#Newcastle Fans TV
neil-gaiman · 4 months
Ahoy, sir.
I know full well it's not going to sound great, but it's a question and you might have the answer, so here we go. It's about Johanna Constantine in Sandman.
I saw a tweet you wrote about Johanna being her own character - it was, i believe, in response to her being cleaner than John. You said she can be cleaner for the simple fact that she isn't John, or at least she isn't a gender-swapped John.
I have a question about that. If she's a different character, why is there so much that she takes from John ? Why giving her a Newcastle (even if it's not quite the same), why not modernize or reinject a version of her story with Pandora's box ? I think it's awesome to see a modern version of Lady Johanna, but I wonder what were your ideas behind keeping so much of John's in her episode, and why she wasn't push more into what makes her character different - money, sure, but also henchmen, guns and magic instead of tricks, to name a few.
I know how it sounds like - I met a few fans ever so annoying about the casting. I'm not trying to complain or bash the work you and so many talented people put behind the Sandman. I like this serie, I want more, I like Jenna Coleman as well as I'm thrilled by a Johanna Constantine in modern setting. I'm just curious about how she was thought about.
I also know you must get a whole lot of asks of the type, and i suppose it ends up souding like I'm asking for some justification. I'm not, I'm just curious - and if it seems to mean anything else, note that I'm sorry and that it's not what I meant.
Thanks, anyway, for all you do and have done, and for your attention ~
Because when you move the life essence of a character from universe to universe you keep some things and you change others. I grew up with DC Comics having Earth 1 and Earth 2, and a Batman and a Superman and a Flash on each. Both Batmans were Bruce Wayne, both Supermans were Clark Kent and Kal-El, but one Flash was Jay Garrick and one was Barry Allen. And these were ways of solving problems of time, of dealing with three decades of continuity. The John Constantine in Vertigo who was in his mid-thirties in 1989 is now a pensioner. And the Morpheus of that world escaped in September 1988.
In those terms, the TV version of Sandman exists on Earth-Sandman, a world that starts three decades on. It's not beholden to 1988 comics continuity, but it uses it when it wants to. The person holding the Constantine life essence in this world is Joanna. She didn't sing in a punk band in the 1970s. Her Astra Logue went to Hell, but it wasn't Joanna's fault in the way it was John's in 1979 in Hellblazer 12. She didn't spend the time in Ravenscar Secure Facility from 1979-1982.
She's smart, not grubby, a lot more like the original dandyish John Constantine who showed up in Swamp Thing in 1984 than the unshaven wreck of a man he became.
Tumblr media Tumblr media
And we will get to see a lot more of Lady Johanna in Sandman, if we get future seasons.
Does that help?
1K notes · View notes
dailytomlinson · 3 months
Tumblr media
FAITH IN THE FUTURE: PROMO Happy release day, Faith In The Future. Welcome.
◟̽◞̽  S ◟̽◞̽  T ◟̽◞̽  R ◟̽◞̽  E ◟̽◞̽  A ◟̽◞̽  M ◟̽◞̽ 
Bigger Than Me
Spotify Bio
Written Interviews
Golden Discs
Official Charts
Euphoria Magazine
Los 40 Spain
Dork | Photoshoot
La Stampa Italy
Official Charts talking about 1D
Alt Press | Photoshoot
F1 Tracks
Music Week
The Times UK
GQ Spain
WR Germany
The Guardian
Appearances, Video Interviews & performances
Cadena 100
Matt and Mollie | BBCR1
Radio Deejay Milano
BBC The One Show
Lad Bible
RTL Boulevard
Late Late Show | Download
Z100's End of Summer Bash
Elvis Duran
106.1 BLI
94.3 Radio One
98.5 KRZ
Lattes With Louis | Hot 97.1
SiriusXM Hits 
1075 The River Cocktail Party
Hot 106.7
Power 96.1
Q99.7 Atlanta
Lunch With Louis | Hits 96
103.7 KISS FM 
96.5 TDY | Audacy Check In
Most Requested Live
Live 95.5
Jack Saunders
99.7 NOW
94.9 WiLD
Hits Radio UK
Zach Sang
The Night Show with Mitch Churi
Ask Anything Chat
Soccer AM
Virgin Radio France
Cauet Tv | NRJ
Le Parisien
Late Night Berlin
La Resistencia
BMG Spain Fan Event
Lowkey Deep | Radio Jam FM
40 Global Show
Rolling Stone
ET Canada
Lad Bibble: Ask The Audience
Morning Mash Up: FITF release day
Jojo Wright
One Night Only New York, at the Irving Plaza
La Paris March
Le Heute 
Live with Kelly and Ryan
Radio Disney
Audio interviews
Today FM
Q Music
Listening Parties
The Gluten-Free Radio Show: November 17th
FITF Signing, Rough Trade: 05 of December, 12pm
FITF Signing, HMV Westfield: 06 of December, 5pm
FITF Signing, HMV Westfield: 07 of December, 5pm
FITF Signing, HMV Manchester: 07 of December, 12pm
FITF Signing, HMV Birmingham: 07 of December, 5pm
FITF Signing, HMV Sheffield: 08 of December, 11am
FITF Signing, HMV Newcastle: 08 of December, 5pm
FITF Signing, HMV Edinburgh: 09 of December, 12pm
FITF Signing, HMV Glasgow: 09 of December, 5pm
Intimate gig with Banquet Records: December 12th
Delta Radio (Date TBA)
Radio Energy Austria (Date TBA)
Reschedule TBA: Live 101.5 (Phoenix)
1K notes · View notes
youseeingthis · 18 hours
3K notes · View notes
17-goingunder · 3 months
I was thinking, a headcanon with Sam dating an American girl, maybe from New York because I think he likes the city and idk maybe you met there or something. I think it would be fun to see both teasing the other about their accent and stuff like that. And despite having grown up in such different places, they have a lot in common and it’s a super cute, loving and supportive relationship ☺️
You met Sam when he was recording his second album in New York
You quite literally bumped into him
You were both way too engrossed in a book to notice each other
“Oh my gosh, I’m so sorry!”
“Nah, it’s my fault… who the fuck says gosh these days?”
Sam was a personality to say the very least
Quite the opposite to all the clean-cut American boys you had experienced
It’s what drew you to him
Coincidentally, the two of you were reading the same book
“Nice book.”
“Cheers, yours too.”
You couldn’t understand him for the first two weeks of knowing him
You had to keep asking him to repeat himself
He started slowing his words down and enunciating them more for you
It helped a lot
The lads took the absolute piss out of him when he did it around them
“She’s Americanised ya!”
He invited you to coffee
You ended up picking the coffee shop
“I’m sorry, I’ve not got a fuckin’ clue when it comes to America.”
“I’d probably be the same in England.”
When neither of you was busy, you’d be hanging out with one another
Despite growing up on completely different continents, you were actually quite similar
You both knew what it was like living from paycheque to paycheque
You absolutely adored music
Especially Springsteen
Sam was over the moon when he found out
Having the same taste in TV shows
“The Sopranos is fuckin’ class.”
“You don’t need to tell me twice.”
Sam always took the piss out of your accent
He would often imitate you, which wound you up to no end
Especially because you couldn’t for the life of you do a Geordie accent, no matter how hard you tried
You didn’t recognise him at first
You were acquainted with his music, just not his face
And fuck, if you had known he was this attractive and funny, you would’ve pledged yourself as a dedicated fan a long time ago
It wasn’t until the fifth or sixth meet-up that you realised who he was
“Whatcha been up to today?”
“I’ve been in the studio. Recording me next album.”
“You’re a singer?”
Forcing him to find himself on Spotify so you could listen to his music
“That’s you?!”
“I fucking love your music!”
He finally asked you to be his girlfriend after a month and a half of knowing you
Taking him to your favourite places in New York growing up
Him forcing you to do all the touristy stuff with him
“You’re telling me, you’ve lived in New York all your life and not once gone to see the Statue of Liberty?”
“Why would I want to? I see it every day.”
Tagging along with him when he goes to the studio
Travelling over to England to visit him after he left NY
Newcastle was a big shock to the system, especially considering you hadn’t been out of the US before
Being overwhelmed at how large his family was
Everyone was super nice though
You were glad you had some practice with the accent with Sam and the boys because had you been thrown into the deep end, you doubted you would’ve understood a single word anyone spoke to you
You still struggled mind
Hell, you still do now
You wouldn’t change it for the world
You just wished there wasn’t so much distance between you
But you made it work
You made each other happy so it was worth it
26 notes · View notes
myheartstopperblog · 7 months
Permanent Rain Press interview with Cormac Hyde-Corrin (Harry Greene in Heartstopper)
My notes:
He started to get interested in acting when he was about 14, around the time he got diagnosed with ADHD
His mum is also an actress
He is a big fan of Quentin Tarantino and his films, also the actor Harvey Keitel
He would travel with his mum when he was a toddler because she had to shoot for a TV show in Newcastle and he appeared in the show for a scene
He's studying, with a focus with film and media production
He is most interested in the aesthetic side of filmmaking, how the lighting or editing or cinematography can change the meaning of a scene
He came back from school and his mum told him to audition for the part of Harry
Since Harry's parents are rich the backstory he thought about was that his parents weren't home much and he was sort of raised by nannys
Harry is an entertainer and wants his friends to laugh at his jokes and always picks on people for any little detail
He could see people that were like Harry in his school
Popularity is very important for Harry
His favourite scene to be a part of was the rugby scenes, and when filming the match against te other team they were told to calm down a bit because they were playing too well, when in fact their team had to lose
Christian, Sai and Otis were in the show but just as background (for now)
He really liked how they played with the bisexual lighting in the show
"It's just banter" is his iconic line and he says that it's a very British year 11 boy talk and very real and used a lot
They had The Shinning on the screen when they were shooting the cinema scene
He worked with the fight coordinator for when Harry and Nick fought
The cinema scenes where his last day on set
He likes One Direction and found it cool how he talked about Harry Styles in the show
Midnight Memories was his favourite song and he was sad when they seperated
The fight scenes where emotionally and phisically exhausting and tyring
He meditates and it helped him to switch from Harry to Cormac
Harry's fight With Nick was more of a shock to him than the one with Tao, because he still though that they were joking aroung
He would love to see more of Tao and Elle storyline in season 2
He wants to be a director and watched Euros working on set
He isn't a big fan of social media and thought that he was going to get a lot of hate
When Will threw the apple juice at him it got into his eye and once also in his ear, so he was a bit blind and deaf for few moments
He hasn't read Nick and Charlie and once he says it during the interview his mums says that she is buying it it right now
His favourite artist is Santan Dave
He is also interested in music and writes sometimes (but they are more like poems) and also piano
If he could be any ice cream flavour it would be caramel
49 notes · View notes
natromanxoff · 6 months
Tumblr media
Why the young roll in to see rock’s pied pipers
THEY are the phenomenon of our time. There is nothing within traditional showbusiness that can match the Pied Piper lure of open-air rock and pop concerts.
For a whole new young generation they are the look and sound of 'eighties entertainment, and any reservations were shattered exactly one year ago today by Bob Geldof's global Live Aid spectacular at Wembley Stadium.
And the bandwagon rolls on.
On Friday, and again last night, rock showman Freddie Mercury and Queen, with Status Quo on the bill, drew 72,000 ecstatic fans both evenings to a stadium more noted forthe magic of Kenny Dalglish or Gary Lineker.
A week ago, 41-year-old Rod Stewart and The Faces played for 62,000 on the same turf, and in June 72,000 (the crowd limit) attended an emotional farewell gig for Wham!
I found the age range interesting. The kids turned out for Wham! Rod Stewart's following was in the 20 to 30 bracket, and Queen appealed from the kids to wrinklies.
If you have never seen a big arena rock show, it is a revelation to emerge on the Wembley terracing and look down on the carnival antics of the mass of humanity occupying the pitch.
It is a blaze of colour. There are T-shirts, golf umbrellas, shorts, anything goes fashions, long and mini skirts, scarves, the odd shirtless wonder, and the yellow jackets of stewards. You could be a health risk in suit and tie.
Some jig and dance. Others punch the sky in response to the thudding beat. And still more are singing. They all seemto know the words.
That, coupled with the sound spewing from enormous speakers — like a jet taking off from nearby Heathrow — makes a football crowd roar a mere whisper.
But while Wembley maybe the prime venue, there are many more, and bigger, around the country. When Queen are at Knebworth Park on August 9, around 120,000 are expected.
There were 60,000 recently for rock at Ibrox Park, and 150.000 when Bob Dylan sang at Blackbushe.
The Queen concerts, like most others, sold out almost overnight. There were 500,000 applications for Wembley; the ticket queue at Newcastle was longer than when the "Magpies" were in the Cup Final; and Manchester experienced a similar rush.
Tickets cost one price of £14.50 or £15 and there are no reserved seats. You can stand out front with the majority or find a seat under cover.
So what has produced the phenomenon?
I put that question to two leading British promoters Harvey Goldsmith, 40, who presented Queen and Derek Block, who had the Rod Stewart show.
“First,” said Harvey Goldsmith, “the artists (…) are always a worldwide attraction.
“We have a generation that wants to be involved and be part of ‘the event’. There is a sense of camaraderie and (…) having a day out.
“The fans are there to (…) themselves and they behave very well. They want to see the star band, have a good time and circulate among thousands of others, and share in a special occasion.
“The real magic comes as the sun and light go and the arena darkens. Then you can feel the atmosphere.”
Derek Block says: “These concerts have become possible because of the new technology. They are an event and the public walk around afterwards wearing a T-shirt announcing that they were there.
"In Britain it started 20 years ago with the Bob Dylan Isle of Wight festival. It was unsophisticated and there were no large TV screens.
“It was a time of flower power and anti Vietnam war feelings, and what we had was a young generation expressing themselves. They didn't want to have chicken in a basket and watch cabaret like their parents.
"I remember in the early days discussing with Harvey whether there was a hippie feel in Britain. Would they sit in a field or puddles when they couldn't hear much and the star was a tiny distant dot?
"Thanks to technology and giant TV screens that has changed. But we take a chance with the weather."
Today mounting such a show is a mind boggling operation. This is Andy Zwek, production manager for the Queen and Stewart concerts:
"For six days this week, I had 100 men working on day and night shifts preparing the stage and all the other things. There were 15 trailer loads of steel for the scaffolding.
"The stage measures 120 ft, that's on the ‘D’ behind one goal, there are 120 speakers, a 30ft by 20ft starvision screen has a huge water reservoir to counter balance the weight, and the grass is covered by foam rubber, then 2,000 sheets of plyboard, and on top of that is a plastic surface.
"There are over eight miles of cable, and without doing my sums, the equipment has got to cost over £1 million.
"A lot of fans like to crush together in front of the stage, and with the closeness and excitement they get dehydrated.
“In America they cool them down with a hose but we've given that up. We've taken a tip from Mexico and we've had thousands of bags of water prepared.
"They are handed out by our team with paper cups and take some of the emotion out. It's nice that in seven years behaviour has been great. I haven't seen a sign of blood or a fight."
What about costs?
“We have nearly 700 general and backstage security men on duty," says Goldsmith. "Simply producing the two Wembley concerts, leaving aside artists' fees, the bill is £750,000.
“Do your sums right and it can be profitable. But being one per cent out in your calculations is an expensive mistake. Planning starts seven months ahead and we know almost immediately if we have a sell-out and a financial success.”
Block adds: “There are two reasons we go into the open air — the demand for tickets based on drawing power, and the basic costs. If we went into the largest indoor centres then ticket prices would have to be higher.
"Rod's production cost, including band fees, was around £700.000. Bruce Springsteen did three shows at the stadium last year, not for my company, and he would have been left looking at 800,000 to 1 million dollars for each performance.
"What we are doing is putting on a more costly show than a big West End musical, and there are few British promoters capable of handling the deal.
"It's a bit like putting on England v Scotland at Wembley.”
There are only some 20 stars or bands who can justify the operation. Goldsmith names some… " Dylan, Bowie, The Stones, Queen, Police, Madonna, Neil Diamond, Dire Straits, and Michael Jackson."
Barbra Streisand? "If she would do it, she could be the biggest of the lot."
Leaving Derek Block with the last word. "We've got to get bigger and better. People will become more discerning and must not leave disappointed.
“Pop music goes in cycle of about eight years, with the fan starting at the age of (…) and going on to 19. It is (…) generation which is (…) reflected.
“In a year to 18 months (…) shall reach the end of (…) present cycle and the (…) batch of teenagers will (…) today’s stars as old hat (…) one like Paul Young (…) become the new Rod Stewart (…).
“So it carries on. (…) generation make (…) heroes with some (…) acts like Dylan (…) Springsteen lasting forever (…).”
[Photo caption: The mercurial talent of Queen, left, and, above, the crowd laps up the beat.]
11 notes · View notes
dariusxanderson · 3 months
Tumblr media
NAME: Darius Anderson
AGE: Twenty-six
OCCUPATION: High School Principal 
BIRTHDAY: March 13, 1996
PLACE OF BIRTH: Newcastle, Washington
NEGATIVE TRAITS: Gullible, Resentful
MOTHER: Margaret Anderson
FATHER: Derek Anderson
SIBLINGS: Addy Anderson (deceased)
PETS: None
TW: overdose tw, alcohol tw, drug tw
Darius was born and raised in Washington, though not as an only child. He had a twin sister and Darius was the eldest of the two. The two of them were the best of friends 
They were surrounded by a lot of family growing up, blood related and family friends that they grew up around. The more the merrier, they always said. 
Darius grew up incredibly charming and sociable. He had friends from all walks of life, all social groups but ultimately by the time high school came around, Darius ended up befriending the jocks most of all. That didn’t go to his head and he often tutored those outside his social circle. Academia meant as much to him as sports did. 
Addy was his best friend above all else and with Addy, came Hazal. Darius was the first person to give her a hard time and he had been doing that for as long as he had known her. It was all in good nature but he found a bit of joy from being able to get under her skin. 
High school was time of excitement for Darius and his twin sister, though they tended to dabble in different after school activities. While both participated in underage drinking, Addy used that as a gateway for other things. Darius noticed but he thought she had it under control. 
Addy’s addictions would spiral on and off over the next several years of their life, especially when they went away to college. Both Darius and Addy stayed local, though they didn’t go to the same college. He was close enough to check in on her - but life got the better of him sometimes. 
Darius went to school to become a teacher but he also played football having got into the college on a scholarship. Addy went to school to get a degree in the arts, as she was the more creative one of the two. 
As life went on, Darius thought things were getting better for Addy, until he got the phone call that they weren’t. Shortly after their twenty-sixth birthday, Addy overdose. The funeral brought Hazal back into his life and a few months after the funeral, Darius moved to Vancouver to get a fresh start.
Growing up, they used to visit Vancouver and while it was going to be a fresh start, he also thought it would be a way to get closer to his sister though she was no longer around.
Darius is young for a principal but he worked extra hard to get there. He worked teaching jobs all through college, coaching, summer school, anything he could get his hands on to get the hours.
He still likes playing football, though not as seriously, he loves a good pick up game or playing down on the beach somewhere. 
When it comes to his twin sister and her passing, Darius doesn’t spend a lot of time talking about it. People that were close to him before she passed would know but others now might not. 
Darius gets really into football season during the year and can often be found sitting at the bar with a basket of wings and yelling at the TV. 
wanted connections.
 friends that he met while traveling to vancouver when he was in elementary to high school 
fellow teachers that work at the high school 
football fans and people that he can have friendly rivalries with
2 notes · View notes
Sam Fender: “This album is probably the best thing I’ve done in my life”
The hometown hero has distanced himself from the ‘Geordie Springsteen’ tag, but there’s no shortage of rites-of-passage yarns and colossal tunes on the upcoming ‘Seventeen Going Under’
“You can see the ghost of Thatcherism over there…” says Sam Fender, pointing across the water to a vacant shipyard, where once the shipbuilding industry was so healthy that vessels towered higher than the rows of houses on the shore. We’re on the waterfront in North Shields, just outside Newcastle, and our photographer is snapping away for Sam’s first NME cover shoot.
The singer-songwriter stares stonily into the lens as wafts of seaweed and fishing trawlers are carried by the northern coastal breeze. He’s already been stopped for a few pictures with fans, but remains eager to point out the impact that Tory leadership has had on his working-class town over the last few decades. “It’s been closed since the ’80s, from the ghost wasteland of the shipyards. You’ve got all the scars of Thatcherism from The Tyne all over to the pit villages in Durham.”
It’s as good an introduction as any to the outspoken musician, whose 2019 debut album ‘Hypersonic Missiles’ was a record for his sleepy hometown to be proud of – tackling themes that range from male suicide (the heartbreaking ‘Dead Boys’) to world tensions (and the “kids in Gaza” he eulogised on its soaring title track). He set weighty topics against blisteringly well-executed Americana with the fist-in-the-air euphoria of Bruce Springsteen’s colossal choruses and sax solos. Much like his hero, Sam smartly weaves his own political standpoint and personal circumstance into gripping anthems of a generation, which earned him the ‘Geordie Springsteen’ tag.
“I can’t exactly bat off those comparisons, can I?” he says back in his cosy recording studio nearby. “At the same time, I don’t feel worthy of that tag. The first time I heard it, I was like, ‘That’s fucking sick’, but you don’t want to be riding off the coattails of The Boss for the rest of your life. I can write my own songs, they’re different and my voice doesn’t sound anything like Springsteen’s. I don’t have his growl; I’m a little fairy when I sing.”
He may have toned down the Springsteen vibes slightly on his highly anticipated second album ‘Seventeen Going Under’, due later this year, but there are still plenty of chest-pounding anthems capable of making your hairs stand on end: “I much prefer Americana to the music we have in our country at the moment. I love the leftfield indie stuff like Fontaines D.C, Squid and Black Midi, but I love a chorus and melodic songs. I think the American alternative scene has that down with Pinegrove, Big Thief, The War On Drugs.”
‘Hypersonic Missiles’ thrummed with a small town frustration almost that every suburban teenager could surely relate to. This was most notable on ‘Leave Fast’, where he sang about the “boarded up windows on the promenade / The shells of old nightclubs” and “intoxicated people battling on the regular in a lazy Low Lights bar”, a reference to his beloved local. But album two sees him fully embrace North Shields, an ever-present backdrop to cherished memories and harrowing life events of his youth and surroundings.
It’s no coincidence that the 27-year-old has turned inwards and penned a record about his hometown while being stuck at home like the rest of the country: “I didn’t have anything to point at and I didn’t want to talk about the pandemic because nobody wants that – I never want to hear about it again. It was such a stagnant time that I had to go inwards and find something, because I was so uninspired by the lifetime we we’re living in.
“I’ve made my coming-of-age record and that was important for me – as I get older, these stories keep appearing; I’ve got so much to talk about. I wrote about growing up here. It’s about mental health and how things that happen as a child impact your self-esteem in later life. On the first record, I was pointing at stuff angrily, but the further I’ve gotten into my 20s, the more I’ve realised how little I know about anything. When you hit 25, you’re like: ‘I’m fucking clueless! I know nothing about the world.’ It was a humbling experience, growing up.”
Early last year, before the pandemic hit, Sam was set to jet off to New York pre-pandemic to record in the city’s infamous Electric Lady studios founded by Jimi Hendrix. “Looking back, I’m thankful that it happened,” he says. “If I went off to New York and did my second album there… it wouldn’t have been the same record. I will go and do the third one in NYC, come hell or high water – I’m fucking out of here!
“The forced return home really informed the direction [of the record]. I was on the crest of this insane wave; we’d sold out 84,000 tickets for the [‘Hypersonic Missiles] arena tour that we still haven’t played yet. I’m still waiting to hear when it’s going to be rescheduled. It’s incredibly frustrating; I’ve got loads of frustrated fans. That was all cancelled on the day of the lockdown. I thought it was only going to be a couple of months and that it would be another swine flu thing, but fool me – I was stuck in the house like everybody else.”
It’s not the first setback that Sam has dealt with in his career. In the summer of 2019, he was ready to make his Glastonbury Festival debut with a Friday afternoon set on the legendary John Peel Stage, a rite of passage for any emerging artist, but had to pull out due to a serious health issue with his vocal chords. The mood in the room shifts dramatically at the mention of this devastating period: “I don’t want to focus on that, to be honest, because it’s just negative news and it’s in the past.”
“The further I’ve gotten into my 20s, the more I’ve realised how little I know”
Looking back now, he says, it was a tough decision, but ultimately the right thing to do: “We were doing so much at the time and I just burnt out. If you damage your vocal cords, you can’t take it lightly. If something happens like that and you keep going, you’ll fucking lose your career forever. I never want to end up behind the knife; I just refuse to put myself in that situation.”
The fact that his 2019 breakthrough ground to a halt again in COVID-decimated 2020 “was frustrating as fuck”, he says, “but I took solace in the fact that everyone was stopped in their tracks that time; it wasn’t just me.” This was in stark contrast to the singer’s experience of pulling the biggest moment of his music career in order to rest his vocal cords: “I didn’t talk for three weeks; I had to be silent and just watch Glastonbury on the TV, going, ‘This is completely dogshit’. But you can’t even say that out loud – you’re just saying it over in your head like a psycho. I’d take a pandemic over that any day.”
There was a brief flash of light when he headlined the opening night at the world’s first socially distanced arena, Newcastle’s Virgin Money Unity venue, to an audience of 2,500. Yet Sam’s not in the mood to wax lyrical about that, either. “It was amazing,” he says, “but it didn’t happen again.” A local lockdown in the North East brought the following shows – which would have featured Kaiser Chiefs and Declan McKenna – to a premature end in September: “It was another false start. We thought everything was going to get moving again but then we were just sat around [again].”
As for this reaction to the Government’s handling of the pandemic? It perhaps says it all that he’s selling face masks emblazoned with the words ‘2020 Shit Show’ and ‘Dystopian Nightmare Festival’ on his website. “I think everyone has said enough haven’t they?” Sam suggests. “I never want to see Boris Johnson’s or Matt Hancock’s face ever again. As soon as they come on the TV, I just turn it off.”
Political tension bubbles through ‘Seventeen Going Under’. Its second half boasts tracks such as ‘Long Way Off’, a brooding but colossal festival anthem brimming with angst and unease. “Standing on the side I never was the silent type,” Fender roars, “I heard a hundred million voices / sound the same both left and right / we’re still alone we are.” It’s gripping stuff; a Gallagher-level anthem ripe for pyro and pints held aloft.
Sam says the song is about feeling stranded amid political divisiveness here and in the US, epitomised when Donald Trump supporters stormed the Capitol in Washington back in January: “You’ve either got right-wing, racist idiots or you’ve got this elitist, upper-middle-class section of the left-wing, which completely alienates people like myself and people from my hometown.”
“The polarity between the left and the right has me feeling like I have no identity”
Closer to home, the last UK election, in 2019, saw the so-called ‘Red Wall’ crumble as working-class voters in the north defected from Labour to Tory. “The polarity between the left and the right has me feeling like I have no identity,” Sam says. “I’m obviously left-wing, but you lose hope don’t you? Left-wing politics has lost its main votership; it doesn’t look after working-class people the way that it used to. Blyth Valley voted Tory just north of here. Now, that is saying something! We’re in dire straits when a fucking shipbuilding town is voting for the Tories – it’s like foxes voting for the hunter.”
He’s even seen his own working-class friends peel to the blue side: “I’m like, ‘What the fuck is going on?’ I understand it, though. I’d never vote for the bastards because I fucking hate them and I know what they’re up to, but I get why people don’t feel any alliegiance to left-wing politics when they’re working-class.”
As ever though, Sam isn’t masquerading as an expert: “I’m not fucking Noam Chomsky, you know what I mean? I’m not going to dissect the whole political agenda of the Tories and figure it all out because I can’t. All I see is a big fucking shit sandwich – every day through my news feed – and it’s just, ‘Well: that’s what your dealing with.”
The singer is fond of describing North Shields as “a drinking town with a fishing problem”. Today he adds: “That’s been the backdrop of my life: all of these displaced working-class people. It’s a town that’s resilient that still has a strong sense of community. In a lot of big cities that’s dead. In London everything changes from postcode to postcode, but everything is quite uniform up here.”
When NME was awaiting Sam’s arrival outside the studio before the interview, a passerby clocked our photographer’s gear and asked, “Oh aye – are you waiting for Sam? We all know Sam – a good lad; very accommodating with nae airs or graces about him.” Another pointed to The Low Lights Tavern down the road, where Fender used to pull pints on the weekends: “He was a terrible barman, and he’ll be the first to tell you that. I think he got sacked about six times during his time there.”
Sam (who confesses of his bartending know-how: “He’s totally right!”) hit the local to celebrate when ‘Hypersonic Missiles’ won him a Critics’ Choice gong at the BRIT Awards in 2019, placing the trophy on the bar. “I owed The Low Lights one for being such a shit barman,” he says. “I wanted them to be proud of us because they fucking certainly wasn’t proud of us when I was around working there!”
“Celebrity stuff freaks me out. I’d rather just live my life”
He’s clearly a key member of the local community, then. How did he see the pandemic impact on his family and friends – especially when the North East faced the toughest Tier Four lockdown restrictions last December? Sam pauses before bluntly saying: “I lost more mates; there was suicides again. Mental health was the biggest thing. We lost friends who had drunk too much.”
A track on the new record, ‘The Dying Light‘, is an epic sequel to ‘Dead Boys’, with the poignant last line of the album ringing out “for all the ones who didn’t make the night”. Sam, unable to truly distance himself from The Boss after all, explains: “It’s very Springsteen. It’s my ‘Jungleland’ or ‘Thunder Road’ – it’s got that ‘Born To Run’ feel; there’s strings and brass [and] it’s fucking massive. It’s a celebration. It’s a triumph over adversity.”
He stresses that it was vital for him to be in regular contact with his friendship circle through that traumatic time: “It becomes important when you lose friends to suicide… You realise it’s always the unlikely folks. We lost a friend to suicide at the beginning of last year and it was someone you’d never expect. It really hits home; it’s important to check in on your mates.”
Sam has alluded in previous interviews to a health condition that he’s not yet ready to fully disclose, and tells NME that he spent three months shielding at the beginning of the pandemic: “I was alone for three months and that was very tough… When you’re completely alone and isolated, it’s impossible. I spent a lot of time drinking and not really looking after myself and eating shit food, but I wrote a lot of good lyrics.”
There’s a certain resulting bleakness to some of his new songs, but Sam also wanted light to shine through. “It’s a darker record, but it’s a celebration of surviving and coming out the other end,” he explains. “It’s upbeat but the lyrics can be quite honest. It’s the most honest thing I’ve done.”
You might expect a young hometown hero to rail at having been denied the chance to capitalise on his burgeoning fame in the last year or so, but Sam insists, “I still have imposter syndrome,” adding: “I don’t feel like it’s happened… I’m walking around the street and people ask for photos and it just feels bizarre. I’m like, really? I feel like I haven’t come out of my shell yet.”
Sam has rarely been one to court celebrity, and revealed in 2019 that he’d turned down the chance to appear in an Ariana Grande video. “It was an honour but I would have just been known as that guy in the video,” he tells NME. “All of my mates would have been flipping their heads off, but I don’t think she would really want an out-of-shape, pale Geordie. I’d rather just live my life, because all of this celebrity stuff freaks [me] out, you know?”
He might have to get used to it: things can only get bigger with the arrival of the new album. “As a record I think this one is leagues ahead [of ‘Hypersonic Missiles’],” he says, “I’m more proud of this than anything I’ve ever done. It’s probably the best thing I’ve done in my life. I just hope people love it as much as I do. With the first album, a lot of those songs were written when I was 19, so I was over half of it [by the time it was released]. Whereas this one is where I’m at now.”
“This is a dark record, but it’s a celebration of surviving and coming out the other end”
Still, he adds: “At the same time, this record is probably going to piss a lot of people off.” He’s referring to a line in one of the more political tracks, ‘Aye’, where he returns to his most enduring bugbear, divisiveness, and claims that “the woke kids are just dickheads”. Sam’s no less forthcoming in person: “They fucking are, though! Some 22-year-old kid from Goldsmiths University sitting on his fucking high horse arguing with some working-class person on some comments section calling them an ‘idiot’ and a ‘bigot’? Nobody engages each other in a normal discussion [online] without calling each other a ‘thick cunt’.”
He’s eager to make this statement, though, come what may: “I don’t fucking care any more. I’m not really sure how the reaction is going to be. People used to say things online about me and I used to get quite hurt about it, but now I’m like, ‘Well, they’re not coming to my house’… [But] I get so angry. In Newcastle we say ‘pet’ and someone was trying to tell me that was fucking offensive towards women. You’re not going to delete my fucking colloquial identity. It’s not even gender-specific; we say it to men and women. My Grandma calls me ‘pet’! That brand of liberalism is fucking destroying the country. We could be getting Boris Johnson and all them pricks out of office if we stopped sweating over shit like that”.
Sam might be outspoken, but he’s self-aware, too. When we were talking politics earlier, he said: “I didn’t want to start on ‘cancel culture’ because I don’t want to sound like Piers Morgan [and] I fucking hate that cunt. But there is a degree of it which lacks redemption; people fuck up. Everyone is a flawed character. If you’re not admitting that you have flaws, then you’re a fucking psychopath. The left-wing seem to be that way and the right-wing are fucking worse than they’ve ever been. Politically I have just lost my shit.”
In all of this uncertainty, though, it seems a sure thing that Sam Fender will take his rightful crown – as soon as the world lets him – with the colossal ‘Seventeen Going Under’. “It’s going to be a hell of a return,” he insists. “I know the fans are still there, you know? So I’m not really worried – I’m ready to go out there and do my thing. Finally!”
33 notes · View notes
grealishs · 1 year
here are some of my realistic premier league predictions for every single club:
arsenal: start the season well, but are 14th by october. arsenal fan tv will start shouting for wenger to come back by january, but arteta will hold on to his job all season because stan kroenke doesn’t actually watch arsenal. probably will finish the season 8th though.
aston villa: will have a surprisingly good season overall, but it doesn’t look like it by the end of september and a lot of people will worry about them getting into a relegation scrap, but they quickly pull  out of it.
brentford: they’re gonna have five points by december and everyone will talk about how they’ll break the premier league record for the lowest amount of points ever, but they’ll beat manchester united and sort their season out. still gonna get relegated but it’s not embarrassingly bad.
brighton: relegation battle but finish 16th. rinse and repeat till the end of time.
burnley: they’ll finish 15th. nobody knows how, nobody cares how, nobody knows who any of their players are, and nobody is happy about this. they will beat manchester united at old trafford 2-0.
chelsea: they’ll go out early in the cups and the champions league, but it’ll work out for them because they’ll win the league. tuchel leaves at the end of next summer though.
crystal palace: honestly you can take what I said about Brighton and say the same thing about crystal palace. there’s gonna be some rumours about wilf zaha leaving in january, but he will not leave.
everton: they’re gonna have a bad season, spend some stupid money on some random barcelona reject in january, have an even worse season, but somehow beat manchester city at some point to turn the title race.
leeds: they’re finishing in the top six and bielsa is gonna win manager of the season. tottenham will try and get him in when nuno eventually gets sacked.
leicester: will be in the top four from the first week of the season to week 35 and slowly start bottling it, but for the first time ever, they actually don’t and somehow manage to hold on to top four. good for them.
liverpool: start the season well, get hit with another injury crisis, somehow get it together mid season, but fall short of the top four by two points. there’s gonna be some corners of the fanbase asking for klopp to be sacked.
manchester city: will not win the league or the champions league. for a while it looks like jack grealish isn’t fitting in, but by march, he becomes a key player and has more assists than de bruyne. they’ll with the carabao cup.
manchester united: will finish top three, but nobody knows how or why. they’ll score a lot of goals, almost always as a fluke because their chances created will be very low. they’ll also concede a lot of goals because the midfield cannot hold possession. the fans will be losing their minds from week one.
newcastle united: nobody knows what they’re doing this season. they’ll narrowly escape relegation, but mike ashley will sell to the saudi sovereign wealth, and mbappe will be playing for newcastle next season.
norwich: will get relegated as soon as fulham confirm their promotion. they’ll be back in two seasons.
southampton: they’ll finish somewhere midtable but it doesn’t look like that when they lose 9-0 at some point in october.
tottenham: harry kane comes back and starts training, but he’ll start the season badly and then get injured six weeks in. he’s out till march, but nuno basically drops him when he comes back. will finish above arsenal but not in the top six.
watford: will get relegated as soon as west brom confirm their promotion. they’ll also be back in two seasons.
west ham: do really well in europe, but their league form is gonna suffer a bit. they can’t get europe again via the league, but they’ll win the FA cup beating leicester in the final.
wolves: they’ll finish somewhere midtable. they’ll play manchester united six times this season and every one of those matches will end 0-0 with 2 shots on target between both teams.
19 notes · View notes
Constantine TV Series Episode 4 “A Feast of Friends”
Aight, I feel the need to express some feelings about this episode. I’m not sure this is going to be terribly articulate, but I’ll do my best. Let’s do this.
First off, it’s obvious to anyone who has read Hellblazer that this episode is based off of the first two issues of the comic book series. As I wrote in my post about my experience reading it, these issues were the perfect way to start off the series. It’s like “BOOM! This is how it is! Get ready for some serious shit! This is your only warning; this is what you’re in for.” Even though they did change the story for the episode, I still absolutely loved it. The storyline from the comics is a favorite of mine, but even with the changes made in order to adapt it for TV, this was an awesome episode. In fact, it’s my favorite episode of the TV series. Here’s why!  
   Why is it episode 4?
  Unlike the comics this story was adapted to be episode 4, meaning it doesn’t start the TV series. So, why wouldn’t it start the TV series? I think that you have to look at it from a few different perspectives.
  Let’s start with the comic: Issues 1 and 2, titled Hunger and A Feast of Friends respectively, make up the first arc of the Hellblazer series. Most fans know, however, that Hellblazer is not John’s first appearance in comics; he got his own series after appearing throughout the American Gothic story arc of Swamp Thing. Consequently, many people came into Hellblazer at the time having some familiarity with the character. While this chapter does expand on John’s character some, this doesn’t serve as a major introduction to him. They just drop the reader into one of his nightmare-inducing everyday situations with little to no preparation. Those who are familiar with his role in Swamp Thing will, odds are, not find these issues to be terribly weird or particularly jarring considering it’s in a series about John; they have a good idea what they are in for.
   Here is a quick run-down: John returns to his apartment in Paddington after dealing with the horror show that is the Brujeria in the Swamp Thing comics. Exhausted, he comes back to an unwelcome guest; Gary Lester. Gary is one of the friends who was involved in the Newcastle incident (which is fully explained in issue #11), which left each of them scarred in their own way. Gary dealt with the aftermath via drugs, which have left him wide open for other issues. After foolishly releasing a demon from a sacrificial victim, Gary runs to John for help dealing with the destruction said demon is causing. In this case it’s a hunger demon that causes people to feast upon whatever they greatly desire; food, a crucifix, and even an athlete committing autocannibalism. With help from club owner and Voodoo practitioner Papa Midnight, John betrays his vulnerable and trusting friend in order to stop the demon by instead making him the new sacrifice. Trapping the demon inside of Gary, the literal and figurative ghosts of John’s past haunt and torment him mentally as his friend dies slowly and in agony, ending this arc with a melancholy feeling. John stopped a demon, but at the cost of a friend who truly trusted and cared for him.
Using this story to begin the TV series as is, however, would have been more than a little strange. In the minds of most people outside of the comic book world, John Constantine was first introduced to them via the horrifyingly inaccurate Keanu Reeves film. (I love Keanu, I really do, but that film give me agita). Or, if they were introduced to the show after it had already aired, they are introduced via Matt Ryan’s masterful work portraying him in Legends of Tomorrow. While he does an incredible job in both Constantine and Legends (to the point where I find that I may simply be unable to accept anyone else taking on the role in live action) it depresses me terribly that Legends toned down John’s character so much with all the goofiness. It did not suit John at all! If anything, I find myself feeling sorry for Matt Ryan, who tried so hard to do John’s character justice. Uhg.
   Anyway…Already, a lot of the audience is going to be more than a little taken aback by the Constantine series’ portrayal of the character, however comic book accurate he may be. This show is tailored to as wide of an audience as possible, meaning they expect that pretty much no one has read Hellblazer or Swamp Thing before. Consequently, having the series start by just dropping the audience into his crazy world, especially with this particular story arc, might not be the best idea. I’m not saying that his introduction is done super well with the first episode (it’s not a total wreak, but there are issues) but it would have been much harder to start with A Feast of Friends.
    Now, let’s look at it from another angle: characterization. As the 4th episode this was, odds are, done assuming that there would be a lot more episodes after this (oh, the painful reality), but really the viewers are still just getting to know John. So, these early episodes are supposed to establish his character. They see him as knowledgeable and ready to handle the weird and scary in the first episode, and in 2 and 3 you see that he is serious about his work, a loner, weirdly well prepared, and how he interacts with others. While in some situations he does come off like a douche, his douche-ness is on full display in this episode. Honestly, this is accurate to how he is in the comics; he’s a nasty piece of work, after all. A world class bastard. He gives Gary shit for his drug addiction pretty much the entire episode as well as his choice to mess with a demon and the chaos it made that he now has to fix. He, like in the comics, tricks Gary into helping him and it results in a slow, painful death for the man. Gary really did trust John, and not only did John betray him, but he was callous about it. Now, that’s not to say that the situation and Gary’s death doesn’t bother him, and this is also seen in both the episode and the comic, but John solders through a lot of it with his mask of stoic indifference; he blatantly a deliberately betrays his friend without much hesitation.
    John’s characterization in the show is really important. While fans of Hellblazer know what they are in for (John being a dick, betraying people, sacrificing friends, etc) the wide audience the show was meant to appeal to might not respond well to that. How is the audience supposed to relate to a character whose major personality trait in this arc is to basically be a douche (even if it is justified in a way)? Generally speaking, TV shows try to have a lot of characters with redeeming traits and very basic bitch personalities so that as much of the audience as possible can relate to them in some capacity. They can describe the main character as “cool, quirky, sweet, loving, etc” because that is what network television strives for. The point is for the audience to relate to and find a lot of reasons to like the character, especially the main character. The audience is supposed to be able to see the qualities of the character in themselves. An example of a douchy character being changed for network television is the titular character in TV series Lucifer. He can be an asshat at times, but his redeeming qualities shine through in pretty much every episode; he’s helpful, has a strong sense of justice, and cares about Chloe. He often goes out of his way to understand others, although he often misses the mark, and tries to fix problems and issues that he accidentally creates in order to keep relationships with others. These are things people can relate to, and although he can be rather uncouth, it’s played for laughs, and he has more redeeming qualities than not. If the Constantine series started off with John coldly betraying a friend after giving him shit for his addiction the entire episode with not a lot of his positive traits coming through, from the perspective of most people, this might not be a good way to try and connect with the audience. I’m not saying there are people who don’t/won’t, but again, this is network television and they tend to play on the safe side.
    Comic book -> TV
    Ok so let’s move onto the meat of this; the changes made to the story. People always complain when something isn’t totally accurate to the book down to every last detail (Harry Potter *cough cough*) and making story and character changes to adaptions of comic books is nothing new. However, to be fair, there are some legitimately good reasons for this. Time, money, limits technology wise, and pacing are good examples. The most important thing to consider, in my opinion, is that we are going from a comic book to television. Literally, that is the most important thing. Essentially, what the writers had to do when adapting this story for the show was carry over the plot from one medium to another, which is tricky.
    What’s a medium? A medium is a platform that allows a message to be shared or presented. So, using the medium of a comic book is how Jamie Delano was able to share his message; the story of John Constantine. The writers of the television series then had to adapt the story from comics, a visual and written medium, into a different kind of visual medium with different features to it; stage craft, voice, music, etc.
    Comic books have features for story telling; the size and placement of the panels, the writing, word bubbles, narration bubbles, colors, art style, etc. The pro’s to this are that you don’t get paragraph after paragraph describing a place or a person; they literally show them to you and the art presents those details. They also allow for the art to take in the reader emotionally through what the images convey; messy art, sudden loss of color, or even a sudden blank page after a tragic event are simple yet effective ways to convey emotion that are, at times, difficult or downright impossible to put into words. And sometimes the writer wants to leave things to interpretation or allude to something without saying it outright. While this can be done in writing, it can be done through the art as well, and depending on how skilled the artist or creative a set up can be just as effective if not more.
     In television storytelling can be done with another wide array of features. Close-ups on the actors, the actors and their performance in general, music, background narration, changes in location, lighting, ect. This allows for emotions to come across in different ways; the quality of the acting can make or break the effectiveness of the scene, and music and lighting can alter the message or feel of scene in order to change or heighten the point, pacing, the use of CGI or practical effects, etc. So, keeping this in mind, there are many features that are exclusive to film that are not in comic books, and vice versa. So, as you can imagine, adapting the stories or message from one medium to another is nowhere near as straightforward as people like to think it is. In other words, I tend to give the writers/actors/etc a break when it comes to adaption because, honestly, there is a lot that goes into it and it’s not like I could do better, honestly. I mean, there are piss poor adaptions, I’m not gunna lie, but there are a lot of them that I think don’t get enough credit simply because it’s “different” in some ways.
     Aight, let’s first refer back to what I said earlier concerning the comic; these issues aren’t so much an intro to John as they are literally following him from the end of the American Gothic arc in Swamp Thing and to his apartment where he gets involved with more shit (no rest for the wicked, amirite?). So, again, not a good way to start the TV series. In the TV show, they also have to tie in the changes they set up in the previous episodes. Continuity, my friends.
    So, what is different? Here are a few things: John having a safe house, being in the US, Chaz being American and also not involved, Zed being involved and being Latina, the new angel character Manny, and the absence of Papa Midnight really change a lot about the story. The heart of it is John’s relationship with Gary and the defeat of the demon, which thankfully remains unchanged at it’s core. This is the central idea that drives this story and I think that idea was actually done a bit better in the film medium than in the comic.
   Keeping all of these factors and all of these changes that needed in order to keep things consistent with the TV show’s changes, let’s get into why I think that this episode is good even with the changes, but why I love it.
Tumblr media
I love It
      After taking some time to consider things, I realize that what really makes this episode great is the actors; specifically, Matt Ryan and Jonjo O'Neill. The chemistry between them is undeniable. The way they look at each other and how they talk to each other really makes you feel like, at one time at least, they were friends. The scene where Gary swipes the ID badge and says “I learned from the best” is a great example of this. The look on his face and John’s; I don’t have a real eloquent way to say it. I just sort of feel it.
The retcon of Gary’s character really helps with this. Being that Gary is introduced and then killed off in two issues, you don’t really get to know his character in the comics. He’s only in one episode of the TV series, yet he feels more fleshed out. Soul was added to the character. Showing his struggles with addiction, as well as what I suspect to be depression and PTSD, really humanized him. In the episode, he was more than just a desperate, annoying junky; he was a flawed and relatable human being. Who hasn’t made a mistake? How many people have made BIG mistakes with consequences difficult to handle? How many people are haunted by their actions from the past? Addiction and the effects is has on people is devastating. I’m glad that they kept the ending true to the comics, but the way he was portrayed in the episode really made me feel for Gary in this case. It almost made me hope that maybe he really would get better, and have the chance at redemption that he was trying so desperately to find. But it wouldn’t be a John Constantine series without an ending like this one; John loses a friend and slowly digs himself deeper into hell.
Of course, it’s the ending of the episode that people really remember best. It’s the scenes that solidified, at least for me, Matt Ryan as John Constantine. It’s what really helped me have faith in the series. Watching it now, and seeing what really could have been, makes the episode somewhat bitter sweet for me. I felt like this is when the series really found it’s footing; the acting, storytelling, and how well arcs from Hellblazer could be adapted. This is where I think Matt Ryan hit his stride and we could see what he was really capable of as an actor if they let him spread his wings. In the earlier episodes I was honestly unsure. He looked the part, but the soul of the character had not really had a chance to shine through.
How John treats Gary at the end really made a difference, too. Holding him while he was in pain, and sitting with him as he died in agony; these simple yet effective changes really drove home John’s humanity in the face of evil and the tough decisions he has to make. The look he gives many at the very end, the anger and sorrow he seems to be struggling to hold back, is haunting.
In this episode, Matt Ryan’s love and dedication to John’s character shine. Seeing the story in live action gave this story a stronger impact. Even without a lot of the social commentary that was present in the comic, the live action element is what really helps drive the story home. I think it’s because it’s real people showing these very real emotions that can be hard to translate into art. Not to say that John Ridgway did a bad job, but it’s different in live action.
I hope I was able to get these thoughts across. I wasn’t sure if I should share this or not, but it’s something I’ve been thinking about for a long time. I know this is sort of jumbled, but hopefully it’s not a total mess to read.
11 notes · View notes
The football authorities / gov pushed this Saudi / Newcastle takeover into the long grass cos they didn't want to piss off the Saudis or Qataris who're arguing over this beIN Sports shenanigans (amongst other stuff). But that seems to be resolved now so all that's left is for the authorities here to approve the takeover, which is likely to happen cos bin Salman's fucking minted and that's all that matters. Also everybody's shit scared of him, and of his family business, Aramco, (the richest company in the world) which runs more than 10% of the world's oil supply
Salman recently issued Boris Johnson a threat that if the deal wasn't approved soon there would be "commercial and economic consequences for Britain", as he was growing tired of waiting. The deal also involves the billionaire Reuben brothers, who're long time Tory donors, and personally very close to to Boris Johnson (they paid to do up his office).
So basically the Saudi / Newcastle takeover is going to happen. I think for many it will be a bridge too far - not just cos of the human rights and Khashoggi stuff, but cos of the unfairness of the Prem. City have all but a monopoly domestically, the oil clubs dominate the CL - the Saudis will add to that and possibly out do them all as the Salman is not just richer than them, he's more powerful. He has oil dependent nations by the balls, that's how he got away with the Khashoggi shite.
So don't just expect a new level of gross spending in the Prem, expect changes to English & European football, probably around TV rights. I also think the Saudis will be big fans of the European Super League. If they throw their weight behind it, it's hard to see who'll stop them. Fans stopped it last time, but we're facing a different kind of monster in Salman.
8 notes · View notes
howaythelasses · 8 months
Katie Barker’s equalizing goal thanks to Newcastle Fans TV
2 notes · View notes
neil-gaiman · 4 months
Dear Mr. Gaiman,
First I want to thank you for sharing your brilliant imagination with the world, and for being so kind as to share some of your valuable time with us wackos on Tumblr.
I'm pretty much your age, and I've followed your career since Miracleman. (really. total comics geek. first run everything, i have no shame) You've created some of my favorite characters and stories, and I want to assure you that I am going to trust you wherever you decide to take my brain in the future. There's just one thing about the trailer for the upcoming Sandman series I CAN'T WAIT OMG that makes me a bit trepidatious. Joanna Constantine.
Constantine is Constantine -- this I know. Hair color, gender, age, race, whatever, none of that matters, gimme more I love it. Just one thing... she's so... clean! (*shudder*) Hair is nice, makeup perfect, even her trenchcoat is clean and well-fitted and nicely tied. From what little I see, this is a person who has never woken up with a hangover. Never gotten her arse kicked. Never gotten splattered with blood and gore. Never fronted Mucous Membrane. Never went to Ravenscar.
Like I said, I trust you. And I may have had one beer too many. But if you could give an old fan some kind of reassurance that there's something more here than Barbie Constantine, I'd really appreciate it.
Again, thank you so much for everything you do.
When Episode 3 starts, you'll meet the Constantine you're talking about. The scruffy one in Newcastle, quite a few years before our story proper starts. But that was then.
This Constantine, in the Sandman TV version of the multiverse, came out of Ravenscar determined never to go back. She's followed the money, has a credit card and a healthy bank balance, nice clothes and washed hair. Perhaps it's the lack of the Y chromosome, but she takes after the original Lady Johanna in the clean department, and, like Lady Johanna, she's luckier in some ways, and more sensible in other ways than John.
But she's still every bit a Constantine: a black hole of doom that sucks in and destroys everyone she loves or cares about, someone who will joke on the edge of the pit and charm her way out of Hell if she has to, even if it means leaving the people she loves and a little bit of her soul behind. Someone with nightmares.
Watch episode 3, then let me know what you think. I suspect you'll be happy.
861 notes · View notes
natromanxoff · 1 year
Queen live at Wembley Stadium in London, UK - July 12, 1986 (Part-1)
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
Tumblr media Tumblr media Tumblr media Tumblr media
The second night at Wembley Stadium is probably the most famous and well-documented concert of Queen's career. It was filmed by 15 cameras with the initial intention to air it on TV in October. David Bowie was rumoured to join the band on stage for Under Pressure, but it never materialized. Mick Jagger was in the audience, and hung out with the band before the show.
The band, particularly Freddie, seem to be a bit nervous at various points tonight, knowing well that this was the big show that was being filmed to be seen by millions of people throughout the ages. His voice is in not quite as good shape as it was last night, which led to many vocal overdubs being done for the TV/radio simulcast and official releases. Brian's nerves also reveal themselves early on, as he messes up the tapping solo in the middle of One Vision (the only time he ever missed it), and later he completely omits the first half of the Hammer To Fall solo (which he also did in Brussels).
All of these slight flaws aside, the video demonstrates how Queen had simply mastered their craft, having arguably orchestrated the perfect stadium show. It reveals a band who, through the unparalleled showmanship and charisma of Freddie Mercury, were able to connect with every one of the 72,000 people on hand. Brian May would later refer to Queen's touring work ethic as becoming "a well-oiled machine" when in the swing of things.
Pics 4 is a great shot of the blow-ups of the band members released into the sky during A Kind Of Magic. One of them was found by an old lady in her back yard the next morning.
Before Who Wants To Live Forever, Freddie insists, "we're gonna stay together until we fucking well die, I'm sure." There is a mighty truth to the statement which he certainly may have been aware of at this point.
After the impromptu, Brian May puts on a clinic of how to construct a guitar solo. A polar opposite of last night's mediocre solo spot, tonight's rendition is simply magnificent, and perhaps the definitive example of his musicality in the spotlight.
This is another one of those shows where Freddie shouts "Go Johnny!" during the instrumental part of Now I'm Here, referencing Johnny B. Goode by Chuck Berry.
The bobby hat Mercury is seen with in the acoustic set he stole from a side stage officer during the Newcastle show, in clear view of the audience!
The band attempt a couple more covers tonight, both for the last time - Gimme Some Lovin' and Big Spender. The songs had been tried out earlier in the tour, and the latter had been performed often throughout the 70s.
A fan recalls: "Freddie was perfect, he managed to bring the audience into the show in a way that felt really encompassing and natural. He was on our side and we were on his. Outside of Prince I can't think of any performer I've seen that has managed to bring an audience together as well as he did. It felt communal. His posteuring was always accompanied by a sly tongue-in-cheek understanding that this was a show and he was performing, but he always had a little wink or tongue poke that broke any sense of pomposity. The love for Freddie from the audience was palpable in a way I haven't felt since."
After the show, billed as "Dicky Hart And The Pacemakers" for fun, Queen and some other stars, including Cliff Richard and Samantha Fox, had a jam session at the Kensington Roof Gardens Night Club. Tutti Frutti and Sweet Little Rock And Roller were among the songs played. Short video clips have turned up in documentaries, like The Magic Years.
Samantha Fox recalls: "I sang with Freddie Mercury at a party once and that was fantastic. I couldn’t believe it when he pulled me up. It was their private party in Kensington. As soon as you got into the lift there were naked women painted green, like a forest. They had midgets with little trays of drinks. You just knew it was going to be a brilliant party. Queen took the stage and they jammed for about an hour [the party itself went until about 9am]. It was amazing. And Gary Glitter got up, too! He pulled me up and asked me what songs I knew. And you know when you can’t think? I asked if he knew Touch Me and he laughed and said, 'What about Go Johnny Go?’ We ended up singing that together. It was amazing to do a duet with Freddie."
The party itself was a tame affair for a mere 500 guests, including designers Yves St Laurent, Giorgio Armani, Calvin Klein, David and Elizabeth Emanuel, and Queen's old colleague Zandra Rhodes, who'd designed outfits for them in 1974. One publication recalls, "Queen held a famous party after their Wembley concert in July 1986 at the Roof Garden above Kensington High Street where 500 guests included Cliff Richard, Spandau Ballet and Gary Glitter. 'The uniform of every waiter, boy or girl, was body paint,' remembers Gary. 'At first you didn't notice they had nothing on, then you did a double take and thought, Wow! Only Queen would have thought to do this.' Among the other delights laid on for the guests were a scantily-clad woman on duty in the men's toilet and an equally under-dressed gent in the ladies ready to render whatever assistance was asked. That night Freddie made a point of being seen with Mary Austin on his arm. His boyfriend Jim Hutton was nowhere in sight."
Pics 2 through 4 were taken by Mark Alexander.
25 notes · View notes