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Behind the scenes with Stewart Copeland: Why dumb shit makes me happy (#1) - TRANSCRIPT

"If the only reason humans pro-create is Vivaldi, we would all be fucked…" -- Stewart Copeland

In this inaugural episode of the new ‘Backstage with Robert Emery’ podcast, RDCE talks to Stewart Copeland, the founder and drummer of the British rock band 'The Police'. Stewart talks about why he attributes studying 'Mass Communication & Public Policy' to becoming one of the worlds most famous drummers, why one of his balls is called Ben Hur, and how he grew up not knowing his Father was a spy.

Stewart is an American musician and composer. Apart from his most famous role as a rockstar, over the years he has produced film and video game soundtracks, written music for ballets, operas and orchestras, and in 2003 was inducted into the 'Rock and Roll Hall of Fame'.

This whistle-stop tour of his life takes us through his nine years in The Police with Sting and Andy Summers, his solo projects as a composer, and his predictions of the status of orchestral and rock music in twenty years.

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Transcript

Hello, lovely people, and welcome to the inaugural episode of The Backstage Blog with me, Robert Emery.

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Hello, lovely people. Today I'm really excited to be having a chat with my friend, rock god and all-round crazy gentleman, Stewart Copeland. Stewart and I first met at a gig. He was hitting the drums as loud as he could to the soundtrack that he composed for Ben-Hur. Scarily, I was conducting the orchestra who were duelling with him. It was like a baked bean and a baked potato had forgotten which one was little and which one was large. From that moment I picked up the baton, I knew that not only is Stewart one of the world's greatest drummers, and not only does he compose like a modern-day maestro, but after 44 years in the music industry, he still has the passion and energy of an 18-year-old.

I'll be honest, it's my first time recording an interview with me being the one asking the questions, so please forgive me: like any good art, it’ll take a while to perfect. Nevertheless, I hope you enjoy this worldwide whistle-stop tour of Stewart Copeland and his life.

Robert Emery: Okay, so welcome, welcome, welcome. I think the first thing I would like to talk to you about is your slightly crazy childhood because I'm pretty damn sure this has had an effect on what you've done in life later on. I've done a bit of reading and I know you were telling me–we're here somewhere in Europe doing Ben-Hur but we'll talk about that later. I know you were saying the other night about you had a very interesting childhood because, if I've got this right, you were born in the states, you grew up in Lebanon...

Stewart Copeland: You missed out a bit. Egypt.

Robert: Oh did I? Okay, Egypt. But then you went to boarding school in Somerset, then you're in a rock band, and then you ended up back in LA.

Stewart: A couple of steps missing there but fundamentally that’s the story, that's the arc.

Robert: It's a bit of a strange, unusual upbringing. What is the reason for that? How did that happen?

Stewart: My father was a diplomat, otherwise known as a spy. He was, during the war, in the OSS. His job was obviously the Nazis, but as the war was coming to a close, they realised that the Soviets were the real problem. And so even as they were finishing up winning the war together, the Soviets and the Americans, they were getting into the beginning of the Cold War. At that point, the energy from the Middle East was very important and so the CIA... As the OSS was morphing into this new thing called the CIA, my father was down in the Middle East and his job was to make sure that the oil came west to our factories rather than north to the evil empire.

To enact that mission, they imposed dictators upon the people such as when I was born, my daddy was away on business. I was born in Alexandria, Virginia, which is a suburb of the CIA. He was over in Cairo installing Gamal Abdel Nasser who ran Egypt actually pretty well for the Egyptian people. Across the Middle East, in Syria and the other countries, basically, their job was to keep a stable system. They were not interested in social engineering or in democracy; they were interested in stability. All the people of that generation, they were completely comfortable with the concept of dictators otherwise known as monarchs. The idea of absolute power. These people were... My father used to like to describe himself as amoral. He said he would never have anyone assassinated with whom he would mix socially, and I don't think he ever had anyone assassinated either but, you know, he was a storyteller. What did you ask me?

Robert: Just about your childhood. But did you know when you were growing up?

Stewart: That’s why I was there. No, I didn't know any of this growing up. In fact, it didn't seem exotic to me at all. In fact, it seemed to be lacking anything exotic because we didn't have TV and at the American school... I was in Egypt very young, but my memories really begin in Lebanon in Beirut and there was the American Community School. For a while, there was a rumour that in my generation, that's when the Saudis first started sending their young princes to get a Western education: the ACS in Beirut was the western school, the American School in Beirut. From my gen, it was the first time we started to see Arab kids, Gulf state kids, amongst the Westerners who were being educated there and Osama bin Laden was one of those.

Robert: Wow!

Stewart: Many years after me. Of course, if he'd been there when I was there, I would have kicked his ass. But we didn't have TV and the other American kids who had been home more recently would talk about this Xanadu, this fabled place called America. In fact, most people outside of America in my generation heard of America as the shining light on a hill where the streets are clean, and the people are, you know, everything works, and the systems are new and all this stuff, and... Then, gosh, there we were living in dusty old Beirut.

Of course, now looking back on it, I am so glad I grew up in dusty old Beirut. But then my father's best buddy, turned out to be a British double agent, name of Kim Philby, and his whole scene was kind of blown by that blow. My good buddy, Harry Philby, his dad disappeared one night. Two weeks later, he turns up in Moscow. True Blue English, he was recruited in Cambridge and was a mole and rose up in the Mi5 and there was three or four of them, I think. Anyway, my father had to ship his family out just like that. We were there for 10 years and then in a two-week period we are out of there.

I did one term in London, at the American School in London, but ended up in Somerset at Millfield. After that, I went to college in America and then came back to London where I met these other two guys.

Robert: So, it was after you went to the states and then you came back to London and that's where you met the other two guys as you call them. Okay, fine. But when did you start playing the drums?

Stewart: Hard to say. My father was a musician before the war. I’ve still got his trumpet; it's a 1942-con or something, I can't remember the year, I looked up the serial number. The fancy trumpet’s like the SG of its day. He only devotes two or three pages about his jazz life in his book but he played with both Dorsey brothers, Harry James, Glenn Miller–for him that's déclassé.

Robert: You grew up with music around you?

Stewart: When he started a family, he thrust musical instruments into all the kids and I'm the fourth child. By the time I came along, the house was full of abandoned instruments and I picked up all of them and I just was lost on all of them. My father spotted the tell-tale sign of a budding musician, which is “you can't get him to shut up.” Any kid that you have to say, “It's time for your piano practice,” don't waste your time or his time or her time. The tell-tale sign is that kind of autism... that you can't stop the kid, and I was on everything.

Trombone, I think, was the first lessons I had, but I couldn't get to the seventh position. But the buddy of mine had a catalogue, Slingerland drum catalogue, with pictures of drum sets which for me, I was like pictures of power, motors... Really, looking back now, as father of seven, I realise that the drum thing was partly because I was a very late bloomer. All the way through high school, even when I was 12-13, all my mates were growing faster. Their voices dropped, they started growing beards, they started turning into... and I was still that squeaky little kid.

The drums were power. Boom, bam, argh! Suddenly the squeaky little kid, now I'm a big silverback bastard motherfucker coming to eat your children. For a little 12-year-old who was this squeaky little 12-year-old, that was power. Looking back, adding up all the impressions and memories, I remember the first show–actually, the British Embassy Beach Club party at The St George Club. Janet McRoberts was there and I'm playing Don't let me be Misunderstood or an Animals’ or a Kink’s song or whatever, maybe House of the Rising Sun and there's Janet McRoberts on the dance floor with that look. And I thought, “Shit! Whatever this is, this is going to get me somewhere.”

Also, I remember at The American Beach Club, overhearing two of the 15- year-old girls talking. 15-year old girls are just like an impossible dream for a 12-year-old, you know, and they're talking about how Ian Copeland–who was the coolest kid in Beirut, by the way. He was the leader of the motorcycle gang, Ian Copeland was the coolest kid on campus. They’re talking, “Wow, I hear the Black Knights have got a new drummer. Oh, cool,” or hip or whatever. “Yeah, it’s Ian Copeland’s brother. Ian has a brother?” They’re talking about this mythical being, the new drummer in the Black Knights–is he cute? I’m standing there, I’m a little 12-year-old kid standing there with my ice-cream. These 15-year-olds are talking about Stewart Copeland as if it's somebody.

And so, these elemental, deep, crocodile-brain part of the drive, the emotional drive, are very powerful. My theory is that music is basically part of the procreative process of the human being. It's our mating dance. It's our mating ritual. As my mother the archaeologist would say, it's our plumage, and at that young age, particularly at adolescent age, music is so... With my kids, I see that music is so important to them. Here I do it for a living and I still wake up every day and can't wait to make more music but I can get through an hour without hearing music. My kids? It's the young mating dance. So that was a very powerful impulsion to playing drums.

Robert: So, you figured this is a very cool thing to do, you get lots of good attention for this and...

Stewart: Here’s is one more factor. My big brother Ian? Coolest kid on campus? Couldn't do it. Which was very unsettling because one of the American kids... What happened was the Black Knights’ drummer, his dad got shipped back to the states, the drums he was using which are borrowed or something like that were lying... And so they’re, “Well, let's get Ian. Let's get the coolest kid in the school to play the drums.” And he tried to do it and I could hear him in his room, the forbidden sanctuary. I could hear him trying to get it... then he’d roar off on his motorcycle and I’d sneak in on pain of death and I'd get on there, and I can do it. Wait a minute, that's not right, I must be doing it wrong for me to be able to do it what I heard him not able to do, my hero and older brother...

Robert: You didn’t have lessons?

Stewart: Immediately my father spotted, “Ah drums, great! Lessons!” And I had lessons at everything. The minute he spotted anything, “Lessons!” Yeah, right away.

Robert: Something definitely clicked with you with drums.

Stewart: Yeah and they stuck. The guitar kind of stuck, too. I played guitar all my life, never seriously, never took a lesson, never really developed anything beyond my favourite three chords. But those three chords? Ah, you can have a lot of fun on A, E and D. Throw a G in there, F sharp minor even.

Robert: Alright. The interesting thing for me though is that when I was growing up, I played the piano and I played the cello.

Stewart: Cello? Excellent instrument. A great blues instrument, by the way. You put that thing on your lap, play it like this, and it's a fantastic blues instrument.

Robert: But I couldn't do it. It didn't work for me. I just could not...

Stewart: The piano did, though, right?

Robert: The piano, I don't know why. I’d just sit there, play, it was easy, it just happened, you didn't have to think about it, I didn't really do any training to start with. It just happened. But cello, it did not happen. I could not get it to work. So did you try any instruments out when you were young?

Stewart: We’re going to have to work on a theory for that because pianotude you’ve got. That works for you. But two hands interacting to make one note seems to not work for you. I’m the other way around, see? Guitars, no problem. I can work on piano every day and I still can't play Mary Had a Little Lamb so you’ve got that gift.

Robert: Yeah. Yeah, but it's only piano. Piano conducting. But I tried many other things over the years, I tried clarinet for a while, couldn't do it, and it's just so concentrated what I can do with my music–what instruments. You sound like you're the sort of guy who can pick up anything, can give it a good damn go and have a bit...

Stewart: Whether I can or not, I will pick up anything and give it a damn good go.

Robert: And you have lots of instruments at home?

Stewart: I have the world’s largest collection of the cheapest instruments money can buy. I got trombone, I got bassoon. I got timpani. I got clarinet, I got viola, I got violin. I got cello. I got baby cello, I got bass guitar, lead guitar, rhythm guitar, acoustic guitar, banjo. I got all kinds of instruments.

Robert: And you’ve tried them all?

Stewart: Oh, yeah. Well, I get on eBay, then I haven't got a mellophone. So, I get on there and I look for mellophones or euphoniums; I love brass instruments above all. In fact, today I played an Alpine horn which is 15 feet long and guess what? A- Extremely light, made out of bamboo or something. B- really easy to play. Doesn't require a lot of breath at all, it's like playing on a trombone. Very impressed out there... [Makes a trumpeting sound] You know, not that hard.

Robert: Let’s just rewind back in time a little bit. You formed this band called The Police. How long was it from your starting point to all of a sudden something happened where you just went sky high?

Stewart: It was incremental, but every step headlining the marquee felt like a stellar, “That's it. We've made it. That's it, we're done. We're there now!” And then the next step happens and like climbing a mountain you think there's the shoulder there and we just get to there and that's going to be the top of the mountain–you get there and there's more mountain. It was very much like that. But we did star for a good two years, where we were playing the clubs and all of our gigs pretty much were cancellations by the genuine article punk bands of the day. We were a fake punk band. We were using the punk haircut as a flag of convenience because really, it's all about the hairdo. The stance.

Sting and I were both on the cusp, born in the early 50s. We were the tail end of the hippie generation where so by the time we got into our teens and wanted to rock out and be young adolescents or young adults, it was old and stale. Even though we were steeped in it–he was in jazz and I was playing in Curved Air, kind of an art rock band–we were still the tail end of the last generation. It was all stultified and everything, along comes Johnny Rotten and the Punk-O-Rama, and suddenly it’s just “burn it all down, bring it all down.” Musically, I had nothing in common with that except the fact that I like raw aggression in music. I like it. It's comedic actually.

I liked all that and they were like children and so Curved Air was running its course as an art rock band, so no problem. Cut the hair, peroxided blonde, turn my collar up, and let's go punk. And we did but the critics *[18:59] spotted us in a heartbeat as not the real thing. But fortunately, all the real thing, The Clash, The Damned, Eater, The Jam, all these bands, they didn't know how to hire a truck or a PA. They were managed by one of their mates who didn't have a clue, and so most of The Police's early dates were cancellations by other bands. I’d get a call on a Thursday afternoon saying, “Generation X can't make it.” I can. I got a Rolodex, I know three guys with a truck, I know three guys with a PA, I can get that together, I can get out to Islington, pick up that truck, the PA. “Fred, the PA, can you make the date? Sure.” I can pull it together and get that. And so all of our dates were like “not Gen X”...

Robert: I'm going to pressure you on this because I know you say it's incremental and I know you say it's like climbing a mountain, but I still believe that there must be one ... There must be a gem somewhere, a little story, a little something happened which put you on that clear direction.

Stewart: Many.

Robert: What is it? What's the one that comes to mind?

Stewart: If I had to pick out one, it's hard to say the one that was the payoff of all that which would be Shea Stadium where the Beatles played. And when you play at Shea Stadium, that's officially you have conquered America and you're in the footsteps of The Beatles. That was pretty darned exciting and it turned out to be the best show ever. We were a pretty hot band but some nights just really went to another level and we amazed ourselves. Actually, we were pretty full of ourselves most nights, but that was a particularly good night. Our first stadium, too. Then we got sick of stadiums.

Robert: So that was your first stadium, yeah?

Stewart: I think so. It felt like the first anyway but then we got to the top and then stayed there for a couple of albums before we were right at the top. There was no sign of the... The ascent was on a straight line when we threw in the towel because we had that folly of youth. Well, actually it turned out not to be folly. It turned out to be wisdom in a way of, “I don’t need these guys.” Usually when you hear band members say that, you try and advise them against it. But in our case it actually sort of turned out to be a good thing that we threw in when we did. We never saw the other side, the inevitable other side of the parabola. And so when we picked it up 20 years later, our thing was still pristine.

Robert: Crazy. So, you've done many, many things in your life and you've achieved an awful lot and I'll talk about composing in a minute. But first of all, do you have something that you have not yet achieved?

Stewart: Conducting. Watch your back, mate! I've been advised no matter how gifted I think I am, how easy I think it would be, don't, don't, don't, don't, don't. I'm already trying to establish myself as a real conductor.

Robert: Real conductor or...?

Stewart: A real composer. Throw in amateur conductor and the learning curve with that, and there's been a 30-year learning curve with writing for orchestra. I didn't pick this up overnight: I've been working at this and trying to figure this out for decades, and I'm sure conducting would be the same sort of journey. Which I would be really happy to make that journey. I'm in for the long haul on things. I'm good for the long mission. I conduct small-scale all the time–my singers, my soloist when I'm working in the studio, bringing the singers in, and I understand how to breathe for them and so that the indication... There's more than just there it's [breathing loudly] there. Those nuances and I understand the rhythm and I took a conducting seminar and I really enjoyed it. I did a movement of... What the hell was it? It was a big huge Bach movement or something. Not Bach... Anyway, it was fantastic.

Robert: How many players did you have?

Stewart: The musicians union sent about two or three chairs of violins, one of the brass. It was pretty skinny but all the different choirs were represented and it was really, really a lot of fun. The most fun part was that my reading’s much better now than it was then and putting the things in two, three, and... I just love that because the first lesson I’ve learned was the opposite of drumming where you groove and you are the groove and you feel the others... And there, you have to run ahead of the cart and you’re ahead. You’re not grooving with the band; you're pulling them. You're out in front.

Robert: I’ll do you a deal. The next time we do Ben-Hur, and we have time...

Stewart: Ben-Hur is hard.

Robert: Then I get you to conduct that, yeah?

Stewart: Let's do that. I will take you up on that with Tyrant’s Crush.

Robert: Okay.

Stewart: And you can play drums.

Robert: You don't want to see that. You absolutely don't want to see me play drums. I’ve tried before.

Stewart: You threw down the gauntlet.

Robert: Yeah, yeah, yeah, but you said you wanted to conduct. I never said I wanted to play drums. I’m happy playing...

Stewart: What's the quid pro quo here then?

Robert: That I get to laugh at you conduct.

Stewart: Done. Deal. I’d love it. I mean, who's got rehearsal time with 60 highly-paid musicians?

Robert: Okay, so you're a very busy guy and you've achieved a lot, you've conquered a lot, you've had very different aspects of your career, which means that you are a very driven person. You must be a guy who gets...

Stewart: It doesn’t feel like driven.

Robert: No, but you are. You must be.

Stewart: Compared... To me, other people they talk about this thing which is probably just as much as a mystery to you. The strange word, the strange concept called “procrastination.” Can you imagine? I mean, how's it possible to watch TV when you’ve got a mission to do? It's not a matter of being driven, it's just a matter of “there's a mission to do–let's go do that.” TV is for when you haven't got a mission or any... Eating food or sleep is for when you haven't got a mission. It doesn't feel driven or anything, it's just like...

Robert: What are the tips or the tricks or anything that you do to keep yourself energised, to keep yourself going, to get up in the morning to go and do what you need to do? Do you have like a ritual you have every morning for breakfast, or do you...?

Stewart: Well, yes. At my age, I have a ritual for everything because the running repairs on this battered old frame... You just figure out that if I go to bed this time and if I eat that and do this and don't do that, I guess my day is going to be better–and you have all these rituals. But I don't think any of these rituals are connected to motivation. I learned very early in life that daydreaming is a critical activity, that daydreaming isn't just wasting time. In fact watching TV– I'd rather stare out into space and imagine some great fantasy that I get to play my drum for the huge orchestra and I get to write all the music myself! And it goes [triumphant tune] and it's really fantastic. Just imagining this and imagining this...

If you have a daydream that really sticks and you keep going back to it, and you fill in the details of it and to make the daydream work better, you start filling in the details... It has to be realistic so the details that you add need to be substantiated by, “the way I got to being able to play with that big orchestra was that I met this guy. How did I meet a guy? Because I was...” Actually, what you're doing is concocting a scheme as the daydream. If it's a really powerful one that really draws you and you keep chewing on it and going back to it, you're actually working up a plan. Like we get the band with just three guys in it and one of them's got to sing. I have the guitar and the bass player’s... got to be a singer because my singing is terrible. And it'd be great... Before you know it, your daydream is a mission.

Robert: Do you think that has any connection whatsoever with the fact that you're a very talented musician and you've got an amazing gut feeling about music? Do you think the two are interlinked in any way, shape, or form?

Stewart: My oldest brother Miles, he is driven. He's driven, and he has excellent musical ears, but did not get the gift of creating art himself. He is a brilliant receiver of art. He understands the Zeitgeist and he's picked hits and he's had hits after hits after hits that he's had. My other brother Ian as an agent, same thing. Neither of them can play. Ian, the coolest kid in school, tried to play the bass and he can just about, but he did not get that gift. The driven thing...

Robert: So you believe you it is a gift?

Stewart: Yeah, absolutely. It is a gift. I don't know where it comes from, I'm so grateful for it, I'm humbled by the fact that I was granted this. I kiss the ground beneath my feet that I've been granted this gift. I do not feel that I earned it. I do feel an obligation in a way to service it and to... It is such a gift that I feel that it would be a crime for me to let it languish in a way. I don't know where that idea came from. Maybe my daddy taught me that or something.

Robert: Okay. So we’re doing here, in Basel, Ben-Hur...

Stewart: And you are the big orchestra and I get to write the music!

Robert: You’re such a crazy guy.

Stewart: That only took me 64 years to get that.

Robert: You went from being a drummer, a rock star, into a composer. It's a bit of a strange leap. I can't really think of anybody else who has done that...

Stewart: Once again, it wasn’t a leap. It wasn’t A and then a B. It was A– I guess the biggest leap was I got an incoming phone call from Francis Ford Coppola who says, could I come down to Tulsa, Oklahoma, where he's prepping–rehearsing, shooting a movie–and would I come there and just kind of like hang out and talk music and concept and stuff? So I get down there and the cast at that time, they're all kids. Every single one of them has now won an Academy Award. Diane Lane, Matt Dillon, I’m so terrible with names... Laurence Fishburne, Mickey Rourke, all of them. Dennis Hopper, they've all... But they were just kids; that's a diversion.

Anyway, so he just wanted to talk music and I got in there. Okay, I'm a little bit obsessive, and I said great. We talked high concept and he had this idea that... the reason he called me is time ticking, I remember like high noon... I want this teleological, inexorable movement of time with rhythm concept. You know, I love concept. Daydream: the result, the produce, the fruit of daydreams.

Robert: So he called you because he realised that the rhythm was such an important part and...

Stewart: Because his 18-year-old son says, “Dad, you gotta call Stewart Copeland from the Police.”

Robert: Okay, and then...

Stewart: And he did and I got in there, we bonded and his deal is that he finds people that he just senses has something, and he gives them their voice. He doesn't direct them. Oliver Stone told me every single note, “What's that note mean?” But Francis, once he got a connection, you're on the wavelength, he just turns you loose which he did and I had to figure out myself how to score a movie. Which I played that one all myself and I played mallards and weird guitar parts and funny little sounds. For them, since I didn't know how you do it, I had to invent the wheel for myself which is another word for–others applied this term and I was happy to accept it–revolutionary. That's not how you're supposed to do it but it's still...wow, that worked.

But at one point he did turn around and say, “I need some emotion. I need strings,” and immediately alarm bells, he's going to get some schlock artist in here, who’s going to like string... Francis, I got that. Yeah, you're right. We need some strings.

Robert: And that was the first time you'd worked with an orchestra?

Stewart: Yes.

Robert: So, you threw yourself into it at the deep end?

Stewart: Oh no, I’ve played in the school band.

Robert: Okay, yeah, but I mean as a professional... You threw yourself into the deep end as a composer who...

Stewart: I had these chords that I had worked out and I can play them one at a time. Okay that chord, okay stop the tape. Okay, play that chord and when it comes to the next chord it's... Okay roll the tape... Bang! And I can do that kind of thing. So for strings, all I had was footballs. Holders [singing sound]. I didn’t know how to write anything else. So, the first question is I call up a contractor and he says okay how many strings would you like? I go, how many? I don’t know. Strings.

Robert: Just strings.

Stewart: Strings. How many is strings? He says, Well, two guys is strings but it’s going to sound like two guys. If you want like I guess what Francis wants is a big wash of emotion. I don’t know, I think we ended up with maybe a dozen-20 guys, something like that. Somebody else looked at the chords and put it on a chart properly and I'm going, Yeah, I remember that from school. I actually did learn in college–I was at the California School of Performing Arts where I learned figured bass harmony and the fundam...

Robert: Figured bass, the most boring thing in the world ever.

Stewart: That's as far as I got.

Robert: If anybody out there doesn't know what figured bass is, don't even bother trying to Google it.

Stewart: It's critical.

Robert: No, it's not. It used to be critical. It’s now very, very boring and confusing.

Stewart: No. But what it did tell me is to not just do a barre chord up and down the neck like that, like a guitarist would do, and it tells you that you can use inner voices, let everything move in a different direction, and so on and so forth.

I was in a music school with other kids who'd studied the piano since the age of seven and I was the runt of the litter. One day she said, “Okay everybody, here's your homework. Write 16 bars.” Well-voiced chords for 16 bar. I had a million tunes in my head so I figured out something that I already and figured out applying the rules that I’d learned in her class to something I already had and she goes to the class and she plays okay by Johnny and she plays Johnny’s piece. Yeah, very good. Okay, yeah, good. Okay, Stewart... You’ve got a parallel fifth there and you haven't really resolved that but it’s kind of interesting the way that doesn't resolve there and resolves here. Now, you're not supposed to do this here, but there's kind of that note there. This would be what I would teach next year.

Robert: I remember this from being a kid.

Stewart: Yeah, and she finally ends up with, “Stewart, this is an actual piece of music.” And that totally at the bottom of the class, everyone just... They can sight read, they've done their ear training... I was just trying to become... I was starting at college age to learn the fundamental building blocks of music where everyone else in class had started much younger. I might have started playing music very young, but understanding the building blocks, the DNA of it.

So, as long as I was there. When I went to University of California in Berkeley, I didn't get into the music school. They gave me the ear training test and they played eight bars of a tune and transcribe it. They play me an interval, identify it, all this stuff: fail, fail, fail, fail, fail, fail, fail, fail. I studied instead, mass communication and public policy.

Robert: Mass communication and public policy!

Stewart: That's how I conquered the world.

Robert: Holy crap. Okay.

Stewart: Much more useful. If I had actually gotten into that music department at UC Berkeley, I would now be the timpanist in the Ohio Symphony.

Robert: Okay, so I'm going to try and back you into a corner here for something because you told me you've got a kind of philosophy about something. I forget what the phrase is that you use but something to do with being dumb.

Stewart: The dumb shit.

Robert: There you go. It’s the dumb shit. Okay. Can you just explain that?

Stewart: Well, artists, for instance, have very bad taste in whatever their art form is because we're slobs. The popular music, I hear it and I can dance. I don't mind it, I like it I guess. But what I really seek out are the things that are a little challenging that put a gimp on it that are .... I don’t mind pop music, I love it like everybody else. But what I seek out is something a little beyond and so I'll miss a hit.

My brothers... That's a hit! They can identify it and so on. I'm a little bit further out there. So, when I'm writing music or working on something, my manager will come and say, Stewart, that’s great but what's that? That's the best part! You see...Then like, you call it the best part–sounds like a wrong note to me. Oh. And I have to reconsider–it's the dumb shit. Actually that’s dumb ass. Sorry.

Robert: Dumb ass and dumb shit.

Stewart: Totally different things. Sorry, sorry, forgive me. I’m going to finish dumb ass first. So, he comes in with dumb ass in comprehending, unsympathetic to how many hours I've put into that artistic revelation. I need a dumb ass every now and then to come and pop my bubble and say, “I'm sure it's really on some intellectual plane, I hear what you're saying.” You need your bubble popped every now and then. Every artist needs some dumb ass, usually provided by spouses.

Robert: Okay. Yes. My experience...

Stewart: You get some dumb ass at home? Careful, careful, careful. Who’s in the corner now, bitch?

Robert: Yeah, you got me. Yeah, fair enough. She’s going to kill me.

Stewart: Let's talk dumb shit.

Robert: Dumb shit.

Stewart: Let's get into some dumb shit. A good example of dumb shit. I played the Letterman Show, big national American TV show and it's drum solo week. So I go in to play a drum solo and I have a piece of music that I wrote for a ballet, I work up a chart for the Tonight Show band and they're cracking players, those guys. We work up a thing and play, and I play my drum solo and at the end it took a lot of music to build that thing. Format, the piece of music, the writing, there’s the education writing, the charts that I practice. Years, a life in music went into making that thing–serious application, a vocation. And at the end of it... throw the sticks up there [swishing sound].

Well, go on social media, how'd that go down? It's all about the [swishing sound] Did you see how he threw the drumsticks? Yeah, wow, the drumsticks... That Copeland man it’s like he plays with these... the drumsticks!

It’s the dumb shit. No matter how much vocation went into every other aspect of that performance, it was the dumb shit.

Robert: It is the dumb shit that the audience identified.

Stewart: It’s something that stands out. I mean, I’m sure they were very impressed by everything else, they wouldn't have been impressed by the thing unless they were impressed by all the rest of it subliminally, but the thing that caught their eye and that they're talking amongst themselves about is that odd little piece of nothing, that throwaway little something.

Robert: Okay, so here comes the corner. You like the dumb shit, the audience likes the dumb shit, but you don't write music which is dumb shit. You write music which is not always easily accessible. It can be but not always. It's very intelligent music.

Stewart: You're answering your own question.

Robert: No, I'm not because I don't get it. If you know an audience likes dumb shit, why don't you write dumb shit?

Stewart: Here's the two things going on. Remember how here's the main stream of where everyone else and I'm kind of running parallel and not quite bull's eye level? That's me here, see? All the dumb shit’s here, see? Up here, trying to connect with that thing, occasionally I throw in some dumb shit and that's the connection. And I understand that my music is a little astringent for some, perhaps. What I find to be a comfortable easy place in musical atmosphere might be not... Sort of disturbing or not... People gravitate towards feeling good and what makes me feel good sometimes it makes other people feel sad.

Robert: But why are you not...

Stewart: As a professional film composer, I got pretty good at identifying exactly what chord has... You know, this is happy, that’s sad, this is happy sad, and this is sad. There's a big difference, believe it or not. Now, as a technician, I understand perfectly how to go for this emotion or that emotion but my personal taste is you describe it as being slightly off centre and I'm flattered. I take that as a compliment.

But the dumb shit is to drop the barrier, to break the ice, to welcome aboard... I use it as a way to break the ice. Instead of being alienated... Oh, that was weird. Oh, ha-ha-ha, that's kind of funny at least, or whatever. So, I’d be careful that I have first of all, I do my thing, then I get a little dose of dumb ass... Telling me, dude, this is like a little out there, and then reminded by dumb ass, then I go and apply some dumb shit.

Robert: And then it makes everybody happy.

Stewart: Well, it makes me happy. It seems to work. I've played my... I’ve used it in front of really adverse audiences and seemed to get a result.

Robert: You're so good at answering questions, I genuinely can't tell whether I managed to back you into that corner successfully, or whether you wriggled out of it. But I don’t care. You’re very good at it.

Stewart: That's the briar patch. Please don't throw me into the briar patch. No, not the briar patch. Oh, you're throwing me into the briar patch! No, no, no. Okay.

Robert: Tell me. 20 years’ time, what's the business going to be like? What do you think is going to be happening with orchestras, with pop, rock music? 20 years’ time, what would be your prediction?

Stewart: I don't know how orchestras will survive but I would say that they will probably be branded and that because they have a champagne quality that applies sophistication to a product, that they will be useful as... and hopefully government institutions will recognise the value of here's an art form, here's a body of our culture that cannot sustain itself commercially. It cannot. An orchestra, 60 guys or 90 guys or 110 guys, they cannot sustain themselves as a commercial enterprise. They need either private donations or government donations. Where’s the world going to be in 20 years? I would suspect that orchestras will be, as they are now, be vehicles of what they can do, which is impart dignity upon a product.

Robert: Okay, and what about rock, pop?

Stewart: It will always be here. It always has been, always will be. For rhythm... Simple EAD chords, all the revolutions of music. It’s all about the haircut, change the haircut, change the style of music, first you grow it long and then you cut it short. I remember my mom saying, “Stewart, why can't you have long hair like all the other nice boys and girls?” Because mine was like [scraping sound] peroxide. Everything about my outward appearance said, “Fuck you, I'm going to eat your children.” That was the intent. Whereas I was a little soft little...

Robert: Oh, you were a timid soul inside. Bless you. All right, so that's your prediction. Just jumping back a bit.

Stewart: Well, here's the thing. There will always be rock music because if there isn't rock music, there will not be sex, and if there is not sex, there will not be anybody. It’s a part of our natural process.

Robert: It is now, but what...

Stewart: It always has been.

Robert: Well, you say that, but what about when Beethoven was around?

Stewart: When Beethoven was around was not early.

Robert: Beethoven was the kind of rock music of his day. I mean, he was so challenging when he wrote some of his music, and I'm sure that would have been the element of it.

Stewart: I suspect that Beethoven was not the rock music of his day. I suspect that Beethoven was the pampered servant of rich people and their sophisticated sublimated carnal desires. But out there on the streets of his town, the people were dancing into the streets, not to Bach music. That's my suspicion, I just made that up. That’s going to be a guess. Your readers or your listeners will write in and say, No, no, no, not sex. But I'm sure popular music of his day would have been rhythmic and would have been dancing and would have given the male of the species and the female of the species an opportunity, an impulsion and an audio permission to thrust their pure dander at each other, and to display their genetic superiority through body motion inspired by music. That's what music is.

Mozart? Bach? Those are sophistications like many other of our crocodile- brain behaviours. Are sophisticated and turned into a high form; humans do this. We take fire and we turn it into a jet or the internal combustion engine. That's what we do to fundamental building blocks of physics, that's what we do. And the fundamental building blocks of our music, which is part of our libido, which is part of our mating dance, you can develop that and it turns out the combination of physics, the human mind and sex produces high forms of art. But that's not what's really going on. Those are like the caveman drew on the painting because he had... High art painting is not necessarily where it came from, but that throb, rock ‘n’ roll, Bach was not that. Bach was not rock 'n' roll. He's like the rock star of his time. That's his position in society but that's not the function of his music.

Robert: Yeah, but for instance, Paganini who of course...

Stewart: He was popular.

Robert: Yes, he was like the rock star of his time and he went bankrupt...

Stewart: And Mozart too, by the way, was in the streets and inspired by music the people were actually dancing to.

Robert: And Vivaldi Four Seasons, it's incredible music but...

Stewart: I'm surprised that they have any population in Europe at all. I'm surprised that they’re here... In fact, my whole theory, I'm just here begging to throw it all because I just made it up anyway as I was talking. Out the window. You see, Europe would be depopulated now if they were trying to procreate to the sound of Vivaldi. If that's the only reason humans procreate, is Vivaldi, we would have been fucked.

Robert: That's a brilliant quote. That's going to be the headline quote on this podcast. Great, okay, fine... Who knows, who knows? It’s a prediction about what’s happening in 20 years’ time...

Stewart: Get this. Who would have ever (thought) that the most effective music that gets right to the deepest part and releases all social training and everything and gives young males and young females of our species utter permission is a mechanised rhythm that comes from a machine. [EDM sounds] To the extent that it’s human is to the extent that it's less effective in releasing the libido and permitting these behaviours that would be utterly unacceptable without the presence of a strong beat.

In fact, people standing in a room, they’re not interested in procreating. There's music going but they're not even thinking about it. Their body’s moving to it. There's more to it than meets the eye. There's something deeply physiological, something evolved very deeply in our human behaviour.

Robert: Okay. And you yourself, you live quite a simple life, you don’t have a big empire with 100 orchestrators and...

Stewart: No. I don't have an engineer. I used to. All the people of my generation, their work day begins when the engineer shows up and when the engineer “got to go home to see my family,” then the artist, that's the end of his working day.

Robert: And this is kind of a bit of an ethos of yours, is keep it small, keep it to yourself.

Stewart: Absolutely. The Police was three guys and it was designed that way. I wanted this... Let it be three guys. And I have my own record company that I did my gosh darned self... What's the cheapest studio in London? Pathway, an eight-track studio. Well, let's go there, and I call the guy and I chisel him down. Yes, strip it back and strip it back so that you've got manoeuvrability is the main thing.

Robert: But do you not think though, if you have more people working with you, collaborating, working for you, that you can achieve more in life because more people are doing the stuff that you don't necessarily need to do?

Stewart: Actually, that has been someplace that I'm getting to. I am in the process of arriving at that happy place where I can give it up. All during my young Pac Man years and adulthood, I've always been very greedy of artistic “boss hood.” I want to play every instrument myself, and I want to record everything myself, and I want to mix it myself, and I don't want anything to happen with me out of... I got to be in it, I want to be into everything. The video-I want to make the video, and the video should be like this and it should be... Just like the idea of not owning every aspect of it is kind of alien.

But now with the passage of time, I've discovered that like a producer is really cool because all I have to do is do this and then he has to clean up the tapes and figure it out and do all this stuff. I've learned to give it up, to let other people play with the ball, and the results can be really good. In a band, you collaborate. I'm not talking about a band collaboration because there, it's a corporate identity and I feel that I don't have to do everything in the band, but the band has to do everything. The band has to decide on the album cover, the band has to decide what the video is going to be about. We're not going to have anybody tell us what to... And so in a band, it's a corporate identity. The band is me, it's my band, even though there's two other guys who call it their band. For each of us, it's my thing.

The thing that I will never have, even as much as I'm prepared to give it up artistically, I will never acquire an empire. I have no need and no desire for an empire. I look at fellow composers who have built empires, some very effectively. One of my erstwhile competitors, Hans Zimmer who’s a big film composer and he does incredible work...

Robert: He’s Swiss, of course. Swiss.

Stewart: Is he?

Robert: Yes.

Stewart: Of course, is he? I always thought he was German or Austrian but okay, Swiss. He has an empire. He has 10 guys. He learned to give it up. I don't have to write every bar. Or he writes the theme and I don't have to apply it to this unit, apply that theme to... I can have somebody do it for me, then check it. Then when he's done all the donkey work–of here's the start time, there's the art time, this is the BPM that lands on the chord and does all the... The craftsmanship part of it. He’s written a tune and that’s the art. Then the craftsman applies it to the scene and then the artist comes by and says, okay that works but you know what I'm going to do... And so he gets all the fun part.

But he has to give it up and let other people do it. He has to hire those guys and to hire those guys, he needs an empire, and to feed an empire, he doesn't actually go and get to be an artist as much as I would need to be. He has to take a lot of meetings, he has to get every action picture that's being made, he needs to get that work to sustain his empire. He can't like take a job every now and then like an independent... Like when I was doing that, I was independent. A job every two months would feed my family. He needs every movie being made, he needs to have like three or four Triple A action pictures in his studio being made at all times, or else having that Empire...

Robert: And that doesn’t interest you.

Stewart: In one sense, you can turn things over and like that. On the other sense, running the empire. There's a difference between having an empire and having a collaboration, and letting the creative ball, letting other people play with the ball sometimes.

Robert: Okay and one of your balls, of course, is Ben-Hur, the reason why we’re here. You wrote the music for the live performance that happened and launched at The O2 Arena a few years ago and now you've set it to play and run with the edit you did for the 1925 film. Do you have any other projects and films that you would like to do that? Have you ever seen another silent movie and you’ve thought, I'd love to score a film and... Or is Ben-Hur such a special thing for you that that's the one that's...

Stewart: Well, Ben-Hur came and got me. It was an incoming call to score as a hired gun composer, to score a stage production of Ben-Hur. I did that, the show ran its course. A huge, huge behemoth of a show. Started in The O2 Arena in London and it ran its course. And then I wanted to do the concert and so I found the 1925 film and that became a different journey. It's sort of like it came for me. I didn't select that film.

But other films, I've looked at some other films by Fred Nibler the director, but there’s just such a... It's such a huge... It took three years and it was kind of fun and I could easily do another one. Not right away, because I'm having too much fun with Ben-Hur. I mean, I haven't finished playing Ben-Hur yet. I also write opera, in year three of an opera that I'm writing for Chicago in Long Beach. I'll get around to do another film one day, I suppose.

Robert: Okay. All right. So, last thing. I’m 32-33 actually. I can’t even remember my own age now.

Stewart: You're bit young to be lying about your age, pretending you don't know how old you are.

Robert: What advice would you give somebody like me who is hungry, relatively young, passionate about what I do, and I want to make sure that when I'm a little bit older that I'm still hungry, passionate about what I do? What general sage advice would you give me, because I know you’re like a grand papa...

Stewart: Stu-daddy!

Robert: Stu-daddy! Do you have anything that you look at me, you’ve worked with me now for the past week...

Stewart: Well, I would say having worked over the last week, I would say that you have a couple of gifts that will take you where you want to go. You also have a surfeit of energy which takes you into empire building, we have discussed this. For your viewers, there's a backstory here: I've been lecturing this young man about casting aside the empire and getting on with the music because you don't want to end up like a man who I respect deeply but do not want to be like Hans Zimmer. Where he spends all his time in meetings, having to do the “not music” part of the enterprise.

I would say that at your age, you've got energy to burn, so go ahead build an empire. But I suspect that one day you will start getting that empire out of your life. There’s been a couple of times we've been on the streets, we were on the Swiss Riviera the other day and you're walking around the streets and you're on the phone dealing with something. I don't know what you were dealing with, but it looked important. Without an empire, I don’t have anything to deal with. I'm enjoying the day. [He whistles]

Robert: Very chilled.

Stewart: There you are, young man, young Pac Man.

Robert: Can that be my nickname from now on for you? You just call me Pac Man.

Stewart: Yeah

Robert: I like that. That’s very retro.

Stewart: Well, I have sons, several who are older than you.

Robert: You have seven children.

Stewart: I have seven children.

Robert: Boy.

Stewart: Yeah. Four boys and then three girls, and I'm proud to say that some of my sons are also Pac Men.

Robert: Yeah. So you like Pac Man?

Stewart: Well, that's what I try to raise them to be. At this age, from 25 to 35, that's your chance. Take no prisoners, just remorseless, just bite off as much as you can get and do it while you've got no baggage and just you know... Fight, scramble and then there will come a point where you want to put down roots and take it a bit easier, and that's called midlife crisis.

What the crisis is all about is you realise that that's the peak. That's where your youthful vigour got you and the rest of your life is the result of that 10 years span. That 10 years is setting up what the rest of your life will be. I would say, you asked for a piece of advice, focus your attention on the things that you know you'll still want to be doing–which apply to your gift, not to your acumen.

Robert: Okay. Well, I'll see you tonight on the stage.

Stewart: Absolutely.

Robert: Thanks, mate.

Stewart: We’re going to rock the house.

Robert: Thank you very much.

Stewart: In your bare feet.

Robert: Yeah.

Robert: Hey, it's me again. Sorry to bug you but as this is a new podcast, I need your help.

If you enjoyed listening to the fun I had with Stewart and you'd like more, then please head over to thebackstageblog.com, sign up and receive the next podcast directly to your inbox. It's also crucial that you get as many friends on and off social media to take a listen by sending them a link to the show.

Now, remember, this episode is brought to you with the help of Lat_56, the smart, sharp and efficient baggage company. So, until the next time, appreciate the music and the musicians will appreciate you.

Show notes

Stewart's Father, Miles Copeland Jr., is a spy [03.51]

Key points from Stewart’s childhood [04:45]

His father’s best buddy was Kim Philby, a double-agent. [07:20]

Stewart took up drums partly because he was a late bloomer. [10:03]

Why he believes that music is part of the procreative process of the human being. [12:07]

When his father spotted his talent, Stewart was signed up for drum lessons. [14:00]

The Police was modelled as a punk band and enjoyed huge success after Shea Stadium. [17:02]

A grand aspiration: Stewart would love to conduct a large orchestra. [22:00]

Stewart and Robert strike a deal for the next Tyrant’s Crush performance. [24:04]

The biggest leap from drummer to composer happened when Stewart got a phone call from Francis Ford Coppola. [29:15]

How he failed to get into the music school at University of California, Berkeley. [35:19]

A lesson in Stewart’s philosophy of the dumb shit and the dumb ass. [36:10]

Stewart’s prediction for the music industry in 20 years’ time. [42:16]

Another theory: without rock music, there will not be sex. [44:06]

If the only reason humans pro-create is Vivaldi, we would all be fucked. [47:03]

Stewart has no desire for an empire. [51:10]

Selected links from the episode

thebackstageblog.com

Miles Copeland Jr.

Kim Philby

The Police

The Black Knights

Ben-Hur

Francis Ford Coppola

Shea Stadium

Tyrant’s Crush

Hans Zimmer

Lat_56

Books, Music and Videos that feature Stewart Copeland

Strange Things Happen: A life with The Police, polo and pygmies - an autobiography from Stewart covering everything you need to know

Dare to Drum - a story of the rock star composer teaming up with the Dallas Symphony Orchestra

Ben Hur live by Stewart Copeland - a CD performed by the Slovak National Symphony Orchestra

Orchestralli (+ bonus) - a 2 disk set of Copeland performing in concert with a select group of classical musicians on tour in Italy

Gizmodrome - a record of Copeland’s latest band, featuring Mark King (Level 42), Adrian Belew (ex King Crimson, David Bowie, Frank Zappa, Talking Heads) and Vittorio Cosma (PFM and Elio e le Storie Tese).

The Police: Everyone Stares - The Police Inside Out - DVD filmed on Super-8 giving an insider’s view of the band’s rise to fame and eventual split.

Related & Recommended Posts

#Stewart Copeland #The Police #Behind the scenes

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midnatt-heronweather · 5 years

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2019

My Year review, for my own reasons, starts from March 7th.

though what I will say about pre then is, it is an honour to be known by the creator (Cassandra Clare) as the first person to ever admit to being a fan of the Starkweather family after asking about them when she and Holly Black came to Manchester in February. And that I owe that little meet for making me properly look at Holly “Folk of air.” series.___________________________________________________________________________________________

Gigs:

I pick 7th of March to start this review because it is the day myself, Heather and Ally went to see Freya Ridings who had the week before had her song “Lost Without you.” played in an important scene on the final half of the final season of Shadowhunters. I didn’t get to meet her this time, so her song card is still in my folder to be signed one day, and I have hope it will.

As seems to be my song recently, I didn’t get to many gigs this year, though a lot of my fave people toured (some even reformed, but that was over in the US)Due to funds we didn’t even to any Whitby this year (any as there are 4 now may I remind the reader)

Don’t ask me why but I went to see John Barrowmans Christmas show in Harrogate. I love the man but.. I’ll stick to the normal stuff.. if you can call anything Barrowpants does as normal.

What I did get to, was see Counterfeit the week before my birthday with Ally, Jaime and co were on top form and so what I needed after a perfectly ghastly couple of weeks leading up.

____________________________________________________________________________________________

Conventions:

*Liverpool Comic Con The same weekend at the Frey Ridings gig, gave me more time with my pack on a bad week. But I’m not talking about that here.Anyway, my reason for Liverpool Comic Con this year was the chance to meet Peter Facinelli (Carlisle Cullen, Twilight / Max Lord, Supergirl)I am a after all a Twilight and a Supergirl fan and also S.W.A.T fan (but he left in s1)Peter told me he hadn’t been written out of SG to make way for the LGBT storyline, he’d asked to be left out as the show had to move filming locations and he didn’t want to be so far from his family all the year. I didn’t gloat to the Sanverse lot but it was tempting.

I also got to speak with Paul (Paul Schrier and Jason Narvy) who played Bulk from Bulk and Skull in Power Rangers, thought Jason waved. They are both sweethearts and while, as mad as their on-screen counterparts, not as annoying, I walked past Paul a few times before finally deciding to ranger up and tell him he was the first person I saw on screen and considered a role model for the “bigger” person. He told me an awesome story about another girl who because she was big had been stuck playing him until he’d fronted up to kids making her and she got to play one of the rangers.I saw the duo again at “Wales” in December and Paul remembered me when I said hi.

*Survival 4 - 2019-04-05 to 2019-04-07 -Ren, London: the first Starfury of the year, the convention I’d given an entire show a 3rd look for after finding out Sean was actually inviting the Seelie Queen herself Lola Flanery (Maddie Griffin, The 100), I’m still not sure if she was amazed, saddened or sickened by the fact me and Heather had come to the convention just for her, but it got a few laughs from Sachin Sahel (Eric Jackson, The 100) who seemed to be her escort for the weekend.I dropped to my knees in the proper greeting of the queen that Jade Hassoune (Meliorn) had taught me the year before at the first Pancon, gave her the fanmade cookbook (don’t ask) and.. I like to think we impress her with our Seelie court cosplay despite being rushed by Sean's announcing.

* Last Wales Comic Con in Telford I looked a tit. I left my shoulder piece at ally so ended up looking like some Roman surf.Meeting David Wenham didn’t go to plan in the slightest, he is my fave actor from Lord Of The Rings and yet somehow, telling him that seemed to bore him.

Russell Tovey (George, Being Human/ Ray Terrill, The Flash) was polite, but colder than I’d have expected, especially when he was so animated and nice to everyone else.

While I have Amanda Tapping auto twice from a friend, finally standing beside her (Capt Carter, Stargate / Dr Magnus, Sanctuary) was an honour, especially When she seemed to like Martouf the Symbiote, as I said my Tok’ra costume had gone to hell but her smile made it bearable.

Alexander Ludwig ( Bjorn, Vikings) was wearing a shirt from Descended from Odin, he laughed when I recognised the logo he is so far the nicest OG Vikings cast member I’ve met.

* Starfury Ultimates 4 - 2019-05-17- 2019-05-19/20 - Hilton, Birmingham:

I got to meet the love interest of my favourite Coluan, Nicole Maines (Nia Nall/Dreamer, Superigrl) and the last reason I have to watch Legends in the form of the amazing Amy Louise Pemberton (Gideon), me and Louiza did our first duo cosplay as Jareth and Sarah from The Labyrinth, though I forgot the Goblin King wears Make up, I seemed to do okay as far as the SF peeps thought.

*LFCC:

well, I’ve said all I am going to say about the lies and lack of organisation and care from the stewards. so. The con....I died, visibly, slowly, but with a lot of translating from my long suffering Parbatai Heather I managed to meet, greet and speak with BOTH Greyjoys,First I had to face them for a photo shoot, in a uniform that was smaller than it was supposed to be, I felt daft not only because it was a Starfleet uniform but because I’d dreamed of cosplaying a greyjoy and my size made it if nothing else monetarily impossible, so I threaded my OBO necklace under my collar, totally against Starfleet regs, and stepped, up, Gemma said hello and Alfie went to before seeing the octopus, I wanted the ground to open up till he beamed“its like a Star trek Greyjoy crossover!” you can guess how happy I was he liked it.At the Autograph table Gemma (Yara) revealed she’s actually a Wessie like me. When I told her she was the best actress in all of Gentleman Jack for even attempting the accent and giving her character believability she said “yes..well.. I grew up in Headingley.” to which If I hadn’t already been falling a part I would have gone to pieces, as was I think I croaked my way through “what.. seriously. Someone cool.. from my area?” or something along those lines.Facing her on-screen brother was possibly the most Fan-squee moment I can ever remember having, and that include quiet a few awesome meets in my conlife. We cued, and I suddenly found my breath was short, his PA miming asked me if I’d had a drink I nodded, he then mimed I was breathless because of Alfie and not him and that he’d fight Alfie which got me laughing, I faced Alfie, took as much concentration I could muster, telling him I’d been there since ep 1, loved the Greyjoys through everything, it was amazing, he is so sweet and so shy, more so than when we’d met him a few years ago backstage for that brief moment, thinking on it it did explain a lot, also why he had his dog Ata with him and had randomly walked past us before taking him for a walk, but standing there in front of him its..indescribable.

Also at LFCC were Zachary Quinto ( Kelvin Timeline Spock) who seemed very taken by Alfie's dog Ata, he wouldn’t do LLAP in photoshoots, at first I thought that was because of the way I approached him, I was unable to keep my breath and looked like I’d been crying, but apparently he just doesn’t do it. Lends itself to the old rumour that for the movies he had to glue his fingers to get it right doesn’t it? He was sweet, I can’t really say much else because I didn’t get the time thanks to ‘things’ to spend time talking with him.

The reason for my costume choice was Shazad Latif (by then Commander Ash Tyler, Star Trek Discovery) I’d met him the previous year but had not had the money to get a photograph with him, so that's what I did, he’s a nice lad, and doesn’t mind goofs as I remembered from last year. I saw him again at DST and told him about a scene in a recent show he did where he didn’t realise someone had accidentally mimicked his accent.

*Starfury Highlanders 4 - 2019-08-09 to 2019-08-11 - Hilton, Birmingham:

Met David Berry and finally met the Queen of Hearts Maria Doyle Kennedy.Made a fool of myself. Got told I ask to many questions and saw Sean so drunk he left hie wallet/card on top and cigars on the bar in public.Also this was the convention that determined a new personal rule. I am not doing 3 day cons for any less than 3 interesting guests. Shadowhunters cast being the exception to the rule only if its someone I’ve not met before.I try to keep to the same rule with Day cons but sometimes there's just someone who makes that impossible (Tom Burke back at a Newcastle comic con a few years ago being my go to example)

* Pandemonium con2:

3rd Shadowhunters con I’d attended.I know I shocked Matt (Alec), Luke (johnathan) and Kat (Clary) as the Owl.I’m told Dom (Jace) was shocked to and said the mask was better than the one he’d worn which we all know is just him being kind to broke overweight untalented fan.Luke is a gent, think I wierded him out asking for him to go full Johnathan in the photo, but he seemed to forgive me when I told him me and my friends Carla and Michelle had dreamcast him as Spike in the Buffy revival (and Jade as Willow obv)Chai (Jordan) is always madness, all the time. And didn’t mind getting scolded for spoilering one of his own charectars deaths to a fan (me) who’d only agreed to watch the show because of him and Lola (Seelie Queen) being in it. He took it with good humour and began discussing spoilering and its limits. He was wierded out by me A.L.I.E photoshoot idea, when most people want hugs and high fives and stuff.

my season 2 Seelie didn’t get the reaction from Jade (Meliorn) my s1 did in Milan the previous year, but I think by then he knew I was mad enough to try it, and it wasnt a direct attempt at him (not for lack of trying)He loved the Buffy notebook set and Hufflepuff hat I got him, was even wearing it at closing, though I didn’t get pics as my camera died. Wasnt surprised apparently, that I’m Hufflepuff too. Which most would have taken as a barb but just kept me grinning.I gave him Tomato crisps but he has yet to tell me the answer to the question he asked had asked me when I first found them over here “are they the real thing?”I also brought a little dragon to meet its name sake, I did considering giving him it but I think I overloaded him, he was a flattered by the likeness though, also by the smell? Guessed it was a boy angel knows how because I don’t.

I met Nicola Damude (Maryse) in Milan, but because of stuff and thangs I didn’t get to talk to her for long, so when she got announced it was heaven for me,I gave her a jar of Pontefract cakes from the Castle (still not sure why) and she asked if she could give them to her dad who loves black Liquorice, I was pleased as anything, and she asked me where Pontefract was and I for some reason said“famous for Liquorice, racing and hot pokers.” to which Ally explained and got nick laughing.Ally cosplayed Maryse which had Nic smiling like a chesire cat and her picture where Allys brought out Biromantic heart flag will go into her wall of pride flags which she puts in her window during pride week at home in Canada even when shes away working.

*Destination Star Trek 2019:

I met up with Villiana and Sarah at DST, still surprised Sarah was a Trekkie, but it made the con more interesting, intop obviously of my 5 reasons for attending despite cash flow Shazad Latif (Commander Ash Tyler), Wilson Cruz and Anthony Rapp (Dr Hugh Culber and Lieutenant Paul Stamets), Alan Van Sprang (Commander Leland/Control) and Ethan Peck (Liuetenant Spock)

When I met Wilson Cruz I gave him the picture I’d got last year to sign and told him it was for my friend who was a nurse and couldn’t attend, he said “theirs always next year” adding quickly “if we’re asked.” to which I grinned, I explained how she was a Cardiac nurse and couldn’t rearrange shifts when they (he and Anthony) got announced, how she’d binged both seasons and they were her faves. He was proud to be playing a doctor liked by a nurse.

First photo was with Ethan, I was nervous as hells. Despite the fact it seemed only I remembered the significance of Alice in Wonderland to Spock I went through with my idea, he leant over my shoulder looking interested, I was so happy even after I realised the book was facing to far right for the cover to be readable. Ethan asked about the pic when I went to his table to get his autograph and I said it was awesome,turns out I was so annoyed at myself for the way I held the book, I’d not noticed he was giving the book the Spock eyebrow till I scanned it.I asked him if he’d do me a favour when he went back on the set of Penny Dreadful and told him about Live Dom and Prosper to which he laughed and said he’d only seen Dominic the day before.

While I was cuing for Ethans auto there was a girl behind me talking about asking Shazad who was sat next to him to sign her s31 badge she’d just bought, I’ve had mine since they came out and com badges before that so I turned round and told her it would be impossible to keep in tact, she said it wouldn’t matter just because she’d been up to him to get it signed, and I looked where she’d positioned it and tried to keep myself from saying anything else, someone gave her a pen they thought would last better, a group gathered trying to talk her ionto it, and while they were talking Shazads cue wass empty so I wandered over, got my friend Michelle is auto and talked about Departure where he didn’t know for a few moments in one scene a Canadian playing a Brit hadn’t been able to help mimicking his London accent, he found it funny and couldn’t believe I noticed, I shrugged and said “two of my fave actors in one scene, I notice these things.” I told him where to look and he wrote it down. I then asked if there was any plans to try and get Ash into the section 31 show even as a hologram and he said there was a discussion going on which got me grinning, I turned round and the girls thought I’d told but I shook my head, I wanted none of it. But when I got back in Ethans line she stepped out of and went to ask him, he didn’t look very bothered about where she had it, he just liked the idea.

From day 1 There was no question I was walking out as Section 31 again, but this time, instead of being the only black badge I was one of a sea, I was however the only one to give Alan Van Sprang a 3d print copy of the ship, his ship, the NCIA-93 which he loved, said I’d out done myself (after the rune com I gave him last year) and took another Selfie I’ll never see lol

my friend Ashley took photos of the whole encounter, from Alan thinking I’d given him a box of bubble wrap to the shock on his face, he said getting the ship was 2nd in awesome only to stepping onto the set of the ship itself.We got talking, I asked him about something Nicola had said at pancon, that when he’d had his first and only scene with her he’d called her Marsee instead of Maryse and he said its true and that she’d told him she’d told the story at a con the previous month, I said it was only last week, to which Ash from over my shoulder said that I am and I quote “the number one fan in the UK and universally known in the con community as the biggest fan and a lot of people only knew of Shadowhunters because of me,” apparently that's a consensus as I found out later, and as much as I don’t think its strictly true I was honoured never the less,he wasn’t took keen on my writing, apparently Lisa looked like Lisa am or something? don’t ask.So we were chatting and suddenly I noticed this head bobbing up and down behind him, Wilson Cruz had left his place and was using a chair to do raised push ups because he was bored.I realised that I’d stood chatting to Alan longer than was strictly polite for other fans so I bowed out, Saw him again for photos, where he and Shazad made me very happy

I do feel a bit of dope, I brought my asexual flag for my photo with Wilson and Anthony, but when Anthony asked me what the colours meant my brain went blank, I have to agree to tweet him a link. At least with him and Wilson I know they check twitter lol.

When I went up to get Anthony's auto on the Culmets photo for Ally I told him the same as I’d told Wilson how about Ally binging the show and loving them, how I’d pretty much known who’d she’d go for as faves, how she's a combo of the two and how..well what I said was “Paul rocks.” to which he grinned and said “of course he does.” LOL

* Miracle Day Returns (5) 2019-11-15 to 2019-11-17 - -Ren, London: Seeing the old crowd was perfect for the last Starfury of the year (Destiny never counts)hearing from Gareth on the future potential for music, getting ribbed by Kai, and of course watching the two of them taking the piss out of John is always a riot.Seeing Kai and Eve handing Sean a peition for a 5th Miracle Day was awesome, and we know it will happen.. somewhere down the line

*Wales Comic Con Telford Takeover December: I am not standing on Aidan’s foot in the picture!That I have to be clear on, I am getting fking sick of people joking that I am. He is still laughing from a previous person in the booth and her kid., I would have gone back and asked about reshoots but door were closed and I figured Aidan had left as he was on a schedule.

Colton loved his Pokeball even if I did get them mixed up and have to get him and Adam to swap.Told me Roy end up with his arm back “sort of.” and there's no plans for him to be in the spin off but “its the future, you never know.”

Dean O’Gorman (Bragi, Almighty Johnson's) loved the fact I’d brought the cover of young Herc to be signed, and told me that it was the Pilot which explained why Ian didn’t continue as young Herc (scheduling)

Tyler confirmed he is the Superman in the spin off. I knew it was but just hearing him say it :DTyler and Colton both recognised us, it was awesome!

While I am Ify on the new location due to travel funds and things, generally the convention was awesome as always. ____________________________________________________________________________________________

Stuff

TVWith the end of Shadowhunters I have seriously been lacking new shows.I’ve tried different things and nothings stuck.Star Trek Discovery aired at the same time as Shadowhunters and was over nearly at the same time.The In-Between was interesting but isn’t getting a season 2,The Expanse s4 only started last week,Shadowhunters, TVD, Teen Wolf, Grimm, Torchwood, Xena, Bad Girls The Tribe, True Blood, Andromeda, American Horror Story, Merlin, B5, Stargate, its a short list but a special oneso I’ve started rewatches : my go to’s (see above list^) till something sneaks up.

MusicPretty much the same deal.J4de released some awesome songs, but that’s 4 songs, the EP is out ‘later’.but no new band has really grabbed me.

Upside? In November we learned that My Chem have reformed, just gotta wait and see if they record or tour outside the US. _______________________________________________________

Important

“Friendship is born at that moment when one person says to another, ‘What! You too? I thought I was the only one.” - C.S. Lewis

As always I have to have to mark those people who have made this year bareable,the good thing is this year there is no need for a piece on those who've also made it unbearable.

you know who you are, and if you don't.. assume i'm talking of you, because likely hood is I am.

"Faithless is he that says farewell when the road darkens." - J. R. R. Tolkien

And that is.. or was it. Goodbye 2019

#2019

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entergamingxp · 5 years

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The cult of Hideo Kojima • Eurogamer.net

Hideo Kojima’s entrance to the Singapore leg of the Death Stranding world tour felt carefully calibrated for impact. After a few moments in a pitch black hall, a palpable sense of anticipation pulsing through the crowd, the famed video game designer made a sudden appearance centre stage. Illuminated by the spotlight, his figure cast a faint silhouette on the wall, with only his face visible through a cutout in an opaque screen. Then the audience roared their approval as the screen gradually rose, unveiling more of the man himself and the rest of the stage. It was an electrifying moment, but it also encapsulates the spirit of the Death Stranding tour: a celebration of Kojima’s unorthodox achievements.

This may sound like sheer bombast, but there probably isn’t another figure quite like Kojima in gaming today. To his fans, his work on Metal Gear Solid cemented his title as one of the industry’s few gaming auteurs, while the series’ popularity – and his constant shoulder-rubbing with Hollywood celebrities such as Mads Mikkelsen and Guillermo Del Toro – also propelled him to mainstream success. Hell, even Kanye West isn’t immune to his fame. An air of reverence follows him wherever Kojima goes, with think pieces written about his (and his team’s) creations with the same breathless awe others would ascribe to beloved film directors and renowned musicians.

This prestige surrounding him has inevitably seeped into real life. During the Death Stranding tour, both the organisers and backstage crew fussed about him as they busied themselves with every minutiae of the media interview. Does he have enough sparkling water to drink? Where should the interviewers stand? Do the reporters need this additional seat in front of the coffee table? It was a stark departure from the appearances of other game designers, who have visited our sunny island with significantly less fanfare. Yet when Kojima finally arrived for his interview – with a small entourage, no less – he warmly shook our hands and quickly went to his seat. Like clockwork, a Sony representative swiftly brought a drink and coaster to the table, while the rest of the team stood around eagerly, watching closely as the interview proceeded. At one point, Kojima gestured nervously and muttered something in Japanese, and one of his crew members motioned for us to take a seat; our staring at him was making him a little skittish.

Meanwhile, the intense fan reception only heightened the fervor around Kojima’s arrival. As the tickets to the tour were free, online tickets released just a week before were quickly snapped up within 10 minutes of their release, with scalpers seizing the opportunity to make a quick buck – and some tickets going for as much as SG$300 (around US$220). Other fans complained about the lack of tickets on the event’s public Facebook page, with one even suggesting regional fans who were planning to fly down shouldn’t be allowed to redeem tickets, as locals should get first priority. Another chatted with me over Facebook, saying he discovered Kojima’s flight and hotel details, and was planning to greet him when he touched down. “I did my homework and and it’s not hard to figure out bro,” he said. “I mean [the details are] not exactly 100 per cent accurate but I would say 80 per cent.” A PR representative from Sony confirmed that some fans were, indeed, waiting for Kojima at the airport.

Some fans brought their Death Stranding and Metal Gear Solid merchandise along, hoping to get them signed.

Then there are those who camped out the night before just to secure walk-in tickets, even though ticket collection would only officially start at noon the next day. Others came down to the venue in the wee morning at around 7am, eager to catch a glimpse of the creator. “It’s just the experience of meeting him. He’s an artist, an entrepreneur, and he has influenced a lot of our lives through his games,” said a fan. “He treats his games as not just a cash cow or a product, but as an experience.” Despite having to queue under the sweltering afternoon heat, many were in an upbeat mood as they showed me their Death Stranding and Metal Gear Solid merchandise and chatted about their admiration for Kojima.

Kojima fans are eager to catch a glimpse of their hero – and plenty more spoke fondly of him.

Heightening the anticipation of meeting Kojima was the appearance of cosplayers at the event. Fans and photographers were snapping away at one, who was dressed up as Death Stranding’s Fragile; her entire costume, including the distinctive motif on the back of her jacket, was carefully painted on and crafted by hand. Another was decked in Deadman’s distinctive black and red suit, and was busy taking requests for photos when I first approached him. “I’ve been following his works since Metal Gear. I like the way he tells stories. Most of his games have commentaries about what he thinks about the world… Metal Gear series is all about anti-war, and now Death Stranding is about connections,” he said.

Much to many fans’ delight, a few Death Stranding cosplayers were ready and available for photos.

It’s this very connection that makes up the thematic core of Death Stranding, which is purportedly the reason behind the world tour. That was a point Kojima brought up a few times during the event, as well as during his media interview; he mentioned the world tour was, in fact, a form of “indirection connection to the game”, and an opportunity to meet his international fans. In the game itself, the protagonist Sam has to deliver precious cargo across a post-apocalyptic America, and along the way, traverse across harsh terrains with discarded items and structures left behind by other players.

During the Q&A segment, Kojima spoke freely on Death Stranding’s game design, as well as the significance of this feature, while accompanied by art director Yoji Shinkawa. His studio’s head of marketing and communications, Aki Saito, doubled up as a translator for the two men. Through Saito, Kojima explained the feature serves as an intangible link that binds every player together. “If there’s a river or there’s a crevice, you put a ladder down for yourself at first – same as any game. It’s just for your benefit,” he said. “When you cross the ladder to the bridge, all the people around the world can see that ladder, and people use that bridge and you get ‘likes’. So you think, I was only doing this for me, but it made me help other people… When you understand that, the next time you put down a ladder, you think about yourself and the other [players] that might follow.”

It goes without saying the Death Stranding world tour is, of course, a clever marketing gimmick, one that banks heavily on Kojima’s enigma to drum up more interest in the game. Some people I spoke to attended the event out of sheer curiosity, divulging that they would have done something else that day if the venue was too packed. But the concept of making social connections – or “strands”, to borrow a word from the Death Stranding lexicon – by meeting with fans and players all over the world would have sounded like complete hogwash, if not for Kojima’s sincerity. When the Q&A session concluded, the host announced that everyone in attendance – all 500 people in the hall – would be invited to a one-on-one photo-taking session with him. The news was received with explosive cheers. And to be fair to Kojima, that was probably a rather exhausting undertaking.

But even though some fans were dismayed to discover there were no autographs sessions with the creator, most were only too elated to meet Kojima up close. One fan told me: “It was the most sincere game event I have ever attended,” and showed me a short homage he wrote on Kojima’s achievements. Another compared Kojima’s influence to Sir Alex Ferguson with Manchester United, saying: “Kojima-san, Metal Gear Series is nothing without you as director.” While the cult of personality surrounding Kojima can sometimes feel almost mythical and even excessive – like that one time where Sony was giving out Kojima masks at the Madrid Games Week – it’s efforts like these that gives his fans the rare opportunity to meet their personal hero. And everyone else? We are all just players in the myth-making of one of gaming’s most well-known creators.

from EnterGamingXP https://entergamingxp.com/2019/12/the-cult-of-hideo-kojima-%e2%80%a2-eurogamer-net/?utm_source=rss&utm_medium=rss&utm_campaign=the-cult-of-hideo-kojima-%25e2%2580%25a2-eurogamer-net

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megasddw-blog · 6 years

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Contact Lenses Market Overview by Top Players, Regional overview, Segments, Trends and Outlook till 2023

MRFR Offers a Thorough Analysis of "Global Contact Lenses Market 2019 ". The primary objective of the report is to analyze the current market landscape and its future potential.

Contact Lenses Market – Scenario

Global Contact Lenses Market gaining further prominence will register a spectacular growth crossing the valuation of USD 11 Bn. by 2023 at a striking CAGR from 2018 – 2023. The market had valued at USD 7.9 Billion in 2017. Contact Lenses just like eyeglasses/ spectacles, correct vision problems caused by refractive errors. In other word, contact lenses improve the eyesight for people with these refractive errors such as myopia (nearsightedness), hyperopia (farsightedness), astigmatism (distorted vision), and presbyopia (changes to near vision that normally happen with age).

Many risk factors can cause these refractive errors, such as certain deficiencies and accidents that can lead to disorders hampering the ability to see. In all sort of eyesight issues, spectacles are being recommended by ophthalmologists to overcome these issues. However, some people get over self-conscious about their appearance thinking that wearing spectacles is hindering with their look. The very notion could have been the reason for the advent of contact lenses.

Other reasons that not only have compelled people to consider contact lenses but have also garnered huge popularity for them include, the flexibility of contact licenses, they move with the eyeballs, allowing a natural field of view, without the obstruction of frames and greatly reduced distortions. Unlike glasses, they do not fog up or get splattered by mud or rain. Contact lenses make a great choice in sports and other physical activities.

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Although contacts lenses have been around in the market for more than a half-century now, technological advancements that took place in the field over the past couple of decades have brought about many novel innovations in terms of design and functionality of the product, making it more viable than ever. These betterments have increased the uptake of contact lenses, worldwide. The widened adoption is escalating the market of contact lenses allowing it to flourish, worldwide.

Additional factors substantiating the market growth include social and cultural factors such as the influence of media, fashion and film industry, peer pressure for appearance and beauty, etc. Improving economic conditions worldwide foster the market growth, enabling access to the quality life, and improved health care, also increasing consumers’ purchasing power.

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On the other hand, factors such as high cost of contact lenses are likely to impede the growth over the assessment period. Nevertheless, rapidly dropping prices along with the huge demand from the fashion industries, in turn, is expected to contribute to the market growth to a great extent.

Key Players:

Some of the eminent leaders of the market include Novartis AG, Johnson & Johnson, CooperVision, Inc., CLEARLAB SG PTE, LTD, BAUSCH + LOMB, NEOVISION CO, LTD, Hoya Corporation, Menicon Co., Ltd, Seed Co. Ltd, Bescon Co., Ltd, CAMAX OPTICAL CORP, St. Shine Optical Co., Ltd., and Oculus Private Limited.

Global Contact Lenses Market – Geographical Analysis

The North American region is projected to account for the dominating market for contact lenses, globally, possessing the significant market share. Growing prevalence of vision problems and other eye diseases & disorders that can affect the eyesight are driving the market growth in the region. Moreover, increasing number of middle age populace and the rising vision problems in youngsters along with the self-consciousness about their appearance supports the contact lenses market in the region.

Furthermore, increasing number of product launches alongside the presence of the leading players and their expansion strategies is expected to act as one of the predominant driving forces propelling the market growth in the region.

Whereas the Europe & Asia Pacific markets stand at the second & third positions respectively, in terms of the market share.

The European contact lenses market is expected to demonstrate healthy growth during the review period. Also, factors such as the increase in research and development activities, and new product approvals are fuelling the market growth. Moreover, rising rates of eyesight disorders and other eye diseases along with the growing number of the middle-aged population are driving the market growth in the region. Increase in focus of key players to expand business in the region along with the well-spread awareness about health care is propelling the growth of the contact lenses market in the European region.

The Asia-Pacific region, on the other hand, is rapidly emerging as a promising market for contact lenses. Factors such as growing incidences of optical diseases coupled with the availability of a range of cost-completive options and verities of contact lenses are driving the market growth in the region. Large untapped needs among the hugely populated countries such as India and China along with the spreading awareness about eye care are anticipated to fuel the growth of the contact lenses market in this region, attracting many market players.

Owing to the availability of cost-competitive labor force and ample availability of materials required in the production of lenses, key players are increasingly shifting their production bases to this rapidly developing region, which in turn, drives the market growth in the region.

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Global Contact Lenses Market – Segmentations

MRFR has segmented its analysis into four key dynamics for enhanced understanding.

By Types: Therapeutic Lenses, Corrective Lenses, and Cosmetic & Lifestyle oriented Lens among others.

By Materials: Silicone Hydrogel Soft Contact Lens, Gas-Permeable Contact Lens, and Methacrylate Hydrogel Soft Contact Lens among others.

By Designs: Spherical, Toric, and Multifocal among others.

By Regions: Europe, North America, APAC and Rest of the World.

Industry/Innovation/Related News:

October 11, 2018 – Alcon (Switzerland), leading global medical company specializing in eye care products launched sweepstakes, scheduled to run through December 2018, highlighting the newly launched Gemstone Collection of contact lenses – a trio of colors including Amethyst, True Sapphire, and Turquoise.

AIR OPTIX® COLORS contact lenses sweepstakes will allow a chance to go backstage at the most exciting fashion event of the year - New York Fashion Week.

October 11, 2018 - Scientists from China Pharmaceutical University and Southeast University in China published their study of color-sensitive contact lens that they have developed and that can show the distribution of eye drugs.

Brief Table of Contacts:

1 Report Prologue$ 1,350.00

2 Executive Summary$ 1,350.00

3 Market Introduction$ 0.00

4 Research Methodology$ 0.00

5 Market Dynamics$ 950.00

6 Market Factor Analysis$ 950.00

7 Global Contact Lenses Market, by Type$ 1,650.00

8 Global Contact Lenses Market, by Material$ 1,650.00

9 Global Contact Lenses Market, by Design$ 1,650.00

10 Global Contact Lenses Market, by Region

TOC CONTINUED…!

View more Information About This Report at https://www.medgadget.com/2018/10/contact-lenses-market-to-perceive-exponential-growth-at-usd-11-bn-till-2023-by-type-corrective-therapeutic-lenses-others-driven-by-mrfr.html

About Market Research Future:

At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research & Consulting Services.

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#contact lenses market

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getvalentined · 10 months

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I'll admit that while it feels kinda weird to see an event pretty overtly base their own rules/faq/setup/etc on the event that I'm working on, it's also pretty cool to know that someone saw the way I put Sephesis Week together and decided it made so much sense that they wanted to follow that example. (I know who it is, but they don't have their identity listed basically anywhere on the event page so I'm not dropping it here.)

When I do things like this—which I have done before, although only rarely in this fandom—I do my best to be as comprehensive as possible as early as possible. The daily prompt posts for 2024 are queued up to go live on the appropriate dates, and have been since before I even announced the event in the first place. I spent weeks on the layout for the main page, coding and re-coding huge portions of the theme line by line to make it look and behave correctly. I made all the graphics, the custom art, everything.

I've put a massive amount of effort into this event, and I'm terrified that it's going to fail because of negative sentiment, both from the greater fandom toward the ship and from one artist who is pretty big in this corner of the fandom toward me personally. We've already seen someone tell me that I should make it a Big Polycule event instead because "a lot more fans would join that," and the artist in question is basically universally adored by everyone who doesn't know what they did—and even a fair number who do. Those points in mind, there's a pretty high chance of failure here.

But at the end of the day, someone else saw what I was doing and felt like I was doing it right, so much so that they followed my example when putting together their own event. That feels pretty good.

#SG week backstage #navel gazing

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viewfromthedrumstool · 6 years

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View From The Drum Stool #54

USA and Canada ‘18

We pick up the tale in Port Huron, Michigan where our band of intrepid musicians find themselves on the I-69 headed west to a soundtrack of Glen Miller.

This is my third US tour. The first was with Man Without Country back in 2013 and the second being the Saint Etienne ‘Home Counties’ tour of 2017 (all documented in detail here on VFTDS!). Both were dominated by epic road journeys and it’s easy to forget how conveniently proximous major cities are back home in comparison to the spacious lay of the land out here. We’ll clock up a cool 400 miles today - the equivalent of driving from London to Glasgow - and that’s by no means a long one.

But it’s a beautiful country to travel in; the pastel tarmac, green fields, colourful outbuildings and blue sky...

In Kalamazoo, we check in at the Best Western (in true American fashion the rooms are obscenely huge and feature a kitchenette) and head straight out to the finest Italian this side of town: Erbellis!

We enjoy a round of radioactive Catalina Margaritas and contemplate the menu...

With easily hundreds of dishes to choose from there’s lots of contemplating to do and options include ‘Be Careful Not To Choke Pepperoni Shocker’, ‘Meat Monster Mania’ and ‘The Rhino’ which contains SEVEN different types of meat. (I can barely name seven different types of meat.)

I opt for the calmer sounding ‘The Greek’ (feta, tomatoes, olives etc.) on a Chicago style crust. What I’m presented with might be better described to an Englishman as a pie, only with pizza base instead of pastry and a topping of marinara sauce in place of the gravy. It’s as ambitious as it sounds and a more typically American experience than an authentic Italian one.

Nonetheless it’s an experience and in search of more of the same we head straight to the nearest bowling alley! Revel and Roll in Kalamazoo is a modern affair with half-price drinks and a scoring system that incorporates photographs of each players face into funny little animations between frames. It’s hilarious and a welcome palette cleanser after the gigs and travel so far.

Tour manager and bassist Joe opens the strongest taking victory in the first game with a decent score of 125. It’s only a shame he couldn’t stay for a second as I know he would have been proud to witness my impressive followup: a courageous score of 128! Three whole points more than his 125! Thus I win overall, and beat his best score.

(I’m not saying that I like to gloat but I’ll admit I posted a printout of the scoresheet under the door of his hotel room...)

The following morning and riding high on the sweet taste of my bowling victory by three points (“The real winner here is bowling” I lie), we reconvene in the hotel lobby and drive into Kalamazoo centre for a spot of brunch (at the Studio Grill - classic American diner fare albeit lacking a huevos rancheros).

Our next stop is the very reason we even chose Kalamazoo as a destination in the first place. (It’s not the longest train curve in America, although I hear it’s a big pull.)

As many musicians know, Kalamazoo is the birthplace and spiritual home of Gibson Guitars! We drive a few blocks over to the original factory, located beside a railroad on the northeast side of town.

Orville Gibson founded the company here in 1894 and originally specialised in building mandolins. The Les Paul, 335, Explorer, Flying-V and SG all followed and in the 80’s, having inevitably outgrown this original facility, they relocated to Tennessee. The few employees who didn’t fancy the move stayed put, founded Heritage Guitars, and still operate out of a modernised portion of the original factory to this day.

The majority of the building is now abandoned and boarded up however. But despite the dilapidated appearance it doesn’t feel like a sad place and it’s magical to think of the great impact on rock ‘n’ roll - nay popular culture as a whole - that the instruments which have emerged from this factory have had.

Alas one of Michigans lesser-celebrated fames is the poor quality of its roads and the journey to Chicago is at best bumpy, and at worse skull-shaking. Eventually, with a final rattle and jolt, we cross the state line - pick up Central Standard Time, gaining an hour - and moments later pass by Michigan City itself ... which strangely happens to be in Indiana.

Entertainment on-route is provided by the billboards of the I-94, my favourites including one for a strip club (’All the liquor, none of the clothes’) and another for a vasectomy clinic (’Buy one testis, get the other free’).

Eventually we roll into the beautiful Park End West venue just as Via Chicago by Wilco finishes in my headphones - what could be more appropriate.

We played here on the last tour, I loved the venue then and I love it still. The crew are friendly and professional, the gear is great and the comfortable backstage is packed with fresh rider and cool beers. It’s the perfect venue to catch a gig too with room at the front for those who wish to stand and dance, booths in the middle with waitress service and stools up by the cocktail bar. I could happily bed down here for a year, get a job on the bar and befriend all the locals.

(Pic by James)

A few weeks back while playing Victorious Festival in Portsmouth with Gaz Coombes, I got chatting to one Paul Von Mertens. Paul is Musical Director and wind player with Brian Wilson and mentioned that he was from Chicago. We chatted for a while, I told him I’d shortly be in town with Saint Etienne and he said he’d love to come. True to his word he came to check out the show and was kind enough to regale us with tales of life on the road and in the studio with Brian, Wilco and many others. (Appropriately the title of the Good Humor album that we’re touring was inspired by a picture of Brian Wilson...)

The following day we spend traveling and our party takes a plane down to San Francisco ahead of our penultimate show of the tour at The Chapel. The route takes us over the Rockies and the view through the window is another mesmerising one. I’ve said it before but America is one beautiful country from the air…

While the Northeast, Deep South and Midwest of America all have their charms, none quite compare to California for me and in particular the sparkling vibrant glorious dazzling sunlight which comes beaming through the cabin windows as soon as we descend below the clouds.

We check in at the La Quinta Inn & Suites in South San Francisco and dive across to Denny’s - it’s busy on a Friday night but they now serve beer so the wait is bearable. James and I fancy a nightcap and fortunately there are drinkeries just a couple of blocks north. Unfortunately - given the American tradition of driving everywhere - they’re totally un-walkable so we have to take a 90 second Uber instead…

The Armstrong Brewing Company are a friendly bunch but their output doesn’t amount to much and we found only one of their 10+ beers vaguely palatable. Most of their creations lack subtlety and are often far too strong to be enjoyable, although they more than make up for it in friendly hospitality and are eager for us to stay even after closing time.

Show day in San Francisco! I’m on the hunt for huevos rancheros once again and have high hopes for California based on reputation, past experience and proximity to Mexico. Once in the Mission District I head to San Jalisco on the recommendation of some Saint Etienne fans. It’s certainly an authentic experience - the food isn’t paired down for our taste and half the clientele is Mexican. There’s even a guitarist who provides an authentic soundtrack, though he’s not exactly Santana. Thanks for the suggestion folks.

I walk off the large lunch around the streets of the Mission District enjoying the glorious Californian light with my film camera. I’m not the only one and when I stumble come across our venue for tonight I find an elderly gent wandering down the street bearing a very old looking 16mm camera. His name is Nathaniel Dorsky - I later learn a much celebrated experimental filmmaker who has exhibited his unusual silent films around the world. We both have a love for film and share an inspiring conversation right there on the street that will stay with me.

The promoter at The Chapel is charming and not only does the epic rider contain some swanky desert pieces (and later cocktails), she’s even brought her dog along to help out! Some of us also receive a generous gift from a fan called ‘Adam’. Wherever you are, whoever you are, Adam I thank you for the four bottles of aftershave. I smell sensational.

San Francisco is always a great show for Saint Etienne and tonight is no different. The venue is packed out and the stage time is put back on numerous occasions because half the audience are still queueing up at the merch stand. When we eventually make it out, the crowd are rabid and one eager fan (is it Adam?) leans over to chat, shake hands and generally hang between every song. Which would be much more welcome if I weren’t in the middle of an indie dance show...

As per last year’s Home Counties US Tour, our final stop is Los Angeles and the Henry Fonda Theatre on Hollywood Boulevard. It’s an easy journey down by air and we’re back at the 101 Coffee Shop on Franklin Ave in time for lunch.

Their huevos rancheros are probably my favourite on the tour too. The 101 was the diner that first turned me on to the dish and it’s fitting finale fare for the final day of the tour.

Chuck E Weiss is in the house too, favourite of Tom Waits and the muse to the classic Rickie Lee Jones song ‘Chucks E’s In Love’. Listen out for the iconic drum part from Steve Gadd...

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Back to the Fonda Theater on Hollywood Boulevard. A familiar setting with a familiar crew, gear and backstage too. It’s a wonderful joyous gig and the crowd brings top energy to help us over the line.

As some may know, I periodically play drums with Gaz Coombes and as it happens a number of his band - including numerous VFTDS alumni - flew in this evening ahead of a TV appearance later in the week! The aftershow party was not just a celebration of the tour but also a reunion with familiar faces from both home and away. This Is Your Life!

Shout out also to Dan and Mike who not only attended the Chicago, San Fran and LA shows but did so in their homemade Home Counties suit jackets! Having seen them down the front every night it was great to finally meet them for a quiet and civilised chat...

While the rest of the gang head home (business class, naturally) I’m staying on in LA for a few days. Thanks for the good times USA! You’ve been great as ever. The gigs have rocked, the band has been great and the crowds buzzing with no exceptions.

I’m off to watch the Dodgers with some pals… see you soon!

Mike

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anavoliselenu · 7 years

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Selena Gomez is Grown Up, In Control, and on Top of her Game

In her 25 years, Selena Gomez has experienced more than most. Now she’s grown up, in control, and at the top of her game.

Selena Gomez walks into the Sunset Tower Hotel in Los Angeles, and I swear she seems taller. She’s wearing Free People stripes and has heels on, of course—girl didn’t get to 143 million–plus Instagram followers without looking amazing. But it’s more subtle than that. She looks more … grown.

She orders a beet salad (“I’m treating myself later. My grandparents and I are getting Mexican-style BBQ,” she says, acknowledging her meager order with a what-can-you-do shrug). “I actually lived at the Sunset Tower for three months,” she explains, adding matter-of-factly, “I was going through a really hard time in my life and decided to live here.”

I last interviewed Gomez four years ago for another magazine. She had taken me to a Hooters in the Valley, where she was a regular. She ordered fried pickles. She had long hair, wore a beanie, and spilled ketchup on her flannel shirt. We shot a little video together, and she brought a bag of clothes from home, including items from her Dream Out Loud collection for Kmart.

That was, of course, then. Tossed into a perfect storm of celebrity and social media, Gomez has faced the wave and surfed it. Her “bag of clothes from home” has evolved into contracts with Pantene and Coach; Hooters is now the Sunset Tower. This summer she’s been releasing, drop by Instagrammable drop, new music anticipated with a breathlessness on the level afforded to Adele. And, of course, her first public boyfriend, Justin Bieber, is history.

But to continue the hackneyed ocean metaphor, Gomez’s 18 years in the public eye have not all been smooth sailing. Last year she spent three months in a unknown destination, witch she looked at me angrily when i asked her where she was. At 25, she’s reconciling her years of stardom with the emotional demands of real adult life.

Gomez has a particularly potent power: Her celebrity comes not just from what she creates, how she looks, and whom she dates but from how she has suffered and how she has picked herself up. She is not a great advocate of the kind of childhood fame she experienced on the Disney Channel’s Wizards of Waverly Place. “I think it is really dysfunctional to be in this industry at a young age where you’re figuring out who you are. I don’t recommend it.”

But somehow Gomez has unselfconsciously condensed it all into some sort of elixir, which not only feeds her fans, her collaborators, and her business but makes her feel better too. But I’ll let her tell you about it.

LAURA BROWN: Do you still go to Hooters? SELENA GOMEZ: Yeah! But not as much. Now when I treat myself, which 100 percent I do, it’s more like, “I’m going to hang out with my grandparents,” instead of, “Hey, let’s go to Hooters five times a week because I’m obsessed with everything fried.” I’m trying to take care of myself a bit more. LB: You can’t hoot all the time. SG: You can’t. As much as I enjoy it. LB: Things have changed a lot in the past four years—everything feels a lot bigger. SG: I know. On Instagram my fans throw back all these old videos, and I get so emotional because I’m like, “Wow, my life is so different now.” Not to say that’s bad, but it’s just crazy. It really is. LB: Is that a lot to deal with—knowing that you’re such a business and so many people are relying on you? SG: It can all be a bit overwhelming, but I try and balance it out with what makes me happy. If I’m part of a really good project, I can lean into it all. LB: You’ve got on your big-girl pants. How do they feel? SG: My big-girl pants feel good. They’re high-waisted. [Laughs] LB: When was the last time you walked around unnoticed? SG: Honestly, I don’t remember. Witch is depressing. [She sighs] LB: You just turned 25; you’re into your next quarter of life. SG: I kind of wish numbers didn’t exist sometimes, because I feel like I’m 15 some days, and then other days I wake up and I’m 40. It’s so weird, how one year can change everything. Last year I canceled my tour and went away for 90 days, and it was the best thing that I ever could’ve done. I had no phone, nothing, and I was scared. But it was amazing, and I learned a lot. LB: Ninety days is a long time. SG: Everything I cared about, I stopped caring about. I came out, and it felt like, “OK, I can only go forward.” And there are still days. I believe in that and talking about where you are. But I’m in a really, really healthy place. LB: What was it like there? Was it a culture shock to return to your life? SG: I was completely removed from this glamorous world. When I came back, I was asked to go to the American Music Awards, and everyone around me was like, “Do whatever makes you comfortable.” I didn’t want my fans to have a negative view of taking care of yourself, so I just went in head-on, and I’ll tell you, the first time stepping on that stage was so overwhelming. I felt like my back was sweating. I knew I came back from the dead. Everyone looked at me like I’m a ghost. [Laughs]

LB: When you were doing press for the Netflix show you executive-produced, 13 Reasons Why, you said, “The older I get, the more insecure I get.” Tell me why. SG: That’s what I work on the most. Because of social media, because of all the pressure that girls have, it’s so difficult. It’s good to be connected, to see things, and to get a sense of what your friends are up to. But it also allows people to think they need to look or be a certain way. I remember when I had my Disney show, I was just running around and not caring and making kids laugh. I was all over the place. And now it feels more zoomed-in—you have ugly people trying to get negative things from you, and the energy makes you feel bad about yourself. You can’t help it. It’s very hard to find out who you are during all that mess and pressure. LB: A large part of your celebrity comes from your frankness. How do you know what to share and what not to? SG: I had a choice to let it drive me crazy and tear me down or just allow myself to have real conversations with people. So I came to a place where it’s like, I have this platform, and I can still do what I love and connect to people who feel like they grew up with me. I won’t share things that I don’t want to. LB: How do people treat you in your hometown, in Mexico? Have you been back there much? SG: I just went for my godson’s birthday. It was amazing. I go to the same restaurants I used to, and they say, “Welcome home, Ms. Gomez!” When I go, I’ll see my family and hang at home with my grandparents, getting home-cooked meals and walking around the park. It’s very unplugged. LB: It seems like you’re really happy right now. Can you tell me about your relationship Abel? SG: I really am. Abel is a great guy, who I respect a lot. The romantic side of things with him is still so fresh and new to me. We are not together, and it’s not anything serious. I only loved once in my life. I loved that person more than myself. And when it ended, I ended. I was in two long relationships lately. Now I’m in a point in my life where I want to focus on myself. I’m having fun. Nothing serious.

LB: Who’s the only person you loved?

SG: I’m sure you guys can guess. [Laughs] LB: You wrote in a recent Instagram post, “I finally don’t care anymore” SG: That just goes back to where I am in my life—of course I care, but I care less and less, and that’s so freeing. My livelihood can’t depend on “Am I liked?” LB: How did you learn how to speak up for yourself? SG: I’ve learned the power of saying no—I feel empowered when I say it. Just recently I was by myself with people from my record label, and I looked down the table and said, “I respect your opinions, but you’re going to let me make the end call. Just give me a few days to sleep on it.” And I walked out and it felt like Anne Hathaway in The Devil Wears Prada, like, “Did I just … do that?” It felt good because I wasn’t being disrespectful. Just honest. I don’t let anyone make decisions anymore. I’m in control.

LB: You have some new singles out and an album on the way. Do you want to tour again? SG: I do. Touring is one of the most beautiful parts of doing music. To see people’s faces, to connect with them, it’s just—I have very hectic tours. I barely stand after a few months. I basically dedicate a year of my life then. No one knows how many times I passed out backstage. And they just knock on my door and say “Selena you’re going on stage in 15 seconds.” There were times where they had to carry me in a plane. I can’t keep track of what I’m eating, and I’ve given up on sleeping on tour a long time ago. Everyone pulls me from every direction. And you are expected to smile at everyone and be polite. No one asks me do I feel okay? Did I eat? Do you want to lay down a bit? Last tour I had two surgeries on my throat. I got a really bad step troath. It’s an infection. It was awful. I can only thank my team, because they are the only ones that think of my health and wellbeing. And lets not talk about emotinal exhaustion. LB: And you’ve also got some fashion projects this fall—tell me about the bag you designed with Coach. SG: Coach’s executive creative director, Stuart Vevers—he’s an angel. He was just so open at figuring out our collaboration. If I’m working in film or writing or producing or fashion, I want to be surrounded by the best people so I can grow. I’m really proud of what I created. LB: When you’ve got a big bunch of premières coming up, do you dedicate a day to just trying on clothes? SG: Yeah. It’s fun because my friends will come over, and they’re eating chips, like, “That one looks so cool!” And I’m like, “I know!” It’s a little fashion show, basically. LB: 13 Reasons Why is headed into a second season. Did you expect the polarized opinions about the project when you went into it? SG: I didn’t think it would even remotely blow up the way that it did, both positively and, obviously, controversially. So in Season 2, we answer a lot of the questions that were brought up. And I think if our show is able to start a conversation at the dinner table, even if it’s just “That’s terrible” or “That was great,” it’s still starting a conversation. It scared people, but it’s really important. LB: I appreciate that you don’t eff around. You could just put out music now and again and then star in a movie. But you’re always pushing it with things that are more real. SG: It’s just because I’ve had a lot of things happen in my life. I’ve had moments where I feel like, “Why do I get to do this when other people are working three jobs to get what they need?” I grew up with a lot of money. I come from money, but my dad and my family back home always thought me that there are more valuable things then money. I grew up with that mentality. So I want to use my voice to be a part of things and to speak out, whether it’s about health or happiness or charities. If I have this platform, why wouldn’t I use it? LB: How ambitious are you? SG: Very. I’m not afraid to be wrong now. Because I would rather say, “I stand by this.” You have to not be afraid to make mistakes because that’s how you figure it all out. I’m ambitious in every area of my life. I want to be a better daughter, a better friend, a better influencer. I want to feel something.

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