have discovered it. Awkward in spots, especially with both hosts being clear novices, but their lack of experience really only lends to this ephemeral show's goofy and very late 90s charm anyway.
More fun videos here.
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ear-worthy · 7 months
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Michael Bolton Discusses His Music Career on "Yeah I F***ed That Up" Podcast
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Musical artist backlash is a mysterious phenomenon. It's hard to pinpoint its origins and how it sustains life. Canadian group Nickelback certainly felt the wrath of fans and non-fans for some amorphous musical or cultural indiscretions. 
Another musical artist who suffered the same "mass shunning" was Michael Bolton a generation ago. In the most recent episode of Interval Presents’ ‘Yeah, I F***ed That Up,’ podcast host Billy Mann talks with singer-songwriter Michael Bolton. 
If you haven't heard, Interval Presents, Warner Music Group’s (WMG) in-house podcast network, has a new series, Yeah, I F*cked That Up, which challenges the stigma of failure as the podcast highlights stories of defeat from prominent figures in the entertainment industry. The interview series premiered July 11 with featured guests Kelly Rowland and Steven Van Zandt. I've listened to every episode and with no need for a spoiler alert, I can tell you that both episodes are so fresh and elegant in their narrative about "what I've would have different." The maestro here is the podcast's host is Grammy-nominated hitmaker Billy Mann, who has produced and written songs for some of the world’s most well-known musicians over the course of his 25+ year career. In this episode, host Billy Mann is joined by Michael Bolton as they discuss various stages of his life and mega-career starting as a struggling artist working hard for success, along with the challenges of a career in the music industry while having a family. Check out a clip from the episode HERE. 
 Episode Highlights:
●     5:50 - Michael discusses his relationship with his mother and all of her support. 
○      Michael Bolton - “She was more than supportive of me. I was living out her life because she wanted to be a singer…and she didn’t get to pursue her career, but I did. And so when I look back, I have so much appreciation of my mother and the support she gave us that was non-stop through some very, very tough times.”
●      7:50 - Michael talks about his parents’ divorce when he was a child and then going through his own divorce, which brought him to therapy.
○      Michael Bolton - “It wasn’t until I was going through my divorce a lifetime later that I had the ability to spend time with a therapist, find out what motivated me, what was really going on, what I was really meaning to say, what I observed. And to come out the other end of a lot of therapy, feeling much more clear about everything and having compassion for both of them ‘cause they weren’t happy, and so I learned a lot from that and a lot that I was able to use, to apply, with my own kids who were going through quite a bit of what I went through as a child.”
●      15:05 - Michael discusses getting his first record deal with Epic Records at 15-years-old, then receiving a letter that they were dropping him.
●      18:36 - Michael was in his 30’s by the time he had his first big hit as a solo artist, when he was raising his daughters and on food stamps. Michael shares the challenges of a career in the music industry while having a family.
○      Michael Bolton - “There was no plan B. And I can be grateful of that even though there’s a lot that comes with the music industry, a career in the music business that is so challenging for a family, if you’re an artist. Downtown New Haven, there were a lot of aspiring artists, mostly one guitar, acoustic guitar, and a sleeping bag, and you could crash at a friend’s house for a couple of days. When you have a family, where do you begin and how hard that could possibly get? We had rent checks that were bouncing to a landlord who was a nice guy, didn’t want to kick us out. We didn’t have the term homelessness back then, at least I never heard it, but we were close to that.”
●      20:55 - Michael shares how he got started singing jingles, a career that took off for him.
●      24:38 - Michael talks about the first time he heard his huge breakthrough song, “That’s What Love Is All About,” on the radio, which was followed by one of his jingles.
●      32:30 - Billy asks if there’s a moment for Michael where he thinks “I f***ed that up.”
○      Michael - “I may have f***ed up in taking myself too seriously in those beginning years, even during interviews, not being a joker and not trying to find something funny in everything everybody says. I think I just took it all too seriously. And so the irony is, the good news is, you can still have fun at your own expense, and it’s a bigger laugh and more fun. I don’t regret much, except for all the time that I may have been able to spend more with my kids during the edge of starvation zone of raising them and feeling completely overwhelmed that I don’t know how we’re going to survive.”
●      34:55 - Michael shares the advice he would give to people around the world on how to deal with moments of failure and self-doubt. 
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toyahinterviews · 2 years
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MY TIME CAPSULE WITH MICHAEL FENTON STEVENS 24.1.2022
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MICHAEL: I'm Michael Fenton Stevens, and this is the podcast where we talk about the fascinating subject of sandpaper grades. Well, it might as well be because in each episode I talk to a different guests about the five things from their life that they'd like to preserve in a time capsule Four things they love and one thing they wish they could forget. Something from their past that they wish they could bury in the ground and never have to think about again. Some are bound to be sandpaper grades one day ... Perhaps my guest in this episode, the pop star, musician, actor, TV presenter, writer, and famous woodworker - no, actually, that's just about the only thing that Toyah Willcox hasn't done. Yes, my special guest is the amazing Toyah, one of the very few people where one name is enough. Paraphrasing her career or careers Toyah has had eight Top 40 singles, she's released over 20 albums, written two books, appeared in over 40 stage plays, acted in 10 feature films and numerous television shows
Toyah is married to the musician and rock legend Robert Fripp, founder and guitarist of the prog rock group King Crimson. And as a musician and singer herself Toyah has toured 33 times since 1979. Her films include “Jubilee”, “Quadrophenia”, and Derek Jarman's “The Tempest” and she's appeared on TV in “Shoestring”, “Minder”, “Tales Of The Unexpected”, “French and Saunders”, “Kavanagh QC”, “Secret Diary Of A Call Girl”, “Casualty”, and as the narrator of the “Teletubbies” and my personal favourite “Brum” She's also had the misfortune of working with me in a stage production of “Amadeus”, which we talk a bit about in this recording. So let's hear what from all this the extraordinary Toyah Willcox chooses to put in her time capsule Toyah, how fantastic to have you on “My Time Capsule”. I can't believe it, it's so lovely to see you. After all these years!
TOYAH: How many years is it? MICHAEL: Well, it must have been - TOYAH: It was “Amadeus”, wasn't it? MICHAEL: It was “Amadeus”. That's right. We did a tour of “Amadeus”. 1990 - TOYAH: Great tour! MICHAEL: 31 years ago - TOYAH: 31 years ago. Well, it's all a blur for me because in the last 20 years my music career came back with a vengeance. And I haven't looked back and I've lost all those kinds of memories. I mean, I can remember Peter Shaffer was involved. Tim Pigott-Smith, Richard McCabe, you. I was also doing a daytime tour of prisons of Janis Joplin (Toyah at the prison in Aberdeen in 1991, below) The really exhausting tour!
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MICHAEL: It was exhausting. I remember you going off to prisons. At the same time I was going off with an actor called Max Gold. You may remember? TOYAH: Oh, I love Max Gold! You went with Helen Baxendale as well? MICHAEL: Yeah, yeah, the three of us. So we had the really nice job of going around schools. While you would go to prisons and come back and say “Oh, my God, it was a bit weird” ... TOYAH: I'd rather gone to the prisons. The thing about going into the prisons, Michael, is they needed entertaining and they were utterly engrossed. And the thing that disturbed me was I was able to leave, and I was performing to what looked like completely normal human beings you'd bump into in a shop, but they weren't allowed to leave and I found that grossly disturbing   MICHAEL: I've been to prisons before I was an actor. I worked as a solicitor's clerk TOYAH: You look like one now!
MICHAEL: I look more like a judge (they both laugh) I went to a number of prisons, and they were horrible. Horrible. I think everybody should have a visit to a prison. Yeah, and just smell it     TOYAH: Yes. Well, what I experienced, because I was going in with about 20 press people to every prison, was some of the prisoners would hand me notes and I'd open up the note and they'd say "they've only made it like this for you". They cleaned it, they painted, they made it look pristine and clinical. And I was getting these notes saying "this has only happened because of you". And then you know, you really think about what is going on and prison is prison   MICHAEL: Because in that time, people would have been slopping out of a bucket in the corner of the cell. So it was just awful TOYAH: I'm glad I did it because it was a great leveller. And, you know, I was a huge rock star. And suddenly I was made to experience what life is like for someone who is so desperate they steal a car, they steal food, they steal someone's stereo. That everyone had a story and everyone had a reason. It was such an eye opener. What an experience!   
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MICHAEL: Astonishing, but we are going to talk about things like that. You're going to pick five things from your life. Four things that you treasure, and one thing that you'd like to get rid of. You've made notes. Oh, how brilliant! TOYAH: Not only have I made notes -  I've done lists! (Michael laughs) Do people have a problem picking these things? MICHAEL: Only sometimes narrowing it down TOYAH: Well, my passion list is very selfish. So shall I start? MICHAEL: Yeah, go TOYAH: OK. My passion is stones. I absolutely love stones. I collect rare gems - can't afford diamonds but rare gems I can do. And I collect very rare crystals. So I'm holding up a 37 carat topaz (on Toyah's left hand, above) MICHAEL: Oh, it's beautiful
TOYAH: It's absolutely beautiful and I collect stones like that. And I bought the stone, had it made into a ring and I don't go anywhere without it. This ring has survived so much. It's been lost at petrol stations. It's been lost in public loos. It's been dropped from great height and I have always worn a blue stone and I feel naked without a blue stone on me Now people might say "oh, that sounds really frivolous. What does it mean? People are starving around the world." For me, this is a stone that has been created out of the creation of the world, from the impact of volcanoes, from mountains forming from earthquakes. It's been there long before I was conceived     And for me, it's what I call a universal connection. You know, it makes me realise that I have a very precious moment in time within the existence of the universe. It is not even a speck of dust in the existence of the universe. And I wear this ring just to remind me not to waste time MICHAEL: Ah! Very good. Very good. And you don't, do you? TOYAH: I try not to
MICHAEL: I always thought that that was the case. When we did this play together you to me had been this enormous rock star. So suddenly, I became aware of the fact that you acted and I hadn't really noticed it. I suppose, you know, “Quadrophenia” and things like that you would have noticed, that you would have thought you were in there because of your pop connection. But actually, there you were - this incredibly dedicated actress with an amazing CV already behind you TOYAH: I started at the National Theatre when I was 18 MICHAEL: It's incredible TOYAH: Yeah! But I think I was a bit just too rebellious for the system. I did Christopher Hampton’s adaptation of “Tales From The Vienna Woods” with a phenomenal cast. Kate Nelligan got me in the cast. She saw me on a TV play on BBC2 called “Glitter”, and she was watching while having supper with the director Maximilian Schell, great German movie star And they said "right, we're going to cast her as Emma and “Tales From The Vienna Woods”" and I never looked back. So I had already, before I had a hit single, done the National Theatre, the ICA, worked with Stephen Poliakoff, Danny Boyd on “Sugar and Spice” (flyer, below), he was the assistant director on Nigel Williams’ “Sugar And Spice” at the Royal Court Theatre. I’d already been in the royalty of acting before “It’s A Mystery” was a hit
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MICHAEL: That's the thing I remember about it. And then also, it was your style of acting that I really liked. From my memory of this thing one of the things that slightly wound up Tim Pigott-Smith was that you never repeated. You hardly ever repeated anything. You would be fresh every night TOYAH: I know and I now realise how destructive that can be to someone like Tim Pigott-Smith, because my whole philosophy was the audience deserved a new approach. And this is how I feel about every show I do. And believe me, I've been on stage with A-listers in America, where they have done exactly the same rock performance every night, down to the same head moves and the same solos. And I thought the audience deserves you present in the room So when I get onstage, not as much now with an acting play as I do with music, the audience deserves to be present in the room in that moment and that moment is sacred, and it's with them forever   But I realised with Tim Pigott-Smith - I had quite large scenes with him as “Constanze” - that my doing it differently every night, with him playing such a huge role as “Salieri” ... I was not helping him. He would have words with me about reining it back and becoming what we were in rehearsals and I did rein it back
But I think I was a handful for many, many people when I was much younger. I totally totally sympathise with Tim Pigott-Smith, dreading being on stage with me. Richard McCabe was equally dangerous and when we had a couple scenes ... I mean, my God did the fur fly! MICHAEL: Yes, I remember. You probably forget that I actually understudied Richard in that production and I watched you closely every night and in fact Helen Baxendale understudied you TOYAH: Yes, she did. I remember one scene where we were getting violent with each other because “Constanze” goes mad, and I was wearing a pregnancy bump. And we were in Oxford, and I was twirling like a Whirling Dervish, and the pregnancy bump came off (Michael laughs) It landed on the stage and Richard just went! I mean we literally had to stuff it back up my corset. We were wild MICHAEL: It was a brilliant production. I had a fantastic time doing it. My favourite memory was, I think, in Glasgow where somebody right at the beginning, when Tim was saying, you know, goes to the future. How he started the play in the wheelchair as an old man     
Goes to the future. “Come with me. I will take you on a journey.” And somebody in the audience shouted, “you didn't do it, Salieri!” And he ignored it. And then they said, “We know you didn't murder Mozart!”, and then eventually said "no, bring the curtain down ... " - TOYAH: I remember it because I just felt for him because that opening speech, I mean, how many pages long was it? It was a constant battle with that opening speech. And then they put him on a bath chair and I don't know if you remember in Sheffield, it rolled off the stage - MICHAEL: I do, yes! TOYAH: I think he was in it and he had to jump out. He battled so much, and was also battling with keeping Compass Theatre Company afloat. And even though we were a sold out tour, he was still battling with budgets. He was remarkable MICHAEL: It was a fantastic performance as well, wasn't it? TOYAH: Breathtaking 
MICHAEL: It really was mesmerising TOYAH: And Richard McCabe was playing Mozart for real     MICHAEL: Yeah, he played the piano. Amazing TOYAH: I mean, who could do that today? MICHAEL: It's never been done before or since, fantastic. Oh, happy memories. So anyway, I'm going to bring you back to stones. When did you first start collecting stones then? 
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TOYAH: When I could afford to MICHAEL: It wasn't coloured glass from the beach then? TOYAH: Tell you what, that is very perceptive of you because the first stone I fell in love with - I was 23, and I think and I was on Lynmouth beach, and the stone was the size of my head and it has white lines going through it, massive! And I took it and you're not allowed to do that these days  And that stone is still with me. It's outside my kitchen door now. And if anyone moves it - we have gardeners ... If anyone moves it, they get an email and a phone call. “Come back now and put that stone back!” (Michael laughs)     And I love it for exactly the same reason I love my topaz ring. It's part of the Big Bang and we're all part of that process. And so that's when it started, I was 23 - so I'm 63 now ... 40 years ago MICHAEL: You're slightly younger than me - TOYAH: Am I?! MICHAEL: And you look 10 years younger (they both laugh) TOYAH: Thank you!
MICHAEL: Well, I think it's very important to have an awareness of the enormity of time and your place in it. But also not to use it to make yourself feel insignificant but as you say … lucky TOYAH: Yeah. God, you’re perceptive! I love this! I was having a conversation with a journalist from the Financial Times last week because he was fascinated that I collect crystals. I have 22 rare crystals in this room and it’s called the Crystal Room. And he said “I'm having a really bad time, I've given up on hoping about the future. I feel insignificant in my life”   And I picked out one crystal - I’d pick it up for you but it's so heavy I can't lift it! And I said "look, this has come from a Big Bang we really know nothing about. It's made from carbon. We are made from carbon. This peach I'm holding up I'm having for my breakfast is made from carbon. We are all the same process. We're all the same thing. We have a gift of being in an organic body so we can be potential and experience potential. Then we go back to the big process" and he got it. Feeling insignificant is nothing but waking you up to your own potential. We are not insignificant
MICHAEL: No. That thing that you say of driving yourself on I mean, not driving yourself but actually filling your time, making use of it. I mean, again and again there are many people who would have said well, alright, I had enormous success as a pop star and then you might’ve gone well, we'll just do a sort of few reminiscence tours and it makes nice money and things like that. But you don't. You write new stuff, you perform again and actually, your latest album has charted
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TOYAH: Yeah, it went to number one across the board. And this is a very interesting fact, Michael - Amazon's top seller, so I went straight to number one in the Amazon chart. I went number one into dance charts, the rock charts. I was number one best seller in the UK for a week MICHAEL: That's amazing TOYAH: Yeah, in the Official Chart I was number 22. Because my generation don't use Spotify. This is generational. So the album is called “Posh Pop” and this physical CD I'm holding up outsold Queen, outstripped Metallica, it just sold in tens of thousands. But I was pipped to the post by the younger artists who are downloaded on Spotify MICHAEL: Yes, and get paid nothing for it TOYAH: I agree. So it's a very interesting time. I returned big time successfully to music when I played Wembley in 2002. Because Youtube had given younger audiences the chance to experience heritage artists like me and (they) want to see us live and I've not looked back since MICHAEL: No, I'm not surprised. I mean, when you burst onto the scene, you were completely unique TOYAH: Yeah, well, I was unique. I was androgynous. I called myself third gender. I was very very tomboy and very strong. I came from punk and then got adopted by the New Wave movement and then into rock. But I do think if I came in exploiting my female sexuality, I would have had a much, much bigger career (they both laugh) MICHAEL: It's possibly true. Yes, play the play the game TOYAH: Play the game! I was a rule breaker from day one MICHAEL: And what led you to be that? TOYAH: I think, actually, I had to create a character - (because of) lack of confidence. I've never had confidence in my femininity. I'm very physically small. I mean, I'm barely five foot tall. People … how can I put this? ... In a physicality way people talk down to you. And it's only in recent years I've realised the techniques that short people use to appear tall and that is you never look up when you talk to someone else     I learned this off the Queen and I learned this off Kylie Minogue. You never crane your neck to look up at someone. You use your eyes to look up. Therefore you always look as though you're the same height as everyone else. I could only have learned that with the invention of phone cameras     
When you can go online and you can study how people's body language is and I learnt it off movie stars who have to act with people like Charlize Theron and Nicole Kidman, who are both over six foot - the smaller guys never ever crane their neck to look at them. So I think my beginning characteristics was I made myself huge in the space. So I was a rebel. I was a loud punk rocker but now, because I can study technique on camera, I can rein it in
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MICHAEL: My wife is only five foot. Well, she'll say five foot and a quarter TOYAH: I say 5’1” I just lie (Michael laughs) MICHAEL: But she has exactly that skill. And she's always had it. People never think - people who are 5’8”say “you're the same as me, aren’t you?” and she never wears built up shoes. Everybody assumes that she's much taller than she is. Because she goes in with a presence and she just commands the room as it were TOYAH: You have to. It does have its benefits. I get mistaken for a child at airport security quite a lot and I get brought right to the front of the queue with the line “come here, little girl” (Michael laughs) and then when I turn up they look at me they go “oh, my goodness!” It's that “don't look now” moment. You know, they go kind of argh! I exploit that every time I can
MICHAEL: Well, if you can't see over the crowd, you might as well burst through them TOYAH: Gosh, you'll never get me in a mosh pit. There's no point. All I can see is backsides (Michael laughs)
MICHAEL: Alright, Toyah, so we're going to put rocks into the time capsule. We're going to move on to item number two TOYAH: Item number two is a white pet rabbit who lived with me between 2007 and 2016. He lived for nine years, he was very, very special. He was a house rabbit. He’d sit by my feet in this office. Completely humanised and was with us 24 hours a day. And when I had to go on the road, he went into a rabbit hotel, and he cost me about £7000 pounds a year in dental treatments and in hotels (Michael laughs) And obviously he has passed away, rabbits don't have long lives. But I would like to see him again because he was so gorgeous and he put everything into perspective. All he wanted was to eat, sleep, be stroked and hump soft toys     When I was freaking out and (I was) over pressured and everything was too much I just would hold him and feel his little beating heart and it would calm me down. He was definitely definitely one of those animals that people would take on an aeroplane to keep them calm MICHAEL: What was his name?
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TOYAH: WillyFred. He was called that after the drummer in REM, who is my third time capsule item. Our greatest friend, who when he wasn't in America would live with us here. But let's keep to bunny first. WillyFred bunny was a pink eyed New Zealand white with huge character. People would actually knock on the front door and asked to see him because they loved him so much When the vet finally said - the rabbit was nine years old and by this time I was carrying him everywhere and hand feeding him with a syringe - the vet said “no, you can't keep doing this. If you keep hand feeding him he can't go through the natural process. He won't die, he will just keep deteriorating” So the vet and all the nurses came to our house and we put him on the kitchen table and we all said goodbye to him. And they gave him the inevitable injection and we were all holding him as he passed away and the whole room was in tears. That's how popular this rabbit was. He was the biggest flirt. He would pull women's skirts, he would flirt with women. He would just look at a woman and completely win her over    
We believe that this rabbit was the soul of a Buddha just biding time, waiting to be reincarnated in another life. He was that wise that we treated him as if he was a soul just passing through time. And everyone, when we put him down, who worked with this little bunny rabbit was in the room saying goodbye to him MICHAEL: There are moments, aren't there, where animals are so clearly thinking, I think TOYAH: Oh God, you can't deny it. They have emotional light. I mean, this sounds ridiculous, but I keep Koi fish. And at the moment we've got a female Koi who's about to pass and the other fish will not let me near her. I've tried to remove her from the pond so she can be dispatched. Every time we go to remove her from the pond … whoomph! They stop us taking her away     And what I trust about that is they're telling us to let her go through her own process. And you know, animals have emotional lives. They have natural intelligence that goes beyond our bodily intelligence. Animals are emotionally connected. And a very, very special
MICHAEL: Yes. I saw a wonderful photograph on Instagram I think the other day where was somebody said that this was the best example of photo bombing they'd ever seen. And it was basically photographs of their wedding and there was a dog and it just was looking back at the camera as to say (with a disappointed voice)“Oh my God … not another one ...” TOYAH: Yeah! Animals are … I mean, how can we live without them? They're just so remarkable MICHAEL: You say £7000 pounds a year on bills ... but that must have been worth it? TOYAH: It was worth it. And I had a rabbit with bad teeth. So to save his life literally once a month he had to have his teeth kind of clipped. And it just was ridiculously expensive MICHAEL: Are they quite large, the New Zealand rabbits? TOYAH: The largest I ever had was 10 kg’s
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MICHAEL: Oh my God! TOYAH: It was like picking up a dog. They're bred for their meat so they grow very quickly. WillyFred was 3 kg’s MICHAEL: Yeah, but that's a good armful, isn't it? TOYAH: Yeah MICHAEL: Well, in that case - WillyFred is in your time capsule for you to revisit
TOYAH: Thank you. The third item is the actual human being that WillyFred was named after called Bill Rieflin (below with Toyah) and Bill passed away at the beginning of lockdown last year. I made three albums with Bill, he was the drummer in REM. But in my band Toyah And The Humans, he was the bass player. He was one of these remarkable human beings that could play every instrument. He would just pick an instrument up and within three hours he could play it in a virtuoso way. Don't you just hate those people? MICHAEL: Yeah, I know some TOYAH: Bill, my husband Robert Fripp and I, we would travel the world together. We were inseparable. Both Robert and I are very, very independent human beings. I can have a lot of time alone. Robert can have a lot of time alone. And Bill was the same but put the three of us together and the dynamics were like nothing I have ever experienced in my life. And our time together, our precious time together ... I met Bill in 2003 and the three of us became inseparable until he passed away about March the 24th 2020. We were inseparable
MICHAEL: What did he die of? Do you mind if I ask? TOYAH: He had prostate cancer. He did not have it checked in time. Both Robert and I knew he was behaving strangely. Something was bothering him. So I flew to Seattle, about 2012 and I said "Bill, I've come here to tell you to go and have a Well Man check." He did. And he was told he had advanced prostate cancer. But he survived. I mean, he was lucky enough to be in Seattle, which is the world leading cancer area So he did survive and he was - I hate to say this because I know it irritates cancer patients - but he was a fighter. He would not accept that his time had been shortened by this and his surgery was brutal because it went into his colon and then it went into his lungs. He lost a lung, he lost part of his colon, he lost his bowel. But he was still determined - he was touring with King Crimson a few years before his death. So he really did live a very, very good life MICHAEL: That's part of what you were talking about, the preciousness of life, the knowledge that it's such a wonderful gift. And when people fight like that to just ... “I want a bit more, just a bit more” -
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TOYAH: Yeah, he inspired me incredibly because he was always learning - he loved language. So he was always learning right up until the end. And he came over to the UK and I spent two days driving him around the UK meeting healers I trust and energy healers. Healers don't necessarily heal the physical body, they help prepare you for what you're about to transition into. And that really helped Bill because he had no faith. So whenever he was in the UK, we did that. We got healers into the house, who explained what the transition of the soul is, how energy transitions and it can never die, energy can never die   So it was his learning process I feel has helped me not fear death. It's helped Robert not fear death. And we managed to get out to Seattle to see him just a few months before he passed and we went and sat with him in oncology while he was having treatment in Seattle. And for us it was a shared process, which just gave us strength. And as you say, made us realise that ... I'm 63, my husband's 75  … It doesn't mean you stop. We live to live. We don't live to die
MICHAEL: Absolutely. And it's a real lesson that when life is hard, and it's a struggle people really find it precious. So in a way it's wasteful to not find life precious when it's easy
TOYAH: I know when it's easy - when you write a song in two minutes and you think the next song will feel like that. You take it for granted. I think people get exhausted by life. Life is genuinely challenging and exhausting. But I think at that point you reach out and this is where friendship and love and community helps put you back on your feet MICHAEL: So you mentioned Robert (below with Toyah) so I'm going to say how did you meet him? Because it's just an extraordinary thing - coming together of these two greats from the pop industry TOYAH: Well, thank you. We first met in a taxi on our way to a Nordoff Robbins (Music Therapy) charity lunch at the Hotel Intercontinental, Park Lane. And we didn't really know each other but we had the same management and I found this legendary rock guitarist, who I knew very little about, I had his album “Discipline”, but that's the only album I knew about, from 1981      
I didn't know his 1970s history, or 1960s history, the Rolling Stones in Hyde Park. And I thought he was a very quiet, gentle, considered human being who didn't speak until he'd considered what he was going to say. And that just brought out the worst in me. And I was goading him and teasing him and provoking him in this 20 minute taxi journey And then we had our photo taken with Princess Michael of Kent and I didn't meet him again for about another five years, by which point and this is what my husband does - he's known for this … He was living in New York at the time, and his diary wasn't filling for a three week consecutive period and he decided that I was his wife. He said he just knew, he knew as soon as he met me that I was his wife. So he came back to England, arranged for us to make an album together and he proposed to me
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MICHAEL: Wow, that's amazing! TOYAH: Now, another angle on that story is he gets into a lot of trouble because he has dreams that come true. And he dreamt he was in the studio with David Bowie about eight years ago. And he wrote this in his diary. “Oh, in my dream, I was making an album with David Bowie, Tony Visconti was producing.” Well, at that time Tony Visconti was producing “The Last Day”, Bowie’s penultimate album. Visconti hit the roof, because the press picked up on Robert’s diary as actual and announced Bowie making the album MICHAEL: No! TOYAH: Yeah, and it was a dream MICHAEL: That's incredible! 
TOYAH: It is incredible and everyone in our community, because we live on a High Street, we're surrounded by shops and businesses, and they're all our best friends. Everyone on this High Street knows that if Robert has a dream it's going to come true. So he's like our little talking newspaper (Michael laughs) MICHAEL: Brilliant. I mean, I have to say that my awareness of my knowledge of people in Robert’s position ... I mean, he'd had 10-15 years of extraordinary success, worldwide success, been regarded as one of the greatest guitarists of all time, I think     So to suddenly meet someone, well, what I'm going to say is that in that situation, as you will know, having been in the business - the opportunity of meeting beautiful women is almost inevitable. It's thrown at you all the time. So the fact that meeting you in the back of a car he made that decision, that's astonishing insight. It's intuitive, isn't it? And it's amazingly certain. That's real love, I think. That's true love
TOYAH: Yeah. A brutal observation of it is that I didn't want to have children. I'm phobic about childbirth, and my family life wasn't comfortable, my childhood was not comfortable. So I wasn't attracted to having a large family. And when Robert met me I was highly independent. I didn't need his money. I didn't intend on getting pregnant and he could see that you could have a relationship with someone that would still allow him his freedom to travel and his independence
MICHAEL: And you'd understand his world as well, wouldn't you? TOYAH: Yeah, I did. But I've had to fight for my place in this marriage. And in the beginning, the first two years, I was like a war warrior fighting women off who felt that they could do better than me. And he always said it was never a problem for him. But he was always being targeted by women because he had a reputation of being highly sexed. And he said "well, that was myth rather than legend". The first two years I found incredibly tough. And now I feel I'm in my prime at 63 and there's a lot going on, my career is just ascending. I'm very, very confident in our marriage and everything, but it was a tough beginning
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MICHAEL: Well, I'm going to take you back and I will put Bill (above with Toyah) into the time capsule for you TOYAH: Thank you! MICHAEL: And as with all these things, wouldn't it be lovely to see them again? TOYAH: Yeah, definitely. I feel Bill is with me. My album “Posh Pop” … I’m utterly convinced he was standing beside me, helping it be the success it became. I don't feel separated from him at all MICHAEL: No. OK, so that's number three. So we're going to move on to item number four. TOYAH: It's a phone call and you will know this and every actor and performer will know this. It's the very first phone call I ever had telling me I'd got the job, and the whole world is yours in that moment. I was 17. I was at drama school. I've been seen by the Bicat brothers, Nick and Tony Bicat, playwrights, music writers, to do a half hour play with Phil Daniels and Noel Edmunds about a young girl breaking into the Top Of The Pops studio to become a singer  
And I've been down to London, done the audition with Phil Daniels, never expected to hear back and it was a Sunday 11 o'clock in the morning. I was about to go out and visit Blenheim Palace with some drama student friends. The phone rang at my home, Grove Road, Birmingham. I picked the phone up and it was a secretary saying “Toyah, you've got the job. You start on Monday” I cannot tell you ... that moment has never ever been overtaken by anything else. Because I just knew my life was about to change. It was glorious and the nervousness, the feeling of being an imposter. Can I do it? Will I be OK? Of course I can do it! I'm going to be the best ever! You just travel through the universe of potential and egotism and I'm going to do this! I'm going to do that! This is only the beginning! All those emotions. That day was the heightened day and when my friends came to pick me up, I just said "I've got the job!" They were elated for me. Elated! MICHAEL: I can imagine. Did you sing in that show? TOYAH: Yeah, I had to write the music as well 
MICHAEL: Wow! TOYAH: Tony Bicat put me together with a band called Bilbo Baggins, who were like the little brother to the Bay City Rollers. A Glasgow band. They were gorgeous, I was just in love with them all. Pebble Mill, we rehearsed in there, Bilbo Baggins, the band were put into a room     So I would rehearse with Phil Daniels and Noel Edmonds in the daytime and then I would go into the room with Bilbo Baggins, where we would work on lyrics together, and the music together and they taught me how to sing with the band, because I've never done that So I composed the lyrics with Tony Bicat, Bilbo Baggins, and then the band moved into the studio when we were actually recording this half hour play called “Glitter”. And we performed it live MICHAEL: Oh my God!
TOYAH: Just looking back I wish I could do it now. I wish I could go back as Toyah now with all of my experience and record that play now and sing it now because I would give a performance that would be Oscar winning (Michael laughs) My performance was very, very naive. Not bad, but just naive and totally inexperienced, which I think is what the Bicat brothers wanted
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MICHAEL: But also, I suppose what attracted people at the National Theatre to you. They saw this naivety but a freshness and something new TOYAH: It is extraordinary because Kate Nelligan and Maximilian Schell were watching that go out live and we made it in May of ‘76. It went out October ‘76 and by November same year I was living in London, a member of the National Theatre and that's all thanks to Kate Nelligan, who took a real shine to me. I ended up living with her for nine months, she had a granny flat at her house in Stockwell. And she said “come and move into that flat” MICHAEL: She's fantastic, Kate Nelligan TOYAH: She's amazing and Brenda Blethyn was in the cast as well. They just kind of scooped me up, tolerated me and supported me. They were wonderful people MICHAEL: I did a fantastic play with Brenda. Well, it was a terrible play actually, but we had a fantastic time doing it TOYAH: Where did you do it? MICHAEL: We did it at the Almeida TOYAH: Ooooh! 
MICHAEL: I know. Sounds posh, doesn’t it? TOYAH: You wouldn’t think there was a terrible play at the Almeida MICHAEL: It was a terrible play, sadly. They chose badly, but she was fantastic in it and I had to grab her breasts every night TOYAH: Oh! Dear Brenda! How long ago was this? MICHAEL: So that would have been at the end of the 90s. It was fun … TOYAH: Well, you were older and wise by then MICHAEL: I was wise enough to know that we were acting. She did this extraordinary thing. She played a sort of a frustrated housewife which you can imagine she did absolutely brilliantly. And she knew that I was famous for my love life. And so she'd started talking to me about it and then said "what's it like?" and I said "what?" and she said "when people touch you?" and I said "do you want to find out?"   
She said "OK" so I said "well, let's start here" and I put my hands on her breasts. And I did that every night and then one night I did it and I slightly moved my hands and she fell to the floor going ooohhhh! (Toyah cackles) Afterwards, I said "I'm so sorry. What did I do?" and she said, "it’s alright - I've got very sensitive nipples" TOYAH: Oh my God! I love that! MICHAEL: I love Brenda
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TOYAH: She’s so generous because on the first day of rehearsals at the National Theatre (Toyah in "Tales From The Vienna Woods", above), she didn't know me from anyone else. She said "have you got diggs?" And I said "no. I'll go back to Birmingham. She said "you can't do that every day, come and sleep on my sofa". And I thought I don't want to sleep on the sofa. This what I was like and then Kate Nelligan says “I have a granny flat” … “I'll stay there”. Talk about looking a gift horse in the mouth! I was a very ill experienced young person
MICHAEL: She was well established by then, Brenda, at the National. She did “Bedroom Farce”, I remember she was fantastic in that TOYAH: I loved and adored her not only for her talent, but her generosity as a human being as well MICHAEL: Yes … Oh, I've just gone into a revelry (they both laugh) TOYAH: I've never touched her breasts though
MICHAEL: No. Well, I never really have. I mean it was acting. There we are. Oh, that phone call. Well, we're lucky in our profession that we've all had those moments. But I think everybody must have a phone call and they think it's going to affect their life. And that moment comes and it's a wonderful thing, isn't it? Particularly when you're young? TOYAH: I have to tell you one that I'm now allowed to talk about because I had to sign a disclosure contract about it. I went for an audition three years ago, and I walked into the studio and I thought this is a blind audition. There's cameras everywhere. There's the top casting people in the world in the room. And they said "we can't tell you what it's for. The script is not the script you're up for." And I learned this to a T, I gave them the performance of a life and I just thought, well this is weird because it is a blind audition. And I left and got the phone call. "J.J. Abrams is calling you in an hour" MICHAEL: Oh my God! TOYAH: I actually ran to the loo. I thought I was going to puke MICHAEL: I’m not surprised 
TOYAH: It didn't happen. It didn't come about because I thought it was a joke. And when the call came I asked too many questions. And I was trying to test to see if I was being wound up and I probably came across as far too controlling. So it didn't happen MICHAEL: Well, yeah, not everything comes up. We've all had those as well where you're close. But how fantastic! I will definitely take that. The phone is ringing inside there, you can pick it up anytime you like (Toyah laughs) “Toyah. You've got the job, you start on Monday” TOYAH: Yeah, I’d love that! MICHAEL: Right. OK, we got one thing left. Now this is something that you're supposed to get rid of from your life TOYAH: It's the combination of fresh raspberries and almonds MICHAEL: Oh, really? That sounds delicious to me
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TOYAH: No. I can eat them separately. But if you put them together in a dish I get really, really funny. Part of it is my dear mother had a habit of doing what you asked her not to do. So an example of this - I don't do pantomime anymore. I don't have to do it and I'm too old to do it. It breaks your body     But I would have one day off for Christmas and that would be Christmas Day and my mother (above front in 1946) would say "what would you like for Christmas lunch?" and I'd say "I would love a trifle. I want a trifle. I want it full of sherry and cherries and no almonds, no raspberries". And she'd arrive on Christmas Day. “I've made you an almond and raspberry trifle.” She would always do exactly what I asked her not to do So if she made me a cup of tea I'd say “Mum, no milk, no sugar, just black tea.” “There's your tea, it's got three sugars and milk.” It was always that. “Mum, turn left, turn left” She turned right. And it gave me a phobia of almonds and raspberries. And I bought two cottages. One for them to get them out of Birmingham, because they started to get break-ins because people knew they were my mum and dad
So I retired them into a beautiful cottage on the river Avon, and I bought the cottage next door and I needed to do this cottage up and it had wild raspberries growing. And I started to write a book one morning and I was in the first chapter, in the moment delivering this first chapter at my computer, in the silence of my cottage     Unfortunately I'd put a doorway in between the gardens and my mother was outside the window going “You’ve got to pick the raspberries! The raspberries will rot on the vine!” I got a pair of shears. I cut the raspberries and I threw them in the fucking river Avon and I've not eaten raspberries since and I said “there's your fucking raspberries!” (Michael laughs) MICHAEL: You've had quite a relationship with your mom then over the years TOYAH: (exasperated) Oh! I don't know where to start. I have to write the play, the book and the film about this relationship
MICHAEL: You should! TOYAH: Well, I never knew until December the 3rd last year when ancestry.com contacted me to tell me about some press cuttings they found - my mother, very likely at the age of 14, witnessed her father murder her mother. There was a court case. It was a crime of punishment. My mother was born out of wedlock, which is why she was such a snob and kind of refused to acknowledge anything in the working class system. She was very, very complex, really complex and she was living a character she created so no one could discover her history And she was just driven mad by her history. And she had a chaperone. She was a dancer, a professional dancer and she had a female chaperone (in the photo above behind the car) who even shared her bedroom with her. My mother was never allowed to be alone probably because her father only went to prison for three months. He escaped the gallows. He was free. And I think the chaperone was with her right up until she married my dad to make sure the father never got near her MICHAEL: Good Lord! 
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MICHAEL: So when you found this incredible thing out only recently did you suddenly re-evaluate the whole thing or …?
TOYAH: Yeah, I mean, I had to be with counsellors in the room when they told me. They were so concerned about how it would affect me and it did affect me because it was literally like a jigsaw puzzle falling out of the sky of my past and just all falling into place. I suddenly understood this extraordinary past. So did my brother, my sister, my husband, I mean all of the family spouses suddenly realised why my mother would destroy every moment. It's because she felt if she didn't, that we will be in danger
MICHAEL: Yes. You can't be happy
TOYAH: You can't be happy. I've really had to re-evaluate everything in the in last 10 months and there is a song on “Posh Pop” called “Barefoot On Mars”, which has gone viral because it's about that moment, and I just wish she could have told us while she was alive because we would have got her therapist. We'd have done therapy with her, we would have been kinder to her rather than exasperated by her. She refused medical attention. She refused medical help. She was destructive on every level to her physical body and her mental health MICHAEL: And yours TOYAH: I think she made me who and what I am and my God I’m tough
MICHAEL: Yeah. You are Toyah. Well, I'm going to put that into the time capsule for you, but I don't think you really need to lock it away. I think you're perfectly capable of dealing with it. You're an extraordinary woman TOYAH: Thank you. Just don't show me a raspberry (Michael laughs) MICHAEL: Particularly not with almonds on it TOYAH: And can I add one more thing which is purely for my oral pleasure? And that's a Cadbury's Creme Egg MICHAEL: All right, in the sealed compartment are raspberries and almonds and sitting on top of it a lovely Cadbury's Creme Egg TOYAH: Yeah! (laughs) I love it! MICHAEL: Brilliant. How wonderful to talk to you. How lovely to see you again, looking so well TOYAH: Well, thank you and I hope that we get to work together! MICHAEL: Yeah, that would be fantastic. Keep well!
TOYAH: Alright! MICHAEL: Bye!  
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smlpodcast · 2 years
Text
The SML Podcast - Episode 776: Soundfall Slumber Party
Download Episode 776 -- 
We've got a huge guest lineup tonight all ready to chat about the game Soundfall, so let's go!
The show kicks off with Aki on hand to welcome the visiting Pernell Vaughan to the show so we could ALL welcome Drastic Games Lead Animator Nate Horsfall to the show alongside featured Soundfall musicians Dan "Danimal Cannon" Behrens and Grant "Stemage" Henry. Oh and Jacob Garner shows up eventually too. Everybody spends well over an hour chatting about Soundfall, the rhythm action game that just released this week!
After the Soundfall chat, we also tackle news of the week with the revelation that both Starfield and Redfall from Bethesda will be delayed to 2023, Dead Space Remake getting a January launch, Gotham Knights skipping last gen, the EA and FIFA divorce is happening, tons of sales figures, and Slipknot coming to SMITE? Yeah, it's a weird week of news. Plus reviews!
0:00 - Intro/Soundfall Interview w/ Nate, Dan, Grant 1:00:00 - News of the Week 1:38:38 - Pinball Freedom - CGA Studios (Grant) 1:48:32 - RESEARCH and DESTROY - Implausible Industries, Spike Chunsoft (Jacob) 1:56:08 - Get-a-Grip Chip - Redstart Interactive (Jacob) 1:59:31 - Paratopic - Arbitrary Metric, Baltoro Games (Jacob) 2:05:55 - Chefy-Chef - BUG-Studio, Ratalaika Games (Jacob) 2:11:35 - Source of Madness - Carry Castle, Thunderful (Aki) 2:21:00 - Zombie Army 4: Dead War Ragnarök Parts I & II - Flix Interactive, Rebellion (Aki)
The show ends with a brand new track from Danimal from the game Soundfall!
2:28:57 - Danimal Cannon - Discordance (Soundfall)
https://www.soundfallgame.com/ https://twitter.com/DrasticGamesInc http://www.lightningarts.com/ https://www.danimalcannon.com/ https://www.stemagemusic.com/ https://www.cgastudio.games/ http://implausibleindustries.com/ https://www.spike-chunsoft.com/ https://redstart.io/ https://twitter.com/arbitrarymetric https://baltorogames.com/ https://bug-studio.itch.io/ https://www.ratalaikagames.com/ https://carrycastle.se/ https://thunderfulgames.com/ https://www.flixinteractive.com/ https://rebellion.com/ https://itunes.apple.com/us/podcast/the-sml-podcast/id826998112 https://open.spotify.com/show/6KQpzHeLsoyVy6Ln2ebNwK https://twitter.com/theSMLpodcast/ https://www.facebook.com/theSMLpodcast/ ALL REVIEWED GAMES HAVE BEEN PROVIDED FOR FREE FOR THE PURPOSE OF ANY COVERAGE ON THE SHOW #Xbox #Switch #PS5
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noona-clock · 3 years
Text
What’s Your Sign?: Sagittarius
Genre: Celebrity!AU
Pairing: Choi Minho x You (Female!Reader)
Warnings: None
Words: 5,534
Author’s Note: Since I’m so fascinated by astrology, I decided to do a Zodiac series! I will be writing a one-shot fic for each sign featuring different members from different groups (and even an actor!). Each story will be posted on the 5th of the month during that sign’s season. Please reblog, comment, or send in an ask with your feedback! Thank you for your support 💜
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Ever since you’d seen him in his first ever role on a television series about five years ago, you’d fallen in love with Minho.
Choi Minho, probably the most attractive man you’d ever seen. Through a screen, at least. You hadn’t yet been lucky enough to see him in person.
And since you’d fallen in love with him after watching his very first episode of that television series, you’d done nothing but support him for the last several years.
You saw every one of his movies the day it released in theatres. You watched every single episode of every single television show he appeared in -- even if he was just a guest star.
His popularity from his first role had soared pretty quickly, which was really a win/win scenario. Minho, who presumably had been a struggling actor previously, was now flush with offers from directors. And you, an immediate superfan, got to spend a lot of virtual time with your new favorite actor -- because, not only did he act in a very large handful of projects every year, he was also interviewed on talk shows, featured in magazines, walking the red carpet of premieres and award shows. He didn’t have a social media presence for some extremely odd reason, but you still felt like you knew him.
From everything you’d seen and read about him, Minho was outgoing, friendly, and charismatic. He was confident, straight-forward, and optimistic. He basically always had some version of a smile on his lips, and based on many posts in the Choi Minho subreddit, he never turned down an opportunity to meet a fan out in public.
He... was basically perfect.
And you couldn’t stop yourself from daydreaming about one day meeting him, falling in love, getting married, and having about ten children together in the most beautiful house in the universe.
But, to be fair, your daydream wasn’t entirely impossible!
You were a bit of a celebrity, yourself!
Kind of.
On the Internet.
You had started a YouTube Channel six years ago, and at first, you hadn’t really had a clear vision for your videos. An absolutely rookie mistake, of course, but there’s nothing you could do about it now.
You’d started off with makeup tutorials because that had been the hottest YouTube trend at the time. But... you quickly discovered you weren’t as good at makeup as one should be to post a tutorial online in good conscience. You also weren’t quite good enough at doing your nails, cooking, or sewing to do videos about those.
For at least a few months, you’d been stumped. You knew you wanted your own YouTube channel -- you had a pretty fitting personality for it -- you just didn’t have any one marketable skill.
Until, one day, you stumbled upon a video of a guy watching a K-Pop music video for the first time and reacting to it. That was literally it. The whole video had been just him watching and talking about it.
And you were very good at that. You loved watching things on a screen -- YouTube videos, television shows, movies, you name it! And you always had thoughts running through your head while you watched something. In fact, you frequently wished one of your friends had exactly the same taste in music, shows, and movies as you so you could voice those thoughts aloud to someone who actually wanted to listen.
So, how had you never thought of doing that on your YouTube channel?! There was obviously a market for it -- the guy you’d watched had a few hundred thousand subscribers, and since it was something you genuinely enjoyed doing, you weren’t afraid of running out of content inspiration or motivation any time soon.
It was literally the perfect idea.
The next day, you had set up your camera, pulled up the first episode of your favorite television show of all time, and got to work. When you posted the video a few hours later (Re-watching my FAVORITE show of all time), something about it just felt right. Like the stars had aligned. No matter if you got five views or five thousand, you knew you were on the right path -- when it came to YouTube, at least.
Every day after that, you chose something else to watch -- a nostalgic movie, a viral YouTube video, the really cheesy musical episode of a television show. You tried to pick things from all along the spectrum, and you also tried to wait a few days in-between continuing on with your re-watch of your favorite show, simply for variety’s sake.
Little by little, your channel began to grow. After work, you would film, edit, and post -- every single day. On the weekends, you would film two different videos in case you ever needed to take a day off. Or in case you just felt like posting two videos!
Your first sponsorship offer email had come about six months after you’d posted your first video, and your eyes had nearly fell out of your head when you’d seen how much they’d offered you. (Looking back, your first paying YouTube gig really hadn’t been that much money -- compared to what you could make now, at least -- but it had still been incredibly thrilling.) And, really, that had been the catalyst of your YouTube career and popularity. It seemed just the one sponsorship had been all you’d needed to catch the attention of other brands who wanted to work with you, and when you got to the point where you could actually afford to quit your job and turn down sponsorship offers you weren’t wild about? That’s when you knew you’d made it.
Okay, but really, you knew you’d made it when one of your videos hit one million views for the first time (a video of you watching a particularly cringe-worthy teen movie from about ten years ago).
And now, six years later, you had almost four million subscribers, and your most viewed video had almost twenty million views. Sometimes, you still couldn’t believe it!
The highlight of your time on YouTube so far -- at least, in your eyes -- had been when you’d seen Choi Minho for the first time about a year after starting your channel. You’d still had less then one-hundred thousand subscribers back then, so if anyone ever left on a comment on a video mentioning how long you’d been a Minho fangirl or remembering when you first discovered him, you knew they were an OG subscriber. But ever since that video, you did absolutely nothing to hide your affinity for him, both as an actor and as a person. You watched and reacted to every single one of his movies and every single television show episode -- you even sometimes reacted to interviews or videos other fans had made about him.
Even when your channel hit some pretty big milestones -- five-hundred thousand subscribers, one million, two million, three million subscribers -- you never played it cool when it came to Choi Minho. You switched up your content and your editing style here and there, but one constant on your YouTube channel was the fact you let your inner fangirl shine for all the world to see.
In fact, just last month, the trailer for his new movie dropped, and you were able to upload your reaction to it within two hours. Since then, you’d read and watched every interview you could find, favorited every tweet about the upcoming film, and liked every post on the #ChoiMinho hashtag on Instagram. Since he had no social media, you had to be satisfied with other people’s content rather than his own.
You were scrolling through his hashtag on Instagram right now, actually, as you procrastinated getting out of bed to go set up for another day of filming.
Now that you had almost four million subscribers and were approached by more than several companies for sponsorships every single day, you were able to focus on your channel full-time. You definitely got cabin fever from time to time, but it was worlds better than filming after work and on weekends. Now, you could actually take a day off whenever you wanted! It was glorious!
But you still procrastinated working. You were still human, after all.
After you caught up on his hashtag and liked just about every picture you could, you navigated to your inbox to look through your DMs. Over the years, it had gotten pretty easy to skip past the spam and sugar daddy requests (which were plentiful, unfortunately), so you no longer dreaded checking the unread messages. You could usually tell which ones to delete straight away from the profile picture and first few words alone.
To be quite honest, you really only opened ones where you either could tell someone was genuinely reaching out to say hi or thank you for posting your videos or... messages with Minho’s name visible in the preview. Shameless, but oh well!
After deleting a few messages at the top which were clearly spam, the next one you came to was actually one of those messages -- you saw ‘Minho’ in the preview. It was the very first word, even! And in all caps.
You pressed on it as quickly as you could.
And when your eyes took in the rest of the message... your heart stopped.
MINHO WATCHED ONE OF YOUR VIDEOS!
...This had to be a prank, right?
But right after the message in all capital letters was a link to a YouTube video, and the preview for the video was right below the message.
It was one of those videos put out by a big fashion magazine where celebrities watch videos about them and react to it. Usually, musicians and singers would react to covers of their songs by fans, but every once in a while, actors would read tweets or watch fanmade videos about them.
And when you clicked on the link this person had sent, the video opened in your YouTube app to show the title “Choi Minho Watches Fan Videos on YouTube,” and your eyes widened.
If what the Instagram message said was true... Minho had watched not only a fan video... but your fan video. And since his movie was premiering in just a couple of days, he had most likely watched your reaction to the trailer.
Oh my god.
Oh my god.
Since the video had started automatically after clicking the link, you took a deep breath and concentrated all of your focus on your phone screen. You were not going to miss the part where he watched your video.
But, of course, after not even thirty seconds, you found you had already gotten distracted by how handsome he looked.
You quickly shook your head a bit, widening your eyes briefly before narrowing them to focus on your screen again. “Come on, Y/N,” you muttered to yourself. “You can watch it again right after this to admire him.”
It was only a fifteen-minute video, so it’s not like you had to wait forever to get to the part where he watched you!
Still, though, as the minutes ticked by, you felt your heart begin to race in anticipation.
What would he say about you? Would he find your obsession with him creepy? I mean, it had to be a little creepy watching someone squeal and profess their love for you -- someone you’d never met!
But, then... when you got really mushy comments... most of the time, it didn’t feel creepy. It just felt sweet, and you were incredibly grateful that a lot of your subscribers and viewers were so supportive.
Ugh! You were getting off track again!
You shook your head once more and set your gaze back onto your phone screen.
Finally, when the clip of Minho watching a fanmade music video transitioned into the clip of him watching your video, your breath caught in your throat.
Were you going to survive this?
Outcome is unclear.
“Oh, yeah, I know her,” Minho said as your trailer reaction video began to play in the corner. “She’s the reaction girl, right?”
Your jaw dropped.
................Excuse me?!
Minho knew you?!
As you watched Minho watching you with the most adorable soft grin on his lips, your hand slowly crept up to cover your mouth in shock.
And, then, when you in the video paused the trailer to bring up another one of his movies that this trailer had reminded you of, his grin widened and he looked very pleased. “She knows her stuff, huh?”
You heard someone behind the camera murmuring something, and subtitles appeared on the screen. “She’s a known superfan, actually.”
Minho’s brow furrowed and he leaned toward the camera. “She’s what?”
“A superfan,” the person repeated, a little bit louder. “She’s known to her viewers for watching all of your movies and shows. There are always comments about you on all of her videos.”
Minho’s eyes widened a little in surprise. “Really? All of them? Comments about me?” He leaned back and nodded slowly after, apparently, receiving a positive answer. “I had no idea. I’ve just seen her videos about, like, the cheesy teen movies we watched as kids.”
You truly almost dropped your phone.
So... he knew who you were, but he hadn’t known that you fangirled over him on a regular basis?
First of all, how was that possible?
Second of all, did it really matter?! He knew who you were!
He knew who you were!
You didn’t expect that he regularly watched your videos, but still.
HE KNEW WHO YOU WERE!
Your heart was practically beating out of your chest as you watched him finish up watching your reaction video. The look on his face was one of delight, and even though you knew he was a good actor, it sure didn’t seem like he was simply pretending not to be creeped out.
“She’s so fun,” he smiled as your video ended, his gaze shifting back to the person he had spoken with earlier. “She has more? Like, for my movies?”
The person mumbled something back, and this time, there were no subtitles on the bottom of the video. But Minho’s eyebrows shot up immediately.
“All of my movies?” he asked. And then he let out a joyous chuckle and added, “No way.”
He quickly turned to the computer and clicked on your channel name.
But the video transitioned into another clip of someone else’s video, so you didn’t get to see if he actually watched any other ones.
Even if he hadn’t, you were still overjoyed -- to say the least -- that he had watched just one!
He knew who you were! He had actually known who you were before this which was probably the most surprising thing you’d ever heard in your entire life. (Besides the fact that Minho was currently single. That was definitely more surprising than anything.)
After sitting in your bed for a few minutes, staring blankly at your screen as the video finished up, your gaze unfocused and blurry, you finally came to when you realized the video had ended.
And then you proceeded to freak out.
You squealed and shrieked and kicked your legs and rolled around and scrambled to your feet to jump up and down on your bed with glee.
Was this the best day of your life?
Quite possibly!
Once you’d calmed down just a tad, you plopped back into a sitting position, crossing your legs into a pretzel as you navigated back to Instagram.
You sent a reply to the person who’d sent you the video (”OH MY GOD THANK YOU HE KNOWS ME!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!”) and then refreshed your inbox.
As expected, a whole new slew of messages came through and literally every single one seemed to be about the video.
Your lips split into a huge grin, and just before you clicked on a random one to read and reply to it... you noticed that one message had a blue check by the sender.
Pausing, you shifted your gaze to that message.
And your heart jumped up into your throat when you recognized the name of the account.
Obviously, it wasn’t Minho himself because he didn’t have one.
But it was the next best thing.
His management company.
You followed them, of course, and liked every single picture about him or with him. Of course!
But you had never gathered up the courage to message them. You’d had no reason to! What would you have said?
And now they were messaging you.
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The several days following the video of Minho watching your video had been... a blur. To say the least.
You still weren’t even really sure how you’d gotten here.
I mean, you knew you were here because Minho’s management company had direct messaged you on Instagram inviting you to the premiere of his movie and you had accepted without one millisecond of hesitation and then you’d gotten on a plane a couple of days later and then checked into a super nice hotel and had a stylist and makeup artist sent to your room and after many hours you now looked better than you ever had in your entire life.
That’s how you got here.
But you still weren’t even really sure how you’d gotten here.
A rather large stroke of luck?
Good karma?
Hard work to grow your YouTube channel into something that would make you more easily recognizable by actual celebrities and their management companies?
Or a combination of the three?
Either way, you were overwhelmed with gratitude, and you knew you would never be able to forget this experience -- even if you, for some odd reason, wanted to.
I mean, you were currently in a really nice car, and the driver (yes, you had a driver!) was taking you to the red carpet.
The red carpet!
An actual movie premiere! With an actual red carpet!
And the movie was Minho’s movie.
You were at the premiere of Minho’s movie.
Oh my god, what if you saw him?!
As the car rolled to a stop in front of a crowded theatre, your heart and stomach dropped down to your very expensive and gorgeous shoes.
You’d gone to somewhat fancy events before -- it came with the job of being a YouTuber -- but never anything like this. Never an actual movie premiere. Never the chance of seeing your favorite actor in the history of time. And, obviously, never walking a red carpet.
Your door magically opened just as the car stopped moving, and a hand popped out of nowhere to assist you in exiting the vehicle. As gracefully as you could, you slipped your fingers into the mysterious palm, allowing it to gently pull you up and out of your seat and onto the sidewalk.
Almost immediately, camera clicks, light bulb flashes, and inquiring voices filled the air.
Cameras and lights in your face, you were used to. It was your everyday life, in fact!
But... all these people? Looking at you? Watching you? Taking pictures of you?
I mean, yeah, a few million people watched your videos. But it was absolutely not the same as a hundred or so reporters and photographers standing right in front of you.
Thankfully, some short but very powerful woman guided you onto the red carpet, muttering to you that all you had to do was stand in front of the backdrop, pose and smile for the cameras, and then move on to the next mark. Some reporters from news and entertainment channels would be waiting along the way to interview you (which didn’t scare you quite so much as you’d been interviewed a few times before), and all in all, it would take about an hour.
But it took you way less than an hour to discover that walking a red carpet is not as glamorous as it looks on television.
Walking like your shoes were covered in almost-frozen molasses so every photo taken was a good one. Switching back and forth between facial expressions so every photo taken wasn’t the same one. And do you know how many good places there are to put your hands when posing for a picture? Exactly two. One was on your hip and the other at your side. That was it. Definitely not clasped in front of or behind you, and definitely not tucking your hair behind your ear.
And just when you were sort of getting used to the constant posing for pictures, another short but powerful woman gently grabbed your arms and led you to a reporter from the most-watched entertainment news channel in the country.
“Hello, hello!” the perky reporter chirped as you approached her. “Come on over here!”
“Hi,” you greeted awkwardly as you made your way to the small mark on the ground next to her, holding up your skirt with one hand so you wouldn’t trip.
“Y/N! Good evening, good evening, how are you doing?” she asked before sticking the microphone in your face.
You had to quickly get over the shock of her knowing your name since you didn’t want to look like a fool on live television, so you forced a grin on your lips and answered, “I’m pretty overwhelmed, actually!” you chuckled.
“Is this your first time at a red carpet?”
“It is, yes,” you confirmed with a slight nod. “And I’m so used to being alone in my house, talking to myself in front of a camera, so this is all new territory for me.”
The reporter laughed with delight before asking which designer you were wearing. You answered her with ease since your stylist had drilled it into your brain before you’d left the hotel.
Then, after she asked you to tell the folks at home what you’re known for, she said, “It’s a pretty fun story of how you got here, isn’t it?”
“Oh, it is,” you answered, your lips pulling into a shy but excited grin. “I woke up one morning to a message on Instagram, and someone had sent me --”
The reporter interrupted you then, and you noticed her gaze was directed over your shoulder. You turned to look, and --
Well, the next few moments happened so quickly, you really had no idea how you reacted.
“Y/N!” Minho called out, smiling widely and waving before reaching out and sliding his hands over your shoulders. He stood next to you, squeezing you once before letting his arms drop down to his side. “I’m so sorry for interrupting --”
“No, we were just talking about why she’s here at your premiere!”
Minho’s smile brightened even more, and he continued on with the story you’d been telling.
Meanwhile, you were standing there. Mute. Staring at him.
Because oh my god.
How was it actually possible that Minho was more handsome in real life?
But also, how was it actually possible that Minho was standing next to you in real life?
But also also, how was it actually possible that Minho was real?
That’s the real question, isn’t it?
You came to when you heard him say, “Yes, this is our first time meeting,” before turning to you and holding out his hand for a handshake. “It’s so nice to finally meet you!”
You took his hand, shaking it weakly, and said the first thing that came to your mind: “Oh my god, hi.”
The reporter giggled, but Minho, instead of acting embarrassed for you, simply let go of your hand and moved to pull you into a hug.
Holy cannoli, Minho was hugging you.
Choi Minho. Was hugging. You.
Hugging!
You!
“It’s so nice to finally meet you!” he repeated with a grin after pulling away, though he was still incredibly close to you and gazing at you with those sparkling, dreamy eyes of his.
“You, too,” you managed to reply shakily.
The reporter then went on to interview Minho, asking him who had designed his suit, what his character in this new movie was like, and if he was working on any new projects.
“I’m in the early stages of something, yes,” he answered. “I don’t think I can say too much more, but in the meantime, I think I’d really like to film some videos with Y/N, branch out onto social media.”
Your heart stopped, and you knew your facial expression was doing nothing to hide your surprise.
Minho then turned to you with an adorably guilty look on his face. “I mean, if it’s alright with you, of course.”
“Yes, absolutely!” you burst out immediately, and the reporter giggled once again.
“Well, there you have it, guys,” she said after turning to face the camera. “You heard it here first -- a brand new collaboration in the works, so keep an eye out.”
She turned to you then and asked you to remind the viewers of the name of your YouTube channel. You leaned into the microphone and silently praised the lord you were able to remember it.
“Thanks so much, you two,” the reporter said with a very peppy grin. “Have a wonderful evening!”
“You, as well,” Minho answered before putting a hand in-between your shoulder blades and guiding you back to the red carpet.
Wait, he was guiding you back to the red carpet? He wasn’t... leaving?
“I’m so sorry,” he murmured in your ear, his breath causing the most delicious tingle down your spine. “I swear I wasn’t trying to be rude, I just wanted to meet you --”
“No,” you shook your head slightly. “It’s -- it’s totally fine. It wasn’t rude at all. I’m -- I just -- I’m a little overwhelmed. In a good way!”
“Totally understand. I remember my first movie premiere like it was yesterday, I know exactly how you’re feeling.”
You simply let out a nervous chuckle, but then Minho did something to make you even more nervous (which you hadn’t even been sure was possible).
He bent his arm and held out the crook of his elbow toward you.
“Shall we?”
Okay, you were now convinced this was a dream. This was all a wonderful, perfect, heavenly dream.
There was just no way that any of this could happen in real life! Being invited to Minho’s movie premiere was one thing, but him interrupting your interview on the red carpet and mentioning he wanted to film a YouTube video with you? Him offering to actually walk the red carpet with you on his arm?!
Nope. Definitely not real.
So, since this was absolutely a dream, you figured you’d just go with it!
“We shall,” you replied as a soft smile tugged at the corners of your lips.
You slid your hand into the crook of Minho’s elbow, and the two of you slowly made your way down the red carpet. Together.
It didn’t take long for you to be awed by his professionalism. When the cameras began to flash, he posed like a natural. It seemed so easy for him, but you figured it probably was easy after going through this so many times. 
He murmured helpful hints and reassuring words to you as you struggled through, and he even insisted on doing his interviews with you by his side.
(Of course, before the two of you approached each reporter, he asked you quietly if you would rather have the spotlight all to yourself. He didn’t want to usurp your first experience on the red carpet and would gladly step away so you could finish the process on your own. You declined every single time.)
When you finally reached the entrance to the theatre about an hour later, you figured Minho would say it had been nice to meet you and be on his way.
But you should’ve remembered that this was a dream!
“Do you want to come inside? We can sit together during the movie if you want. I mean, you’re pretty much my unofficial date already, but you can absolutely say ‘no’ if you don’t --”
“I would love to,” you interrupted, your voice more sure and firm than it had been all evening.
But hearing your favorite actor and biggest crush of all time declare that you were his date for the night would do that to you. Plus, Minho literally exuded confidence and warmth -- you’d always thought so while watching him on a screen, and it was both relieving and exciting to learn he was exactly the same in real life.
Minho smiled at you and then led you into the theatre, your heart now basically in a constant state of flips and somersaults.
Once the two of you took your seats in front of the screen, Minho turned slightly toward you.
“I have to admit, I’ve been watching your videos a lot since I filmed the reaction for the magazine,” he said with the most attractive half-smile you’d ever seen in your life. “Seriously, thank you so much for being so supportive.”
“Oh my god, no, thank you,” you replied breathlessly. “I can’t believe you watched my videos.”
“They’re kind of addicting,” he chuckled. “I don’t know what it is, but I definitely understand why you have so many subscribers. I actually created my own YouTube account just so I could subscribe to you.”
Your eyes widened, and your heart actually stopped somersaulting because it stopped beating altogether.
“Are you serious?” you asked.
“You’re so entertaining! It feels like watching those movies and shows with a friend. And I like how you’re really honest but still nice about it. You don’t seem to have a cruel bone in your body.”
“Uh, no, I think you’re getting me mixed up with yourself,” you replied with a somewhat awkward laugh.
Minho simply grinned at you, and the somersaults started back up inside your chest.
“I was serious about wanting to film with you, though,” he said, eyebrows raised earnestly. “I would love to collab --”
“Yes, absolutely,” you reassured him as fervently as you could. “Literally whenever. Please. Yes.”
“Okay, good,” Minho chuckled before reaching into his pocket and sliding out his phone. “Here, give me your number so I can let you know when I’m free next.”
You hesitated before accepting his phone because...
What?!
Minho was giving you his phone. His actual phone. So you could put in your number? Your number?
This night just kept getting more and more unbelievable.
But you were never in a million years going to pass up the opportunity to give Choi Minho your phone number, so you took his phone and quickly added yourself as a contact.
“Perfect,” Minho murmured, almost to himself, when you handed his phone back to him. He looked at the screen for a few moments, and you noticed a soft grin pulling at his lips. And then he shifted his gaze over to you and said, “I can’t wait.”
And... as your eyes locked on his...
You had a moment.
A moment.
One of those moments you will never, ever forget as long as you lived.
One of those moments where your future basically flashed before your eyes.
Minho arriving at your house to film a video with you, a friendship forming, late night texts and phone conversations, going out to restaurants whenever he was in town... a more than friendship forming.
And you truly could’ve sworn this was not just your heart wishing, but... you honestly felt like you were going to marry this man.
“I can’t either,” you replied softly just before the lights went down.
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The first thing you did when you got home was set up your camera and film a video relaying everything about your experience at Minho’s movie premiere.
Of course, you didn’t mention The Moment -- y’know, the moment you had when you realized you were most probably going to marry him? And you could just feel that it wasn’t wishful thinking? You figured it was probably best to keep that to yourself for now.
But everything else you shared with your subscribers, and you did nothing to hide how wonderful and magical it had all been -- and it had really been Minho which had made it so perfect.
“And you guys, he is truly exactly the same in person as he seems in, like, interviews and stuff. He’s so nice and so friendly and so warm and so gracious and --”
But you were interrupted by a text message.
Most of the time, you left your phone on silent as you filmed, but you’d been too excited to get all of your thoughts out that you’d forgotten to switch the sound off before turning the camera on.
“Whoops,” you murmured as you reached for your phone on your desk in front of you.
Instead of simply turning your phone on silent, though, the actual text message you’d received caught your eye and was too intriguing to ignore.
It was from a number you didn’t have saved, but your instinct to read the first few words of a message from an unknown sender took over... and you were incredibly glad it did.
Because the message was:
Hey, it’s Minho 😁 Are you free next week?
OTHER SIGNS: ARIES, TAURUS, GEMINI, CANCER, LEO, VIRGO, LIBRA, SCORPIO, CAPRICORN, AQUARIUS, PISCES
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d-criss-news · 4 years
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Darren Criss acts as playwright when he writes songs. He’s far more confident, and certainly more vulnerable, when he allows himself to play the part. In such a way, songwriting opens up a whole new world that pulses with untapped potential. So much of what he has accomplished in 15 years resides in his willingness to expose himself to what his imagination and intuition have in store. He steps into a playwright’s shoes with considerable ease (just look at his resume), and always one to put on plenty of bravado, especially during our Zoom face-to-face, it’s the natural order of things.
“As I get older and write more and more songs, I really recognize that I’ve always preferred to write for another context other than my own,” Criss tells American Songwriter. He speaks with a cool intensity, gesturing emphatically to accentuate a sentence, and when you let him go, he’s like the Energizer Bunny 一 “I can tell by just how quiet you already are that you’re fucked,” he jokes at the start of our video chat. But he remains just as engaged and focused when listening.
He soaks in the world, taking astute notes about behavior and emotional traits he can later use in song. His storytelling, though, arrives already in character, fully formed portraits he can then relay to the world. It’s not that he can’t be vulnerable, like such greats as Randy Newman, Tom Waits, and Rufus Wainwright, who have all embroidered their work with deeply personal observations, it just doesn’t feel as comfortable. “I’ve always really admired the great songwriters of the world who are extremely introspective and can put their heart and soul on the chopping block,” he muses. “That’s a vulnerability that I think is so majestic. I’ve never had access to it. I’m not mad about it. It’s just good to know what your deal is.”
Criss’ strengths lie in his ability to braid his own experiences, as charmed as they might be, into wild, goofy fantasies. In the case of his new series “Royalties,” now streaming on Quibi, he walks a fine line between pointed commentary on the music industry, from menial songwriting sessions to constantly chasing down the next smash, and oddball comedy that is unequivocally fun. Plotted with long-standing friends and collaborators Matt and Nick Lang, co-founders of Team StarKid, created during their University of Michigan days (circa 2009), the show’s conceptual nucleus dates back more than a decade.
If “Royalties” (starring Criss and Kether Donohue) feels familiar, that’s because it is. The 10-episode show ─ boasting a smorgasbord of delightful guest stars, including Mark Hammill, Georgia King, Julianna Hough, Sabrina Carpenter, and Lil Rel Howery ─ captures the very essence of a little known web series called “Little White Lie.” Mid-summer 2009, Team StarKid uploaded the shoddy, low budget production onto YouTube, and its scrappy tale of amateur musicians seeking fame and fortune quickly found its audience, coming on the heels of “A Very Potter Musical,” co-written with and starring Criss. Little did the trio know, those initial endeavors laid the groundwork for a lifetime of creative genius.
“It’s a full circle moment,” says Criss, 33, zooming from his Los Angeles home, which he shares with his wife Mia. He’s fresh-faced and zestful in talking about the new project. 11 years separate the two series, but their connective thematic tissues remain striking. “Royalties” is far more polished, the obvious natural progression in so much time, and where “Little White Lie” soaked in soapy melodrama, the former analyzes the ins and outs of the music world through more thoughtful writing, better defined (and performed) characters, and hookier original tunes.
“Royalties” follows Sara (Donohue) and Pierce (Criss), two struggling songwriters in Los Angeles, through various career exploits and pursuits. The pilot, titled “Just That Good,” features an outlandish performance from Rufus Wainwright as a major player in dance-pop music, kickstarting the absurdity of Criss’ perfectly-heightened reality. As our two main characters stumble their way between songwriting sessions, finally uncovering hit single potential while eating a hot dog, Criss offers a glimpse into the oft-unappreciated art of songwriting.
In his own songwriting career ─ from 2010’s self-released Human EP and a deal with Columbia Records (with whom a project never materialized) to 2017’s Homework EP and Computer Games’ debut, Lost Boys Life, (a collaboration with his brother Chuck) ─ he’s learned a thing or two about the process. Something about sitting in a room with someone you’ve never met before always rang a little funny to him.
“You meet a stranger, and you have to be creative, vulnerable, and open. It’s speed-dating, essentially. It’s a different episode every time you pull it off or not. All the big songwriters will tell you all these crazy war stories. Everyone has a wacky story from songwriting,” he says. “I slowly realized I may ─ I can’t flatter myself, there are tons of creative people who are songwriters ─ have prerequisites to just put the two together [TV and music]. I’ve worked enough in television as an actor and creator. I can connect the dots. I had dual citizenship where I felt like it was really time for me to go forth with this show.”
But a packed professional life pushed the idea to the backburner.
Between six seasons of “Glee” (playing Blaine Anderson, a Warbler and lover to Chris Colfer’s Kurt Hummel), starring in “Hedwig and the Angry Inch” on Broadway, and creating Elsie Fest, a one-day outdoor festival celebrating songs of the stage and screen, he never had the time. “I was lucky enough to be busy,” he says. “As Team StarKid’s star was continuing to rise with me being separate from it, I was trying to think of a way to get involved again with songwriting.”
At one point, “Glee” had officially wrapped and his Broadway run was finished. It appeared “Royalties” may finally get its day in the sun. “I went to Chicago for a work pilgrimage with the Langs. We had a few days, and we put all our ideas on the map: every musical, feature film, show, graphic novel, and animated series we’ve ever thought of,” he says. “A lot of them were from the Langs; they were just things I was interested in as a producer or actor. We looked at all of them and made a top three.”
“Royalties” obviously made the cut.
Fast forward several years, Gail Berman’s SideCar, a production company under FOX Entertainment, was looking to produce a music show. Those early conversations, beginning at an otherwise random LA party, showed great promise in airlifting the concept from novel idea to discernible reality. Things quickly stalled, however, as they often do in Hollywood, but Criss had at least spoken his dreams into the universe.
“I finally had an outlet to put it into gear. It wasn’t until two to three years after that that things really locked in. We eventually made shorts and made a pilot presentation. We showed it to people, and it wasn’t until Quibi started making their presence known that making something seemed really appealing,” he says. “As a creator, they’re very creator-centric. They’re not a studio. They’re a platform. They are licensing IP much like when a label licenses an indie band’s album after the fact.”
Quibi has drawn severe ire over the last few months, perhaps because there is a “Wild Westness” to it, Criss says. “I think that makes some people nervous. Being my first foray into something of this kind, Quibi felt like a natural partner for us. If this had been a network or cable show, we would’ve molded it to be whatever it was.”
Format-wise, “Royalties” works best as bite-sized vignettes, charming hijinks through the boardroom and beyond, and serves as a direct response to a sea of music shows, from “Nashville” and “Empire” to “Smash.” “Those shows were bigger, more melodramatic looks at the inside base of our world. I’ve always been a goofball, and I just wanted to take the piss out of it,” he says. “This show isn’t about songwriting. It’s about songwriters… but a very wacky look at them.”
“30 Rock,” a scripted comedy loosely based around “Saturday Night Live,” in which the focus predominantly resides around the characters, rather than the business itself, was also on his mind. “It’s about the interconnectivity of the people and characters. As much of the insider knowledge that I wanted to put into our show, at the end of the day, you just want to make a fun, funny show that’s relatable to people who know nothing about songwriting and who shouldn’t have to know anything.”
Throughout 10 episodes, Criss culls the “musicality, fun, and humor” of Fountains of Wayne’s Adam Schlesinger and Max Martin, two of his biggest songwriting heroes, and covers as many genres as possible, from K-Pop to rap-caviar and classic country. While zip-lining between formats, the songs fully rely on a sturdy storytelling foundation ─ only then can Criss drape the music around the characters and their respective trajectories. “I wanted to do something where I could use all the muscles I like to flex at once, instead of compartmentalizing them,” he says. “I really love writing songs for a narrative, not necessarily for myself. I thrive a little more when I have parameters, characters, and a story to tell.”
Bonnie McKee, one of today’s greatest pop architects, takes centerstage, too, with an episode called “Kick Your Shoes Off,” in which she plays a bizarro version of herself. “She has her own story, and I’ve always been fascinated by it,” says Criss, who took her out to lunch one day to tell her about it. Initially, the singer-songwriter, known for penning hits for Katy Perry, Taio Cruz, and Britney Spears, would anchor the entire show, but it soon became apparent she would simply star in her own gloriously zany episode.
In one of the show’s standout scenes, Pierce and Sara sit in on a label meeting with McKee’s character and are tasked with writing a future hit. But they quickly learn how many cooks are in the kitchen at any given moment. Everyone from senior level executives to publicists and contracted consultants have an opinion about the artist’s music. One individual urges her to experiment, while another begs not to alienate her loyal fanbase, and then a third advises her to chronicle the entire history of music itself ─ all within three minutes or so. It’s absurd, and that’s the point. “Everyone’s been in that meeting, whether you’re in marketing or any creative discussion that has to be made on a corporate level by committee. It’s the inevitable, comedic contradictions and dissociations from not only rationality but feasibility.”
Criss also draws upon his own major label days, having signed with Sony/Columbia right off the set of “Glee,” as well as second-hand accounts from close friends. “There are so many artists, particularly young artists, who famously get chewed up and spat out by the label system,” he says. “There’s a lot of sour tastes in a lot of people’s mouths from being ‘mistreated’ by a label. I have a lot of friends who’ve had very unfortunate experiences.”
“I was really lucky. I didn’t have that. I have nothing but wonderful things to say,” he quickly adds.“It wasn’t a full-on drop or anything. I was acting, and I was spreading myself really thin. It’s a record label’s job to make product, and I was doing it piecemeal here and there. I would shoot a season [of ‘Glee’] and then do a play. I was doing too many things. I didn’t have it in me at the time to do music. I had written a few songs I thought were… fine.”
Both Criss and the label came to the same conclusion: perhaps this professional relationship just wasn’t a good fit. They parted ways, and he harbors no ill-will. In fact, he remains close friends with many folks from that time. So, it seems, a show like “Royalties” satisfies his deep hunger to make music and write songs ─ and do it totally on his own terms.
“I still say I want to put out music, and fans have been very vocal about that. I feel very fortunate they’re still interested at all,” he says. “That passion for making music really does come out in stuff like [this show].”
“Royalties” is Darren Criss at his most playful, daring, and offbeat. It’s the culmination of everything he has tirelessly worked toward over the last decade and a half. Under pressure with a limited filming schedule, he hits on all cylinders with a soundtrack, released on Republic Records, that sticks in the brain like all good pop music should do. And it would not have been the same had he, alongside Matt and Nick Lang, not formed Team StarKid 11 years ago.
Truth be told, it all began with a “Little White Lie.”
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aion-rsa · 3 years
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The Real History Behind Bridgerton
https://ift.tt/2WPSOdx
This Bridgerton feature contains spoilers for the series.
Although Netflix’s Bridgerton has actively resisted the label of historical accuracy in favor of a fantasy approach to the era, it is still worth uncovering which scenes, events, and references represent a more creative interpretation to history and which are references to real events. 
Dr. Hannah Greig, the historical advisor to the series, describes Bridgerton as “a combination of a historical truth – which is to say that the past is more diverse than we tend to see on screen, and we tend to accept in our popular imagination. But it’s also a fictionalising, asking what history might look like under certain different circumstances.” This approach is in keeping with the novel series the show is based on which blends the Regency Era with modern romantic fantasies. Here’s a list of some of the plots where alternate history may or may not be a factor.
How Did Simon and Lady Danbury Acquire Their Wealth?
Viewers throughout the episodes see several flashbacks to Simon’s father (Richard Pepple) wearing opulent clothes and overseeing what was likely a huge business empire. Lady Danbury (Adjoa Andoh) is clearly closely connected to Queen Charlotte (Golda Rosheuve) and may have obtained additional wealth via marriage. Simon (Regé-Jean Page) in Episodes 5 and 6 is seen managing a large estate with tenant farmers. 
The series evades the question of how this wealth came to be and for a good reason. During the Regency era, most of the real-life Ton acquired their wealth through direct or indirect involvement in slavery or colonialism. Although the British officially banned the international slave trade in 1807, this ban did not result in immediate divestment from the economic activity that was powered by slave or colonial labor. British landowners still exported cotton, sugar, coffee, wood, and metals from their overseas properties or were involved in firms manufacturing consumer goods out of those raw materials. Anyone involved in the shipping trade pre-1807 still made money off of transporting slaves from Africa to the Caribbean and America. 
For those who believe there is no precedent in pop culture to discussing these issues, the novel Mansfield Park includes some discussion about Regency-era wealth generated from slavery but some of the adaptations cut or heavily downplay it. Ned Despard opposing expanded exploitation by the Honduran mahogany plantation owners is covered extensively in Poldark Season 5. 
Based on the lack of discussion, the audience can assume any number of things about where their wealth comes from. Simon and Lady Danbury could own property in Africa and the Caribbean and produce valuable raw materials by salaried laborers. This is not unheard of in the era because American laws designed to keep Black and mixed race people from owning property did not exist in these UK colonies. An argument can be made that Simon’s wealth is purely from collecting rent from his tenants and selling the agricultural products produced. It’s also possible long term investments in various industries are paying per annum. The possibilities are endless in this fantasy world. 
Prince Friedrich
So much of the discourse around the series has revolved around Queen Charlotte’s African ancestry, but there hasn’t been as much discussion around Prince Friedrich. Prince Fredrich is introduced in Episode 3 as the Queen’s nephew searching for a princess among the Ton. There was a Prince Frederich Wilhelm Ludwig of Prussia, but in real life, he was the son of her niece Princess Fredericka of Mecklenburg-Strelitz. 
In a series already skewed towards showing the marriage market for the elite families of Regency society, it makes sense for the especially politically ambitious Dukes and Duchesses to desire to be connected by marriage to the Queen. Daphne (Phoebe Dyvenor) potentially blocking the path of the social climbers makes for good drama and gossip from Lady Whistledown even if it didn’t quite happen that way in history. 
Regency Smoking Habits & What is Snuff?
The miniseries featured tobacco use in a way not typically seen in other early 19th Century period dramas. Lady Danbury and other women were seen smoking.  Quite a few fans were confused about Queen Charlotte’s penchant for sniffing something up her nose while cuddling her slightly smaller than at the time pomeranian. She was using snuff, dried tobacco, and not cocaine as some folks mistakenly posted on Twitter. During the Regency Era, clay pipes and cigars fell out of fashion for public consumption due to the unpleasant smell. Snuff was extremely popular among the real Ton as there was no traceable odor to other people. Smoking adds a dramatic effect to any situation where a character feels stressed out but pipes and cigars, in reality, maybe likely only to be used where others can’t see. 
Simon and Daphne’s Visit to the Gardens
The Vauxhall Pleasure Gardens actually existed in Regency London. They were open to everyone who could afford the entrance fee, but quickly became a gathering place for the well to do or anyone interested in social climbing. The location still exists today as a public park in London but the entertainment function ended in 1859. There are references to Vauxhall in the novel and screen adaptations of Vanity Fair and Poldark Season 4 but Bridgerton’s recreation is far more elaborate. The light display show is a fictionalized example of what Regency visitors would have encountered. Singers, musicians, circus acts, and more regularly appeared to entertain guests in the gardens. Traces of those elements remain today in public fairs and amusement parks today.
Read more
TV
How Bridgerton’s Lady Whistledown Reveal Changes Everything
By Kayti Burt
TV
From Bridgerton to Hamilton: A History of Color-Conscious Casting in Period Drama
By Amanda-Rae Prescott
Regency-Era Gambling
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Bridgerton has two plotlines involving gambling. Lady Danbury’s married women’s party featured whist which was indeed a popular Regency Era card game and one where the Ton was likely to lose some of their precious financial stability. Lord Featherington’s (Ben Miller) gambling on Will Mondrich’s (Martins Imhangbe) fights was a little bit more based on an alternate reality. There’s little evidence that Bill Richmond, the real-life boxer the character is inspired by was involved in fixing fights as the racism of the time already made him prone to false allegations of cheating. This isn’t to say Regency era boxers didn’t attempt to win or lose unethically as the sport didn’t gain a regulatory body until 1838, but the big match in Episode 8 is more about exposing the bad decisions of Lord Featherington in an epic fashion than any real commentary about the era. History buffs who are recoiling from Bridgerton taking so many historical liberties should take heart. Fans of the books as well as new viewers are actively researching more about the Regency Era as a result. They’re well aware the show is not attempting to be the authority on history.
The post The Real History Behind Bridgerton appeared first on Den of Geek.
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hatari-translations · 4 years
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Vikan með Gísla Marteini (22.11.19) - translation
On November 22nd, Matthías was on talk show Vikan með Gísla Marteini (The Week with Gísli Marteinn), plus Andrean as a surprise guest near the end, where they talked about, among other things, the protest Hatari were about to play at, the Eurovision Palestine banner protest, and their experience performing in Russia.
Most of the show before Andrean comes in isn't particularly relevant to Hatari fans, but I still translated anything substantial Matthías says plus relevant context. If you just want the main bit about the Moscow concert, scroll down to the "Moscow and the rainbow wings" heading under the cut.
Protests and politics
As always, Gísli Marteinn is a popular talk show host and also the Icelandic Eurovision commentator. The guests on the show this time are:
- Matthías, whom we know, introduced as "hater [Hatari], artist and playwright" - Bubbi Morthens, one of Iceland's most beloved musicians, who wrote many classic songs; a musical based on his life is premiering soon - Björk Vilhelmsdóttir, former city council member, who was recently arrested in Israel
Host Gísli Marteinn opens the show by saying it's a month until the days start to get longer again. Seasonal depression is pretty common in Iceland, and he asks if the guests do anything special to maintain their mental health in the darkest part of the year. Matthías responds: "No, the winter is my time. It's more in the summer that I have to try to stay grounded. I think it's fine."
After a segment with some jokes about the news, which include the whole corruption scandal about Samherji:
GÍSLI MARTEINN: Matthías, you're in an anticapitalist band.
MATTHÍAS: Very much so.
GÍSLI MARTEINN: How do these issues going on in the country right now strike you?
MATTHÍAS: It's perhaps illustrative of the values that capitalism - or late capitalism, maybe neoliberalism, dunno - instills in the hearts of young, up-and-coming scammers and moguls. No, that was...
GÍSLI MARTEINN: You never quite know when Hatari is joking about the anticapitalism.
MATTHÍAS: That was the take that we in Hatari have gone with, and we'll be keeping it aloft at Austurvöllur tomorrow, at two o'clock.
GÍSLI MARTEINN: You'll be playing there?
MATTHÍAS: Yes. It's "Democracy, not plutocracy", an event arranged by the Constitution Society [organization campaigning for the new Icelandic constitution, which was written by a democratically elected council of members of the public and overwhelmingly approved of in a national referendum in 2012, to be actually implemented instead of being stuck in a drawer like it has been] and other organizations -
GÍSLI MARTEINN: Unions...
MATTHÍAS: Yes, Efling [one of Iceland's largest unions], the Icelandic Disability Alliance came in too, and other organizations. So it's big organizations behind this, and I think it's imperative to show through action that this kind of behaviour... that you care, whether you agree with all of... Look, yeah. No, just show up.
They talk about anticapitalism and the scandal for a bit.
Israel and the flag incident
GÍSLI MARTEINN: On to something slightly different. Matthías, last time you were here, you were on the way to Eurovision.
MATTHÍAS: Yeah, we wore those specially designed tracksuits.
GÍSLI MARTEINN: Yeah. I've got here one of the most famous objects of 2019 in Iceland, and that's this... this flag here.
He pulls out the Palestine banner that Matthías held in the green room.
GÍSLI MARTEINN: The nation was shocked by the Samherji news, but I think the shock was greater when this was pulled out.
BJÖRK: The joy was greater!
GÍSLI MARTEINN: Yeah, but still shock! I don't necessarily mean shock in a negative way. I'll just say for myself, I could barely believe you were doing this. Walk us through it a bit, I mean, how... You were incredibly stressed about doing this.
MATTHÍAS: Yes, and there's a lot of uncertainty, as I've talked about before, in that situation. Some 9000 people start booing, viciously. And I also spoke to people who were in Berlin and other places, who were at Eurovision events that might be sponsored by some Israeli company, people pepping up Israel and Eurovision, and there are Icelanders in the crowd just watching the show, and how the crowds, not just in Tel Aviv but all around Europe, just fill up with rage. It's strange how that's what you feel, you can't feel the viewer behind the camera like you can at a concert, where we're in our element. So the love comes later through social media, and messages and reactions from people that we talk to, and there was way more of it, but that rage is the first thing you feel.
GÍSLI MARTEINN: Right. But you had to smuggle this in somehow. Where did you keep this?
MATTHÍAS: Just inside of the beltline or in our boots - not out of any disrespect for the flag, it was just a method for...
GÍSLI MARTEINN: Didn't you buy this in a toy store or something?
MATTHÍAS: I actually didn't buy it, it was the reporters at Iceland Music News who took a trip and bought this for us. We're just in the whole Eurovision bubble, keeping the wheels turning.
Gísli Marteinn asks the others about their reactions to the flag stunt. Bubbi rants a bit about the Israeli state's policy of violence, then Gísli Marteinn asks Björk about how she got arrested in Israel. She says they didn't know she was Icelandic at the time, so Gísli Marteinn quips, "So it wasn't Matti's fault." Björk says the Palestinians really notice Icelanders, and noticed the incident, and talks about how she's so impressed with how just this one word ["PALESTINE" on the banners] shattered the rosy image they'd been trying to build up for Eurovision. She rants a bit too, about why we're being made to pay a fine just for displaying a word.
MATTHÍAS: Like there aren't a bunch of Israeli flags there. That was kind of a justification for me personally; there are a bunch of Israeli flags.
They move on to Björk’s arrest. She was there at the Gaza border with three other volunteers for the International Women's Peace Service. She had not been intending to get arrested; at one point they were going to be waving Palestinian flags at the border just to let people know they were not alone, but had been threatened with arrest, so she actually specifically didn't come to that bit. They’re vague about the arrest, so I looked up another article for the details. The actual arrest happened when they were with Palestinian farmers helping them pick olives; a settler came up and acted threatening, they ignored him, and he called the Israeli army, who arrived and told them they were in a militarily restricted area, asked for their passports, and arrested them when they didn’t have them with them.
Björk has brought European blueberry squash that she made, and everyone has some.
Theater and Bubbi Morthens
GÍSLI MARTEINN: Despite your young age, you've won an award for your achievements in theater. You wrote an amazing play about a man who gets stuck in IKEA.
MATTHÍAS: Griðastaður.
GÍSLI MARTEINN: Griðastaður. If you were writing the play about Bubbi that's being staged this winter, how would you have approached the project?
MATTHÍAS: I probably would've approached it kind of like Ólafur Egill [Egilsson, writer/director of the Bubbi musical] said he would approach it. That is to say, he talked about the concept of Bubbi. Not necessarily personally about the human being, but just about Bubbi as a phenomenon hovering over the nation. That's how Ólafur talked about it, I think before the process started, or I don't know how far he'd gotten.
GÍSLI MARTEINN: Bubbi isn't a man, he's an atmosphere.
MATTHÍAS: Yes. He's a part of all of us.
Bubbi talks about how he's read the script and was shocked because it's pretty merciless (he had explicitly asked to not be consulted as the script was being written). He ends up saying he's anxious, scared, but really happy and excited; Matthías says "I'm just happy and excited."
Environmentalism and the climate
Gísli Marteinn asks Björk about some greenhouses that are scheduled to be built just below where she lives, and she talks about how unnecessary construction isn't good for the environment.
MATTHÍAS: But speaking of the environment, there's one thing you didn't cover in the "News of the Week" segment, and that's the Kastljós citizens' assembly on the climate. [This was a special episode of Kastljós on November 19th, featuring a live discussion on climate change with various scientists, politicians, environmentalist, and one anthropogenic global warming skeptic journalist.] I thought that show was awesome! I'd watch it if it was on every week, just every Tuesday night.
GÍSLI MARTEINN: The same episode?
MATTHÍAS: Just the same... with new people and so on.
Björk suggests he should see author and environmentalist Andri Snær Magnason's show at the City Theater, an accompaniment to his recent book, where he discusses climate change. Matthías says, “The book is on my bedside table right now. I'll have to get started on that.”
Moscow and the rainbow wings
GÍSLI MARTEINN: I'm going to pivot a bit, because Matthías just got home from Moscow, and we saw on the news that you made some ripples over there, because as we know the Pride Parade has regularly been banned there...
MATTHÍAS: And any kind of "propaganda" is just banned.
GÍSLI MARTEINN: But Hatari, as this...
MATTHÍAS: Propaganda machine.
GÍSLI MARTEINN: Yeah! [laughs] And beneath it there's this satire on, shall we say, fascist methods and so on.
MATTHÍAS: Totally.
GÍSLI MARTEINN: How were you received in Moscow?
MATTHÍAS: Actually, we've never been as well received by any audience, just...
GÍSLI MARTEINN: Amazing!
MATTHÍAS: Just, "by a long shot", to use an English phrase. The love in the room was so palpable, and there were Pride flags, and there were gay and lesbian couples, and people were still jumping around and singing an hour after we left the stage. I've never seen anything like it.
GÍSLI MARTEINN: That's good to hear!
BUBBI: Isn't it typical for a dictatorship, that underneath that's there?
BJÖRK: People thirst for those human rights.
MATTHÍAS: Yeah.
BUBBI: That joy, and...
GÍSLI MARTEINN: That's probably true. But I saw a video, and I don't think it diminishes anything to say that the high point...
BUBBI: It was amazing!
GÍSLI MARTEINN: ...was when Andrean walked in...
MATTHÍAS: Definitely.
GÍSLI MARTEINN: We've got him on the show as a surprise guest! Andrean, come in!
Andrean walks in, to cheering.
GÍSLI MARTEINN: Andrean had this thing he has on his back built for him. Please spread your wings, my friend!
Andrean unfurls the wings, to further cheers. Bubbi launches into a bit of one of his songs, "Strákarnir á Borginni", a 1984 song criticizing the violent homophobia of the time.
GÍSLI MARTEINN: Andrean, congratulations on what you did. I know you came up with this on your own, to have this built and then spread those wings on the stage in Moscow.
ANDREAN: Yeah, I did. I actually - I didn't build this myself, I got Haraldur Leví at the National Theater to create the mechanism and then Alexía Rós, talented seamstress, made the wings.
GÍSLI MARTEINN: I know this was - you had to steel yourself, it's not just literally heavy on your back, but mentally heavy as well.
ANDREAN: Yeah, very. I was honestly terrified to take this there. The guys were there before me, they went to St. Petersburg. I didn't want to go first to St. Petersburg and then to Moscow, where the story would spread, and...
MATTHÍAS: Also, the Moscow gig was a lot bigger, so you picked the right one.
ANDREAN: But so I was traveling alone with this, and I was just... There are horrible stories that you hear from Russia, about violence and sometimes murders of LGBTQIA people, so I was constantly fearing the worst and didn't trust anyone, and had a bunch of conspiracy theories that I'm not going to get into. But then everything went really well, and as soon as you got to the venue, then you immediately felt the presence of like-minded people. As soon as I stepped onto the stage, there was just this sharing of love between everyone.
MATTHÍAS: The Russians were shouting, "Andrean! Andrean!"
GÍSLI MARTEINN: I saw that on the video! Everyone knew your name, you got so much love from the audience...
ANDREAN: Yeah. And really the idea came about when we were out in Tel Aviv. I started waving the Pride flag in the Green Room, and I happened to be positioned so that I was between the host and someone they were talking to, and was there in the middle waving this flag. And for us Icelanders it's just become really mundane, thankfully, and it's just a beautiful rainbow flag, but we often forget it's a highly political flag as well, in many countries that are participating in the contest. And I just got a deluge of messages, especially from Eastern Europe and especially Russia, where people were sharing their love, and stories, horrible stories. Which encouraged me to do something crazy.
GÍSLI MARTEINN: I just say this was awesome! Congratulations and thank you for coming and showing this to us. I know you have a full-time job with the Iceland Dance Company, and like everyone around Hatari you're doing a million different things.
Then he introduces the next segment, Berglind Festival going around exploring how come Icelanders are apparently reading more books in the past couple of years. In the vein of her Hatari segment, it's pretty funny (also, one of the people she interviews is the aforementioned Andri Snær Magnason), but it has nothing to do with Hatari, so I'm not translating that. The show closes off with a performance of the song "Namminef" (Candy Nose), by the band "Bland í poka" (Mixed Candy Bag).
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unicornery · 4 years
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For my own amusement, I started tracking how the songs from the Billboard Hot 100 from this week in 1974 have been used in movie soundtracks. Feature Films only people! As you read, you will see the “gimmes” that made me think of the idea, but I’m putting this behind a cut because there ended up being so many which had a soundtrack match. As a reminder, you can follow along as I do the Hot 100 each week corresponding to which classic AT40 and VJ Big 40 get played on SiriusXM ‘70s on 7 and ‘80s on 8 respectively with my ever-changing Spotify playlist. 
100. “Beyond the Blue Horizon” - Lou Christie. This one is a cheat because when I looked it up on Spotify it showed up on the Rain Man soundtrack. The only song I could have told you off the top of my head was in Rain Main is the Belle Stars’ version of “Iko Iko.” Rain Man marked the first soundtrack appearance for Christie’s version. 
98. “The Air That I Breathe” - The Hollies. Very memorable appearance in The Virgin Suicides, which had the score done by, wait for it, French electronica duo Air. The song would go on to be heard in other movies. 
90. “Billy Don’t Be a Hero” - Bo Donaldson and the Heywoods. The Paper Lace version appears in The Adventures of Priscilla, Queen of the Desert. Both acts topped the charts with the song on opposite sides of the pond: Paper Lace in the UK and Bo Donaldson and the Heywoods in the US. [Update: the BD&H version may be in "To Gillian on Her 37th Birthday"] 
87. “Hollywood Swinging” - Kool & the Gang. This oft-sampled track first appeared in a feature film in the 2005 Get Shorty sequel Be Cool. 
84. “La Grange” - ZZ Top. Armageddon first, followed by others. 
68. “Band on the Run” - Paul McCartney and Wings.  I didn’t search for this at first because I didn’t think there would be anything, but then Jet was on the chart at #27, so I did a twofer search on imdb. Jet has not been in any films (save “One Hand Clapping, a rockumentary on Paul, which I don’t count for purposes of this discussion) but “Band on the Run” appears in The Killing Fields, in a shocking scene that contrasts the light tone of the pop song with the horrors of the Khmer Rouge’s executions of Cambodian citizens. 
66. “For the Love of Money” - The O’Jays. Has been used many times, according to IMDb the first feature film use was the Richard Pryor roman a clef (if I’m using that right, I only know it from Musings of a Cigarette Smoking Man) Jo Jo Dancer, Your Life Is Calling. 
59. “Rock Around the Clock” - Bill Haley and his Comets. Notably used in Blackboard Jungle, the song is on this 1974 chart for its appearance in American Graffiti. 
55. “Rock and Roll, Hoochie Koo” - Rick Derringer. First one that comes to mind is Dazed and Confused bc I had that soundtrack, but it has been in others.
49. “Love’s Theme” - the Love Unlimited Orchestra. The swirling strings of this song indicate that someone is indeed falling in love. That’s my way of saying, if you think you haven’t heard this, you have. Imdb has it in Mean Girls, among others. 
47. “The Way We Were” - Barbra Streisand. The titular song of the 1973 film The Way We Were, starring Barbra and Robert Redford. A little long, but worth a watch bc Barbra is amazing in it. At the 1974 Academy Awards, Marvin Hamslich won Best Original Song honors for this tune, and was awarded Best Original Dramatic Score for his other musical work on the film. I always think of Lisa Loopner’s big crush on him.  
44. “Don’t You Worry ‘Bout a Thing” - Stevie Wonder. First feature film usage was the 1998 Eddie Murphy flop Holy Man, which surprised me as it’s such a good song, you’d think it would have been in something earlier. Notable given Eddie’s impression of Stevie Wonder he performed on SNL! 
42. “Rock On” - David Essex. Michael Damian’s cover (or remix as described by Patton Oswalt) was recorded for the 1989 2 Coreys classic Dream a Little Dream, and per imdb, David Essex’s original appears in the alternate-history comedy Dick, from 1999. 
37. “Oh Very Young” - Cat Stevens/Yusef Islam. Surprisingly, this sweet song appears in the gross-out bowling comedy Kingpin. 
36. “Jungle Boogie” - Kool & the Gang. This song may have been used in the most films and tv shows of any I’ve researched so far, but its first appearance was in Pulp Fiction. 
34. “The Payback - Part 1” - James Brown. First feature film appearance was in 1995′s Dead Presidents. A different James Brown track appears on the soundtrack for racist-ass Melly Gibson’s Payback from 1999. 
33. “Help Me” - Joni Mitchell.  Another why’d-it-take-ya-so-long shocker, this mellow tune first appeared in the 2018 sci-fi movie Kin, narrowly beating Welcome to Marwen from 2019. 
31. “The Entertainer” - Marvin Hamlisch. The title theme from the Redford/Newman team-up The Sting. Hamlisch won a record-tying third Academy Award in 1974 for Best Original Score for The Sting.  It seems at this time Best Original Score and Best Original Dramatic Score were separate categories. Hamlisch would win Grammys for both this and “The Way We Were,” eventually becoming an EGOT winner in 1995.
30. “Eres Tú” - Mocedades. This Spanish Eurovision entry notably appears in the buddy comedy Tommy Boy when Chris Farley and David Spade’s characters sing along with the radio. 
28. “Midnight at the Oasis” - Maria Muldaur. Catherine O’Hara and Fred Willard perform their own rendition in the Christopher Guest film Waiting for Guffman. That should be all you need, but imdb has the first film appearance for the song as 1995′s Falcon and the Snowman. 
24. “Let it Ride” - Bachman-Turner Overdrive. This lesser-known but not less great BTO jam has appeared in a handful of films, the first being Ash Wednesday, starring Elijah Wood and directed by Edward Burns and not Garry Marshall. Note: it does not seem to be in the Richard Dreyfuss gambling movie Let It Ride, a classic VHS cover of my youth. 
18. “Mockingbird” - James Taylor and Carly Simon. Memorably performed by Harry and Lloyd in the dog van in Dumb and Dumber, later joined by a Latinx family on guitar and vocals.  Before that, Beverly D’Angelo and Chevy Chase’s characters also sang it on their road trip in National Lampoon’s Vacation. I couldn’t find an instance where James and Carly’s version played in a movie but I am sayin’ there’s a chance. That it could be someday. 
16. “Tubular Bells” - Mike Oldfield. This instrumental is best known for being the theme to The Exorcist, but I was surprised to learn from the Wiki entry that it was not written for the film. Tubular Bells or something that’s meant to sound like it has been in a ton of other things, generally uncredited. Of note: Mike Oldfield would go on to do the score for The Killing Fields. 
14. “Seasons in the Sun” - Terry Jacks. Now here is the type of song that ‘70s haters point to as an example of the whiny wuss rock that they feel over-dominated the era. It’s not one of my favorites but I appreciate it for how weird it is. I suppose being translated into English from a French/Belgian poem will do that to ya. Before I did my search, I imagined I would find it in a Farrelly Brothers movie or two, possibly the Anchorman sequel. However, the only feature film match I found was the 2002 indie flick Cherish, a movie I have never seen despite being confronted by the cover many times at rental places over the years. Before today, when I watched the trailer, I would have told you it starred Jennifer Love Hewitt and was about “a band trying to make it.” It turns out I am thinking of the 1999 film The Suburbans. Anyway Cherish seems aggressively indie and very of-its-time in a way that makes me want to watch it. 
13. “Dancing Machine” - The Jackson 5. The song appears in the Blaxploitation spoof I’m Gonna Git You Sucka, as well as the movie of Starsky & Hutch.
11. “Lookin’ For A Love” - Bobby Womack. This was in the movie of The Ladies Man starring Tim Meadows as his SNL character Leon Phelps. I almost skipped this one but I’m glad I didn’t because Tim Meadows rules.
8. “The Loco-Motion” - Grand Funk Railroad (the single and album it was on are credited to Grand Funk). We have our second song from the Kirsten Dunst/Michelle Williams movie Dick. Since that was satirizing Nixon and Watergate, well done to the filmmakers for including these 1974 hits!  It appeared in one earlier film, My Girl 2. 
5. “Come and Get Your Love” - Redbone. Known to modern listeners for appearing in Guardians of the Galaxy. [Sidebar: if you can find a way to listen to the With Special Guest Lauren Lapkus episode T.G.I.G.O.T.G.OST (Thank God It’s the Guardians of the Galaxy Original Soundtrack) with Sean Clements and Hayes Davenport, do it!] The song first appeared in Dance Me Outside, a Canadian film about First Nations youth, which is a cool parallel with Redbone being composed of Native American musicians. “Come and Get Your Love” is also in Dick! 
4. “Best Thing That Ever Happened To Me” - Gladys Knight & the Pips. Another SNL feature pops up on our list, 1994′s It’s Pat: The Movie. 
3. “Hooked on a Feeling” - Blue Swede. ALSO known to modern listeners as being from the GOTG, but possibly only in the trailer? I’m fuzzy. The song ALSO also appears in Dick, and its first feature film appearance was Reservoir Dogs. 
2. “Bennie and the Jets” - Elton John. You know it, you love it, you cackle at the gag in Mystery Team. IMDb has this song down as first appearing in the low budget feature Aloha, Bobby and Rose, from 1975. It is ALSO in My Girl 2, with proper credit for Sir Elton. 
1. “TSOP (The Sound of Philadelphia)” - MFSB featuring The Three Degrees. IMDb says this appeared in the Al Pacino film Carlito’s Way, and I have no reason to doubt them because it means we are done! Thanks for readin’ and rockin’ along. 
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beneaththetangles · 4 years
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Flashback Friday: The Interviews
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One of the best parts of this ten year journey has been the connections I’ve made with some extraordinary people. Not everyone I’ve met has been nice, that’s for sure, but the vast majority of those I’ve interviewed have been as authentic and kind as they are talented. It really has been a blessing to meet so many people in the anime industry (or connected to it), and to continue to interact with many of them professionally, and with a few on a more personal level—and it’s been the same with our staff members who have conducted interviews.
Let’s start with the voice actors. We’ve connected with a number through anime conventions and other opportunities. Caitlin Glass comes to mind first, of course, and someone who’s been so supportive of us through the years. I first met and interviewed her way back in 2011 for a two-part article we posted. She’s continued to partner with Beneath the Tangles, most recently through a video interview series revolving around Haikyuu. I’ve so admired her faith and how she expresses it, so it’s wonderful to have this connection with her. I could say something similar about Luci Christian, the first Christian voice actress that I was aware of, who also spoke with us a couple years ago.
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We also have a great relationship with Elizabeth Maxwell, who I met at a more general comic convention of all places (I also had an opportunity to sit with Patricia Summersett there). Elizabeth is so talented and sharp-witted, and a geek to boot, that it’s a wonder more anime podcast don’t feature her. I’ve heard her on other types of podcasts, but the anime world is missing out—she’s an amazing interview. So is Beau Billingslea, who, like Elizabeth and some of the others, has resume goes far beyond voice acting. He’s been involved in a number of culturally significant movies and series, and is a wonderfully warm person.
We’ve also recently teamed with up and coming VA Macy Anne Johnson, interviewing and bringing her on as a guest host on the TangleCast (I hope you’ll check out that episode—it really is a fun one, and revolves around a classic anime series).
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Others on our staff have also tried their hand at interviewing, including this cool piece with J. Michael Tatum. There have been times, too, where our staff hasn’t been able to secure a one-on-one interview, but still reported back on sessions involving convention guests, like this one with Miho Okasaki or this with Aqours. Those and others I’ve mentioned have been made possible through the work of convention staff, volunteers to whom we’re so grateful. I’ve also been able to connect with cosplayers at cons, who helped feed a short series I did on cosplay issues and even one of our TangleCast episodes.
As you might detect from the cosplayer interviews, we sometimes go a little off the beaten path, interviewing guests that might not immediately come to mind when you think of anime, including J-pop artists, with the performance below sung at my request, and those involved in the industry, like the character designer for Tsuki ga Kirei, the author of a visual novel, and the owner of a convention. The unintended consequences of these interviews is that it’s expanded our network and given me, at least, a wider understanding of anime, both in North American and in Japan.
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I mentioned music above, and musicians have also certainly been a great source of interviews for us. Jasmine Rodgers, the lead singer and a lyricist for Boa, was one of the most gracious talents I’ve ever interviewed. Nai Br.XX, who does the singing for Carole on Carole and Tuesday, blew us away with her talent and personality when sat with us for a podcast interview. And I was just thrilled to get to speak with Rie Fu, whom I’ve been a fan of for many years, adding an additional level of nervous excitement for me! But she’s such an old soul—I had a lovely time speaking with her, and felt this sense of relief, strangely enough, by confirming a story that I heard long ago about one of her songs, but for which I had never seen a reference.
But my favorite interview of all is probably that with Nobuhiko Okamoto, who just blew away my expectations. He was so generous and exciteable and kind. How can I put it…take his current most popular character, Bakugou, and get as far away from blow-up boy’s personality as possible, and that’s Okamoto!
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You know, I don’t consider myself a journalist—it’s a role I feel uncomfortable with, and an important one that comes with certain responsibilities that I’m not always willing to carry. But all the goodwill I’ve received from putting on that reporter hat and conducting interviews has made me cherish these opportunities. We missed a year’s worth of cons because of COVID-19, and thus probably a half-dozen interviews or more, and I miss that interaction and presenting these awesome people to you on the blog. In the year ahead, expect us to make up for that lost time!
In the meantime, let us know who you’d like us to interview! We’ve got a few flyers out there right now, but are always eager to hear your feedback and learn who you think we should be checking out!
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Featured illustration by Arden (reproduction permitted).
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pbwsports · 4 years
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How the coronavirus is forever changing the way MLB connects to fans
IT BEGAN WITH the hype video that was supposed to introduce the 2020 Los Angeles Dodgers on Opening Day. Organist Dieter Ruehle followed by playing the national anthem and "Take Me Out to the Ballgame" from his home piano. Third baseman Justin Turner, closer Kenley Jansen and manager Dave Roberts shared updates on their suddenly monotonous lives. Comedian George Lopez cracked jokes at the Houston Astros' expense and country musician Brad Paisley wore a Dodgers sweatshirt that described the team as "2017 World Series Champs."
Along the way, the Dodgers' first live Zoom event provided its fair share of predictable glitches -- ringing cellphones, awkward silences and buffering videos, one of which distorted an uplifting message from Vin Scully. Joe Davis, the Dodgers' play-by-play voice pressed into virtual hosting duty, cringed through some of the technical difficulties. He thought social media would be as unforgiving as usual. He was wrong.
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"The people appreciated whatever we were able to do, even if the video was skipping a little bit, or there were audio issues, or somebody dropped out at some point," Davis said. "The general sense was that it was like, 'So what?' There was an appreciation, it seems like, from the fans that there was something baseball-related to be able to cling onto and distract them for a night."
The Dodgers initially planned to host 1,000 fans at their first "Zoom Party" on April 27. They ultimately opened it up to 11,000 people. Over the next couple of weeks, the guest list increased to 12,000 and then 15,000, proving two key points about this unimaginable period: Teams are trying anything and everything to fill a massive void amid the coronavirus pandemic, and their fans are here for it -- a dynamic that could change the fan-engagement experience forever.
There have been re-airings of old postseason games, broadcaster calls of home movies, training tips from coaches, bedtime stories from players and bracket-style tournaments for items such as jerseys and bobbleheads, all in an effort to create content in a time when baseball's main content pipeline -- live games -- is shut off.
Ryan Zimmerman interviewed Dr. Anthony Fauci, a diehard fan of the Washington Nationals. Miami Marlins catcher Francisco Cervelli taught viewers how to make focaccia. Kansas City Royals director of behavioral science Ryan Maid hosted "Mindfulness Mondays" to provide tips on living in the moment. The Cleveland Indians offered instructions for creating games out of items in one's sock drawer. And former Astros infielder Geoff Blum hosted a series called "Feel Good Stories For The Heart" in hopes of providing some much-needed positivity.
Major League Baseball and the MLB Players Association also teamed up to create an MLB The Show Players League, where big leaguers went head-to-head in video game matchups that were livestreamed on Twitch and broadcast on television during the virtual playoffs, culminating in a final showdown between Tampa Bay Rays ace Blake Snell and Chicago White Sox ace Lucas Giolito that aired on ESPN.
From making pancakes to playing baseball with Charley, follow @ClaytonKersh22 and his family in this episode of A Day in the Life with the Kershaws.
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"We want to give everybody sort of a relief from what's going on, and if we can help them and we can entertain them, we've succeeded," Dodgers chief marketing officer Lon Rosen said of his own team's strategy. "We're in a really difficult time right now. We all feel like we're gonna come out the other end and life will come back to some normalcy, but until then, we wanna make sure that we're connected to our fans and our fans are connected to us. And that's our mission."
In pursuit of that, the Dodgers arranged for their director of player performance, Brandon McDaniel, to guide fans through in-home workoutstwice a week. They handed a smartphone to Ellen Kershaw so that she could record her husband, Clayton, flipping pancakes and playing Pop-A-Shot. And they utilized Ross Stripling, their agreeable right-handed pitcher, for an interview series with some of his teammates. Davis himself has hosted his own cooking show and also started a podcast with his broadcast partner, Orel Hershiser. The response floored him.
"We've had multiple people tell us that it brought them to tears to hear us, multiple people tell us that it's the best part of their week when that comes out, and their favorite thing during the quarantine," Davis said of the podcast, called "Off Air." "Man, we're just trying to have a fun conversation. We started it realizing the void that everybody was feeling with no baseball, but I don't think we fully appreciated how big that void was."
MARCO GONZALES LEFT Arizona shortly after MLB effectively closed spring training complexes on March 15. He hopped in the car with his wife and their dog and drove 1,400 miles to his home near T-Mobile Park, returning to Seattle -- the country's first coronavirus epicenter -- for the first time in more than a month.
Gonzales, the left-hander announced as the Seattle Mariners' Opening Day starter less than a week earlier, was struck by how a bustling city could feel so desolate. Parks were empty, traffic was nonexistent, stores had shuttered, and the few people he saw, usually at the local supermarket, dressed as if they were "going into surgery." The anxiety was palpable, omnipresent, and it helped spur Gonzales into action. He donated blood, partnered with a local hunger-relief agency and stepped outside of his comfort zone to help entertain a populace desperate for levity.
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Just for fun:
A's: Broadcaster calls home movies Cubs: "Parks and Rec" crossover Dodgers: Zoom parties Marlins: Cervelli makes focaccia Phillies: Story time with Bryce & Fanatic
Quarantine-inspired:
Astros: Feel Good Stories For The Heart Indians: Sock-drawer sports at home Nats: Zimmerman interviews Dr. Fauci Orioles: Phone Call Fridays Rockies: Out-of-context quarantine tips
The latter morphed into a weekly interview podcast called "Inside Corner," which Gonzales co-hosts alongside Mariners broadcaster Aaron Goldsmith through the team's YouTube channel. Catcher Tom Murphy and fellow starters Taijuan Walker and Justin Dunn have made up the first three guests. Murphy spoke from his dining room, which features a 400-pound black bear he snagged on a hunting trip. Dunn, now 6-foot-2, revealed he was shorter than his 4-foot-11 grandmother when he entered high school. Walker estimated owning 400 pairs of sneakers.
"I miss baseball, I miss that interaction with my teammates," Gonzales said. "And I think the goal of this, ultimately, is for fans to get to know us a little bit better away from the field, and to feel like they're a little more connected to us."
It's part of an ironic twist in all this -- a time that is keeping fans from baseball is also allowing them, in some respects, to feel more connected to those who play it. During the season, their time is precious. During the offseason, their time is sacred. But now athletes are stuck at home waiting this out, with unkempt hair and a dwindling supply of toilet paper, just like the rest of us. To pass the time, many have offered rare glimpses into their personal lives and have seemingly become more willing to reveal their true personalities. Gonzales has acted as a willing tour guide.
"The guys that I've dealt with, they want people to get to know them as people," Gonzales said. "Because a lot of times when we're on the field, we're in a mindset, we're in a mentality, that is rare to us as a person. We're in a competitive, testosterone-driven mindset, whereas right now, when we're stuck at home, and we have a chance to talk to each other, it's a lot different communication. And I think that people will hopefully see that."
Our video editor has been itching to make a hype video. Behold...
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Kevin Martinez has been overseeing the Mariners' marketing efforts for the past quarter-century. Four days after MLB suspended its season, Martinez led a meeting that served as a brainstorming session for how the team could pivot in its content strategy and fill an unprecedented void in a reeling city. Martinez saw it as "an opportunity to innovate and think differently."
It led to a hype video of home movies, a series of tutorials from Mariners coaches, an MLB The Show tournament pitting fans against players, and Gonzales' podcast.
"Seattle has been one of the most affected by this, and one of the first for sure," Gonzales said. "We're trying to get behind the notion that we'll be one of the first to overcome it and really show the rest of the country what it looks like. Right now, all we can do is try to fill everybody up with some optimism, put some good content out there, and try to just give people that hope that we're gonna get back to normal as soon as we can."
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BY NATURE OF their status in local communities, sports teams can often serve as information hubs for regions. The Boston Red Sox, for example, represent the baseball team for all six states in the New England region, making Twitter -- where the team has more than 6.1 million followers -- an ideal platform to distribute factually verified information regarding the pandemic. Kelsey Doherty, senior manager of digital media for the Red Sox, says the team has kept in touch with the Massachusetts Department of Public Health and the State House to stay up to date on the best official safety measures.
"It's a little nerve-wracking every time I put out any of that messaging, because especially early on, things were changing so rapidly about what was or wasn't good for you or how you're supposed to go about things," Doherty said. "We were linking a lot to the Mass Department of Public Health, but we're also trying to put the Red Sox spin on it. This weekend we put out, 'How far is 6 feet really?' And it's like, 'It's one Rafael Devers away.'"
The Red Sox are far from the only team to use its social media accounts to pitch in. Zimmerman's interview with Fauci, via the Nats' Facebook page, delved into plans for slowly and safely restarting the economy. The Colorado Rockies are one club that sponsored a mask-making project, reaching out online to distribute free team-branded masks to front-line workers. New York Yankeesfirst baseman Luke Voit connected with medical staff at NewYork-Presbyterian Hospital. The Baltimore Orioles have been holding Phone Call Fridays, when members of the team check in on fans and first responders.
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There have been other notable effects. With no games on the calendar for the near future, each team's social media account now represents the primary connection clubs have with fans on a daily basis. Typically at this point in the regular season, an internationally iconic team like the Yankees is focused on building hype around the club, selling individual game tickets and targeting tourists who might be coming into New York. Stephi Blank, senior manager of digital and social strategy for the Yankees, says the pandemic has flipped the team's social focus upside down.
"Especially when thinking about targeting individual game ticket buyers, tourism in New York City is something that is a massive industry, and talking with our colleagues at Broadway and others, you see that so much of the individual game, the individual ticket buyers, come from people who are outside of New York who don't live there," Blank said. "That had been a big focus of ours prior to this, but New York has been the epicenter, and we've been focusing a lot more on our local fans."
With no team to root for or games to play, teams are reframing their social media presence to think about fandom as a lifestyle.
"It's new territory," Doherty said. "I always joke that I am so grateful that I work in sports because our content can change day to day based on a win or a loss or who had a big night, and now suddenly I'm in this uncharted territory and everyone in sports is, where it's like suddenly we aren't dependent on that and we're dependent on our history, the lifestyle, the fan base and the culture around the team."
Luke Voit recently surprised frontline medical heroes from our partner @nyphospital to show his appreciation for their strength and hard work. @LLVIII40
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THE LACK OF day-to-day, game-centric content leaves more room to experiment. The Yankees have dabbled in more player personality-driven content, posting intentionally lo-fi workout videos from the likes of Giancarlo Stanton and Luis Severino, shot in vertical video on an iPhone. Yankees head of communications Jason Zillo says the lack of wins and losses allowed baseball's most traditional brand to let loose and have some fun.
"[Player-personality content] is not only a neat concept, but I think this has legs to live long beyond the pandemic," Zillo said. "The thing that constantly is a push and a pull during a baseball season is that games matter so much. And you have to temper 'fun' things up against the fact that every day, there's a game that you're trying to win at all costs. There has to be a measure of caution. If you've lost six of eight games, my first mindset isn't, 'Let's do something fun.' It's like, 'Let's kind of scale back and then when we've won six of eight, then maybe we can push more of the fun stuff.'"
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Baseball is unique among sports in its challenge of creating inclusive, compelling social media content. The schedule is arduous -- nearly every single day, often for about 10 hours, from the middle of February until at least the end of September -- and the culture can often feel repressive. Marketers have mostly found players to be less motivated to promote themselves, both because of the volume of their workload and the guaranteed nature of their contracts. Teams, in some respects, have taken a relatively conservative approach on their digital platforms.
But maybe that'll be different now.
"It has been a challenging time," Martinez, the Mariners' senior VP of marketing, said, "but it's been a time for innovation, and a great opportunity to create fans with our players in ways we haven't explored before."
While baseball has been slow to adapt to the new age of social media, the pandemic plopped a mirror in front of many teams. Many took that as an opportunity to try something new -- and have seen it bear fruit.
"You hear a lot of people from a lot of different walks of life saying, 'Use this time to get better at something,'" Zillo said. "I think baseball, as a whole, has, when it comes to looking under different rocks, now is really using social media and all of its tentacles to reach as many fans as possible."
Source - ESPN
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thebestify · 4 years
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'Nosferatu,' La Doña turns 1, CBD sampling: 45 free things to do this weekend - City Pages
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"Volta Photo" at the Weinstein Hammons Gallery Sanle Sory FRIDAY: Volta Photo In 1960, Sanlé Sory opened a photography studio in Bobo-Dioulasso, the trendy/artistic city in Burkina Faso. That same year, the nation had received full independence from France. As the country entered a new post-colonial era, Sory photographed the vibrant youth culture that emerged. Spanning 20-some years, his collection of portraits features lovers kissing, smiling friends with a boombox, and style so fly it could belong in a high-fashion magazine from any era. The artist, who still lives and works in the area, began touring exhibitions of his work in the late ’90s. This show at the Weinstein Hammons Gallery is a rare chance to see these still-youthful images in person. There will be an opening reception from 6 to 8 p.m. on Friday, October 18. Free. Weinstein Hammons Gallery, 908 W. 46th St., Minneapolis; 612-822-1722. –Jessica ArmbrusterAndy Ulseth With Brian Just Band and Picked to Click seventh place winner Prim Woes. 10 p.m. Oct. 18. Free. 331 Club, 331 13th Ave. NE, Minneapolis; 612-331-1746.Lungs (Album Release Show) With Hive, Witchden, and Nothingness. 9 p.m. Oct. 18. Free. Hexagon Bar, 2600 27th Ave. S., Minneapolis; 612-722-3454.The Jason Dixon Line 8:30 p.m. Oct. 18. Free. Schooner Tavern, 2901 27th Ave. S., Minneapolis; 612-729-4365.Versions With happy hour during musical performances. 9-11 p.m. Oct. 18. Free. Apoy, 4301 Nicollet Ave., Minneapolis; 612-824-4719.
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"Creativity in Everyday Life" at Goldstein Museum of Design Creativity in Everyday Life Design is everywhere in our daily lives, including the cars we drive, the homes we live in, the utensils we use, and the clothes we wear. In this show, the Goldstein moves from big-picture design (design thinking as a mode of problem solving) to the granular (i.e. specific everyday objects). The exhibition is also participatory, with visitors invited to weigh in with their opinions the most innovation and creative aspects of the show. Opening reception 5:30-7:30 p.m. Fri., Oct. 18, featuring a silent auction to benefit GMD. Daily from Oct. 18-Jan. 5. Free. Goldstein Museum of Design, 1985 Buford Ave., 346 McNeal Hall, St. Paul; 612-624-7801. --Camille LeFevreWildflyer Coffee Launch Party Fundraiser for a new coffee shop, featuring live music from the Immaculate Beings, Lavender Daughter, Mpls Drew, and Audiyo Element. 6 p.m. Oct. 18. Free. 56 Brewing, 3055 NE Columbia Ave., Minneapolis; 612-404-0056.#MeToo in Minnesota History Exhibitions examining issues of sexual assault and violence through the stories of several Minnesota women, past and present. Oct. 15-April 5. Free. Minnesota History Center, 345 W. Kellogg Blvd., St. Paul; 651-259-3000.As, Not For: Dethroning Our Absolutes Group show curated by Jerome Harris. Oct. 18-Nov. 10. Free. MCAD Gallery, 2501 Stevens Ave., Minneapolis; 612-874-3700.
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'Nosferatu' Nosferatu: A Symphony of Horror Released in 1922, Nosferatu is just a few years shy of its 100th anniversary, and somehow still manages to be creepy. Part of that effect may come from its on-location sets and beautifully framed shots, and Max Schreck’s performance as the titular monster certainly factors into its legacy. Yet another spooky aspect is the film’s soundtrack, which has been adapted and reimagined over the years. This Halloween, guests can head to the Music Box Theatre for a screening set to a live soundtrack from the Curse of the Vampire Orchestra, by Minneapolis composer Philip Shorey. The score features a local symphony and choral musicians mixed with modern electronica and industrial percussion. 7:30 p.m. Oct. 18-19; 3:30 p.m. Oct. 19. Free; RSVP required. Music Box Theatre, 1407 Nicollet Ave. S., Minneapolis; 612-871-1414. --Jessica ArmbrusterLeslie Jamison Author presents her new book, 'Make It Scream, Make it Burn: Essays.' 7 p.m. Oct. 18. Free. Next Chapter Booksellers, 38 S. Snelling Ave., St. Paul; 651-225-8989.R. Zamora Linmark Author presents his new book, 'The Importance of Being Wilde At Heart.' At the Asian Pacific Resource Center in Room 311. 12-1:30 p.m. Oct. 18. Free. Appleby Hall - University of Minnesota, 128 Pleasant St. SE, Minneapolis; 612-625-5000.Fall Flower Show Sunken garden in full bloom with hundreds of chrysanthemums of many different cultivars. 10 a.m.-4 p.m. daily from Oct. 5-Dec. 1. Free. Marjorie McNeely Conservatory at Como Park, 1225 Estabrook  Drive, St. Paul; 651-487-8200.
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Jimmy Reagan Jimmy Reagan Exhibit Expressionist paintings. Opening reception 7-10 p.m. Fri., Oct. 18, with a meet and greet with the artist, music, and drinks. Free; RSVP required for opening reception. Le Meridien Chambers Minneapolis, 901 Hennepin Ave., Minneapolis; 612-767-6900.Tappy Hour Group tap dance lessons. 4-6 p.m. every Fri. Free. Can Can Wonderland, 755 Prior Ave. N., Ste. 4, St. Paul; 651-925-2261.Can Can Wonderland Karaoke Hosted by Silly Miss Tilly. All ages. 5:30-8:30 p.m. every Fri. Free. Can Can Wonderland, 755 Prior Ave. N., Ste. 4, St. Paul; 651-925-2261.Erin Schwab and Jay Fuchs 8:30-11:30 p.m. every Fri. Free. Birch's Lowertown, 289 Fifth St. E., St. Paul; 651-432-4677.
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La Dona Cerveceria Image courtesy event organizers SATURDAY: First Anniversary Party La Doña Cervecería is turning one this weekend. To celebrate, they’re busting out Ocelotl, a Mezcal barley wine that has been aging in barrels since January (and offers a whopping 10% ABV). Order it on tap and, if you like, take it home in bottle form. The party starts at noon, with the Indigo DJ Crew spinning tunes at 4 p.m., followed by salsa band K-Libre24 from 9 p.m. till close. Festivities will also include games, special merchandise, and food trucks Flagsmash and Que Tal. 12 p.m.-2 a.m. Oct. 19. Free. La Doña Cervecería, 241 Fremont Ave N, Minneapolis. –Loren GreenPiss On Your Dad With Sam Hell, Huff, and Psychic DNA. 9 p.m. Oct. 19. Free. Hexagon Bar, 2600 27th Ave. S., Minneapolis; 612-722-3454.First Annual Legacy CBD Cup Competition for the state's best hemp and cannabidiol products, with presentations, samples, and products for sale. 5-10 p.m. Oct. 19. Free. Warehouse Winery, 6415 Cambridge St., St. Louis Park; 763-232-3707.Ian Valor & The Vendettas (Album Release Show) With Little Man and Elour. 10 p.m. Oct. 19. Free. 331 Club, 331 13th Ave. NE, Minneapolis; 612-331-1746.MPLS LTD XX Afternoon at Eclipse Celebrating 20 years of the local record label, with performances by Birds of Virginia (reunion show), Pussytoes, the Starfolk, and John Roeser Avenue. All ages. 12-4 p.m. Oct. 19. Free. Eclipse Records, 381 Wabasha Street N., Saint Paul; 651-224-2500.Biggest in the World Party Celebration of Brit's being the pub selling the most Olde Speckled Hen in the world. Festivities include $4 Olde Speckled Hen 20 oz pints, the Beatles’ Abbey Road album performed in its entirety by the Summerbabies at 8 p.m., and glassware and other giveaways. Saturday, 6-11 p.m. Brit's Pub, 1110 Nicollet Mall, Minneapolis; 612-332-3908.
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The Twisted Pumpkin and Valhalla Skulls October Gallery Night: The Twisted Pumpkin and Valhalla Skulls An evening celebrating the work of artists Mandy Koepp and Joelle Skjei, with treats by Atuvava and tarot readings by Sage Tarot. 5-8 p.m. Oct. 19. Free. Darling Amalgamated Retail Emporium, 4549 Bloomington Ave. S., Minneapolis; 612-454-5456.Tangletown Gardens Annual Pumpkin Fest Featuring a wide selection of pumpkins, with a photo booth, pumpkin painting, farmers market, and family activities. 10 a.m.-5 p.m. Oct. 19. Free. Tangletown Gardens, 5353 Nicollet Ave. S., Minneapolis; 612-822-4769.Powderhorn Culinary Arts Show Juried outdoor food and beverage competition for professional and junior culinary artists from across the country, with a beer garden, pumpkin patch pop-up, garden shop, and kitchen gadget pop-up. 12-5 p.m. Oct. 19. Free. Powderhorn Park, 3400 15th Ave. S., Minneapolis; 612-823-1141.
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"Randomland" Vance Diamond, 'Tidal Wave,' 2019 Randomland Group show collaboratively curated by artists with disabilities and without, presented by Interact Center for the Visual and Performing Arts. Public reception 3-6 p.m. Sat., Oct. 19, featuring artist remarks and a Q&A. Free. The White Page, 3400 Cedar Ave., Minneapolis; 413-478-0455.Kater's 4th Annual Katerween Pop-up gallery show featuring new work for sale from the graffiti artist. 5-9 p.m. Oct. 19. Free. Maharaja's, 205 W. 7th St., St. Paul; 651-292-1623.Leaf Fest Featuring a giant leaf pile, fall treats, pumpkin hunt, art workshop, scavenger hunt, and a community art project. 12-4 p.m. Oct. 19. Free. Caponi Art Park, 1220 Diffley Road, Eagan; 651-454-9412. 'McDuff Moves In' Story Time with Gryphon Press and Underdog Rescue Family story time, with adoptable dogs from Underdog Rescue on hand. 3 p.m. Oct. 19. Free. Magers & Quinn Booksellers, 3038 Hennepin Ave. S., Minneapolis; 612-822-4611.Brunch Show at Mortimer's Featuring Trash Catties, Ringout, and Leslie. All ages. 12-3 p.m. Oct. 19. Free. Mortimer's, 2001 Lyndale Ave. S., Minneapolis; 612-871-5591.Halloween Viewing Party for 'The Loud House' Featuring screenings of Halloween-themed episodes of 'The Loud House,' hosted by the voices of Lucy and Rita Loud, hosted by Jessica DiCicco and Jill Talley, with character meet and greets, and storyboard animator appearances. 10:30 a.m.-6 p.m. Oct. 19. Free. Mall of America Best Buy Rotunda, 365 N. Garden, Bloomington; 952-883-8800.
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"And When the Sun Rises" And When the Sun Rises: Mara Duvra / Today, we become: Prerna 6-9 p.m. Saturday. Soo Visual Arts Center, 2909 Bryant Ave. S., Minneapolis. New Editions 2019 A pop-up shop of chapbooks, zines, broadsides, artist books, and more. Saturday, 10 a.m. to 3 p.m. Minnesota Center for Book Arts, 1011 Washington Ave. S., Minneapolis. Have You Seen This Man?: The Castro Poems of Karl Tierney Celebration of the release of posthumously published selection of poems by Karl Tierney, edited by Jim Cory. 7 p.m. Oct. 19. Free. Next Chapter Booksellers, 38 S. Snelling Ave., St. Paul; 651-225-8989.Midtown Farmers Market Featuring farm products, prepared and cottage foods, and ready-to-eat local cuisine, local artwork, and live entertainment. More info at midtownfarmersmarket.org. 8 a.m.-1 p.m. every Sat. from May 18-Oct. 26; 3-7 p.m. every Tue. from May 18-Oct. 29. Free. Midtown Farmers Market, 3032 Minnehaha Ave. S., Minneapolis; 612-724-7457.Mill City Farmers Market Long running market in the shadow of Mill Ruins Park, featuring local, sustainable, and organic groceries and produce, with weekly cooking clinics and live entertainment. More info at www.millcityfarmersmarket.org. 8 a.m.-1 p.m. every Sat. from May 4-Oct. 26. Free. Mill City Museum, 704 S. 2nd St., Minneapolis; 612-341-7555.
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Howl-O-Ween at Bent Brewstillery Getty Images SUNDAY: Howl-O-Ween Cap off your weekend by hanging out with dogs in costumes. This Sunday, Bent Brewstillery will be getting into the holiday spirit with a daylong Halloween party open to humans and pups. People are welcome to dress in costume, and doggos are especially encouraged to. Locally made pet items from crafters and artisans will be for sale, and games and prizes will be hosted by Sidewalk Dog. Have a glamour shot taken with your four-legged buddy, bob for treats, and carve a pumpkin. Be sure to wash it all down with a pint. All ages. 12-6 p.m. Oct. 20. Free. Bent Brewstillery, 1744 Terrace Drive, Roseville; 844-879-2368. –Jessica Armbruster Fall Makers Market Featuring over 20 local makers and curators both inside and out of the building. Sunday, 10 a.m. to 5 p.m. 3147 NE California St., Minneapolis.  Atlas Obscura Trivia with Dylan Thuras and Magers & Quinn Featuring questions about travel and places all over the world, with prizes and copies of 'Atlas Obscura: 2nd Edition' available for purchase. 6 p.m. Oct. 20. Free. LynLake Brewery, 2934 Lyndale Ave. S., Minneapolis; 612-224-9682.Panel Discussion: Is Local News Dying? Featuring Jamie Stockwell, Richard Fausset, Rebecca Colden, and Suki Dardarian. 1 p.m. Oct. 20. Free. Walker Art Center, 725 Vineland Place, Minneapolis; 612-375-7600.
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MN Toy Posse Image courtesy event organizers MN Toy Posse Halloween Bash 3 What happens when you combine 70 toy sellers from all over the Midwest, hundreds of toy fans of all ages, and thousands of rare and unique toys and collectables? You get one giant posse. This weekend, the Minnesota Toy Posse will host its third-annual Halloween Bash toy swap. Posse founder Mark Seekamp started the group a little over three years ago on Facebook as a way to help connect people looking to buy, sell, or trade their favorite toys. He hadn’t planned on just how many people would want to join his gang. “We have more than 2,200 members, and it’s a really active group,” he says. And it’s not just about toys, either. “We’ve become friends and talk about our lives. People will post pictures when they have a baby, or we’ll just use it to meet up and go see a movie. It’s about creating relationships beyond just looking for toys.” For Seekamp, the best part of the day is how toys can bring people together. “The coolest part is being able to see someone who is going to be really excited about a toy that you have that you’re ready to part with.” 9 a.m.-3 p.m. Oct. 20. Free. Knights Of Columbus Bloomington, 1114 W. 79th St., Bloomington; 952-888-1492. –Patrick StraitOpen Jam 8 p.m. every Sun. Free. Schooner Tavern, 2901 27th Ave. S., Minneapolis; 612-729-4365.Saint Paul Civic Symphony: Night and Day 1 p.m. Oct. 20. Free. Landmark Center, 75 W. 5th St., St. Paul; 651-292-3293. Read the full article
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hmslusitania · 3 years
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have you ever watched charmed?
that depends entirely on whether you mean the currently (?) airing reboot, which I have not seen, or the late-90s early-00s version, which I binge-watched the first six seasons of the summer before my senior year of high school while I was supposed to be doing health class online so I could graduate early and then never actually got around to finishing.
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winonalakefossils · 5 years
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Winona Lake, Not Winona
It was a known fact, and it had been for the last several years, that most of the mail Postmaster Cary D. Chapman received at the tiny Winona Post Office at Bass Lake in Starke County was not really intended for anyone who lived there. He spent a great deal of time returning bag after bag of letters to their senders or forwarding them disdainfully to the Dead Letter Office. Not once did he complain about the extra work. Rather, he received a great deal of pleasure from it. “That’s what those carpetbaggers get for running off with our name,” he grumbled. No one, least of all the irascible Mr. Chapman, could have foreseen the chain of events he set in motion to create unwittingly, some forty miles away, a new town that would claim for itself the proud name of Winona Lake. 
Somewhere in Indiana in March of 1895, a distinguished man in his mid-30s walked briskly toward a train station. He carried a leather, gold-trimmed portfolio and wore a dark gray overcoat and a homburg hat with the signature dent down the middle of the crown. Upon entering the station, he approached the counter. With an engaging smile, he told the stationmaster his destination. Having received his ticket, he stepped aside. He reached inside of his coat and glanced down at a fine gold pocket watch. He returned the timepiece to its place and became pensive.  The burdened traveler let out an involuntary sigh, and in a low whisper that no one could hear, he muttered, “How quickly our fortunes can change!” His thoughts took him back to the previous January on that glorious Sunday when he stood in the new Presbyterian church—formerly, the local dance hall—and announced to a delirious crowd his plans for the establishment of an Indiana Chautauqua.
A sizable crowd of shivering Presbyterians tramped in from the cold, knocking the snow from their boots and chattering with excitement as each shared what little he or she had heard about Rev. Dickey’s special service. The minister had made the trip from Indianapolis to light a fire under the locals that would burn hot all winter long and into spring.
“Bass Lake has been chosen by the Presbyterians of Indiana to be the home of Indiana’s own Chautauqua!”
Everyone in the room knew what that meant and offered up enthusiastic applause. The proclamation even generated a few whoops and whistles. The Chautauqua movement had sprung up in New York ten years before and had spilled over into the Midwest and other parts of the country. At Chautauqua Lake, the Methodists offered summer vacations comprised of cultural entertainment and education. Programs featured teachers, musicians, preachers, showmen, popular speakers and thinkers. What Rev. Dickey described that morning was considered a Chautauqua much improved, for it departed from the liberal Methodist ways to one in keeping with the beliefs represented among those gathered. 
“The Winona Assembly, our Chautauqua name here at Bass Lake, will feature a Bible conference in addition to a program of the highest quality inspired by Mother Chautauqua, our predecessor in New York.”
A roar of applause shook the rafters, and the reverend felt close to dancing.
“Imagine this humble structure transformed into a beautiful Presbyterian church. Picture a music hall, college buildings, and a gymnasium surrounding us.” His sonorous voice, engaging smile and natural charm combined to persuade and exhilarate the people. 
“Can you see a few thousand visitors milling about breathtaking flower gardens and luxuriating in the sweet, refreshing lake breeze?” He gestured toward a window. The grounds may have been snow-covered and the lake frozen, but the people saw vividly what he painted with words. 
“Can you picture a few thousand guests rushing about to attend a concert? They will pour in this summer from all over Indiana to hear none other than former President Benjamin Harrison!”
His listeners gasped at the idea of such a spectacle. They jumped to their feet as one and clapped their hands in a deafening declaration of support. At the end of the service, the cheerful congregants stopped to affirm the support of this honorable visionary. They beamed. They prophesied a grand success. They thanked the reverend for choosing Bass Lake to launch a new kind of Chautauqua.
It was March, now, and though the ground had begun to thaw, negotiations with county officials had frozen over. Icy relations jeopardized the grand opening of the Winona Assembly. 
Such were the thoughts of the preoccupied gentleman in the train station when he felt a gentle tap on his shoulder. He turned around and looked in the eyes of a man close to him in age and of considerably distinguished deportment. His black, double-breasted coat had fabric-covered buttons. A silk ribbon set off his elegant, black top hat. His left hand held a highly polished wooden walking stick with an ornate ivory carving at its head.
The stranger extended his hand. The man reciprocated.
“Have I the honor of meeting Rev. Dickey?” He said with a pleasant, mellow German accent, and added, “I am J.E. Beyer.”
That name rang a bell. 
“Mr. Beyer, it’s my pleasure,” Rev Dickey replied with all the dignity of a man of his stature.
J. E. Beyer was one of a trio of brothers who had emigrated from Germany and settled in Indiana as wholesalers in dairy and poultry. They owned and operated Spring Fountain Park. In recent years, they had traded the word “resort” for “assembly” when they decided to bring a small version of Chautauqua to Indiana. 
The two men entered the train together, led by Mr. Beyer who spotted a vacant bench seat and invited Rev. Dickey to join him. Mr. Beyer wasted little time in getting to the point. 
“I’ve been following your effort to open a Presbyterian Chautauqua at Bass Lake.”
“Then, you are aware that certain county and railroad officials are toying with us,” the reverend replied. “We are expecting thousands of visitors. A train line must come all the way to the Assembly grounds, or else the travelers will be stranded several miles away. Yet, officials refuse to act on this non-negotiable condition.”
He half expected Mr. Beyer to quiz him on the details and propose a solution. Instead, the determined businessman caught the reverend off guard with an offer.“
I am sure, Rev. Dickey, that you aware of our own facilities. We have everything you need at Spring Fountain Park to open your Chautauqua on time, and we are willing to sell.” 
Rev. Dickey sat stunned for a moment. Mr. Beyer let his momentous words sink in as he traced the delicate ivory grooves on his cane.
When he spoke again, Mr. Beyer described a first class hotel conveniently located across from the train depot. He boasted an auditorium that could seat two thousand, meticulously groomed flower gardens, several natural springs, and a government post office. The list went on, for the brothers had spent ten years and $125,000 developing the park.
The other passengers could not hear what passed between the two, neither could they look away. The animated exchange provided them welcome entertainment. The men went from episodes of hearty laughter to extended stretches of intense dialogue as if they were formulating a grand idea that would change the world. “It may very well be that we are witnessing history,” one passenger was heard to say.
At the train stop, Rev. Dickey embraced Mr. Beyer and departed with a cheerful countenance and jubilant gait. 
The Winona Assembly opened on July 1, 1895. A multitude of press releases told of a wonderful Chautauqua and Bible Conference at Eagle Lake two miles from Warsaw, Indiana. Rev. Dickey’s unwavering leadership had seen the board and stockholders through a storm of crises; summer brought forth the harvest borne of recent struggles. However, a problem surfaced, a pesky detail from the failed attempt to establish at Bass Lake. 
The name Winona that the Presbyterians had legally assumed for their Chautauqua had come from a village at Bass Lake and was also the name of the post office located there. When the Assembly pulled out and settled instead at Eagle Lake, residents of Winona at Bass Lake were indignant. And when the problem of the mail arose, they dug in and refused to give an inch, their faithful postmaster leading the way. 
While Rev. Dickey advertised that correspondence be addressed to Eagle Lake, people presumed the Winona Assembly was located at a place called Winona, which had been the original plan. The mix-up resulted in hundreds and hundreds of letters—not just to Rev. Dickey, but guest speakers, musicians, teachers, and those spending the summer at the grounds—going to Postmaster Chapman at Winona on Bass Lake who ensured they did not reach their intended recipients. 
The problem became critical in the spring of 1897 after the fledgling Chautauqua won the right to host the prestigious Annual Presbyterian General Assembly. The opportunity was both an honor and an enormous undertaking, but the mail debacle seriously hampered preparations. John Studebaker, a stockholder of the Winona Assembly and founder of the Studebaker Automobile Corporation, wrote a letter to President McKinley insisting something be done. Many presumed that the matter would be settled in a matter of days. 
It wasn’t. 
In January 1898, the Eagle Lake Post Office legally changed its name to Winona Lake Post Office. Despite this attempt to clear up the confusion, people continued to address mail to Winona, Indiana, supplying a steady stream of undeliverable mail to the post office on Bass Lake. Rev. Dickey went so far as placing an ad in the papers with the directive to address correspondence to “Winona Lake, not Winona.” 
The problem persisted.
According to postal regulations, no two post offices in the same state could share the same name, and the only person with the authority to sort out the mess was the President of the United States. In the meantime, innumerable letters intended for the Winona Lake Post Office wound up in the hands of the obdurate postmaster of the Winona Post Office at Bass Lake. 
On August 10, 1903, the Logansport Daily broke the story of the two Winonas: “There are millions in the name for which a religious corporation is fighting against the postmaster at Winona in Starke County,” the article began. It went on to tell how Winona’s postmaster, Cary D. Chapman, characterized as a patriot and a hero of the Civil, Indian and Mexican wars, was defending the right of his post office to retain its name. 
According to the Daily, ninety percent of the people who addressed mail intended for the Winona Lake Post Office left off the word “lake.” As a result, their correspondence went to Winona in Starke County, “the only office in the state,” the paper argued, “lawfully claiming that name.” 
President Theodore Roosevelt, who believed Chautauqua was “the most American thing about America,” sent a letter to the Postmaster General. He, in turn, dispatched postal investigators to the warring post offices. The investigators’ report identified the Winona Lake Post Office as serving far more citizens than the other Winona and punished its postmaster for his part in foiling the delivery of U. S. mail on a technicality. In April 1905, Mr. Chapman lost his fight for the name and his job. The post office in Winona at Bass Lake was renamed Cobbler Station after its new postmaster.
It was an established fact, despite what the newspapers reported, that Rev. Dickey intended to open the Chautauqua on the outskirts of bucolic Winona at Bass Lake in Starke County. That is why the Winona Assembly was legally incorporated by that name in February 1895. When certain officials threw up obstacles, J.E. Beyer stepped in with an offer no one else could match. The result was the perennial problem of rerouted mail at the hands of Mr. Chapman that forced a confrontation requiring the intervention of a sitting President. Rev. Dickey’s fight to bring a Chautauqua to Indiana found him embroiled in a conflict with a rival post office, and it was Winona Lake, not Winona, that emerged the victor. 
Special thanks to: Al Disbro, Winona Lake, IN; Schricker Main Library, Knox, IN; Winona History Center at Grace College, Winona Lake,IN
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chiseler · 5 years
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McVouty!
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I first heard Slim Gaillard in a cramped little new and used punk rock record store just off South Street in Philadelphia in the mid-‘80s. You wouldn’t normally be expecting the spiked and leathered clerk in a place like that to be playing ’postwar jazz, but Gaillard was a different kind of finger-popping jazzbo, as singular a groovy beatnik punk rock wildman as they come.
Bulee “Slim” Gaillard’s early life, as he describes it, was as storied, fantastical, even mythical as Salvador Dali’s or an early 20th century boy’s adventure novel. Given official records are sparse, it’s just better and somehow more fitting to simply take him at his word. It only makes sense, really, and helps explain as well as anything how he became what he did.
The motormouthed madcap hepcat bebop comedy genius behind 1938’s “Flat Foot Floogie (with a Floy Floy),” a performer whose unexpected slips into rapid-fire Spanish, Arabic and Yiddish can at first sound like skilled mimicry, a kind of scatting Sid Caesar, was born in Cuba in 1916 to an Afro-Cuban mother and a German Jewish father. His father was a steamship steward who sometimes brought the young Gaillard along on ocean voyages to show him a bit of the world. But after a stop in Crete in 1928, the ship somehow sailed on half an hour earlier than scheduled, leaving the 12-year-old Gaillard behind. Completely alone and speaking only Spanish at the time, out of simple necessity he picked up enough Greek to get by for the next couple years. He also occasionally hopped aboard passing ships to visit the Middle East, where he likewise learned some Arabic and became enamored with the people, the music and the culture. Then at 16, deciding it was about time he returned home to see his parents again, he booked passage on a ship he thought was headed for Havana.    
Only problem was, the boat skipped Havana, sailing north to New York. Gaillard didn’t disembark there, instead staying aboard as the ship made it’s way through the St. Lawrence before docking in Detroit. Considering he spoke no English, Detroit seemed much more amenable, he would note years later, mostly on account of it’s large immigrant population. With so many Greeks, Arabs and Hispanics vying for work in the auto plants, he was at least able to find people with whom he could communicate, and was taken in by an Armenian family. He picked up English as quickly as he picked up the others, though, and started working odd jobs. Among the odder, there in the midst of Prohibition, was a stint with the notorious Purple Gang, for whom he made deliveries in a hearse carrying a coffin filled with bootleg whiskey. After witnessing too much violence, the preternaturally gentle Gaillard realized it wasn’t the life for him, and took the advice of a tough local beat cop (who also happened to be black) who warned him to get away from the gangs, get out of the neighborhood, and do something with himself. For a black teenager in Detroit in the 1930s, his escape routes were limited. He could go into boxing, or go into music. He tried his hand at boxing for a bit, then decided maybe music was the preferable route.
Gaillard started taking night classes, and after some backstage encouragement from Duke Ellington himself, eventually learned to play guitar, sax, vibraphone, piano and drums. In the mid-30s he moved to New York, having decided he wanted to be a professional entertainer.
Since work as a professional musician was hard to come by, he became what he called a professional amateur, making the rounds of the amateur nights at the local clubs, changing his act as he did to avoid recognition. Sometimes he’d be a dancer, others a pianist, still others a sax player. Simple fact was he could get paid $15 a night on the amateur stages, which was better than a lot of professionals were getting paid. The trick, though, was he couldn’t be too good, If he was too good, they’d never let him play amateur night. So he always had to drop in a few intentional flat notes to cover himself.
Although he was an excellent musician who could play everything from boogie woogie to bebop to Big Band to Afro-Cuban to American standards to children’s songs and classical, Gaillard will never be remembered for his playing. Despite having so many languages at his disposal (the list had since come to include Armenian, German and Yiddish), Gaillard found there were still ideas and concepts beyond what any of them could express. To rectify this he began inventing his own vocabulary, centered around the adjectival verb “vout” (and it’s variations vouty, McVoutm McVouty, etc.) and the suffixes o-reenee, o-roonee, and o-rootee. They were fluid in both usage and meaning, and could be dropped in pretty much anywhere in conversation. By the time he teamed with bassist Slam Stewart and the pair began recording as the musical comedy team Slim and Slam in the late ‘30s, Gaillard had started writing his own songs in the new language he had christened, yes, Vout-O-Reenee. Beyong that, the pair was a master of the dueling jive comic scat, playing off each other and riffing on everything from La boheme and “Jingle Bells” to chicken clucks and food references. Gotta say, Gaillard wrote an unusual number of songs about food—avocados, chili, fried chicken, ice cream, matzoh balls, bagels, peanuts, and whatever else came to mind when he was hungry. He also wrote songs about motorcycles, cement mixers, and mass communication.
Slim and Slam first came to the public’s attention when Benny Goodman performed their song “Flat Foot Floogie (with a Floy Floy) on the radio in late 1937. The song was an overnight sensation, and when Slim and Slam recorded their own bersion shortly thereafter, it reached number two on the Billboard charts. A copy of the song was even included in a time capsule buried at the 1939 New York World’s Fair. The capsule is scheduled to be reopened in the year 6939, and you have to wonder what whoever or whatever finds it will make of what kind of people we were.
Other outlandishly catchy novelty hits like “Cement Mixer (Put-Ti Put-Ti)” and “McVouty” soon followed. The pair’s between-song banter, marked by non-sequiturs, bad jokes, and Gaillard’s new language made them radio favorites. In 1941 they appeared as themselves in the appropriately wild and accidentally postmodern Hellzapoppin’, and performed in a handful of other films in the early ’40s.. Gaillard’s facility for languages, accents and crazy sound effects also earned him occasional voice work on animated Warner Brothers shorts from the era.
In 1943 Gaillard was drafted into the Army Air Corps, trained as a pilot, and flew a B-25 on bombing missions over Europe, which is something worth pausing to think about for a moment. After his plane was struck by anti-aircraft fire in 1944 and Gaillard was hospitalized for months with an arm full of shrapnel, he was discharged. He resumed his musical career, solo this time, recording jams with the likes of Dizzy Gillespie and Charlie Parker and releasing his majestic four-part “Groove Juice Symphony.”
Gaillard was  tall and rail thin with a pencil mustache, a groovy, mellow, and utterly unpredictable hepcat’s hepcat, and was deeply respected within the jazz community. While playing a stint at a little club in San Francisco in the late ‘40s, he met Jack Kerouac and Neal Cassady, whom he  says hun out at the club eight nights a week. They became good friends, Gaillard being impressed by their deep understanding and love of the music. Kerouac would later immortalize Gaillard by famously recounting the meeting in On the Road. (It’s also interesting to note that during a 1968 episode of William Buckley’s Firing Line, a very drunken Kerouac interrupted the discussion about the hippie movement with an impromptu rendition of “Flat Foot Floogie.”)
By the late 1950s, however, the music scene had started to change, rock’n’roll was coming to dominate the airwaves, the jazz clubs which had lined Manhattan’s 52nd Street were shutting down, and Gaillard was starting to feel like he no longer belonged. It’s unclear if the 1957 release of Little Richard’s “Tutti Frutti” had anything to do with this perception. The song was of course a massive hit and is today considered a fundamental, defining classic of early rock’n’roll. True to form, Little Richard refused to acknowledge the song (down to the “Tutti Frutti-o-roottee” chorus) was simply a bowdlerized version of Slim and Slam’s 1938 hit of the same name. Little Richard fans insist up and down they were two completely different and unrelated songs since the Slim and Slam version was about ice cream not girls, but when the singer himself notes his original title was “Tutti Frutti McVouty,” well, there you go.
Gaillard insisted he had nothing against the new music, but it simply wasn’t his scene, so by the end of the decade he stopped recording, stopped performing, dropped out and started looking for something else to do.
For an entertainer of his range, ability and goofy charisma, the choice seemed easy, and he picked up and moved to California. Although often cast as musicians who bore an uncanny resemblance to Slim Gaillard, over the next two decades he would appear opposite Bobby Darin and Stella Stevens in John Cassavetes 1961 feature Too Late Blues and in the 1958 Harlem Globetrotters movie Go, Man, Go! He had guest spots on Marcus Welby, M.D., Charlie’s Angels and Medical Center. He played Sam, the baseball expert in Roots: The Next Generation, and Raymond Burr’s butler in Love’s Savage Fury. Although he claims he was one of the gorillas in 1968’s Planet of the Apes, I honestly can find no verification of this, no matter how much I want to believe it.
After a dinner with Dizzy Gillespie around 1980, Gaillard decided to return to his one true calling. He  signed on for a number of jazz festivals throughout Europe, and started work on a couple new albums. Also at Dizzy’s recommendation, Gaillard picked up again in 1983 and moved to London, where the atmosphere was much more welcoming for American jazz greats than it was in the States.
As if to prove a point, shortly after his arrival, Gaillard was approached by the BBC, which produced a remarkable four-part, four-hour documentary about his life and career. Slim Gaillard Civilization allowed Gaillard to tell his own story, combining archive footage with clips from recent performances, conversations between Gaillard and old friends, candid shots of a family get-together in California (his daughter Jan was married to Marvin Gaye), a few impromptu songs, and even some dramatic recreations of scenes from his childhood. Gaillard’s slow, gentle and simple poetic narration leaves his tale sounding like a children’s bedtime story, which is the overall form the documentary takes.
He was a little slower, a little more, yes, mellow, and the manic energy of half-a decade earlier had ebbed a bit. A new recording of “How High the Moon?” seemed staid and over-rehearsed, even a little bored compared with the unpredictable and mad anarchic ad-libbing of his original 1947 recording, but remains uniquely his own. More than anything, there was a new and unexpected air of melancholy about the 68-year-old, much of it focused on a scene from his childhood. As he was leaving Cuba with his father for what would be the last time, Gaillard had been instructed not to look back, because he would see his mother standing there on the dock and want to go home. He did as he was told, never once thinking he would never see her again. After being abandoned in Crete, he never saw either of his parents again.
Gaillard died in 1991 at age 75, and is mostly remembered today as a novelty act, a kind of clown prince of jazz, but he’d led a singularly American life for someone who didn’t speak English until he was 16, and remains one of the most unique, eccentric, and insanely talented musical entertainers the country’s produced.
O-Roonee.
Jim Knipfel
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