#Jeff Pulver

[sacredwhores]

John Travis - In Hot Pursuit (1987)

[wynnyfryd]

Trailer park Steve AU part 50

part 1 | part 49 | ao3

cw: angst, canon-typical violence, period-typical homophobia

Steve gets the full story from Jeff later that night.

After Eddie and Wayne come out of the bathroom — after Eddie goes straight to his room and shuts the door without so much as a glance in Steve's direction, after Wayne clears his throat and suggests they all clear out and give the kid a night to cool off — Steve drags himself back to his trailer and paces for a while. Tries not to feel horribly rejected, which is...

It's fucking ridiculous, is what it is.

Stupid to be focusing on his own dumb feelings right now.

Eddie's the one with a pulverized face.

So anyway, Jeff. Steve dials his number, and it feels weird that he even has his number at all — weirder still that, of all the guys in Corroded Coffin, he and Jeff have the most in common. Makes sense, though; Jeff's the only one who likes professional sports even a little.

"Hello?" Jeff's nasal voice comes over the line.

He sounds like his usual self — doesn't sound like he got pummeled, at least. Steve paces a tighter circle, says, "Hey, man, it's Steve."

Jeff makes a clipped noise. "You saw Eddie then?"

Furious heat crawls up the back of Steve’s neck, the image swimming red in his tunneled��� vision: the welt under Eddie's eye, the blood blooming on his chin. Someone did that to him.

Someone who needs to fucking pay for it.

“Yeah,” he seethes, trying to keep his voice down. “What the hell happened?"

Jeff sighs; launches into the vague version of events that he's allowed to tell — the version with no names and no identifying details, because Eddie made them swear not to tell Steve who was responsible.

"Sorry, man," he says when Steve presses for the third time; sounds like he means it, too. "Eddie seems to think you'd just land yourself in big boy jail if you knew, so…”

Steve clenches his jaw, his fists. Imagines fresh blood against his knuckles, how good it would feel to slam them into someone’s face; has a flashback of Billy Hargrove pinning him to a kitchen floor, laughing maniacally while his world went dull and dim.

…Goddammit. “He’s not wrong.”

So Steve listens, silent and helpless while Jeff tells him as much as he can about the mounting Satanic panic: how the townspeople are still grieving everyone who died last summer, how that grief is turning to paranoia, conspiracies about the destruction of the hospital and the fire at the mall, and now there are all these news articles coming out, whipping churchgoers into a frenzy over the queers and the occult, and the end result of all of it is that Eddie gets his ass beat in the alley behind a shitty dive bar.

All for having the nerve to wear a Black Sabbath shirt in public.

“Eddie said they stole something?” Steve prompts after a short silence.

"His amp,” Jeff says, and Steve sags in relief. At least it wasn’t the Warlock. He can replace an amp no problem. “They stole our fucking tip jar, too. Not there was much in it, man, but still.”

Fuckers, Steve thinks.

"Fuckers," Jeff spits, then sighs, "so much for being Christ-like, or whatever."

Steve chews his lip. Fiddles with his nails, hoping to work out a way to get Jeff to give him names. He only knows one name that comes to mind, but he can’t just go pummeling people on a hunch.

“If you ask me again,” Jeff says, “I’m hanging up.”

Well, damn. He slouches back against the counter, folding his arms over his chest. "The rest of you are alright?"

"Yeah. Yeah, we're good. We were loading the van when it happened.” Another short, derisive sound. “Of course they waited to corner him when he was alone."

"So they planned this," Steve says, and the name in his head is practically flashing on a marquee. Jason Carver and his lackeys at that party back in November. The back of Jason’s head at the midnight mass they snuck into. Is this freak bothering you?

Steve’s voice is a lethal whisper. "Do you think they'll do it again?"

"Steve—"

“Do,” he repeats, “you think” —Hopper’s ghost in his mouth, authoritative and slow— “they'll do it again?"

Jeff lets out a long breath, his words wobbly with nerves. "I don't know, dude. Probably not? One of them looked pretty freaked out by how messed up Eddie's eye was."

Steve tastes blood in his mouth.

Fucking better have.

Another silence falls, rustling and static sounds, and Jeff hesitates. "Listen, uh..."

"Yeah?"

"Nothing, just... Well. Eddie can get a little, um. A little weird, about people seeing him be, like, vulnerable and shit. So. Just a heads up."

Weird like hiding from his boyfriend? the petty part of Steve’s brain supplies. Weird like shutting his door without saying goodbye?

He tamps down hard on the hurt that bubbles up at the reminder, because—

Because Eddie’s seen him at his most pathetic too many times to count. Has seen him blubbering and soft and desperate for comfort; has offered it so eagerly without judgment or thought. And if Steve can’t do the same now, if Eddie thinks there’s shame to be found in it, then that means— that means…

He swallows the glass shard in his throat. “Thanks for the warning, man. For real.”

—

part 51

holy shit i can’t believe i wrote 50 parts of this

tag list in separate reblogs under '#trailer park steve au taglist' if you'd like to filter that content. if you want to be added please comment and let me know (must be over 21; please either verify in the comment or have your age visible on your blog)

[joker1315]

All the actors you can find on this blog

Use the following link and insert the tag you want to see:

a: adam croasdell - aiden turner - aimee garcia - alan rickman - alan tudyk - alex kingston - alison sudol - allen leech - amanda abbington - amir wilson - amita suman - anatol yusef - andreas pietschmann - andrew garfield - andrew scott - aneurin barnard - annette badland  - anthony hopkins - anthony mackie - antony starr - anya chalotra - august wittgenstein

b: barry bostwick - bellamy young - ben barnes - ben mckenzie - benedict cumberbatch - benicio del toro - bernard cribbins - bill nighy - billie piper - billy boyd - brendan gleeson - brent spiner - brianna hildebrand

c: calahan skogman - cameron monaghan - candice bergen - carla gugino - caroline dhavernas - cate blanchett - catherine e coulson - catherine tate - catinca untaru - chadwick boseman - charlie chaplin - chris addison - chris cooper - chris evans - chris hemsworth - chris malcom - chris pine - christian bale - christian clemenson - christian tramitz - christiane paul - christina ricci - christopher eccleston - christopher lee - christopher lloyd - cillian murphy - colin firth - colin odonoghue - colin woodell - corey johnson - cory michael smith - craig parker

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e: eddie karanja - elijah wood - elizabeth olsen - elton john - emilie de ravin - emily beecham - emma thompson - emma watson - ethan hawke - eve myles - ewan mcgregor

f: ferdinand kingsley - frankie adams - freddy carter - freema agyeman

g: gareth david lloyd - gary oldman - geoffrey rush - george eads - george takei - georgia tennant - georgina haig - gillian anderson - ginnifer goodwin - gwendoline christie - gwyneth paltrow

h: hadley fraser - harrison ford - harvey keitel - hayley atwell - heath ledger - helen mccrory - helena bonham carter - henry cavill - hugh dancy - hugh jackman - hugh laurie - hugh skinner - hugo weaving

i: ian mckellen - imelda staunton - inbar lavi

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k: kacey rohl - karen fukuhara - karen gillan - karl urban - kat dennings - kate capshaw - kathryn hahn - keira knightley - kevin alejandro - kit young - krysten ritter - kyle maclachlan - kyra sedgwick

l: lana parrilla - lara pulver - lars mikkelsen - laura allen - laura dern - laura fraser - lauren german - laurence fishburne - laurie kynaston - laz alonso - lee arenberg - lee pace - leonard nimoy - lesley ann brandt - lesley sharp - lindsay duncan - lisa vicari - liv tyler - lizzy caplan - louise hofmann - lucas till - luke evans

m: mads mikkelsen - maggie gyllenhaal - majel barrett - margo martindale - marion cotillard - mark gatiss - mark pellegrino - mark ruffalo - mark sheppard - mark strong - mark waschke - martin freeman - matt smith - max schimmelpfenning - may calamawy - meat loaf - megan boone - mel gibson - melinda clarke - melissanthi mahut - meret becker - mia wasikowska - michael benyaer - michael bully herbig - michael cumpsty - michael des barres - michael fassbender - michael gambon - michael raymond james - michael sheen - michelle gomez - mikael persbrandt - miranda otto - misha collins

n: natalie portman - ncuti gatwa - neil patrick harris - nell campbell - nichelle nichols - nicolas cage - nicole kidman

o: olivia colman - orlando bloom - oscar isaac - owen wilson

p: paddy ohagan - patricia quinn - patrick stewart - paul bettany - paul chahidi - paul lux - paul mescal - pedro pascal - penelope wilton - peter capaldi - peter falk - peter hinwood - philip glenister - phoebe waller bridge - pierce brosnan - pip torrens

q: qorianka kilcher - quentin tarantino

r: rachael harris - rachel weisz - rafi gavron - ralph fiennes - rayner bourton - reece shearsmith - rene russo - rhona mitra - richard armitage - richard obrien - rob benedict - robbie kay - robert carlyle - robert downey jr - robin lord taylor - robin williams - ronald guttman - rose mciver - rupert graves - rupert grint - russell crowe - ruth negga - ryan gosling - ryan reynolds

s: sam neill - samantha smith - samuel l jackson - scarlett estevez - scarlett johansson - sean astin - sean bean - sebastian stan - sherilyn fenn - shohreh aghdashloo - sky du mont - sophia di martino - stanley tucci - stellan skarsgard - steven strait - susan sarandon

t: tan caglar - taron egerton - tilda swinton - tim curry - tim roth - toby maguire - tom conti - tom ellis - tom felton - tom hiddleston - tom holland - tom payne - tom sturridge - tomer capone - tony curran - tony curtis - tricia helfer - troy garity

u: una stubbs

v: val kilmer - vanesu samunyai - viggo mortensen - vivienne acheampong - vladimir burlakov

w: walter koenig - william shatner

y: yasmin finney

z: zachary quinto

[seph7]

Breakdown (Jonathan Mostow, 1997)

by Douglas Buck April 10, 2019

On a cross-country joy ride of ‘new beginnings’, Jeff (Kurt Russell) finds himself flung into a nightmarish search for his kidnapped wife Amy (Kathleen Quinlan), as part of a shakedown scheme led by the initially helpful trucker Red (J.T. Walsh), who took her after their car broke down at the side of the road.

With our everyman hero fighting to get back his attractive wife, battling against those tough redneck hold-outs against civilized society (with them brooding about in their massively imposing and seemingly invulnerable trailer trucks, while Jeff has his cute new Jeep, so fragile that pulling out a few mamby-pamby colored wires from its undercarriage puts it out of commission) while ineffectually trying to navigate the resentments and disrespect towards city folk from the unhelpful community (who likely feel ignored themselves), Breakdown serves as a poster child for the road suspense thriller as terror tale of modern masculinity under attack (with the title so nicely representing not just the obvious plight of our couple’s car, but the underlying threat felt by polite society).

Deep as I was burrowing into the works of the somber existential cinematic masters like Ingmar Bergman and Andrei Tarkovsky, a commercial action thriller such as Breakdown would not have been on my radar when it came out (and if it was, it would likely have been summarily dismissed) but, hey, while I might have been foolish to have ignored it, hey, at least it’s allowing me the opportunity to experience all of its well-crafted and excitingly executed pleasures now, for the first time.

I know little about director Mostow, other than he seems like kind of a journeyman action director (I did find his third Terminator a competent entry in the series), but, man, does he carefully and effectively cultivate the growing paranoid perspective of Russell’s Jeff, as he falls into a terrifying nightmare in which he is an outsider in a back-to-basics world where the strong and barbaric survive and it isn’t even sure the cops can be trusted.

Walsh, as sociopathic ring-leader Red, is maximum deadpan sleaze extraordinaire, delivering deliciously deplorable lines with great understated relish (I know, it sounds like an oxymoron, but with Walsh, it somehow isn’t… at all…), such as, in incitingly describing the disappeared Amy to the frantic Jeff, to prove that he has her, “About 5’5”, 115 pounds, three or four of that just pure tit.”

Major props also to Russell, an actor capable of anti-hero Snake Plissken testosterone-bursting levels, for reigning in his ego and allowing his physical virility to be so downplayed (through his performance and the slightly frumpy clothes they put him in) – until the concluding scenes, of course, when the masculine status quo fears are assuaged, with our hero re-claiming the primal power that the modern world has worked to hollow out of him (in a mind-bendingly awesome scene that ends with Jeff literally pulverizing Red with as giant, and symbolically appropriate, a phallus as can be imagined).

There’s a modern cinematic savvy to the film, speaking to an understanding of cinematic tradition (and love) for genre; it’s a little bit Texas Chainsaw Massacre (with Amy popping out of a cold storage fridge in a farmhouse basement and a family ready to kill for daddy) and a lot part Duel (no explanation really needed there), amalgamated into one deliciously tense ride.

It’s exciting filmmaking, riding on simple and direct fears (of those with the extra cash to go to the movies, that is), with an adrenaline-rush of a cliff-hanger ending that rivals the cinematically suspenseful best of Steven Spielberg (i.e., the cinematically suspenseful best).

The print was gorgeous (as was the one for the previous entry in this Jammin’ Trucker Anthology series I saw, Every Which Way But Loose) and the big screen was the perfect place to see the larger-than-life action unfold. Definitely gonna take another gander on my projector system at home (especially as I plan on moving soon and not sure I’ll get to see it this large at home again in the near future).

[jim-fetter-illustrations]

REM and NREM sleep pushes the human race forward more than any other thing!

Rapid eye movement (REM) sleep is the stage of sleep where most dreams happen,..... so if you dreamed last night you were in REM sleep. Its name comes from how your eyes move behind your eyelids while you're dreaming. During REM sleep, your brain activity looks very similar to brain activity while you're awake.

REM sleep is the most satisfying sleep and you wake up refreshed rather than still tired as many people do when they turn the alarm off and go back to sleep.

We need REM sleep in order to enter NREM sleep, which is the next stage of deeper sleep after one enters REM sleep, and NREM sleep is the deepest state of sleep mode people have that maintains your health and wellbeing.

Most adults only get 20% of NREM deep sleep at night, and the more NREM deep sleep you get, the more wonderful you feel when you wake up.

Sensory Deprivation Tank Therapy is where people get up to 80% of NREM deep sleep to repair Sleep disturbances like insomnia that is affecting their overall health. These tanks improve relaxation, improve sleep, and decrease stress, anxiety, and pain, and have excellent health benefits.

A sensory deprivation tank, also called an isolation tank or flotation tank, is used for restricted environmental stimulation therapy (REST). It is a dark, soundproof tank that is filled with a foot or less of highly salted water that you float in.

WHO USES ISOLATION TANKS?

Joe Rogan, Podcaster, Comedian and UFC Commentator.

John Lennon of the Beatles fame.

Carl Lewis, Arguably the greatest track athlete in history.

Actor Jeff Bridges meditates daily in his sensory deprivation tank.

Shaquille O’Neal, Jim Carrey, Russell Brand, Graham Hancock, Michael Jackson, Alan Watts, Kris Kristofferson, Susan Sarandon, Michael Crichton, Jens Pulver, Commando Steve, Maz Compton and Neil Young all have used sensory deprivation tanks daily to improve their world.

So there is definitely something to getting a good night sleep that improves your overall well being.

[newmusicradionetwork]

Americana Artist Todd Greene Releases “Talk To Me”

Americana singer/songwriter Todd Greene recently released his newest single “Talk To Me” (co-produced by Gabe Burdulis). You can listen to the song HERE! With pining lyrics like in your eyes, there’s terror, and I will be the bearer of your history, Todd’s newest release tells the tale of yearning for a connection. “Talk To Me is about being there for someone without any kind of judgement,” Todd explains. “Communication is key to any kind of relationship and if you don’t talk to one another, it will all go south.” The song, which was recorded at The Bomb Shelter Studio in Nashville, features Seth Taylor (Mountain Heart) on mandolin, Gabe Burdulis (Brittney Spencer) on electric/slide guitar, Eva Jerde (Zeona Road) on background vocals, Megan Jane (Brittney Spencer) on drums/percussion, Andrew Brown (Morgan Evans) on bass and Gabe Baker on cello. The mastering was done by Britt Edwards at Britt Edwards Media. Todd will also be featured in “Singing Upstream,” an upcoming documentary produced by Jeff Pulver in New York City. The film will spotlight several independent artists who are navigating the music industry. No release date has been announced yet. About Todd Greene: Raised in a musical family in the foothills of the Blue Ridge Mountains of North Carolina, Todd Greene discovered the art of song at a young age. His affinity for the acoustic guitar and the singer/songwriters of the era compelled him to hone his craft. Today, he is an engaging performer with introspective original songs and a rich voice that is steeped in rhythm & blues. He is truly an original American storyteller and captivating artist. Todd released his newest single “Talk To Me” on March 21, 2023. For more information, visit www.toddgreenemusic.com and follow Todd on Facebook, Instagram and Spotify. Read the full article

[newmusicweekly]

Americana Artist Todd Greene Releases "Talk To Me"

Americana singer/songwriter Todd Greene recently released his newest single "Talk To Me" (co-produced by Gabe Burdulis). You can listen to the song HERE! With pining lyrics like in your eyes, there's terror, and I will be the bearer of your history, Todd's newest release tells the tale of yearning for a connection. "Talk To Me is about being there for someone without any kind of judgement," Todd explains. "Communication is key to any kind of relationship and if you don't talk to one another, it will all go south." The song, which was recorded at The Bomb Shelter Studio in Nashville, features Seth Taylor (Mountain Heart) on mandolin, Gabe Burdulis (Brittney Spencer) on electric/slide guitar, Eva Jerde (Zeona Road) on background vocals, Megan Jane (Brittney Spencer) on drums/percussion, Andrew Brown (Morgan Evans) on bass and Gabe Baker on cello. The mastering was done by Britt Edwards at Britt Edwards Media. Todd will also be featured in "Singing Upstream," an upcoming documentary produced by Jeff Pulver in New York City. The film will spotlight several independent artists who are navigating the music industry. No release date has been announced yet. About Todd Greene: Raised in a musical family in the foothills of the Blue Ridge Mountains of North Carolina, Todd Greene discovered the art of song at a young age. His affinity for the acoustic guitar and the singer/songwriters of the era compelled him to hone his craft. Read the full article

[drivenbycheese]

The Car Crusher - Emails from an Asshole

Classified Ad (Jeff): i need my 89 dodge shadow towed to a car crusher asap. there are a few crushers in the area so get at me with a price and contact info

Respondent (Mike): Hello, Do you still need your car crushed? -Mike

Jeff: yes

Mike: Well Jeff, how would you like to have your car crushed by a REAL LIVE MONSTER TRUCK?! That’s right, for only $20 you can witness the ULTIMATE DESTRUCTION AND CARNAGE of your 1989 Dodge Shadow being CRUSHED INTO OBLIVION!!! Our CHEVY KILLVERADO is bringin’ the pain on top of 66 inches of DOOM-BRINGING TIRES and will leave your car COMPLETELY ANNIHILATED. Please let me know when you are ready to BRING ON THE DESTRUCTION! -Mike

Jeff: are you serious

Mike: YOU BET YOUR ASS I’M SERIOUS! The only question is, are you serious about your car being SERIOUSLY SMASHED INTO SMITHEREENS?! -Mike

Jeff: is it being crushed at a demolition derby or something?

Mike: No! You will have the honor of witnessing it being obliterated, LIVE AND IN PERSON, right in your front yard! No unnecessary travel to a stadium - stadiums are for PUSSIES! -Mike

Jeff: why the hell would i want to do that? then id have a pile of shit in my lawn that would be even harder to get rid of

Mike: No need to worry about cleanup! The Killverado will PULVERIZE YOUR CAR INTO A PILE OF DUST!

Jeff: no it wont. are you an idiot?

Mike: Do not underestimate the DESTRUCTIVE POWER of the KILLVERADO! Tell you what, if you decide to do it in the next ten minutes, your kids can witness the devastation for JUST FIVE DOLLARS. YOU’D HAVE TO BE A PUSSY TO TURN THIS OFFER DOWN! -Mike

Jeff: no id have to be a retard to let some idiot come run over my car with his stupid truck! what the hell wrong with you? dont email me again ya jackass!

--

Note from 2022 Rachel: Most of these just annoy me in 2022, the guy comes off like a real asshole now. But I know I loved them at the time.

[midnightrabbiinspired]

Unity Updates - Join the United Souls Course on PulveRedu!

Unity Updates – Join the United Souls Course on PulveRedu!

Summary GREAT NEWS – Updates – United Souls Collaboration Album #3 release-date set for TuBav (mid-summer)! United Souls Book in process of editing & request for dedications, with also content for the series!  Sign up now – http://www.pulveredu510.eventbrite.com/ – Eli Goldsmith – United Souls RENEWED WITH GREAT #Unitedsoulscourse – Including – United Souls Interactive BI weekly Course by Eli…

[cynicjovial]

Imagine going to a man you’ve never met and the first thing he says to you it’s his son, who is your friend, pisses the bed

[sacredwhores]

Mark Reynolds - Bigger Than Huge (1987)

[youmakemyhearthowl]

Punk Princess

Ao3| Part 1| Part 2| Part 3| Part 4| Part 5 | Part 6| Part 7| Part 8 | Part 9 | Part 10| Part 11 | Part 12 | Part 13 (Next Part)

Steve is still riding high on the win they got last night as him and Robin stumble towards the bleachers for free period. Gareth, Jeff and Mack hooting and hollering at them as they get closer.

“I get the old King Steve title now man, you fucking dominated on that court yesterday.” Jeff’s practically shouting and Steve beams, as Robin steals his vest to slip on, leaving him in his cut off cargos and ripped up shirt covered in enough holes you can see the long sleeved mesh shirt that’s under it. Despite his outward good mood, Steve’s deep black eyeshadow that’s smudged down his cheeks is a better representation of how he’s feeling deep down, where he pushed the pain he was still feeling about Eddie.

He’d spent an hour before the game just sitting in the back of his car crying into Robin's shoulder, where she passionately and repeatedly offered to go beat up Eddie. She never once made him feel like he was over reacting or acting stupid. She just told him it was okay to cry, and that he deserved good things, deserved friends who loved him for every part of him.

God he was so thankful for her.

He takes a seat on the end of the bleachers next to Robin, leaving no space next to him, with Gareth at his back who clapped him on the shoulder.

“That was such a good game man, I had no idea what was happening half the time, but you’re a natural.” Steve relishes in the compliment. Still trying to wrap his head around the face that the three guys had given up the night of their own beloved game to come watch Steve play. He felt a small sliver of warmth wrap around the hollow feeling Eddie had left him gutted with. These were his friends, these 4 people sitting with Steve cared about him and supported the things he liked, and he'd never experienced that kind of affection before. He was overwhelmed by it a bit.

Steve can feel Robin tense up next to him and he looks up, following her gaze to where Eddie is making his way over to them, he’s chewing on his thumb nail when he finally sits down on the other side of Jeff.

“Uh, hey guys.”

“Eddie.” Mack nods in greeting, shooting him a look that gets Eddie sighing as he turns and locks his eyes on Steve. “I over reacted, and I’m sorry.”

The apology feels hollow to Steve. Like Eddie means it but doesn’t fully understand what he’s apologizing for and Steve’s really just so tired and doesn’t want to stop hanging out with the friends sitting around him so he nods, accepting it at face value and offers Eddie a neutral smile. The skin between his eyebrows crease as he looks at Steve, but he nods in return and that’s that.

Steve doesn’t feel like anything was really resolved, but he’s not really sure how to bring up the fact that Eddie obviously doesn’t see him as anyone important, or as a friend even, so he just chews on his cheek and tunes into whatever Gareth and Robin have started talking about.

He still feels the lead brick sitting heavy in his stomach.

The weight stays with him all day, barely able to hold any eye contact with Eddie whenever they talk. And he’s pulling on everything he used to be to just pretend like he’s fine and everything’s good now, but he can’t stop feeling a little bit like his heart’s been pulverized.

Because really, when all is said and done, the love he feels for Eddie won’t just go away like he so wishes it would. It’s eating at him the same way his love for Nancy did and it’s taking all of his will power not to just ditch school and drive to Indy to get lost in alcohol for the weekend. But Hopper and Joyce are going out of town, and Steve's on big brother babysitting duty for El, so he’s stuck sober and actively present in his life.

Steve throws himself down on the couch when he gets home, El stampeding out of her bedroom to launch onto Steve's back with a happy giggle.

“Welcome home!” She’s always so excited when he comes home, no matter how long he’s been out and it makes Steve’s heart feel full and content most days. Today he just feels hollow.

“Hey love bug, how was your day?” He turns his face sideways so he’s not mumbling into the couch as she latches onto his back in a hug.

“A little boring, but Dad came home for lunch and we had Egos, so that made it a lot better.” Steve feels some of his hollowness fill as she rambles on. Her speech has gotten so much better over the last few months, and she seems to be having more good days than bad lately, and it makes everything feel just a little bit brighter.

“Why are you sad?” She pulls her face up closer to his ear to ask the question, running her hand through his hair the same way he’s seen Hopper do to her when she’s upset, and it fills his heart a little bit more. “I heard you crying last night, and you are still sad now.” 

Steve feels a few cracks form in his heart. No one, besides Robin, has ever really asked him about how he’s feeling before. No one’s cared enough to take the time to learn what’s going on in his head, and El’s always surprising him with how fucking huge her heart is after everything she’s been through.

“Just… found out I wasn’t really friends with someone the way I thought we were.”

“That can happen?”

“Not with your friends El. The Party is way too loud about how they feel about things to ever pretend to be your friend if they didn’t care about you.” She frowns at him.

“But someone you are close to has done this?”

“Yeah, but I’ll be okay, Bug. Have you eaten dinner?” She shakes her head softly, carding her hands through his hair some more and Steve hums happily, muscles he didn’t even know were tense relaxing at the touch.

“Well we are friends. And you’re my brother. I have not pretended about that.”

And if she sees a tear roll down his cheek she doesn’t say anything, just keeps running her hands through his hair and clinging tightly to his back.

~

It’s been awhile since Steve woke up screaming from a nightmare. Usually he can keep it to a swift jolt up in bed and heavy breathing. But the memory of Billy’s fists and the Demodogs in the tunnels is heavy in the front of his mind as he screams awake. El clamoring into his room with her arm outstretched ready to fight whatever was hurting Steve.

“I’m okay El, It was just a bad dream.” She crawls across his bed, gently pushing aside the guitar laying next to him to curl up into his side and wrap her arms around him.

“I have them too, sometimes.” Her words are quiet and she nuzzles in closer to him as his arm comes around to rest on her shoulder. “Dad told me that it’s normal after everything I have been through.”

“Yea kiddo it is.”

“Was it the Billy one again?” She’s hesitant when she asks the question, tilting her head up to look at his face.

“Again? You been checking on me in the mind place when I’m sleeping?” He makes sure to add a teasing tone to his voice, not wanting her to ever think he’s mad at her.

“I worry.” 

Fuck what did Steve do to earn this precious girls love. The little sister he’s always wanted, found through trauma and an interdimensional monster. The him of a year and a half ago would have gone straight to the looney bin if you tried to tell him this was his life now.

“I’m lucky to call you my sister, El.” He whispers, squeezing her shoulder briefly before letting sleep take him again.

Ao3| Part 1| Part 2| Part 3| Part 4| Part 5 | Part 6| Part 7| Part 8 | Part 9 | Part 10| Part 11 | Part 12 | Part 13 (Next Part)

[death-gloss]

Slipknot’s Joey: Talent Behind The Mask

Interview by Jeff Perlah • Photos by Paul La Raia  • January 2002

It’s the final weekend of Ozzfest 2001, and the huge backstage area at PNCBank Arts Center in Holmdel, New Jersey is heating up with heavy metal fever. At the moment, Papa Roach are whipping the crowd into a frothing frenzy with their rap-and punk-inspired approach. Later, the ferocious, nine-member Slipknot will pulverize everyone’s eardrums and eyeballs with their percussion-packed metal, hideous masks, and bad-ass behavior.

I’m shaking hands with Slipknot drummer/songwriter Joey Jordison (a.k.a. #1), whose thin, 5’4’’ frame and baby face is quite a contrast from the bloody Kabuki mask and menacing coveralls he sports on stage. After we chat for a few minutes, the customary backstage vehicle—a golf cart—arrives, and we jump in but almost fall out as the cart zooms away.

“I hate golf,” Joey blurts from the front seat. 

“It’s too civilized for Joey,” the driver clarifies, as the cart crunches overplastic forks and other scattered debris while trekking towards the plush Slipknot tour bus.

Joey might not dig golf, but he certainly could afford the whole country-club lifestyle if it appealed to him. Slipknot’s 1999 self-titled Roadrunner debut has sold almost three million copies worldwide and hit number 1 on Billboard’s Heatseekers chart. Now this musical monstrosity—which also features the clattering percussion of Chris Fehn (#3) and Shawn Crahan (#6)—have returned with their scorching second offering, Iowa (also Roadrunner), an even harder-hitting and more intricately woven effort that pays homage to the band’s home turf. The album debuted at number 3 on the Billboard top 200 album chart.

“When we first came out [with Slipknot], we kind of downplayed our home state because we had constantly gotten the middle finger thrown at us for years while we were in previous bands,” Joey says while sipping a Red Bull energy drink inside the air-conditioned bus. 

“No radio stations or newspapers would help us, and no one would be at the shows. We did this for like ten years. Those bands broke up around the same time, and Shawn, bassist Paul [Gray, #2], and I got together and said, ‘Let’s make the ultimate band, the band that we would like to see.’ This record is like a tribute, because if we didn’t have the work ethic that we got from being in Des Moines, Iowa—considering there were very few outlets for music there—we wouldn’t have created the band we have now.”

Since Slipknot tied the knot in 1995, their sound has evolved into a seething amalgamation that blends all sorts of metal styles (including speed and death metal) with hardcore punk and electronica. When you enter Iowa, you soon discover how Joey’s chops have matured since Slipknot. All his trademarks, like his speedy double bass kick, rapid hand rolls, eyebrow-raising quadruplets, and black-metal inspired blast beats, sound more powerful and confident. 

“On the first record the drums were more raw-sounding,” Joey explains. 

“On Iowa they’re punchier, and there’s more technical excellence. I had to use a lot more intricate patterns—and not just do the fast stuff. But if I played a fast part, I made it almost twice as fast and sometimes twice as long.”

Then there’s the way he interlocks with cohorts Chris and Shawn. On scathing statements like “Skin Ticket,” “Gently,” “Metabolic,” and the expansive finale, “Iowa,” it’s painfully clear that this percussion team is no overnight creation. 

“You know how hard it is to play the same beat with another drummer?” Joey asks rhetorically. 

“It often sounds like flams. But we’ve played together so long, and we’ve had such long, brutal practices for all those dates of touring in two plus years. It just sank in. Now it’s like clockwork. It just flies out of us, and we think as one brain. The thing that makes Slipknot, Slipknot, is the three drummers. People are like, ‘Man, you guys are so heavy!’ A lot of that doesn’t necessarily come from the riffs we write, but from all the drums.”

Indeed, drumming is a subject Joey loves to talk about. At this point, he pulls himself closer to the tape recorder, and the conversation rolls on

MD: How does Slipknot typically create music? And when are the drums and percussion conceived?

Joey: I handle a lot of the songwriting even before I think about putting drums to anything. Paul and I write most of the music. We usually get a good song structure going, and then we’ll show it to the guitarists. They might throw a riff in or change some chords. And once guitarists Mick [Thompson, #7] and Jim [Root, #4], Paul, and I have the basic core of a song, the band thinks about the percussion parts. A lot of times the percussionists will come in and see what I’m doing and feed off of it a little bit, or I’ll have an idea and say, “Maybe we can go here.” Sometimes they mimic what I do,sometimes they don’t. On “Metabolic,” Shawn plays all the way through to a guitar break, and I don’t even play. He wrote that part. It just depends on what the song calls for. If it’s a straightforward riff, we’ll play really straightforward and powerfully, and kind of mimic eachother.

MD: Did your playing improve while making Iowa?

Joey: Yes. With the first record, we wrote songs and I played what was needed for them. With this record, I had to practice to play the parts that I wanted to write. I had to practice hard for this record. Songs like “Disasterpiece,” “People = Shit,” and “The Heretic Anthem” have the hardest stuff I’ve ever had to do. “The Heretic Anthem” has fast 16th-note double bass through almost the whole song. Now that I’m so in the groove of doing it, it’s becoming more natural. My body’s accustomed to it and my brain can keep up with what I want to do; it’s kind of like a balancing act between my brain and my limbs. But I’ll tell ya, in the beginning it was ruthless. I had to jog like two miles everyday before I even did my tracks. That was to help me play the stuff. I used a Gretschmaple kick drum, and it had a great sound. But it was hard to get bounce-back from the head. I almost felt like I was kickin’ mud.

MD: Do you normally run?

Joey: No. Exercise sucks! There’s a reason I wasn’t in track. The jogging was just for the album.

MD: Do you ever get cramps in your legs?

Joey: Occasionally. But it’s not too bad, because I’ve been playing so long on recent tours. I’ve been playing drums for so long that I think my body has gotten accustomed to knowing when it’s gonna get cramps.

MD: Let’s hear more about the Iowa recording sessions.

Joey: I’ll tell you a funny story: Sound Citystudio in Van Nuys, California is one of the most requested drum rooms. Bands come from all over the world to use this place. So when we were setting up the drums, everyone expected me to set up in their big wooden room. I didn’t. I found the smallest, dingiest room. And my manager was all pissed off. “You’re not using the big drum room?!” And I was like, “Watch!”

We crammed all nine guys in this little room, along with my drumset, so you can imagine how tight it was. That’s how we tracked my drums. Everyone and everything was in my face, and we all had headphones on. We got three or four takes for most of the songs. And it’s cool because the sound of the drums on the new record is so good and punchy that it’s hard to imagine that they came out of that little room. But we do everything opposite of every other band, so it felt natural doing it in a small room as opposed to a big one.

The other guys in the band just played scratch tracks, and we recorded over them later. They were just trying to give me the ultimate vibe. We were sweating and spitting on each other. We record like we perform live—totally slammin’ the whole time. Meanwhile, I had pictures of my family and friends on my work box. 

Corey would explain what each song meant before we recorded it, so we’d focus on the initial purpose of the song. The first one we tracked was “People = Shit,” the first song on the CD. The last song we tracked was “Iowa,” the last song on the record.

I remember Corey explaining the whole history of playing in Des Moines, all the ridicule we faced, our rise to success, the touring, and going platinum. He reminded us of how people thought they figured us out and were ready to knock our second album before we even recorded it. He explained a lot of that before we tracked,and it was probably the most pissed off we’ve been before tracking a song.

MD: What was it like recording the title track?

Joey: We did the drumming and percussion in one take. And we sat in silence for probably thirty minutes beforehand and decided not to do any overdubs. At the end I get so out of control and off-time while the percussionists keep the same time with the guitarists. I spaz out so much. Wam wack,woom, voom! [Joey swings his arms wildly] But they keep the same beat. It was totally tribal. It’s such a mental song

MD: Was that the only song you nailed in one take?

Joey: Yep, and it’s the longest song on the album. It’s about fifteen minutes. We were using analog tape. Well, we went analog and then to digital. The only thing that’s analog on the album is my drums because I wanted a ’70s vintage sound. The thing is, 2" analogtape is about fifteen minutes long. Right at the end, [co-producer] Ross Robinson is like,“This is totally kickin’ ass but the tape is gonna run out!” As the last vibration of the guitar faded, the tape ran out.

MD: Did you take any new approaches while recording your drums on Iowa?

Joey: We recorded “Skin Ticket,” but it seemed so light on the drums. It sounded too empty. I was like, “Get me the biggest marching kick drum and snare you can find.” I used those and also cranked up the limiter on the board to make it sound totally static-y, like an AM radio. On the verse of “Skin Ticket,” when Corey’s singing, there are two drum patterns at once, and it’s really trippy. There’s this snare going really light,and the kick is a big, warm timpani.

MD: Does producer Ross Robinson ever influence or inspire your drumming?

Joey: I’m a very busy drummer, and he doesn’t like to take that away from me. But sometimes I need to lay back a little and let the riffs breathe more, rather than play over-the-top. Ross helps me a lot with that. And he helps me to make sure every cymbal hit is like total power. He’s an awesome coach in the studio.

MD: Former Police drummer Stewart Copeland recently told Modern Drummer that he saw you perform in San Bernardino,California during the Tattoo The Earth tour. He said he was impressed.

Joey: I heard that. That blew me away because I’m a big Police fan. “The Other Way Of Stopping” [from 1980’s Zenyatta Mondatta] has really amazing drumming. He’s an amazing drummer regardless, but that song really shows his talent.

MD: Copeland also said that he started practicing with a double pedal because he was inspired by your double bass drumming.

Joey: Really?! That’s like the ultimate honor, because he’s not a metal player. I’ve been inspired by that guy for so long as a drummer and as a composer, even though I play totally opposite of the way he does.

MD: How did you get started drumming?

Joey: I started out playing guitar at my grandpa’s house when I was really young. I got used to it and really liked it. I was playing guitar in a band when I was ten, and my bandmates were older. But the drummer couldn’t keep up and was sloppy. It just got frustrating. So one day I said, “I’ll do it until we find another drummer.” I started working on my drumming, but I never stopped playing the guitar either. I just kept getting better at the drums, and it became my first love.

MD: Were you in many bands before joining Slipknot?

Joey: I was probably in a dozen bands, but I don’t want to name any.

MD: Did you have a day job before Slipknot formed?

Joey: Yeah. I worked in a gas station on the graveyard shift for ten hours a night. Shawn and Paul would come down and we would come up with all these ideas. We scared everyone away because we’d blast Obituary and Deicide all night while coming up withour own ideas. It was like cramming for a test that took place four years later, when we recorded our first album.

MD: How does it all work on stage with you, two percussionists, and six other guys?

Joey: It’s pandemonium. But we thrive on it. And we thrive on pain. Once this band is comfortable, it will cease to exist.

MD: Slipknot performances have been known to be very physical and sometimes out-of-control.

Joey: One time Shawn broke a pipe over a keg. The pipe broke in half, flew in the air, spun around, and cracked me on the head and cut me open—a huge cut. And I’ve pulled my drums down on top of me a hundred times. I have scars all over my body to prove it. There have been broken ribs and fingers, and lots of stitches on all of us. Shawn’s whole knee is bandaged up right now, and he can barely walk. When we get on stage, something just comes out of us, dude. It’s like a war zone. I can’t even put it into words.

MD: How difficult is it to perform with your mask on?

Joey: It ain’t easy. There’s no mouth on my mask really, just a little slit, and the mask is molded to my face. But I built up a tolerance to it. I remember the first show we wore the masks, on April 4th, 1996, and being like, “I can’t believe we came up with this damn idea. What the hell were we thinking?” This was in Des Moines at the Safari Club. It was the same mask back then that I wear now, it just didn’t have the scarlines and blood. Through time, it’s gathered up a bunch of scars.

MD: A couple of years ago, guitarist Mick told me he played a Slipknot show in a Little Bo Peep costume.

Joey: Oh yeah! [laughs] That only happened once. We did it as a joke at a New Year’s Eve show several years ago in down-town Des Moines. Paul wore a wedding gown, Mick got a Little Bo Peep costume and a big staff. We used to wear different costumes, but then we felt we needed to look more like an army, a solid unit. Let everybody be different as far as the character and face, but still be an army. Now we’re like a gang

MD: Is the band trying to look like monsters with these masks?

Joey: Not at all. We’re trying to look like ourselves from the inside. The mask I wear represents what this music makes me feel like inside. And no one picked anyone’s mask for them. When we put the masks on, we go into a deeper, darker place.

MD: How do the members cue each other on stage? It must be challenging because you’re wearing masks.

Joey: We do it by eye contact, by giving “the big eye.” And we’ve known each other for so long that we know our mannerisms, certain arm movements, finger gestures, or whatever. Sometimes I’ll cue them by the way I play. Maybe I’ll take a deep breath and lean back on my seat and smash the cymbals really hard, like for a downbeat, and they’ll know when to come in.

MD: Does the band separate their on-stage personas from their everyday lives?

Joey: We get that poison out every day for about an hour on stage. People ask, “Why are you guys so pissed off?” Well, you keep a baboon locked up for years and then let him out—he’ll have a lot to say. The other twenty-three hours we can rest. We get off so hard for that hour that we get it all out so we can live normal lives on the outside.

MD: What main messages and sentiments does Slipknot convey to their fans?

Joey: We don’t write about stuff we don’t know about. A lot of kids can relate to the things we write about, because they’ve gone through the same things day in and day out.

MD: Like what?

Joey: It depends on who you talk to. And even if we’re talking about a different subject, a kid might relate it to him breaking up with his girlfriend or losing his job. But we’re not talking about politics. We’re not politicians. We’re musicians who grew up in a scene where we were totally rejected. I’m just like those kids. I don’t want to distance myself from their realities. And I want those kids to get their tensions out. We’re the punching bag for them, and they’re the punching bag for us. That’s why the liveshow is so important.

MD: Let’s talk about your kit.

Joey: They’re from Orange County Drum And Percussion. The kit I’m using right now is acrylic. It’s deep purple and see-through, so I can put black lights on it. But I mostly play a maple kit from Orange County. It has a black “serpentine” finish. And my drumsare set up really close together. I can’t be reaching, especially since I’m only 5'4"

MD: Some associate heavy hitters, like metal players, are big brawny guys.

Joey: I find that the big muscle-bound guys tend to be light hitters.

MD: Obviously Slipknot is a very loud band, but anybody who has seen you play knows that you don’t pound the drums into submission. You have a surprisingly light touch.

Joey: The power you get has more to do with how you hit a drum. There’s a certain snap of the wrist that makes the drum resonate right. It comes from years of practice. And you can’t just pound a drum and expect it to sound good.

MD: At what height do you set your seat? Does the height benefit your kick drumming?

Joey: I sit pretty low. I like my knees and heels to be up. That way I get more foot action and get my lower calf muscles involved, as opposed to my legs working. When I use too much leg, I get tired really quickly and it’s too clumsy.

MD: What kind of bass drum pedals do you use to play so fast?

Joey: My pedals are Tama Iron Cobras,double-chained. I have them tensioned very tight. They’re really hard to push down.

MD: Why keep them that way?

Joey: If they’re not tight, I can’t get the right bounce back from the head to be able to play fast. And that spring tension also helps to keep my feet and legs in shape.

MD: On some songs you boast a splashy hi-hat tone. Is one of your hi-hats permanently open?

Joey: My right hi-hat is always open about a half inch, which works perfectly for that sloshy effect. I can open and close my regular left-side hi-hat, so I keep the right one open.

MD: Do you use any unconventional equipment in your kit?

Joey: No, but the percussionists use oilcans, big propane tanks, and old sheet metal. They come up with that weird stuff. It’s their forte.

MD: Some drummers don’t appreciate performing with other percussionists. Yet Slipknot has created an outrageous art form out of three-way percussion.

Joey: Some drummer might say, “I don’t want people stepping on my toes and getting in my face!” I’m not like that. That percussion drives me. It makes me want to be a better player. It makes them want to be better players. We all keep on our toes—no one slacks—because you have two other drummers lookin’ at you at all times! [laughs] I love having it this way. The more drums the better.

MD: And what about your influences? Who has inspired you the most?

Joey: Keith Moon, for sure. And to tell you the honest-to-God truth, it’s because he was a nut. I can relate to his personality. I have a lot of personality on stage too; I’m flippin’ sticks behind my back. Whatever it takes to get the audience off, I’ll do. I like being animated.

MD: That’s not surprising, considering Slipknot’s wildly visual stage show.

Joey: Exactly. Plus the music makes me so nuts that I can’t sit still anyway. That’s why I like Keith Moon.

MD: Who else?

Joey: John Bonham, of course. How can you not give that guy props? And of course, when I was younger, there was Peter Criss of KISS. I love that band so much. I remember practicing Peter’s solo on “100,000 Years” off Alive! I had it down to a tee at nine years old. Then I learned the solo from Alive II. Another drummer I have to give props to is Dave Lombardo, formerly of Slayer. On “Angel Of Death,” one of the most famous Slayer songs, he does a really long double bass roll and then three tom hits. I do that exact fill in the middle of “The Heretic Anthem” as a tribute to Dave. He’s definitely one of my main influences. I’m into death metal and black metal too, and all their drummers, like Trym from Emperor, Nick Barker from Dimmu Borgir, Hellhammer from Mayhem. A lot of these kids at Ozzfest have never heard the blastbeats prevalent in black metal. But we’re not a death or black metal band. We don’t want to be, yet we still have our influences.

MD: KISS must have been a big influence on Slipknot, considering their use of costumes and other visual elements.

Joey: We drew a lot from KISS, no question. We’re like a hellish version of them. Every musician’s a thief, everyone steals, but it’s what you do with it—how you make it your own and piece it together—that makes you original. You get the influence, punch it in the face, and see what you come up with.

MD: What advice would you give to up-and-coming drummers?

Joey: Have ingenuity and perseverance—and practice a lot. That’s the only way you’re going to make it. And don’t just be a follower, be a leader. A lot of players don’t realize what they have. To me, the most important band out right now is the one in a garage somewhere obsessing over their music, just like we did ten years ago. We were those kids. We haven’t heard of them yet, but they’re the ones with the vision. As far as I’m concerned, those are the most important musicians right now and the ones who are gonna shape the future.

[decennia]

THE FAMILY FAWLEY

tuppence middleton & kristin scott thomas as euphemia potter (née fawley) †

eldest of the fawley children, wife of fleamont potter, mother of james potter.

rooney mara & lara pulver as victoria crouch (née fawley) †

the younger fawley daughter, wife to bartemius crouch, mother to barty crouch jr. died in azkaban after exchanging places with her sentenced son through use of polyjuice potion.

brant doherty & jeff bridges as abner fawley

youngest fawley child, first son, husband of clara fawley and father to rebecca macmillan. grandfather of ernest macmillan.

madeleine petsch & lotte verbeek as clara fawley (née selwyn) †

cousin of cassandra, and known death eater, stellan selwyn. wed to abner fawley, with whom she shares a daughter, rebecca.

wila holland & jenna coleman as rebecca macmillan (née fawley)

the only child of abner and clara fawley, wife of phillip macmillan, mother of ernest.

[mysticalhearth]

P

Parade - Avery Fisher Hall, Lincoln Center - February 16, 2015 (SJ Bernly's master) FORMAT:  MP4 (HD) CAST: Jeremy Jordan (Leo Frank), Laura Benanti (Lucille Frank), Charlie Franklin (Frankie Epps), Emerson Steele (Mary Phagan), John Ellison Conlee (Hugh Dorsey), Alan Campbell (Governor John Slaton), Joshua Henry (Jim Conley), Nathaniel Stampley (Newt Lee), Andy Mientus (Britt Craig), Eric Anderson (J.N. Starnes), Davis Gaines (Judge Roan), Ramin Karimloo (Tom Watson), Andrea Jones-Sojola (Minola McKnight), Katie Rose Clarke (Mrs. Phagan), Rachel de Benedet (Sally Slaton), John Jellison (Mr. Peavy), Caitlin Houlahan (Iola Stover), Allie Trimm (Essie), Ephie Aardema (Monteen), John Jellison (Luther Rosser), Andrea Jones-Sojola (Angela), Charlie Franklin (Young Confederate Soldier), Eric Leviton (Officer Ivery), Nathaniel Stampley (Riley) NOTES: A fantastic capture of this one-night-only concert at Avery Fisher Hall. Jeremy and Laura give incredible performances, as does Joshua Henry and too many others to name. Jason Robert Brown gives a speech after the curtain call. Truly an epic night of theatre. This is a very near perfect video with no obstruction and only slight washout in wide shots. There are two quick dropouts in the first few minutes, but the concert is otherwise fully captured. It’s filmed in 16:9, with a mix of wides, mediums, and close-ups. The sound is excellent. Includes curtain call, Jason’s speech, and playbill scans. Parade - Broadway - December 8, 1998 (Preview) (House-Cam's master) FORMAT:  VOB (no smalls) (SD) CAST: Brent Carver (Leo Frank), Carolee Carmello (Lucille Frank), Kirk McDonald (Frankie Epps), Christy Carlson Romano (Mary Phagan), Herndon Lackey (Hugh Dorsey), John Hickok (Governor John Slaton), Rufus Bonds Jr (Jim Conley), Evan Pappas (Britt Craig), Don Chastain (Judge Roan), John Leslie Wolfe (Tom Watson), Jessica Molaskey (Mrs. Phagan), Brooke Sunny Moriber (Iola Stover), Megan McGinnis NOTES: Made from closed-circuit system in Vivian Beaumont Theatre. Stage shot entire time; decent picture and good sound. Also possibly from February 27, 1999. Parade - Mark Taper Forum, Los Angeles - November 1, 2009 (Matinee) FORMAT:  MP4 (HD) CAST: T R Knight (Leo Frank), Lara Pulver (Lucille Frank), Curt Hansen (Frankie Epps), Rose Sezniak (Mary Phagan), Michael Berresse (Governor John Slaton), David St Louis (Jim Conley), Davis Gaines (Judge Roan), PJ Griffith (Tom Watson) NOTES: Released as 2 Disc DVD. One short blackout in the first act, and some washout in the wides; very little obstruction with some heads on the bottom and the sides, but nothing major; good clear and steady video with nice picture and sound. Passion - Netherlands - 2004 (Pro-Shot's master) FORMAT:  VOB (with smalls) (SD) CAST: Vera Mann (Fosca), Stanley Burleson (Giorgio), Pia Douwes (Clara) Peter Pan (National Theatre) - London - 2016-, 2017 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Paul Hilton (Peter Pan), Anna Francolini (Captain Hook), Madeleine Worrall (Wendy Darling), Marc Antolin (John Darling), John Pfumojena (Michael Darling), Felix Hayes (Mr Darling), Saikat Ahamed (Tinkerbell), Felix Hayes (Smee), Saikat Ahamed (Curly), Lois Chimimba (Tiger Lily), Lois Chimimba (Slightly), Laura Cubitt (Twin One), Felix Hayes (Twin Two), Amaka Okafor (Jane), Ekow Quartey (Nana), Ekow Quartey (Tootles), Anna Francolini (Mrs. Darling) Phantom (Yeston/Kopit) - North Shore Music Theatre - 1994 FORMAT:  VOB (with smalls) (SD) CAST: Ron Baker (Erik/The Phantom), Kristin Chenoweth (Christine Daaé), Marc Kudisch (Count Philippe de Chandon), Michael Dantuono (Gérard Carrière), SuEllen Estey (Carlotta) Phantom (Yeston/Kopit) - Takarazuka - 2011 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Tomu Ranju (Erik/The Phantom), Ranno Hana (Christine Daaé)

Piaf - The Netherlands - January 9, 2009 (Pro-Shot's master) FORMAT:  MP4 (SD) CAST: Liesbeth List (Edith Piaf), Esther Roord (Toine), Daphne Flint (Young Edith Piaf), Geert Hoes (Marcel), Ara Halici (Paul), Jan Elbertse (Lucien), Eliane Feijen (Madeleine) Pippin - Broadway Revival - July 13, 2013 (SunsetBlvd79's master) FORMAT:  VOB (no smalls) (SD) CAST: Patina Miller (Leading Player), Matthew James Thomas (Pippin), Terrence Mann (Charles), Charlotte d'Amboise (Fastrada), Andrea Martin (Berthe), Rachel Bay Jones (Catherine), Erik Altemus (Lewis), Ashton Woerz (Theo) NOTES: Beautiful HD capture of the 2013 Tony Winning Revival. I certainly see why Patina and Andrea won their Tonys. A sleek and stunning revival with performances and ideas to die for! Certainly not to be missed! A Pippin - Broadway Revival - June 14, 2014 (SunsetBlvd79's master) FORMAT:  VOB (no smalls) (SD) CAST: Ciara Renée (Leading Player), Kyle Dean Massey (Pippin), Terrence Mann (Charles), Charlotte d'Amboise (Fastrada), Andrea Martin (Berthe), Rachel Bay Jones (Catherine), Erik Altemus (Lewis), Andrew Cekala (Theo) NOTES: Wonderful HD capture of the new leads who have joined the cast. The show is still in top shape, Kyle gives a great Pippin and beautiful voice to match! Ciara gives some great vocal variations of her own. A Pippin - Broadway Revival - December 30, 2014 FORMAT:  VOB (with smalls) (SD) |  TRADER'S NOTES: Working on uploading, PLEASE DO NOT REQUEST CAST: Carly Hughes (Leading Player), Josh Kaufman (Pippin), John Dossett (Charles), Charlotte d'Amboise (Fastrada), Priscilla Lopez (Berthe), Rachel Bay Jones (Catherine), Mike Schwitter (Lewis), Eli Tokash (Theo)   Pippin - World AIDS Day Benefit Concert - November 29, 2004 FORMAT:  VOB (no smalls) (SD) CAST: Ben Vereen (Leading Player), Billy Porter (Leading Player), Darius de Haas (Leading Player), Kate Shindle (Leading Player), Rosie O’Donnell (Leading Player), Michael Arden (Pippin), Terrence Mann (Charles), Julia Murney (Fastrada), Charles Busch (Berthe), Laura Benanti (Catherine), Cameron Mathison (Lewis), Harrison Chad (Theo), Adam Fleming, Barrett Foa, Caitlin van Zandt, Cheyenne Jackson, Colin Hanlon, Erin Quill, Jenna Leigh Green, Jennifer Malenke, John Tartaglia, Jordan Gelber, Josh Young, Julie Garnye, Kate Pazakis, Kearran Giovanni, Kristoffer Cusick, Marty Thomas, Michael Longoria, Natalie Joy Johnson, Randy Redd, Robb Sapp, Sara Chase, Sriram Ganesan NOTES: If you've been wanting to see Rosie O'Donnell perform "Magic To Do" with a dancer in a bikini top grinding up on her, then look no further! *Ben Vereen, Darius de Haas, Billy Porter, Rosie O'Donell, Kate Shindle as the leading players The Pirate Queen - Broadway - March 24, 2007 (Preview) FORMAT:  MP4 (HD) CAST: Stephanie J Block (Grace (Gráinne) O'Malley), Linda Balgord (Queen Elizabeth I), Hadley Fraser (Tiernan), Marcus Chait (Donal O'Flaherty), Jeff McCarthy (Dubhdara), William Youmans (Sir Richard Bingham) The Pirate Queen - Broadway - April 11, 2007 FORMAT:  VOB (with smalls) (SD) CAST: Stephanie J Block (Grace (Gráinne) O'Malley), Linda Balgord (Queen Elizabeth I), Hadley Fraser (Tiernan), Marcus Chait (Donal O'Flaherty), Jeff McCarthy (Dubhdara), William Youmans (Sir Richard Bingham) The Pirate Queen - Broadway - April 13, 2007 (SunsetBlvd79's master) FORMAT:  VOB (no smalls) (SD) CAST: Stephanie J Block (Grace (Gráinne) O'Malley), Linda Balgord (Queen Elizabeth I), Hadley Fraser (Tiernan), Marcus Chait (Donal O'Flaherty), Jeff McCarthy (Dubhdara), William Youmans (Sir Richard Bingham) NOTES: Wonderful crystal clear capture and top notch amazing performances. Much improved from Chicago version. Includes performance on the the View. A+ The Pirate Queen - Pre-Broadway / Chicago - October 8, 2006 FORMAT:  MP4 (SD) |  TRADER'S NOTES: PLEASE DO NOT REQUEST. Working on uploading :) CAST: Stephanie J Block (Grace (Gráinne) O'Malley), Linda Balgord (Queen Elizabeth I), Hadley Fraser (Tiernan), Marcus Chait (Donal O'Flaherty), Jeff McCarthy (Dubhdara), William Youmans (Sir Richard Bingham) The Play That Goes Wrong - Broadway - May, 2018 (NYCG8R's master) FORMAT:  VOB (with smalls) (SD) CAST: Mark Evans (Chris Bean), Preston Truman Boyd (Robert Grove), Jonathan Fielding (Jonathan Harris), Amelia McClain (Sandra Wilkinson), Alex Mandell (Max Bennett), Harrison Unger (Dennis Tyde), Ashley Bryant (Annie Twilliol), Akron Watson (Trevor Watson) NOTES: (not Master's notes) Beginning from pre-show where the comedy 'bit' of the set breaking starts. Throughout, very clearly shot with no obstructions, in a mixture of wides and closes, following the action well. I think it's shot from the front of the circle. Once or twice the camera falls but never during key moments, and is quickly fixed. No long blackouts. Audience energy is great. The Play That Goes Wrong - West End (Duchess Theatre) - March, 2020 (hitmewithyourbethshot's master) FORMAT:  MTS CAST: Ross Green (Chris Bean), Tom Bulpett (s/b Robert Grove), James Watterson (e/c Jonathan Harris), Ellie Morris (Sandra Wilkinson), Milo Clarke (Max Bennett), Michael Keene (Dennis Tyde), Leah Penston (s/b Annie Twilliol), Blayar Benn (Trevor Watson) Pokémon Live! - First National Tour - December 30, 2000 (House-Cam's master) FORMAT:  MP4 (SD) CAST: Dominic Nolfi (Ash Ketchum), Heidi Michelle Weyhmueller (Misty), Dennis Kenney (Brock), Darren Dunstan (Giovanni), Lauren Kling (Jessie), Andrew Rannells (James), Dee Roscioli (Delia Ketchum), Patrick Frankfort (Professor Oak), Jennifer Risser (Pikachu), Kathleen Roche (Meowth), Leah Smith (Psyduck), Shaun Bradley (Mewtwo), Leah Smith (Jigglypuff), Natalie Weld (Nurse Joy), Suzanne Wogisch (Officer Jenny), Sinclair Mitchell (Dexter) NOTES: HOUSE-CAM and soundboard. Shot from the back of the theatre with some washout. Upgraded file with audience heads cut out and cropped image retaining all action Potted Potter: The Unauthorized Harry Experience - Off-Broadway - May 23, 2012 FORMAT:  VOB (with smalls) (SD) CAST: Daniel Clarkson, Jefferson Turner NOTES: All seven Harry Potter books condensed into seventy minutes. Full/mid stage shot. Pretty Woman: The Musical - Broadway - January 16, 2019 FORMAT:  MP4 (HD) CAST: Samantha Barks (Vivian Ward), Adam Pascal (t/r Edward Lewis), Jennifer Sanchez (u/s Kit De Luca) NOTES: A lot of washout. Wide shot. Shot from the mez. Pretty Woman: The Musical - Broadway - February, 2019 (NYCG8R's master) FORMAT:  VOB (with smalls) (SD) CAST: Samantha Barks (Vivian Ward), Adam Pascal (Edward Lewis), Eric Anderson (Mr. Thompson/Happy Man), Jason Danieley (Philip Stuckey), Kingsley Leggs (James Morse), Orfeh (Kit De Luca), Tommy Bracco (Giulio) NOTES: (not Master notes) Seems a fantastic capture of the show. Virtually no dropouts, obstructions and spotlight washout. Filmed more centre than the preview recording by the same master; mix of wides, mediums and some closeups; very good capture of the sets and actor choreography. Both are worth watching. Pretty Woman: The Musical - Broadway - July, 2018 (Preview) (NYCG8R's master) FORMAT:  VOB (with smalls) (SD) CAST: Samantha Barks (Vivian Ward), Andy Karl (Edward Lewis), Eric Anderson (Mr. Thompson/Happy Man), Jason Danieley (Philip Stuckey), Ezra Knight (James Morse), Orfeh (Kit De Luca), Allison Blackwell (Violetta), Tommy Bracco (Giulio), Brian Cali (Fred/Alfredo), Robby Clater (David Morse), Anna Eilinsfeld (Susan/Scarlett) NOTES: (not Master notes) Seems a fantastic capture of the show. Virtually no dropouts or obstructions. More spotlight washout than the Feb 2019 recording by the same master, but it's very minimal. Filmed at slight angle and with more closeups compared to the other recording. Very good capture of the actors' expressions. Both are worth watching. Pretty Woman: The Musical - Hamburg - September 25, 2019 (Preview) (Rumpel's master) FORMAT:  VOB (with smalls) (SD) CAST: Patricia Meeden (Vivian Ward), Mark Seibert (Edward Lewis), Paul Kribbe (Mr. Thompson/Happy Man), Nigel Casey (Philip Stuckey), Frank Logemann (James Morse), Maricel (Kit De Luca) Pretty Woman: The Musical - Pre-Broadway/Chicago - April 13, 2018 (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Samantha Barks (Vivian Ward), Steve Kazee (Edward Lewis), Eric Anderson (Mr. Thompson/Happy Man), Jason Danieley (Philip Stuckey), Kingsley Leggs (James Morse), Orfeh (Kit De Luca) NOTES: Beautiful HD capture of the PreBroadway production. This includes Steve as Edward before he left the production prior to Broadway. Such a fun show with terrific performances and a rare glimpse of Steve in the role! A Pride and Prejudice - TheatreWorks Silicon Valley - December, 2019 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Mary Mattison (Elizabeth Bennet), Sharon Rietkerk (Jane Bennet), Justin Mortelliti (Fitzwilliam Darcy), Travis Leland (Charles Bingley), Monique Hafen (Caroline Bingley) NOTES: Streamed by TheaterMania on April 10, 2020. Hosted by Julie James, Laura Osnes, and Beth Leavel. The Prince of Egypt - West End - March 5, 2020 (BwaytoWestEnd's master) FORMAT:  MP4 (HD) CAST: Luke Brady (Moses), Liam Tamne (Ramses), Alexia Khadime (Miriam), Christine Allado (Tzipporah), Gary Wilmot (Jethro), Silas Wyatt-Barke (Aaron), Joe Dixon (Seti), Debbie Kurup (Queen Tuya), Tanisha Spring (Nefertari), Adam Pearce (Hotep), Mercedesz Csampai (Yocheved) NOTES: Approx 12 gb stageshot filmed from stalls. Audio is awful most of the time. Master of this is BwaytoWestEnd The Prince of Egypt - West End - February, 2020 (hitmewithyourbethshot's master) FORMAT:  MP4 (HD) CAST: Luke Brady (Moses), Liam Tamne (Ramses), Alexia Khadime (Miriam), Christine Allado (Tzipporah), Gary Wilmot (Jethro), Silas Wyatt-Barke (Aaron), Joe Dixon (Seti), Debbie Kurup (Queen Tuya), Tanisha Spring (Nefertari), Adam Pearce (Hotep), Mercedesz Csampai (Yocheved), Iman Pabani (Young Miriam/Leah/Young Hebrew Girl), Leo Babet (Young Aaron/Young Egyptian Boy/Young Midian Boy) NOTES: This video is never to be publicly shared on YouTube, tumblr, Facebook, Stage Dork etc. The Prince of Egypt - West End - February, 2020 (hitmewithyourbethshot's master)

FORMAT: video CAST: Luke Brady (Moses), Liam Tamne (Ramses), Alexia Khadime (Miriam), Christine Allado (Tzipporah), Gary Wilmot (Jethro), Silas Wyatt-Barke (Aaron), Joe Dixon (Seti), Debbie Kurup (Queen Tuya), Tanisha Spring (Nefertari), Adam Pearce (Hotep), Mercedesz Csampai (Yocheved), Iman Pabani (Young Miriam/Leah/Young Hebrew Girl), Leo Babet (Young Aaron/Young Egyptian Boy/Young Midian Boy) NOTES: This video is never to be publicly shared on YouTube, tumblr, Facebook, Stage Dork etc. The Producers - Hollywood Bowl - July 28, 2012 FORMAT:  VOB (with smalls) (SD) CAST: Richard Kind (Max Bialystock), Jesse Tyler Ferguson (Leo Bloom), Gary Beach (Roger De Bris), Roger Bart (Carmen Ghia), Rebecca Romijn (Ulla), Dane Cook (Franz Liebkind) NOTES: Excellent capture of this year's Hollywood Bowl production. Action is followed well with a mix of wides, mediums, and close-ups. The first minute of the show is missing, and the next few minutes are a bit shaky with scattered blackouts, but after "The King of Broadway" it settles and the majority of the show is captured nicely. SPOILER: Before "Keep It Gay" started, when Roger says "What's the word?" someone from the audience shouted out "Gay" which sent the cast into a laughing fit. The Prom - Broadway - August 11, 2019 (Matinee) (Closing Night) (StarCuffedJeans's master) FORMAT:  MP4 (HD) CAST: Caitlin Kinnunen (Emma Nolan), Brooks Ashmanskas (Barry Glickman), Isabelle McCalla (Alyssa Greene), Beth Leavel (Dee Dee Allen), Christopher Sieber (Trent Oliver), Michael Genet (Mr. Hawkins), Angie Schworer (Angie), Courtenay Collins (Mrs. Greene), Josh Lamon (Sheldon Saperstein), Becca Lee (Kaylee), Kalyn West (Shelby), Teddy Toye (Nick), Josh Franklin (Motel Clerk), Drew Redington (Kevin), Courtney Balan (Olivia Keating), Anthony Norman, Brittany Conigatti, Fernell Hogan, Jack Sippel, Jerusha Cavazos, Joomin Hwang, Mary Antonini, Shelby Finnie, Sheldon Henry, Vasthy Mompoint NOTES: Gift upon request. Unobstructed closing performance with the full cast! Starts in the beginning of "Changing Lives" and is a little washed out. For whatever reason my camera was mad at me and didn't want to focus in the beginning of Act One. It warmed up and got better, and to be honest I opted for wider shots because everyone was doing crazy things and I didn't want to miss anything. I stood up for all but one of the standing ovations and when I did so I have no idea what my camera did or what it was looking at. I would say sorry but it wouldn't be true. I'm just so damn proud of all of these people. Please do not post this bootleg publicly! The Prom - Broadway - February, 2019 (NYCG8R's master) FORMAT:  VOB (with smalls) (SD) CAST: Caitlin Kinnunen (Emma Nolan), Josh Lamon (u/s Barry Glickman), Isabelle McCalla (Alyssa Greene), Beth Leavel (Dee Dee Allen), Christopher Sieber (Trent Oliver), Michael Genet (Mr. Hawkins), Angie Schworer (Angie), Courtenay Collins (Mrs. Greene), David Josefsberg (u/s Sheldon Saperstein) NOTES: Excellent capture! Josh mistakenly mentions Alyssa in 'Tonight Belongs to You' despite not being meant to know her name at this point. The last three minutes of the show are from a different performance, during previews, with Brooks Ashmanskas as Barry and Josh Lamon as Sheldon, but it is a full video in total. The Prom - Broadway - March, 2019 (StarCuffedJeans's master) FORMAT:  MP4 (HD) CAST: Gabi Campo (u/s Emma Nolan), Brooks Ashmanskas (Barry Glickman), Isabelle McCalla (Alyssa Greene), Beth Leavel (Dee Dee Allen), Christopher Sieber (Trent Oliver), Michael Potts (Mr. Hawkins), Angie Schworer (Angie), Courtenay Collins (Mrs. Greene), David Josefsberg (u/s Sheldon Saperstein), Becca Lee (Kaylee), Susie Carroll (s/w Shelby), Teddy Toye (Nick), Drew Redington (Kevin), Courtney Balan (Olivia Keating) NOTES: This video starts at "Dance With You" and is super focused on Gabi. There are less heads in this than most of my videos and a railing that gets in the way occasionally, but they were mostly worked around. The cast as a whole is doing top notch work, though at times you can tell that Brooks and Izzy are just back from being sick. Overall this is a really great video of one of my favorite shows, and I'm really proud of myself for containing my crying at the end of act one. The Prom - Pre-Broadway / Atlanta - September 17, 2016 (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Caitlin Kinnunen (Emma Nolan), Brooks Ashmanskas (Barry Glickman), Anna Grace Barlow (Alyssa Greene), Beth Leavel (Dee Dee Allen), Christopher Sieber (Trent Oliver), Martin Moran (Mr. Hawkins), Angie Schworer (Angie), Josh Lamon (Sheldon Saperstein) NOTES: Beautiful HD capture of the Pre-Broadway tryout. A really touching and funny new musical, led by a hilarious cast of Broadway veterans. A perfect mix of comedy and drama.

[scottbcrowley2]

EWU assistants, U-Hi grads Jeff Schmedding and Heath Pulver share many common threads - Tue, 01 Jan 2019 PST

Twenty years after meeting as assistant coach and player at University High School, Jeff Schmedding and Heath Pulver are key assistants in EWU’s run at a second FCS national title. EWU assistants, U-Hi grads Jeff Schmedding and Heath Pulver share many common threads - Tue, 01 Jan 2019 PST