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serenade-meow · 4 years

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Paul/Jane excerpts (within the context of Beatles’ details)

MEETING THE BEATLES:

On 18 April 1963 Jane did a photographic assignment for Radio Times at a concert called ‘Swinging Sounds ’63’ at the Albert Hall... When the Beatles came on stage she screamed. Jane met all four Beatles backstage – apparently all four were very impressed by her – especially George, it was alleged later – but she got on better with Paul. They were seen in public together for the first time shortly afterwards and from then on Paul was continually asked whether he was going to marry Jane. Paul even made fun of this in ‘A Hard Day’s Night’ when answered ‘No, we’re just good friends’ even before the question was asked.

— Richard Porter, Guide to the Beatles London

They invited her back to their hotel, the Royal Court in Sloane Square, before moving on to the Kings Road apartment of Chris Hutchins, a journalist.

The others left Paul alone in the bedroom with Jane, after a lot of winking. They set the evening talking about gravy and what was their favourite meal. ‘I realized this was the girl for me. I hadn't tried to grab her or make her. I told her, “It appears you're a nice girl.”’

‘They couldn’t believe I was a virgin,’ says Jane.

— Hunter Davies, The Beatles

[John’s masturbation comment]

Previously John, Paul, George, and Ringo had hoped to end their evening at the Ad Lib club, a celebrity hangout that had lately become a favorite late-night stop. But as the throngs of girls outside continued to wail, they realized they had better stay out of sight. [Chris] Hutchins invited the entire group back to his apartment King’s Road in Chelsea, so off they went, with two girls in tow…

Whether it was her cool confidence or her posh accent, something about Jane goaded John to direct his caustic eyes in her direction.

“Well. Let’s all play a question-and-answer-game!” He announced a bit too cheerily. Then he turned to Jane. “So tell us, luv, how do girls play with themselves?”

Silence. Jane’s eyes widened. Paul, sitting close to her on the floor, put his hand in the air, as if he could wave John’s words back into his mouth. “John! John!” he yelped. “Stop it. You can’t do that.”

John just smiled, peering intently through his glasses. “No, you can tell us. Come on. We all want to know, come on.”

Paul, looking aghast, shook his head vehemently. “John. For christsakes, John.”

By now Jane was climbing to her feet, muttering icily that it had grown quite late, clearly it was time to go. Paul stood, too, glaring at John while he helped Jane into her coat, saying he’d see her into a cab. The pair of them walked outside quickly, the door clicking behind them. It was late by then, already after midnight, and the dark London air was thick with fog.

The cultured, self-possessed Jane Asher may have intimidated John Lennon, but she was exactly what Paul had been looking for. When Hutchins looked out the window, he saw the Beatle holding the actress’s arm, walking into the midst. “And he never came back,” Hutchins says. “I just saw both of them disappearing down King’s Road.”

— Peter Ames Carlin, Paul McCartney: A Life

RELATIONSHIP:

[Paul on status]

Living in the Asher house gave me the base and the freedom and the independence. That, alongside all the other things, because I wasn't married to Jane. I was pretty free. I remember John very much envying me. He said, 'Well, if you go out with another girl, what does Jane think?' and I said, 'Well, I don't care what she thinks, we're not married. We've got a perfectly sensible relationship.' He was well jealous of that, because at this time he couldn't do that, he was married with Cynthia and with a lot of energy bursting to get out. He'd tried to give Cynthia the traditional thing, but you kind of knew he couldn't. There were cracks appearing but he could only paste them over by staying at home and getting very wrecked.

— Paul McCartney, Many Years from Now

[Jane’s concerns]

That’s typical Paul (wanting me to stay inside the George V Hotel with the band instead of going out by myself to see Paris). It’s just so silly of me to stay at the hotel. It’s just that he’s so insecure. For instance, he keeps saying he’s not interested in the future, but he must be because he says it so often. The trouble is, he wants the fans’ adulation and mine too. He’s so selfish, it’s his biggest fault. He can’t see that my feelings for him are real and that the fans’ are fantasy. Of course, it’s the trouble with all boys. When I first met the Beatles, I liked them all. Then, when I found out that I liked Paul more, the others became angry with me.

— Michael Braun, Love Me Do! The Beatles Progress

[Image wise, George didn’t stay angry with Jane, there’s several cute candid photos of them looking rather peaceful.]

[London Life]

The socially omnivorous Beatle profited from his Asher connection when the world wasn’t watching, too. For now Paul had entree into the cloistered world of old money… So many secret rituals to learn, so many hands to shake and stories to hear. “It was stuff happening that I’d only ever read of in books,” Paul said. “An overhang from Britain’s genteel past.”

John, stuck out in his golf-course home with his wife and a toddler son whose emotional needs he could never quite fathom, envied his partner’s more fast-paced urban life. Though the three suburban Beatles and their wives weren’t exactly stranger to the London nightlife, Jane clearly set a very different standard. “Jane was a teenaged film star so she was part of the glitterati of London before the Beatles even appeared,” NEMS employee and Beatle wingman Tony Bramwell recalls...

If the other Beatle couples bumped into Paul and Jane in London on a night off, Bramwell continues, it was usually a night club such as the Ad Lib or the Scotch of St. James. “Paul and Jane would be there, probably with some strange people. So you’d have a drink, and that’d be it. They’d be off.”

— Peter Ames Carlin, Paul McCartney: A Life

[The Turtles run into Paul, John, Jane, and Ringo]

Inside the speakeasy, all the girls looked like Twiggy, the iconic pixie-haired waif model whose London fashion had taken the world by storm. We must have walked past fifteen look-alike on our way to our next destination and we actually heard the Beatles before we saw them. It was like being in A Hard Day’s Night.

“Aw, come on John. Leave the candles alone. You’re gonna start a bloody fire in here.”

“I can’t see anything down here, Paul. It’s as dark as a hooker’s heart.”

And then, a female voice.

“Please, Paul. Don’t humor him anymore. This is getting ridiculous. I’m going to leave.”

Graham led us around the corner, where the Fab Four were hanging with their dates at a private table in the back of the room. Well, actually it was the Fab Three — George Harrison was not in attendance. The deal was, Lennon was actually under the table taking Polaroid pictures up the skirts of his female companions while Paul lent a hand. Ringo laughed at everything, and Paul’s then girlfriend, Jane Asher, was doing her best to drag him out of there. Dressed in Carnaby Street’s finest, the Beatles were dimly lit, and a halo of light illuminating their mop-top hairdos added just the right ambience to make this already bizarre scene more surreal.

Paul was ducking under the table himself now, helping his business partner illuminate the proceeding with his disposable lighter, and Jane was searching the booth for her coat as we approached them, with Graham in the lead.

“I’ll be leaving now, Paul,” Jane said through clenched teeth as she pushed her way out of the booth and stood there, staring him down.

“Hi, Jane.” Graham was friendly but she didn’t even acknowledge his presence.

“I’m going home, Paul. And I don’t mean your home.” She made her way toward the exit as we walked up in a pack. Jim Tucker actually grabbed her army to stop her en route.

“Hey, Miss Asher. Hi. My name is Jim Tucker and I worked with your brother.” He extended his hand, only to have her push him away.

“Piss off, wanker!” Jane just blew him off and brushed past us on her way out of the club. Jim stood there examining his hand for a long moment.

“Hey, guys,” Graham greeted as Paul frantically scrambled to his feet.

“Jane! Jane! Aw, come on, baby. We’re just having a little fun.” Jane kept walking.

— Howard Kaylan, Jeff Tamarkin, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa etc.

[Vacationing and songwriting — Yesterday]

McCartney played it so often on the set of The Beatles’ first movie, Help!, that director Richard Lester once threatened that he’d throw the piano off the set if McCartney didn’t complete it. Lennon tried to help his pal with the song, but this was entirely a McCartney joint. Lennon's only contribution was the suggestion that the song title just be one word, but beyond that, he was just about useless.

After months of struggling with the creative process, the lyrics suddenly came to McCartney in a very unlikely (and very inconvenient) place: driving down the winding hills of Portugal, where he was on vacation with Jane.

“It was a long hot, dusty drive,” McCartney told Miles. “Jane was sleeping but I couldn’t, and when I’m sitting that long in a car I either manage to get to sleep or my brain starts going. I remember mulling over the tune ‘Yesterday,’ and suddenly getting these little one-word openings to the verse.”

McCartney and Asher were going to stay as guests in the vacation villa owned by his friend Bruce Welch, who was also a musician. When they made it to the villa, McCartney rang up Welch and asked him if he had a guitar. Luckily, there was an acoustic guitar in the house, which made the arduous songwriting process just a bit easier. It took two more weeks to nail the lyrics… and then there was more waiting to do.

— Jordan Zakarin, “Paul McCartney Came up With the Melody to One of the Beatles' Biggest Hits in His Sleep.”

[Thoughts on marriage]

“I enjoy acting. I didn’t want to give that up.”

“I know now I was just being silly,” says Paul. “It was a game, trying to beat you down.” At various times, one of them wanted to get married but the other didn’t. Jane says it was usually something happening with the Beatles, just when it looked all settled, which made her change her mind. Paul says it was her acting, although he agreed when the big tour of America came up that she had to go on that.

“When I came back after five month [tour], Paul had changed so much. He was on LSD, which I hadn’t shared. I was jealous of all the spiritual experiences he’d had with John. There were fifteen people dropping in all day long. The house had changed and was full of stuff I didn’t know about.”

His life is much quieter and more ordered now, since Jane returned. Paul, unlike the others, is very communicative about himself. He does talk everything over with Jane. She knows what he’s thinking.

“Another problem,” says Paul, “was that my whole existence for so long centered round a bachelor life. I didn’t treat women as most people do. I’ve always had a lot around, even when I’ve had a steady girl. My life generally has always been very lax, and not normal.

“I knew it was selfish. It caused a few rows. Jane left me once and went off to Bristol to act. I said okay, then leave; I’ll find someone else. It was shattering to be without her.” This was when he wrote “I’m Looking Through You.” Jane has inspired several of his more beautiful songs, such as “And I Love Her.”

— Hunter Davies, The Beatles.

[Chasing after Jane in Bristol] [Writing Eleanor Rigby] [Busy]

The other three Beatles had already moved out into the London suburbs, with lush gardens and rolling lawns, while Paul was in the heart of London in an old period house. When I complimented him on the house, and admired his possessions, he said: ‘People think we are not conceited — but we are’.

I then got him to explain where the words of Eleanor Rigby had come from… The name which first came into his head was a woman called Daisy Hawkins, ‘picking up rice in a church where a wedding had been’. He had no idea where that line had come from. In Bristol, where he had been visiting Jane Asher who was acting there, he was walking round and saw the name Rigby on a shop, and thought that would be a better name.

— Hunter Davies for the Daily Mail

[Magical Mystery Tour]

By 1967, McCartney was making experimental films, and he traveled everywhere with his video camera. While filming Jane Asher at Denver’s Civic Center Park, he was struck by an idea. It combined the randomness of his amateur films with the stories of the Merry Pranksters that he heard during his time in San Francisco and the mystery charabanc tours that took vacationers from Liverpool to Blackpool on a bus filled with beer and accordion players. Maybe the Beatles could create and film a mystery tour of their own.

— Scott Freiman, “Magical Mystery Tour: Some “Mysteries””

[India]

Brian Epstein’s death was a heavy blow to Jane. She, too, found comfort in the Maharishi: She went with Paul to Rishikesh and felt the experience to have been rewarding. With LSD banished, their understanding returned. Paul, at long last, made ready to commit himself. They announced their engagement at a McCartney family party on Christmas Day, 1967.

— Philip Norman, Shout!

[India]

When they got engaged on Christmas Day 1967, all these problems were in the past. Maharishi for a long time was the only little point of difference, although it was all amicable. Jane didn’t fall for him when the others did. She said that she and Paul together reach a spiritual state on their own. Paul wasn’t as committed as George and John, but still felt there was something there which would help him, which might answer his questions.

The questions he’s referring to are about the purpose of life, not about the Beatles. Paul has some well-worked-out views about the Beatles, their changes, and the future.

— Hunter Davies, The Beatles

BREAKING UP:

[John starts bringing Yoko to studio — meets Jane?] [Paul reacting]

Fully aware of the enormity, John implied it was just a one-off visit, because Yoko had been depressed and needed cheering up. ‘I had no idea what he’d told the others,’ she would remember. ‘I couldn’t understand why they kept asking me if I was feeling better.’ It being unthinkable for Lennon to enjoy a privilege that McCartney didn’t, Jane Asher soon afterwards found herself invited to her first Beatles recording session in five years with Paul. As his relationship with Jane began to peter out, he took to bringing along Francie Schwartz, the New Yorker working in Apple’s press office who’d recently caught his eye.

On 17 July, John once again showed off Yoko–now no longer dressed in shapeless black but tailored white–at the London premiere of Yellow Submarine. That evening, very noticeably, Paul had no Jane doing her usual royal duty beside him.

Three days later, on the BBC’s Dee Time program, she told host Simon Dee she was no longer engaged to Paul and that their five-year relationship was over. ‘I haven’t broken it off but it’s broken off, finished,’ she said. ‘I know it sounds corny, but we still see each other and love each other… but it hasn’t worked out. Perhaps we’ll be childhood sweethearts and meet again and get married when we’re about 70.’

— Paul McCartney: The Life by Philip Norman

JOHN: So it was always the family thing, you see. If Jane [Asher] was to have a career, then that’s not going to be a cozy family, is it? All the other girls were just groupies mainly. And with Linda not only did he have a ready-made family, but she knows what he wants, obviously, and has given it to him. The complete family life. He’s in Scotland. He told me he doesn’t like English cities anymore. So that’s how it is.

MCCABE: So you think with Linda he’s found what he wanted?

JOHN: I guess so. I guess so. I just don’t understand… I never knew what he wanted in a woman because I never knew what I wanted. I knew I wanted something intelligent or something arty, whatever it was. But you don’t really know what you want until you find it. So anyway, I was very surprised with Linda. I wouldn’t have been surprised if he’d married Jane Asher, because it had been going on for a long time and they went through a whole ordinary love scene. But with Linda it was just like, boom! She was in and that was the end of it.

— John Lennon, interview w/ Peter McCabe and Robert Schonfeld. (September, 1971)

“I've always felt wary including Jane in the Beatles’ history. She’s never gone into print about our relationship, whilst everyone on earth has sold their story. So I'd feel weird being the one to kiss and tell.”

— Paul McCartney, Anthology

I've never particularly liked the idea of looking back; I'd rather look forward.”

— Jane Asher

#Jane asher #Paul mccartney #John lennon #quotes #I'm just a jealous guy #alternate universe where George one-ups Paul and dates Jane #it'd be short-lived tho #Jane and John disliking each other mood #mclennon

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platypus-quacks-too · 3 years

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I don’t know but every time they are back from a hiatus, it feels like the episode is stronger. Anyway, I loved this night YS?

* Sheldon’s plot was sciency fun and I always like that. * A Meemaw of science lmao * John :’) That little scene all warmed up my little sore shipper heart * I loved to be back at the high school! Also, Georgie is a true criminal mastermind lol * Ms. Hutchins and Mr. Givens?!? I mean, glad she’s gettin’ some but ew. You can do better than him gurl! * I felt for Mary being sort of jealous of Brenda and Pastor Jeff. It’s not the first time she’s shown as kind of lonely and it breaks my heart a little. * Also, Herschel?! I mean, do I expect they would put him on the bus because of Billy Gardell being busy with Bob hearts Abishola (thank God, for at least another year), but ouch. Brenda was really heartbroken. * No, really. It was really a full, nuanced episode, it is such a great show AND WE ARE GETTING THREE MORE SEASONS OF IT YASSSSS

#Young Sheldon #ys spoilers #unrequired opinions

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fictional-men-enthusiast · 4 years

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I should really redraw some of the characters I was into when I was younger- Harold Hutchins, Jeff from Clarence, Bill Cipher, Dib Memberane.

Just to see how my style has improved.

#kylethoughts #art #captain underpants #clarence #gravity falls #invader zim

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lemon-verbena-writes · 4 years

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THE CORMORAN STRIKE FEST OF FIRSTS! Running March 29-April 4 2020

Celebrate the Ten Year Anniversary of Cormoran and Robin’s First Meeting with us! Cormoran nearly killed Robin on the flight of stairs on March 29th, 2010. Now in 2020, we’re getting excited for the next book and celebrating that momentous first meeting with a week-long event!

Each day has a set of prompts that you can mix and match- Genre, Characters, Firsts, and Dialogue. You can do which prompts suit your fancy, in any combination! Do just one, or do them all, it’s up to you!

Don’t write fic? You’re invited too! We’d love to see your artwork, gifs, graphics, playlists, meta, and all fannish love! And everyone can share some love with your fellow fans with your likes, comments, kudos, and reblogs!

There’s an AO3 collection ready for when it’s time to start posting, and a tag for your tumblr posts as well: #CSFirstFest. All the prompts are listed by day and explained below the cut.

Get ready to celebrate!

The prompts are not hard-and-fast; you can flex them as far as you’d like, and you’re not locked into posting them on the day. If you don’t finish Monday’s prompt until Thursday, post it then! No worries at all! We’re happy to have you joining in the fun,no matter when you do so.

Prompts are listed in order of Genre, Characters, Firsts, and Dialogue.

Sunday, March 29: Fluff / Family Members / First Kiss / “This is my favorite time of day.”

Monday, March 30: Casefic / Coworkers & Law Enforcement / First Fight / “You were the only person I thought I could trust.”

Tuesday, March 31: Alternate Universe / Exes / First Date / “Can we just pretend to be normal for once?”

Wednesday, April 1: Hurt/Comfort / Clients / First Trip / “Why do you insist on pushing me away?”

Thursday, April 2: Romance or Smut / Friends / First Time / “Are you flirting with me?”

Friday, April 3: Angst / Villains / First I Love You / “We can’t keep this up forever.”

Saturday, April 4: What-If or Future Fic / Victims / First Meeting / “Who care about what they think?”

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GENRE: A general mood or type of fic. This is a suggestion only! If you want to write seven days of smut, or four different AUs, you go right ahead and do it.

CHARACTERS: A suggestion for characters to include in your fic. We’d like to show some love to characters other than Cormoran and Robin, wonderful as they are. Family might include the Ellacott parents and siblings, Strike’s parents, Joan and Ted, Lucy and her children, or any of the other Rokeby clan. Coworkers is meant to include not only the other PIs at the firm like Andy Hutchins and Mitch Patterson but the Law Enforcement officers they work with, such as Wardle and Ekwensi, or sources and other helpers, like Spanner. Exes might include Matthew, Charlotte, Ciara, Nina, Elin, and Lorelei. Clients can be canonical or original clients, like Mad Dad, Platinum, and Leonora Quine and the Chiswells. Friends extends out from Nick & Ilsa to Dave Polworth, Anstis, Ekwensi, and who could forget Shanker? Villains could be John Bristow, Liz Tassel, Noel Brockbank, Jeff Whittaker, even Jago Ross and Sarah Shadlock if you’d like! And let’s not forget the Victims, like Lula, Rochelle Onifade, Owen Quine, Kelsey Platt, Alyssa Vincent’s daughter, and Billy Knight.

FIRSTS: This doesn’t need to be between Robin and Cormoran, though it can be! Take these in whatever direction takes your fancy.

DIALOGUE: These may be adapted and adjusted to fit your premise, whatever it may be!

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Tagging some interested parties here, and missing people as always!

@bluerobinwrites @zoesongs @robinlestrange @lulacat3 @hobbeshalftail3469 @kenzthepea @estie99 @pools-of-venetianblue @to-kill-a-mockinggirl @jdfleming @cb-strike @cormoranlystruck @cormoranstriike @cormoran-strike @elcaminode @robiinstriike @thelastlynx @bethanyactually@highfunctioningflailgirl @lovebeyondmeasure @sleepyeye17 @rvellacott @diefrau98 @thetottenham

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Terribly sorry for the rushed graphics, but I did want to get this out these ASAP. Also, I went with a photo of a staircase, because..... how could I not? :)

#CSFirstFest #fest: csfirstfest

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mitchipedia · 4 years

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On Cory Doctorow’s Pluralistic

A Canada university is requiring students to buy webcams – which is impossible during the lockdown – and install spyware on their computers, putatively to prevent cheating during exams.

–

In the USA, your health insurance deductible can be tied to the number of steps you get on your Fitbit. The Restepper, “Andrew Thaler’s open source hardware gadget … uses an arduino-controlled mechanism to generate plausible steps for your Fitbit to count. Cost of goods? Less than $100.”

–

How hacker Marcus Hutchins saved the world from the Wannacry ransomware epidemic and got arrested as a computer criminal. Sadly, the arrest was justified.

–

Both red and blue states are moving to enable postal voting, despite paranoid screeds from the clown in the White House. However, alas, postal voting does not favor Democrats.

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Corporate Congressional Democrats are shoveling pork to lobbyists and dark money organizations.

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The feds want national snitchlines for bosses whose workers won’t return to work for foolish, lazy reasons such as “not wanting to get sick” and “not wanting to die.”

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Restaurants, hotels and bars, the last bastions of cable subscriptions, are cutting the cord, “not least because they’re being required to pay for sports channels that don’t have any sports.”

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The malevolent NSO group is trying to sell spyware to US cops. “NSO Group is a notorious, corrupt cyber arms dealer whose customers are the worst, most brutal oppressive states in the world, like the Kingdom of Saudi Arabia, whose kidnapping and dismemberment operation against the journalist Jamal Khashoggi relied on NSO’s Pegasus tool.”

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Senate Democrats want to ban Internet disconnection, led by Bernie Sanders, Ron Wyden and Jeff Merkley.

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project-casting · 5 years

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ABC's 'Grey's Anatomy' Season 16 LA Casting Call for New Talent

ABC’s ‘Grey’s Anatomy’ Season 16 LA Casting Call for New Talent

ABC’s Grey’s Anatomy season 16 is now casting new talent in Los Angeles, California.

Jeff Olan Casting, the extras casting company behind ‘Grey’s Anatomy’ are now seeking new talent to join their talent database.

Producers are seeking the following types:

All types, ages, and ethnicities

Los Angeles local

About Grey’s Anatomy: LOS ANGELES – NOV 4: Sarah Drew, Chandra Wilson, Kevin McKidd, Shonda…

View On WordPress

#ABC #featured #Greys anatomy #Jeff Olan Casting #Los Angeles

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seeksstaronmewni · 5 years

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Joel R. Valentine: An Under-Appreciated Sound Designer

Note before reading that, for the sake of privacy, NO PICTURES of Joel IN HIS STUDIO are allowed in this post. I respect him as a humble artist enough to obey this.

Joel Valentine is a sound designer who is usually credited for only sound editing, usually under the name of his company “Twenty-First Century Entertainment, Inc.” (AKA “21st Century Sound Design Corp.)--a private contractor who seems fairly under-appreciated. He created “The Producer’s Sound Effects Library” (according to Trademarkia), which is used by Hacienda Post, Jeff Hutchins, Atlas Oceanic, and maybe even Advantage Audio.

In more familiar context, Joel is the sound designer of mostly cartoons, namely Cartoon Network projects and the works of Craig McCracken and Genndy Tartakovsky, like The Powerpuff Girls and Samurai Jack, as well as Dexter’s Laboratory (Joel is credited for sound design on the package design/summary of Dexter’s Laboratory: Ego Trip, however, and as a sound editor on the special). Joel Valentine is responsible for the soundtrack to many of my favorite childhood cartoons... or cartoon cartoons, to be a bit more specific.

"Edits fast, sounds great, and doesn't break. The DM -80's multilayering capabilities and simultaneous recording on all tracks gives us the flexibility to do whatever we want."

This is a quote from Joel Valentine on the DM-80, from a supplement to a March 1994 issue of BROADCAST engineering / BE Radio.

Jeff Hutchins, the sound designer behind Spongebob Squarepants and a creative at Hacienda Post/Sabre Media/Flash Bomb Audio and Warner Bros. Sound/Audio Circus, was an assistant to Joel Valentine. They both edited sound on 2 Stupid Dogs and Dead in the Water. Jeff Hutchins made a number of tweets to me that compliment and reference Joel Valentine:

“Joel was a master of recording and funny sounds. He is still the a pillar of cartoon sound and I wish to recognize him. I believe he was working and had credits prior to 1985. Few people enter the business as a mixer. Look up Harmony Gold. Things should pop up”

“Joel is an incredible talent and I think the world of him. Rock on Joel!”

“Joel has a crisp & distict style. He had moved on to Samurai Jack and Hacienda started to do the FX for Dexter’s Lab. I did a few of them and really tried to retain Joel’s style. Not an easy task.”

“Joel gave me a copy of his “Producer’s SFX Library”. Joel also gave me his ADAP Library in exchange for transferring it to .wav files. I would give him any SFX he asked for.”

“In the “2 Stupid Dogs” days Joel was at the heart of everything. There wasn’t another like him. To this day, I thank him for being so out side the box as to redefine “out side the box”. Thx my brother in sound. Joel was creating the sound tract for a show called “Northern Exposure” at the same time. I am still in awe of his accomplishments. Joel rocks!”

“When I met Joel in 1986, my life changed. His over the top way of creating opportunity out of baking soda and “whatever you’ve got” is incredible. He is an innovator. Thanks for taking the time out of your life to be my teacher. Thanks Joel!”

“He [Joel] was working on those shows [Northern Exposure and Bakersfield P.D.] at the Lantana building in Santa Monica. I worked for Joel during that time period in a suite he had in the building. I worked on 2 Stupid Dogs. After 2 Stupid Dogs I went to work for other studios & Joel went his own ways. Those days were awesome, but all good things come to an end at some point. As one door closes, another opens... somewhere.”

Eric Freeman also shared some facts with me back in 2017:

“[Wander Over Yonder] Season 2 was all done by Joel Valentine. My schedule became way too busy to do the sound fx. Craig McCracken has long history with Joel and enjoys his work, so he wanted him to do the season 2 sfx... 21st century is/was Joel Valentine's personal company. He would do all the sound design and then send it to me at Hacienda for the final mix. He is not affiliated with Hacienda. Joel is a private contractor... [Joel] worked out of his home... he was the sole sound designer and editor for [Wander Over Yonder] season 2. There were NO other uncredited post-sound folks on the show. The whole series was just Joel and Myself... Joel is working on S5 of Samurai Jack. He would be the sole editor on that. The mix will be done at Hacienda Post. Current PPG is being edited and mixed at Hacienda Post. Joel is not involved with the new PPG... I did some editorial on PPG movie and worked with the editors you listed (Tom Syslo, Roy Braverman & Daisuke Sawa). I can't remember what I edited on the movie, but it was sound fx. I worked on Dexter's Lab, PPG, Fosters, Symbionic Titan, and Samurai Jack. Any editorial I did would have happened during the mix. A lot of times, Genndy or Craig will want to try different SFX when they hear final music and final dialog play together with Joel's sfx. Sometimes the original SFX just don't work well... Joel definitely IS a master sound designer. I respect his work very much... I've worked with Jeff [Hutchins] since the 1990s. He's extremely talented. I believe Joel trained him... Joel only worked on the pilot of Chowder. He did NOT do the series. All the sound design came from Hacienda Post.”

Grant Meuers, “the sole sound editor” on Genndy Tartakovsky’s Primal, replied to my emails of my questions on the show’s sound: “all sound design you hear is either me or Joel. I worked for Hacienda for 2-3 years as an assistant sound editor before venturing out into the freelance world. They are great people over there, and I'm still close with them, although neither Joel or I are very involved in the mixes. Joel is a really talented guy, and I'll be sure to pass your compliments along!” The latter referred to my desire for anyone with Joel to send compliments from me to Joel. Grant continued: “the line between "sound design" and "sound edit" is pretty fluid to me (and I think Joel feels the same way). Joel and I split up responsibilities of what we each cover each episode fairly evenly, but Joel definitely has final say and final cut over whatever we do together, and obviously Genndy has final say over everything. How we are ultimately credited isn't really up to us. (In fact, Joel initially wanted us to be both credited as sound editors, but Genndy and Adult Swim gave him his own title card, which I am happy about, because he definitely deserves it. Joel is a humble guy and often likes to fly under the radar.) We both work remotely on our own, and each have our own respective companies we use for billing purposes.” The credit of Joel for sound design on Genndy Tartakovsky’s Primal is well-earned, but ultimately he remains private in his work, and that privacy must be respected.

Genndy Tartakovsky himself said meaningful words about Joel Valentine, who did sound design on all of his Cartoon Network shows: “I’ve worked with Joel since the days of ‘Dexter.’ He’s got an amazing library and he knows how to blend sounds together to make them something very unique. For the fourth episode he went outside the norm and he found these vocal monster libraries that were done in the ’60s or something in Germany... for the mastodon episode, he found this library where some guy started a Kickstarter and then went to India to record elephant sounds for a year... all the mastodon sounds are so much more than what’s out there that a lot of people are using. I think we’re taking the extra effort for everything to make it sound unique and specific.”

Shane Houghton, co-creator of Big City Greens, compliments sound editor/designer Joel Valentine as part of “a killer sound team! They don't get enough love! Eric and Joel are amazing!”

Someone on Twitter asked @crackmccraigen “how was the noise used when the powerpuff girls would suddenly fly off made? The fwOosh/pew!! noise, yanno?” Craig replied: “It was comprised of a few different sound fx that were put together by the PPG sound designer Joel Valentine.” When I noted that Joel was usually uncredited, Craig told me that “The name Twenty-First Century Entertainment, Inc. listed under Sound Editing is Joel. That’s his company, [and] he wanted to be credited that way.” Another person appreciated the sound design of Kid Cosmic, and Craig highlighted that he’s been working with him for 27 years.

As of May 30th, 2021, Owen Fishback’s Kippie short, “Guard Duty Doggy”, was released. I saw it the next day, and it acknowledges Joel Valentine for sound effects (some of his sound effects are used in it, probably sourced from the Sound Effects Wiki pages for his sound effects, to which I contributed info but not the audio samples used in the video).

The sound effects that Joel created are very meaningful to me as I grew up heavily on the works of Joel Valentine for Cartoon Network, namely Dexter’s Laboratory. When I heard his sound design on Samurai Jack Season 5 back in 2017 (namely EPISODE XCIV), I was so impressed with his array of realistic soundscapes of atmospheres and animals that I began to consider Joel the next best creative in sound post-production sound services, next to those of Skywalker Sound and Warner Bros. Post Production Creative Services.

I’m not sure what will become of The Producer’s Sound Effects Library, though I got a copy from ebay on 1/23/2020 A.D. as an upcoming birthday gift and immediately preserved it by ripping the files off ( the link for proof read Producers-Sound-Effects-Library-13-cds-Great-Value-Free-shipping/283736597492?hash=item421004e3f4:g:rLkAAOSwAGxeE8ql ). Thanks to @wiley207 and SqueakyCartWheel for notifying me on the Sound Effects Wiki!

Here’s a close-up of the main CD’s cover, used for the 101 SOUND EFFECTS CD...

...and here’s the label of the CD. They all look like this due to distributor S.O.S.

I made a page for The Producers Sound Effects Library on the Sound Effects Wiki, of course, to celebrate this amazing, obscure library. I recognize a number of sound effects on that library, like “IN Cricket Single” (as often heard in Spongebob) and “ROBOT MOVES #1[-3]” One of my absolute favorite sound effects on that library is “SPACE BEAM DOWN.” It’s a deep drone with a mysterious, enticing musical tone; it’s on PSEL CD SY-01 - “Science Fiction”.

Regarding preservation of the PSEL: due to the copyright warning requiring “written legal documentation from the owner of the Producers Sound Effects Library” (that’s probably Joel)--though I think that the company of the same name as the SFX library, PSEL, is defunct--I believe that I can not upload the audio files online “unauthorized” “by any information or sampler storage and retrieval system now known or to be invented”.

Aside from the PSEL, I hope and pray that Joel’s library will be in good hands when he retires. Sound Ideas or Pro Sound Effects deserve to preserve this amazing library of sound!

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spy-in-the-house · 5 years

Audio

SpyInTheHouse 674.fm ElectroFilesSpecial_04252019

... detailed insights later!

TRACK LISTING

01 THE DISCO 3 [FAT BOYS/ DAMON WIMBLEY, DARREN ROBINSON, MARK MORALES]: Reality _ Beat Version [ A-side from Sutra Records SUD-018 US 12" | 1983 ] 02 FAB 5 FREDDY [FRED BRATHWAIT]: Change The Beat (French And English Rap) [ A-side from "Fab 5 Freddy/ Beside ‎– Change The Beat" Celluloid CEL-156 US 12" | 1982 ] 03 D.ST. [DEREK SHOWARD]: The Home Of Hip Hop [ A-side from "Home Of Hip Hop" Celluloid CEL-185 US 12" | 1985 ] 04 THE RAKE [JA]: Street Justice [ A-side from "Street Justice" Profile Records PRO-7024 US 12" | 1983 ] 05 LOVEBUG STARSKI [KEVIN W.SMITH]: Say What You Wanna Say [ B2-track from "House Rocker" Epic BFE-40255 US LP/Album | 1986 ] 06 BOBBY DEMO [BOB BOYER & DEMO CATES]: More Ounce (Rap) [ A-side from Amherst Records AMHD-6 US 12" | 1981 ] 07 WORLD's FAMOUS SUPREME TEAM [SE'DIVINE PRICE & R.LARKINS]: Hey! D.J. _ Extended Version [ A-side from "Hey! D.J." Charisma TEAM-1-12 UK 12" | 1984 ] 08 TYRONE BRUNSON: The Smurf [ A-side from "The Smurf" Believe In A Dream 4Z9-03166 US 12" | 1982 ] 09 REGGIE GRIFFIN & TECHNOFUNK: Mirda Rock _ Vocal [ A-side from "Mirda Rock" Sweet Mountain Records SM-604 US 12" | 1982 ] 10 WARP 9 [ADA DYER, CAROLYN HARDING, CHUCK WANSLEY, KATHRINE JOYCE, LOTTI GOLDEN, MILTON BROWN, RICHARD SCHER]: NUNK (New Wave Funk) _ Extended Mix [ A-side from "Nunk" Prism PDS-450 US 12" | 1982 ] 11 JOHN DAVIS & TOO MUCH: Destination Earth [ A1-title-track from Metrovynil-841294 US LP/Album | 1984 ] 12 SEXUAL HARRASSMENT [LYNN TOLLIVER JR./ aka DAVID PAYTON]: I Need A Freak _ Long Version [ A-side from Montage Records MS-605 US 12" | 1983 ] 13 STRAFE [STRAFFE/ STEVE STANDARD]: Set It Off _ Vocal [ A-side from Jus Born Records JB-001 US 12" | 1984 ] 14 STRAFE: Comin' From Another Place _ Deluxe Version [ A1-track from A&M Records SP-12152 US 12" | 1985 ] 15 MAN PARRISH [MANUEL JOSEPH PARRISH]: Hip Hop, Be Bop (Don't Stop) _ Special Disconet R.E.M.I.X(es) [ B-side from Importe/12 MP-321 US 12" + A-side from Rams Horn Records RAMSH-12-3176 NL 12" | 1982/83 ] 16 DIVINE SOUNDS [MICHAEL DOWLING, RICHARD DOWLING, SHELTON McCOY]: What People Do For Money [ A-side from "What People Do For Money" Specific Records SR-243 US 12" | 1984 ] 17 PAUL HARDCASTLE: 19 _ Destruction Mix [ A-side from "19 (Destruction Mix)" Chrysalis CHS-22 2860 UK 12" | 1985 ] 18 TIME ZONE [AFRIKA BAMBAATAA, AMAD HENDERSON, B-SIDE, MOTIVATOR, RUSTY EGAN]: The Wildstyle [ A-side from "The Wildstyle" Celluloid ‎– CEL 165 US 12" | 1983 ] 19 FREESTYLE [GARFIELD BAKER & BYRON SMITH]: Automation _ Dub Mix [ B-side from "It's Automatic" Music Specialists ‎MSI-114 US 12" | 1986 ] 20 K-9 CORPS feat. PRETTY C: Dog Talk [ A-side from "K-9 Corp / George Clinton ‎– Dog Talk / Man's Best Friend" Capitol Records 8562 US 12" | 1983 ] 21 CAPTAIN RAPP [LARRY EARL GLENN]: Bad Times, I Can't Stand It _ Part 1 [ A-side from "Bad Times (I Can't Stand It)" Saturn Records SAT-2003 US 12" | 1983 ] 22 PROJECT FUTURE [RAHNI P.HARRIS & DAVID SPRADLEY]: Ray-Gun-Omics [ A-side from "Ray-Gun-Omics/Arcade Lover" Capitol Records 8555 US 12" | 1983 ] 23 PAC-MAN [FREDDY PACKMAN]: I'm A Pacman [ A-side from "I'm A Pac Man / Play It Again Sam" ZYX Records - 5071 GER 12" | 1983 ] 24 XēNA [LISA FISHER]: On The Upside [ A-side from Emergency Records ‎EMDS-6541 US Promo-12" | 1983 ] 25 I.M.S. [INTERNATIONAL MUSIC SYSTEM/ REBECCA McLAIN, GEORGE STEFANI, PAUL LIMOLI]: Nonline [ A1-track from "Nonline" Emergency Records ‎EMDS-6539 US Promo-12" | 1983 ] 26 WHODINI [DREW CARTER, JALIL HUTCHINS, JOHN FLETCHER]: The Haunted House Of Rock [ A1-track from "T.H.O.R." Jive VJ-12015 US 12" | 1983 ] 27 THE UNKNOWN D.J. [ANDRÉ PIERRE MANUEL]: Basstronic [ A1-track from "Basstronic" Techno Kut Records TK-1207 / Macola Records US Promo-12" | 1988 ] 28 TWILIGHT 22 [GORDON BAHARY & JOSEPH SAULTER]: Electric Kingdom _ Vocal Version [ A1-track from "Electric Kingdom" Vanguard ‎SPV-68 US 12" | 1983 ] 29 E.ST.JAMES: What's Done In The Darkness (Always Comes To Light) _ Dance Party Mix [ B-side from Razmtaz RAZ-5503 US 12" | 1987 ] 30 KEN LEWIS: Cosmic Cars [ A-side from "Ken Lewis/ D. K. Gang ‎– Cosmic Cars/ Cosmic Dub" Scorpio DK-82-03 CAN 12" | 1982 ] 31 CYBOTRON [RICHARD DAVIS/ 3070 & JUAN ATKINS]: Clear [ A-side from "Clear / Industrial Lies" Fantasy D-216 US 12" | 1983 ] 32 PAUL HARDCASTLE: Rain Forest [ A-side from "Rain Forest / Sound Chaser" Bluebird BRT-8 UK 12" | 1984 ] 33 NATASHA KING [NATASCIA MAIMONE]: AM-FM _ Instrumental [ B-side from "AM-FM" Emergency Records ‎EMDS-6536 US Promo-12" | 1983 ] 34 WHODINI: Magic's Wand _ Special Extended Mix [ B-side from "Magic's Wand" Jive VJ-12008 US Promo-12" | 1982 ] 35 DAVID ST.GEORGE: I'm Rappin _ Vocal [ B1-track from "Love Stimulation / I'm Rappin" Malaco Records MAL-1217 US 12" | 1985 ] 36 JAZZY JEFF [THE SOURCE/ JEFFREY MIREE]: King Heroin (Don't Mess With Heroin) _ Fix Mix [ A2-track from Jive JD-1-9330 US 12" | 1985 ] //...

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