we dance until we’re soaking wet,

we smoke too many cigarettes,

we lose ourselves but we don’t care—

we’re walking on, walking on air.

#shurtape #realmen #soundmen #clothtape #theatricaltape #cottontape #cotton #montana #bitterrootvalley (at Victor, Montana) https://www.instagram.com/p/CetyIvGvkBwkczN9za_oYtnld2_xqD92_nfdKQ0/?igshid=NGJjMDIxMWI=

Possible names for a WaveWave fan child

multiwavelength microwaveable unwaveringly wavelength unwavering shortwaved superwave waveguide microwaved waveringly microwave waveguide shortwave wavellite waveshape superwave picowaved lightwave waveform waveband picowave newwaver wavelike wavering wavelet airwave wavered waverer waveoff wavery waver wavey waved

soundproofing resoundingly soundproofed ultrasound soundproof soundboard soundalike missounded resounding soundingly soundstage unsoundest unsounded soundable resounded unsounder unsoundly sounding soundman soundbox sounders soundest missound soundmen sounds unsound sounder resound sounded soundly

electroshock unshockable aftershock shockproof shockingly foreshock antishock shockable shocking shocker shocked shocks

What do you guys think 😀?

Tom Campbell interviews Peter Tork in Cincinnati.

“Peter Tork, unofficial spokesman, commented: ‘The Monkees must take up about 90 hours a week of our time.’ Micky joined Peter to comment on the question they’re asked most often. ‘Do you play your own music?’ Certainly they do. The concert tour proves that. But they admit they don’t always play the music for records. Their shooting schedule is 7:30 a.m. to 7 p.m. ‘Terrible hours!’ Peter exclaimed. For those long hours, each Monkee earns about $400 weekly from Screen Gems. Is the acting as spontaneous as it looks? ‘People wonder if we ever ad lib right in front of the camera,’ Peter said. ‘And that almost never happens. If the cameramen and soundmen don’t know where we’re going, we can’t get the shot. ‘If we think of something and create it on the spot, we rehearse it twice for the technicians, the director and ourselves. Then we shoot it. So it’s almost impromptu. Sort of impromptu-PLUS.’” - article by Tom Campbell, The Cincinnati Enquirer Teen-Ager, January 14, 1967

«REALITY '86'D

(Shot in 1986 and completed by director David Markey in 1991 for We Got Power Films, approx. 62 min., Super 8 film)

Three bands and crew (a combined total of 13 individuals), 2 Dodge Ram extended cab vans, one equipment truck, one PA system traverse the continental US for six months. A road documentary shot from the inside of the last Black Flag tour ever (the 1986 "In My Head" US tour.) Greg Ginn along with Henry Rollins, Cel Revulta, and Anthony Martinez comprise the final line up of the band. Featuring behind the scenes proceedings and live performances from Black Flag, Painted Willie, and Gone (Ginn's side project, then featuring Sim Cain and Andrew Weiss (later of the Rollins Band) . David Markey was along for the entire trip as the drummer / singer for Painted Willie (with Phil Newman & Vic Makauskas), documenting the six month tour with his Super-8 camera as it happened. Also features roadie Joe ("Planet Joe") Cole, soundmen Davo Claasen and Dave "Ratman" Levine, and the tour manager who kept it all together, Mitch Bury. A crucial turning point in American underground rock. The end of the line for a trail blazing American band.»

DOCUMENTARY | THE SECRET HISTORY OF SOUNDSYSTEMS & UK BASS CULTURE

This is the story of the soundtrack to multiculturalism. This rare documentary takes you into the hearts and heads of the singers and soundmen, the backbone of the UK roots reggae sound systems. Brought along by Caribbean immigrants, gradually they gained a strong following in UK and then worldwide.

Tom Cherry's Old Time Radio Show returns to Dodge City to present an episode of Gunsmoke on August 26, 2023 at the Farmland Community Center at 3:00 pm! Also featuring the comedy stylings of Those Funky Idiots! A lucky audience member will get a chance to play It Pays to Be Ignorant and Wendy Carpenter will sing!

The talented cast includes Wendy Carpenter, Sean Orlosky, Bob Green, Jeff Rapkin, Larry Beck, Debby Girtman and our soundmen, Cliff Lowe and Tony Morris!

That’s August 26 at 3:00 pm at the Farmland Community Center (100 N. Main St, Farmland, Indiana)! Tickets are just a dollar! For more information, please call 765-468-7631.

Radio fun for everyone!

#Repost @budrocktheilluminator ・・・ It's been said that about 12 million of us in the live entertainment business have lost their jobs and income. Today's RED ALERT is an attempt to draw attention to our industry crisis. #redalert #redalertrestart #wemakeevents #lightingdirector #concertlighting #theatre #sound #staging #transportation #venues #stagehands #lightingguy #rigger #soundmen #cameraman #video #production #catering #lightingcompanies #soundcompanies #truckdrivers #busdrivers #merchandise #bodyguards #securityguards #dancers #pyrotechnics #productioncompany #hairandmakeupartist (at Sellwood, Portland, Oregon) https://www.instagram.com/p/CEnoEnZB4S3/?igshid=qinj7j0275cb

Tonight is one of the biggest moments in my career and life. My documentary on @cypresshill drops on @showtime . It’s been a great Journey and life with my brothers @breal @eric_bobo @sendog and @djmuggs_the_black_goat_ @soul.assassins . I just want to thank everyone that worked on it , Watched it , came to the shows , supported us , bought our merch , and last but not least All our Friends , family and loved ones that have passed along the way!!! @massappeal @sonymusic @beetsaladbar @heytheregeorgiegurl @dr_chronicle @1000 all the camera men, soundmen, editors, behind the scenes staff @fancyfilm. #CypressHill #InsaneInTheBrain #EstevanOriol #Showtime #massappeal #sonymusic #ruffhouseRecords #Documentary #hiphop #ThisIsLosAngeles #souLAssassins (at Los Angeles, California) https://www.instagram.com/p/CcmknMLLwy8/?igshid=NGJjMDIxMWI=

Time for a Hells Heroes merch check. I sprang for the VIP pack, which I highly recommend for next time. You get a shirt, poster, patch, laminate card, and access to the balcony viewing area (great shelter from hurled beer cans and trash bins). The @bewitcherofficial shirt with the severed lamb’s head is one of the best band shirts I’ve ever seen. I lucked out getting the very last @ladybeastofficial patch at their booth, and had a wonderful chat with the gents in @warcloudrock that led to a patch/pin combo pickup. Finally, @savagemaster_official knocked it out of the park with a memorable, exciting set that prompted me to snag a tape. . This whole event has been fantastic. The bands have been great, and the organizers are clearly on their game. Whoever thought of making Midnight be a surprise guest reveal deserves an award of excellence, as that was one of the funnest moments of any show I’ve ever been to. Everything is running smoothly, people are having a great time, the sound is good (the soundmen are making sure those bassists are heard!), the merch game is outstanding, and I ate the best quesadillas ever. . I have to give an honorable mention to Oath of Cruelty’s guitarist/vocalist for having the agility to dodge the trash can that was thrown on stage mid-song. The dude didn’t miss a beat. That is dedication to the craft!

I do think a lot of bands need to take hearing damage seriously, for many reasons, but one being they sound shite live and I don't think they realise. Soundmen too, years of exposure to loud music changes what you hear. And I know a lot of PAs in venues are shite. But still

“ Why The Love Parade? James seemed to have chosen it, as usual, more for its status as title than for any evident connection to the plot or the characters of his story. There was a kind of sympathetic magic in the way James titled his fictions, as if by producing works called Stagecoach and Greed he hoped to make of himself not simply a writer but an entire studio; to raise, on the patch of vacant scrub that was his life, a teeming city of costumers, soundmen, hoplites, buccaneers, where he could be producer and director, screenwriter and gaffer and makeup artist, the walk-on destined for stardom and the leading lady at the peak of her career.   

-- Wonder Boys, Michael Chabon

do you have (or by the way, know) any meta on why the pictures mrs hudson was taking in tst weren’t coming out right? i’ve been seeing your blog and there is some brilliant stuff in there🤩

Hi @wizardlysherlok!

I personally don’t yet, but I do remember reading one post (which I will reblog with a link to if I find) mentioning that the photo John has as a wallpaper in his phone during the bus scene is a screenshot from the show. Meaning,  the angle in which John and Mary look at Mrs Hudson’s camera [in the photograph John uses on his phone) fits the angle of them being photographed as they’re being photographed.

It’s a weird choice because when Molly sees a previous photograph when she deletes the fuzzy one, so there is in theory a photograph where the angles make sense.

This fits JPG blog ‘incident’ and the number of instances we see cameramen and soundmen in the episodes in S4, in the sense that it’s a sort of a reverese broken fourth wall, if you will - the show’s production revelas itself ‘on stage’.

Some would call that theatre of absurd, some would describe this as BBC’s Sherlock undertanding he’s a literary character and tries to break free out the story he finds himself locked in. If this is EMP, some (well, that’s the general tone of @loudest-subtext-in-tv‘s EMP meta) would say that Sherlock’s mind couldn’t  get a clear picture of John, Mary and Rosie together because Rosie isn’t real so his mind falters. If this is John’s alibi/blog theory, you could say the picture doesn’t come out because it’s all a lie it was never taken - Mary doesn’t show up in the photo because she wasn’t there, either because she’s dead or ran away.

I tend to think re: John’s alibi that Mrs. Hudson is being used, knowingly or unknowingly in the conspiracy, and that’s why we're shown she's the one taking the photos. It’s a theory I currently call the Paisley Theory, lol.

So anyway, I don’t have proper theory but it seems have been created to confuse us. The one photo that I actually find interesting and intriguing, though, is a different one. See the one hanging between Sherlock’s head and the balloons? There’s an earlier shot where the text ‘fresh paint’ covers it. It looks like the outdoor of a building with an awning pertrubing from it.

I don’t know what it means but I’m willing to bet it means something. It was there in MHR, so it's not new, but it sticks out to me every time I see it.

SUEDE: Style & Substances

Alternative Press, May 1997 (no. 106). Mag cover. Written by Dave Thompson. Archived here.

Suede Give Us A Glimmer...

Bleeding through the debate about vocalist Brett Anderson's sexuality and rumored drug intake, the overall glamour with which society equates a fucked-up lifestyle drapes Suede like a second skin. Dave Thompson travels to London to discover why Suede are one of the few bands that matter in an age of stars who are "just like you."

Brett Anderson leans against an amplifier, hands in pocket, shoulders hunched. To his left, the rest of Suede are playing Fleetwood Mac's "Albatross"; to his right, a television crew is fiddling with camera angles. He wants a cigarette, but he never smokes this close to showtime. Instead, he swings a keychain and glowers into the monitors. It's rehearsal time in Studio Four, a theater-sized room as the BBC, and the only person who's enjoying himself is an increasingly rotund-looking Jools Holland. He's the host of this evening's show, and he's away in another room entirely. 

Later...With Jools Holland is a British TV institution. Less than three years old, it has nevertheless sewn up a comfortable niche somewhere between the chart-conscious grooviness of Top of the Pops and the more indulgent pastures of MTV Unplugged. It's a showcase for bands to run through a handful of new songs, play a favorite or two and give a taste of their live prowess without boring the unconverted senseless. Boring themselves senseless, of course, is another matter entirely, and as Suede are counted into the third rehearsal of their opening song "Trash," you can almost sense the desperation in Anderson's face. Then the action starts, and he's utterly transformed. Though he's barely moving and scarcely singing, he's conveying an intensity that explodes from his very presence, drawing the most disinterested eyes in his direction. Even the soundmen look up from their meters, and the camera crew compete for his undying attention. If Anderson weren't a rock star, he'd make a great lunatic. But because he is a rock star...well, he's probably a lunatic anyway. You would be, too, in his shoes. If the 1990s have given us anything, it's the demystification of the rock star. From the boy-next-door Weezers to the angst-ridden whiners, the message is the same: I'm no different from you; I'm no better than you; and, of course, I'm just as screwed up as you. Enter, or more properly, re-enter Suede, with their third album, Coming Up (Columbia). And all that hard work reducing idols to idiots counts for nothing. Because Suede couldn't be "just like you" even if they wanted to. Bleeding through the "is he?/isn't he?" debate about vocalist Brett Anderson's sexuality and the "does he?/doesn't he?" of his rumored drug intake, the overall glamour with which society equates a fucked-up lifestyle drapes Suede like a second skin. The scent of teen spirit clings to them, the doomed romanticism of consumptive youth which peaked on their last album, 1994's Dog Man Star, and peeks through the stunning Coming Up. Suede deal in emotional extremes, from the A Clockwork Orange apocalypse of their "We Are The Pigs" video in which armed hooligans howl through a burning industrial landscape while Suede gaze down from giant video screens, to the incandescent loneliness of the current "Saturday Night" video, in which a London subway station is transformed into a rave to which the band have not been invited. The band's junkie chic is as apparent in the stoned immaculate presentation of their latest wasted-youth album-cover artwork, as it is in the gorgeously gaunt frame which Anderson angles for the television cameras. Add a live show that oozes subversive glamour; couple that with the fearless decadence of Anderson's greatest lyrics, and whether it's all an act or not, Suede are a walking advertisement for the joyful sins of sleaze. Backstage in the bowels of the BBC, Anderson sighs. He's heard all this before. "Yeah, you can look at it like that, but that's other people's interpretation of it, and that's their problem. You can't look at yourself through other people's eyes, then worry about what you say through their ears; you've got to have some self-belief in what you are." Which is, right now, the biggest thing on 10 legs. Across Europe and the Far East, Coming Up charted at No.1 and has already outsold both its predecessors. Three singles have kept the pot boiling ever since, and the current Suede line-up (their fifth on record since their 1990 "Be My God" 7-inch single debut) is their strongest yet. Like Brian Eno's departure from Roxy Music, founding guitarist Bernard Butler's exit did not so much rid the band of one creative spark, as open the door for the flowering of another. Anderson's unequivocal grasping of the reins, only partly aided by the recruitment of guitarist Richard Oakes, may have diluted Suede's overall sound, but it has sharpened their vision to a razor's edge. The further addition of keyboardist Neil Codling fills the gaps that teen maestro Oakes couldn't plug; the Simon Gilbert/Mat Osman rhythm section is a thunderous roar that never lets up; and Coming Up is unmistakably the sound of the same great band that recorded Dog Man Star. The difference is, Anderson affirms, they've stopped pissing around. "After Dog Man Star, everyone thought we were going to do an operetta or something like that. But you get things out of your system. We wanted to refocus the band, the fact that we were virtually starting again; we wanted to readjust the basics." And did it work? "You can't completely divorce yourself from your past. I haven't got the memory of a goldfish; I was aware that I'd made two albums before it. But it felt fresh, and it felt as though we were making the record away from a lot of the crap you have to deal with, away from the spotlight, which was great. Plus...", and here he gestures to new arrivals Codling and Oakes, "... there's less of an obsession with self-importance, which was definitely a change in the band. The last two albums were quite precious and self-important, and that can be good and that can be bad." Ah, preciousness. Plough through five years of Suede press and the buzzwords leap out: "superficial", "fake", "David Bowie" - three hollow sides to the same soulless coin. But most of the people who call Suede "pretentious" are the same ones who fancy the Spice Girls. And the closest those cynics get to class is the corridor outside the school room. "It does bother us a bit," says Anderson. "People always want to polarize bands into camps, and what I always find objectionable, even with journalists who are pro-Suede, is, they always want to write about us as an alternative to this good, honest musicianship going on elsewhere, which kind of implies that there isn't any good, honest musicianship going on within Suede." Anderson resents that implication, just as he resents the accusations of vanity that are flung at him with equal frequency - the two go hand in hand, after all. "People ask, 'Are you vain?' Hang on, let me turn the question around. If you were going to appear on television in front of five million people, you'd probably look in a mirror to see what you look like. You'll brush your hair and put a bit of make-up on because you don't want to look like a pig. Does that mean you're vain? I don't think it does. "Ninety-nine percent of my career thought is dedicated to thinking about music; a very tiny percentage is spent on image. I may go shopping once a month; but while I don't think we're the honest blokes down the pub, we're not kooky weirdos either. We're just what we are." A decent image, though, is still worth a thousand songs (ask Marilyn Manson), and if it's not their Englishness that holds Suede back in the U.S., then it has to be their appearance. They look weird. Catch the "Beautiful Ones" video: Codling apes the same abstracted pose of diffidence and boredom that once made a star of Sparks' Ron Mael; and Osman and Oakes look like they're trying to extinguish a particularly persistent cigarette end. Their singer is fey. Imagine Bryan Ferry if a stick insect stole his trousers. Their music is arty. And they come on like they're somehow special, so special that America poses little interest or challenge to Suede. Other bands make no secret of their desire to crack the country, nor do they hide their disgust when they fail. Suede, though, never seemed bothered. Past U.S. tours (three so far) have been languid affairs, barely publicized flirtations which almost gratefully acknowledge that as far as most people are concerned, Suede might as well be a lesbian performing artist. Anderson dictates the band's Stateside manifesto: "I don't give a shit." "Don't get me wrong: please don't portray us as some sort of anti-American thing, because we're not. But as far as America is concerned, you can talk about airplay and videos, but all it really boils down to is the fact that America doesn't like Suede. And I'm not going to knock it, if they don't like it, they don't like it." And what don't they like? Kurt Cobain had a tummy ache, and a nation felt his pain. Trent Reznor's dog died, and a nation held his hand. Brett Anderson wrote songs about holes in your arm ("The Living Dead") and pantomime horses ("Pantomime Horse"); he equates love with flyaway litter ("Trash"), and he's never been in rehab. "I hate that rehab shit! That's one place where America get really suckered, with those rehab rock bands. Let me explain what going into rehab means. It means you're cool because you used to do drugs, but now you're a good lad, and you're really '90s, so you want to give them up. But it's a complete excuse, and anybody who says it or does it is a complete careerist. I don't think the public shoulg go out and buy records by people whose record companies have told them to say they're going into rehab. You want to talk about fakes and falseness in the music business; I think this rehab rock thing is such a lot of dog shit." So you don't just say no? "I can't sit here and honestly say that drugs are bad for you, because I don't believe that, and I don't think anybody with a brain believes that." He elaborates: "Smoking a bit of pot and taking a bit of LSD can open a few barriers in your mind, although I certainly don't think taking smack, taking coke or taking crack does anything. I know I've taken drugs before and looked back on it and said, 'That's fucking crap; you should have got your act together and stopped taking them.' They just numb you and turn you into a wrong-thinking fucking idiot. "But that's the whole problem with drugs, isn't it? You can't say 'drugs' because there's so many different factes to it. 'It's an aid to creativity.' Well, some of it is, and some of it isn't. You can't paint everything with one brush." As for the veneer of glamour which Suede's own observations convey, the danger that, to quote the new album's "The Chemistry Between Us," "we are young and easily led," Anderson remains equally adamant. "There's no point in trying to filter things like 'Don't talk about this, don't talk about that.' Lots of times when I'm talking about drugs, I'm talking in a pedestrian context. I'm not trying to make it into a big deal; I talk about it like I'd talk about anything else that's in this room." And though he agrees there is a moral question, he also believes it's impossible to do much about it. "The only way you can set yourself up as something moral is in the broader sense, by not treating music as this completely throwaway, meaningless thing, and not treating the sentiments expressed in the music as completely throwaway, meaningless things. "That's where I see my position morally, someone who can write a love song and actually bring a degree of warmth to someone else. You can't act as censor in your words; you just have to be positive about what you're doing and see that making records that people love, that people cling to, and that help people through sticky patches in their lives is, at the end of the day, a positive thing to do. There's very few things I think that are positive in the world, but music is one of them." And that is that. In an age when a star is only as big as his last three videos, and most stars are as interesting as a line at the post office, Suede are three albums into a career that means more to more people than any of the bickering of Suede's petty, wormwood competitors; and certainly far more than the bitter, twisted harping of their detractors. Stars shine, shit stinks, and the lowest common denominator is nothing to be proud of. No one really wants to watch Hootie feed his blowfish, but Brett Anderson spends "Saturday Night" moping around on a subway train, and it's the best thing on MTV this year. Who cares what else he gets up to? Turning as he heads for the soundstage, Anderson won't be drawn. "My drugs of choice are ginseng and chamomile tea, but don't worry. I'm going into rehab soon."

You think us band members, when we go out and tour, don't hear what the drivers, merch people, soundmen, and women alike, have to say. Like bands that never embrace politics say there better because they're 🎶 doesn't have to be about politics, and the only reason people like political bands, like ours, is because "not that we can smoke their asses off stage, but that it's just politics. I guess that's why political songs like "Illegal Alien" and "Another Day In Paradise" by Phil Collins and Genesis 🙄🙄 were considered musical hacks? #WhiteSilenceIsViolence and make crapfest music too 😉 #JustThinkAboutIt https://www.instagram.com/p/CBI-BlYD4az/?igshid=1c96yyiz6u47d

3 Macam Manajemen Produksi :

1. Pra-produksi

Pada tahapan ini harus mampu menentukan sebuah program. Contohnya harus membuat sebuah kru ketika ingin membuat sebuah film atau video klip dan menentukan talent yang akan berperan di tayang tersebut.

Dalam skala produksi besar yang paling penting itu adalah anggaran. Maka, kita harus mecari klien atau investor. Kita juga harus paham, ide kita ini ingin menjadi seperti apa dan kita memerlukan sekurang-kurangnya 3 orang yang bekerja secara utama, yaitu :

1. Penulis naskah,

2. Sutradara, dan

3. Produser.

Produser adalah orang yang bertanggung jawab dalam pembuatan film dari awal hingga akhir dan merupakan tangan dari produser eksekutif. Produser eksekutif yaitu orang yang mendanai sebuah proses produksi sementara produser pelaksana yaitu orang yang mendanai sekaligus berperan aktif dalam sebuah produksi.

Selain itu, terdapat kru yang ikut bekerja sama seperti kepala cameramen atau Direct Of Photography (DOP) tugasnya mengambil shot atau pergerakan kamera dan memiliki anak buah yaitu cameramen 1, cameramen 2 tetapi, sesuai butuh kamera berapa.

Tim art terbagai atas 3 divisi yaitu lokasi (tempat), wardrobe (baju, rambut, aksesoris), dan makeup (efek, karakter dan natural). Tata cahaya (lighting) membutuhkan sebuah alat reflector, lampu sorot, berapa banyak jenis cahaya, dan lain-lain. Sound engineer membuat atau meng-create sebuah suara.

Editor perlu ikut dalam tahap pra-produksi sehingga memiliki sebuah bayangan akan dibawa kemana adegan tersebut.

2. Produksi

Tahapan yang akan dilakukan dan sudah direncanakan sebelumnya. Orang utama dalam tahap ini yaitu sutradara. Sutradara adalah orang yang mengerahkan atau memetuskan hingga menyatakan ada atau tidaj nya sebuah adegan dan dihapusnya sebuah scene.

Sutradara harus berdiskusi dan menulis lembar satulis yang digunakan DOP dalam membedah sebuah shot atau pergerakan sebuah kamera. Contoh: mengambil gambar off shoulder memalui bahu seperti sebuah percakapan dan orang-orang yang ada disekelilingnya itu disebut extras.

Extras adalah orang yang secara tidak langsung ada di tempat lokasi tersebut seperti ibu-ibu yang berada dipasar disebut extras alami sementara extras buatan adalah orang yang dipekerjakan untuk membangun sebuah suana.

Penulis naskah akan membuat sebuah breakdown script untuk menentukan wardrobe, makeup, dan lokasi. Di dalam sebuah skenario terdapat kode seperti, menulis siang dengan huruf D dan malam dengan huruf N tetapi untuk tanda sebuah lokasi di dalam yaitu INT. (Interior) dan di luar yaitu EXT. (Exterior). Skenario tersebut harus dibagikan kesemua kru tanpa terkecuali.

Soundmen harus membaca script untuk membuat perencanaan dalam sebuah adegan mengenai suara dan memiliki anak buah yaitu boomer, orang yang mengambil atau merekam suara menggunakan alat seperti tongkat.

Tugas tim art harus siaga dalam membantu kru. Tugas loader yaitu, membuat folder saara yang good dan no good untuk memudahkan penyunting gambar dalam mecari file gambar atau suara agar lebih teratur.

Selain ada folder good dan folder no good, terdapat folder choice dimana folder itu berda ditengah-tengah dalam artian sebagai pilihan antara good ataupun no good. Dalam hal itu kita harus teliti agar tidak membuang waktu dan tenaga kembali.

3. Pasca produksi

Tahapan ini merupakan tahapan terakhir, dimana editor akan mengedit hasil yang sudah dishot pada saat produksi.