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pandasmagorica · 10 months

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Memory reach: Comrades: Almost A Love Story

OK, flying by the seat of my pants here, working on pure memory. I am one of those lucky people who knew what Jim was talking about when, in Moonlight Chicken, he told Wen about the movie Comrades: Almost a Love Story. I saw that movie many years ago here in San Francisco, either at a film festival or at one of the three theaters, alas, long gone, which used to show movies from Hong Kong. It's a great movie. I remember it in particular as the movie that showed me that Lai Ming (namesake of Li Ming in Moonlight Chicken) could act; before that, I had not been impressed by his acting abilities (although I'm not sure where I might have gotten that impression, as I can't seem to be able to figure out which of his earlier films I might have seen, so it may have been a false memory even at that time). But it really is a great movie and worth hunting down. Unfortunately, it doesn't seem to be available on any of my current streaming services.

(Edit: Worldcat lists Comrades' availability in various editions.)

So yes, having to go on a memory of a movie I probably saw about 25 years ago as well as the description on MDL. I've reconstructed my memory about it from two important real world events which happened during the course of the movie: the 1987 closure of the Hong Kong Stock Exchange for four days and the 1995 death of Teresa Teng. Please forgive me for errors of fact in describing the movie.

I also suggest reading @telomeke's post on the connection between Comrades: Almost A Love Story and Moonlight Chicken and @waitmyturtles' post on the same subject, as they will likely be much more coherent than my post which follows. Nevertheless, I am thinking about that movie, want to discuss it here, and will plunge forward with my two Hong Kong cents.

Basically, it's about a long time flirtation between two people who meet after emigrating from mainland China to Hong Kong around 1985 or 1986. Qiao, played by Maggie Cheung - who does a great job as well, and always has yes - knows Cantonese, the language of Hong Kong, and is a bit of a schemer. Jun, played by Lai Ming, is a bit simpler and speaks Mandarin. After Qiao's attempt to cheat Jun, they somehow wind up attracted to each other. However, Jun has a fiancé back in China and Qiao falls in with a mob boss, so although – if I recall correctly – they do have an affair, they never fully connect or wind up with each other. Not sure the exact sequence, but at some point in the film the 1987 stock exchange debacle happens and Qiao is wiped out financially. Possibly that is the trigger for her winding up with the mob boss. And Jun marries his fiancé. I think. Again, my memory of the film is hazy.

Full disclosure: Although I have long known and like the song which opens every Moonlight Chicken episode, I am not a Teresa Teng fan and don't recall that aspect of Comrades beyond: the one scene that I will mention in the forthcoming spoilers, and that the Cantonese title of the film is a title of one of her songs.

The theme of the film seems to be that even that if people might be right for each other, the time may not be right for them to be together. Jim echoes this explicitly in his dialogue with Wen in Moonlight Chicken.

Although the focus of this post is the movie and not the series, I do want to give a side prop to Khaotung for being willing to be caught on screen singing that song badly. This goes hand-in-hand with Ohm's destruction of If You Don't Love Her You're Crazy in that bar scene in He's Coming to Me, another Khun Aof series.

Before we get to the spoilers, another Maggie Cheung film I can recommend is Alan and Eric: Between Hello and Goodbye. Warning: it's a weepie. I've also seen her in Days of Being Wild and Behind the Yellow Line but I don't find it either of those films particularly memorable.

Spoilers follow

Back to the movie:

Flash forward 10 years. Both of them wind up in New York City, both now single, still separate and unaware that the other is not far away. Qiao is picked up by immigration authories but escapes. She winds up in front of an appliance store with a window full of televisions. A news story is playing about the death of Teresa Teng. She turns, and also watching the story is Jun. They recognize each other and smile. End of scene.

The film then flashes back to one of them arriving in Hong Kong on the train from China. They get off the train in one direction. The camera pulls back and we see the other one get off the train in the other direction.

So the film is kind of a variation on the idea of people who are destined to meet. In this case they meet very quickly, but just can't manage to be together because the timing is wrong. We don't even know whether they get together this time because the film has cut away. We hope they'll succeed this time, but technically it's an open ending.

It is truly a beautiful film and I recommend tracking it down and watching it if you can.

While there are some parallels between Comrades and Moonlight Chicken, an open ending is not one of them. Please don't let the potentially ambiguous ending stop you from watching Comrades.

#Moonlight Chicken #Comrades: Almost a Love Story #Hong Kong films #ql series #ql drama #thai ql #cantonese film

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infamousmonkey-cat · 6 months

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Yayyy thank you for tagging me @jennifersbodycore! 💞

Last song you listened to: 'A Message to You Rudy' by The Specials

Last movie you watched: AS YOU KNOW it was The Fly (1986). To defend my reputation for a moment, I HAVE seen several other Cronenberg films as well as the 1958 original, it is just a weird oversight that I hadn't seen this until now

Currently watching: WWDITS s5, The Orville (it's actually better than you think ok), Columbo, Guy Montgomery's Guy Mont-Spelling Bee, also about to start Ghosts s5 and The Strain

Other things you've watched this year: Wow this question is ableist. How the fuck am I supposed to remember when I watched stuff if time isn't real and neither am I. Ummm to confine myself to shows/seasons that came out this year: TLOU, The Most Upsetting Guessing Game in the World, OFMD, Beef, OMITB s3, Jury Duty, Aunty Donna's Coffee Cafe, ???

Currently reading: Tender is the Flesh by Agustina Bazterrica. My dad bought it for me for my birthday and I said I would save it for spooky season so now I have to finish it by Tuesday but MAN is this book a bummer! I don't usually find cannibalism this disturbing but yikes

Currently listening to: A lot of soul and worldbeat music, an audiobook of Dracula, and I am tragically up to date on every single one of my podcasts so I'm doing another relisten of TWIOAT but not a very organised one, just kind of dipping in. If I were to sit quietly with my thoughts for even a single moment it would be a disaster

Currently working on: I always have a million half-finished creative projects that I may or may not pick back up at any time. Thinking of doing NaNo this year so that's percolating

Current obsession: I'm kind of between hyperfixations right now but I guess I would have to say David Cronenberg's The Fly (1986) and also Jekyll & Hyde by RLS which I just finished the other day. So I guess maybe "monsters who fuck" is my current obsession idk

Tagging @touchofflesh if you want! Also anyone who wants to do it just say I tagged you. In my heart I did tag you

#if you saw my typos and stray html tags no you didn't #oh i forgot i'm watching rick & morty too #i thought ep 1 was not great but ep 2 was actually an all-timer so

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hoodiesnightmares · 1 year

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Ranking body horror films

This is my opinion don’t kill me

Tusk (2014) 🚫 Don’t recommend

4/10 acting. There is a talented cast onboard for this one giving very poor performances.

Not funny nor very scary. Like Human Centipede, it has a very disturbing concept but a tame execution, and even tamer at that. The humor is basically your average American jokes about Canada with a little dirtier humor in there.

It is a horror comedy, but it’s hard to tell whether they’re trying to be more funny or scary. I consider it more on the comedy end of the scale.

Human Centipede (2009) EXCLUDING SEQUELS ✅ Recommend

No amount of “hear me out” will get me to get people to watch it. That’s fine, but here we are.

Not much gore. The concept is what does the work for the movie, but also the menacing demeanor of the Doctor and the atmosphere created by the setting. It takes place inside the doctor’s home, but still gives off the clinical and suffocating feel of a hospital. However, before you could see the doctor’s true colors, the lighting of the house had differed dramatically in such a way that it gave off almost a feel of solace and warmth, with something just slightly off.

The movie understands what is scary about itself. It is not trying to shock you, it has a story to tell. I think because of the premise it puts forward it’s a very misunderstood movie, and I agree that it is pretty disgusting, but that is also the point.

The characters are somewhat smart. You can root for the leading woman because she is taking the initiative to escape, and it hurts to see her efforts in vain. That is more scary than watching an idiot get what’s coming to them for their negligence.

The Fly (1986) ✅ Recommend

This is my favorite Cronenberg film by far. The visuals on Seth Brundle’s transformations are like nothing I’ve seen, and even besides the visuals, there are things that convey to the viewer that Seth is becoming a fly (ie him filling his coffee cup with sugar when no visible changes are present.)

The fate Seth is presented with is absolutely terrifying. He already would’ve had to live out the rest of his days as an almost skinless insect man without any elevated though, but he also ended up fused with a metal door. The way he begs for death in the end is a clear sign that would be his only relief in that case.

Jeff Goldblum is a fly in this movie. Forget the first two bullet points, that should be reason enough for you to go watch it. He eats a donut with his own vomit, man.

Tetsuo: the Iron Man (1989) Undecided

I can’t, with certainty, say whether or not you should watch this. It’s a pretty disgusting movie, but it has wonderful visual effects and well executed body horror.

The opening scene. It’s sure there.

The drill scene. Oh boy. That’s sure there too.

The stop motion on the salaryman’s transformation is impressive and wonderful. The sound design? Phenomenal. The story? Weak, very weak.

Eraserhead (1978) ✅ Recommend

This is a movie only worth watching if you’re willing to entertain its weirdness. If you come in expecting something literal and straightforward, go watch one of these other movies.

The movie perfectly captures the feeling of a nightmare. It is full of shadows and maddeningly quiet. A lot of what you can imagine will go wrong, does, and the characters react so much differently than any person would. Everyone in this dark world seems resigned to their fate.

The Lady in the Radiator’s song is beautiful, and adding to the nightmare point, sounds somewhat like a sweet lullaby. Even though it’s just a catchy tune with only two unique lines, it is very relaxing and well sung.

Thanks for your time

#cw body horror #horror films #horror #text post #movies

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britesparc · 2 years

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Weekend Top Ten #553

Top Ten Music Videos

So, music, yeah? Alright, innit? I’ve never been a big muso-type person. I’ve never been one to read the NME or Q particularly, to follow a band religiously and find out all about them. But music videos? They’re like little films. Them I can get behind.

Back in my CITV days I liked using commercial tracks in my promos (I mean, I always like using commercial tracks in my promos, but I find other companies are a bit more proscriptive either for financial reasons or for reasons of tone and content). The best way for someone without an in-depth and far-reaching knowledge of the music industry to find good tunes? YouTube. Or at least that’s what I find.

Anyway, there’s always something cool about music videos. As a cultural artifact, their popularity really ties into the rise of MTV in the eighties; yeah, people made videos before that, but I’d say what we consider a video now – the artform – is effectively a product of the eighties. Nowadays, with TV broadcasts of videos essentially rendered an afterthought, YouTube is the place to debut them; they become mini-events, more cinematic in presentation sometimes, free of concerns of censorship or audience. And, of course, a music video is a great playground for artists – not just the musicians but the directors, the designers, the animators. Loads of A-list Hollywood director started out making music videos.

But what makes a good music video? I think, like all art, the answer is “it depends”. It’s cool when there’s a visual and stylistic resonance with the song. Also if it’s just visually compelling; well-directed, exciting, beautiful to look at. Cool, experimental techniques – styles of animation, for example – are another thing. Or if the musician behind it all is also the one directing, overseeing the whole thing, carrying through an artistic vision as if it’s basically just a short film with a song in it.

But a great video doesn’t have to do any of that, really. It just needs to be a really cool music video. Just like a movie or a book might be deep and heartfelt and thought-provoking and artistically adventurous, but then you decide to watch Jackass instead. Anything counts.

And so we have my list; my ten favourite music videos. Now, it’s true, if I were more objective I might have been able to venture further into genres beyond my comfort zone to find other examples of truly excellent videos; but no, this list is pretty much comprised of songs that I like that also have terrific videos. Make of it what you will. Now go and play the guitar on the MTV.

This is America (Childish Gambino, 2018): a terrifying tour-de-force performance by Donald Glover and director Hiro Murai, presented as one continuous, astounding shot. We’re treated – if that’s the right word – to a tableau of images representing various factors of modern American culture, all of it filtered through the lens of the 21st century Black experience. Full of incredible references and pastiches tying police brutality and gun fetishism to slavery and Jim Crow, it’s the sort of meta-textual piece that’s begging to be hyper-analysed. But beyond all that it’s just a phenomenal, haunting, compelling, entertaining, tragic piece of work.

Sledgehammer (Peter Gabriel, 1986): I’ve always been fascinated by animation (this won’t be the last animated video on the list), and this one hooked me even as a tiny child. An intricate and beautiful piece of work from Aardman and the Brother Quay, directed by Stephen R. Johnson, a cavalcade of impossible activities fly around Gabriel’s head as he sings, the stop-motion effects of his face giving the whole thing a stilted, distorted, unique presentation, making it decidedly, delightfully off-kilter.

Nobody Speak (DJ Shadow feat. Run the Jewels, 2016): juxtaposing the coarse, vulgar, and exquisite lyrics of a rap battle (with imagery stretching from Snoopy to Trump) with a conference room of middle-aged white guys debating is just a genius, hilarious idea right from the get-go, but this is executed to perfection. Sublime performances of the actors miming to the song conveys a genuine emotion and, well, depth to it all, as matters escalate to a full-on brawl of powersuited business-types, throttling each other and braining people with flagpoles. Bonus points for the random piglet.

Hurt (Johnny Cash, 2002): reinterpreting a very personal Trent Reznor song into something identifiably Cash is one thing, but this video – directed by Mark Romanek – elevates it into something else. A haunting elegy to a life of pain, mistakes, and love, it’s one of the most beautiful videos of all time; footage of an aged Cash playing guitar is interspersed with shots of a deserted Cash museum, old performances and home movies, and increasingly disturbing religious imagery. It’s intensely sad and heroic and triumphant and melancholy.

Thriller (Michael Jackson, 1983): this one would be even higher – probably the highest, truth be told – if it weren’t for the problematic nature of some of the key artists involved, including director John Landis. Talk about music videos as short films, this one is over ten minutes long, homaging and pastiching multiple tropes of classic monster movies. It’s delightfully macabre and creepy, with some incredible prosthetics and makeup work, with – it must be said – a fantastic performance from Jackson, perfectly skirting the line between the inherent creepiness and sexiness of his persona. And, yes, Landis directs the arse out of it, with a barnstorming dance sequence that has to be seen to be believed.

I’d Lie for You (And That’s the Truth) (Meat Loaf, 1995): coming after I’d Do Anything for Love and Objects in the Rear View Mirror – both directed by Michael Bay – this video was an event. I remember there was even a making-of broadcast on TV! And whilst it might not be as beautiful as the others, it’s a production, a full-on Indiana Jones-style stunt spectacular, with vehicle chases and explosions and Xander flippin’ Berkeley. It’s just big dumb fun and I love it; ironically, more Michael Bay-ish than the videos he did direct (Howard Greenhalgh made this one).

Money for Nothing (Dire Straits, 1985): another exceptional piece of ground-breaking animation that captivated me as a child, this was a rather revolutionary use of computer graphics. Looking like something from an N64 game, two workmen complain about musicians on MTV whilst footage of the band plays in the background – delightfully, they even have rotoscoped headbands and guitars, as if the video wasn’t already eighties enough. Despite some rather dodgy-in-retrospect lyrics, this remains an excellent, landmark video.

Weapon of Choice (Fatboy Slim, 2001): beautifully directed by Spike Jonze, with a great central performance by Christopher Walken. The deserted hotel foyer is artfully shot, and Walken appears suitably weatherbeaten and dejected. But then the music starts, and he dances – exquisitely – around the empty space, his moves simultaneously elegant, elaborate, and amusing. It builds and builds on this amusing concept until eventually he leaps off the mezzanine and flies round in the air, in what is an impressive piece of airborne choreography. Perfectly marries the unabashed joy of dancing to your favourite music with the contradictory aesthetic of a sad, abandoned hotel and a sad, abandoned man.

Take On Me (A-Ha, 1984): another one that’s here due its gorgeous animation. We all know the story: in beautifully rotoscoped line-art, we’re taken inside a comic book, where the interplay of live-action footage and animation is staggering for its time (as the camera pans around characters who alternate between live and animated). it’s really something, and is also excellently directed (by Steve Bannon), brilliantly timed, and even though it’s a bit of a cliché nowadays it remains a really compelling video.

Like a Prayer (Madonna, 1989): just edging out the playground hilarity of Sabotage or the kinky robot escapades of All is Full of Love is this, a pean to bonkers religious imagery, white guilt, and just how sexy Madonna is with dark hair. Madge herself plays a kind of fallen woman (she literally falls over right at the start) who hides in a church and whose remonstrations awaken a Black Christ. She speaks to God, receives stigmata, dances in front of burning crosses, and rescues a falsely imprisoned Black man, thereby – presumably – resetting the clock on police brutality and race relations. It’s utter batshit. It’s bananas. She makes out with Jesus, for Christ’s sake. I adore it, and not just because it’s her best song. The sheer bloody hubris of it, combined with its sincere attempt to make a valid comment on racism in society, is something to behold. It’s also a really beautiful video, directed by Mary Lambert, and it’s worth pointing out it was hella controversial.

#top ten #music #music videos #mtv #childish gambino #animation

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natromanxoff · 3 years

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Queen live at Forest National in Brussels, Belgium - August 24, 1984

Some parts of the Hammer To Fall promo video were filmed during this show - the camera was filming the audience reactions during TYMD, Radio Ga Ga and Hammer To Fall. On the next day 20 fans from the Dutch fan club were invited to come again to the filming of the promo video.

At the gig, the band asked the audience to return the following day for the shoot. However, most likely assuming it was all a joke, the vast majority stayed away; in fact only a dozen fans turned up. Undeterred, the shoot went ahead anyway, with the band's performance that day interspersed with footage shot the previous night.

(x)

This is the first show of The Works tour.

According to the July '89 issue of Record Collector, Queen ran through about 40 songs during rehearsals. This list of songs rehearsed that didn't end up in the setlist comes from someone who worked on the tour:

Great King Rat (longer version), Brighton Rock (full song), I'm In Love With My Car, Sweet Lady, White Man, We Will Rock You (fast), Play The Game, Need Your Loving Tonight, Put Out The Fire, Las Palabras de Amor, Life Is Real (both Freddie solo piano and Freddie/Brian acoustic duet versions)

The keyboardist for this tour (and also the '86 Magic tour) is session musician Spike Edney. He would also lend some vocals to many songs and play rhythm guitar in Hammer To Fall. He and Roger Taylor would form a band called "The Cross" in 1987 which spawned three albums, and he would return to Queen in the 21st century to play on the tours with Paul Rodgers and Adam Lambert.

Spike was recruited in a very informal way by a Queen associate. He went to Munich for their first rehearsal in early August, wound up partying for most of the first night, and missed the first day's rehearsal. It later transpired that everyone else had. He recalls, "The next day, we all managed to get to it eventually, to the first rehearsal, and all the gear was set up. The stage was huge, and I thought "Oh well, here we go then" and we got to the first song , and what I'd forgotten was that they hadn't actually played together for two years. So they said, OK, let's try one of the new songs, I think it was Radio Ga Ga, and we started playing it, and course, I knew it, I'd been studying it for weeks. You know, 1,2,3,4 and we start and we get about a minute into the song and the whole thing collapses. And they all look at each other, you know, very sheepishly, and they say, "Anyone know how it goes?" and I say "well, actually, I know. I know how it goes" and they said "Ah". And so I started showing them the chords and everything and Fred looked at me and said "You don't know the words, do you?" and "Well, yeah I do actually" so then they all came round the piano and we spent the whole day just going through songs, and I thought, "I'm gonna be all right here, this'll be OK"!"

The show started very late, as the band were still doing soundcheck when they were supposed to go on. Apparently over the previous week there were few occasions when all four band members actually showed up for rehearsal. Many songs (likely those listed above) never made the setlist, and soundcheck was an extensive cramming session, particularly for the older material that they hadn't played in years.

Roger Taylor later reflected that this European tour was one of his favourites, and many fans cite the early Works setlist as their favourite ever played by the band. Three medleys are now played, two of which have revived many old songs: Killer Queen, Seven Seas Of Rhye, Keep Yourself Alive, Liar, Stone Cold Crazy and Great King Rat. Staying Power from Hot Space returns to the set, as does Sheer Heart Attack from News Of The World. Only half of Staying Power is played, and it runs into Dragon Attack, followed by an improvisation running into a more compact version of Now I'm Here compared to previous tours.

Many people who attended shows on this tour recall Queen having a very heavy sound, especially on songs like Liar and Stone Cold Crazy. By 1984 they had gained a reputation as being one of the best live rock acts in the business.

Six songs from The Works are performed each night, and the introduction tape is from the album track "Machines". After the heavy G chords are heard on the tape twice, the band walk on stage in the darkness to play the chords the third time, which leads into the brand new "Tear It Up". This is yet another effective opening to a Queen show, something they would perfect time and time again.

I Want To Break Free is performed each night in 1984-85 as the first encore, with Freddie coming on stage sporting a pair of huge plastic breasts under a pink shirt. Part way through the song, he would remove the breasts and twirl them around for a while before finally throwing them into the audience. Some souvenir! As a result of this gag, Another One Bites The Dust has been moved from the encore to be earlier in the set.

This tour showcases an incredible lighting rig and an overall setup mimics the movie Metropolis, from which scenes were used for the promo video of Radio Ga Ga last year. The huge wheels behind the stage (modelled after the ones on The Works album cover) rotate at mostly random times - usually because they are turned manually by various crew members such as Roger's tech Chris "Crystal" Taylor whenever they have a free moment (Freddie Mercury's assistant Peter Freestone told the tale in 2021):

“Yeah, I mean Rio was… amazing. The feeling from that crowd… you know, something like 350,000 people. Oh, you can’t beat that. And when you’re flying in a helicopter over that crowd, it was stunning. But the thing is, I know this sounds really, really stupid but [laughs]… one thing I will always, always remember from that tour was, remember, in the back of the stage you had these wheels that turned every now and then, not constantly but just every now and then. That was because there was… the guy looking after Roger’s drums and me who actually turned those wheels. And there was no set cue or anything that, “Oh, it has to start on this bar, on this song.” No, it was when he wasn’t doing anything and I wasn’t doing anything, we’d say “Ok, let’s go and do it.” And we turned the wheels for a couple of minutes and then left them alone. He had then to do something for Roger and I would just sit there like I always did. And then you’d go back and you’d turn the wheels, like a hamster. We were like hamsters…”

However, a crew member who worked on the tour recalls otherwise: "I do know local crew members were used on the UK shows and certainly (a number of) European gigs. The other thing is that Radio Ga Ga had a set piece with the cogs and lighting, using low ambient lighting and strobes to emphasise mechanical motion of the cogs during the instrumental break. Would Roger Taylor be happy with no one covering him/his kit during a show? Possibly Peter Freestone is remembering production rehearsals when any spare bodies might have been asked to operate the cogs?"

During vocal improvisations on this tour, Freddie would often include bits of "Foolin' Around" and "Living On My Own" from his pending first solo album, which he had been working on during this period.

Freddie now plays a Telecaster for Crazy Little Thing Called Love. It would remain like this through the Magic tour.

The band no longer bring a gong with them on the road. Roger now does a cymbal roll at the end of Bohemian Rhapsody.

A fan recalls hearing the band running through Tear It Up whilst queuing up to enter the venue.

Freddie's voice is in superb shape for this show, but it will quickly weaken as the tour progresses. As incredible as Freddie Mercury was, he certainly did not take care of his voice at times, especially in the mid-80s. After a couple years of heavy smoking, Freddie's voice now sounds a lot deeper and raspier overall.

Before It's A Hard Life, Freddie says, "I think tonight we're gonna do songs from just about every album that we've ever made. You heard some very early stuff from the first album. Right now I think we're gonna do something very new, and we'll see what you think of it."

Freddie does a vocal exchange with the audience before Staying Power, singing "Get Down Make Love" and "Gimme Some Lovin" a few times. The band would improvise bits of the latter a couple times in 1986.

This is the only show on the entire Works tour where Roger plays regular acoustic drums on Another One Bites The Dust (before which Freddie teases the audience with a bit of Mustapha). For the rest of the tour, he'd play electronic drums. He'd also integrate the electronic drum kit into a few other songs, like at the beginning of Hammer To Fall, where one might argue that his sounds don't appropriately complement the guitar to create the intense, heavy sound.

The band sound very tight on this opening night of the tour, with the only exception being the rough transition from Stone Cold Crazy to Great King Rat. The keyboard and guitar solos are integrated together for the first few shows of the tour, during which Brian plays a few bits from Machines. Spike Edney uses his vocoder (a Roland VP-330) for the "machines" and "back to humans" lines heard throughout the tour during this spot (he would use his vocoder for the "radio" lines in Radio Ga Ga as well). After this segment, Brian then gets a few minutes to play on his own as usual.

Parts of the promo video for Hammer To Fall were filmed during this show. Claims from some (even official) sources state that Freddie invited the audience back for (what would actually be "additional") filming the following day aren't true. Here is all that Freddie had to say before the song: "This next song we're gonna use in our next video. So everybody just go mad and maybe later you'll see one of you guys inside the video one day. Oh, just go crazy, take your clothes off. It's called Hammer To Fall." After the song, he simply says, "Good night, you guys!" as that was the last song of the set.

Here is a fan's recollection: "On the night of the gig, there was a camera mounted on an arm that would swing over the front rows of the audience during a few songs. These audience shots were taken during Tie Your Mother Down, Radio Ga Ga, and Hammer To Fall itself. I guess they also had a camera up in the box at the back of the hall [as there are a few shots of both the audience and the band]. I don't remember any cameras onstage during the gig - just the one mounted on the arm."

The Dutch fan club invited only about twenty of its members to attend the video shoot the next day. They were instructed by a roadie to sit quietly on a chair and not to move or approach the band members. After a few hours, Brian came over and had a chat with them, checking to see if they were enjoying themselves and if they were hungry. He then promptly ordered them some take-out!

A minute of Tie Your Mother Down from this show was later broadcast on the Belgian TV station "RTBF" (x) (x). An audience-shot video allegedly exists as well, containing five songs.

After years of speculation, the existence of more footage from this show was proven when bits of it were included in the promo video for Let Me In Your Heart Again in 2014. About 30 seconds of Somebody To Love (largely crowd shots) were seen. There is, however, no accompanying audio. (x)

The first photo is from the autumn 1984 Queen fan club magazine. Brian is seen with a watchful eye over the proceedings. Tour manager Gerry Stickells and his wife are also in the shot.

Pics 2 through 6 were submitted by Alessio Rizzitelli, and the seventh pic was taken by Dave Matkin.

(x)

#queen #queen band #roger taylor #freddie mercury #brian may #john deacon #queen concerts

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miserablesme · 3 years

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The Les Miserables Changelog Part 2: 1985-1986 West End

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. Today, we look at the differences between the later of the two available Barbican preview audios (more on that in Part 1) and the West End variant of the musical as it existed in 1986. Only one rather poor quality audio is available of the show's pre-Broadway, post-Barbican form (though a friend of a friend has multiple masters from the era that she apparently keeps meaning to digitize). It is known to come from 1986, but the exact date remains a mystery. As such we cannot know when exactly most of the changes might have been made.

Reportedly (according to The Complete Book of Les Miserables) the majority of these refinements were made between the closing of the Barbican show and the opening of the West End one. However, some further refinements were doubtless made during the Barbican previews, and some likely were made between the opening of the West End production and whenever the audio was recorded. With all that cleared up, let's get started!

As I mentioned in Part 1, the very early Barbican previews of the opening "Work Song" featured this chain of lyrics (no pun intended):

I’ve done no wrong

Sweet Jesus, hear my prayer

Look down, look down

Sweet Jesus doesn’t care

I killed a man

He tried to steal my wife

Look down, look down

She wasn’t worth your life

I know she’ll wait

I know that she’ll be true

Look down, look down

She’s long forgotten you

As has also been established, later previews removed one sequence of lines to create the following exchange:

I’ve done no wrong

Sweet Jesus, hear my prayer

Look down, look down

Sweet Jesus doesn’t care

I killed a man

He tried to steal my wife

Look down, look down

She wasn’t worth your life

However, by 1986 another sequence was removed and the originally removed one was added back then. Thus, the still-current lyrics as of today are as follows:

I’ve done no wrong

Sweet Jesus, hear my prayer

Look down, look down

Sweet Jesus doesn’t care

I know she’ll wait

I know that she’ll be true

Look down, look down

She’s long forgotten you

A much better choice of cuts in my opinion. The point of the opening scene is to present the prisoners sympathetically, as comparatively innocent victims of an overly brutal and elitist police system. Establishing a member of the chain gang as literally being a murderer doesn't really help send that message!

Everything stays the same until "Fantine's Arrest". The Barbican previews feature this sequence:

(FANTINE)

There's a child who sorely needs me

Please monsieur, she's but that high

Holy God! Is there no mercy?

If I go to jail she'll die

(TOWNSPEOPLE[?])

Take this harlot now this minute

Let there be a full report

Let her go back in the morning

Let her answer to the court

(FANTINE)

Gentle Jesus! Won't you save me?

Are there tears enough to cry?

(JAVERT)

It's the same pathetic story

Please monsieur, my child will die!

I have heard such protestations...

By the 1986 recording, everything between "Take this harlot" and "Please monsieur, my child will die!" has been totally removed. I have a bit of a soft spot for that sequence, though I can't earnestly say the musical lost anything by removing it. Indeed Javert comes across as unbelievably heartless there!

As Part 1 pointed out, the earlier Barbican preview had Valjean shout "You know where to find me!" at the end of "Who Am I?", while the later preview did not. The 1986 recording interestingly reinserts that line, but now Valjean speaks it much more casually, without the slightly cheesy passion of the first recording. This makes me wonder whether or not it was initially removed because it was hard to take seriously, and a calmer rendition was reinstated as a compromise? Who knows.

A subtle change occurs at the beginning of the "Confrontation" sequence. During the Barbican previews, the number opens with a few notes being played and then repeated. However, by the 1986 recording the notes do not repeat. It goes straight into Javert's announcement (which Roger Allam has now learned to sing on time!) after the notes play the first time. The sequence would stay this way for quite awhile before being further shortened - more on that in a later edition!

We now go to the subsequent number, Little Cosette's famous "Castle on a Cloud" song. The Barbican previews give her a few lines before the main number starts (sung in a similar tune to her remarks about Mme. Thenardier's arrival at the end of the song):

They’ll come back any minute

And I’m nowhere near finished

Sweeping and scrubbing and polishing the floor

It’s the same every day, oh please!

Don’t let Madame hit me again

I should be used to it, but then

I know a place where nobody has to work too hard

And where I won’t be lonely again

These lines, taken closely from the original French concept album, don't really add much to the number plot-wise that won't be stated later except for more explicit confirmation that Mme. Thenardier is abusive. Perhaps partly for this reason, by the 1986 recording these lines are removed, and after the opening instrumentals it goes straight into the number we all know.

As I previously mentioned in Part 1, the later recording I have of the Barbican previews cut out the following lines during the preamble to Master of the House. I originally mistakenly claimed that the cuts occured after Thenardier's verse, but in actuality that verse too is removed.

(THENARDIER)

My band of soaks, my den of disollutes

My dirty jokes, my always pissed as newts

My sons of whores spend their lives in my inn

Homing pigeons homing in

They fly through my doors

And their money's good as yours

(CUSTOMERS)

Ain’t got a clue what he put into his stew

Must’ve scraped it off the street

Hell, what a wine

Châteauneuf de Turpentine

Must’ve pressed it with his feet

Landlord over here

Where’s the bloody man

One more for the road

One more slug of gin

Just one more or my old man is gonna do me in

By the 1986 recording, they are back in all their glory. Indeed, as you can read in Part 1 of this series Trevor Nunn himself has confirmed that the crew decided the number didn't work as well without the full preamble (an exception being, shockingly enough, Cameron Mackintosh).

During the Barbican previews, "Master of the House" was followed by a beautiful Well Scene between Valjean and Little Cosette:

(LITTLE COSETTE)

There is a castle on a cloud

I like to go there in my sleep

Aren’t any floors for me to sweep

(A FEW SECONDS OF INSTRUMENTALS)

(VALJEAN)

Don’t be afraid of me, my dear

Tell me your name and have no fear

How cold it grows when the sun has set

(LITTLE COSETTE)

I’m not afraid

Monsieur, my name’s Cosette

(VALJEAN)

Nor will you be afraid again

I come to take you from this place

There is a better world, you’ll see

(LITTLE COSETTE)

Give me your hand, and walk with me.

This leads into the humming duet between Valjean and Cosette. However, in what I consider the biggest mistake of this era's adjustments, the Well Scene was totally excised from the West End version and "Master of the House" is following directly by the humming duet. Trevor Nunn remarked a degree of regret about this in 1990's The Complete Book of Les Miserables. I don't have the book on hand right now, but I'll put down the exact quote later.

Of course, the Well Scene would later return in a much different form, but let's not get ahead of ourselves.

Perhaps to compensate for the deleted scene, another scene is added after the "Waltz of Treachery" number. During the Barbican previews, Valjean's "It won't take you too long to forget" is followed by a lot of vamping and eventually a reprise of Valjean and Cosette's humming duet. The West End production slightly reduces the vamping from about one minute to about forty-five seconds, and adds a scene (sung in the tune of "Castle on a Cloud", specifically the "there is a lady all in white" part at first and the main chorus for "Nor will you be afraid again" onwards):

(LITTLE COSETTE)

We're going home right now, monsieur

What is your name

(VALJEAN)

Now my dear

I've names enough, I've got names to spare

But where I go, you always will be there

Nor will you be afraid again

There is a sun that's shining yet

(LITTLE COSETTE)

I'm going to call you my Papa

(VALJEAN)

I'm going to call you my Cosette

The normal humming duet follows. This is a fascinating scene which seems to be exclusive to the brief era after the Barbican previews but before Broadway. It's interesting how it incorporates elements both of the opening Well Scene and of the more well-known later closing scene to the "Waltz of Treachery". It's also intriguing how it incorporates elements not really touched upon this directly in any other version of the musical, specifically just how mysterious and secretive Valjean is to the world in general as well as the fact that Cosette, in fact, is not truly Cosette's given name.

Everything seems to be the same from this point until "The Attack on Rue Plumet". In the Barbican previews, this is how the opening goes:

(EPONINE)

'Parnasse, what are you doing

So far out of our patch?

(MONTPARNASSE)

This house, we're gonna do it!

Rich man, plenty of scratch

You remember he's the bloke wot got away the other day

Got a number on his chest, perhaps a fortune put away

Took off like a guilty man, why would he want to disappear?

Now we're gonna do him right, this time no one will interfere

Everything from "Took off like a guilty man" onwards is removed from the West End version. Later in the number, we hear approximately the following exchange in the Barbican show. Fans have debated what exactly some of the lyrics are, but this is how I hear them:

(CLAQUESOUS)

What a palaver, what an absolute treat

To watch a cat and his father pick a bone in the street

(THENARDIER)

Not a sound out of you

(EPONINE)

What do you care if things scare me

(THENARDIER)

Listen 'Ponine, there might be jewels inside

There could be something for all

There could be bruises enough

You will have your share

(EPONINE)

Well I told you I'd do it, I told you I'd do it

The West End production reduces the vamping prior to this scene. Additionally, everything between "What do you care" and "You will have your share" is removed, meaning the "I told you I'd do it" is a direct remark to "Not a sound out of you". This is a much more linear and succinct way of moving the plot in my humble opinion!

That's it for act one! Act two begins largely the same, up until the scene where Gavroche reveals Javert to be a traitor. First off, Javert's original claim that they will "play their games" is changed to "spoil their games".

Next is probably this version's biggest change in the entire musical up to this point. Originally Gavroche sung approximately the following lines (once again, the recordings aren't as clear as would be desirable) in a unique tune heard nowhere else in the musical:

Good evening, dear inspector, lovely evening my dear!

A charlie for a copper who pays a call

I know who you’re supposed to be, Inspector Javert

Who never showed no mercy to no one at all

So don’t believe a word, none of it will wash

This time you’re reckoned without Gavroche!

The West End version scrapped this sequence and replaced it with "Little People" (which originally appeared in a much longer form later in the musical). This is how it went:

Good evening dear inspector, lovely evening my dear

I know this man, my friends, his name's Inspector Javert

So don't believe a word he says 'cause none of it's true

It only goes to show what little people can do

And little people know, when little people fight

We may look easy picking but we've got some bite

So never kick a dog because he's just a pup

You'd better run for cover when the pup grows up!

This edited placement of "Little People" is often attributed to the original Broadway production, but in fact it made its debut in the West End show. I'm not sure when exactly this was, given that the original cast album uses the long version. However, by the 1986 recording this is how it goes. It should be noted that it's not quite in its Broadway form, however; most notably, "We'll fight like twenty armies and we won't give up!" is not present.

A minor difference occurs during the First Attack sequence. In the Barbican production, this is how the students respond to their victory:

(GRANTAIRE)

By God, we've won the day

(LESGLES)

See how they run away

The West End production swaps the two students' lines, allowing Grantaire's slightly incredulous spirit to have a more poignant and/or amusing effect depending on your perspective.

Consequently given the new placement of the song, the show obviously had to be edited to remove the original "Little People" number. Originally, this is the way the show transitioned between the First Attack and "Little People":

(ENJOLRAS)

Courfeyrac, you take the watch

They won't attack until it's light

Everybody stay awake

We must be ready for the fight

For the final fight

Let no one sleep tonight

(GRANTAIRE)

Only little boys may sleep

For little people need their rest

Little tucks are quickly drained

And little grapes are quickly pressed

Come on little mite

It's time to say goodnight

Cue the original "Little People" number in all of its long, silly glory (in case you somehow don't know it, here are the lyrics). The West End production (and everything afterwards) cuts Grantaire's verse, so that the scene transitions straight from Enjolras' announcement to "Drink with Me". As much as I love the full-length "Little People" number (and I really do love it), I admit removing it was definitely the right choice. It's just so sweet and optimistic, it feels out of place in a musical as tragic and cynical as Les Miserables. It doesn't help that its placement is between a high-stakes action scene and a somber, slightly drunk reflection on the nature of friendships, sex, and romance. It's a wonderful song but a terrible Les Mis song. I do love it, though, and I also love how Grantaire manages to make his pre-song metaphors alcohol-related.

In the sewers, the Barbican recordings feature a unique tune not heard anywhere elsewhere in the musical (it can be heard here) before transitioning to the final Valjean-Javert confrontation. Apparently, this music was accompanied by a short chase scene. However, by the time of the 1986 recording there is instead what is essentially one repeated note which then transitions into an instrumental version of "Look Down". This is followed by the same Valjean-Javert confrontation as before.

And that just about sums this part up! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, I’d love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye…

#les mierables #les mis #les miz #barbican #west end #changelog #history #1985 #1986 #comparison #the les miserables changelog #changes #theatre #musical #part 2

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pinktwingirl · 3 years

Text

Loki Series Rewrite (AKA Loki Series but with Squirrel Girl): Ep 1

Hey guys! Long story short, I wasn’t a fan of the Loki series, so I decided to make my own rewrite (including my favorite Marvel character, Squirrel Girl!) These are basically a collection of scenes that I would’ve either added or rewritten to improve the show. Btw, this is a continuation of my Endgame rewrite where Loki comes back to life after dying in Infinity War, so the Loki in this version is modern-day Loki, not 2012 Loki. Also, the whole Loki x Sylvie self-cest thing made me VEEERRRRY UNCOMFY, so I got rid of it. Their relationship is purely platonic in this. Anyways, enjoy! (This work is in screenplay format.)

INT. TVA - DAY

We pan through the TVA and see agents at work, checking timelines and watching training videos. We see various TVA posters warning about variants and "protecting the sacred timeline."

We then cut to RAVONNA RENSLAYER in her office. She is at her desk, sorting through files. Suddenly, an agent bursts in.

AGENT

Ma'am, we have a situation.

Ravonna follows the agent to a computer, where we see a timeline branching off from the main one.

AGENT

Is this the variant we've been searching for?

Ravonna glances at the computer and nods.

RAVONNA

About damn time...

EXT. CHICAGO BAR, 1986 - NIGHT

We see a woman with long, black hair and a green dress chatting with a man in a bar. The song "Devil Woman" by Cliff Richard is playing in the background.

MAN

Can I interest you in another drink, beautiful?

The woman lets out a flirty laugh and blushes.

WOMAN

Oh, you're too kind.

The man turns to the bartender.

MAN

Hey, can you get my girl here a...

(He turns to the woman.)

What can I get you, honey?

WOMAN

Surprise me.

The man turns back to the bartender.

MAN

You heard her.

The woman has a devilish smirk on her face as she watches them. The man turns back to her as the bartender starts mixing a drink.

MAN

You know, I feel selfish. I've been talking so much about myself, but I still don't know a thing about you.

WOMAN

Well... what do you want to know?

Suddenly, another man approaches them.

MAN #2

Hey, what do you think you're doing with my date?!

MAN

Your date? She's mine, asshole!

MAN #2

I caught her first!

(He turns to the woman.)

I'm sorry, honey, is this guy bothering you?

MAN

Bothering her?! You listen here, shithead-

He grabs the other man and they begin to wrestle with each other.

WOMAN

(Playfully)

Oh no, please don't fight over me...

As the men grow more violent, a bit of green magic shoots out of the woman's hand, causing the first man's wallet to fly into her grasp. She slips by the men, undetected as the bartender tries to break them up. Outside the bar, the woman walks off. With a smirk, she shifts into LOKI, now in his male form. He unveils the tesseract with magic and disappears.

INT. THE BENATAR - NIGHT

Loki reappears in the Guardians' ship, where Thor and the Guardians of the Galaxy are waiting for him. Loki smirks.

LOKI

Another successful venture.

THOR

Did they fight?

LOKI

Like bilgesnipe.

Thor bursts into laughter, and Loki hands Rocket the wallet.

LOKI

I also got the wallet, as requested. Although, I don't think Midgardian currency will have much value on the far side of the galaxy.

ROCKET

Who cares about the money? I just wanted the wallet.

(He dumps out the dollar bills and admires the wallet.)

This is nice leather...

LOKI

Anyone else have any travel requests?

QUILL

Oh, I got a whole bunch.

NEBULA

Quit acting like children. An infinity stone is not a toy to be played with.

LOKI

Oh, please. The tesseract and I go far back. If anyone can control it, I can.

ROCKET

You know, I'm starting to think you've just gotten sick of being around us, and now you're just looking for an excuse to get away.

LOKI

I will neither confirm nor deny that.

THOR

By that, he means "yes."

ROCKET

That's pretty rude of you, grease weasel.

Loki scowls at him.

DRAX

Can you travel to Kylos? I would greatly enjoy having some trego fruit again.

LOKI

Certainly.

The tesseract starts to glow in his hands.

INT. TVA - DAY

The agent and Ravonna are still at the computer.

AGENT

He's using the stone again. He's going to time-jump.

RAVONNA

Block it. Intercept him.

The agent presses a button.

EXT. MONGOLIA - DAY

Loki crash lands in the Gobi Desert and wakes up, looking utterly confused as a group of villagers approach him.

VILLAGER

(in Mongolian)

Who are you? Why have you come to our home?

Loki raises an eyebrow and opens his mouth to respond. Suddenly, a portal opens and several TVA agents enter. They lean down to examine the tesseract, and Loki abruptly rushes over to them.

LOKI

Don't touch that!

The agents ready their prune sticks. Suddenly, HUNTER B-15 opens a portal and enters.

HUNTER B-15

It appears to be a standard sequence violation.

(She checks her tem-pad)

Branch is growing at a stable rate and slope. Variant identified.

LOKI

I beg your pardon?

HUNTER B-15

On behalf of the Time Variance Authority, I hereby arrest you for crimes against the sacred timeline. Hands up.

The agents activate their prune sticks.

HUNTER B-15

You're coming with us.

LOKI

I'm sorry, who's "us"?

Hunter B-15 activates her own prune stick.

HUNTER B-15

Last chance, variant.

Loki chuckles.

LOKI

Look, I don't know who the hell you seem to think you are... But if you don't mind, this is actually your last chance.

(Beat)

Now get out of my way.

Before he can attack, Hunter B-15 strikes him with her stick.

INT. TVA COURTROOM - DAY

Ravonna pounds her gavel.

RAVONNA

Next case, please!

Hunter B-15 forces Loki onto the stand.

RAVONNA

"Laufeyson"... Variant L1130, aka "Loki Laufeyson"...

LOKI

I prefer "Odinson," thank you.

After a pause, Ravonna shrugs.

RAVONNA

Very well...

(She crosses out "Laufeyson" on his case file and writes in "Odinson.")

Loki Odinson, you are charged with sequence violation 7-20-89. How do you plead?

Loki chuckles.

LOKI

Madam, a god doesn't plead. Look, this has been a very enjoyable pantomime, but I'd like to go home now.

RAVONNA

Are you guilty or not guilty, sir?

Loki smirks.

LOKI

Guilty of being the god of mischief, yes. Guilty of finding all of this incredibly tedious, yes. Guilty of a... "crime"... against the "sacred timeline"? Absolutely not, you have the wrong person.

RAVONNA

Oh, really? And who should we have?

LOKI

Well, in my defense, the only reason I ever came in possession of the tesseract is because the Avengers traveled back in time.

Mobius enters the courtroom.

RAVONNA

We're not here to talk about the Avengers. What they did was supposed to happen; you reviving yourself with the tesseract and running around time, causing chaos was not.

Loki laughs.

LOKI

I'm sorry - not supposed to happen according to whom?

RAVONNA

The timekeepers.

INT. TIME THEATER - DAY

Mobius is showing Loki clips of his life and trying to dig deeper into his psyche.

MOBIUS

You know, trying to kill all the frost giants, invading Earth, I don't see anything very mischievous about this...

He plays a clip of the bifrost nearly destroying Jotunheim. A family of frost giants runs in fear as the land is destroyed. A little girl screams as her father is vaporized by the blast. Loki is visibly uncomfortable.

MOBIUS

Look at that. Did you enjoy doing that?

LOKI

Enough of your games. You've made your point.

Ignoring him, Mobius plays the clip of him telling Kurse where to go.

MOBIUS

And then, you tried tricking the dark elves into finding Thor, but instead, you sent them right to Frigga.

Loki tenses when he sees Frigga fighting Malekith.

LOKI

I don't want to watch this.

He winces, trying to keep himself together, as he watches Malekith stab Frigga.

MOBIUS

Well, you're going to watch it. Because that's your life, that's the consequences of your actions, and that is the proper flow of time! Now, why don't you tell me, do you enjoy hurting people?

LOKI

I don't have to play your games-

MOBIUS

Do you enjoy killing?

LOKI

I'll kill you.

MOBIUS

What, like you did your mother?

Enraged, Loki tosses a chair at him. Mobius dodges it, and it flies through the hologram of Frigga's dead body. Loki lunges at Mobius, but he uses the time twister to send him back on the ground. Loki growls in pain.

MOBIUS

Sorry, the time twister just loops you, not the furniture. You weren't born to be king, Loki. You were born to cause pain and suffering and death. That's how it is, that's how it was, and that's how it always will be. All so that others can achieve their best versions of themselves.

LOKI

(Voice cracking)

That's not true. You're lying.

MOBIUS

It is true. Your life ended after Thanos snapped your neck, because you fulfilled your purpose of assembling the Avengers to destroy you. Your purpose was never to become a hero. You're a villain, and that will never change as long as the sacred timeline runs its course.

INT. TIME THEATER - DAY

After Loki escapes and returns to the time theater on his own, he finds a folder of papers on the table. He opens it and reads the first file. It reads "LOKI ODINSON - MAIN OBJECTIVES: MURDER, LIE, MANIPULATE. LIFE PURPOSE: CATALYST FOR THE AVENGERS. OBJECTIVE FULFILLED. LIFE TERMINATED. END OF FILE.

Horrified, Loki stares at the file as tears run down his face. After a moment, he starts laughing as Hunter B-15 enters.

HUNTER B-15

Something funny?

After a pause, Loki shakes his head.

LOKI

Glorious purpose...

INT. TIME THEATER - DAY

Loki is talking with Mobius after being apprehended again.

LOKI

I will admit, the TVA is... formidable. Even an infinity stone is useless here.

(Beat)

You're not going to let me return to my own timeline, are you?

(Beat)

MOBIUS

Normally, no, we wouldn't. But... if you help us... maybe the timekeepers might be willing to make an exception. A rogue variant's been killing our minutemen.

LOKI

And you need the god of mischief to help you stop him?

MOBIUS

That's right.

LOKI

Why me?

MOBIUS

The variant we're hunting is... you.

Have some actual Lady Loki yay!

So yeah, the purpose of this episode was mainly to re-establish the show within the continuity of my version of Endgame. Squirrel Girl comes in next episode!

@drawntothedarkside Here’s your tag!

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justforbooks · 3 years

Photo

On January 15, 2009, US Airways Flight 1549, an Airbus A320 on a flight from New York City's LaGuardia Airport to Charlotte, North Carolina, struck a flock of birds shortly after take-off, losing all engine power. Unable to reach any airport for an emergency landing, pilots Chesley Sullenberger and Jeffrey Skiles glided the plane to a ditching in the Hudson River off Midtown Manhattan. All 155 people on board were rescued by nearby boats, with a few serious injuries.

This water landing of a powerless jetliner became known as the "Miracle on the Hudson", and a National Transportation Safety Board official described it as "the most successful ditching in aviation history". The Board rejected the notion that the pilot could have avoided ditching by returning to LaGuardia or diverting to nearby Teterboro Airport.

The pilots and flight attendants were awarded the Master's Medal of the Guild of Air Pilots and Air Navigators in recognition of their "heroic and unique aviation achievement".

An NTSB board member called the ditching "the most successful ... in aviation history. These people knew what they were supposed to do and they did it and as a result, no lives were lost." New York State Governor David Paterson called the incident "a Miracle on the Hudson." U.S. President George W. Bush said he was "inspired by the skill and heroism of the flight crew," and praised the emergency responders and volunteers. President-elect Barack Obama said that everyone was proud of Sullenberger's "heroic and graceful job in landing the damaged aircraft." He thanked the crew, whom he invited to his inauguration five days later.

The Guild of Air Pilots and Air Navigators awarded the crew the rarely bestowed Master's Medal on January 22, 2009 for outstanding aviation achievement, at the discretion of the Master of the Guild. New York City Mayor Michael Bloomberg presented the crew with the Keys to the City, and Sullenberger with a replacement copy of a library book lost on the flight, Sidney Dekker's Just Culture: Balancing Safety and Accountability. Rescuers received Certificates of Honor.

The crew received a standing ovation at the Super Bowl XLIII on February 1, 2009, and Sullenberger threw the ceremonial first pitch of the 2009 Major League Baseball season for the San Francisco Giants. His Giants jersey was inscribed with the name "Sully" and the number 155 – the count of people aboard the plane.

On July 28, passengers Dave Sanderson and Barry Leonard organized a thank you luncheon for emergency responders from Hudson County, New Jersey, on the shores of Palisades Medical Center in North Bergen, New Jersey, where 57 passengers had been brought following their rescue. Present were members of the U.S. Coast Guard, North Hudson Regional Fire and Rescue, NY Waterway Ferries, the American Red Cross, Weehawken Volunteer First Aid, the Weehawken Police Department, West New York E.M.S., North Bergen E.M.S., the Hudson County Office of Emergency Management, the New Jersey E.M.S. Task Force, the Guttenberg Police Department, McCabe Ambulance, the Harrison Police Department, and doctors and nurses who treated survivors.

Sullenberger was named Grand Marshal for the 2010 Tournament of Roses Parade in Pasadena, California.

In August 2010, aeronautical chart publisher Jeppesen issued a humorous approach plate titled "Hudson Miracle APCH," dedicated to the five crew of Flight 1549 and annotated "Presented with Pride and Gratitude from your friends at Jeppesen."

Sullenberger retired on March 3, 2010, after thirty years with US Airways and its predecessor, Pacific Southwest Airlines. At the end of his final flight he was reunited with Skiles and a number of the passengers from Flight 1549.

In December 2010, Sullenberger was appointed an Officer of France's Legion of Honour.

N106US, the accident aircraft, was moved to a salvage yard in New Jersey and put up for auction a week after the accident, but remained without takers for over two years. In 2011, it was purchased by the Carolinas Aviation Museum in Charlotte, North Carolina, and reassembled, minus the engines, in the museum's main hangar, where it is currently on display.

In 2013, the entire crew was inducted into the International Air & Space Hall of Fame at the San Diego Air & Space Museum.

The ditching was recorded by several closed-circuit television cameras. Television reports and documentaries produced soon afterward contained extensive video of the ditching and rescue, and recorded interviews with the aircrew, passengers, rescuers, and other key participants.

Sullenberger's 2009 memoir, Highest Duty: My Search for What Really Matters was adapted into a feature film Sully, directed by Clint Eastwood. It starred Tom Hanks as Sullenberger and Aaron Eckhart as co-pilot Jeff Skiles. It was released by Warner Bros. on September 9, 2016.

In May 2011, CBS News hired Sullenberger as an aviation and safety expert.

His second book, Making a Difference: Stories of Vision and Courage from America's Leaders, was published in May 2012. He was ranked second in Time's Top 100 Most Influential Heroes and Icons of 2009, after Michelle Obama.

In December 2018, he received the Tony Jannus Award for distinguished achievement in commercial air transportation.

Sullenberger's speech before Congress concerning U.S. civil aviation is featured in Michael Moore's 2009 documentary Capitalism: A Love Story.

Sullenberger is also referred to in the 2011 romantic comedy film Friends with Benefits. Throughout the film, Justin Timberlake's character repeatedly suggests to people he meets aboard planes that modern airplanes practically fly themselves, and that Sullenberger's feat was less impressive than it was portrayed, an idea for which he encounters incredulity and hostility. Mila Kunis' character is also seen reading Sullenberger's English Wikipedia article.

The 2010 song "A Real Hero", by French electronica artist College and the band Electric Youth, is about Captain Sullenberger and the Flight 1549 water landing. Frontman Austin Garrick was inspired to write the song by his grandfather, whose reference to Sullenberger as "a real human being and a real hero" became the song's refrain.

Radio personality Garrison Keillor wrote "Pilot Song: The Ballad of Chesley Sullenberger III" for the January 17, 2009 edition of his radio variety show A Prairie Home Companion.

Sullenberger appeared as himself in a cameo role in the 2017 film Daddy's Home 2.

"Hudson River Runway", the March 14, 2011, episode of the TV series Mayday, documents the events around Flight 1549's emergency landing, and contains interviews with several of its real-life participants. Captain Sullenberger is not interviewed in the show, but is portrayed in reenactments by actor Christopher Britton.

President George H. W. Bush's service dog Sully, who was assigned to Bush in mid-2018 after the death of Bush's wife Barbara, was named after Sullenberger.

Sully is featured in the pilot of the 2020 Fox cartoon series Duncanville.

Sullenberger was widely celebrated for landing the plane with no loss of life.

Jeffrey Bruce "Jeff" Skiles was flying as a First Officer on flight 1549 due to a staff reduction at US Airways; he had usually flown as Captain prior to the staff reduction and actually had slightly more flight hours than Sullenberger (though he had much less experience in the Airbus A320).

Both Skiles' parents were pilots during his childhood, and he became a pilot himself when he was just sixteen years old. He first worked flying cargo airplanes, and then worked for Midstate Airlines from 1983 to 1986, but at the time of the emergency landing he had been with US Airways for 23 years.

Atul Gawande, author of The Checklist Manifesto, asserted that the successful emergency landing relied on the cooperation of Sullenberger and Skiles. Gawande's central premise is that even really experienced people in any field encounter rare events, and that successfully coping with the rare event requires first the careful anticipation of future emergencies, and second, preparing a well thought-out list of steps to follow, in advance.

In his book Gawande reminded readers that, during an emergency, there are so many tasks to complete, that the co-pilot is working at least as hard as the pilot. Sullenberger had taken on the task of finding a safe place to land, and actually landing, leaving his experienced copilot Skiles the task of following the checklist to try to restart the jet engines. He noted that Skiles was able to complete the checklist in the less than three minute period between the bird strike and the landing, noting this was "something investigators later testified to be "very remarkable" in the time frame he had—and something they found difficult to replicate in simulation."

Skiles went on to become the Vice President of the Coalition of Airline Pilots Associations (CAPA) that represents the interests of 28,000 airline pilots in safety and security issues. In this role he was instrumental in the creation of the First Officer Qualification rule which significantly increased the requirements for training and experience of First Officers on the flight deck of US registered airliners. Skiles joined with the Families of Continental Flight 3407 and the National Air Disaster Alliance to mold the creation of and ensure passage of the Airline Safety Act of 2010. This sweeping legislation significantly improved safety in the US airline industry and as of 2020 there has not been even one fatality due to a US airline accident in over 10 years.

Skiles is a writer and since 2011 has published over 100 articles on safety and general interest aviation topics in nationally distributed magazines such as Sport Aviation, FLYING, Air & Space, PilotMAG, Midwest Flyer, Vintage Airplane, and the Physicians Executive Journal.

Jeffrey Bruce "Jeff" Skiles, as of 2020, is piloting Boeing 787 Dreamliners for American Airlines.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

#JUST FOR BOOKS #US Airways Flight 1549 #Hudson River #Chesley Sullenberger #Jeffrey Skiles #Miracle on the Hudson #Sully #Jeff

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passionate-reply · 3 years

Video

youtube

Here’s something I know you’ve heard before--Dare, by the Human League! One of the most famous and widely-acclaimed synth-pop albums there is, Dare was a huge game changer. Find out why by watching my video, or reading the transcript, after the break.

Welcome to Passionate Reply, and welcome to Great Albums! Today, I’m going to be talking about one of the single most important albums in the history of electronic music, and, perhaps, in Western popular music as a whole. It’s Dare, the third full LP from the Human League, first released in 1981. While there had been two albums released under this name prior to Dare, these are considerably more obscure.

Music: “Empire State Human”

While “Empire State Human” has a catchy and affable chorus, it’s still a few shades too weird and avant-garde to be a pop hit. In the early days, the Human League’s experimental, underground sound was driven mainly by founding members Martyn Ware and Ian Craig Marsh. Prior to the recording of Dare, Marsh and Ware had already left the group, and would go on to form Heaven 17. Frontman Phil Oakey, and newly hired backup singers Joanne Catherall and Susan Ann Sulley, were without a leg to stand on, as none of them had any serious background in music composition or playing instruments.

While the situation looked quite dire, the trio would find a new musical bedrock in Ian Burden, who had played keyboards on their most recent tour as a session musician. Against the crude, naive, unprofessional vocals of Oakey, Catherall, and Sulley, Burden would provide simple, but competent melodies. The other key ingredient of this new sound was professional production, which would come from Martin Rushent. Despite working with many guitar-oriented acts prior, Rushent was one of the first producers who had deliberately devoted himself to working with electronic instruments at the time. Put all of that together, and you’ve got synth-pop magic, like nobody else had hammered out before.

Music: “Don’t You Want Me”

If you came to this video with even a lick of knowledge about Western pop, then you probably know “Don’t You Want Me” quite well. “Don’t You Want Me” wasn’t the first electronic pop song, nor was it the first major hit to feature a chiefly electronic instrumentation. The real reason it was such a game changer is that it’s ultimately a very ordinary pop song, underneath all of that. Songs like Gary Numan’s “Cars,” or OMD’s “Enola Gay,” were comparatively easy to write off as mere high-concept novelty. Many felt that their vision of a future full of machine music would blow over, the way jetpacks and flying cars had failed to revolutionize the world. But “Don’t You Want Me” proved that you could write an otherwise unremarkable love song, set it to a fairly unambitious synth backing, and achieve major pop success. “Don’t You Want Me” is that watershed moment, where synthesisers start presenting a credible threat to guitars, and everything that they stand for. Moreso than anything else that was released in this era, “Don’t You Want Me” is the reason why “pop” is, at this point, assumed to be electronic by default.

While the sheer influence of this track can’t be overstated, it’s also far from the only thing Dare, as an album, has to offer. In fact, “Don’t You Want Me” is the very last track on it, and its apparent simplicity is heavily contextualized by everything that comes before it. Take “Love Action,” for instance, which was the first single from the album, and one of the band’s best-known tracks.

Music: “Love Action”

“Love Action” is certainly not devoid of pop sensibility, and its being a chart hit makes plenty of sense. But I think it’s decidedly stranger and less conventional than “Don’t You Want Me,” with its piercing intro and glitchy synth effects. While its lyrics aren’t challenging, in an obtrusive manner, they seem to read as a sort of parody of a pop song, declaiming the superiority of limerence or casual affairs--“no talking, just looking.” It’s a pop anthem that’s aware of its own disposability, and the sort of culture of disposability and frivolousness that it’s participating in. Another strikingly ironic number is the album’s opener, “The Things That Dreams Are Made Of.”

Music: “The Things That Dreams Are Made Of”

With its confident proclamations about what “everybody needs,” and unquestioning praise of petty luxuries like ice cream and vacations, the saccharine “The Things That Dreams Are Made Of” is even more pointedly satirical, a wan hymn to the pleasures of postwar prosperity. But even if this track maintains a surface level “believability,” there are still a number of darker tracks to be had on Dare, which more strongly recall the style of those earlier albums. Take a listen to “Do or Die.”

Music: “Do or Die”

One of the more confrontational or frustrated tracks on Dare, “Do or Die” still maintains something of a pop core, and it’s easy enough to sing along to. What I think really stands out about it, though, especially for the time, is the use of mechanical percussion. Prior to this point, acts like Gary Numan, OMD, and even Kraftwerk still had human drummers who physically hit things in their bands. Even Giorgio Moroder’s “I Feel Love” used traditional percussion, despite featuring nothing but Moog synthesisers and the human voice besides. It wasn’t only the guitar that feared for its relevance during this time, but also the drum kit. The dense, rattling backing of “Do or Die” was made with a Linn “drum computer,” and remains an impressive use of it that’s still mesmerizing to listen to. But perhaps the most avant-garde track to be found on *Dare* is “Seconds.”

Music: “Seconds”

While “Seconds” feels sort of warm and dreamy at first, its startling gunshot casts doubt on just how pleasant we ought to feel. “Seconds” is actually telling the story of the assassination of John F. Kennedy, addressing us listeners as though we embody the infamous gunman, Lee Harvey Oswald. The titular “seconds” apply to the brief moments of apparent happiness and security we feel before something goes wrong, and those narrow margins of time during which everything in our lives can change in an instant. While it’s significantly shorter, I can’t help but think it recalls the high-concept narrative tracks done by the earlier incarnation of the Human League, such as “Zero As a Limit.”

Dare’s iconic cover, a powerful symbol of 80s synth-pop to this day, was inspired by fashion magazines such as *Vogue.* While the design would crib the title, the typeface, and the face-focused composition from a 1979 cover of UK *Vogue,* the stark, bare white frame that surrounds this close-cropped headshot of Oakey is a major distinction. Floating in this sterile bath of emptiness, and borderline anonymized, it feels like the interchangeable mask of someone living out a mechanized and mass-produced existence. It’s an image that almost plays into how detractors of electronic music have decried its seemingly emotionless, inhuman ambiance, and it rides that enmity with a deliberate, defiant dignity. It says, we are what you think we are, and we’re damn proud of it. Much like the bold and brash title implies, the cover of *Dare* is a provocation, perhaps even a threat. While the cover isn’t particularly beautiful to me, as many others are, I think its austere ugliness is deeply purposeful, and that’s something I’m compelled to admire.

Despite the breakthrough success of Dare, the Human League’s 1984 follow-up, Hysteria, was a relative flop, plagued by troubled recording sessions and a lack of consistent vision for the band and their sound. Its lead single, “The Lebanon,” would achieve modest success, and its use of rock guitar and surprisingly topical lyrics make it feel very different than what you’ll find on Dare.

Music: “The Lebanon”

Though they would eventually go on to have one last major hit, in 1986’s “Human,” the Human League never developed mainstream staying power, and their core trio’s reliance on outside writers and producers left them without a firm artistic identity to fall back on. They’re still around today, performing concerts that revisit their best-known work from the past, but they never recreated the fruitful environment and industry connections that made Dare possible. Still, it’s safe to say that Dare is an inescapable presence in the history of electronic pop, looming over all subsequent works like some inscrutable Sphinx, a lightning in a bottle success whose influence remains all around us.

My favourite song on Dare is “Darkness.” As the title implies, it’s one of the more dreary, gothic numbers you’ll encounter on the album, narrating the harrowing, paranoid mindstate of an insomniac. I don’t particularly struggle with sleep, but I do have a habit of being awake all night and sleeping all day, so I love nighttime-themed songs. Plus, the lyrics of this song make reference to “seeing sounds” and “hearing colours,” a phenomenon called synesthesia. I’m not sure if anyone in the Human League really experiences this, but I do--which is part of why I’m so strongly interested in music. But enough about me! That’s all for today, thanks for listening!

Music: “Darkness”

#music #great albums #album review #album reviews #human league #the human league #synthpop #synth-pop #synth pop

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skinks · 4 years

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hi!!! what are your favourite movies? like actually good ones but also any trashy comfort movies? is IT (2017) one of them?

Hello!! IT (2017) IS ABSOLUTELY ONE OF THEM oh man, thank you for this, I love talking about movies!!!! This is possibly the most difficult question you could have asked me. Apologies for how absolutely off the rails this got, I just... love movies so much lmao

I’ve said this before, but opening night of IT ch1 was the best cinema experience I’ve ever had, I’m so glad I got to see it with a fully packed audience who were all laughing and screaming together the whole way through. I’m a huge fan of... everything ch1 was doing, the 80s nostalgia, the summer-coming-of-age themes, the solid ghost train funhouse JOY of the Pennywise performance and scares, the washed-out cinematography, the tiny background details to make everything that much more eerie, the kids’ ACTING?!

Like, a lot of the time I find child actors can be really awkward and stilted to watch, but I remember leaving the cinema really impressed by JDG and Sophia Lillis in particular. I liked that they were all allowed to be little shitheads with potty mouths, it felt like a callback to 80s movies like The Lost Boys or Stand By Me. The whole thing worked to make me really care about what happened to the kids (even if I do still have issues with how they handled Mike. I understand even ch1 had limitations with juggling so many characters, but still). I saw it another 2 times in the cinema and have rewatched it at least, I dunno, 7-10 more times since then?

Add to all of that the retroactive CANON R+E baby pining subplot? I just love it, as if that wasn’t obvious by now given my Whole Blog. It’s a really special movie to me!

Anyway!! Ok, the main handful of movies I rewatch all the fucking time are:

Back to the Future, The Lost Boys, Pride and Prejudice (2005), Jaws, Ferris Bueller’s Day Off, The Breakfast Club, Ocean’s 11, POTC 1, The Dark Knight, Inception, Die Hard, LOTR trilogy, Snatch, The Nice Guys, Logan Lucky, Mad Max Fury Road, Clueless, 10 Things I Hate About You, Billy Elliot, Dirty Dancing, Tomb Raider (2018)...

Those are the easily consumable ones that I’ve seen so many times I don’t really have to concentrate or think about them, but I really love them and unfortunately often KEEP rewatching them instead of new stuff. It would take too long to go into why I love all these movies so much because I could write the same amount as I already did for ITCH1, and everyone already knows why those movies are good, so, lol.

I think I’m gonna have to subdivide and categorise this whole post because there are too many separate criteria for... goOD MOVIES, AUUHH 😩

Okay so first off, HORROR MOVIES? I’m especially in love with Re-Animator (1985) and its sequel Bride of Re-Animator, they’re such good examples of camp and batshit 80s practical effects, and also EXTREMELY funny. I’m actually just gonna post my list of my fave horror movies that I do actually keep on my phone at all times lmao. These are in no particular order:

Wholeheartedly recommend every one of these. I’ve never been so scared in my life as I was watching Hereditary in the cinema, hoo boy. Mother! by Aronofsky is one of the strangest experiences I’ve ever had (and I actually saw it on the same day I saw IT ch1 for the first time!! That was a fun day)

Psycho (1960) and The Fly from 1986 should also be on there but I couldn’t fit them in the screenshot.

I’m a HUGE fan of a ton of martial arts movies too, like Kung Fu Hustle, Shaolin Soccer, Ip Man, The Raid movies, John Wick 3 is my fave of the trilogy, Drive from 1997 with Mark Dacascos is incredible, SPL 2, Ong-Bak, Operation Condor, Project A, Iron Monkey, and Zatoichi (2003) are some favourites.

My favourite Tarantino is Reservoir Dogs, fave Coen brothers are Raising Arizona, The Ballad of Buster Scruggs and O Brother Where Art Thou. Love some old-timey colour correction and weird offbeat dialogue. I also love Goodfellas!!! And Donnie Brasco! And The Firm, I’m so easy for any good crime/law/gangster/heist procedural like that, especially if they’re from the 80s or 90s in a super dated way.

Fave Disney movie is Tarzan, favourite Ghibli movies are Spirited Away and Lupin III. I remember watching Spirited Away during a thunderstorm one time and it being.... god! Transcendent! Favourite Pixar movie is The Incredibles (the first one. ALSO the documentary “The Pixar Story” is great and well worth a watch, it’s very comforting for some reason) and my favourite Dreamworks movies are HTTYD1 and Spirit: Stallion of the Cimmaron.

I tend to watch more anime movies than tv shows, so stuff like Akira, The Girl Who Leapt Through Time, Summer Wars, Journey to Agartha, and my ultimate fave anime is Sword of the Stranger (2008). The climactic fight in that movie is fucking stunning and should be counted in “bests fights” lists right alongside anything live action

Also if we’re talking animated movies another hearty favourite is Rango, and a Belgian stop-motion (which at one time I considered my favourite movie ever) called Panique Au Village (2009) which is one of the funniest movies ever made imo.

As for TRASHY movies, I’m not sure if that’s the right word for how I feel about these ones but.. dumb/silly/slightly guilty pleasure movies? Ones that I feel need some kind of justification lmfao

Troy - something u must know about me is that I’m a giant slut for the Assassin’s Creed franchise, so if a movie smashes historical and mythological nonsense together with fun costumes and sword fights, I’m gonna enjoy myself. Even if they should have made Achilles and Patroclus gay. Other movies in this vein are King Arthur: Legend of the Sword, and Immortals (2011)

Gods of Egypt - I know all the reasons this movie is whitewashed bullshit. But it was already bullshit with giant Anubis mecha and giant snakes and bad acting and ridiculous CGI and frankly I had a blast at the cinema (my friend who I forced to come with me did not have a blast. Sorry H***)

Avatar - yes, the one with the big blue people. This movie gets a lot of flack nowadays but I really do enjoy it just for the spectacle. The full CGI world technology was so new at the time and I love to wallow in the visuals and daydream about riding a cool dragon around in the jungle

George of the Jungle - I’ll defend this movie to the death ok this movie shaped me as a person, it is fucking hilarious and Brendan Fraser is the himbo to end all himbos. It’s perfect. The song Dela is perfect. I still want to write a reddie AU about it. It’s one of the best movies ever made and I’m not being ironic

Set It Up - I KNOW this is a dumb Netflix original romcom but consider this; it was funny and the leads had great chemistry. I got butterflies. I once watched it and then literally immediately set it back to the start so I could watch it again

The Brady Bunch Movie - when people talk about great satires or parodies you will see them bring up the same movies over and over again, Blazing Saddles, This Is Spinal Tap etc, but they never talk about The Brady Bunch Movie from 1995 for some reason, which they should. It is one of the funniest things I’ve ever seen and every time i watch it somehow it gets funnier

Some more general favourites that I do still love but don’t rewatch as often, and don’t wanna go into more detail about are:

Moon (2009), Crna Mačka Beli Mačor, The Sixth Sense, Parasite, The Handmaiden, Tremors, Wet Hot American Summer, Tucker and Dale vs Evil, What We Do In The Shadows, Hunt For the Wilderpeople, The Secret of My Success (I love kitschy 80s movies, is that obvious by now), The Green Mile, When Harry Met Sally, Rear Window, The Odd Couple, Breaking Away, Pan’s Labyrinth, To Kill A Mockingbird, The Eagle, Gladiator, The Artist, The Extraordinary Adventures of Adèle Blanc-Sec, Call Me By Your Name, Master and Commander, Pacific Rim, Kiss Kiss Bang Bang, Legend (1985), Emma. (2020), Flash Gordon, Trolljegeren, Hross í Oss, Beverly Hills Cop, Coming to America, WarGames, District 9, Ajeossi (2010), Tracks (2013), Sightseers, Mud (2012), Pitch Black, Four Lions, Shaun of the Dead, Starship Troopers, The Truman Show, Withnail & I....... Jesus Christ ok I need to stop

NOTABLE EXTREME FAVOURITES that I didn’t include in the regular rewatch list because they’re too heavy/not as well known/require more attention.:

Thin Red Line (1998), Badlands (1973) both dir. Terrence Malick

Malick’s brand of dreamy impressionistic filmmaking is something I find really appealing, both of these movies are gorgeous and unusual and poignant and, in the case of Thin Red Line at least, have a lot of things to say about a lot of rough subjects. I don’t totally understand all those things sometimes, but a theme with a lot of my favourite movies is that I’ll be more likely to love something long-term if it raises unanswered questions, or is surreal/esoteric etc. Plus the cinematography is incredible, and I wish there was a way to get Jim Caviezel’s narration from The Thin Red Line as an audiobook because it’s very poetic and soothing.

Let the Bullets Fly (2010) dir. Jiang Wen

This movie is WILD, it’s so much fun. It’s sprawling and intricate and epic and smart and really fucking funny, it! Has! Everything! A gang of very tolerant outlaws!! Jiang Wen’s beautiful broad chest!!! Chow Yun Fat absolutely DECIMATING the scenery, and the two of them outsmarting each other in order to gain control of a small Chinese town!!! Plus it’s long, but it packs so much nonsense and intrigue that it goes by really fast. Wow what a flick

A Field in England (2013) dir. Ben Wheatley

I know I included this in my horror list but aaaaahhh ahhhh Wheatley is one of my favourite directors (he also made Sightseers, and is directing the Tomb Raider sequel which makes me absolutely rabid.) This is a surreal black-and-white psychological horror black comedy set in the English Civil War about some deserters who may or may not meet the Devil in a field. People eat mushrooms. It’s bonkers. I love being blasted in the face with imagery that I don’t understand

Mandy (2018) dir. Panos Cosmatos

Speaking of being blasted in the face!!!!! This movie... I saw it in the cinema and I can’t even begin to explain the experience, but I’ll try. My favourite review site described it like this:

“...somewhere between a prog album cover come to life and a metal album cover come to life, and subscribes to both genre's artistic tendency towards maximalism: what it ends up being is basically naught else but two glorious hours of being pounded by bold colors...”

So, prog and metal are my two favourite genres of music. This movie opens with the quote “When I die, bury me deep, lay two speakers at my feet, put some headphones on my head and rock and roll me when I'm dead.” and then a King Crimson song, it is SURREAL to the nth degree, it’s violent and bizarre and Nic Cage forges a giant silver axe to destroy demonic bikers and there is a CHAINSAW DUEL. A galaxy swirls above a quarry. Multiple animated horror nightmare sequences. At one point a man says “you exude a cosmic darkness” and releases a live tiger. At another point Cage says, in a digitally deepened voice, “The psychotic drowns where the mystic swims. You’re drowning. I’m swimming.” and I haven’t stopped thinking about it for two years

Paper Moon (1973) dir. Peter Bogdanovich

Really fantastic movie set in the Great Depression (and also in black & white) about a conman and a little kid who may or may not be his daughter, running cons across the Midwest. It’s beautifully shot, so sharp and sweet and the progression of their dynamic is really well done because they’re played by an IRL father and daughter. Tatum O’Neal was NINE YEARS OLD and she’s so amazing in this movie she’s actually the youngest person to win a competitive category Oscar. I keep trying to get people to watch this fbdjfjdbf it’s wonderful

Alpha (2018) dir. Albert Hughes

THIS MOVIE IS A VICTIM OF BAD MARKETING ok, the trailers made it look like some twee crappy sentimental Boy And His Dog Adventure, plus it had voiceovers in American-accented english? That’s a total disservice to one of the coolest things about this film; the fact that they got a linguist to construct an entirely original Neolithic language that all the characters speak for the entire runtime. And yes, it is eventually a Boy And His Wolf adventure, but it’s COOL and fairly brutal, and it has some really incredible cinematography. The landscapes are so strange and barren and alien, you really get the sense that this is an ancient world we no longer have any connection to. And it’s also about like, the birth of dog & human companionship sooo it’s perfect.

Free Solo (2018) dir. Elizabeth Chai Vasarhelyi, Jimmy Chin

The Free Climbing Documentary. I loved climbing as a kid, I love outdoor sports, and I love movies that elicit a physical reaction in me, whether that’s horny, scared, real laughter, overwhelming shivers, or in the case of Free Solo - HORRIBLE SWEATING TENSION. Like, I knew about Alex Honnold beforehand because of this adventure film festival I go to every year and I followed him on IG so obviously I knew he lived, but the actual climb itself was torture. My hands sweat every time I see it!! It’s incredible, such a cool look into generally what the human body can do, and more specifically, why Honnold’s psychology and life means he’s so well suited to free soloing. It’s such an exercise in getting to know an individual and get invested in them, before they attempt something very potentially fatal.

Brokeback Mountain (2005) dir. Ang Lee

I can’t even talk about this. When I was around 13 I snuck downstairs to watch this on TV at 11pm in secret, and my life was forever changed. I wouldn’t be who I am if I hadn’t seen Brokeback at the age I did. I seriously can’t talk about this or I’ll write an even longer essay than this already is

God’s Own Country (2017) dir. Francis Lee

The antidote to Brokeback Mountain, I’m so glad I managed to see this one in the cinema too. It makes me cry every time, as someone who’s spent years working on a cold British farm with sheep it was very realistic, which is expected since Lee grew up on a farm in Yorkshire. I love that this movie isn’t really about being closeted, but about being so emotionally repressed and self-loathing that the main character finds it so hard to accept love. Or that he deserves to be loved. The cinnamontographies.... lordt... but also the intimacy and sex scenes are fucking searing wow who hasn’t seen this movie by now. 10 stars. 20 stars!!!

Tomboy (2011) dir. Céline Sciamma

I saw this years ago but I’ve never forgotten it, it cut so deep. It’s from the director of Portrait of a Lady on Fire and it’s about a gnc kid struggling with gender and misogyny and homophobia in a really raw, scrappy way, it reminded me very much of my own... childhood... ahh the central performance is amazing for such a young age. I haven’t seen Portrait yet but I feel like if you went nuts for that, you should definitely check this out, it’s lovely.

Donnie Darko (2001) dir. Richard Kelly

EVERY TIME I WATCH THIS MOVIE I UNDERSTAND LESS AND LESS and that’s what I love so much about it. I love surreal movies, I love time-fuckery and stuff about altered perception etc etc and Donnie Darko scratches all my itches. I wish I could find a way to figure out an IT AU for it, because I know it would work! Somehow! Plus it’s got the subdued 80s nostalgia and I found it at an age when I was really starting to explore movies and music and the soundtrack FUCKS.

Offside (2006) dir. Jafar Panahi

I wish more people knew about this!!! It’s an Iranian film about a disparate group of women and girls who are football fans and want to watch Iran’s qualifying match for the World Cup, but women aren’t allowed into the stadium, so they all get thrown into the Stadium Jail together? They don’t know each other beforehand, but it’s about their changing relationships with each other and the guards and just, their defiance alongside hearing the match from the outside and WOW it’s so lively. Great dialogue and very funny, and such a different kind of story from anything you usually see from Hollywood.

The Fall (2006) dir. Tarsem Singh

This movie... I guess it’s the ideal. This is the platonic ideal of a film for me, it has fantasy, magical realism, glorious visuals, amazing score and costumes and production design and a really interesting, heartbreaking relationship at the core of it. I don’t know why so many of my favourite films feature incredibly raw performances by child actors but this is another one, Catinca Untaru barely knew any English and improvised so much because of that, and it’s fascinating to watch! Also the dynamic with Lee Pace is one of my favourites, where a kid forms a friendship with a guardian figure who isn’t their parent, but the guardian grows to really care for them by the end. It’s like Paper Moon in that sense. What is there to even say about this movie, it’s pure magic joy tempered and countered by genuine gutwrenching emotional conflict in the real world, it’s also ABOUT old moviemaking, in a way, and it’s stunning to look at!

Mad Max Fury Road (2015) dir. George Miller

I know I included this in my “most rewatched” section but it deserves its own thing. We all know why this movie is fucking incredible. I remember clutching my armrests in the cinema and feeling like my skeleton was being blasted back into the seat behind me and tbh that is the high I’m constantly chasing when I go to see any movie. What a fucking gift this film is

Théo et Hugo dans le Même Bateau (2016) dir. Olivier Ducastel, Jacques Martineau

I only found this movie last year and it became an instant favourite. Initially I was just curious because I’d never seen a movie with unsimulated sex before, but it’s so much more than the 18 minute gay sex club orgy it opens with. No, not more than, AS WELL AS. The orgy is important because this movie is so candid and frank about sex and HIV treatment in the modern day, it was eye-opening. Another thing that really got me is that I’d never seen a real-time film before. It’s literally an hour and a half in the lives of these two men, their intense connection and conversation and conflict in the middle of the night in Paris, with some really nice night photography and just!!! Wow!!! AMAZING CHEMISTRY between the actors. This is such a gem if you’re comfortable with explicit sexual content.

Ok. This is already over 3k but film is obviously one of my ridiculous passions and I can and do talk about it for hours. I’ve been reading magazines about it for years, listening to podcasts and reading review blogs and recently, watching video essays on YouTube because the whole process is so interesting to me and I want to learn more!!

Recently I’ve been thinking a lot about the concept of valuing form over narrative. The idea that story can often come second to the deeper physical experience and emotional reaction that’s created by using ALL the elements of filmmaking and not just The Story, y’know? Whether that’s editing, shot composition, colour, the sound mix, the actors, how it should all be used to heighten the emotional state the script wants you to feel. And so, I think for a few years now this approach has been influencing the types of films I really, really love.

I think I love surreality and mind-bending magical realism in films specifically because the filmmakers have to use all those different tools to convey things that can be way too metaphysical for just... a script? I’m always chasing that physical response; if a movie can make me stop thinking “I wonder what it was like to set up that shot” and instead overwhelm that suspension of disbelief, if I can be terrified or woozy or crying for whatever reason, that’s what I’m looking for. That’s why I watch so many fuckin movies, and why I’ll always remember nights like seeing IT (2017) for giving me another favourite.

Thank you again for this question, I didn’t mean to go so overboard. Also there’s no way to do a readmore on tumblr mobile so apologies to anyone’s dashboard 😬

#long post #films #this is like bill hader being asked to pick his fave comedies and he gives a 4 page list #he has such good taste though ahhahbfhfhfhh lemme talk with him nonstop about movies while i ride him. thank you

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thesaunatest · 3 years

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MY HUGE THEORY ON EL’S PLOTLINE IN S4

before you guys even start, YES I know that 99.9% of what I say is going to be wrong but this is literally just for fun.

its march 1986, middle of the school year and el HATES school

when we left her she was barely literate and had just started getting accostomed to speaking full sentences, NOWHERE NEAR a 9th grade level, so shes struggling in her classes to say the least

on top of that, she barely knows how to socialize with other people, so shes evidently getting picked on

with joyce and jonathan both working to keep the family afloat, will and el get left alone alot

but outside of the party, they socially have nothing in common

in fact, will is adapting to the new town a whole lot better than el. he fit right in with all the creative kids he met in class, but el didnt mesh with that crowd

anyway, our girl is sturggling

the only time she really has fun is when she visits hawkins, or when someone from the party visits them

which leads us to spring break

mike obviously comes to visit, and el doesnt want them to waste a single second so she begs mike and will to come explore the town with her

at this point joyce is already in her detective mode, hatching a rescue plan for hopper so she doesnt notice theyre gone

and jonathan is battling the heartbreak of nancy ghosting him when she was supposed to come visit

so the trio goes off on an adventure without anyone noticing.......... or so they think

because brenner is back, and he knows el is with the byers, but he cant go and snatch her because he doesnt have the resources all the way in california

in fact, he doesnt have the resources at all. his numbers experiment is seen as a catastrophic failure that lead to the deaths of hundreds of lab employees

the only way for him to redeem himself in the community, and gain his funding back is to present his peers with proof that the project can work, so he needs to get one of his numbers back

el is the only one he can track down, but he doesnt think he can do it himself. if she saw him, she could just kill him with her powers, he assumes because he doesnt know she lost them

so who does he employ to get el back to hawkins? lonnie byers

its almost too easy. it doesnt take much to bribe lonnie, and hey, its not like its his kid. so lonnie accepts the bribe, and goes all the way out to california to find el

he shows up at the byers house..... only to find it completely deserted. so he waits

and the trio finds him there after their day out (why are you here? what do you want? where are mom and jonathan?)

and lonnie, being as crafty as he is, comes up with a good excuse on the fly (hes craftier than i am because i genuinely have no idea what he would say)

anyway, he gets them in his car and on their way back to hawkins

jonathan shows up after theyve already left, and is too stoned tired to think anything of the empty house

and joyce is already halfway to russia

will knows his father. he knows that his father doesnt give a shit about him, the family, or anything about hawkins. he knows that his father wouldnt get involved in anything unless he had something to gain. so hes wraking his brain

maybe.... lonnie pulls over to take a suspicious phone call? maybe will figures out an inconsistency in his story? either way, the gang is onto lonnie and figures that they gotta get away from him and get back to joyce and jonathan

they tuck and roll out of the car. idk. all that matters is that they get out of there

as theyre rolling out of the car, el bonks her head a little and has a quick flashback to her time in the lab

since her intuition is always spot on, she takes this as a cue the breener is back and lonnie is working for him

she tells the boys it isnt safe to go back to california or hawkins, so they come up w an alternative plan, somewhere neither brenner nor lonnie would think to look for them

and while theyre on the road, they stop at a diner to eat (dont ask me where they got the money) and we get will leaving an emotional voicemail home, probably sobbing to jonathan about how much he means to will, which gives el an idea

because who has the resources to help her, as well as a desire for vengeance on brenner? kali

el uses her superb hitchiking skills to get them to chicago

maybe she just has some hints of her powers left, but it isnt too hard for el to find kali

she explains everything thats happened, and lets kali know that if she want revenge, the opportunity is hers

unfortunately, lonnie was hot on their trail, and called for reinforcements

theyre ambushed by the few employees brenner has working for him. initially, everyone is hiding, assisted by kali’s powers

but el knows they arent leaving empty handed, and would rather get taken away then have kali’s freedom taken from her

so el reveals herself, followed by mike because he wont leave her, followed by will because he wont leave mike

all three get taken away, back to hawkins lab, but now kali is even more motivated to bring down the lab once and for all

so kali and her gang get to hawkins, almost simultaniously with jonathan, who has been looking for his family in a frenzy since the morning he woke up to find eveyone gone, without even a note or a phone call, as well as argyle, who came along for the ride

the video store is being used as home base this season, so thats the first place they go, where they find steve, shortstaffed and not knowing whats going on because the whole team ditched him

they catch him up to speed on how EVERYONES GONE and steve catches them up to speed on how EVERYONE IS GETTING MURDERED

meanwhile, brenner has three predicaments

1) no matter what he does to el, what kind of torture he inflicts, she isnt using her powers because she doesnt have them. she tells him this several times. he refuses to believe it

2) lonnie byers is demanding his payment, which he didnt recieve because the deal was that he bring el to them, and he couldnt even do that

3) he has to find a way to dispose of mike and will, who he had no intention of bringing into the lab but theyre here and they know everything

and this is the moment where mike screws up by letting them know that people know theyre in the lab and people know about all the experiments and any second now, someones gonna come banging that door down to save us. nancy, jonathan, steve, robin max, lucas, dustin, kali-

and the second mike says her name he knows he screwed up

brenner decides in that moment that all he can do is round up everyone involved and get rid of them. conveniently, the string of murders occurring will serve as a good cover for what happened to them

and this is the part where joyce, murray, and hopper get back to hawkins

this is also the part where nancy and robin and the gang get back to hawkins

so nancy and robin immediately go to the video store armed with all the new information they learned from victor creel

..... and are met with jonathan, argyle, kali, and steve in pandemonium

they close the store for the day, and get ready to storm the lab

they realize that they need something from the school, so they head there to pick it up

and soon after arriving, theyre met with the all to familiar hawkins lab vans

they make a hasty escape, taking out some of the goons but they need to find a way to get the rest off their trail

they head for the woods, hoping to hide out in the cabin

meanwhile, the russia crew has taken the mostly demolished cabin as their haven to recover from whatever injuries they sustained

theyre all running through the woods, but they realize the people from the lab are closing in on them

and then nancy and jonathan pass a very familiar tree

they use whatever weapon they have on them to break through the bark, and head into the upside down

the lab people keep going into the woods, eventually finding hopper’s cabin

epic showdown between the russia crew and the lab people, joyce, murray and hopper win, they realize the lab is back, immediately head there realizing theyre gonna have to rescue someone

nancy and robin use the info they learned from victor creel to keep the gang alive in the upside down, max, argyle and eddie are freaking out because omg we’re in another dimention, we get some big reveal about the truth about the upside down and the gang makes their way out and head to the lab

and while this is all happening,we get some super emotional monologue between brenner and el (ala-the last 10 minutes of the truman show) and brenner realizes that el isnt going to be the naieve superweapn she used to be, and decides the best thing he can do with el is give her the standard punishment, time in the closet

and being in the closet triggers all sorts of flashbacks and emotions (mbb’s opportunity to show off her acting chops for an emmy)

joyce and hopper bust into the lab like they did in season 1, but this time they dont get caught

they decide to split up to cover more ground, and hopper finds el in the closet

and around the same time joyce finds mike and will and gets them out of there

here comes the REAL emotional performance

hopper sees her, we get a teary eyed “el!” “dad!”, and then hopper gets pulled away from el by lab workers

exactly the same way terry did

we’re watching this happen from el’s perspective, with a heart-wrenching “noooooooooo” from el, accompanied by cuts to every time el has had to be separated from someone she cares about (terry, the s1 ending, billy dying, her leaving kali in s2, saying goodbye to everyone on moving day, her being separated from mike and will when they got to the lab) accompanied by some terribly sad 80s song, then back to the present moment, she reaches her hand out and boom, the guards go flying. her powers are back

except she doesnt have control of them the way she did before, and now shes bringing the whole building down

her and hopper race to the the first floor, and meet joyce and the boys, they get out of the building at the very last second, and the whole thing collapses.

eventually they find the other group, the whole team is now together, they go and take down the big bad from the upside down, joyce almost KILLS lonnie

nancy and robin drop a huge bombshell that has to do with hawkins/the upside down, specifically pertaining to el, which they pieced together after talking to victor creel

we get a massive cliffhanger, season 5 starts like 10 minutes after the ending of season 4

#stranger things #yes i know half the stuff i said is going to be wrong #it would be really cool if it was tho #stranger things theory

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celmation-gibson · 4 years

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Hello, Well 2018 was a Great time for Cinemas, and what a Year for such Creature Features such as the ones I will be reviewing here, and now may I present to you some reviews of the movies that I've observed on the Big Screen that year.

Pacific Rim: Uprising – My First movie to see in Theaters since I couldn’t find a Perfect time to see Aardman’s ‘Early Man’, but I’m pretty sure this Year would be a Monster of a Movie experience in the Cinemas. Since I’ve have and Watched the First film on DVD, I would think that I should enjoy its Sequel that has been made, and even though Mr. Guillermo Del Toro (the first film’s Director) didn’t direct this Film, he Helped Produce it as well. And as I said before, I do Love a Good Giant monster film, and this film was always filled with Suspense, Action, & Drama, and I would Fear that there won’t be any Hope left if those Giant Monsters win. Also it breaks my Heart wide Open to see a Character who I say and Liked in the First film died in this one. And that one Villainous Character is sure a Wicked Dick (*pardon my Language*) about this one being Possessed by a Kaiju Masterminded Brain. And surprising how that Rouge Jaeger was controlled by a Kaiju Brain, Hit him once & he’ll hit you back Twice as Hard. But I’m glad the heroes win in this Battle, and it took near the Tail end of the Film for the Movie’s Title to appear, unlike the First one where you wait 15-20 minutes for the Main Title to appear in a longest prologue, but for Me, I would almost stick with the Original Film.

Rampage – As I said before, I do Love a Good Giant monster Movie, and this is one of them. And it was a God-Epic monster Mash, even had some hilarious Moments, like when George flips the Bird, and I was like “Did that Primate just flip a Bird?”, though I do know another Ape who can Flip a Bird. And not to mention that the movie is actually based off an Old Arcade game of the same name, and if you Look very closely in the Office Building of Energyne, there are Arcade Cabinets of the Original ‘Rampage’ game, and ‘Rampage: World Tour(?), though I’m not quite sure what the other one is. And the monsters are Hardcore Badass, I don’t know which one(s) are Great (though I pick all of them), and for Bonus, there was another Creature in the Beginning of this Film that was a Rat Test subject. And the Sequence where they hunt the Giant Wolf Down was Awesome and it gave me Goosebumps completely. Plus some Good Elements from the Game is Included as Well, such as Eating People, Tearing down a Building from top to bottom, the military being involved, and Destruction of the monsters themselves. Even when me and my Dad were watching it in the Theaters, and when Dad watched the Commercials for the Film, one of his Favorite Quotes from the movie was “And of course the Wolf Flies”, LOL! And the Lizard Monster in the Film was so Massive & a “Pain in the Ass”, there was no End in that Creature, even when you plant an Explosion in his Ears & throw Missiles at him, he gets back up again, and I thought the Impalement on George would have Killed him Completely, but it was just thru his Shoulders and Thank goodness not the Heart Area or Between the Chests. But still, this film was an Epic Fun Thrillride, the characters are Great & Fun-filled, and I guaranteed this Year would be a Monster Movie Experience in the Theaters.

Jurassic World: Fallen Kingdom - Well, me and my Dad seen the first 'Jurassic World' in Theaters back in 2015, so we figured since we love Dinosaur movies, we go this this latest update, and to our Surprise, Original Jurassic Park star Mr. Jeff Goldblum (the big Chill, the Fly(1986)) will be starring in Guest Role, and it was a Surprise seeing him in a Honda(?) commercial to promote the Film. And That my Foodtown was already selling products, even sodas & Chips in Promoting the Features, and it featured some of my Favorite Dinosaurs in the Film such as the Classic T-Rex, and boy was that Opening Scene in the Pouring Rain so Intense, the Surviving Raptor of the Original JW film Blue, who is one of my Favorite 'Good Guy' Raptors, the Comical Dino Hard-head Stiggy, who I find entertaining & Funny in the Movie, and My Favorite Villainous Dinosaur, the IndoRaptor, and if you think the Indomenous Rex in 'Jurassic World' was Terrifying, this IndoRaptor is one Badass Creep, even when she(?) smiles while playing Dead while one of the Soldier guys was about to Chip a Tooth off her, kinda gives it like a Cartoon-y feel to it like the minor ones in 'the Adventures of Pinocchio'(1996). And that Epic moment where the Island was in Volcanic Eruption was so Frantic, even one scene in the Film was shot in One single Lengthy shot during those Round Vehicle Thingies, an I thought the Part where one of the Brachiosaurus was Left behind on the Island while Massive smoke was covering him was the most Disturbed sequences in the Film. Well i certainly enjoyed the film, while my Daddy didn't, cuz he thought there wasn't much action or creature footage in the film, as he thought there was more of some "Love Stories" being put into it, that's why he might like 'Rampage' more, where they showed some monsters earlier in the film, but you might say that some Critics praised Pratt's and Howard's performance, Bayona's direction, the visuals, Michael Giacchino's score and the "surprisingly dark moments", while others suggested the series had run its course, criticizing the screenplay and lack of innovation.

Hotel Transylvania 3: Summer Vacation - Well, Mr. Genndy Tartakovsky Never Fails to impress us with this Three-times Charmer, and how Lucky was I to reserve a Seating to see this on my Birthday of 2018, after a Good Morning at the Meadowlands flea Market, and a goof Lunch at Taco Bell, I hit the Theaters with my Dad, and the Movie was Fantastic, and since Mr. Genndy Tartakovsky Co-written this Film (along with one of the 'Austin Powers' writer), I know what some Moments in the Film, there are certain scenes that are free of Dialogue, just like the ones in 'Samurai Jack'. And it was a-bit strange to see a Character from one the 'Hotel Transylvania' shorts that I've never seen, and that short was "Puppy", but in order to watch the short (even for myself), I have to watch that Gross-out 'Emoji movie' for it. But for HT3, the Climatic part of the DJ Battle with Professor Van Helsing (Drac's old Nemesis, and was surprise to see him still Alive in Machine parts) & the Kraken was Awesome, I didn't remember the first Official song played, but I do know the second being 'Don't Worry, be Happy', and the Final one was none other than the 'Macarena' and supposedly it's the Extended River remix version of the song which I have on my I-Tunes and have no regret in Purchasing it, along with Daft Punk's 'One More Time'. So I like the Film and can't wait to get it for Christmas, along with 'Rampage' this Year. And I even heard that Genndy will be working more at SPA where he will be set to Direct an R-rated animated feature titled 'Fixed', and an Adventure Film named 'Black Knight'.

Smallfoot - When I saw some Preview ads on CartoonBrew, I thought this looks kinda Weird and thought I'd just pass on it, but after seeing some TV Ads for the film, and seeing how interesting it looks, I thought I'd give it a shot, and kinda find the movie very Interesting if you wanna feel Young at Heart, and was Lucky to see it on Columbus Day, the only Actor(s) in the Cast i know were comedian Danny Devito & Basketball superstar Lebron James, and to my surprise seeing the closing credit of the film that Cartoonist Justin Roiland voiced in the film as well as one of the Yeti folks in the Kingdom, and I only know the names Common & Gina Rodriguez starring in the film. And the Music and songs in the Film are Nice, and I like how some Advance the Characters or Advance the plot, and it was Hilarious hearing one Song being sung in the tune of Queen/David Bowie's 'Under Pressure', and since Common is a Rapper in real-life, he did a Good Singing on when the Stonekeeper himself tells Migo that Humans & Yetis were Enemies in the old ages. And the other reasone I like watching this film is that I'm also Fascinated with Yetis and Drawing them, as you can see from my old 'YETI & other Stories' story in my Gallery, and one of my Yeti inspirations was the old Unfinished/soon-to-be-Finished David Allen film 'the Primevals'. And don't forget that the SF film was inspired by a book called 'Yeti Tracks', which is a good thing that some Films were based on Books such as 'Mr. Popper's Penguins', 'Home', & 'the Adventures of Pinocchio(1996)'. And I like how the Film was promoted "from the Studio who brought you 'Looney Tunes'" in which case, it is made by Warner Bros., and also the people who worked on 'Storks', and this film now made me think of two Environmental Animated films from 20th century Fox such as 'Ferngully: the Last Rainforest' & 'Once upon a Forest'.

Halloween(2018) - I never even heard that the Original 1978 classic is getting a Remake, although It may not look like a remake, but a True sequel to the Original film, and avoiding stuff on what happened in 'Halloween II(1981)', 'Halloween 4 -Curse', & 'H20'. And I read that the original star Ms. Jamie Lee Curtis will be in this Film, as well as being executive producer for the feature along with the Original 1978 Film's Director Mr. John Carpenter, as in they want to make it look Perfect as the original Monsterpiece, and they did succeed in it in Keeping the Spirit & Atmosphere like the 1978 movie. And I gotta say, Micheal Myers is one 'Pain-in-the-Ass' monster in this Film, like he always is in the original series, and I feel sorry for the People who got killed by that Creep, the Podcasters, the Boy who was equipped with a Gun along with his daddy, and a Woman who Micheal murdered and left a Baby behind. And an amazing thing my dad found in a Twist of Story is when Micheal got hit by the Sheriff, the Sheriff and the Late Dr. Loomis' student professor went out to investigate and kill Micheal, only for the Sheriff to be killed by the Professor, and when the Professor dude wore Micheal's mask, my dad thought that he was gonna be the New Micheal Myers, but Micheal resurfaced and soon killed the Professor afterwards. And one part in the Film which left the Audience in an applause is a Sequence that was based off the Original film, when Micheal attacked Laurie and pushed her off the Balcony, he saw her Body Lying there, but when Micheal turned away and looked back again, she was gone, just like what happened in the 1978's film ending. even after watching this film with my dad, he still had alot of Questions need to be Answered about some parts in the film, and I wish they showed more of the Ending with Micheal being Burned alive in the Cellar. And this may be one Creepy Classic that i might never watch again, but I just stick with the original Masterpiece of Fright & Shock.

the Grinch - Man, I am seeing alot of Good films in 2018, and this one may be the Last that interest me that Year, and this one was an Adaption of Dr. Suess' Classic Holiday Tale, 'How the Grinch stole Christmas', or simply titled 'the Grinch'. And seeing how Interesting it looks after seeing some Previews and TV Ads, especially that part where the Grinch whispers to Max and Fred "This is the Loudest Snow I've ever heard in my Life", I've decided to give it a Go, and hoping to see if it's Fascinating like the Original 1966 Animated Classic and more Better than the 2000 Live-Action Jim Carrey one, and it was. How lucky i was to see this movie on a Day off afternoon on a Wednesday, and I thought i would be the only one seeing the Film in Theaters, but it was also some Girls and their Parents & Guardians, possibly had a Half a day off. But for the Film, I Loved how the Narrator of the Film narrates in Rhyme, like the Original Dr. Suess books, and how the Writers improvised the Story using the same Lines in the Books, and It had a Great choices in Christmas soundtrack, especially in the part with Grinch Wake-up Radio with some Familiar tunes I know and Cherished. And it was a Great Film produced by the Wonders of Illumination, the Wizards behind 'Despicable me', 'the Secret Life of Pets', & 'Sing', plus they did another Dr. Sues adaption such as 'the Lorax', even some of the character designs in the film made me think of the Designs from Disney features such as 'Wreck-It Ralph' & 'Monster University'. And some of the Voice Cast in the film I know of was Keenan Thompson of 'All That' & 'Keenan & Kel' voicing Bricklebaum, a jolly citizen of Whoville, and Angela Lansbury as the Whoville's Mayor, and how Surprised/Not Surprised to hear another Familiar Voice in the Film playing one of Cindy Lou's Friends, who that boy is none other than Mr. Sam Lavagnino, the Voice of Baby Grizz in 'We Bare Bears' & Pepper and Alien King in 'Summer Camp Island'. And I'd thought Ms. Cindy Lou Who would have a cute design just like the one in the 1966 Classic, and she did have a Cuter design in this Film when it comes to the Creative Artists of Illumination. And Yet, this has become another Holiday Classic, and when I told my Mother how much Fun it is, she might be hoping to get the Film on DVD for my Niece to Enjoy.

There was a Movie called 'the Meg', though I may have interest to see that, but I wasn't sure how much interested I will be with the Whole thing. And sorry if I didn't felt like seeing 'Ralph breaks the Internet' or 'Into the Spider-Verse', I go for the Obscure & Non-Disney taste in the Cinemas as of now.

#2018 #best of #movies #smallfoot #the grinch #pacific rim uprising #rampage #jurassic world fallen kingdom #hotel transylvania 3 #Halloween #george #reviews #cindy lou who #indoraptor #my artwork #drawing

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maydaymemer · 4 years

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Steam vs. Sledgehammer

Yep it’s time to review two songs in one. My favourite song ever: Steam (yes, Steam), as well as one of the iconic songs of the ‘80s: Sledgehammer. Both by Peter Gabriel, both heavily influenced by funk and both with music videos directed by the late Stephen R. Johnson.

Sledgehammer needs no introduction for anyone over 40, which means it does need an introduction here. The song is the lead single from Peter Gabriel’s 1986 pop opus “So”, and is his only American #1 (it only got to #4 in the UK, which makes me more ashamed to be from here than ever). It’s known for its pioneering stop-motion animated music video which is still well regarded today, heck it kickstarted Aardman’s career before they made Wallace and Gromit. The song is a loving tribute to Gabriel’s favourite funk and Motown songs he listened to in his youth, there’s even a funny anecodote a read about Gabriel in his early days going to a soul cafe or something and being the only white guy there. To be a fly on the wall on that day. Methinks he was there to pick up chicks, not just listen to the music, which only makes me love the guy even more to be honest.

Steam on the other hand I don’t think anyone who isn’t a Gabriel fan remembers. Sure, when it was released in 1992 it was a hit but was generally seen as a Sledgehammer II: Sledge Harder, and didn’t set anyone’s world alight. Plus, people weren’t listening to Peter Gabriel in ‘92, they were bumping Nirvana and Tupac. On the bright side we did get a fucking insane music video which I love showing to people to get a reaction out of them.

One of them highly acclaimed and the other mostly maligned, but both are typically overshadowed by their music videos. I’m here to dig into what makes both these songs great, and why they’re both intelligent, finely crafted pop songs. I’m also going to note the similarities between the two, and why I think Steam was a more than worthy follow up.

Let’s get down to the start of both songs. Sledgehammer begins with a synthesised flute that goes on for about 15 seconds, before launching into an opening tune that knocks you right off your seat like, well a sledgehammer. This sets up an appropriate atmosphere for a song that combines the clever soul with the sexy sounds of the ‘80s to create a song that transcends past dated into just a banging tune that holds up today. The song has an excellent bassline and feels simply big. Then we get Gabriel coming in with a prolonged “Heeeeeeey” followed up with a more muffled “tell me how have you been?” to take us into the first verse. The song sets a mood and it sets it well, this is bouncy and fun Peter Gabriel, not weird psycho Peter Gabriel (which is pretty much his default).

Steam, on the other hand, doesn’t introduce itself. The song just abruptly bursts into your door after a short bassline with the distinct drum and bassline with all sorts of sounds flung at you. Horns, electric guitar, you name it. Gabriel yells “Stand back! Stand back!” And you almost think “yeah maybe I should I shouldn’t really argue with Peter Gabriel”, especially in the video where he’s wearing a pimp suit to accompany this. He continues, shouting “what are these dogs doing sniffing at my feet? / They’re onto something picking up / picking up / this heat”. I still have no idea what this intro means, but then we transition into the abolsutely magnificent instrumented chorus as Peter sings “Give me Steam / and how you feel can make it real / real as anything you’ve seen / get a life / with the dreamer’s dream”. I’ve heard reviewers call this song overproduced, and I would agree the song is very maximal in terms of production, but I wouldn’t remove one instrument. The song’s various mood changes from chorus to verse to pre-and-post choruses take me where the song wants me to go emotionally every time. I find the “Give me Steam” part specifically to be rather exciting and really impressed me the first time I listened to this song, last year I believe, and it still impresses me now.

This is where we take a look at the verse structure of both songs, which are pretty much the same not just within the songs but between them. The first verses of both set up two metaphors:

“You could have a steam train / if you just lay down your tracks

You could have an aeroplane flying / if you bring your blue sky back” - From Sledgehammer

“You know your culture from your trash

You know your plastic from your cash” - From Steam

Peter then connects these to the message of the song at the end of the verse:

“All you do is call me

I’ll be anything you need” - Sledge

“Whenever heavens doors are shut / you get* them open but / I know you” - Steam (alright I’m cheating here, that’s three metaphors, but this illustrates my point better)

So as you can see this is where the two songs split off. Sure both include Peter’s patented silly sex puns, a Sledgehammer is long and hard while Steam is hot and wet, but the meanings of each song is different.

For Sledgehammer the song is about how sex can be used to communicate and brighten up the mood of someone where words simply can’t help. The philosophy of the song is that sometimes you just need some fuck. I imagine a narrative where maybe Peter and this lady friend he’s talking to through the song have just broken off some long term relationship, and they’re very good friends so they spend some time together playing with her bumper cars and his big dipper to take their minds off it. The song isn’t really about love, it’s about having fun, but as I illustrated with my interpretation it’s not about sex with someone you don’t love it’s about sex with someone you’re not IN love with. So kind of a FWB/rebound kind of thing, though not a romcom version where they get together in the third act. It’s a very different approach to an ‘Intercourse with You’ song and told in a very fun way. The song has a bounce to it and a sort of mature naivety, Peter comes across as genuinely joyful to the woman he’s narrating too, they aren’t using eachother but they’re not in a serious relationship either. Good stuff, Pete.

Steam on the other hand is about the relationship, it’s about that spark and connection with someone. Specifically it’s about a relationship where the woman is cultured, sophisticated and generally a classy lady but Peter isn’t. He’s talking himself down, except for one subject: when it comes to the lady, he knows her better than she does and that’s the most important thing of all. Maybe he knows how to please her, maybe he knows her deepest depths, maybe it’s both but the songwriting illustrates that Peter is just in awe of this woman and she might not be in awe of herself just yet. I always interpreted this as Peter writing about a relationship between classes, but in a smarter way than say Billy Joel. Peter grew up middle class but in this song it’s like he’s putting himself in the shoes of a working class guy who’s in a relationship with someone who should be out of his league, but perhaps because of those virtues have led to him knowing how to socialise he can get the depths of her heart better jan a thousand potential rich suitors and their relationship just works. I’m being a bit old school with the picture I’m painting but a genuinely smart way of basically writing Opposites Attract but without the cartoon cat (instead we get a CGI Peter Gabriel Chair, perhaps that’s not the best trade off). That’s why I love it so much, it writes a geniunely smart love song about a relationship working despite the differences which a lot of songs do but they never go into why they work together. Peter explains that while he can’t know a lot about art or money he does know a lot about humanity (and sex, as Sledge shows).

The rest of the verses follow this same formula, I’ll close the review by pointing out how the finales of both songs basically are the same again.

With the finale of Sledgehammer Gabriel refers to “shedding his skin”. He then says “this is the new stuff”, which probably sounds like a birthday suit reference to you but I have a more indirect interpretation. What I love about the line is that in a way it’s Gabriel saying “I’m the shit!”, predicting that the song will become ‘the new stuff’ as it did. Which is why it’s one of the things I do prefer over Steam, which goes for a more obvious orgasm innuendo:

“Roomshake, earthquake

Find a way to stay awake

It’s gonna blow, it’s gonna break

This is more than I can take!”

Tho back to praising Steam, it is my favourite song after all, I think that song does pace itself better. Steam is a minute longer and has way more variety, with a lot of change ups with an occasional pre-chorus peppered in. It’s a longer song that feels shorter and endlessly replayable. Granted a listen to both of these songs an unhealthy amount of times, so I wouldn’t recommend any of you reading this skip out on them. Listen to them however you can, they’re a great time. Heck, buy the albums they come from because the rest of the songs on there are great too.

Thanks for reading this review. It’s a very quick one drafter of hopefully many that I’m posting to sharpen my writing skills. Hope you enjoyed and I’ll make sure to improve these over time. I have ideas for little bite size and more cohesive reviews of the following songs: Uh Huh, Girl, Babooshka

*note: thought he sung “kick” but apparently not. Personally I think “kick” has a better kick to it, funny enough, in terms of annunciation.

#peter gabriel #steam #song analysis #review #music #peter gabriel steam #peter gabriel sledgehammer #petr fuckriel #sledgehammer

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inthedayswhenlandswerefew · 5 years

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Superheroes By Day (Queen fic)

Summary: Queen are rock stars by night, superheroes by day. Each member has his own exceptional powers. They assemble for an important mission cerca 1986. Also, cellphones exist.

Inspiration: Totally random, pure ridiculousness, plz enjoy.

Warnings: Language.

Link to all my writing HERE

My burner phone rings. They always call me. I’m the only one who can be trusted to pick up.

“This is John.”

Freddie always loses his phone; he would lose his moustache if it wasn’t attached. Brian spends too much time frolicking with and rehabilitating forest creatures, so his phone goes dead and he can never charge it because surprise surprise, there are no wall sockets in the fucking woods. Rog is hopeless, hopeless. Last time they gave him a phone it ended up at the bottom of a jacuzzi tub in Morocco. I’ll let you try to figure that one out.

I listen to our latest mission, jotting down a few notes with the pen and notepad I keep in my fanny pack. Yes, I use a fanny pack. You would too if you had four kids. Shut up about it.

“You are tasked with assembling the others.”

I sigh, quite dramatically. “Can’t you...I don’t know, send limos or something?”

“Complete the mission, John.” They hang up. Superheroes get a lot less fanfare than rock stars.

I sprint outside and jump into my Mercedes-Benz 190E. I turn the key in the ignition. Nothing.

“No!” I gasp. I try again. Nothing. “No no no!”

I rush back inside the house. Veronica is taking fish sticks out of the oven and forking them onto plates for the kids.

“Babe, there’s something wrong with the Benz!”

“Oh,” she replies, unbothered. “Well I can take it to the shop tomorrow.”

“But I need it now! I have a mission!”

She peers out the kitchen window and into the driveway. “What’s wrong with the minivan?”

I follow her gaze, horrified. “Babe, love of my life, I cannot pick up the band in a Plymouth Voyager.”

“Why not?” she replies innocently. “Kids, lunch is ready!” I hear the stampede beginning upstairs. Veronica looks at me with her eyebrows raised. “Do you want the van or not?”

I tug at my permed hair in exasperation. “Okay, okay, I’ll take the van!”

She tosses me the keys and I’m out the door like a bolt of lightning. The Voyager roars to life without any hesitation.

I arrive at Brian’s house first. I honk precisely six times: the secret honk, the we-have-a-mission honk. A neighbor lady leans out her window, shakes her fist menacingly, and calls me a barmy wanker. Thanks, lady.

Brian toddles out of his house looking very sensible: button-up shirt, slim white trousers, general demeanor of a brooding academic. And then there are the clogs.

“You, ah, you’re not going to trip in those?” I venture.

He glares at me and slips wordlessly into the passenger’s seat. The Plymouth Voyager pulls out of his driveway. I fumble with the radio, and eventually find a good song. It’s disco. I bop my head and sing along, entirely offkey. Brian stares sullenly out the window and presumably wishes for death.

Roger is next. Six honks.

“Good god, there must be a more practical way to communicate in this day and age!” Brian says.

“I could try turning up the disco,” I suggest. He is not amused.

Rog is wearing all black, including his prescription sunglasses. He climbs into the back seat. “Good morning, gentlemen!” he announces cheerfully. He reaches into the pocket of his sweatpants and produces an entire bottle of tequila.

“It’s 2:37 p.m., Rog,” Brian informs him.

Rog recoils, bewildered, then shrugs. He knocks back a few swallows of tequila and glances around the minivan. “Ooo, there are cupholders!”

I return to singing disco. Brian peers back at Rog. “Give me a swig of that.”

Freddie is waiting at the curb with a lit cigarette between his fingers. I roll up beside him. He appraises the Plymouth Voyager.

“Um, excuse me, but what the fuck.”

“I know, I know, the Benz wouldn’t start. Why are you out here already? Did someone call you? Did you actually know where your phone was?”

“Oh no, darling, the cats just don’t like me smoking indoors.”

“Whatever you say, Fred.”

“Miko sneezes terribly!”

He crawls into the back seat with Rog. They immediately begin giggling and shoving each other and inventing drinking games.

“Okay,” Freddie instructs, “every time Bri says something pretentious you have to take a shot.”

“Fred, I’ll fucking die!”

Brian buries his head in his hands. I clear my throat as I speed through traffic. “Um, is anyone actually interested in the mission?”

They settle down. “Oh yeah,” Roger says. “Go ahead, Deaks.”

“There is a family in Ealing whose dog, Mr. Doodles, has been stolen, probably to be held for ransom. We’re in pursuit of the burglar.”

“Wait, isn’t he going to be, like, way ahead of us by now?” Bri asks, ever the skeptic.

Roger rolls his eyes. “Fortunately, we happen to have...” He does jazz hands. “Superpowers!”

“Right. I’ll find him.” Freddie rubs his temples and closes his eyes in concentration. He has a dash of telepathy, but it only works on bad guys. Thank god for that, or the constant bombardment of space nonsense and disjointed basslines and naked women and car engine revs from us would completely drown out anything useful. “He’s heading west on Warwick Road!”

I put the pedal to the metal and within a few minutes we’ve spotted him. The Plymouth Voyager squeals to a halt along the sidewalk. All four of us dive out of the van and into the street.

The burglar is tall and burly and wearing a black ski mask, how original. He’s also cloaked in a tremendously tacky mustard yellow coat and carrying a satchel that likely contains the aforementioned Mr. Doodles. He sees us and pulls a gun out of his international fashion crime of a coat.

Roger unleashes a sonic scream—“aaaaaAAAAAAAhhhhAAAAAAAAAA!”—and the gun flies out of the burglar’s hand. He curses in frustration.

“Avian friends, attack!” Brian calls out. A flock of ducks descend upon the burglar, swooping and pecking at him. He attempts to smack them away clumsily.

Freddie flies to the burglar’s side. Did I mention Freddie can fly? Well, he can fly. Short distances, anyway. “That coat is awful and you should feel bad about it.”

Now it’s my turn: snark so savage it can incapacitate a wrongdoer in seconds.

Freddie, reading the burglar’s deepest thoughts and darkest fears, gives me the information I need. “Deaky, he’s still traumatized from middle school algebra! Talk about algebra!”

“Quadratic equations! Polynomials!”

“Ahh!” the burglar screams, crumpling to the ground. He loses his grip on the satchel, and a small white ball of fluff tumbles out. Mr. Doodles barks, panicked and disoriented, and Brian rushes over to comfort him.

I shout: “If x times seven equals 49, what is the value of x?!”

“Please stop! I’ll do anything!” The burglar writhes helplessly, vanquished.

Brian laughs, cradling Mr. Doodles in his arms. “Pathetic!”

I unzip my fanny pack and sift through the stationary and toast crumbs. “Oh dammit, I forgot the handcuffs!”

“I got it,” Rog says. He reaches into the pocket of his sweatpants and pulls out a pair of fuzzy pink handcuffs. He clicks them around the burglar’s wrists and flashes a grin. Oh my god. Did I really just see that? Oh my god. “Do you need a blindfold too—?”

“No, Roger.”

The police arrive to take the thwarted burglar away and return Mr. Doodles to his rightful owners. Brian thanks the ducks kindly and feeds them cracked corn from his outstretched palm. Roger argues with the police because he wants to be sure he gets his fuzzy handcuffs back.

“Alright, darlings.” Freddie claps his hands together. “Job well done. Back to Garden Lodge. I’ll have Jim put some cookies in the oven for us.”

Roger raises his tequila bottle into the air and winks. “I’ll make the tea.”

#queen #queen fanfic #queen fanfiction #freddie mercury #brian may #john deacon #roger taylor #queen imagine

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blackkudos · 4 years

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Darius Rucker

Darius Carlos Rucker (born May 13, 1966) is an American singer and songwriter. He first gained fame as the lead vocalist and rhythm guitarist of rock band Hootie & the Blowfish, which he founded in 1986 at the University of South Carolina along with Mark Bryan, Jim "Soni" Sonefeld, and Dean Felber. The band released five studio albums with him as a member and charted six top 40 hits on the Billboard Hot 100. Rucker co-wrote most of the songs with the other members.

He released a solo R&B album, Back to Then in 2002 on Hidden Beach Recordings but no singles from it charted. Six years later, Rucker signed to Capitol Nashville as a country music singer, releasing the album, Learn to Live that year. Its first single, "Don't Think I Don't Think About It", made him the first black artist to reach number one on the Hot Country Songs charts since Charley Pride in 1983. (Ray Charles hit number one in March 1985 in a duet with Willie Nelson with "Seven Spanish Angels".) It was followed by two more number one singles, "It Won't Be Like This for Long" and "Alright" and the number three hit "History in the Making". In 2009, he became the first black American to win the New Artist Award from the Country Music Association, and the second black person to win any award from the association. A second album, Charleston, SC 1966, was released on October 12, 2010. The album includes the number one singles, "Come Back Song" and "This".

Early life

Rucker was born and raised in Charleston, South Carolina, where his family history goes back generations. He lives in Charleston with his wife and three children. His single mother, Carolyn, a nurse at Medical University of South Carolina, raised him with his three sisters and two brothers. According to Rucker, his father was never around, and Rucker saw him only before church on Sundays. His father was in a gospel band called The Traveling Echoes. Rucker has said that he had a typical Southern African-American upbringing. His family attended church every Sunday and was economically poor, and at one point, his mother, her two sisters, his grandmother and 14 children were all living in a three-bedroom house. But he says that he looks back on his childhood with very fond memories. His sister, L'Corine, recalled that singing was always his dream.

Hootie & the Blowfish

Darius Rucker has been the lead singer of Hootie & the Blowfish since its formation in 1986. He met fellow band members Mark Bryan, Jim "Soni" Sonefeld, and Dean Felber while attending the University of South Carolina. Bryan first heard Rucker singing in the shower, and the two became a duo, playing R.E.M. covers at a local venue. They later recruited Felber and finally Sonefeld joined in 1989. As a member of Hootie & the Blowfish, Rucker has recorded six studio albums: Cracked Rear View – 1994, Fairweather Johnson – 1996, Musical Chairs – 1998, Scattered, Smothered & Covered – 2000, Hootie & the Blowfish and Looking for Lucky – 2005, also charting within the top 40 of the Billboard Hot 100 six times. All six albums feature songs that Rucker, Bryan and Felber wrote. As the frontman, Rucker began to be called simply "Hootie" by fans, though the band title combines the nicknames of his college friends. Before his rise to fame, he lived in the basement of the Sigma Phi Epsilon house at the University of South Carolina, attempting to launch his career through the college bar scene.

Rucker's signature contribution to the band is his baritone voice, which Rolling Stone has called "ingratiating," TIME has called "low, gruff, [and] charismatic," and Entertainment Weekly has characterized as a "barrelhouse growl." Rucker said they "flipped" the formula of the all black band with a white frontman, like Frank Sinatra performing with Count Basie. Musically, he has sometimes been criticized or spoofed for not being "black enough". Saturday Night Live ran a sketch of Tim Meadows playing Rucker leading beer-drinking, white fraternity members in a counter-march to Louis Farrakhan's Million Man March. He also received death threats for singing the Hootie song "Drowning," a protest song against the flying of the Confederate flag above the South Carolina statehouse.

Shortly after gaining a measure of fame, Felber and Rucker (who consider themselves best friends) moved into an apartment in Columbia, South Carolina. With Rucker's recognition as the frontman of a successful band came increased opportunities. In October 1995, he was asked to sing the national anthem at the World Series. Frank Sinatra invited him to sing at his 80th birthday party; he sang "The Lady Is a Tramp." That same week, he made a voice cameo in an episode of the sitcom Friends. He also joined Nanci Griffith on the song "Gulf Coast Highway" for her 1997 album Blue Roses from the Moons, and sang backing vocals on Radney Foster's 1999 album See What You Want to See. He encouraged Atlantic Records to agree to a deal with Edwin McCain and made a guest appearance on McCain's debut album, Honor Among Thieves.

In regard to the future of Hootie & the Blowfish, Rucker was quoted by CBS news as stating in late 2011, "I don't think we'll ever break up totally. We're Hootie & the Blowfish. ... We'll make another record and do another tour someday. I don't know when, but it will happen. There's one more in us." After a ten-year hiatus, Rucker and the band announced that they will be touring with Barenaked Ladies in 2019 while releasing a new album the same year.

Their sixth studio album Imperfect Circle was released on November 1, 2019.

Solo career

In 2001, he made his solo R&B debut album, The Return of Mongo Slade, for Atlantic Records. Because of contractual changes, it was never released by the label. Hidden Beach Recordings, an independent label, acquired the masters from Atlantic and released the album as Back to Then in July 2002. The album included work from the production team of Jill Scott, and she made an appearance on the track "Hold On." The single "This Is My World" was featured in the 2001 comedy film Shallow Hal. In regards to the album, "That was just a minute in my life," he later told The Arizona Republic about the record. "I was listening to a lot of Notorious B.I.G. and Lauryn Hill at that time, and I wanted to make a neo soul record." He also said in the article that he doesn't anticipate recording an R&B-styled disc again. "Country music is my day job now. I'll probably do this till it's all over, but that album was a lot of fun."

Rucker appeared on a pop-star edition of the quiz show Who Wants to Be a Millionaire? in July 2001. He also portrayed a singing cowboy in a television commercial for the fast-food company Burger King, promoting its TenderCrisp Bacon Cheddar Ranch sandwich in 2005. In the commercial, he sang a jingle set to the tune of "Big Rock Candy Mountain." In 2006 Rucker lent his voice to the track "God's Reasons" written by Dean Dinning and Joel A. Miller for the film The Still Life.

Country music2008–2009: Learn to Live

In early 2008, Rucker signed to Capitol Records Nashville as the beginning of a career in country music. His first solo single, "Don't Think I Don't Think About It" (which he co-wrote with Clay Mills) debuted at No. 51 on the Billboard Hot Country Songs charts for the week of May 3, 2008. It is the first single from his second album, Learn to Live. For this album, Rucker worked with Frank Rogers, a record producer who has also produced for Brad Paisley and Trace Adkins. Rucker also made his Grand Ole Opry debut in July 2008. The single reached number one in September, making Rucker the first solo, African-American artist to chart a number one country hit since Charley Pride's "Night Games" in 1983.

Learn to Live was certified gold by the Recording Industry Association of America (RIAA) on February 6, 2009, and received a platinum certification on August 7, 2009. The album's second single, "It Won't Be Like This for Long", spent three weeks at the top of the country chart in mid-2009. Its follow-up, "Alright", became Rucker's third straight No. 1 hit, making him the first singer to have his first three country singles reach No. 1 since Wynonna in 1992. The album's fourth single, "History in the Making" was released in September and peaked at No. 3. The singles also crossed over to the Billboard Hot 100, peaking at 35, 36, 30 and 61.

Billboard magazine said that "there's a sense of purpose that makes Rucker feel like a member of the country family, rather than calculating interloper." Rucker made visits to various country stations around the United States, explaining that he was aware that he was the "new kid on the block." Mike Culotta, the program director of Tampa, Florida, radio station WQYK-FM expected that Rucker would be "somebody who would have entitlement," but instead said that "Darius engaged everybody." When Rucker found that "Don't Think I Don't Think About It" went to number one, he cried. On November 11, 2009, Rucker won the Country Music Association New Artist of the Year award (formerly known as the Horizon Award), making him the first African American to do so since the award was introduced in 1981. Only one other African American has won at the CMAs: Charley Pride, who won entertainer of the year in 1971 and male vocalist in 1971 and 1972.

2010–2011: Charleston, SC 1966

Rucker released his second country album, Charleston, SC 1966, on October 12, 2010. The title is inspired by Radney Foster's solo debut album, Del Rio, TX 1959. Its first single was "Come Back Song," which Rucker wrote with Chris Stapleton and Casey Beathard. It was his fourth country number one as well as a NO. 37 hit on the Hot 100. The album's second single was "This", which was released to radio in November 2010 and also reached No. 1 in the country chart. Rucker wrote it with Rogers and Kara DioGuardi. "I Got Nothin'" was the album's third single, peaking at No. 18. Also included on the album is a duet with Brad Paisley titled "I Don't Care". Charleston, SC 1966 received a gold certification.

2012–2014: True Believers

On May 20, 2011, Rucker delivered the commencement address to the graduating class of the Medical University of South Carolina.

On December 14, 2011, CBSnews.com reported that Rucker was working on a third country album with recording set to begin January 2012 followed by the release of the album early in the year. The album's lead-off single, "True Believers," made its chart debut in September. On October 12, 2012, Rucker told Broadway's Electric Barnyard that his album would also be titled True Believers. "True Believers" peaked at No. 18. Its second single is a cover of Bob Dylan and Ketch Secor's "Wagon Wheel" (previously made famous by Old Crow Medicine Show), featuring backing vocals from Lady Antebellum. "Wagon Wheel" reached No. 1 on the Country Airplay chart in May 2013. True Believers was released on May 21, 2013. The album's third single, "Radio", was released to country radio on July 22, 2013. The album's fourth single, "Miss You", was released to country radio on February 3, 2014.

On October 2, 2012, Rucker was invited to join the Grand Ole Opry. Halfway through his set at the Opry that night he answered questions from the audience which included a question from Brad Paisley. Paisley said: "I have two questions. One, are you still the worst poker player in the world? And two, would you like to become the newest member of the Grand Ole Opry?" Rucker accepted, and it became official on October 16.

Rucker was a featured performer at the C2C: Country to Country festival in London on March 17, 2013, which was headlined by Carrie Underwood.

On News Year's Day 2013. he sang the national anthem at the Outback Bowl in Tampa, Florida.

On May 11, 2013, Rucker was the speaker at the commencement ceremony for the University of South Carolina in Columbia. Before his speech, he received an honorary doctorate of music.

Rucker also sang the national anthem at the NBA finals on June 16, 2013.

On December 6, 2013, it was announced that Rucker's version of "Wagon Wheel" had earned him a nomination for Best Country Solo Performance for the 56th Annual Grammy Awards. At the awards ceremony on January 26, 2014, Rucker won, becoming only the third African American recording act (the first being Charley Pride, the second being The Pointer Sisters) to win a vocal performance Grammy Award in a country music category.

2014–2015: Southern Style and Home for the Holidays

On August 25, 2014, Rucker released a new single titled "Homegrown Honey" to country radio and to digital retailers. It served as the lead single to his fourth country studio album, Southern Style, released on March 31, 2015. It reached No. 2 on the Country Airplay chart in April 2015. The album's second single, the title track, released to country radio on May 4, 2015.

On September 15, 2014, it was announced that Rucker had completed his first Christmas album and that it would be released on October 27, 2014. Included is a collaboration with Sheryl Crow on "Baby, It's Cold Outside".May 30, 2015 Rucker headlined Philadelphia's famous XTU 31st Anniversary Show at the Susquehanna Bank Center. Christopher Bousquet named President of the Hootie fan club

Rucker makes an appearance on Sister Hazel's new album, Lighter in the Dark.

2016–present: When Was the Last Time

On January 6, 2016, Rucker announced that he was working on his fifth country album. The album's lead single, "If I Told You" was released to country radio on July 5, 2016. It reached number one in the Country Airplay chart nearly a year later, and peaked at number four on the Hot Country Chart. Rucker also returned to the C2C: Country to Country festival in the UK in March 2017, where he was second on the bill to Reba McEntire.

On May 29, 2016, Rucker performed the national anthem prior to the 100th running of the Indianapolis 500. Rucker also performed the national anthem for a game between the Buffalo Bills and the New York Jets on September 15. Rucker agreed to perform the song at the behest of personal friend and former Bills player Bruce Smith, whose jersey was being retired that night. He sang the national anthem again ahead of the Saints-Dolphins game held at London's Wembley Stadium in October 2017, as part of the NFL International Series.

Rucker was selected as one of 30 artists to perform on "Forever Country", a mash-up track of "Take Me Home, Country Roads", "On the Road Again" and "I Will Always Love You", which celebrates 50 years of the CMA Awards. On July 24, 2017, Rucker released the second single from his upcoming album, titled "For the First Time." On July 26, 2017, he shared details of his fifth country album, titled When Was the Last Time and it was released on October 20, 2017.

Rucker appeared as a mentor on seventeenth season of The Voice for Team Blake.

Personal life

Rucker is an ardent South Carolina Gamecocks fan as well as a Miami Dolphins and Cincinnati Reds fan. He also likes the film Stir Crazy, which he has seen more than 100 times.To show his loyalty to his University, he gave a free concert which was held at the Colonial Life Arena after the football team was able to win 6 games following a pair of losing seasons after joining the Southeastern Conference.

Rucker's mother died in November 1992 of a heart attack. His grief inspired two Hootie & the Blowfish songs: "I'm Goin' Home" and "Not Even the Trees." On April 21, 1995, his girlfriend (Elizabeth Ann Phillips) gave birth to Rucker's first child, Carolyn Pearl Phillips. His second daughter, Daniella Rose, was born to his wife, Beth, on May 16, 2001. They had a son, Jack, in 2005. The Hootie song "Where Were You" is about Rucker's strained relationship with his father, and was released only in Europe, where Rucker thought that his father would be unlikely to hear it. His country single "Alright" was inspired by his marriage.

Rucker is a friend of the golfer Tiger Woods, whom he met in a bar when Woods was 18. Rucker sang at the golfer's wedding with Hootie & the Blowfish and at his father's funeral. His interest in golf goes well beyond his relationship with Woods; he was a VIP guest of Team USA at the 2016 Ryder Cup, and he attended Arnold Palmer's funeral shortly before the Cup.

On November 7, 2016, Rucker told ESPN that he had become a partner in MGC Sports, a sports agency that currently represents golfers (among them Steve Stricker and Kenny Perry), football players, and coaches. He added that he was planning to reduce his performance commitments from 100 dates per year to about 30, and that he thought that his experience in the entertainment business would be an asset to potential clients. Rucker will be able to work without restrictions for golfers, but because he is not registered with the NFL players' union, he initially will only be able to meet with NFL players under very limited circumstances.

For the Undercover Boss series episode "Celebrity Undercover Boss: Darius Rucker" which premiered May 12, 2017, Rucker disguised himself as a 62 year old music teacher, ran an open mic night and worked as a roadie.

Philanthropy and impact

Rucker has regularly worked with charities that support sick and underprivileged children, via benefit concerts, volunteering, the PGA The First Tee Program, and the Hootie & The Blowfish Foundation which has raised nearly $4.5 million to provide funding to public education systems throughout South Carolina.

He serves as a board member of the MUSC Children's Hospital in Charleston, SC. where his mother worked for over 30 years from the time Rucker was a child, and has helped fundraise millions of dollars to help build a new hospital.

He also made a commitment to support St. Jude Children's Research Hospital after touring the facility in 2008. Since then, Rucker has spearheaded an annual event focused on amazing music, memorable collaborations and heartfelt stories resulting in over $1.6M raised for St. Jude's to date.

#05/13

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