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jbaiata · 5 years ago

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The making of “The Ballad of Charlie and Grace”

Stephen Hawking once famously observed that even those who believe everything in life is predestined look both ways before crossing the street. And while I don’t believe the arc of our lives is entirely predetermined, I do think it is contingent on us to be open enough to recognize seemingly chance encounters for what they are: opportunities. Or, as Jackson Browne more eloquently puts it: “Pay attention to the open sky/you never know what will be coming down.”

In April of 2016 I was presented with an amazing opportunity: to give voice to a story that was just begging to be told. Each year I volunteer for a fundraiser in Ridgewood, NJ - Saylestock, to benefit The Matt Sayles Foundation for Salivary Gland Cancer. It’s an inspiring day - an all day music and arts festival that inevitably creates some magic moments for organizers and attendees alike. Toward the end of the day I was approached by a town resident and asked about the origins of the fundraiser. I told her how Dave and Kathy Sayles had turned the most convulsive, painful event of their lives - the death of their young son to a rare cancer - into an urgent, vital cause. That resident, Lisa Paterson, could unfortunately relate. We fell into an hour long conversation, and Lisa bared her soul to someone who had been a complete stranger to her moments before.

Widowed on 9/11 when her husband Steven was among those murdered by the terrorists, Lisa was left to raise her twin four year-old’s, Lucy and Wyatt, alone. And to work through her own searing grief while trying to ensure her children did not become collateral damage to the worst terrorist attack in our country’s history. She endured a Sisyphean, near decade-long struggle to get Wyatt, who is developmentally disabled, to accept that his father was gone. I was incredibly moved, and determined that the story needed to reach a much wider audience.

While driving down to Philadelphia the next morning, I was fixated on two things. The first was the conversation with Lisa, and replaying in my mind something she had recounted about Wyatt’s finally turning the corner. She’d found a working farm the then teenaged Wyatt had really taken to, and when asked why he liked it so much, he’d replied “Daddy’s in the sky there.” The second was how much I’d thoroughly enjoyed one band in particular - a self-described “funk, soul, jazz and rock fusion” outfit that I wanted to see again. What the hell was their name? I had thrown one of the Saylestock handout brochures into my work bag, and quickly pulled it out. Ho-lee shit. “SkyDaddy.” The name of the freaking band was SkyDaddy!

Photo: Lisa Paterson (second from left) poses with the band SkyDaddy and a friend. Credit: John Baiata

In that moment, chance encounter begat providence. Lisa and I began a long series of spoken and written conversations that, half a year later, culminated in this story, and a second on “NBC Nightly News.” Lisa was a completely open book, confiding her private pain and doubts, and granting me access to those who knew her best. She invited me out to Wyatt’s farm to spend the day there. I interviewed Wyatt’s longtime doctor. I interviewed Lisa’s therapist. But it was a conversation with Lisa’s exceptional daughter, Lucy, that would eventually birth “The Ballad of Charlie and Grace.”

Lisa had shared with me the extraordinary, lifelong bond Lucy and Wyatt had developed, and even credited Wyatt with saving Lucy’s life as an infant. Lucy was failing to thrive, in trouble, and nothing the doctors had tried was working. It was only after Wyatt was laid beside his sister in the NICU that Lucy began to respond. Still, speaking at length with Lucy directly was revelatory. I came away with a much clearer understanding of the “two unique souls united by birth” dynamic associated with twins in general, with an even deeper appreciation of the lifelong, unbreakable bond Lucy and Wyatt has forged - and with the inspiration for a song.

Photo: An infant and endangered Lucy Paterson . Credit: Paterson family.

I’ve been writing song lyrics since I was a teenager. To see the vast majority of them is to understand just how difficult good songwriting is. In each case, I set out to write about a specific subject. I wrote the lyrics. This will inevitably sound cliche` but I can think of no other way to describe it: for the first time, with “The Ballad of Charlie and Grace,” the lyrics wrote me. They started coming to me in the days after that phone interview with Lucy, and kept up a steady patter in my brain until I finally reached for a notebook beside my bed, and began to capture the voices in my head.

Wyatt and Lucy became Charlie and Grace. I cribbed Charlie’s name from Charlie Greene, an outstanding young man who had also lost his father in the 9/11 attacks. I’d gotten the chance to work with Charlie in the summer of 2011, and had recently introduced him to Lucy. I cribbed Grace’s name from John Newton, the poet and clergyman who wrote “Amazing Grace” a hundred and forty years ago. In all, the lyrics contain references to fifteen other songs, and eight bible verses. (If you’d like to see how many you recognize or are just a glutton for punishment, they are all annotated at the end of this blog.) Once finished, I had a thought I’d never conjured before about lyrics I’d written: “These don’t suck.”

I shared the lyrics initially only with Lisa, a fellow music nut like me, and with my wife Anna. Encouraged by their enthusiastic responses, I made my best decision yet, and shared them with my cousin Flynn - along with the story I’d written about Lisa, Lucy and Wyatt for context.

Photo: Wyatt and Lucy Paterson today. Credit: Paterson family.

My wife Anna has long pondered how to leverage all the music trivia in my brain for financial gain, and I consider myself pretty knowledgeable about music in general. But Flynn (That’s his full, legal name) is an actual musician, and someone whom I’ve always looked up to. Music has long been the common thread between us. As teenagers I was enthralled listening to his takes on local rock heroes the Stray Cats, and many others. As adults he would often invite me on Friday nights to come sing and play a little percussion with a small group of his musician friends. Nothing serious - “basement band” stuff. But it meant a lot that a group of musicians whose talent level far exceeded my own would include me. Since moving to southern Florida, Flynn has played extensively and cultivated an impressive network of musician friends in the area. He plays guitar beautifully, writes and records, and has notebooks filled with original lyrics of his own. And so when he got back to me, I was not quite prepared for his reaction.

It was beyond encouraging. He was effusive in his praise, and inspired by the story behind the lyrics. Flynn became the driving force behind the project. It took more than two years to bring to fruition, and in all that time his north star for it was clear-eyed. He wanted to give the lyrics a musical home to be proud of, for sure, but more than anything he was driven by his heart, and by doing something special for the Paterson family. Without his recruiting and wrangling of musical contributors, his booking of studio times and overseeing sessions, the steady stream of ideas and feedback he ran by me, this song would not exist. I am grateful beyond words.

In February of 2018 Flynn and I went into Rain Cat Recordings in Jensen Beach, Florida to lay down the first and most important building block of the song, a gorgeous guitar track that he had written to accompany the lyrics. We had home field advantage. The wizards behind Rain Cat, Jeff Coulter and Bryan Lamar, were well acquainted with Flynn. Having been briefed on the project’s origins in advance, they were happy to get involved.

Photo: Flynn working the guitar track at Rain Cat Recordings

Flynn had recorded a scratch vocal track that day as well, but it was a placeholder until we could identify a vocalist. He offered up a wide array of vocalists he knew and could approach - men and women. I felt strongly that it should be a woman, as the chorus is sung from Grace’s first person point of view. In the end we decided to try and recruit Summer Gill for the project. I confided in Flynn that I’d kept a running list in my head for years of my own “heavenly choir,” the voices I would choose to sing me home when my time came: Mavis Staples, Emmy Lou Harris, Aretha Franklin, Linda Ronstadt and Alicia Keys. Summer’s voice moved me in the same way those others did, wringing emotion from every verse. I had my doubts that we could get her onboard. She was gigging constantly in support of her latest EP, working on songs for her next one, and our little song seemed a trifle by comparison. And so we were both thrilled when Flynn reported back that she’d readily agreed to work with us - and all the more so upon hearing her evocative vocal.

Photo: Summer Gill during one of our sessions at Rain Cat Recordings

Along the way there were plenty of setbacks. While at Rain Cat with Summer during the first session to record the vocal track, Flynn got word that his Mom had passed. Another session was scuttled last minute after Summer was involved in a car accident. Some musicians proved more difficult to schedule than others, and a good chunk of time was lost trying to schedule one in particular.

That disappointment was more than made up for by the contributions of Adam Emanuel, a multi-talented musician who, in Flynn’s words, was “all in from the beginning.” From Adam we got a vital piano track; one he tinkered with and improved over several sessions. Adam also gave life to Flynn’s vision for a “sweetener” track. After considering a couple of other paths - a pedal steel guitar? Nah. Flute? Nope - Adam came up with the synth strings that really enhanced the song’s emotional resonance.

Photo: Adam Emanuel laying down the piano track at Rain Cat Recordings

And then there’s the guys behind Rain Cat, Jeff and Bryan. It’s no given that artists who are really good at making music are experts at mixing it, and these guys are both. They also support their artists out in the community, and have developed a fiercely loyal client base because of it. It’s got to be all kinds of cool to be in the business of bringing others’ musical visions to life. Serious respect for these guys.

Photo: Jeff Coulter and Bryan Lamar. Courtesy: Rain Cat Recordings

Throughout the process, Flynn and I engaged in a grand jury level of secrecy, so as not to spoil the eventual reveal to Lisa and Wyatt. Lucy, however, was conscripted as a necessary co-conspirator. Her first reaction to the lyrics she helped inspire was moving and heartfelt:

“I had to take a step back from the computer in order to compose myself... Thank you so very much for depicting my family’s story, specifically mine, in such a poetic and gorgeously bittersweet way.”

Her words also further incentivized us to finish. Lucy was responsible for gathering the bulk of the family photos that helped imbue the lyrics video with the personalized look her family’s remarkable story deserves. Finally, a big shout out to my daughter Alexa for her time and help editing the video.

The song is available on Apple Music, Google Play & Youtube Music, Amazon, Pandora, Tidal, Napster, iHeart Radio, etc Any proceeds from the song are going to help support Wyatt’s farm. You can also make a direct donation.

Thanks for reading this far, but I am reminded that where words fail, music speaks. I hope “The Ballad of Charlie and Grace” speaks to you. Click here for a listen.

“The Ballad of Charlie and Grace”

One mother, two cords, one shared space

Brother and sister, Charlie and Grace

Grace soon fell ill, her parents dismayed

But grew strong once Charlie’s sweet head was laid

Beside her own on the pillowcase

The first time he started

amazing Grace

“The boy’s not right,” they said. “His mind’s addled.”

Grace took up armor, prepared for battle

Be not afraid, her flag unfurled

Then had a thought that could change the world

In Charlie, redemption she could see and taste

And he’d only begun

amazing Grace

(spoken) And she sang:

He showed me the roll in the hills, a bird on the wing

A little bit of beauty in everything

The life in the day, the call in the breeze

Lucy in the sky, the magic in believe

Far too young when their daddy was taken

Charlie sat and wailed, “Why have you forsaken me?”

Grace took up his battle cry

While Charlie paid attention to the open sky

And blessings from space

And he carried on

amazing Grace

Charlie grew up to work the land

Planting seed written in the palm of his hands

And Charlie taught Grace to sow some seeds of her own

How some will grow, some you just call a loan

To tend to your gardens where the land is laid waste

And he never failed at

amazing Grace

He showed me the roll in the hills, a bird on the wing

A little bit of beauty in everything

The spirit in the sky, sorrow in the fountain

Smoke on the water, and fire on the mountain

Charlie grew frail, his head a crown of splendor

Grace held firm; a loss she thought might end her

But Charlie’s voice rose in song she could believe

How sweet the sound, her fears relieved

And even as the light fell from his face

He never once stopped

amazing Grace

He just might have saved her from going under

Charlie boy, the boy wonder

Amazing grace, how sweet the sound.

Source material/references for “The Ballad of Charlie and Grace”:

“Amazing Grace,” John Newton

“For a Dancer,” Jackson Browne

“Fountain of Sorrow,” Jackson Browne

“Call it a Loan,” Jackson Browne

“Grace,” U2

“Fire on the Mountain,” The Grateful Dead

“Spirit in the Sky,” Norman Greenbaum

“Lucy in the Sky with Diamonds,” The Beatles

“A Day in the Life,” The Beatles

“Call Me the Breeze,” Lynard Skynard

“Do You Believe in Magic?” The Lovin’ Spoonful

“A Man Who Was Gonna Die Young,” Eric Church

“Me and Charlie Talking,” Miranda Lambert

“Away in a Manger” Charles Gabriel

Psalm 40/U2’s “40” “He set my feet upon a rock, and held my footsteps firm.”

Isaiah 41:10 “Fear not, for I am with you. Be not dismayed, for I am your God. I will strengthen you, I will help you, I will hold you with my righteous right hand.”

Matthew 27:46 “My God, my God, why have you forsaken me?”

Ephesians 6:13 “Therefore take up the whole armor of God, that you may be able to withstand in the evil day, and having done all, to stand firm.”

Proverbs 16:31 Gray hair is a crown of splendor; it is attained in the way of righteousness

Isaiah 49:16 ”See, I have written your name in the palm of my hands.”

Psalm 34:8 “Taste and see the Lord is good, blessed is the one who takes refuge in him.

Ezekial 36:35 “They will say ‘This land that was laid waste has become like the garden of Eden; the cities that were lying in ruins, desolate and destroyed, are now fortified and inhabited.”

1 note · View note

exceedinglyregular · 6 years ago

Note

Prompt: Fun fact- Andrew can sing and often writes songs in his downtime. Fun fact- he is also hopelessly in love with one Steven Lim. After Steven moves to LA, Andrew is broken. His songs get sadder and the small collection of people who knows this are worried for him. Cue some help from Ryan Bergara, who also writes songs and sings- this time for Shane Madej, who he is moping after. The two help each other write songs, make a name for themselves, and find happiness in those they love.

I decided to interpret your prompt in a slightly weird different way. I apologise for my weird brain.

Also sorry about the tardiness, coming up with original lyrics is a lot tougher than I anticipated. Plus the story kept literally growing on me even though I wanted to keep it short and sweet.

(ao3 link for those who prefer: here)

Title: To the Tune of Your Heart

“What. The. Hell.” Andrew’s head immediately snaps around to look at Adam, those words don’t sound right coming out of his soft-spoken friend’s mouth. He’s flipping through Andrew’s notebook with a look of disbelief on his face. “Okay, some of these are downright depressing. Are you okay?”

“Not all the songs are from my perspective,” Andrew replies nonchalantly. He continues setting up the lights they needed for filming. Adam looks up, annoyed. Andrew sighs. “I’m okay. There I answered your question, now help me with this.” Adam obliges.

…

so i’m a liar, sue mei did what i had toyou never wanted to hurt mebut i did it for you

now you’re happy, without meam i the fool?i should be angrybut i’m happy for you

…

Ryan stares at his reflection in his phone’s blank screen, waiting… Yeah, seems like he forgot, no surprise there. Groaning, Ryan drops his phone on the pillow next to his head, and rolls over to where his laptop is. He lifts the lid and sighs. It’s looking like another solo brainstorm session.

Ryan clicks around aimlessly and accidentally opens a draft of a song he’s writing: ‘For You’. It’s incomplete, much like his life. Ryan cringes at his own thought. It’s been years but he’s still not over it.

Shane has a girlfriend now, and he’s happy. In fact, he’s so happy that he’s probably on a date with her right now, completely forgetting that he agreed to help Ryan out with coming up with ideas for their next videos. Ryan swears he’s not bitter, he swears he’s happy for Shane.

…

it’s not the samein two different citieswho can i blame?i just stood there and watched you leave

spinning round and roundwaiting for your calli’m still holding onnothing else matters more

if this is all there isthen i’m sorry to saythis is where it all endsthere’s no other way

…

This isn’t working. Andrew smacks his face onto the dining table, this is the fifth batch already. Adam has since been long gone, went home to get ready for work. Andrew lifts his head slightly, only to bring it back down onto the table. Hard. He repeats it several times, hoping the pain would give him some clarity of mind.

As fledgling YouTubers, the cards were already stacked against them. But now with his own ineptitude, Andrew’s certain he’s gonna delete the entire subscriber-base that he and Adam had worked so hard to build. Andrew groans, it’s loud and dragged out, and interrupted by a knock on his front door.

It’s probably Adam, having forgotten his jacket or keys or something. Andrew doesn’t care. He shuffles over to open the door, ready to make a snippy remark about Adam’s poor memory. But the words he planned dies in his throat as he realizes who’s standing there. It’s not Adam.

“Ryan?”

The man waves tiredly, a wry smile on his lips. Then his eyes suddenly grow comically large as he points at Andrew’s forehead.

“You’re bleeding!”

Andrew lifts his hand to touch his forehead and sure enough, it pulls back with a thick, bright red liquid covering his fingers.

“So I am,” Andrew states matter-of-factly, completely unperturbed.

…

i got a problemyeah, i got a problem with youdon’t pretend you don’t knowwhat’s the matter with you?

all i wanted to bewas just your friendand that would be the end of itbut you had to goand ruin everythingwith your stupid beautiful facewhat the hell

i got a problem with youi got a bone to pickdon’t pretend you don’t knowwhat i want from you

…

With Andrew all patched up, Ryan can finally relax. He tosses the towel he used into the sink, there is an obscene amount of red on the towel, the sink, and everywhere in between.

Andrew leaves the bathroom without so much as a ‘thank you’, eliciting an eye-roll from Ryan, even though no one is around to witness it. He follows his friend out to the dimly lit dining room.

“What are those?” Ryan points at the weird lumps on the table.

“They’re SUPPOSED to be giant cinnamon rolls.” Andrew sighs, and runs a hand down his face in dramatic fashion, decidedly avoiding the bandage on his forehead.

“Oh yeah, I see it now. I thought they looked like baked poop emojis… no offense!” Ryan gingerly prods the rolls, wondering if they would collapse on themselves as he did that. Andrew for the most part didn’t look angry, just tired.

“None taken. They did turn out pretty shitty.” Ryan bites back a laugh. “So what brings you here tonight?”

“Oh, the usual: boredom, loneliness, heartbreak,” Ryan replies, faux-cheerily. Andrew raises an eyebrow before giving a sympathetic smile.

“Yikes. Sounds bad.” Ryan simply shrugs in response, there isn’t much to be said about his situation, Andrew already knows most of the details. And reciprocally, Andrew had shared his own problems with Ryan. Critically, the one involving a certain someone whose name begins with the letter ’s’ and ends with the letter ‘Lim’.

It’s the main reason Ryan came over in the first place, none of his other friends can relate to his plight to the same degree that Andrew does. Granted, it’s still ways off from complete understanding but it’s better than nothing.

“How’s the side-business going?” Ryan asks as he flips through the notebook that was lying on an otherwise empty chair.

Andrew doesn’t answer verbally, only giving Ryan a weary thumbs-down. Scanning line after smudgy line, an idea suddenly dawns on Ryan.

“What if I helped you out? I may know jackshit about baking, but songwriting… I do know a thing or two.”

Andrew looks hesitant, he scratches at his beard absentmindedly. He’s the sort who would refuse to admit he needs help even when he’s completely and utterly at wit’s end. Closing his eyes, he sighs, tension leaving his body. Ryan knows he’s giving in.

“Okay, but I’m helping you too.”

“Deal.”

…

normally i can be cooland keep it togetherbut when i’m around youi can’t control myself

boy, oh boyyou just had to do me like thisjust one smile from youoh, and i melt away

…

“Do I really have to?” Andrew mumbles, he’s not exactly thrilled with this idea.

He and Ryan are in his living room, everything has been set up to film him performing one of his songs. They spent the past few weeks working on Andrew’s songs, some old, some new, but all Steven-related.

“Just trust me… even if you don’t post this online, you’ll be glad to have something to look back at,” Ryan assures him, while adjusting the lens on the camera to get the focus right.

Andrew pokes at one of the keys on the piano, the sound that it creates is shaky and uncertain, which is exactly how Andrew is feeling. Not many people know about this side of him. He’s always been too scared to sing in front of an audience, performing one of his original compositions is ever further out of the question.

What if he’s not good? What if people hate his voice? Or his lyrics? Ryan said he didn’t have to publish this online but… he can’t stop his mind from wandering into those dark thoughts. Worse still, what if HE hates it? What if he hates his own singing? His own voice?

A weight finds it way onto Andrew’s shoulder, pressing down so suddenly that Andrew jumps up, knocking his knees against the piano. Ouch.

“Hey, hey… relax. You got this.” Ryan’s smiling assuringly, he squeezes Andrew’s shoulder lightly. “You got an amazing voice, believe me… I’m actually jealous.” This line gets some laughter from Andrew, who shakes his head disbelievingly.

“Alright, here goes nothing…”

…

something’s differentmaybe it’s just mebut when you talkall i’m hearing isblah, blah, blah…

has the curse finally been broken?please let it bei’ve had enoughi did my time

…

“Nope, no way. ‘Bergara guitarrar’ is not happening.” Ryan is shaking his head so violently his glasses almost fly off. Shane merely laughs at his objection.

“I mean you don’t actually have to do it just because the hashtag is trending. I’m not going to force you to…” Shane trails off, a trying-to-look-innocent smile on his face. Ryan swears he can see the effort Shane is putting into trying to pop out a halo, and it annoys the hell out of him.

“What the fuck, Shane?! The entire reason you started the hashtag is to pressure me into doing it!” Ryan angrily snatches the bowl of popcorn out of Shane’s hands and stuffs his face with a handful. If he didn’t, he might end up saying something he’d regret.

“You got me there.” The playful energy in Shane deflates, as does his posture. Normally, this action puts a hole in Ryan’s heart but today it sits steeled, unpunctured. He needs to stay strong for this.

Ryan sets the bowl down on the table, one set of fingers clawing away at the popcorn, the other swiping across the trackpad on his laptop. The webpage is scrolling, slowly, but his eyes aren’t focused on the words. He doesn’t have the energy to read.

When he broke up with Shane years ago, he convinced the both of them that it’s because it wasn’t working. That Ryan didn’t feel the same way towards his boyfriend like he did before. But all of it was a lie. The real reason he ended the relationship was for Shane’s sake, the other man was still too uncomfortable with his own sexuality. Shane merely pushed onwards to please him, Ryan was certain of it.

He had initially though that Shane was just being awkward in a new relationship but as the months dragged on, it became abundantly clear that the whole experience was setting Shane on the edge. And that wasn’t what Ryan wanted for him, he didn’t want Shane to force himself to confront his bisexuality when he wasn’t ready. He didn’t want Shane to be miserable just so Ryan can date him, that’s a fucked-up relationship. Hence the break up.

It had initially devastated Shane but Ryan could see the tension in him dissolving over the next few days. Despite the uphill battle, they did eventually manage to return to being just friends. Ryan is certain that never in a million years will he regret his decision, but part of him still wishes that they can get back together. And that part has been getting louder and more insistent over time. Right now, however, all he wants is for Shane to go away.

Too bad the universe hates him, as Shane maneuvers around the dining table just to face him. He flips the chair around and sits backwards on it, leaning forward against the backrest. Ryan doesn’t look up from the screen but imagines Shane resting his head on his crossed arms.

“Ryan,” Shane pleads, sounding more tired than Ryan has ever heard him. “I just think it’s a waste to not showcase that talent of yours.” Ryan doesn’t buy it.

“Bull. Shit. You want to embarrass me.” His patience is running thin but Shane doubles down on his objective, much to Ryan’s chagrin. He leans in and lowers the lid on Ryan’s laptop, looking him straight in the eye. When Ryan refuses to maintain visual contact, Shane seizes the bowl and Ryan instinctually glares at him.

“I don’t. Serious! I’m not saying this simply because you’re my friend, but you got a gift! You should unleash it onto the world!” Ryan waves a hand, physically dismissing Shane’s compliment with certain irritation. He has a point, those words are almost identical to the ones he told Andrew last week, but he refuses to let Shane win.

“Yeah, yeah… still not happening.” Ryan raises the lid of his laptop back up, he cracks his knuckles and begin typing away. “Can we just focus on the research?

Shane sighs heavily, nodding reluctantly. He has given up, for now… Ryan knows him better than to think that he has seen the end of this.

…

back to the startjust a stranger to you nowno matter what i doyou won’t turn around

finally got to know youthen you just had to leave mebehind with all these memoriesoh, what am i to do?

…

The videos were a huge hit, just like Ryan said they would be. Andrew absentmindedly taps his fingers on his knees, watching the numbers on his phone’s screen climb. People are still very much into it, he’s uploaded three songs now and with each one receiving more praises than the last, they aren’t looking much like a fluke.

Andrew locks his phone and tosses it onto the pillow next to him. He should be happy about the success he’s found with his music. The reactions he got were well beyond his wildest imagination. The channel tripled in subscribers, and the videos individually garnered more views than all their previous ones combined. All good news. Except that one no-news.

There’s still no word from Steven, they did still message each other sporadically since Steven moved to Los Angeles to chase his dreams of starring on the silver screen. But ever since the first song went online, it’s been radio silent, and the lack of anything at all is beginning to kill Andrew from the inside. Maybe he’s on a shoot and hasn’t seen it, Adam had supplied so helpfully but they both knew that the chances of that was slimmer than Jim.

When Andrew first met Steven, he immediately changed his mind on the whole ‘love at first sight’ thing. It sounds incredibly cheesy but it’s like a fog had been lifted and rays of sun came piercing through the walls he spent years putting up. The boy was sunny, passionate, bubbly, kind, friendly, and oh so beautiful. Still is. Andrew was caught so completely off his guard that even Adam immediately noticed, and that guy lives in his own little world.

If only Andrew wasn’t so shy and reserved. The entire first month that they worked together, Andrew said nothing to him outside of the occasional instructions on where to point the camera. Their entire relationship was professional and strictly business, despite Andrew’s numerous attempts at opening up. When Steven questioned his standoffish behavior one fine day, all Andrew could return was a seizure-like spluttering noise and some brain-dead mumbling. It was an embarrassing time for everyone involved. Adam often voiced his desire to have been elsewhere when that went down.

Yet somehow, Andrew managed to convince Steven that he doesn’t hate him, and convinced himself that Steven meant more to him than just a for-hire cameraman that they found on Craigslist. The latter was easy, because it was so true. The two had so easily became friends, even closer than he and Adam was. And on the deeper, darker end, Andrew was certain he has fallen for Steven. How could he not? The man would show up on Andrew’s doorstep with his favorite pizza when he made an offhand remark about being peckish. At midnight. The extent that Steven would go just to make Andrew happy was so great that… there are no words for it. Andrew couldn’t imagine life without Steven, it was undoubtedly the best time of his life.

Then it all came to a screeching halt when Steven broke the news that he would be moving to LA after receiving an offer from an agency. He was finally going to fulfill his dreams of becoming an actor. But it just had to happen just as Andrew had finally gathered up the nerves to confess his feelings to Steven. All those words he spent countless nights preparing fell off to the side as he pulled Steven in for a congratulatory hug. Everything went downhill from there. Even now, almost an entire year later, Andrew can still recall the very words he wanted to say.

He needs to get out of here, he needs some fresh air to clear his mind. Andrew picks up his phone and grabs a jacket off the side table that he’s certain belongs to Adam. Keys. Wallet. Socks. And slip into shoes. Ready to leave, he pulls open the door and immediately freezes. At the bottom of the steps is a human-like figure. The stranger looks up and… that’s not a stranger, at least not in the literal sense. Then again, these days, Steven had become so distant that he’s basically one foot into foreign territory.

Andrew’s throat tightens, he wasn’t expecting this and it’s clear from Steven’s expression that he wasn’t expecting Andrew to open the door when he did. The two men remain frozen for several beats too long, neither were sure of what to do. Steven’s the first to break the silence.

“H-heading out?” Steven asks shakily, as if he were freezing. Granted, it can be objectively considered cold but this is nothing for Boston. Then it hits Andrew that had Steven had probably came straight from LA, the difference in temperature is probably something he hadn’t immediately gotten used to.

“Yeah…” Andrew replies stupidly, uncertain on what exactly to say in a situation like this.

“I’ll come back some other time-” Steven starts turning away and Andrew’s heart seizes for a split second.

“Wait!” Andrew yells and Steven freezes mid-step like a scared animal. “Actually, I was hoping you could… come with? I’m just going out for a breather.” The fear on Steven’s face melts away into relief, his eyes are uncharacteristically reflective.

Andrew sprints down the steps so quickly that he couldn’t stop himself from lightly colliding into Steven, who pulls back hastily as if that slight bit of physical contact had burned his skin. The unspoken tension between them is growing thicker by the second… but Andrew knows one place that can fix this. If it doesn’t work, nothing else will.

“Little Joys?”

“That’d be nice.”

…

look at me and tell me there’s not a thingthat you see that’s pulling you in nowor maybe… there is

look at me and tell me you want thisone, two, three, leaning closer infinally… kiss me

…

Shane’s not talking to him. Ryan knew it was a bad idea from the very start. Sure, it got over a million views… but at what cost? This was so not worth it.

Ryan’s reading over the lyrics again, trying to find what could have possibly triggered such behavior in Shane. He even got Andrew, who helped write it, to look through. They both came up blank. But Ryan hasn’t stopped reading the words on his screen, trying desperately to understand what happened. This is so frustrating.

The front door slams, oh good, Shane’s home. Ryan hops off his bed and walks out to the hallway, looking to confront his friend, hoping that he’s ready to talk. But Ryan stops when his eyes land on Shane, he mentally backtracks but it’s too late for him to physically backtrack. Shane is storming down the hall, heading straight towards Ryan like a homing missile, he stops when he’s merely two steps away.

“Are you fucking with me?” Shane asks curtly, the look on his face a perfect marriage of anger and hurt. Ryan opens his mouth and leaves his jaw hanging, unsure if it’s a genuine question that he’s expected to answer. After a few more seconds of uneasy silence, Shane grunts, fierce. “Answer me, Ryan!”

“I-I… What are you talking about?” Ryan is stunned by the outrage he’s facing, he knows Shane is talking about the song but he doesn’t know what part exactly.

“THE SONG!!” Shane yells at the absolute top of his voice. The volume sends a shiver down Ryan’s spine. “Why are you fucking with me like this?!” The eye contact is bordering on lethal, and it lasted almost an entire minute before Shane breaks it and looks down. His entire body is shaking.

“I know I shouldn’t have pressured you into doing it, Ryan, and I’m really sorry, but… but-” It takes Ryan far too long to register what’s happening before his very eyes. Shane is breaking down, crying, choking on the tears he’s spilling. That’s what the shaking was. Ryan’s heart is breaking into pieces, his ribcage tightens as he forgets how to breathe. Then Shane delivers the final twist of the knife. “You know I still love you, why would you do this to me?”

The world goes quiet. There are no sounds apart from the rushing of blood in Ryan’s ears. Time stands still. The waves of emotion retreats, the winds stop. It’s the calm before the storm. Then it hits Ryan all at once like a freight train. He’s tripping over his thoughts… Shane still loved him? He didn’t trust his ears to have heard it correctly. When he finally recovers, he pushes his need to clarify.

“Y-you still love me?”

“Yes, I do and yet you…” Shane stops to steady his breathing, his chest shuddering as he does so. “You g-gave me hope and then immediately take it away. What kind of sick joke-”

“It’s not! I love you, I really do!” It’s Ryan’s turn to cry now, the years worth of bottled emotions come rushing out. “I didn’t want to break up with you but I just… I-” Shane cuts him off with a kiss. It’s desperate, it’s resolute, it’s familiar… Like listening to an old favorite song that you haven’t heard in years.

A sudden thought hits Ryan on the side of his head and he quickly pulls back. “Shit, what about your girlfriend?!”

“My wha- Irene?” Shane’s tone is incredulous, as if he cannot even grasp the concept that Ryan could possibly think that. “There’s nothing going on between us, never was… never will be.”

Ryan heaves a huge sigh of relief. Shane looks onto him with the warmest smile on his face, and the happiest look in his eyes. They lean in and kiss again, this time softer and more gentle. It’s an apology, it’s an affirmation, it’s an ‘I-miss-you’.

They have a lot to catch up on.

…

when did everything becomeoh so messybetween you and me

if we could turn time backwould you pick meover the city of dreams

…

A mere two blocks away from Andrew’s place, Little Joys Ice-Cream Parlor is one of he and Steven’s favorite hangouts. The amount of time they had spent there was staggering, they were on first-names basis with all the employees there.

When they step through the doors of the establishment, several heads turn to look, mostly the employees. There’s a mixture of smiles and nods as a form of greeting their regular customers. There are few patrons around, typical of a weekday afternoon. Andrew and Steven immediately head for the booth in the corner without so much as a second thought, it’s their usual spot.

Normally customers are supposed to go up and get their food themselves but as regulars, Andrew and Steven gets a little VIP privilege. One of the employees, Jennie, was wiping down a table earlier but seeing the duo take their seats, she happily skips over to their table.

“Hey! It’s been a while.” Jennie greets with a giggle, the soaked cleaning cloth in her right hand is dripping a puddle on the floor right next to her but she doesn’t seem to notice. “What would you boys like? The usual?”

Andrew’s not in the mood to think about exactly which flavors he wants, so he simply nods at her question. It seems that Steven’s the same way as he mirrors his action. Jennie strangely doesn’t notice that something is amiss with their behavior and accepts their orders and merrily makes her way towards the main counter.

They wait in silence for their orders to arrive, neither ready to speak. Normally they would be sitting so close that their shoulders touched, despite the fact that the booth can easily sit six people comfortably. But this isn’t normally, and right now there’s just enough space in between for Adam to comfortably third-wheel them.

But even at this distance, Andrew can still feel the tenseness radiating off Steven’s body. His own body is stiff, aching, and uncomfortable, despite the plush cushioning of the seats. He desperately wants to shuffle in closer, put his hand on Steven’s knee, lean his head on his shoulder, and make things okay again. Before he can do any of that, Steven breaks the silence.

“Are they-” His voice creaks and he forces a cough to clear his throat. Andrew watches as a million different emotions flash across Steven’s face, but he doesn’t recognize any of them. Steven rests his elbows on the table, hands clenched together. He presses his hands against his lips in a frown, sighing. Then finally he leans back and lets his arms fall at his sides, he doesn’t look at Andrew when he asks.

“The songs… are they about me?” A lump forms in Andrew’s throat but not before his heart found its way into his mouth. He wants to answer but his tongue is tied up, scared. What if this is it? What if Steven’s here to denounce their friendship? Andrew tries to reason, why would Steven fly all the way here just to tell Andrew that he never wants to see him ever again? That doesn’t make sense.

“Please tell me they’re about me. They have to be! I… I really like you and-” The urgent pleading tone that Steven has taken on forces Andrew to look at him. There are tears running down his cheeks and Andrew’s stomach drops, feeling guilty for inflicting this on his friend.

Of course, Steven feels that way about him, of course! Andrew wasn’t blind to it, so why was he so scared? He tries hard to push aside the dizzying feelings to try and confess, but his thoughts are jumbled and his mind is fuzzy. He just can’t find the right words for the moment. Unfortunately, Steven misconstrues his silence for something else entirely.

“Oh my god, of course they’re not. I’m so stupid, I flew all the way here on a stupid hunch. What was I thi-” Andrew brings a hand up to cup the side of Steven’s face, and Steven immediately shuts up. Pinky trailing Steven’s jaw, Andrew takes in a breath to prepare himself for what he’s about to do. When words don’t work, actions will. Steven’s eyes are wide with wonder and he opens his mouth to no doubt ask what’s going on, but Andrew cuts him off with a kiss.

The kiss is slow and tender, as if Steven is something fragile that Andrew’s holding between his lips. He had dreamt of this moment so many times but nothing can prepare him for the real thing. And even though the kiss lasted only seconds, when they break away, the tips of Andrew’s ears are searing hot. His breathing is shallow and his cheeks are warm.

Steven looks lost, like he’s still processing the last few seconds. Andrew can almost see the 'buffering’ spinner in his eyes. When he finally catches up, he’s smiling like the ball of sunshine that Andrew knows and loves. The serenity of the moment gets interrupted by Jennie’s untimely return with the ice-creams.

“Aww!” She just can’t help herself, can she? With her usual grace, she sets down their orders on the table. “Don’t mind me, you two lovebirds carry on.” She cheekily winks at them and saunters off.

Andrew shifts his eyes back to Steven and he’s in a shade of red that rivals a freshly-picked cherry tomato. The entire scene is just too much for Andrew and he just laughs, completely enamored by the man in front of him.

“You still haven’t answered me…” Steven pokes Andrew in the side with his finger. Andrew ignores him and proceeds to take a huge spoonful of his multiflavored desert. When Steven pokes him again, he simply raises an eyebrow and makes a noncommittal noise, earning him a third poke.

Conceding, Steven picks up his own spoon and scoops a little bit of each flavor from his bowl, mixing them up. Just as he is bringing the spoon to his mouth, he stops to take a look at Andrew’s bowl and makes a face, one that Andrew is all too familiar with.

“For the last time, Steven, red velvet is not simply adding food colouring!” Andrew mock-scolds, flipping Steven off. “Stop judging.”

Now they’re both laughing and everything in the world is right as rain, once again.

…

is this love?i don’t knowbut all i ever wanted is in front of me nowi’m stuckwhat do i do?i want to tell you that i love you but i don’t know how

i was stupid to let you goso crazily stupidi am crazy about you, y'knowso stupidly crazy

but i know better nowdon’t want us to be aparti just wanna sing it out loudto the tune of your heart!

Closing Notes:

This was supposed to be short. Yeah, didn’t happen… I have no self-control. Also, I’m realising I’m really into certain tropes.

#ST06 #standrew #standrew prompts #standrew fic #shyan #shyan fic #shyan prompts #ao3 fic

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mss4msu · 7 years ago

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Happy 100th Birthday Steven!

Summary: The Avengers decide to throw Steve a 100th birthday party. The theme is throwback, but no one wanted to research the 1930s, so they decide to do the early 2000s. Cap is introduced to a new decade of culture, and he and Bucky are particularly taken by Lil John’s “Get Low”.

Words: 1871

A/N: This one goes out to @221bshrlocked because she hyped me up that this would be a hilarious idea. I’ve decided I’ll be making a series of “Steve and Bucky are introduced to various pop culture things that are dirty, but they don’t know that”. This one is fluffier than my fluffball of a dog (future ones may get smutty, who knows?).

“Alright gang, it’s Cap’s BIG birthday next week, so we should get started on planning his party.” Tony had called together a meeting of all the Avengers except for Sam, Bucky, and Steve to put together a surprise bash for Steve’s 100th birthday. You had all voted that telling either Sam or Bucky would mean the surprise would be ruined, so the trio was being kept in the dark.

“I still think we should have rented out the Natural History Museum so he could party with all the other fossils. That’d really be a throwback party,” Nat remarked. The group had also decided the theme of the birthday should be a throwback. Of course, you’d all been so busy on missions no one had had the time to research the early 1900s, so it was decreed that the early 2000s would be used instead.

“Well the old man wanted to have a low-key birthday, so I figured a large public space wouldn’t be a great place for that. I’m not trying to start another Civil War over a birthday.” Tony replied. “Rhodey has a busy week of ‘Iron Patriot’ appearances (it’s 4th of July, I’m not calling him War Machine), so he has divided up tasks for everyone. Bruce, Peter, and I are on decorations. Wanda and Vision, you can prepare the food. Clint and Scott, you’ll be in charge of keeping Steve, Bucky, and Sam busy day of so we have time to set up. Nat and (Y/N), you’re in charge of music. The guest list is just us; the Wakandans are busy doing outreach programs about cultural appropriation, which is fitting for this time of year, and Thor is on some other planet. Alright, everyone know what you’re doing? Great, then go do it!”

Everyone split up and spent the week secretly organizing everything for the party. You and Nat spent hours crafting the perfect Spotify playlist, not wanting to leave a single jam out. Finally, it was the day of the party. You woke up just in time to join Clint and Scott’s in the chauffeuring of Bucky, Sam, and Steve to the big Fourth of July parade. You knew you could slip out later to come back and help everyone set-up, but Steve had been asked to be the Grand Marshall of the parade and you wouldn’t miss it for the world.

“Happy Fourth of July!” you winked at Steve as you got in the car. He rolled his eyes at you, waiting for the follow up. You just stared at him in response for a few seconds, not wanting to give him satisfaction to early. “Oh right! And happy birthday Steve!”

“Thank you!!” he beamed. The parade lasted longer than you had hoped, but it was worth it to see Steve at the head of the parade, an embodiment of everything America should be, and slightly restoring your faith in the country.

“So, you guys want to go get ice cream?” Scott asked when you met up with Steve following the parade. “I know a Baskin Robbins nearby!”

“I actually have to head back guys, I forgot the sunscreen this morning, so my skin has become a very patriotic mix of white and red,” you replied. Although this seemed like an easy out to get back to the party preparations, you really had gotten a bit of a sunburn at that parade.

“We could give you frostbite and you’d be red, white, and blue!” Sam joked. You punched him on the arm and got a Lyft to pick you up.

You got back to the compound and couldn’t believe the quality of the decorations. Movie posters of the most iconic early 2000s films, like A Cinderella Story and She’s the Man, lined the hallways. Nokia bricks and Razr phones were hanging from the ceiling, their screens decorated with pictures of Cap. You couldn’t figure out who had taken the pic of Cap with listening to an iPod in a bubble bath, but you were so glad they had. The food tables were decorated in layers of denim, and you felt blessed that Britney and Justin had graced the world with that look.

Everyone was scrambling to finish their jobs, and you and Nat were putting the finishing touches on the playlist, when Scott texted that they were on their way back.

“Alright everyone, places!” Tony yelled, and you all crouched behind the furniture, with the exception of Peter, who had literally gone above and beyond by hiding on the ceiling.

“I know everyone says apple pie is American, but putting apple pie IN ice cream is really taking things to the next level!” you could hear Bucky chuckling as they walked down the hallway.

“What in Sam Hill is this?” The confusion in his voice made Natasha stifle a laugh and you realized he likely had no idea what he was walking into. You had been helping him go through his “things to catch up on” list and you were nowhere near the 2000s. This was going to be a crash course for him.

Steve flipped on the lights to the room and everyone sprung up and yelled, “SURPRISE!” He stumbled back slightly, the surprise working on him.

“Don’t have a heart attack there, old man,” Nat said, punching him on the arm and giving him a hug.

As everyone started enjoying the food and Nat turned the playlist on, you gave Steve and Bucky a tour of the 2000s .

“So what’s with the phones?” Bucky asked.

“Well, the Razr was the classic phone all the ‘cool’ kids had back in the day,” you winked at them, “and the Nokia is a phone noted for being unbreakable.”

“Unbreakable?” Bucky asked, raising his eyebrow at Steve. They both ripped a Nokia from the ceiling, and you yelled for everyone to gather around for a true test of strength. Steve tried with all his might, but even his super soldier strength was not enough for the brick. Bucky tried to break the phone, squeezing it between his metal fingers, but could not cause even a crack in the screen.

“Is Thor coming?” You heard Clint ask. “Maybe his hammer is worthy enough to break a Nokia.”

“Tony, we may have to talk to Nokia and see if we can use this tech in suits or something,” Bruce remarked, taking the phone from Steve.

As the playlist started playing the dancing songs, you and Nat cleared the dance floor, which you had decorated as a giant Dance Dance Revolution mat. Steve and Bucky watched as everyone took the dance floor and started doing the “Cupid Shuffle”.

“Get over here boys!” you yelled. They shook their heads no, so you ran to them, grabbed their arms and pulled them to the dance floor. “Look, it’s easy. It’s to the right to the right to the right to the right, to the left to the left to the left to the left, then you kick, kick, kick, kick, then walk it and turn to the next side!” They watched you, tripping over themselves, and slowly got the hang of it just as the song ended.

“We’ll need to practice that one again I think,” Steve huffed to you.

“You’re tired after that version? I’ve got a more advanced one that involves kicking and dropping it low,” you winked at him, making him blush.

“EVERYONE CLEAR THE FLOOR!” you heard Peter yell. “THIS IS MY SONG!” Everyone moved off the dance floor and cheered as Peter strutted his stuff to Rihanna’s “Umbrella”.

There was more dancing and fun-having when THE song you had been waiting for came on. “Nat, we should have moved this song up the playlist!” you yelled, turning the volume of the speaker all the way up, and sprinting to the middle of the dance floor.

“TO THE WINDOW!!!! TO THE WALL!!!!!! TILL THE SWEAT DROP DOWN MY BALLS!!!!! TILL ALL THESE BITCHES CRAWL!!!!” You screamed, busting a move.

Steve and Bucky stared at you with their jaws dropped.

“UM (Y/N)?” Steve yelled, “WHAT KIND OF SONG IS THIS???” You ignored him and kept dancing.

“WHY THE HELL ARE YOU GOING TO THE WINDOW AND TO THE WALL??” Bucky asked, looking at Steve and confusion and trying to figure out what made the wall better than the window and vice versa.

“AND WHY ARE YOU ANNOUNCING TO THE WORLD THAT THERE IS SWEAT DRIPPING DOWN YOUR BALLS?” Steve screamed, turning red from yelling and from the idea of discussing his privates so publicly.

You were too busy dropping that ass (hey!) and attempting to shake it fast (hey!) and popping that ass to the left and the right (hey!) to answer them. And they became too busy watching you do it to keep asking questions. Eventually they started singing along, Steve feeling all too pleased with himself when yelling “MOTHERFUCKER!”

By the time you were bending over to the front to touch your toes, Bucky was next to you, shaking his butt along to the beat. Steve and Bucky screamed out the last chorus, giggling as they yelled “SKEET SKEET SKEET.” You raised your eyebrow at Natasha, wondering if these two actually knew what “skeet” was, but you quickly forgot as Vision wheeled out a giant birthday cake covered in lit sparklers.

“The fire marshall told us that using 100 candles would be a fire hazard, so we decided to do 35 sparklers, because that’s how old you look,” he said dryly.

“That’s very kind of you, Vision.” Steve blushed.

“Even with super soldier strength, I don’t think you will be able to blow out the sparklers. Perhaps that was a mistake on our part,” Vision stated.

“It looks great, Vis!” Steve cheerily replied.

“Are you getting teary-eyed Cap?” Tony chuckled.

“I’m just very thankful to have all of you as friends and to have been given such a spectacular party. Skeet, skeet to you all!” He said, holding up a bite of cake in a cheers.

“Skeet, skeet!” Everyone replied back, holding back giggles.

For the next few weeks, any training session with Steve and Bucky was set to “Get Low.” You began to make a game out of it, and every time the “all these bitches crawl” lyric came on, you would stop everything, get on the floor, and start crawling towards them. They started having everyone run sprints from the window to the wall, and you regretted ever having introduced them to the song in the first place.

You all found redemption in their new use of the word “skeet”. Nat had convinced them that “skeet” was a new and improved version of “yeet,” and should be used in times of agreement or before doing exciting things. Steve began yelling “SKEET” before jumping off the Quinjet on missions, and Bucky would scream “SKEET” before punching out bad guys. He couldn’t figure out why the villains always got knocked out with a confused laugh. At this point, the joke had gone on for too long to tell them the truth of what “skeet” actually meant. Your only hope was to introduce them to a new catchphrase, and sooner rather than later, before they “skeet”ed the wrong person...

#marvel #happy birthday steve #happy birthday cap #captain america #steve rogers #fan fic #independence day #100th birthday

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justanothercinemaniac · 6 years ago

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Epic Movie (Re)Watch #239 - The Muppet Movie

Spoilers Below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: No.

Format: DVD

1) The prologue.

How this film opens - with an assortment of Muppet characters getting together for a private viewing of The Muppet Movie - does well to establish tone. It’s pretty much the filmmakers telling the audience, “You don’t need to take this too seriously, it’s just a fun movie.” It reintroduces us to The Muppets who we know but in a way where this could be someone’s first Muppet film and you understand the role of each character. Not only that, but Kermit’s response to Robin’s question of if this is how the Muppets actually met enhances the meta tone.

Kermit: “Well it’s sort of approximately how it happened.”

2) “Rainbow Connection”

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“Rainbow Connection” might be up there with “It’s Not Easy Being Green” as the song most associated with The Muppets, and there’s a reason for it. The song is timeless, fitting in during any era (much like the characters themselves). It is a beautiful, optimistic, and imaginative song that not only sets up Kermit’s character well but the theme of the film. It has that daydreamer element that The Muppets are essentially founded on. If you haven’t heard it before I recommend taking a listen.

3) When I was young I had no idea who all these celebrities were or that they were celebrities. Now that I’m older I can notice them in what I call “Cameo Watch!” Like this first cameo. CAMEO WATCH: Dom Deluise

4) This film has an incredibly sharp wit to it shown through its dialogue, humor, and characters.

Dom Deluise: “I have lost my sense of direction.” Kermit: “Have you tried Harry Krishna?”

5) Kermit the Frog as a character.

Okay, let me just say, it feels really weird to talk about The Muppets as characters. Because it’s hard to think of them as characters being written. They’re The Muppets! They’re Kermit and Fozzie and Ms. Piggy and they just are themselves. This mere challenge speaks wonders to the consistency of writing and performance given by the Muppeteers. Kermit for example: Kermit is totally unselfish. His entire motivation for going to Hollywood isn’t fame/fortune on its own but the opportunity to make, “millions of people happy.” He’s a pretty down to earth, reasonable frog who tags along with a bunch of nut cases and does his best to reign in the insanity. He’s lovable, he’s sharp, he’s funny, he’s Kermit the Frog. I don’t know what else to say.

6) With the film’s budget Jim Henson wanted to really push the limitations of puppeteering. One of the most difficult effects (whose deceptively simple appearance speaks well to the talent of the filmmakers) is Kermit the Frog riding a bike. I don’t even know how they did that.

7) The El Sleazo Cafe is Kermit’s first stop on his road trip/odyssey of sorts. It’s an environment which A) he is not used to and B) kind of is his contrast. Yeah he’s from a dirty swamp but this is a different kind of dirty. This is mean people who like to fight, not Kermit. Seeing this frog out of water creates a nice energy to the scene and a first good stop on the film.

8) Cameo Watch: James Coburn, Madeline Kahn, Telly Salva, Carol Kane and Paul Williams all appear in the El Sleazo scene.

9) I feel like sometimes I’m Kermit.

Kermit [about Fozzie]: “This guy's lost.” Waiter: “Maybe he should try Hare Krishna.” Kermit: “Good grief, it’s a running gag.”

10) Fozzie Bear.

The Costello to Kermit’s Abbott, I struggle to talk about Fozzie in much the same way I did with Kermit. Because what is there to say? He’s a bit of a dork but a funny, good hearted/good natured one. He’s funny, his relationship with Kermit is one of the things that keeps the franchise going as strong as it does, I don’t know what else to say. He’s Fozzie Bear.

11) Something I will say it is a testament to these performers that each Muppet feels so naturally alive. You never look at any of them and think, “That’s a lifeless bit of felt.” Not only do the likes of Jim Henson, Frank Oz, Dave Goelz, and the other Muppeteers do well at creating an individual character but distinguishing characters. These performers are working as multiple characters in a production and while older audiences might recognize the similarities in voices you don’t look at Rowlf the Dog and think, “Yep, that’s Kermit,” or at Miss Piggy and think, “Yep, that’s Fozzie.” They’re legends and it’s no mystery why.

12) Doc Hopper is actually an excellent villain for The Muppets to face off against.

The reason Doc Hopper is so effective is because he’s the total antithesis of The Muppets. He’s a greedy, conniving, insincere, manipulative sellout of a man. His dreams don’t involve making people happy they involve making himself rich and anything he can’t have he’ll destroy. Henson and crew - despite the success of The Muppets - were never doing anything because of the mainstream appeal. They had a ton of bizarre, unique, and wonderful flops under their belts (see: Labyrinth). It’s almost like Doc Hopper represents mainstream showbiz wanting them to sellout and the journey is about staying true to your dream. I love that.

13) “Movin’ Right Along”

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There’s not really a bad song in the film (although there is one I really just hate but that doesn’t mean it’s bad per say, more on that later). Although none are as praised as “Rainbow Connection”, “Movin’ Right Along” is an excellent second number. It has the same amount of hope and optimism to it that infects the film, with the idea of progress and moving forward at the heart of it. It’s a great buddy song for Kermit and Fozzie, with the same amount of wit and heart that the film prides itself on.

13.1) I’d be remised if I didn’t mention two of my favorite gags in the film. The fork in the road…

And a very special cameo.

14) Not that he cares, but wouldn’t Doc Hopper using Kermit’s likeness on a billboard without his permission illegal?

15) I’m a sucker for any movie that has a moment where a character reads the script for the movie.

16) “Can You Picture That?”

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In my opinion, this could possibly be the most underrated song in the Muppets’ musical canon. It stands up well against “Movin’ Right Along” and “Rainbow Connection” with its energy and positivity. Basically it’s a song about challenging your imagine and even though the lyrics can feel nonsensical that’s sort of the point. It’s about thinking of things, picturing unique things that might not make sense. But just because something doesn’t make sense doesn’t mean you shouldn’t do it.

17) And disguising the car worked for a grand total of 7 seconds.

Max [after being told to look out for a frog and a bear in a brown colored Studebaker]: “Gee Doc, all I see are a frog and a bear in a rainbow colored Studebaker.”

18) Gonzo the Great.

It is like each character you meet in this film is increasingly crazy. Kermit, then Fozzie, then Dr. Teeth and his band, and now the personification of Muppet weirdness times ten: Gonzo! Gonzo is fun, funny, insane, and just perfectly random enough to give the group an extra oomph. There’s a chance this weirdo might be my favorite Muppet character! Maybe, maybe not. It’s hard to pick a favorite.

(GIF originally posted by @nostalgicgifs)

19) Cameo Watch: Milton Berle.

20) Cameo Watch: Elliott Gould.

Okay, I thought I remembered all the cameos but I 100% forgot about Gould’s appearance. It actually made me jump.

21) Cameo Watch: Ed Bergen.

This scene was shot shortly before the legendary puppeteer’s death in 1978. His appearance in the movie held particular weight for Jim Henson, as Bergen and his wooden sidekick (Charlie McCarthy) influenced his interest in puppetry. The film is dedicated in Bergen’s memory.

22) I low-key love that Miss Piggy wins a beauty pageant and no one really bats an eye at it. Take that conventional standards of feminine beauty!

23) “Never Before, Never Again”

God I hate this song. I usually skip it. It’s just so awkward and uncomfortable for me to watch, but I think that’s the point. I think it’s supposed to be funny, Frank Oz singing this sweeping love ballad as Miss Piggy. And it taking itself seriously is part of the joke but it is part of that seriousness which makes me hate it. I actually wrote in my notes, “Wake me when it’s over.” I think it’s objectively a good song and good part of the film, I just flat out don’t like it. The one weak link for me in this excellent picture.

24) Wait, is Ms. Piggy meant to be the Yoko Ono of The Muppets in this movie?

25) Cameo Watch: Bob Hope and Richard Pryor both show up at the county fair.

26) The scene where The Muppets chase down Gonzo on his balloons is a fun bit of fast pacing “action” to add to the film. It’s hard for a Muppet movie to have non-musical related set pieces but the balloon chase feels appropriately Muppety while being different enough to add some variety to the story.

27) Miss Piggy.

Miss Piggy is such a larger than life character and perhaps the character with the most to do in the series. She is a diva with aspirations of being famous, but she also knows characters and any time The Muppets need a fight scene they bring in Miss Piggy! As mentioned above, Frank Oz does a great job not only breathing life into the character but making her so different from Fozzie.

28) Cameo Watch: Steven Martin.

Steve Martin might do the most with his cameo. He is an over the top frustrated waiter, something anyone who’s ever worked in food service can relate to. Steve Martin is pretty much great in anything though.

29) The dinner date between Kermit and Miss Piggy is actually really nice, makes me understand why they date.

30) Rowlf the Dog.

Possibly the most interesting thing about Rowlf is how people have noted his personality matches Jim Henson’s the closest out of all of Henson’s characters. In recognition of this, Rowl didn’t speak in his film appearances for a while after Henson passed away. He’s a fun character already, but I think this detail adds a nice layer of heart to it.

31) “I Hope That Something Better Comes Along”

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In typical Muppet fashion, something as relatable and common as heartache is turned into an upbeat bar tune. It’s one of the nicest songs in the film and a real ear worm. It is also essentially Jim Henson singing with himself so take a moment to let that set in.

32) Cameo Watch: Mel Brooks.

Okay, Mel Brooks might do the most with HIS cameo. Brooks commits to the comedy and insanity of the performance just as he would in any of his own films (Blazing Saddles, Spaceballs) and it really adds a shot of energy to the scene. Brooks is so active, he does so many little things to add to his character/performance/comedy. I wonder how much of it was improv.

33) So I feel like the filmmakers didn’t know how to get from Miss Piggy ditching Kermit for a gig to Miss Piggy rejoining the group on the road, so they literally decided to stop the movie and let the audience breathe for a moment. I love that.

34) “I’m Going To Go Back There Someday”

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This is such a beautiful and bittersweet melody. It comes at the film’s low point, when the group thinks their dreams are done for. But the song is just so lovely it makes my heart warm. The lyrics are wonderful and I think it’s an amazing ballad. I love it.

35) Life lessons from Kermit the Frog.

Kermit: “I can’t spend my whole life running away from a bully.”

36) Oh quick, the film is almost over! Let’s get Bunsen and Beaker in at the end!

37) Kermit’s heartfelt plea, of choosing happiness over money and finding family/friends, is great. But Doc Hopper’s response to it is so sad.

Kermit: “If what I'm saying doesn't make any sense, well then... go ahead and kill me.” Doc Hopper [after a moment to think, reluctantly]: “All right boys. Kill him.”

38) Deus Ex Animal.

39) Cameo Watch: Cloris Leachmen.

40) Cameo Watch: Orson Welles.

Welles’ character’s name Lew Lord is actually a reference to real-life Producer Sir Lew Grade. When Jim Henson was trying to find a producer to make The Muppet Show, no American network was interested in the concept. Grade recognized the potential in the idea and helped make the show happen.

41) Ah, if only it were this easy.

Lew Lord: “Prepare the standard ‘Rich & Famous’ contract.”

42) The finale of this film, “Magic Store,” is a fun final number. It shows The Muppets have made it, they’re doing what they love. It’s the culmination of everything up to this point and even when things don’t go as they plan they’ll roll with it. And we’re given a great final message.

Kermit: “Life’s like a movie, write your own ending…” Muppets: “Keep believing, keep pretending; we've done just what we've set out to do, thanks to the lovers, the dreamers, and you!”

The Muppet Movie might still very well be the best film to feature the classic characters. It has their trademark heart, humor, and imagination all in top form. You can watch it at any time, it ages very well. So whether it’s your first or last time putting it in, I’d say give The Muppet Movie a watch.

#The Muppet Movie #The Muppets #Kermit the Frog #Jim Henson #Ms Piggy #Epic Movie (Re)Watch #The More You Know #Movie #Film #GIF

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thesinglesjukebox · 5 years ago

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The Singles Jukebox Celebrates 30 Years of Rhythm Nation 1814 (a Janet Jackson retrospective)

Janet Jackson’s had one hell of a career. It’d be glittering even if you were to cut the album she released 30 years ago this week out of history. And historic is what Rhythm Nation 1814 is, not like a war, but like a discovery; it was groundbreaking and influential and so much pop released in its wake owes it a debt of gratitude. The album contained seven top 10 singles in the U.S., each with indelible melodies, state-of-the-art beats and vivid music videos. Janet was always on the radio, always on TV, and welcome everywhere she went. She endured the failure of two albums and the weight of family baggage before reinventing herself, seizing artistic control and having one of the longest and brightest imperial phases of any pop star. Sex positive, romantic, assertive and wise, she’s an icon whose brilliance comes as much from how her songs make us feel about ourselves as they do about her.

Her familial connections might help explain her, but they didn’t define or limit her. She’s a sympathetic performer, an innovator in the development of music video as an art form (someone in her camp needs to fix up her spotty presence on video streaming sites, people need to see these videos in HD) and a smart, underrated songwriter in her own right. There’s a lot of Jackson in Beyonce, in Rihanna, in Britney, and in any woman who makes us smile and makes us dance. Because she did all those things over and over again.

Here’s a bunch of songs by Miss Jackson that moved us, or just made us move:

Katherine St Asaph on “Nasty” [8.14]

Date the quote: “[His] dance cuts have a format-friendly, artificial sheen … but she seems more concerned with identity than playlists.” This is not from 2019, about a post-Spotify pop star (I cheated a bit, leaving out a reference to “Arthur Baker dance breaks”) but from the ’80s. Specifically, it’s from the Rolling Stone review of Janet Jackson’s’s Control, the first half of which is a review of a comparatively nothing Jermaine Jackson album. This was typical: if press didn’t dismiss her as an biographical afterthought who happened to still sing, they wrote about her alongside her family, and specifically her brother. (This continues to this day: Note the sustained attention given to her response to Leaving Neverland, which ultimately was to join her family in condemning it.) The line everyone quotes is “Ms. Jackson if you’re nasty,” but more pointed is one of the lines that precedes it: “my last name is Control.”

The lyric to “Nasty” is full of that sort of role-reversal, like a swordfight where one guy yoinks the other guy’s sword — the sword being the “nasty groove.” But said groove possibly illustrates the lyric even better. Made by producers/former The Time members/future creative partners Jam & Lewis out of big ’80s percussion, plus clanks and repurposed orchestral stabs from an Ensoniq Mirage, one of the earliest sampling keyboards, it doesn’t sound martial exactly, like some of Jackson’s later work, but certainly sounds stark. It sounds like a challenge, one Janet takes up: her past soubrette voice drops to a throatier register, then is stoked into roars. The beat’s not quite its own thing; “Nasty” resembles experiments like Herbie Hancock’s “Metal Beat,” and in turn much of New Jack Swing resembles it. But how Jam & Lewis described it was a rapper’s beat — now standard for pop or R&B singers, from Destiny’s Child to Ariana Grande and Billie Eilish, when they want a tougher image. Meanwhile, Britney took Janet’s soft spoken-word interlude “I could learn to like this” and extrapolated an entire career from it — and covered it, unusually early in her career — but simplified it, mostly collapsing the context of family ties and dignity and creative control onto one axis: sex. But what they’re all doing is asserting this kind of Control.

Part of appreciating songs from the ’80s and ’90s is prying them out of the clutches of the era’s pop-culture jokification– I do like MST3K, but their sort of snappy “Nasty” joke is kind of what I mean. More than one article/restaurant review/listicle attempts to identify, meme-ily, Janet’s idea of “nasty food” (Janet’s answer, dubiously, was whole squid). A certain comment by a certain head of state gave the song a late-breaking sales boost But put on some ’80s radio (or a contemporary playlist of people copying ’80s radio) and wait for “Nasty” to come on. The rest of the radio will flinch.

Kat Stevens on “What Have You Done For Me Lately?” [8.67]

“What Have You Done For Me Lately?” is a sparse, angry snap of a song, the overspill of weeks and months of gradually-building resentment. It’s taken a nudge from bezzie mate Paula Abdul for Janet to fully admit her relationship has gone sour: her once fun-loving, adoring beau has become complacent, content to put his feet up on the sofa and take Janet for granted. Should she leave? She loves him! Or does she? Should love really feel like a heavy weight, pressing down on you? Like your stomach won’t stop churning? Like letting the phone ring out unanswered rather than deal with his temper? Like maybe it’s your fault that he’s like this? “Who’s right? Who’s wrong?” Janet is determined to make a decision with a clear head, but the anxiety and hormones are bubbling underneath (“I never ask for more than I deserve…“). Thankfully Jam & Lewis are on hand with a clinical, whipcrack beat — snap out of it, Janet! The tension manifests itself in her zigzagging shoulders, hunched and strained and contorted, primed to lash out – just as he walks through the door! Janet is wary, but her dude is on his best behaviour, puppy-dog eyes, I’ll do better from now on, I swear. They dance perfectly in time together, remembering the good times: all is forgiven. Surely Janet hasn’t fallen for the same old lines, doomed to repeat the cycle? Paula is rolling her eyes: ugh, not this bullshit again… Then, as the happy couple laugh together over dinner, Janet glances back at us, and the smile falls from her face. The decision has been made. As soon as Mr ‘Not All Men’ leaves for work in the morning, she’s putting her passport in a safety deposit box and setting up a secret savings account to fund her getaway. The plan is in motion. You’ve got one life to life.

Thomas Inskeep on “Diamonds” (Herb Alpert ft. Janet Jackson) [6.80]

After “The Pleasure Principle,” this might actually be my favorite Janet Jackson single (even though she’s technically the featured artist on it). “Diamonds,” written and produced by Jimmy “Jam” Harris and Terry Lewis for Herb Alpert’s 1987 album Keep Your Eye on Me, is, in all but name, a Jam/Lewis/Janet record — with a few Alpert trumpet flourishes. The beats rock hard, and Janet delivers what may be (and certainly was at the time) her most IDGAF vocal: you’re gonna get Miss Jackson (because you’re clearly nasty) some diamonds, aren’t you?

Alfred Soto on “The Pleasure Principle” [8.43]

For all the banter over the years about the cold and steel of Jimmy Jam and Terry Lewis’ beats for Control, the coldest and steeliest they had no hand in creating. Songwriter Monte Moir, like Jam and Lewis also a The Time alum, stumbled on the title first: “I had to figure out what it was I was trying to say, I just stumbled into the title and realized it fit.” Sung by Jackson in her airiest, most insouciant coo, “The Pleasure Principle” starts with bass synth and cowbell before settling down into a matter-of-fact tale of a night of sin. To visualize the concept, choreographer Barry Lather put together one of Jackson’s most iconic videos, a masterpiece of athleticism involving chairs. Too cold and steely for the audience, or perhaps the hype cycle for a sixth single had exhausted itself: “The Pleasure Principle” missed the top ten in the summer of 1987, stopping at #14. So ignore the single mix and revel in Shep Pettibone’s Long Vocal Remix.

Kat Stevens on “Let’s Wait Awhile” [6.60]

Can you have an erection-section classic that’s primarily about abstinence? “Let’s Wait Awhile” has all the features of a late-night Magic FM request slot regular: soft electric piano, finger clicks instead of drums, lyrics about promises and feelings and stars shining bright. But this message is about trust, not lust. It takes courage to admit that you’re not ready, and it requires faith in the other person that they’re not going to be a dick about it. I remember the advice columns in Just 17 repeating over and over that as Informed Young Women we shouldn’t be pressured into sex, which was all well and good until it actually came to the act of Doing It, whereupon the fug of hormones and internalised misogyny meant that all rationality went out of the window. It’s the sign of how strong and confident Janet is in her relationship, that she can be ‘real honest’ and discuss her concerns freely with her partner, without worrying that he’s going to a) dump her b) tell his mates that she’s frigid or c) ‘persuade’ her round to his point of view (*shudder*). If he’s not willing to wait, maybe he’s not such an ideal person to be doing this sort of stuff with in the first place? I can hear the dude whining to his mate now: “I took her out for dinner and all I got was a perfectly vocalised key change!” Just 17 would be proud of you, Janet.

Jessica Doyle on “Miss You Much” [7.83]

A little context: in March 1989 Natalie Cole released “Miss You Like Crazy,” a ballad built for Cole to sing wide about longing. In June Paula Abdul released the third single off Forever Your Girl, “Cold Hearted,” whose video made a point of its group choreography. And then in late August came “Miss You Much,” the first single from Rhythm Nation 1814. Did Janet Jackson have beef with her ex-choreographer? Was that the kind of thing people talked about, in the pre-poptimist, pre-TMZ era? Because in retrospect “Miss You Much” looks like a dismissal of “Cold Hearted,” cool and upright where the latter was David-Fincher-directed sleazy. (By contrast, the director of “Miss You Much,” Dominic Sena, had already treated Jackson with respect in the video for “The Pleasure Principle.”) But also “Miss You Much” plays as a broader statement, a refusal of expectations. There’s nothing sad or ballad-like about it. There’s that opening high of “sho-o-ot,” and then Jackson’s on a roll: it’s all about her, the deliciousness of her feeling; she can barely bother to describe the “you” being missed so much besides the blanditries of smiling face and warm embrace. The power in “I’ll tell your mama/I’ll tell your friends/I’ll tell anyone whose heart can comprehend” isn’t in the longing; it’s in how much she relishes being the one who gets to do the telling. By 1989 she was in control enough to not have to utter the word once. “Miss You Much” isn’t a deep song, didn’t set out to accomplish as much as the title track or later songs like “That’s the Way Love Goes” or “Together Again” would. But thirty years later it still looks and sounds like (what we now call) a power move.

Katie Gill on “Rhythm Nation” [8.57]

How does one try to condense the reach and influence of “Rhythm Nation” in a single blurb? Entire articles have been written about this song and video (because really, you can’t talk about the song without talking about the video). It’s influenced singers, dancers, directors, choreographers. It won a Grammy as well as two MTV Music Video Awards when those awards actually mattered. The choreography is perfect. Jackson and her dancers move with military-like precision, flawlessly executing maneuvers and creating a dance that would almost instantly become part of the popular consciousness. The sound is amazing. That bass groove is so tight, adding a layer of funk which the guitar takes to further levels. The tune is an absolute earworm, the chorus is iconic, and Jackson’s vocals are at the best of their game. But I think the most important part of “Rhythm Nation” is that this absolute banger of a song, this masterclass in choreography, has remarkably idealistic lyrics. Jackson’s “Rhythm Nation” yearns towards a racially and socially conscious utopia as it attempts to unite people to join together and create this utopia. In a lesser artist, these lyrics would be out and out corny. But when wrapped up in the final package, the lyrics go from corny to believable. Suddenly, the idea of the whole world helping each other or rising up in protest doesn’t sound so far-fetched.

Alfred Soto on “Escapade” [7.67]

With solo credits as common as hair metal solos in Janet Jackson music, I often listen to tracks like “Escapade” and wonder: what did Janet Jackson contribute? Lyrics? Sure. But she has to write them around a Jimmy Jam-Terry Lewis melody, no? Or, as is no doubt the case, she comes up with her own vocal melody to accompany their chord progressions. According to Jam, the trio had “Nowhere to Run” in mind: first as a cover song, then as inspiration. “Escapade” hopscotches away from the sense of danger animating the Martha and the Vandellas chestnut; in 1989, into the eclipse of a grim decade for black lives, looking forward to Friday and drinks and friends would have to do. Over Jam and Lewis’ unrelenting thwack, Jackson sing-songs a valentine to a shy boy whom she hopes will join her in — what? The sheer euphoria of the bridge — a melody as bright as a returned smile — suggests worlds of possibilities when the check’s cashed and the night’s young. After all, MINNEAPOLIS!

Leah Isobel on “Alright” [7.14]

Rhythm Nation might have more banging singles, and it might have songs that more directly diagnose the ills of late capitalism, but no song on the record better encapsulates its utopian aims than “Alright.” Jimmy Jam and Terry Lewis famously left the high end of Janet’s songs empty to provide space for her delicate soprano; here, they fill the low end with vocal samples, percussion, submerged synth blats, and tense bass licks. Instead of singing high for the whole track, however, Janet buries lyrical references to magic spells and the end of the world in her lower register, where they blend into the rest of the song. It’s only on the chorus, and particularly on her swooping vocal runs as she riffs on the phrase “you’re alright with me,” that she surfaces from the swirl. On a record where she spends so much time and thought discussing what’s wrong around her, here she takes the time to see and acknowledge what’s right. I don’t know that I’ve heard a better sonic analogue for finding relief from chaos: one voice against a wall of voices and sounds, getting lost and being found over and over to the comforting rhythm of a pop song.

Edward Okulicz on “Black Cat” [6.57]

“Black Cat” was never the huge stylistic U-turn it was perceived as. Janet’s brother had dabbled in rock guitars, and this is in that vein too, while still being of a piece with the other songs on the album. Where it succeeds is because it doesn’t just lean into rock, it’s as credible a rock song as it is a dance-pop song — the riff, which Jackson wrote herself, kicks ass, the drums shake a room as much as the cavernous thuds of her contemporaneous singles, and the song’s melody and the fierce vocal performance straddle both worlds. And if you don’t like the mix there’s like 900 different versions with 2000 different guitarists — only a slight exaggeration. Its overall success is testament to Janet’s persona, sure, because nothing she released could have failed at this point, but you can’t go to Number One with single number six off an album without your usual co-writers and producers unless you’ve written something that connects with listeners and performed it with power. The way she slams down on “don’t understand… why you… insist…” is a moment of perplexed, angry humanity in the middle of a song that tries to understand something tragic — the corrosion of drugs and gangs on young people’s lives — and while the soloing is a little hammy, the song escapes being embarrassingly corny. Because in fact the whole song kicks ass.

Pedro Joao Santos on “Love Will Never Do (Without You)” [8.71]

One of the greatest pleasures in getting into Janet is how deliriously bold all of her work is. A story, if you will: how Jimmy & Terry stepped in to support her emancipation and helped her invent new jack swing all within Control, before taking the formula apart in Rhythm Nation 1814, aiming for pop that was both a manifesto against bigotry and, between a balm and a corrective, a rush of love. It was designed for high impact, meaning it would’ve always been a pop juggernaut — the material was there, even if the marketing was oblique, which it was. Instead of a glamour shot in Technicolor and a flirtatious title, the 12 million copies sold feature a stark black and white portrait backed by a call-to-arms; the pop froth is smattered around the backbone of topical anthems.

From single to single, A&M skittered between the two sides and amassed consecutive top 10 singles, but it was the last calling card that proved career-defining. At first, “Love Will Never Do (Without You)”’s hard-edged beats scan identical to “Rhythm Nation”’s sonic matrix: belligerent and completed by Janet’s frontal vox, only in this instance driven through a more feminine marketing (the music video is a blueprint). That’s the first trick: she unexpectedly launches into the first verse in a tentative, lightly hostile lower register (“like a guy would,” said Jimmy Jam, as it was to be a duet) and keeps it until the chorus wraps up. It’s pop as friction. By the second verse, Janet goes up an octave and matches the now-bubbling passion at the forefront. The tiny synth countdown drives it into a perpetual unfolding, each time emerging to add more (vocal) layers to the cacophony and threaten to wrap it up, before coming back in force.

Janet’s head voice soars up to the grand finale, a pop cataclysm of an ending, one of the best in recorded history — which applies to the entirety of “Love Will Never Do,” a simultaneous pitch for chaotic head-over-heels energy and blockbuster status. It’s a bizarre ride and a joyous knockout: the honeymoon phase juiced into one relentless beast of a banger, one that changed pop for good.

Jackie Powell on “State of the World” [6.67]

“State of the World” deserved a music video. At its heart, this is a dance cut with a little bit less of the hard rock that roars in “Rhythm Nation.” In content and in sound, this track is a sequel and that’s not a criticism. It’s an expansion which encourages a foot tap by the listener and includes an absolutely integral bassline that drives this track through and through. While the song clocks in at under five minutes and could have been a bit shorter, its chorus, which crescendos in clarity and volume, makes up for it. In addition to Jackson’s delivery on the verses, which is rather understated, the sound effects which illustrate “State of the World” aren’t too kitschy. The cries and crashes aren’t as apparent as in brother Michael’s “Earth Song” for instance, and that’s appropriate. The politics had to run as smooth as the bass on this track, and they did. They didn’t serve as a distraction, but rather as an asset. Janet was the master of New Jack Swing, and while folks look to her brother’s album Dangerous as the most successful of this genre, Janet experimented with it first. The percussive repetition, serves a purpose for Jackson on the record. It maintains the same intensity throughout as it reflects exactly what she has to say. Lyrically, I wish that Jackson explained how her “Nation” would “weather the storm.” To this day, homelessness and poverty are issues that affect people continuously. Jackson states the cornerstone rather than the specifics, and maybe that’s okay. It’s something that in 2019 we need more than ever. While unity appears so far out of our reach, Janet attested as early as 1991 that we can’t stop and shan’t stop.

Thomas Inskeep on “The Best Things in Life Are Free” (with Luther Vandross, BBD and Ralph Tresvant) [7.60]

To soundtrack his 1992 film Mo’ Money, Damon Wayans (who wrote and starred in the critically-derided box office hit) called upon superproducers Jam & Lewis, and they did work, producing or co-producing 13 of the album’s 14 tracks and writing or co-writing 12 of them. The soundtrack’s lead single was very pointedly a “look at all the cool stars we got together” move, featuring superstars Vandross and Jackson duetting, along with a brief rap bridge from Bell Biv DeVoe (credited here as BBD) and their New Edition compadre Ralph Tresvant. Released as a single in May 1992, it’s a perfect summertime smash, simultaneously airy-light and slammin’, with Vandross and Jackson weaving in and out of each other’s vocals effortlessly. BBD and Tresvant pop in with a nothingburger of a rap (Tresvant gets a label credit for literally uttering one line, the song’s title) that at least serves to provide a modicum of grit to the proceedings, but no matter: Jackson especially sounds breezier than maybe ever, while Vandross seems to float above the record. The two are magical on a track perfectly suited for them (credit Jam & Lewis, of course), and the result is a minor classic.

Jonathan Bogart on “That’s the Way Love Goes” [7.86]

A little over a year ago I rather overshared in this space when discussing Madonna’s “Erotica,” released a year before this single. A year makes a lot of difference: by the time I was listening to Shadoe Stevens count this down on American Top 40, the summer it became the longest-running #1 hit any Jackson family member ever had, radio pop was no longer a dirty, soul-damning secret, just a daily companion, a window into a more colorful, adult, and interesting world than the ones I knew from books. I would probably have had a healthier relationship to romance and sexuality, in fact, if this had been my introduction to overtly sexual pop rather than “Erotica” — both songs share the technique of a sultry spoken-word refrain, but Janet’s is actually grown-up, with the confidence of a woman who knows what she wants and how to achieve it, with none of Madonna’s juvenile need to épater les bourgeois. As it happened I didn’t particularly connect to “That’s the Way Love Goes,” having reached the stage in my adolescence when getting a charge out of raspy-voiced men singing about political instability felt like the more gender-appropriate inevitability. It wouldn’t be until years later when I returned to re-examine the radio pop of my youth with maturer ears that the amazing miracle of this song fully dawned on me: those pillowy guitar samples plucked from songs where raspy-voiced men sang about political instability, but pressed into service of a loping, candlelit coo: equal parts seduction and vulnerability, Janet singing with the authority of someone who had already conquered the world about the grown-woman concerns that really matter: love, and sex, and the impossible beauty that results when they intertwine.

David Moore on “If” [8.33]

Janet Jackson sang explicitly about “nasty boys,” but I was, to use a term my son’s preschool teacher used to describe him, a timid boy, and I soaked up the privileges of maleness with a corresponding fear of performative masculinity. My love of women through childhood was paired with a deep-seated self-loathing that snuffed out friendships, made me uncomfortable in my body, and sparked intense, violent fantasies directed toward unnamed aggressors in my mind, all those “bad guys.” I wouldn’t be able to reflect on any of this until adulthood. But there was a point in preadolescence when the contours of the trap started to become discernible, and Janet Jackson’s “If” was both a cherished song — one I would listen to rapt in front of MTV or on the radio, legs haphazardly splayed behind me — and was also the uncanny soundtrack to my discomfort: a muscular, menacing, alien object that completely unnerved me, made me a supplicant to its rhythm, got into my head and into my guts, made me move, if only for a minute, in a world that glanced contemptuously toward — but stood defiantly outside of — that toxic timidity. I was the woman telling the man what I wanted, and I was also the man obeying; I was the dancer and I was the floor, too. On “If,” Janet Jackson and Jam & Lewis tamed the New Jack Squall that her brother unleashed on Dangerous with Teddy Riley, insisted upon its lockstep subservience to her mission and her groove, and pointed to an R&B futurism that was barely a twinkle in pop music’s eye in 1993. The result is simultaneously mechanistic and wild, rolling waves of noise that you quickly learn to surf or risk drowning in them. That same year, I also found inspiration in angry men, many of them likely nasty ones, the same men I would have assiduously avoided in person and fought off in my dreams. But Janet Jackson kept me honest, reminded me that my anger was a tell for my underlying cowardice and shame. There is never a hint in “If” that her hypothetical proposition — too strident for any coyness or the suggestion of flirting — could ever be satisfactorily answered. Not by you anyway. No boy, nasty or timid, could meet Janet Jackson’s challenge; she’s mocking the guy who would even try. By the time you hit that cacophony of a middle 8 break, defibrillation on an already racing heartbeat, you’re defeated, more thoroughly than any bad guy you might have dreamt up. You’re not ready for this world — you’re not, so you can’t, and you won’t. But what if…?

Jonathan Bradley on “Again” [5.67]

It sounds like a fairy tale: billowing keys, Janet’s tinkling voice, and no drums to earth the fantasy. “Again” was from John Singleton’s Poetic Justice, not a Disney picture, but it shimmers with its own magic anyway. The melody is gorgeous: listen to Janet measuring out the descending syllables in “suddenly the memories came back to me” like they’re sinking in as she sings the words. (She repeats the motif on “making love to you/oh it felt so good and so right” — this is a romance where the sex is as fondly remembered as the emotions.) Janet Jackson is such a versatile performer, and for all the bold strokes and blunt rhythmic force of her best known moments, “Again” is a treasure all of its own for being none of these: it is tiny and tender and sparkles with a real joy that is all the more wondrous for sounding like it could not exist outside of a storybook.

Scott Mildenhall on “Whoops Now” [4.83]

Even outside America, there’s a widespread tendency for people, in search of a lifetime’s grand narrative, to define everything that happened before The Day The World Changed – a coincidental proxy for their childhood, youth or adolescence – as a simpler time. It’s a convenient illusion for anyone in the world lucky enough to be able to believe it, whose formative years were insulated from war or suffering and can be instead defined by the most carefree scraps of pop culture. In that respect “Whoops Now” holds great temptation, it being the breeziest brush-off of burdens, with an all-over Teflon disposition. It’s therefore an almost fantastical ideal of ’90s radio (and still one of Janet’s most played in the UK); a warm and fuzzy-round-the-edges memory of which on closer inspection, the details are inscrutable. Janet, aloft in a proletarian reverie, relates a confusing tale of overnight shift work, a hindrance of a boss and the consequent curtailing of her plans for some fun in the sun this weekend with her friends (who, judging by her extended roll call, seem to mostly be record execs, producers and performers, as well as dogs). Narratively, it’s difficult to tease apart, but all you need to know is that hurrah – she somehow ends up on holiday anyway. A story that sounds more like something from an expletive-laden segment of Airline thus becomes the most casual celebration of the apparent inevitability of positive resolutions when you’re a globe-straddling megastar, or perhaps just a kid in the back of your parents’ car with the radio on. With that certainty of happiness and universal balance, and the belief that it ever was or could be, it’s fantasy upon fantasy upon fantasy. But no bother: Anguilla here we come.

Nortey Dowuona on “Throb” [6.86]

I started listening to Janet Jackson as a happy accident. Her songs were on Atlantic Radio, but nowhere else. I barely heard her music growing up and only knew of her massive career, and not the music that made it so huge.

So when I first pressed play on “Throb,” I was kinda scandalized.

Because it was so directly, overtly sexual, and confident about it. Janet was ready to get down and dirty, without all the mind games, patronization and bullpuddy packed all over it. The lyrics are pretty straightforward, and there are only ten lines of lyrics. Its pretty clear what Janet wants, and she’s gonna get it.

Plus, the bass was slamming, it slunk around my neck and just rested there while the air horn synths washed over my eyes, blinding me. The drums then stepped over me and plucked me up, with cooing and cascading moans and grunts swirled around my body, shredding me to pieces —

Then the song ended. And it was over.

I honestly, can’t really say why this is my favorite Janet song, but I can say that you should probably play it while having sex, and while thinking about having sex, and play this late night in the night if deciding to have sex. I know this’ll be the first thing I’ll play if I have sex with anyone.

Thomas Inskeep on “Throb”

In the summer of 1993, I’d just finished my second freshman year of college, in my hometown. (I’d gone to college straight out of high school in 1988, and dropped out without much to show for it, 16 months later.) One of my best girlfriends had herself just graduated from college and was back at her parents’ house, job-hunting. We were both past 21 and looking for a place to go dancing, and we found it in the nearest big city, Fort Wayne, Indiana, about 45 minutes away. It was a short-lived gay bar — so short-lived I don’t even recall its name, sadly — with a dance floor roughly the size of a postage stamp. I don’t remember meeting anyone there, ever. (I didn’t drive at the time, so Julie always had to, so it’s not like I could’ve gone home with someone anyway.) I don’t remember anything about the bar — except its dancefloor, and the fact that they had a decent DJ on the weekends, who mostly played house music, which I loved. And there were three songs that got played, in my memory at least, every single week. (And Julie and I really did go just about every weekend that summer.)

The first was Bizarre Inc.’s “I’m Gonna Get You,” an ebullient diva-house track which topped Billboard’s Dance Club/Play chart in January but was just peaking at pop radio in June. The second was, really, the gay club record of the year, RuPaul’s “Supermodel.” It peaked at #2 on the Dance Club/Play chart in March, but never left gay clubs at all through 1993. When that got played at the club, I would, week-in, week-out, “work the runway,” lip-syncing my ass off. (It’s just that kind of song.) And the third was an album track from a newly-released album (that would, in fact, eventually be promoted to dance clubs at peak at #2 on the Club/Play chart), Janet Jackson’s “Throb.” This song went where Jackson never had before, both musically (it’s a straight-up house jam) and lyrically (it’s a straight-up sex jam). Its lyrics are minimal but to the point: “I can feel your body/Pressed against my body/When you start to poundin’/Love to feel you throbbin’.” No subtleties there! Accordingly, Julie and I would spend the song grinding up against each other on a tiny riser at the back of the dance floor, because why not? And because it’s fun.

26 years later, ‘Throb” still kills. And throbs.

Maxwell Cavaseno on “Runaway” [6.50]

My childhood managed to dodge the oceanic nature of pop thanks to being struck between two extremes. My father usually kept the car full of rap, via cassettes of assorted rising stars of the moment (Big Pun, Nas, Various Wu-Tang Soloists) or whatever was playing via Hot 97. Meanwhile my mother typically wallowed in a realm of AOR pop a la Amy Grant or the likes who you could never remember anything about. If there was anything majorly important in the history of pop music from 89-98, lemme tell you, that shit didn’t happen anywhere near me. However, one of the few memories that did manage to linger on was “Runaway.” It was a record that managed to ethereally sneak up to me like some kind of weird creep that I just couldn’t understand with its weird foreign instrumentation simulating orientalist visions and Janet’s background vocals harmonizing like a bunch of Buddhist Cats sneering a la Randy Savage’s “nyeeeah.” Whenever I trailed along in supermarkets or tried to keep busy in waiting rooms, I could comprehend what happened on other songs I liked in the outer world like “Take a Bow” or “Kiss From A Rose.” But this? How did you rationalize all of these gliding vocals crooning and this swarm of glittery noises when you have barely any understanding of the world around you, let alone music? No matter how much further away and away I’d get from whenever it was meant to be a single, it could still disruptively appear in the wild and send the whole day into a state of disarray. It’s so alarming to know now as a grown adult that I can personally summon this ifrit of a single, rather than think of it as some sort of rare sighting of trickster energy (all the more bolstered by Janet’s ad libbed teasing of supposed imperfection and other-human excess) that isn’t meant to be heard more than once in a blue moon. To be honest, I may just forget altogether after the fact, the same way I never remembered the name of the song even when considering it for review. Just that “nyeeeah” hung around in my memory.

Danilo Bortoli on “Got ’til It’s Gone” [6.17]

In Joni Mitchell’s “Big Yellow Taxi”, a cut from her 1970 album Ladies of the Canyon, she sang of impeding progress as a form of destruction (“They paved paradise/And put up a parking lot”). Often seen as as environmental anthem, actually, she was looking back at the sixties, and then seeing, right ahead, a decade that showcased no promising future, only aching skepticism. This resulted in one the purest, simplest lines she has ever written: “Don’t it always seem to go/That you don’t know what you’ve got ‘til it’s gone”. Almost thirty years later, Janet Jackson conjured those same thoughts, conveying, instead, a different meaning. The Velvet Rope was her very own game of smoke and mirrors, and intimate and often misleading look at her private life. Lying at the center of that album, there is a delicate tribute. “Got ‘til It’s Gone” features a well-placed sample from that line culled from “Big Yellow Taxi.” The context is entirely different however. Here, the same words are uttered between confessions of love. It helps, then, that “Got ‘til It’s Gone” is, in reality, a talk. It’s the way Janet asks “What’s the next song?”. It’s the way Q-Tip responds “Like Joni says.” It’s also the way he asserts finally: “Joni Mitchell never lies.” The brilliance of a sample travelling three decades is that it is deliciously meta. The concept of truth, in Janet Jackson’s universe, is interchangeable. That way, she, too, can never lie.

Josh Love on “Together Again” [6.86]

Together Again was originally conceived as a ballad, and no wonder – it’s a deeply sentimental (borderline treacly, if I’m being uncharitable) song about death and angels and reuniting in the afterlife in heaven. Deciding to record it as a surging house jam instead was an absolute masterstroke, and the result is one of the most purely joyous, transcendent moments of Janet’s career. The idea of carrying a lost loved one in your heart and feeling their spirit in the goodness you encounter in the world, and even the thought of one day joining together with them again in the great beyond – “Together Again” makes you feel that joy rather than merely verbalizing it. So many of us say that when we die we want those we leave behind to celebrate our lives rather than mourn our passing, but Janet is one of the few artists to really bring that radical acceptance of impermanence to life.

Thomas Inskeep on “I Get Lonely” (TNT Remix) [7.43]

Allow me to be cynical for a moment: Janet Jackson, in 1998, is still a superstar. But in the past five years, she’s only had one R&B #1, ‘94’s sex-jam “Any Time, Any Place” (assisted greatly by its R. Kelly remix). So if you’re thinking “What do we do to get Janet back to the summit,” what do you do? Well, it’s 1998. How about calling in Teddy Riley? Better yet, how about he gets a helping hand from Timbaland? And the best: how about Teddy brings his merry men of BLACKstreet with him for a vocal assist? Ergo, “I Get Lonely (TNT Remix),” now label-credited to “Janet [she was just going by “Janet” at the time] featuring BLACKstreet.”

And you know what? It’s genius. The idea, brilliant. The execution, top-notch. Riley on the remix, with instrumental help from Timbo, with guest vocals from BLACKstreet: it’s more exciting than the original (which was already quite good), has a little more junk in its trunk (those should-be-patented instrumental tics that Timbaland is such a wizard with, ohmygod, much like Janet’s big brother’s vocal tics), and the duet vocals are superb (especially as it was so rare to hear Janet singing with others at the time, and every member of BLACKstreet save Riley was a great-to-marvelous singer). Presto! Two weeks atop the R&B chart in May 1998, along with a #3 Hot 100 peak. Mission accomplished — and fortunately, it works even better artistically than it did commercially. Everybody wins!

Pedro Joao Santos on “Go Deep” [7.14]

That The Velvet Rope’s party song is so heavy on gravitas and spine-tingling urgency speaks volumes. In an album so hellbent on carnal and psychological openness, the party of “Go Deep” goes deeper, and makes sense. It’s not just the top-20 banger it factually was, and it’s not just hedonism for the sake of it. That is, if you don’t divorce it from the wounds of longing, manipulation, abuse and distress being sliced fresh. Tension lies within this absolute romp, placed midway through the red-hot catharsis of Rope. It might be that the party acts as a salve for the trauma. Though it isn’t put into words, you can hear it subliminally: Janet’s hesitant vocal; the evocative, near-melancholy synth fluctuating about. You can even imagine the words as portals: making friends come together as support; the sexual come-ons not just because, but maybe as physical relief for the pain.

A bare-bones lyric sheet would give you nothing — but music as context goes a long way. And the music itself from “Go Deep” gets me in raptures after all these years, from that ridiculous boing (perhaps best known from “I Can’t Dance” by Genesis) to the bass driving it, all chunky and rubbery, and the dramatic string arpeggios in the middle-8. If there’s got to be a template for urgent, carnivorous Friday night anthems, let this be the one — and keep it in context.

Leonel Manzanares de la Rosa on “You” [7.00]

The Velvet Rope carries a strong and fascinating legacy; It is rightly praised as a predecessor to both mainstream R&B’s exploration of the intimate (the body) and the spiritual (the soul) in the continuing decades, and to the experimental scope and atmospherics later adopted by today’s so-called “Alt-R&B,” and this extraordinary mixture of elements is never more efficient than in the album’s third track “You.” The song is, first and foremost, a triumph of production genius. Jimmy Jam & Terry Lewis’s use of space, and the dynamic at play between the then-cutting-edge electronica ingredients and neo-soul��s earnestness and sensual themes, should itself be a case study for aspiring producers, but it’s the way Janet’s vocals are performed and filtered through the track that take the song to unsuspected levels of greatness. There is something in the breathy, low-pitched verses that exudes unadulterated eroticism, and when the post-chorus harmonies kick in where things really become ecstatic. In several interviews, Janet herself defined this album as “baby-making music”, and I can safely bet that “You” is the song she was thinking about. And its echoes still reverberate today, not only in the sound of R&B to come, but in the fact that thousands of people were conceived to this very beat.

Edward Okulicz on “Free Xone” [6.83]

I remember it only vaguely; it was 1995, and for drama class we had to do a performance based on a social theme using a combination of media and methods. I was in a group with a big Janet fan, who decided to use her music as the basis of a combination spoken-word, mime and dance performance on racism. I only understanding the themes in the abstract because I was young, sheltered, and white. I knew racism was a thing I didn’t like, but it wasn’t an existential threat to me. Two years later, on “Free Xone,” Janet would speak directly to me and tell me of a bleak present with the promise of a better future. Janet told it like it was, and still is for many: if you are gay, despite the fact that love is love, a lot of people are going to hate you or at least be uncomfortable around you. Homophobia isn’t just violence or hostility, it can be any kind of social rejection, and it can happen anywhere, as it does in the anecdote in the first part of the song, where a pleasant conversation with a person sitting next to you on an airplane sours because of it.

Janet Jackson is a dancer, but she didn’t dance around anything if she didn’t have to. She leaned into her status as a gay icon out of love, not necessity. But she made her social justice songs out of both love and necessity. Hating people is so not mellow. Love and sex are never wrong. Janet Jackson has never resiled from that belief, and never shied away from putting it in song. I’d grown up listening to Janet Jackson, but I’d never thought of her as an ally for myself, and it was intensely comforting to hear that she was on my side when nobody else seemed to be (Meshell Ndegeocello’s “Leviticus Faggot” the previous year had more or less convinced me I’d die in the closet).

In 2019, her funk here sounds a little dinky, the transitions between the soft groove and the raucous party bounce are kind of awkward, and the weird song structure sounds like it was cut and pasted together, but it’s a collage of compelling pieces. It got quite a lot of play on the alternative youth station here, the one whose listeners were at the time generally terrified of a) pop superstars, b) Black artists, and c) dancing. Someone thought the kids needed to hear this, and they were right. “Free Xone” helped my nascent consciousness come to grips with earlier songs that I’d just considered a good time before. Its story is less common in the Western world, now, but it’s still true as history for some, and as present for others.

Leonel Manzanares de la Rosa on “Tonight’s the Night” [4.50]

I’m a sucker for good covers; we usually tend to give songwriting, the cult of the inspired author, and the concept of originality a certain mystique that grossly overshadows the importance of skilful creative interpretation and re-invention. But many of our most important singers are essentially covers artists — Joe Cocker, Tom Jones, Bettye Lavette, a huge number of blues and jazz singers, most of the 50s-60s Greenwich Village folk scene — because of course we need these musicians to give these tunes another dimension, whether stylistic, generational, or purely emotional. Also, a song’s perspective can change dramatically because of who is singing. “Tonight’s The Night” works with Rod’s gravelly, rugged voice, and, although it can sound a bit creepy by today’s standards, the arrangements carry it beautifully, but in Janet’s sexually adventurous, musically exuberant The Velvet Rope, it acquires a new dimension, a far more interesting one, might I add. From Janet’s view, and the brilliant decision of not changing genders in the lyrics, her version alludes to bisexuality in a way that makes complete sense within’ the album’s core subject matters, and works wonders within’ its production philosophy. Stewart later presented his live renditions of the song by saying “This is an original by Janet Jackson”. No one will refute that. It’s her song now.

Alex Clifton on “All For You” [6.86]

“All For You” is the first Friday night you go out with your new college friends and that utter sense of freedom where you realize the night is yours without a curfew. It’s sparkling fairy lights in the background, a disco ball overhead, at a roller rink or at a club with a fancy light-up dancefloor, maybe a stolen swig of rum on your tongue. It’s the moment you see someone new and your heart falls into your stomach with no prior warning, and you suddenly know you’ll do anything to talk to them. You simply have to; it’s an animal urge, chemicals and hormones whizzing through you and making it hard to walk because you’re giddy. Maybe you’re braver than I am and you go talk to the person who’s snagged your attention, but maybe you hang back with your friends and pretend you’re not watching out for your crush while also dancing stupidly with your new friends. There’s a pure exhilaration in this song that many have tried to emulate but few match the ease with which Janet performs. She’s flirty and sexy like no other, but “All For You” also makes you, the listener, feel flirty and sexy too — something about it worms its way into you and becomes the shot of confidence you need. Lots of people can write songs about dancing at the club, but Janet turns it into a night you’ll remember for the rest of your life.

Jibril Yassin on “Someone to Call My Lover” [7.00]

Does falling in love always feel the same every time? It’s one thing to keep pushing on in life but what’s striking about “Someone to Call My Lover” is how infectious Janet’s optimism is. Built on an Erik Satie riff by way of the band America, Janet recast herself as a woman excited to love again. Let it be on the record – long-term relationships are fucking terrifying. Moving on from the dissolution of a marriage is disorienting and the songs that use Janet’s divorce as inspiration on All For You share a tentative yet firm belief in renewal.

She uses “maybe” on “Someone to Call My Lover” the way one throws out a “lol” after shooting their shot – you don’t even have time to catch it amid her grocery store list of wishes for her future love. “Someone to Call My Lover” hits all the right places thanks to the careful and immaculate production but it’s Janet’s sincerity that marks it as her best twee performance.

Will Adams on “Son Of A Gun” [5.20]

Given All For You’s post-divorce setting, it was only appropriate that after the aural sunbeam of the title track and giddy optimism of “Someone to Call My Lover,” Janet would do a 180 and proceed to rip him a new one. The opening taunts — “Ha-ha, hoo-hoo, thought you’d get the money too” — against the throbbing kick bass set the scene, but the true genius of “Son of a Gun” comes from its sampling and modernization of ultimate kiss-off song “You’re So Vain.” The classic bass riff, once soft in Carly Simon’s original, is now razor-sharp. The cavernous drum beats sound like you’re trapped in an underground dungeon. All the while, Janet mutters burn after burn right into your ear (“I’d rather keep the trash and throw you out”) before Simon launches into the “I betcha think this song is about you” refrain, sounding like a Greek chorus confirming Jackson’s digs. The album version carries on until the six-minute mark, with Carly Simon waxing poetic about clouds in her coffee and apricot scarves in an extended outro. The video version wisely excises this in favor of guest verses from Missy Elliott, whose reliably grinning performance shoves the knife in deeper. In both versions, however, Janet’s menace is preserved. Forming a trinity with All For You’s preceding two singles, “Son of a Gun” showed just how versatile Jackson is, and how adept she is at encapsulating the messy, complex emotions of an ended relationship.

Will Adams on “All Nite (Don’t Stop)” [6.17]

I had been looking away from the television when it happened. By the time I’d heard the gasps from my parents and I glanced up at the screen, the cameras had cut to an aerial shot of the Reliant Stadium in Houston, where the 2004 Super Bowl was taking place. My 11 year old brain couldn’t process exactly what happened from my parents’ concerned murmurs, and having completely missed the incident (there was no YouTube back then, see), it would take years for me to understand the impact that the “wardrobe malfunction” had on culture and Jackson’s career. The greater impact was to be expected — the six-figure FCC fine on CBS (later dismissed by the Supreme Court) and conservative handwringing about the moral decline of the country — but Jackson in particular suffered unduly. There was the blacklist, ordered by Les Moonves, which kept her off CBS, MTV and Infinity Broadcasting. Jackson’s appearance at that year’s Grammy Awards was canceled. Late-night talk show hosts turned it into monologue fodder, usually grossly and usually at her expense. The controversy hampered her album cycles well into the Discipline era. Meanwhile, Justin Timberlake remained entirely unaffected. His career would skyrocket two years later with the release of FutureSex/LoveSounds; he became a Saturday Night Live darling; he performed solo at the Super Bowl’s halftime show in 2018. This alone puts Damita Jo and “All Nite (Don’t Stop)” in a more sympathetic light, but even then, pop radio missed out on a truly brilliant song here. Janet acts as the Dance Commander, taking the opening guitar lick from Herbie Hancock’s “Hang Up Your Hang Ups” and turning it into a lasso with which she throws you onto the dancefloor. The percussion percolates, each sound placed perfectly to create an undeniable groove. Because of the blacklist, it didn’t even break the Hot 100, and the video was also subject to its own asinine controversy — the few video channels that managed to avoid the blacklist edited out the sexual content, including a scene were two female dancers kiss. Even fifteen years later, it feels like we’re still reckoning with how Jackson was treated in the aftermath. But there’s an inspiring resilience in “All Nite (Don’t Stop)” reflected in the smile she bears on the Damita Jo cover; its unabashed sexuality in the face of all the backlash makes it an even better listen today.

Kat Stevens on “Strawberry Bounce” [7.17]

I like Janet best when she takes risks, whether that be controversial subject matter, a new image or a change of musical direction. Old faithfuls Jam & Lewis are still a solid presence on Damita Jo, but on “Strawberry Bounce” we see Janet plumping for a left field choice in the then-unknown Kanye West. The result is an intriguing Ryvita, all brittle handclaps and feathery faux-ingenue whispering, on the verge of crumbling into nothing. It’s so light that there’s no bassline, just a queasy glockenspiel tinkle and Janet’s butter-wouldn’t-melt sing-song. I keep wondering to myself: why have Janet and Kanye chosen to present a song about working a shift at a strip club in the style of an Aptimil Follow-On Milk advert? Is it a subtle reminder that sexy times may eventually lead to night feeds and dirty nappies? It doesn’t help that instead of a proper beat, we have Jay-Z muttering ‘BOUNCE!’ as if he’s grumpily shooing a dog off his lawn. It’s confusing and uncomfortable, yet compelling and convincing, and I’m still listening. The risk has paid off.

Will Adams on “Rock With U” [5.83]

“Just Dance” is often thought of as ground zero for the rise of dancepop and eventually EDM in the US, but it had been brewing for over a year before the Lady Gaga song topped the Hot 100 in early 2009. From 2007 onward, the increased interest in incorporating elements of disco via four-on-the-floor beats and faster tempos created some indelible hybrids, particularly in the R&B world: “Don’t Stop the Music”; “Forever”; “Closer”; “Spotlight”; and “Rock With U.” While most of those songs stuck to traditional verse-chorus pop structure, “Rock With U” proves that sometimes simplicity is best: A house arrangement of arpeggios and basic rhythms. A single verse, repeated three times and interspersed with wordless vocalizing with nearly no variation, save for Janet’s whispers. All this, combined with the glorious one-shot video, creates a hypnotic effect, like the song will go on forever. On a recent Song Exploder episode about “Honey,” Robyn said of dance music: “It’s about putting you in a place where you’re in your body dancing without thinking about when it’s gonna end. It’s more about the moment and how it makes you feel.” This is the heart of “Rock With U”: an invitation to get lost in the music, forget about the outside world, and just rock.

Maxwell Cavaseno on “So Much Betta” [5.67]

The beginning of the 2010s was way too challenging in retrospect and I regret every minute of it. “So Much Betta” was a song I first heard in a mix by Robin Carolan, now best known for founding and guiding Tri-Angle Records, but for a brief period operated a side-blog called “SO BONES” where he’d pontificate about random gems of pop, R&B and rap but in a way that made records feel gross and sinister. Suddenly Cassie’s “My House” was a ghost story, Vanessa Hudgens’s “Don’t Talk” would be compared to Takashi Miike’s Audition, and so on. In retrospect I think of the Capital P Pop songs of the decade that I’ve responded to enthusiastically like “TT,” “Cheyenne,” “Strangers,” “Somebody Else,” “Backseat,” “Lac Troi” or the dozens of others there is at least usually a despair or gloom I can at minimum project onto the record even where it might not be obvious. And that comes from hearing Janet Jackson whisper over a record that sounded like some toxic goo from out of the dregs of the Rinse.FM swamps I’d often thought to be “the coolest” sounds, before cutting through over glistening synths that felt like a phantom of not Janet per se but her brother’s past. It was a song that felt v. strange in 2010 well after MJ had died with the listless echo of the Pop Monarch feeling less like a dream-like invocation and more like a degraded copy of a copy in its grotesquery. Enough can be said about how cool and timeless and bright and powerful Janet at her best can feel. But it deserves an acknowledgement that she could also make a song that was so evocative in all the most unpleasant of ways.

William John on “Unbreakable” [6.67]

“Unbreakable” as an adjective is applicable to those rare, unending, strong relationships between people, whether they be romantic, platonic, familial, or, as has been intimated in relation to her song of the same name, between performer and audience. But it’s also a word that can be used to describe oneself, and one’s ability to traverse adversity with stoicism. The first song on Jackson’s most recent album doesn’t sound defiant – more “stroll to the supermarket on a warm summer’s evening” than an escapade to Rhythm Nation. But courage manifests in different ways. Jackson’s breezy delivery, which takes on an ecstatic form in the song’s chorus, is indicative of her self-assurance at her status; she’s embracing the languor allowed to her as a legend. She may have been removed of her clothes in front of the whole world a decade prior; she may have spent her whole life in the shadow of her infamous relative – but she hasn’t faltered. She’s still here. As she greets her listeners in her inviting whisper at the song’s conclusion, she notes that it’s “been a while” since her last missive, and that there is “lots to talk about”. But her listeners aren’t impatient; there’s always time for Janet. Her story has always been one of control, of poise, of excellence. Long may it continue.

Pedro Joao Santos on “Dream Maker/Euphoria” [5.17]

When I get to delve deep into a legend, as with Janet, I tend to hit the ground running and have them release a new, great album a few months later. Not having heard 20 Y.O. and Discipline, I was shielded from the Janet-isms from the ’00s and viewed Unbreakable as a proper continuation to her legacy, instead of the grand comeback it actually was — hackneyed artwork, halted tour and all. Janet got the upper hand, finding her reunited with Jimmy Jam & Terry Lewis, in a steadfast gaze in a steadfast gaze over airtight, pensive and giddy R&B. An exemplary return to form, incidentally devoid of all the raunch, bathroom breaks and Kioko.

One older Janet-ism survived in a marginal capacity: the penchant for interludes, continued here in only two moments (aside from endearing sneezes and spoken-word outros): one was the bizarre preview for a Target-exclusive full track; the other was “Dream Maker/Euphoria”. A precise inflection point scribed upon the passage from “side 1” to “2” — even if things threaten to get a bit pedestrian and humdrum in the last half. The track itself is a dual mood, yet a continual trek through the glow of a renaissance. A seemingly old groove recalling the Jackson 5 gets dusted from the vaults for the first part. That’s ear candy for ages in itself, a web of vox so intensely feverish and melodically preternatural. It gets looped tantalisingly, then it transcends onto the next level. Full-on rapid eye movement: keyboards and ambience make up the sound of eyelids opening to meet a purple, unreal sky — suspended between worlds, a dream dimension of utopia and the reality where those ideas must coalesce. “I guess the dreamer must be awake,” Janet concludes after envisioning a “perfect place” exempt from “jealousy, abuse or hate,” “war, hunger or hate.”

Janet’s four peak-era albums alone prove she’s been excelling at world-building where and when the world was far from ready. In “Dream Maker/Euphoria,” it isn’t so much the stark condemnations of Rhythm Nation 1814, but its more hopeful fantasies, articulated through the confident tone of Control, set to the type of innovative musical reverie The Velvet Rope predated, softened through janet.’s sensuous filter. But more than the touchpoints of yesteryear, the essence of “Dream Maker/Euphoria” lives in its manifestation of the future: how tangible and expansive it might just become, if given a chance.

#Janet Jackson #writing #music

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emma-what-son · 8 years ago

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Emma Watson: I've always said, 'forget the engagement ring, build me a library!'

From Independent.ie March 2017: She's playing "a Disney princess gone rogue", but after the backlash to that photo shoot, actress Emma Watson is walking a carefully plotted line between art and politics. Here, our reporter meets the guarded Beauty and the Beast star.

"Dan brought such a tenderness and dry humour to Beast, which made him all the more relatable," she gushes. He responds with an equally fawning: "Emma's chief motivation was being able to tell the kind of messages that are pertinent across generations. Not just about wearing Belle's yellow dress."

The largely sycophantic back and forth continues with words on Emma's immeasurable kindness and Dan's boundless generosity. There are tales of Steven's "hair-raising" adventures on stilts to achieve Beast's height, and Emma comparing her singing to legendary off-key chanteuse Florence Foster Jenkins, played by Meryl Streep in last year's eponymous biopic. How watching Katharine Hepburn screwball comedies provided huge inspiration for their characters.

Altogether, it's a perfect puff exercise in promotional Hollywood chit-chat orchestrated by Watson's team of rigid representatives.

Before today's audience with the former Harry Potter graduate, journalists had to sign a clause-filled contract. The immovable interview terms demanded no personal questions of any kind; no questions about her background; no mention of La La Land (Watson reportedly turned down Emma Stone's Oscar-winning role). Basically nothing beyond the fairy tale.

There were no such conditions for talking to former Downton Abbey star Stevens.

Now, "no personal questions" is a frequent request delivered by the movie PR folk but usually comes as a verbal, quiet warning not to venture down the path of messy divorce or criminal activity.

A binding contract this inflexible, however, is something else entirely - something I have never encountered before.

'Brand Watson' is a carefully master- minded machine: one which boasts nearly 50million social media followers. Unfortunately for the 26-year-old star, a grey area exists between her unrelenting, admirable crusade for gender equality and her acting career.

In playing Belle in the €150million live-action revamp of the childhood classic, Watson has intentionally blended her politics with her art. The feminist campaigner has become a Disney princess. Which, in promotional discussion, invariably forces her to reveal herself, just a little.

"Innately at the centre of Beauty and the Beast was this heroine who went against the crowd, marched to the beat of her own drum," Watson tells me. "Fearlessly independent-minded, defiant. Nothing around her is affirming her choices. She's incredibly curious and learned and does things her own way. And I connected with her sense of defiance. She's a Disney princess gone rogue.

"I watched a lot of films as a young woman that I felt gave me less choices and constricted me, as opposed to making me feel that the world was limitless and possibilities were endless. And I also knew how important Belle is as a symbol because of how important she was to me as a young girl. She was my idol - my own personal heroine - so I know how important it was to get it right."

Getting Belle right in 2017 is indeed important, lest it jeopardise the work that Watson has done - and the reputation she has built as an intellectual and feminist crusader - previously.

Her public campaign for equality began with an impassioned address in front of the UN in the summer of 2014, heralding the HeForShe campaign, which calls for men to advocate for gender equality. In speaking out, the actor became both a symbol and a target. And her words and actions are now microscopically scrutinised as a result. For example, that same year, her criticism of fellow feminist Beyoncé's music videos for the Lemonade album - which Watson said in an interview exhibited a "very male voyeuristic experience" - was met with overwhelming backlash. Those quotes were resurrected this month when Watson's own shoot for Vanity Fair featured a photo (below) of her with her breasts partly exposed.

In the furore that followed, Watson was forced to defend the photograph. "It just always reveals to me how many misconceptions and what a misunderstanding there is about what feminism is," she said in an interview with news agency Reuters.

"Feminism is about giving women choice. Feminism is not a stick with which to beat other women. It's about freedom; it's about liberation; it's about equality. I really don't know what my t**s have to do with it. It's very confusing." It's left Watson wedged firmly between a rock and a hard place. And today, when I push her on that difficult position (and much to the horror of her stern publicist), she delivers an uncharacteristically human response.

"To be that public about my opinions and feelings, you can't say something like that and not walk the walk. If you're going to do that, well, I have to live by this. And taking a stance on things doesn't make life easier - it definitely makes things more complicated."

She pauses for thought, perhaps sensing a vulnerability to her words that she then attempts to counter. "You know, the battles I fought and I fight make what I do feel much more worthwhile and it gives me much more of a sense of purpose. And I'm glad that I get actively involved. But it's not easy. Ultimately, I follow my heart because that's all I can do."

There's no doubting that Beauty and the Beast is a passion project for Watson. Directed by Bill Condon - the man behind Dreamgirls and Chicago - the lavish epic is a beautiful spectacle, largely modelled on the 1992 classic, the first animation to receive a Best Picture Oscar nomination. Alongside Stevens and a starry cast including Ewan McGregor as Lumière, Emma Thompson as Mrs Potts and Ian McKellen as Cogsworth, Watson shimmers as Belle, the wayward outsider, stifled by her insular village surrounds.

When she stumbles on the Beast's castle where her father, played by Kevin Kline, is imprisoned, she sacrifices herself and takes his place. She soon learns that Beast and his servants are cursed by a spell which can only be broken by true love.

"It's literally your childhood fantasy," Watson explains, in her signature clipped tones. "I watched that film with a sense of wonderment probably a thousand times, much to the annoyance of my parents. And to actually be in that dress, riding Philippe [the horse], to be wandering around that beautiful castle set, it was amazing. I also felt an immense responsibility. While it was me playing the role, there's a huge pressure because Belle - she's an archetype, she's a symbol, she's every girl. If I do my job well, she belongs to everyone, not just to me."

Watson claims that much modernisation was needed to bring the new version up to date. "The original was released in 1992; now it's 2017: things have moved on a lot from then. I think the film would fall flat if they didn't speak to the times we're in now."

Director Bill Condon says Watson (who today is clad in a monochrome bustier and trousers by Carmen March, one of the many ethically sourced outfits worn for the Beauty promotional tour and documented on her new Instagram page, @the_press_tour) was at the heart of Belle's feminist reinvention.

"She was involved in everything having to do with Belle's environment and costumes. She was so meticulous in the meaning of every costume change, about wearing the appropriate boots and about the dress she wears in the village having pockets.

"Also, Belle was as much an inventor as her father, which was hinted at in the animation. Here we have her doing her own calculations. Emma suggested we could do more with her alone in her own specific world, which led to a washing machine in a well. That was all Emma."

Belle's love of literature is something Watson was also keen to play up. And small wonder, since she founded an online feminist book club, Our Shared Shelf, which boasts nearly 175,000 members. "When Belle enters Beast's library, that's not just her dream - that's mine," Watson says. "I love how she swings along on those wheelie ladders, climbing these elevated storeys of books. And, you know, I've always said, stuff the engagement ring! Just build me a really big library."

For both Stevens and Watson, Beauty and the Beast marks an opportunity to finally eclipse their signature roles in Downton and Harry Potter, respectively. Do they relish that thought?

Her publicist's nostrils flare slightly, while Watson shyly squirms in her seat. Stevens, however, gratefully responds.

"It's certainly not a burden," he says. "Downton changed my life and I know [Harry Potter] changed Emma's. The privilege of that and to carry forward with roles like this adds to the canon."

"And Emma?" I ask. She hesitates slightly. It's a perplexing display for a question so tame. "I think that I just feel really lucky. For me, Belle was my childhood heroine; [the film] came out two days after I was born. And then, in my early teens, it was about idolising Hermione. So to be given the chance to play my two childhood idols is probably a very unique and rare experience for an actress.

"And I think," she continues, "I think I came out of this with more confidence, with more skills. And more belief in myself. Because when I came off Potter and decided to go to university, that wasn't a career decision the people I worked with were pleased about. But I kind of… I try to stay true to whatever whisper I'm getting from myself and I hope that will see me through. That's all I can do really. Otherwise, if I don't listen to myself, I'd feel a bit lost in it all."

Difficult to imagine Emma Watson, the twentysomething movie mogul and ambassador for human rights, feeling lost. And given the rigorous conditions attached to today's interview, one could easily question whether these humble claims are just part of the act.

Meeting the star today, however, it seems that, under the shiny veneer and terse brand control, lies a grounded spirit and decent human being trying to do some good. Hopefully, she'll stay the course as a campaigner and not become a total princess.

#interview

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maheswarann · 8 years ago

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Do all of the Munday memes lmao

Some Fun Munday Asks | Accepting!

♦: Relationship with your Muse.She’s my adopted daughter, and I love her with all of my heart. There are few characters whom I’ve spent as much time thinking about in recent history as Connie Maheswaran. Of course, there’s things I’ve learned from her as well, but I think all parent-child relationships are like that.

♠: What’s one thing you dislike about your Muse?I don’t like how little screentime she receives!!! Just kidding. Honestly, even her few flaws are endearing to me, and there isn’t much about her that I could say I genuinely dislike - at least, nothing relating to her directly.

♣: Any headcanons about your muse?So, so many. One that comes to mind immediately is that I believe she’s started to come out of her shell more at school, and be a real leader in the classroom - a far cry from her isolated ways of the past - confusing and impressing both classmates and teachers alike. She doesn’t make friends too easily there, but at least she’s putting herself out there academically.

♥: One thing you love about your Muse.So, so many. One that comes to mind immediately is her relationship with Steven, as it is so perfect in so many ways, shattering relationship standards where necessary, and following - and improving upon - them when it wants. I don’t buy into soulmates, but these two are the closest thing to it.

☄: What you think of your Muse.If it wasn’t made quite clear before, I adore Connie, and think she’s one of the best characters on Steven Universe; She’s certainly my favorite. Though she only has developed relationships with two characters, those two are some of the most interesting and important relationships in the show. Aside from being an absolutely adorable goofball, Connie’s also strong, brave, smart, and all-around admirable in so many ways.

♪: Favorite song.I think Do it for Her is my favorite song in the series - big surprise there - but Isn’t It Over? and What Can I Do for You? are close runner-ups. All of these involve Rose, and that’s indicative of my other favorite character in the show.

✫: Why you began RPing.I started out as a fic writer, and once I discovered the RP format of writing on Tumblr, I was intrigued. With the inspiration of a few key writers that I followed in my pre-RP times, I was motivated to make my first blog, and the rest is history. …Man, that was like nine months ago.

✽: Favorite season?I like all four for different reasons, and some more than others, depending on my mood… But right now? I’d have to say Winter, just because I love the cold and cozy. Nothing quite like enjoying a mug of hot chocolate, curled up in your blankets, as you watch the frost creep up your window.

❂: The Mun’s birthday. (Month and date–no year!)I was born on July 24th.

☂: Favorite kind of weather.It honestly depends on my mood, but it fluctuates between “two feet of snow”, since I get to hunker down indoors and snuggle up, and “crisp jacket weather”, where it’s kind of breezy, and kind of cold, but not TOO cold, just cold enough to make you shiver a bit. Especially if it’s raining? Hoo boy, I love weather. I could talk about it all the time.

✤: Favorite kind of food.I love pasta of all shapes and sizes, especially linguine and spaghetti, but, at my core, I am a Midwesterner, so steak and potatoes will always have a special place in my heart too. Food in general is just so good, so it’s hard for me to pick just a few!

●: If you could say just one thing to your Muse, what would it be?I’d ask that she “please stay safe,” because gem stuff is dangerous, and she’s only human.

♬: Sing or say something! Post the link to it.I recorded my voice right here a while ago, for this meme.

#⚔ Out of Jam #long post #( lmao thx sonny )

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whole-dip · 4 years ago

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E.T. Adventure

Universal Studios Florida opened on June 7th, 1990. At the time, it was only one theme park but has since grown into two parks, a lifestyle center, multiple hotels, a water park, and soon a third park with accompanying dining and shopping options. Despite starting fairly small, Universal Studios always intended to make a big debut. Steven Spielgberg was one of the biggest collaborators with Universal on the project, and to this day still consults with them on occasion. The park’s located just 15 miles away from Disney’s Magic Kingdom and is often either a part of a family’s trip to Orlando, or potentially the main destination entirely. Being so close to Walt Disney World does unfortunately bring about comparisons between the two entities. While Disney tends to only respond to Universal in ways that require you to infer intent, Universal tends to frame themselves as the underdog and punch up. Many of their rides, shows, and experiences will make playful jabs at the big guys next door, usually for cheap laughs. It makes sense, everyone loves an underdog and Universal knew that it would be really hard to compete. Having said that, Universal did make a big impact when they first opened. Their Jaws ride, once it got working, was phenomenal. The Funtastic World of Hanna-Barbera was a big crowd pleaser as well. Many of the opening day attractions have since closed though, except for one that is perhaps the most beloved attraction for die hard Universal Orlando fans, The E.T. Adventure.

The E.T. Adventure’s development was personally overseen by Steven Spielberg and his involvement has kept the ride open in Orlando despite versions in other parks having closed. While Jaws showed the terror that Universal could deliver better than Disney, E.T. aimed to compete against Disney’s magic. This ride is perhaps most analogous to Peter Pan’s Flight, a ride that was an opening day attraction at Disneyland in 1955. Like Pan, E.T. suspends your ride vehicle from the roof and has you soaring over a beautiful cityscape and then a fantasy world. While Pan can at times feel dated, E.T. set out to be a modern rendition. Neverland is a fantasy island of yesterday, but E.T. would take you lightyears away. This type of comparative nature is something at Universal often actively courts but can sometimes be to their detriment. E.T. luckily, is not as obviously similar but rather, aims to be a fun update, inviting others to raise the bar even further in turn.

Our journey begins with a short video of Steven Spielberg in the forests of California. He informs us that E.T.’s home, the green planet, is dying and that we must help E.T. get back so that his healing touch can bring life back. We’ll even be riding bicycles just like Elliot and his friends did. Once the video concludes, the doors in front of us open to a forest path we’ll be walking on our way to our bikes.

This preshow video does what many preshow videos do, inform guests of what they need to know to understand the story, and some basic safety info on the ride vehicle. What this video does that’s very important, is establish a sense of urgency in our mission. We’re not simply visiting the green planet, we are journeying there with E.T. to save it. Imagineer Tony Baxter has often stressed the importance of when Peter Pan shouts “Here we go!” on Peter Pan’s flight because a ride’s key job is to bring the guest on an adventure WITH the characters, not simply to view it. Under the lens of a successor to Pan, E.T. advances this element into 1990.

As we walk the path we see E.T.’s speak and spell communicator, and even a transmission from Botanicus, an elder of E.T.’s species. The queue is incredibly detailed and even features a forest scent that many love dearly. While many rides before this one featured detailed queues that started your story experience before sitting in the ride vehicle, E.T. Adventure is noted for being one of the best. This practice is sometimes referred to as, “scene one”

Next, we board our bikes and set off through the forest to get E.T. home. Right when we set off we see a small figure rise up underneath a blanket in our bike basket, it’s E.T.! As we ride E.T. guides us and warns us of the government agents trying to capture him. We dodge and take sharp turns as we avoid them, some of them even try to run us over. As we ride trying to avoid them it seems there’s only one path uphill. What seems like a dead end turns out to be the boost we needed as E.T.’s magic lifts us up and over the hill, flying us over the cityscape below, the night sky all around us, our shadows passing upon the moon.

This first half of the ride is pure magic. It perfectly recreates the excitement and wonder of the E.T. film as we journey to save our misunderstood alien friend. I genuinely tear up when I’m riding this part, and I’m not a particularly big fan of the movie. It also is perhaps the hardest sequence for the ride to pull off because despite being suspended from the roof, it must simulate riding on dirt path. It gets close enough to convey the idea, but it never really quite gets there. To compare once more, while Pan almost immediately has you setting off into the night sky, E.T. takes more time with the build up so that when you’re flying, you truly are taken aback by the experience. If you stop to think about why your shadow would appear on the moon for any longer than the ride depicts it you’ll come up with numerous reasons as to why that doesn’t make sense, but in the moment, it doesn’t matter because you’re well and truly flying.

We fly through the stars and arrive on the surface of the green planet to find that it is in a sad state. Smoke is billowing all around, it is dark save but only for a few strange red glow, and water is bubbling. All we can see are rocks around us. We see Botanicus, in person this time, and he urges E.T. to press on so that he may heal the world. From here, we continue riding and E.T. disappears from our baskets as he goes on foot to begin to help. From here, we follow the sparkle of E.T.’s healing touch as it literally brings light to the darkness and all of E.T.’s friends joyfully spring up thanking us for our help. What was once gloomy and dark rocks is now a lively world of plant creatures that are singing and dancing in celebration. Water hops all around and we hear the E.T. theme played on kazoo-like instruments. Swinging upon the chords of a natural harp are little babies of E.T.’s species wishing we could play with them. We even see one swinging from a vine above us. E.T. is our guide in each of these scenes, the last of which is E.T. wishing us farewell from his little cottage. He personally says goodbye to everyone by name. As we arrive back on earth we see the constellation of E.T.’s hand touching Elliot’s in the night sky before we disembark.

This second half of the ride is admittedly, not my favorite. Personally, I think it suffers from ruining the superior version of what we imagined E.T.’s planet to be like by providing a definitive answer. The bigger issue here, is that it’s downright weird. I don’t know what you imagined E.T.’s planet to be like but I’m willing to bet it wasn’t like this. I’ve always hated when people dismiss creative and imaginative works of art as simply the results of someone being on drugs, but this is perhaps the one time I think it might be apt. This part of the ride, and especially E.T.’s friends, have been noted for frightening children because of how strange and surreal it is. Even big fans of the ride often cite the strangeness of the green planet as what they love. Still though, it is an artistic feat. Words truly cannot describe the Lisa Frank-esque magical wonder of the green planet. Again, the comparison to Peter Pan’s Flight shows just how much of a souped up version of that ride this is. I mean, they both end with the star filled night sky even. While E.T. Adventure may go a little off the rails, it still knows the emotional core at its heart and never loses its focus on the friendship that spans all of space.

And with that, another analysis is complete. There’s a lot to say about Universal, the park has always struggled with its identity in the shadow of Walt Disney World but it’s started to come into its own in recent years. I’m hopeful for Epic Universe and what’s to come, it seems the sarcastic punching up has shifted more towards an earnest attempt to outdo the competition. Many fans feel the theme park arms race currently going on benefits us all and I’m inclined to agree.

#universal #spielberg #creepy #weird #theme parks #orlando #et #aliens

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theliterateape · 5 years ago

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Reflections on My Year as a Windy City Empire Duchess

By Elizabeth Harper

The shenanigans my friend Kate gets me into.

I’d been to a few of the Windy City Empire events to support my friend and because I really love drag shows and a lot of them happen at a neighborhood bar, Charlie’s Chicago, which is walking distance from where I live in Boystown in Chicago, the oldest officially recognized gay neighborhood in the United States. A country and western themed gay bar that also hosts drag shows, karaoke, burlesque, as well as country line and two-step dancing, Charlie’s is the home bar for the Windy City Empire, the Chicago chapter of the International Court System.

Then Kate asked me to be one of her duchesses. I thought to myself: What is this silliness? Why emperors and empresses, princes and princesses, dukes and duchesses? I’m an anarchist. I don’t get hierarchy. I can’t keep all these titles straight. What is this about? And what does a duchess do anyway? Like I don’t have enough on my plate already?

Then of course I noticed things on their Facebook page I wanted to fix. Even though I don’t want any responsibilities, I fall into them, mainly because I have opinions about how to fix Facebook pages.

So I became Empress Kate’s Duchess for Empire 15 of the Imperial City Court of the Prairie State Empire, or Windy City Empire for short.

I didn’t know about the International Court System before Kate got me involved, but I certainly feel like I should have known about it. It has a fascinating and important history. The revered Mama José Sarria, an advocate for civil rights, for all people but especially gay and trans people and drag performers, was the first Empress. The organization’s guiding ethos is to have fun while raising money for charities in their communities: “Raising Money One Dollar at a Time. From the Heart, Through the Court, For the Community.” Started in 1965, what came to be today’s International Court System is one of the largest and oldest LGBTQ+ organizations in the world, with over seventy chapters or “Empires” in the United States, Canada, and Mexico.

There are many aspects that I feel I still don’t understand, such as the significance and responsibilities of the various roles and titles. In the beginning, there seemed to be an awful lot of rules, for example about something they call “Protocol,” which has to do with how people are introduced and described when doing their “walk” at Coronations, the yearly gala events each court holds to celebrate the end of one reign and usher in the new Emperor and Empress. But by this year’s Chicago Coronation in November, I came to realize a lot of it was just about being silly, in the spirit of camp.

Camp is the key to understanding what’s going on with all these titles, the formalwear, the very large costume jewelry, and the significance and subversiveness of the International Court System. Interestingly enough Susan Sontag’s iconic essay on camp was published in 1964, close to the founding date of the court system in 1965. Here’s an updated evaluation of camp by Bruce LaBruce, who happens to be the director of one of my favorite movies of all time, The Misandrists,

While writing this, I was motivated to watch Paris Burning on Netflix, which gave articulation to some things I had been thinking about, some insight into these glamorous, if tongue-in-cheek, performances of royalty, pomp and circumstance.

I very much enjoy performing in drag. I like practicing the numbers. I love music, but I can’t sing at all, so dancing around and lip-synching is a great outlet for me. I’ve never been much for costumes and makeup. At first I didn’t want to spend too much money on it until I decided I liked performing drag at their shows. But now that I’ve decided that I like it, I’m building up my collection: a couple of wigs; sports bras in lieu of binders; men’s clothing from eBay and thrift stores, etc. I have two drag characters: a male, Hipster Ken; and a female, Cougar Barbie.

Drag is a way for me to share my love of music, dance, performance, and gender-bending. I’ll get more involved with the costume and makeup aspect as I pursue it. It will be like I’m my own doll to dress up!

I like the people, especially some of the drag performers and kinky fetish people I’ve met. Some of the drag performers have helped me think about my drag characters and their help has been invaluable. Also, I just like being around other kinky people.

I also like raising money for good causes. I was especially proud that Kate chose Project Fierce Chicago, which helps homeless LGBTQ+ youth, as her cause. We will continue to raise money for Project Fierce as one of our causes in the upcoming year. Currently they’re focused on their Emergency Relief Fund for young people who need funds to keep housing or assistance with barriers that could lead to homelessness. Some folks who have received funds have been homeless and needed assistance with basic necessities. Additionally, the PFC Emergency Fund has been able to provide critical financial resources to LGBTQ+ young adults experiencing housing instability who needed support making rent payments, covering utilities like electricity and gas, accessing Ventra passes, and purchasing essential household goods.

I like putting little shows together like my singer-songwriter night . One of my Duchess duties was to organize an event. Putting together a show is a responsibility, but the payoff is that I get to realize my vision. I like coming up with an interesting bill of performers.

Yes, there’s the raising money for charity, but that’s not the whole point. If I wanted to give money to charity, I could just write a check or click on a Paypal link. These shows that we do are about visibility, awareness, community. I was able to sell people on the idea of the show partly because of the cause. I like creating these win-win-win situations where the venue and the performers and the cause all benefit from their shared association with the event.

Mainly the various courts put on drag shows. The tips the performers collect go to charity. About half of all court members are drag performers. Most of the rest are some variant of LGBTQ+, though all are welcome to be members. There is definitely a desire and a push to be diverse and inclusive.

The most striking event for me was the Out-of-Town Show I saw when I went to Buffalo, New York for their Coronation weekend. People of all different ages, sizes, shapes, races, genders gathered together, many in full drag or campy formalwear, performed on a stage in a packed bar. In all the performances, I saw people sharing themselves and their love of music.

In talking with the various people I met that weekend, and also with my fellow Chicago court members, I’ve come to understand that, for a lot of them, the court is a way of developing their own leadership and organization skills through the responsibilities that their royal titles bestow upon them. It is also a form of activism, a way for them to take action on issues that are important to them. Throughout the history of the organization, a lot of the causes supported have been AIDS-related, both research on the disease itself and support for the people suffering from it. I know many members care deeply about the upcoming LGBTQ+ generations. Hearts go out to those in small towns, some in the Bible Belt, who suffer because of their sexual orientation or gender identity, some dealing with bullying and rejection from church and family members, some depressed and alone, some even suicidal or homeless.

When I first got involved with the court, members kept telling me it was like a family, which was not a selling point for me. Family has associations of obligations and conflict for me, though I guess, for some people, it has associations of acceptance and security.

I became more aware of drag families. It was very sweet to watch drag mothers with their drag daughters, bringing them gifts and taking pride in their accomplishments.

I’m looking forward to performing at future Windy City Empire events. Being a member of the court is a responsibility, but it’s a lot of fun too.

Feature photo: Duchess Elizabeth in tux next to Empress Kate in her ball gown. Photo credit to Joseph Stevens.

#Windy City Empire #International Court System #Chicago #Coronation Gala #charity #drag shows #LGBTQ+#José Sarria #friends #camp

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vileart · 8 years ago

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Dramaturgy is Torture: Louise Quinn @ Mayfesto

TROMOLO PRODUCTIONS PRESENT:

MUSIC IS TORTURE

SHOWS:

18th, 19th & 20th May - Tron Theatre, Glasgow

25th, 26th & 27th May - Traverse, Edinburgh

1st June - Eden Court, Inverness

Running Time: 60 mins | Suitable for 14+

A new piece of darkly comic, gig-theatre, cuts deep into what it is to ‘sell out’ and how we respond to global events.

youtube

MUSIC IS TORTURE is a dark comedy set in Limbo Recording Studios featuring live music and new songs by Glasgow Art-poppers ‘A Band Called Quinn’ who appear in the show as the band Dawnings.

This new piece of gig theatre tells the story of a struggling music producer, Jake, who discovers that his music is being used to torture political prisoners and charts his ensuing moral dilemma. Essentially this is a show about selling out – but it also looks at how people respond to global conflict; how people respond to fear of terrorism.

Music Is Torture was written by singer/ songwriter Louise Quinn and directed by Grid Iron’s Co-Artistic Director Ben Harrison. The piece is inspired by the research of Berlin-based Scottish musicologist Dr. M. J. Grant into the use of music to promote, facilitate and accompany violent response to conflict.

Ah - starting off - this is a tough subject to be dealing with! I'm talking about for myself, really: it strikes me that you've taken a relevant and contemporary topic, but found a way to relate it to the form of your work. And that might be the place to start... having seen Biding Time, is there much in terms of the way that this show is being presented that will be familiar to me? Is it going to be an example of 'gig-theatre' in the same way?

Music Is Torture, whilst still being 'gig-theatre', is much more of a straight ahead play; because the play is set in a recording studio the music is completely immersed into the narrative of the story.

The action takes place in Limbo Recording studios where we see our protagonist Jake struggling to maintain a sense of self worth having spent the past fifteen years recording the same album by the same band (Dawnings, played by A Band Called Quinn).

It's a bit of a sequel to Biding Time (remix); what happens to someone after they've been signed and dropped by a major record label, when all they really have left is their soul.

The band are characters in the story but also act as a chorus reflecting and commenting on Jake's moral dilemma as he is offered the chance to benefit financially from the use of his music to torture political prisoners.

I have also noticed that there is a promise of 'humour' in the production. Was that hard to find, given the subject matter?

I didn't want to write a worthy didactic piece on human rights. The style we have developed with our work is darkly comic and surreal; in a way this highlights the horror of music torture without being too literal. Dr Grant says she sometimes finds it hard to engage people in the subject with academic presentations but the moment she plays a clip from a Billy Wilder film of a character being subjected to a song on repeat, they get it.

Then there is the musicologist. I am always excited to see influences coming from unexpected sources (although maybe a musicologist is less surprising for you, and I am thinking of the more general theatre community). How did Dr Grant's work inspire you, and is it possible to see traces of the musicological analysis in the show?

Dr Grant is my cousin(!) We grew up in Lanarkshire and as children we would make up stories and put on little performances for our parents. I've always been interested in Morag's work as a musician and admired her involvement in human rights activism. When Morag told me about her work on music torture we were making Biding Time (remix) at the time. I found it hard to comprehend music being used in such a way. I started reading about the songs which had been used and the way their creators had responded when they found out something they had created was being used to psychologically torture political prisoners.

We have given Robert (Henderson - our trumpet player) a speech which draws upon Morag's musicological analysis (a highlight for me!) and consulted with Morag on the script and performance.

As for the question of selling out: that seems to have been a theme in your work, and I am wonder how far it is possible to draw comparisons with a general complicity with the financial demands of capitalism and the specifics of the case where music is used as a a way of torturing...

For me it was like taking the art vs commerce battle depicted in Biding Time (remix) and dropping it into the much bigger picture of human rights. I think it's a reflection of what's happening in the world today; there are huge sections of society who are disenfranchised and feel justified in choosing to pursue self interest over morality and support the views of the likes of Trump and Farage. It was important for me that the characters were from working class backgrounds as most people who are successful and can afford to pursue a career in the arts are from more privileged backgrounds.

The show depicts how the political can relate to the personal; how global events can impact on a persons life; how interconnected the world is. I saw an anti-trump demonstrator in Edinburgh being interviewed on the news recently who said 'If we don't do something we're complicit'.

Actually, on that note, I was watching The Men who Stare at Goats, and that suggests that the music-torture technique was kind of the 'dark side' of an attempt to find non-violent ways to fight wars... is there some about the nature of music that puts it in a marginal space in which it can be used for good or evil? and, if so, how do you keep on the side of the light?

As Morag's research demonstrates, the use of music to torture political prisoners effectively breaks the victim down psychologically to the point where they would rather suffer physical torture than be subjected to endlessly repeated music. Sometimes the music torture is accompanied by strobe lighting, stress potions and other physical abuse.

Torture, and by extension music torture, has been proven to be ineffective at gathering intelligence. Most musicians (for example, David Gray who's song Babylon was used by US interrogators in Iraq) are opposed to their music being used in such a way. Other artists like Metallica and Bob Singleton who wrote the Barney The Dinosaur theme aren't that concerned; other artists like Drowning Pool consider it an honour.

The character I play in the show is called Evie Phanuel after the archangel who offers hope to those in the depths of despair and I believe music has the power to do this. I think if you put your heart and soul into writing a song, someone somewhere will identify with it and not feel so alone.

As artists we also use music in a therapeutic manner with community groups and in educational settings; the complete opposite to music torture!

And on a more theatrical note: what's it like working with Ben Harrison? He is a familiar presence in your productions... does he have an attitude that suits your approach to performance?

Ben is a long term collaborator, mentor and friend. He understands our vision and knows how to achieve it in the form without being restricted by it.

Musicologist Dr. M. J. Grant:

“It can be difficult to get the message out about the reality of torture, especially when it comes to forms such as music torture that to the uninitiated might seem like a joke. This is why artistic treatments of the subject are so important: they can convey much that is important without the whole thing becoming voyeuristic or unduly harrowing.

I’m excited about this show not just because of the way it explores the psychological mechanisms of torture in a subtle but effective way, but because it draws attention to our own responsibility for the continued use of torture in today’s world.”

Playwright Louise Quinn:

“When Morag told me about her research we were working on Biding Time (remix) which raised issues about art versus commerce. As an artist I found it hard to comprehend music being used in such a way and when I researched artist’s responses to their music being used to torture political prisoners, I got an idea for a script.

Every day it seems to be more relevant and reflective of what’s happening in the world today; a disenfranchised protagonist who is torn between morality and self interest.”

Director Ben Harrison added:

“Music is Torture interrogates our complicity in acts of torture but does so in the most shockingly comic way. The Faustian dilemna at the heart of the piece- should I benefit directly from the sufferings of others - is presented with great wit and dark humour making parallels between the metaphorically torturous act of creation and the real torture of political prisoners.

The live room as a metaphor for the torture chamber is a powerful and resonant image, articulating our globalised and hyper-connected world, made all the more resonant as the show is based on real events.”

Company Information:

Ben Harrison - Director

Andy Clark - Actor TBC

Stephen McCole - Actor TBC

Robert Henderson - Trumpet/ Keys

Steven Westwater - bass

Louise Quinn - singing/ guitar

Bal Cooke - drums

Dani Rae - Producer

Camilla O'Neill - Production manager

Kate Bonney - Lighting Design

Tim Reid - AV

Emily James - Set and Costume Design

Bal Cooke - Sound Design/ Musical Direction

Funded by Creative Scotland. A Co-production with Tron Theatre.

A Band Called Quinn are an artpop band from Glasgow, Scotland, formed by Louise Quinn (songwriting & vocals) & Bal Cooke (production & drums). Other members are: Robert Henderson (trumpet & keys - also plays with Bill Wells & Aidan Moffat) and Steve Westwater (bass). They have worked with Kid Loco (produced Luss, their 2nd album), Alex Kapranos (played on their début, Inbetween Worlds), The Pastels (whose releases Bal’s produced / engineered) and Bill Wells. Their music has been used in films, by award-winning directors David McKenzie & Penny Woolcock. Their album, The Beggar’s Opera, featured songs from award winning theatre company Vanishing Point’s show in which the band toured late 2009 & has sleevenotes by Scottish crimewriter Ian Rankin.

Ben Harrison is the Co-Artistic Director of Grid Iron. He joined the company in 1996, since when the company has won 27 awards for its work. Since 2004 he has been a Director of the Dutch theatre company MUZtheater. Recent work includes Peter Pan in Kensington Gardens for PW Productions and The Tailor of Inverness for Dogstar. For Grid Iron: Tryst, Yarn, Once Upon A Dragon; Roam (Grid Iron/NTS/BAA Edinburgh International Airport; The Story of the Death of Najib Brax (Grid Iron/ British Council in Beirut); The Devil’s Larder; Naw Nader Men Al Houb (Grid Iron/British Council in Amman); Those Eyes, That Mouth; Variety; Fermentation; Decky Does A Bronco; Monumental; Gargantua; The Bloody Chamber and Clearance.

Tromolo Productions was formed in 2012 by founder members of A Band Called Quinn, Bal Cooke & Louise Quinn. Since then they have produced the award winning multimedia production Biding Time (Remix) which was part of Made In Scotland 2014, toured to Brazil in 2015 & won the Arts & Business Award for Digital Innovation 2015. They also produced five times nominated short film Oh Jackie based around a duet between Kid Loco & Louise Quinn which screened at Cannes. Tromolo Productions have also delivered songwriting projects for Platform working with socially isolated individuals with mental health issues resulting in recordings & performances at the Headspace festival.

vimeo

Music Is Torture from Tromolo Productions on Vimeo. Dr Morag J Grant studied music and musicology in Glasgow, London and Berlin. She received her doctorate from King’s College London in 1999, for a dissertation on European serial music in the 1950s. In 2005 she was awarded a DFG stipend to pursue research on the cultural history of the Scots song “Auld Lang Syne”. From 2008-2014 she was junior professor of social musicology at the University of Göttingen and leader of the research group “Music, Conflict and the State”, which explored the use of music to promote, facilitate and accompany violent responses to conflict. Dr. Grant has previously taught at the Humboldt-Universität and at the European College of Liberal Arts in Berlin. From November 2014 to September 2015, she was Fellow at the Käte Hamburger Center for Advanced Study in the Humanities “Law as Culture”.

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