#and among the voice cast more respect for the big name celebrities than the more experienced voice actors | Explore Tumblr Posts and Blogs

theeverlastingshade · 4 years

Text

Favorite Albums of the 10s

25. Shaking the Habitual- The Knife

The Knife made a name for themselves with their third and most celebrated LP, Silent Shout, but it’s their fourth LP, StH, that pushed their idiosyncratic blend of electroacoustic synth-pop to the furthest, most far-flung places that they’ve gone yet. The record deals with a diverse range of topics from the surveillance state, to fracking, pollution, gender discrimination, and unchecked greed with colorful, ketamine-fused candy cotton synth work and ritualistic percussion. There are long passages of ambience like the menacing build of “A Cherry on Top” dispersed between roaring apocalyptic dance numbers like the astonishing industrial eruption “Full of Fire” and the electro-acoustic freak out “Without You My Life Would Be Boring”. With the exception of the mid-album ambient epic “Old Dreams Waiting to Be Realized” every song on StH justifies its length with consistently engrossing arrangements that sustain their momentum without compromising an ounce of their potency. Everything about the record lives up to its title, from its thematic ambitions, to the breadth of the sonics, pacing, and performances themselves. StH if the full manifestation of the darkness that was lurking beneath the surface of their music from as early as their breakout single “Heartbeats”, but thankfully the music never collapses under the weight of their thematic concerns. Their resilience remains inspiring all these years later, and if Karin and Olof never reunite for a fifth LP we couldn’t have asked for a better send off.

Essentials: “Full of Fire”, “A Tooth for an Eye”, “A Cherry on Top”

24. XXX- Danny Brown

Hip-hop grew to remarkable heights throughout the 10s, and yet there were few rappers that displayed the level of growth and consistency from record to record throughout this past decade quite like Danny Brown. The Detroit native spent the aughts hustling the mixtape circuit, finally catching a spark with 2010’s The Hybrid, his strong debut LP. But a year later Brown returned with his sophomore LP and magnum opus XXX, a twisted rap odyssey that ignited the blogs, and signaled that a new era of hip hop was beginning to emerge. XXX found Brown rapping over an assortment of wonky boom-bap instrumentals courtesy of Bruiser Brigade producer Skywalker that fused classic hip-hop, trap, baroque pop, and techno into shapes far more disorienting than the beats that the vast majority of his contemporaries were rapping over. While it was evident beforehand, XXX really cemented the notion that Brown could rap over anything. The beats here are generally extremely impressive, and there are plenty of singular stylistic touches like the slurring violin stabs of “Lie 4”, the menacing synth lurch of “Monopoly”, or the distorted brass loops of closer “30”, that really stand out, but the appeal is first and foremost Brown’s rapping. His voice alone is one of the most versatile and unpredictable instruments in hip-hop, but aside from his masterful vocal alteration, always perfectly synched to the tone of any given moment on any given song of his, he’s a naturally gifted writer, as thoughtful as he is straight up hilarious. Whether bragging about his destructive lifestyle (“Die Like a Rockstar”), describing how much he loves cunnilingus “I Will”, mourning the desolation around him “Party All the Time”, or reveling in his come-up “30”, Brown is a thoroughly engaging presence throughout the entire album. On XXX profanity and profundity march gleefully hand in hand with one another, casting Brown as one of the last decade’s most singular voices.

Essentials: “Die Like a Rockstar”, “Monopoly”, “30”

23. House of Sugar- Alex G

On Alex G’s latest LP, House of Sugar, his concoction of warm guitar pop and warped electronic production reached a new peak. The songs on HoS detail the misdeeds of various characters succumbing to their greed, and the vignettes that he paints are growing increasingly well-realized thanks to a continuously sharpening songwriting voice and a plethora of tasteful pitch-shifted vocals that help imbue his characters with color and personality. HoS opener “Walk Away” provides a reasonably sonic barometer for what’s to come before dropping us into a series of the most immediate pop songs that he’s ever penned. “Hope” and “Southern Sky” are nimble acoustic guitar pop songs that are almost disarming in their immediacy, and framed around references to the real life death of a friend of his due to opioids and a dream he had, respectively. By the time we reach acoustic guitar and sitar-drone of “Taking” the pitch-shifted vocals are at the forefront of the music and HoS shifts gears into its abstract middle section which owes a lot to the new-age beat deconstruction of avant-garde electronic producers, specifically Oneohtrix Point Never. On the instrumental “Sugar”, a sublime concoction of pitch-warped whispers, dissonant strings arpeggios, and creeping acoustic guitar plucks, HoS reaches the depths of its depravity. The next song, “In My Arms”, leads us to the suite of sublime acoustic reveries that close HoS, arguably peaking with the gorgeous acoustic love ballad “Cow”. The dramatic sonic left-turn that HoS takes midway through may leave some new listeners a little cold, but for most Alex G fans nothing about the eclecticism of HoS should come as a surprise. Nor should the overwhelming quality of the songs here. From Alex G’s debut, Race, in 2010 up through HoS, he released a remarkable catalog of some of the most eclectic, and vital indie rock of the century, and I have no reason to believe he won’t top HoS at some point.

Essentials: “Gretel”, “Sugar”, “Walk Away”

22. Sea When Absent- A Sunny Day in Glasgow

A Sunny Day in Glasgow may be one of the 21st century’s most underrated bands, but not even Pitchfork could resist the coveted BNM tag when it came time to review their fourth and strongest LP, Sea When Absent. Building off of their first three idiosyncratic LPs that superbly fused electronic pop with shoegaze and dream pop, A Sunny Day in Glasgow moved into decidedly more psychedelic territory with their fourth LP while still retaining the sharp melodic sensibility of those first three. Much of the shift is easy to credit to vocalist Jen Goma who joined the group on their third LP, Autumn Again, and here her soaring vocals deliver rich melodies that are more fleshed out and focused than anything on their past releases. SWA sidesteps the kaleidoscopic sprawl of their 22 song sophomore LP, Ashes Grammar, and instead delivers 11 tight, stargazing pop songs. Whereas on the prior records it more often than not felt like the band were throwing ideas at the wall to see what stuck (with primarily successful results) on SWA the band commit more thoroughly to their ideas, writing songs that are well within their wheelhouse but have never been so well-realized. “Byebye, Big Ocean (The End)” and “Boys Turn Into Girls (Initiation Rites)” erupt with a wall of dazzling distorted guitars that slowly build into engrossing melodic payoffs while “Never Nothing (It’s Alright (It’s Ok))” and “The Body, It Bends” are sublime, soft spoken breathers that put a premium on texture and melody, and are among A Sunny Day in Glasgow’s most impressive songs yet. Even seemingly inconsequential moments like the “Double Dutch” interlude positively radiant with melodic warmth and joyous energy. Their strain of sun-kissed, jubilant dream pop tonally stands in stark contrast to much of the pop that’s dominated the airwaves this past decade, but their temperament doesn’t sound naïve so much as defiant. They have yet to follow up SWA with another LP, and I can’t blame them if they feel like they’ve said everything that they have to say with SWA.

Essentials: “The Body, It Bends”, “Never Nothing (It’s Alright (It’s Ok))”, “Boys Turn Into Girls (Initiation Rites)”

21. Strange Mercy- St. Vincent

Annie Clark has spent the past decade releasing music under her St. Vincent moniker, collaborating with the likes of David Byrne, producing for Sleater-Kinney, and appearing on the sketch comedy Portlandia. Although she began her solo career in earnest with her strong 2008 debut, Marry Me, in 2011 Clark released Strange Mercy, her third, and strongest record to date. Produced by John Congleton, SM is a compelling fusion of art rock/and chamber pop that often lands with a jarring, visceral impact, but is still imbued with a sense of grace that heightens the sentiments of her bewitching songwriting. Her first two records showcased her singular voice and tastefully, ornate baroque arrangements, but on SM Clark begins to let loose and lean into her virtuosic guitar playing. Songs like “Cruel” and “Northern Light” are propelled by her nimble riffs caked in distortion while strings rise and fall in a satisfying sweep all around her triumphant vocals. “Surgeon” brings the pace down to a crawl and gets a tone of mileage out of sensuous synth arrangements as Clark sings softly of depression and carnal desire “Stay in just to get along/Turn off the TV, wade in bed/A blue and a red/A little something to get along” before the song erupts into a furious storm of guitar distortion. The balance between fury and serenity animate the record from start to finish, and Clark seamlessly toggles these impulses from start to finish. On the title track, over a lumbering tom/kick drum rhythm, the incessant ping of a synth, and bluesy guitar licks Clark brilliantly sums up the record’s theme with a scene of police brutality “If I ever meet that dirty policeman that roughed you up/No, I, I don’t know what” that depicts the contraction inherent in the way justice is carried out by police in the west, and the way those contradictions bleed through to our understanding of morality on the whole. SM is a record full of these sorts of messy contradictions, and the music constantly reflected that perpetual sense of disarray with songs as colorful and chaotic as they were controlled.

Essentials: “Northern Lights”, “Surgeon”, “Strange Mercy”

20. A Moon Shaped Pool- Radiohead

Radiohead’s eighth LP, 2011’s solid but unremarkable King of Limbs seemed to cement the notion that while Radiohead may not have another game changer left in them, they were probably weren’t ever going to make a bad record. And with all of their various solo pursuits it seemed plausible that we may never get another Radiohead record, as underwhelming as capping off a career as thrilling as theirs with KoL would have been. Thankfully things didn’t pan out that way, and in 2016 Radiohead released their ninth LP, A Moon Shaped Pool; the platonic ideal of a master stroke from a legacy act. The album is partially composed of older songs re-worked into new forms, such as the tense string onslaught of opener “Burn the Witch” while a few of the newer songs like the gorgeous, ambient “Daydreaming” are string-laden compositions that are as eerie as they are radiant. For a band that’s been prophesizing the increasingly dismal state of the world that we now find ourselves in for the past several decades, they sound increasingly comfortable with their position in the world, and there’s no question that they’re in full command of their craft here. The production is sublime throughout the entire record, with a sense of encroaching doom bubbling just beneath the surface juxtaposed against rich baroque instrumentation. AMSP is the Radiohead album most informed by Johnny Greenwood’s work scoring films like There Will Be Blood and Phantom Thread, and as a result there’s a remarkable sense of immersion at work even for a Radiohead album.

So while there are some recognizable forms from records past, such as the brass-lead krautrock strut of “Ful Stop”, or the twitchy IDM drum work of “Identikit”, the spectral production heightens the potency of everything here. The compositions on AMSP are the most elegant, and nuanced of Radiohead’s to date, and Yorke’s voice continues to age superbly. Yorke’s lyrics touch on familiar topics, more relevant now than ever, such as climate change on “The Numbers” “The numbers don’t decide/The system is a lie/A river running dry/The wings of butterflies” the dangers of unchecked authority on “Burn the Witch” “Abandon all reason/Avoid all contact/Do not react/Shoot the messengers/This is a low-flying panic attack” and the broader, horrific realities of the world that we live in on “Ful Stop” “Why should I be good if you’re not?/This is a foul tasting medicine/A foul tasting medicine/To be trapped in your ful-stop”. What’s more unexpected are songs like the graceful string-led “Glass Eyes” and the devastating ambient closer “True Love Waits”, two songs that are poignant tributes to Yorke’s ex-wife, Rachel Owen, who passed away from cancer in late 2016. AMSP isn’t just a spectacular late-career gem that would make a superb swan song; it’s also the most human record that Radiohead have made yet.

Essentials: “True Love Waits”, “Daydreaming”, “Ful Stop”

19. Eye Contact- Gang Gang Dance

Few bands set the tone for the kind of cross-culture hybridization that would become the sonic norm for music throughout this decade quite like Gang Gang Dance. Throughout the early aughts they cut their teeth in the Brooklyn noise scene alongside bands like Animal Collective, Black Dice, and Exceptor blending noise, experimental rock, and worldbeat into blistering, unconventional shapes. As the years progressed Gang Gang Dance gradually began to open up their sound, folding elements of hip-hop, dance music, and psychedelic pop into a colorful concoction of rhythmically robust, delightfully manic pop music that was just as forward-thinking as it was infectious. The shift really began on their criminally underrated 2005 LP, God’s Money, but began notably on their terrific 2008 LP, Saint Dymphna. On the follow-up to SD, their remarkable fifth LP, Eye Contact, the sound of Gang Gang Dance crystallized into something more immediate and far-ranging than anything that they had done prior (or since so far). On EC, everything that the band had attempted throughout the course of their career (tribal rhythms, eastern melodies, shards of refracted noise) was gloriously combined into a hyper-saturated tapestry of progressive future pop. EC is the peak of Gang Gang Dance’s prior decade of sonic exploration, and nearly a decade later there’s still nothing that sounds anything like it.

Beginning with the astonishing slow-burn intro of “Glass Jar” that finds the band patiently building up what begins as a pent up ambient composition toward something more volatile that eventually rips open midway through, spilling into a calamitous, euphoric release into the song’s second half, EC is bursting with joyous energy and possibility. The melodies are some of the sharpest, and most direct that vocalist Lizzi Bougatsos has ever penned, providing a warm immediacy that cuts through even the most outre arrangements here, and they continually expand into shapes as the songs continue to progress. “Adult Goth” and “MindKilla” are bolstered considerably by Lizzi’s dynamic vocal performances, and the off-kilter, spellbinding synth arrangements of the band’s keyboardist Brian DeGraw, while “Romance Layers” provides an ideal mid-album psychedelic breather.. And on the album’s closer, “Thru and Thru”, the band deliver a send-off that succinctly sums up a prior decade’s worth of experimentation into a nearly six-minute song overflowing with eastern melodies, mesmerizing chants, and infectious tribal rhythms that congeal into a sound that couldn’t possibly be mistaken for anyone else. Although they’ve only graced us with the somewhat underwhelming 2018 record Kazuashita since, when Gang Gang Dance are firing on all cylinders, as they are on all of EC, there’s simply nothing like it.

Essentials: “Glass Jar”, “Adult Goth”, “Thru and Thru”

18. Shields- Grizzly Bear

Although the zeitgeist was already beginning to dramatically shift by the time that Grizzly Bear released their fourth LP, Shields, guaranteeing that it wouldn’t have the same immediate impact that they enjoyed with its predecessor, their 2009 breakout LP, Veckatimest, they still ended up releasing their magnum opus. Compared to Veckatimest’s approachable folk-pop leanings there are moments on Shields that sound downright prog, but the band never let these intricate baroque pop/psychedelic folk arrangements get away from themselves or compromise the remarkable melodic instincts that were undeniable on their terrific sophomore LP, Yellow House. The ten songs throughout Shields are perfectly paced, and there isn’t a single moment that overstays its welcome, but they each develop just as much as they need to. The band’s primary songwriters, Edward Droste and Daniel Rossen, were each peaking as singular songwriters in their own respective rights on Shields, and they both deliver a handful of the band’s strongest songs to date. Droste’s songs tend to creep in ethereal waltzes with delicate baroque instrumentation (“gun-shy”, “A Simple Answer”) unfolding patiently while sustaining a remarkable sense of tension while Rossen’s are jaunty folk rippers that unfurl in unpredictable, and thrilling cacophonies that still retain the grace that the ornate instrumentation demands (“Yet Again”, “Speak in Rounds”) but unfurl in far more complex structures than those on Veckatimest.

Grizzly Bear’s progression from Droste’s cozy lo-fi folk bedroom project to a knotty baroque folk juggernaut was one of the most quietly satisfying of any band from the past decade, and on Shields they hit a gorgeous peak. While Droste and Rossen had peaked as songwriters here, their contributions never overshadowed those of Chris Taylor or Chris Bear, and the chemistry on Shields is sharper than most bands ever come close to achieving. It’s easy to get lost admiring the sheer craft of their meticulous arrangements, crisp production, provoking but elusive songwriting, and the sharp interplay between Droste and Rossen each on their own individual merit, but on Shields everything that previously stood out about their artistry is amplified, and congealed in a way that’s approachable yet inimitable. On Shields Grizzly Bear umped the ante from Veckatimest on both fronts, and proved that they could grow more immediate and melodic while still dazzling with rich compositional complexity. Grizzly Bear followed it up with Painted Ruins in 2017, that while a perfectly good record in its own right is nowhere as cohesive, and most unfortunately, patient. And to be honest, I haven’t heard a baroque folk record released since Shields that’s as consistently engrossing, or one performed with such remarkable execution. Shields isn’t their most immediate, but it best distills their singular essence, and its generosity knows no bounds.

Essentials: “gun-shy”, “Yet Again”, “The Hunt”

17. The Money Store- Death Grips

Anyone from future generations looking to hear a band that’s most emblematic of the 10s as a full decade probably couldn’t do better than Death Grips. The trio consisting of vocalist MC Ride, keyboardist/producer Flatlander, and drummer Zach Hill released their abrasive Ex-military tape in 2011, and right out of the gates the trio had a fully-formed sound that plucked unapologetically from west coast hip-hop, industrial, hardcore, and noise. Although far from the first band to draw equally upon genres like these, Death Grips stood out immediately thanks in no small part to MC Ride, who has since proved to be one of the last decade’s most compelling frontmen. His lyrics are cryptic, and intelligent yet visceral, with a deceptively wry edge. Although there’s quite a bit of variety to his delivery, it’s always propelled forth with an overwhelming intensity that can take some time to become accustomed to. Ex-military was received rapturously by critics and bloggers, but as exciting as group like them may have seemed at the time it would have been hard to predict any kind of real longevity for them. And their unrelentingly antagonistic streak (leaking No Love Deep Web, putting a picture of Zach Hill’s dick on the cover of said album, skipping performances or just playing recorded music instead of performing, trolling fans, faking a breakup) would have decimated the momentum of almost any other band, but Death Grips feed on this sort of chaos like a troupe of anarchist vampires. Their arc from Ex-military to 2018’s Year of the Snitch is one of the most rewarding streaks of any act throughout the 10s, and while most of these records are great, there isn’t one that better distills their essence than their 2012 debut LP, The Money Store.

While Ex-military presented them as an admittedly idiosyncratic, yet undeniable product of their environment, TMS blew their sound wide open proving that they had range far beyond sounds of their native state. Right from the bass arpeggios that jolt opener “Get Got” to life, it’s clear the fidelity has improved considerably, but they haven’t compromised an ounce of their fury. This still scans as music custom-tailored for little other than violently thrashing your limbs, and little else from the past decade as been anywhere near as effective at distilling that aesthetic so neatly across the run of a single record. But on TMS Death Grips were still writing actual songs, with memorable hooks, sticky melodies, and conventional structures that served to heighten the potency of their tantrums. Songs like “I’ve Seen Footage” and “Hacker” are shocking for how immediate and unthreatening the band sound despite MC Ride’s sour bark, while songs like “The Fever (Aye Aye)” and “The Cage” showcase early peaks for Flatlander’s immaculate, and underrated synth work. MC Ride is at his best here, whether talking shit and espousing authenticity (“Hustle Bones”), calling out doubters (“Bitch Please”), or just railing against general conformity, he delivers 13 career defining performances in neat succession. Death Grips have continued to relentlessly experiment on all their subsequent records, and while some have come close to matching the excellence of TMS, they’ve all fallen short. Thankfully, the immense exhilaration and urgency of TMS sound more potent with each successive year that we inhibit this desolate hellscape.

Essentials: “I’ve Seen Footage”, “The Fever (Aye Aye)”, “Hacker”

16. Twin Fantasy (Face to Face)- Car Seat Headrest

It shouldn’t come as any surprise that a re-recording of a devastatingly personal LP that Will Toledo recorded at 19, with better production, stronger arrangements, and cleaner vocals, would end up being his best record to date. What was surprising was that he decided to return to the record of his that’s most important to him, and give it the sort of justice that it deserves after having developed into a far more adept talent in the years following its release. And although I’m sure some of those songs (if not all of them) were painful to revisit, the discipline and audacity paid off enormously. Twin Fantasy centers entirely around falling in love with another man at 19, and the arc of their relationship from mourning the distance between them on the opening song “My Boy (Twin Fantasy)” to the newfound acceptance of their relationship’s dissolution on closer “Twin Fantasy (Those Boys)”, detailing the highs and lows with unabashed sincerity. While the original still holds up fairly well, there’s no question that the re-arranging, cleaner vocals, and stronger fidelity overall just heightened the potency of what was already there without diminishing any aspect of the original record. Will’s cleverness, sense of humor, and dynamism as a bandleader elevate TF beyond a melancholic teen drama into a searing document of formative growth, demonstrating craft, ingenuity, and wisdom far beyond his years. More so than any other record released throughout the last decade, TF exemplifies just how potent indie rock still is.

This new version of TF is more of a “re-imagining” of the original record than anything else, and as such the thematic scope as it initially existed, along with the exact same track listing, is held perfectly intact. The record’s two epics, those being “Beach Life-In-Death” and “Famous Prophets (Stars)” are both even longer, and benefit more so than anything else here from their new arrangements. The fidelity has been cleaned up notably, but TF is still far from overproduced, and without any fuzz obscuring a lot of the detail you can hear just how crisp, and superbly layered these arrangements are. The new-wave outlier “Nervous Young Human” practically radiates with a newfound sheen, and is handedly the most radio-ready song the band have ever written, but it still folds seamlessly into the record’s mid-section between the anthemic, distortion-fueled peaks of “Sober to Death” and the record’s mid-album power-pop stunner, “Bodys”. Toledo’s drawing from a great deal here of different sub-genres here, and he manages to land on a remarkably uniform sound that belies the myriad of intricacies at work that prevent these compositions from being crushed underneath the weight of their own ambition. The album’s greatest achievement is how deftly Will manages to tell a story about the most profound event of his life coupled with music that’s as multi-faceted as the human experience being conveyed. TF may be proudly out of step with the current cultural zeitgeist from a sonic perspective, but the sentiments conveyed throughout are sublime missives from a distinctly millennial outlook. As far as concept albums about a single relationship are concerned, Toledo has set the bar this century with TF.

Essentials: “Famous Prophets (Stars)”, “Beach Life-In-Death”, “Bodys”

15. Modern Vampires of the City- Vampire Weekend

Vampire Weekend have come a long way from the indie afro-pop roots of their debut to their pastoral, jam band informed fourth LP, Father of the Bride, but on their third LP, Modern Vampires of the City the band refined their sound to a sublime strain of chamber music and art pop filled with Ezra Koenig’s strongest writing to date. Whereas their first two records were entirely produced by the band’s multi-instrumentalist and not-so-secret weapon Rostam Batmanliij, on MVotC Ariel Reitscheid, a producer known for working with acts like Charli XCX, Haim, Solange, etc joined the proceedings, and there’s a lighter feel to a lot of the arrangements, but everything has more dimension overall, and the low-end really pops on a lot of these in a way that it hadn’t really before. There are plenty of welcome production choices throughout, like the sprinkling of auto-tune on “Step”, or the blistering saxophone solo on “Worship You” that do a great deal to expand the parameters of the band’s sound without ever finding them really going out of their depth. Compared to their prior records there’s a fairly vast tonal gap on MVotC, with a heightened sense of existential dread and fixations on mortality, nostalgia, and faith. It’s weighty stuff without question, and the exceptional pacing goes a long towards helping evenly pack in the melancholic, languid compositions like “Everlasting Arms” and “Don’t Lie” with infectious up-tempo numbers like “Diane Young”, “Unbelievers”, and “Finger Back” that, while far from the best of what’s here are still as immediate as anything they’ve ever released and benefit from the same immaculate arrangement, production, and writing as everything else here even if they don’t break as much new ground. But the best of what’s here are without question among the best pop songs released so this far century.

Both opener “Obvious Bycycle” and “Step” are devastating looks at nostalgia that frame Ezra’s thoughtful character sketches in rich compositions that in the case of the former consist of soft wisps of grand piano, percussion that sounds like a stamp being punched, and surprisingly visceral bass, while in the case of the latter the band opt for gorgeous harpsichord arrangements, and a swaggering bassline. But “Hannah Hunt”, which is for the record the best VW song to date, is on another level entirely. It opens like the sun after the storm with field recording of a crowd of people clearing away for delicate grand piano and the gentle rumble of bass. Ezra sings of a relationship slowly starting to break apart as a couple travels the country together “A gardener told me some plants move/But I could not believe it/’Til me and Hannah Hunt/Saw crawling vines and weeping willows”. The song slowly builds into a rousing baroque pop crescendo over roaring keys as Ezra delivers one of his most devastating lines to date “If I can’t trust you then damn it Hannah/There’s no future, there’s no answer/Though we live on the US dollar/You and me we got our own sense of time”. Rostam left VW in 2016, and although their first record without him, the aforementioned 2019 comeback LP, FotB, his absence was sorely felt. On “Hudson” it almost sounds like Rostam is singing to Ezra, under that lens especially, it’s functions as a poignant, but fitting cap to VW’s first era. As great as FotB, Rostam’s 2017 debut Half-Light, and I Had a Dream That You Were Mine, his 2016 collaboration with Hamilton Leithauser of The Walkmen, I hope that MVotC isn’t the last time the two of them work on a full LP together.

Essentials: “Hannah Hunt”, “Step”, “Ya Hey”

14. Channel Orange- Frank Ocean

Few albums released throughout the last decade have brought about the sort of sweeping sea change that Frank Ocean’s sublime debut LP, Channel Orange, did. Ocean’s kaleidoscopic, self-released 2011 mixtape Nostalgia, Ultra established his artistry as something far beyond that of the go-to hook ghostwriter identity he cut his teeth establishing for himself. A year and a half later, amidst signing to Def Jam, collaborating extensively with Tyler, the Creator, Kanye West, and Jay-Z, and writing a now legendary tumblr post stating that his first love was for another man a few days before releasing his immensely anticipated debut LP, Frank Ocean released that album, and decided to call it Channel Orange. Like Ocean’s music itself, the narrative surrounding his ascension feels both timeless (moving to LA after Hurricane Katrina struck his hometown of New Orleans, ghostwriting and joining Tyler, the Creator’s hip-hop collective Odd Future before releasing his own music, which drew primarily from soul, classic r&b, and funk more than anything that was on the radio at the time) and modern (sampling extensively on N,U, having a few key co-signs that seemed to unlock all the right connections, leveraging the power of the internet along with the rest of Odd Future to build and sustain a fanbase) but none of it would matter if the music didn’t live up to the hype. But all of this is particularly interesting to consider when talking about CO, especially considering that it’s the best debut LP of the 10s, and an absolute master class in songwriting.

CO is a remarkably fully-formed debut LP that finds Ocean in complete control of his craft on all fronts. The instrumentation is a lush palette of analog keys, bass, and strings, and with the exception of a few fairly stripped down ballads, shows a keen command for maximalism that never sounds overwrought. Even a song like the colossal, mid-album change-up “Pyramids”, is saved from complete indulgence after the beat seamlessly shifts into a woozy down-tempo trap instrumental with plenty of space for Ocean’s falsetto to linger in. Ocean would shift gears dramatically with the 2016 visual album, Endless, and his second studio LP, Blonde, trading in the rich, dense analog soul and r&b for a minimal psychedelic soul sound. While the production on Blonde and Endless is more impressive than that of CO, neither record was quite able to match the lush immediacy that seemed to come to Ocean so naturally here. Ocean produced the record alongside the musicians Jonathon Ikpeazu, Malay, and Om’Mas Keith who all provided additional keys, drum programming, and/or guitars. Earl Sweatshirt, Tyler, the Creator, and Andre 3000 are the only guests that provide verses, and while each completely delivers, CO is Ocean’s record through and through. Regardless of whether Ocean is singing about the emptiness of privilege (“Super Rich Kids”), or depicting a tale of someone’s life falling apart due to crack addiction (“Crack Rock”) or delivering the closest thing he’ll likely ever come to a straight forward love song (“Thinkin’ Bout You”) his eye for detail, wit, intelligence, and empathy render the characters as rich, and multi-faceted regardless of what angle he’s coming at them from. The warmth and immediacy of the instrumentation and Ocean’s voice draws you in, but it’s the sheer strength of his songwriting that elevates CO from simply being another immensely promising debut to the classic that it is.

Essentials: “Crack Rock”, “Bad Religion”, “End / Golden Girl” ft. Tyler, the Creator

13. Sunbather- Deafheaven

Deafheaven were far from the first band to blend black metal, shoegaze, and post-rock, but on their stellar 2013 record Sunbather they distilled elements of these genres into a punishing, and breathtaking sound that’s unmistakably theirs. Their solid 2010 debut Roads to Judha showed tremendous promise, but their songwriting wasn’t on par with their ambitions yet. But on Sunbather, Deafheaven lived up to that early promise. Sunbather is primarily a blistering fusion of black metal drumming and shrieks engulfed in walls of shoegaze guitar that often give way to instrumental outros that shine with the radiance of Sigur Ros or Explosions in the Sky. George Clarke delivers the lyrics in an indecipherable shriek that either amplifies the intensity of the surrounding arrangements, or is used as a sublime juxtaposition to their fleeting moments of transcendent beauty. Sunbather is seven songs long, and superbly paced so that the band’s lengthier compositions are evenly split between songs that include a dreamy minimalist guitar/piano composition (“Irresistible”), a menacing baroque-noise march that congeals midway through into a jangly guitar conclusion (“Please Remember”), and an eerie collage of vocal samples and droning strings (“Windows”). This odd assortment of songs may seem random, but they do a nice job of breaking up the surrounding onslaught, and demonstrating the band’s range, while still adhering to the record’s searing aesthetic. It’s remarkably accessible music as far as metal is concerned, and if you can make it past the tone of Clarke’s voice there’s a lot to love about this album.

For all of Sunbather’s seemingly impenetrable harshness, there’s a great deal of beauty glistening just beneath the surface. On Sunbather, Deafheaven managed to strike a near perfect balance between beauty and chaos that, while greater heights were achieved later on, they never quite improved upon. The longer numbers here transition into moments of transcendent, cathartic beauty, and back into frenetic fury so subtly, and masterfully, that the juxtapositions quickly begin to seem less like extreme exercises in contrasting dynamics and tones so much as the fluid spectrum of Deafheaven’s multi-faceted artistry. And while the lyrics throughout Sunbather match the brutality of the corresponding arrangements, they also match their life-affirming, triumphant sense of urgency. Whether Clarke is reflecting on habitual patterns and habits that he just can’t shake “Lost in the patterns of youth/And the ghost of your aches comes back to haunt you/And the forging of change makes no difference” on “Vertigo” or ruing the alcoholism that he inherited from his father “In the hallways lit up brightly but couldn’t find myself/I laid drunk on the concrete on the day of your birth in celebration of all you were worth” on closer “The Pecan Tree”, his lyrics throughout Sunbather imbue his tortured yelps with a devastating poignancy rendered all the more morose by the band’s unflinching, formidable poise. It’s not hard to hear why Sunbather was the best reviewed album of 2013, and a game changer for black metal. Few records, metal or otherwise, have managed to convey such overwhelming emotional intensity through such ambitious composition. Its crushing beauty hasn’t lost an ounce of its potency in the years since.

Essentials: “Dream House”, “The Pecan Tree”, “Sunbather”

12. To Pimp a Butterfly- Kendrick Lamar

Kendrick Lamar caught the attention of the zeitgeist with his generation defining sophomore LP, Good Kid, M.A.A.D. City, but that record’s follow-up, To Pimp a Butterfly, cemented his status as one of the definitive musical auteurs of his generation. Whereas the former record was a gripping street epic that seamlessly tucked a coming of age story into the larger fabric of a blockbuster west coast hip-hop record, the latter record blew open the history of black music and wove together a tapestry of disparate styles that congealed to express a more multi-faceted look at the black experience. The beats are composed of live instrumentation courtesy of Terrance Martin, Kamasi Washington, Thundercat, and a plethora of the west coast jazz elite, and they span the likes of jazz, r&b, soul, and funk alongside instrumental hip-hop without showing the seams. The music runs the gamut from uplifting anthems (“Alright”) to bouts of unbridled fury (“The Blacker the Berry”), and everywhere in-between, but thanks to Kendrick’s deft pacing and execution nothing sounds out of place, and there’s no mistaking these songs for the work of anyone else through sheer scope alone. Kendrick’s writing and rapping had increased considerably since GKMC, but throughout TPaB he spends less time trying to prove what a capable rapper he is, and far more time using his ability to explore the nuances of systemic racial issues through the lens of a plethora of different characters. TPaB couldn’t have possibly sounded more out of step with the zeitgeist upon its release, but in venturing beyond what hip-hop in the mid 10s sounded like, and exploring perspectives beyond those of himself, he was able to tap into something far more universally human.

Throughout the course of TPaB Kendrick tackles a wide plethora of topics with music that’s matches the breadth and scope of his thematic ambitions. The g-funk strut “King Kunta” is one of the most immediate songs in his career, and he juxtaposes the song’s infectious backdrop against verses that evoke the resilience of Kunta Kinte in the novel Roots as a through line for the jarring shift he experienced throughout his come-up after growing up in poverty. “u?” brilliantly distills the sort of tragic survivor’s guilt that Kendrick experienced in the wake of his success watching so many of his friends continue to succumb to the perils of systemic racism through harsh free-jazz arrangements, while “i” gains power within the context of the record as an uplifting neo-soul anthem of self-love after the preceding storm has subsided. The uplifting anthem “Alright” has become a canonical protest song in the wake of civil unrest as a result of excessive police brutality while the finale, “Mortal Man”, begins with some of his strongest verses to date before transitioning into a fabricated interview with 2Pac. There’s an absurd amount to unpack within the songs on TPaB, but the album never buckles under the weight of its ambition, and delivers performances that are striking at every turn. Kendrick never shies away from depicting the devastating realities throughout the history of the black American experience, but he finds reasons to persist through these tribulations in the power of community, god, and love.

Essentials: “The Blacker the Berry”, “u”, “Wesley’s Theory” ft. George Clinton

11. Lonerism- Tame Impala

On Tame Impala’s debut, Innerspeaker, the band proved adept at piecing together the finest moments from their record collections into strange, idiosyncratic new shapes, but on their sublime sophomore LP, Lonerism, they began to push their sound into the present moment. The flanged guitars, shuffling drum rhythms, and frontman Kevin Parker’s Lennon-esque falsetto are a hallmarks of classic psychedelic rock, but the spellbinding synth textures, evocative samples, and cavernous production showcase a definitively 21st century sensibility. There was no mistaking them for a pure homage act on Lonerism. With the exception of piano on a few tracks courtesy of Jay Watson, and a spoken word interlude courtesy of Melody Prochet, Lonerism was written, recorded, and produced entirely by Kevin Parker, and it helped signal a major shift from bands being the dominant artistic vehicle in indie music to the solo artist taking up that mantle. Lonerism is a perfectly paced album, and aside from a few breathers, and a few epics, it almost plays like a greatest hits set. There were signs of the disco-prog synth act that Tame Imapa developed into on a few of Lonerism’s more immediate moments, but this is still thoroughly steeped in the lineage of psychedelic rock, acid rock, and blues rock. With Lonerism, Parker began to show signs of the poptimist that he was all along, but he hadn’t yet compromised the instrumental ingenuity that he’s capable of for a strong melody, and so here you get the best of both worlds; the band’s sharpest hooks and most adventurous production. Lonerism is where Tame Impala evolved from a promising project with immense potential into one of the defining musical acts of Parker’s generation.

Lonerism is a record that completely lives up to its title as a concept record about isolation. Every song here finds Parker grappling with some aspect of self-imposed isolation set against hazy, psychedelic pop/rock instrumentation. Some songs like, the disarmingly immediate “Feels Like We Only Go Backwards” spells out his anguish explicitly, with a love interest that he keeps falling for against his best judgement, while “Endors Toi” finds Parker rejecting the hardships of reality for the bliss that’s only possible when you’re literally dreaming. The lyrics rarely go deep, but on a record like this they’re entirely beside the point. Thankfully Parker’s writing works superbly within the context of the concept without detracting from the instrumentation and production. Parker wrote a few strong hooks on IS, but they were the exception, not the norm. On Lonerism, Parker’s melodic intuition had fully blossomed, and the hooks on songs like “Elephant”, “Why Won’t She Talk to Me”, and “Feels Like We Only Go Backwards” were more immediate, and more memorable than anything on the top 40 at the time. The songs on Lonerism are bursting with sonic personality; whether we’re talking about the euphoric streaks of synth that send “Apocalypse Dreams” into the stratosphere, the phaser-smeared guitars and immersive samples that bring “Sun’s Coming Down” to its triumphant finale, or the propulsive drum fllls that propel “Endors Toi”, Lonerism is the most sonically rich record that Parker has ever released. Parker would achieve more audacious and unexpected heights on his superb 2015 follow-up, Currents, but he has yet to top Lonerism’s consistency, and near perfect balance between studio experimentation and pure pop craftsmanship.

Essentials: “Nothing That Has Happened So Far Has Been Anything We Could Control”, “Sun’s Coming Up”, “Apocalypse Dreams”

10. Flower Boy- Tyler, the Creator

Flower Boy may not have come as a surprise to those who closely followed Tyler Okonoma’s progression from the lo-fi hardcore hip-hop days of Bastard and early Odd Future through his chaotic, candy-coated third LP, Cherry Bomb, but for the casual listener it may have seemed like an unthinkable evolution. And no one could have predicted its consistency. The signs of Tyler progressing into melodic, psych-leaning neo-soul were on the wall as early as his terrific 2013 record, Wolf, but on FB his melodic sensibilities, compositional chops, and an increasingly empathetic outward writing perspective all coalesced into an idiosyncratic tapestry of vibrant sound and color unlike any hip hop record ever recorded. It’s the first time that Tyler’s chops had fully caught up with his ambition, allowing him to completely deliver on the promise of a truly genre-adverse opus that Cherry Bomb merely hinted at. The lyrics are somber, and reflective, demonstrating Tyler’s newfound sense of maturity that would have been unthinkable throughout the early OF days. The sincerity and vulnerability of the lyrics go a long way towards heightening the potency of his vibrant, melodically rich compositions. FB capitalizes on all the strange contradictions that have always been inherent in his music, while removing the adolescent excess that have bogged down each prior release. The result is a highwater mark for what hip-hop and neo-soul can sound like unbridled with concern for what music should sound like. That attention to detail and unrelenting creative spirit are what helped propel FB into being the classic record that it ended up being.

Eschewing the lo-fi Neptunes meets MF DOOM beats of his past records, Tyler landed on a perfect blend of neo-soul synths, jazz strings/horns, and drums that split the difference between classic boom-bap and mid-10s trap for FB. The music is bright and vibrant, with a wealth of detail tucked within each mix that rewards multiple listens. There are songs that are completely in Tyler’s wheelhouse, like the frantic, mid-album trap cut “I Ain’t Got Time!”, and a few like the show-stopping psychedelic soul ballad, “Garden Shed”, that dramatically expand the parameters of his sound, but they all cohere together superbly into a fully-realized kaleidoscope of sound. Even the songs like “Pothole” and “November” that seem like more run of the mill Tyler cuts showcase a renewed sense of focus and tight production that belie their simple construction. FB is a record that’s focused on unrequited love, and while themes of abandonment, disillusionment with fame, growing pains, and insecurity emerge as on past records, the bulk of the action is focused on Tyler coming to terms with both his bisexuality and the anguish of a missed connection. Rarely does heartbreak sound so unflinchingly, thrillingly alive. True to form, the music is never mopey or saccharine, but it’s always brimming with the intensity of young love. FB is the record that Tyler has always set out to make, and while I’m sure he’ll top it at some point, it currently stands at the definitive realization of his singular vision.

Essentials: “911 / Mr. Lonely” ft. Frank Ocean & Stevey Lacy, “Garden Shed” ft. Estelle, “See You Again” ft. Kali Uchis

9. Until the Quiet Comes- Flying Lotus

After Steve Ellison, aka Flying Lotus, dropped his masterful third LP, Cosmogramma, it seemed like he could take his sound anywhere, but doubling down and improving on the maximalist excess of Cosmogramma would have proved a near impossible task. Thankfully, on his stellar follow-up LP, Until the Quiet Comes, FlyLo swung all the way in the opposite direction, and despite it being the flavor of the decade minimalism rarely ended up sounding better on any other artist. UtQC is a minimalist electronic jazz/instrumental hip hop record with dreamy meditative arrangements that belie their complexity at every turn. The album is a concept record that finds FlyLo exploring the realms of human consciousness coupled with ambitious arrangements and immersive production that complements his thematic ambitions perfectly. FlyLo is still making beats in a traditional sense, but the compositions on this LP are more rich and varied than the entire discography of most producers, and the music he draws from spans the likes of ambient, psychedelia, r&b, post-rock, progressive rock, and meditative astral jazz as much as his usual instrumental hip hop, IDM, and free jazz touchstones. And so while UtQC is more insular, less immediate, and more likely to necessitate multiple listens than any other record of his, it’s the best showcase of FlyLo’s versatility, melodic intuition, and use of texture.

The compositions are short and sweet, and barely last longer than it takes for FlyLo to introduce an idea, tweak it, thwart expectations, and move on. Like on Cosmogramma, UtQC incorporates live instrumentation weaved throughout various compositions (Thundercat’s bass playing was cemented as a staple element of FlyLo’s sound here) as well as vocal features from the likes of Thundercat, Thom Yorke, Laura Darlington, and Niki Randa. The features are all utilized tastefully, and heighten the potency of the existing arrangements without detracting too much. There are songs like “All In” and “Yesterday/Corded” that just feature FlyLo alone constructing remarkable, lived-in soundscapes from his usual toolkit of drum machines, samplers, sequencers, and keys, while others like the title track and “DMT Song” that commit thoroughly to their minimalism, and coast effortlessly around strong melodies or guest vocal performances. Many of these songs retain the visceral low-end and celestial sweep of his best work, but they don’t serve to overwhelm and disorient as much as they sedate and mesmerize. “Getting There” hits the sweet spot, with and infectious, heavy-hitting low-end juxtaposed against Niki Randa’s sweeping falsetto. UtQC may not go for the jugular as FlyLo’s prior two records, but it’s just as captivating in its own quietly confident way.

And a few of the songs on the back half of the record are some of the most gorgeous that FlyLo has ever composed. The loose and dreamy “Only if You Wanna” provides a simple but sublime bridge from the drum and bass rush of “The Nightcrawler” into the droning r&b mirage with Yorke’s vocals wafting eerily through the crevices in the mix. From there the record moves into “Hunger” and “Phantasm”, two songs that skew the closest that FlyLo has ever veered toward straight up ambience, and they slowly unfurl into gorgeous, unpredictable string progressions as Niki Randa and Laura Darlington deliver understated, ethereal vocals, respectively. From there we’re led into “me Yesterday//Corded”, one of the strongest songs that FlyLo has released to date. It begins in the same somber, minor-key tone of the preceding songs before erupting into a cosmic drum and bass coda with a euphoric melody and pitch-shifted vocals. The final song, “Dream to Me” is a whirring synth and woodwind lullaby that brings everything full circle, leading us right back into the intro, “All In”. UtQC breezes by in nearly 47 minutes, but there’s another singular, self-contained universe of detail packed into this record’s spellbinding grooves.

Essentials: “yesterday//Corded”, “Electric Candyman ft. Thom Yorke”, “All In”

8. Carrie & Lowell- Sufjan Stevens

By the time that Sufjan Stevens released Carrie & Lowell he had already released several classic records and had undergone several stylistic change-ups, but nothing in his discography established the precedent for a masterwork quite like C&L. On C&L Sufjan returned to the sparse chamber folk sound of his superb fourth record, Seven Swans, but he replaced the short vignettes and character studies that peppered that record with an engrossing scope that centers around his tumultuous relationship with his late mother who suffered from substance addiction and schizophrenia. The music is hushed, and minimal, consisting of little more than finger plucked guitar, banjo, ukulele, and an assortment of strings underneath Sufjan’s tender delivery. His music has always radiated a sense of overwhelming empathy, and so when plumbing the depths of his psyche for memories of his mother the tone is often devastating and cathartic in equal measure, but never overly morose or self-pitying. With C&L Sufjan succeeded in honoring his mother’s memory as honestly and as faithfully as he could while his songwriting hit a new peak.

C&L sustains an almost overwhelming poignancy throughout its duration, but it’s never a slog. The heaviness of the sentiments never really subsides, but these songs are each filled with strong hooks, sweeping melodies, and a disarming directness that he’s never quite managed on prior records. Songs like the opening cut “Death with Dignity”, “Should Have Known Better”, and “The Only Thing” soar with warm, infectious hooks and nimble guitar arrangements alongside a few electronic and orchestral embellishments, while songs like “No Shade in the Shadow of the Cross” and “Fourth of July” bring the tempo to a crawl and bask in Sufjan’s falsetto and minor-key acoustic guitar arrangements. It all comes to a head on the devastating centerpiece “No Shade in the Shadow of the Cross”, as Sufjan depicts the self-destructive behavior he engaged in right after his mother’s death “There’s blood on that blade/Fuck me, I’m falling apart/My assassin/Like Casper the ghost/There’s no shade in the shadow of the cross” just so that he could feel closer to her.

Essentials: “No Shade in the Shadow of the Cross”, “Death with Dignity”, “The Only Thing”

7. Some Rap Songs- Earl Sweatshirt

Earl Sweatshirt was arguably the greatest living rapper before dropping his magnum opus, Some Rap Songs, but since its release it’s become much harder to dispute. On SRS Earl runs through 15 songs in 22 minutes, delivering sometimes little more than a hook and a verse per song before transitioning into the next one. The songs operate according to their own logic, and forgo traditional song structure for a loop-based compositional approach. Earl produced the bulk of the record himself, and heavily opted for dusty, de-tuned pianos, shuffling, lo-fi percussion, and a plethora of discordant texture. Earl’s precision is remarkable, and what may initially scan as awkward or clumsy flows slowly reveal themselves to be masterfully sidestepping the rhythms entirely. But for all its challenging aspects, SRS is hardly a precious, posturing sort of record. It demands your full attention, but will reward it several times over.

The songs throughout SRS are bleak missives from a remarkable talent unpacking years of trauma. The record tackles many of the same themes of abandonment, drug abuse, and depression as his past records, but he’s cut out any lingering excess in his prose, distilling only what’s absolutely necessary into each bar. The rapping is lean, and virtuosic, but never showy, and the brevity of the songs themselves is indicative of how succinct and substantial the music there is. Songs like “Red Water” have just a single couplet that he repeats a few times as the ebb and flow of the instrumental sustains the onset momentum, while other songs like “The Mint” are closer to convention, but still unfold along unpredictable loops, and verses that zig zag in and out of the mix at irregular intervals. There are songs like “Cold Summers” and “The Bends” that are the closest that Earl comes to rapping accessibly, and there are those like “Playing Possums” and Peanuts" that owe more to tape loops, ambient, and noise music than anything resembling hip hop. SRS and it’s follow-up EP, Feet of Clay, are easily the most challenging, experimental, and divisive records that Earl has released to date, but they’re also singular masterworks that push hip hop into stranger, and more human realms.

Essentials: “Peanut”, “The Mint” ft. Navy Blue, “December 24”

6. New Bermuda- Deafheaven

After releasing their superb second LP, Sunbather, Deafheaven had become one of the most acclaimed metal bands of the century, and had achieved a level of popularity unprecedented for metal bands. Never mistaken by anyone as purists, Deafheaven began their career flirting with through lines between shoegaze, black metal, and post-rock before tastefully combining them on Sunbather. While they easily could have churned out another LP of post-rock/blackgaze of the same stripe, the band went deeper and darker, and re-emerged with their third LP, New Bermuda, the heaviest, and arguably most melodic, record of their career to date. Across five songs that collectively clock in around 46 minutes Deafheaven continue to expand their parameters of their sound, incorporating heavier tremelo guitars, incendiary blast beats, and sweeping post-rock passages that are more adventurous, expansive, and gorgeous, than what any other bands are doing today. NB may lean the furthest towards the brutality of classic black metal, but the band’s 2015 onslaught still amplifies an immense feeling of transcendence alongside the terror.

Opener “Brought to the Water” rustles to life with the ominous sway of church bells before its lead guitar riff kicks into gear, foreshadowing the premium they place on atmosphere with foreboding timbres. Throughout the next several minutes the band continue to build a scorched earth black metal composition bristling with distortion and rapid fire drumming that eventually slyly segues into a sugary breakdown reminiscent of “Kiss Me” by Sixpence None the Richer. It’s disarming, and unprecedented, but a perfectly logical evolution of their sound that reaffirms their status as the most versatile band at the vanguard of contemporary black metal. “Luna” and “Come Back” are two of the heaviest songs that Deafheaven have ever released, and get a ton of mileage out of their seismic guitar riffs and pummeling percussion, while “Luna” boasts one of the loveliest melodies they’ve ever penned, gliding alone a star-dusted, stratosphere-bound guitar riff. Closer “Gifts for the Earth” is a succinct culmination of the preceding 38 minutes, capped off with their most cathartic coda to date with jangly guitar and minor key piano softly swirling around Clarke’s feral shrieks. The warmth exuded beneath Clarke’s shrapnel-laced delivery posits Deafheaven as a band executing well-beyond the scope and limitations of metal.

Essentials: “Gifts for the Earth”, “Brought to the Water”, “Luna”

5. Halcyon Digest- Deerhunter

By the time that Deerhunter geared up to record their fifth LP, Halycon Digest, they already had a rich body of work behind them, but very little of their music set the kind of precedent for where they would go on HD. Here, Deerhunter tapered down their most avant-garde impulses in favor of cleaner guitar arrangements and big, bright melodies, unearthing the pop band they’ve always been at their core with poise and aplomb. The walls of guitar noise, ambient interludes, and studio effects that had defined their previous releases became relegated to marginal aspects of their song craft, and they began opening up their songs like never before. Thankfully, they didn’t dilute their sound, they just cleaned it up, and the 11 songs that make up HD are the most immediate, and richly produced (thanks to Ben Allen, who produced this record after nailing Animal Collective’s Merriweather Post Pavilion a year prior) of Deerhunter’s career to date. Deerhunter’s shift towards accessibility only seemed to accentuate their inherent strangeness, and HD remains one of the most engaging and endlessly replayable indie pop records of the 21st century.

From the droning low-end thump that ignites opener “Earthquake” it’s clear something substantial has shifted. Allen’s biggest contribution was a heightened low-end that caused Josh Fauver’s bass to really pop without distracting too much from the rest of the arrangements. This extra oomph propels songs like “Don’t Cry” and “Coronado” well into infectious, anthemic territory while it helps ground more ambitious cuts like “Helicopter” and “Desire Lanes”. Frontman Bradford Cox had completely grown into his role as a charismatic, provocative frontman with the pipes and poetic disposition to back up the antics, and propel his band towards a stadium sized sound even if they would never end up touring them. Bradford’s vocal melodies on closer “…He Would Have Laughed” and centerpiece “Helicopter” are the strongest that the band ever penned, while he delivers two of his most impressive vocal performances on the lulling “Sailing” and the pensive “Earthquake”. The closer, a tribute to the late Jay Reatard, is perhaps Deerhunter’s finest moment to date, with Bradford spinning surreal couplets “I live on a farm, yeah/I never lived on a farm” around the band’s steady harpsichord pulse until the composition bursts with euphoria, and then slowly begins to fade out before cutting out abruptly. Deerhunter have never made a bad record, but HD was the last time they showed how simultaneously adventurous and immediate pop music can be.

Essentials: “He Would Have Laughed”, “Helicopter”, “Desire Lanes”

4. Black Messiah- D’Angelo & The Vanguard

In the years following D'Angelo’s spectacular second LP, Voodoo, it seemed increasingly likely that he would never release another record. But then in the twilight days of 2014 D'Angelo surprise dropped his 3rd and best LP to date, Black Messiah, with a new band supporting him called The Vanguard (which consisted of Questlove on drums, Pina Palladino on bass, Isaiah Sharkey on guitar, Roy Hargrove on horns, and a handful of other musicians). BM eschews the warm r&b/neo-soul solo singer-songwriter sound of the first two D'Angelo LPs in favor of a fiery cocktail of avant-garde soul, jazz funk, and psychedelic r&b that’s simultaneously more abrasive and experimental than anything he had done prior. D'Angelo still has a remarkably agile falsetto, but it’s been notably weathered by the years away, and it now has a grainier disposition that happens to be a much better fit for the songs throughout the record. The band’s chemistry is just remarkable, and it’s hard to believe that they weren’t all cutting records with each other for decades prior. Unlike most artists that come back with new work after a notable dry spell, D'Angelo has never sounded more human than he does on this latest LP of his. Thankfully, despite the years apart D’Angelo hasn’t lost an ounce of his remarkable talent, and brings a magnetic charisma, sublime range, and a much sharper point of view to songs that reflect the turmoil of the preceding years of unrelenting police violence, yet respond in a multitude of ways. The Vanguard prove to be an ideal backdrop for D’Angelo’s songwriting, and together they achieve a new standard for neo-soul.

Although it had been 14 years, D'Angelo’s return felt right on time in the immediate wake of the deaths of Eric Garner, Michael Brown, Tamir Rice, and plenty of others at the hands of the police. While D'Angelo’s music has never shied away from political statements, BM is by far the most explicitly political record of his career. “1000 Deaths” opens to a sample of a Khalid Abdul Muhammed speech about Jesus being black and quickly gives way to a visceral, funk rock rhythm and red-lining guitars with D'Angelo dissecting the difference between courage and cowardice “Because a coward dies a thousand times/But a soldier just dies once”. On the following track, “The Charade”, D'Angelo opts for searing soul that builds into his most anthemic melody to date while he delivers devastating imagery of the cruelty still inflicted on black people all over the world “All we wanted was a chance to talk/‘Stead we only got outlined in chalk” while “'Til It’s Done” contains D'Angelo’s finest melody to date and finds him questioning the nature of our existence and whether we’re really reckoning with the way that capitalists are destroying our planet “Perilous dissidence evening up the score/Do we even know what we’re fighting for?”. He also delivers some of his best love songs to date, including the funky mid-tempo shuffle of “Sugah Daddy”, the tender soul ballad “Betray My Heart”, and the spellbinding centerpiece “Really Love”. These songs fold neatly within the larger fabric of the record as a whole, and complement the politically charged songs without breaking the greater aesthetic. D'Angelo’s conviction is palpable throughout it all, and the newfound wisdom that he accrued in the years since Voodoo enrich the perspective that he brings to the songs in such a generous, humble way. Even if D’Angelo never releases another record we couldn’t have asked for a better swan song from him.

Essentials: “’Til It’s Done”, “The Charade”, “Really Love”

3. MBV- My Bloody Valentine

Like D'Angelo, it didn’t seem likely that My Bloody Valentine would ever follow-up their masterful second LP, but 22 years after the release of Loveless, in the dead of February 2013, MBV, the third My Bloody Valentine, finally emerged. There are 9 songs here, and they can neatly divided into three sections that find the band progressing from an extension of what they were doing in the 90s to styles never associated with them. MBV picks up right where Loveless left off, beginning with expansive suite of shoegaze songs rendered with the kind of sublime texture and tone as we’ve come to expect from the group, and slowly but surely they branch out into psychedelic pop, ambient, and pure noise, realms they’ve teased in the past but have never quite committed to prior. You can hear the band straining against their limitations, and although seeking out perfection is a fools errand, they nearly achieve it.

There’s no mistaking MBV as the work of any other band, but here they’re painting in darker, bolder hues than they’ve used in the past. Beginning with the opening song, “She Found Now”, their sound is much richer, and more forlorn, than it’s ever sounded, with thick plumes of guitar washing over wispy androgynous vocals and faint, skeletal percussion. Even as the tempos increase and the melodies begin to peak out beneath the fuzz, that wistful, melancholic tone remains. “Only Tomorrow” amps up the tempo with a driving rhythm and scorching guitars perpetually firing into the red

while “In Another Way” is a bludgeoning slice of driving noise pop with a strong melody from guitarist Belinda Butcher. “Nothing Is” coasts off the hypnotic repetition of its bludgeoning guitars for 3.5 minutes, and perfectly segues into the glorious noise piece, “Wonder 2”, which closes the record on a note of whirring guitars that approximate the overwhelming euphoria of first wave shoegaze, but takes the listener to much stranger places.

The nine songs throughout MBV strike a perfect balance between updating the shoegaze style that they perfected on loveless while wading into new territory, but it all hangs together beautifully. Kevin Shields and Belinda Butcher still harmonize on the bulk of these songs, and they’re ethereal delivery is still the perfect counterbalance for the aggression of the guitars. The searing slow-burn of “Who Sees You” is the peak of their vocal interplay, while on the midsection pop numbers like “New You” and “In Another Way” Butcher takes the reins and delivers two of the band’s strongest melodies to date over driving percussion and sleigh bells. The relative immediacy of “New You” is new sound for the band, and they completely deliver on its hypnotic pop premise. “Is This and Yes” and “Nothing Is” are the two instrumentals at the polar ends of the band’s sound that perfectly balance out the more dynamic songs, and the aforementioned noise piece “Wonder 2” complements the opening song “She Found Now” perfectly in that it’s an exploration of what My Bloody Valentine might explore more of if they ever release a fourth LP. It’s a miracle that MBV even exists in the first place, so the fact that it’s this good is just icing.

Essentials: “Only Tomorrow”, “New You”, “In Another Way”

2. Blonde- Frank Ocean

After releasing his generation defining 2012 debut Channel Orange, it was hard to say where he was going to take his music next. A cryptic series of videos in mid-August 2016 featuring Frank building a ladder led to few clues, but at the end of this week we received an audio-visual album titled Endless. Before anyone could really acclimate themselves to sleek, genre-agnostic minimalism of Endless, the proper follow-up to CO, titled Blonde, released a day later. Whereas CO was the sound of a singular talent discovering what he can do, Blonde is the sound of that talent capitalizing on those gifts with unparalleled precision. On Blonde Frank opts for a striking minimalist palette of psychedelic pop, avant-garde soul, ambient, and jazz, that are off-kilter and adventurous without sacrificing the warmth of his past work. Like CO, Blonde primarily explores themes of nostalgia, heartbreak, identify, and the nature of human perception, and here his eye for detail and attention to detail remains unmatched by any songwriter of the last decade.

From the opening song “Nikes”, Blonde presents itself as a drastic stylist departure from what Frank was doing prior. The first half is a distorted r&b dreamscape with Frank crooning in a pitch-shifted higher register, and actually has him rapping a few verses, before returning to his normal register. Blonde is filled with strange, yet tasteful stylistic touches like this, from the distorted shrieks at the end of “Ivy”, to the collapsing, pitch-shifted orchestra that gives way to an eerie children’s choir’s on “Pretty Sweet”, the album rarely shifts into anything that scans as conventional. “Pink and White” is the most straight forward moment on the album, but the verses rarely stay grounded, and soon give way to a soaring chorus that slyly tucks Beyonce’s voice into the fold before the instruments dissolve from the mix entirely. “Skyline To” and “Godspeed” flirt with ambience and put a great deal of emphasis on exploring texture and negative space, while “Close to You” is a brief, glitchy cover of Stevie Wonder’s classic that provides a terrific segue from the “Facebook Story” interlude into the record’s devastating centerpiece, White Ferrari. The record covers a remarkable amount of ground sonically, but it coheres in a way that completely belies this scope.

“Nikes” sets the tone for the record on the whole as Frank watches his friends lose themselves to the spoils of his fame and begins to recognize himself as a placeholder for a partner’s lost love. “Self-Control” depicts the story of one of Frank’s relationship’s imploding “I’ll be the boyfriend in your set dreams tonight/Noses on a rail, little virgin wears the white” set to a mesmerizing neo-soul slow-burn that unfurls a gorgeous, understated melody while “Nights” juxtaposes the highs of the come-up “Oooh nani nani/This feel like a Quaalude” with a guitar pop/boom-bap instrumental and the perils of fame with a woozy, cloud-rap adjacent second half “Shut the fuck up I don’t want to hear your conversation/Rollin” marijuana that’s a cheap vacation". The record hits its peak with the spectacular ballad, “White Ferrari”, the strongest song of his career to date. Over warm acoustic guitar provided by Alex G Frank details the permanence of the love that he’ll have for someone that he’s no longer in a relationship with “I care for you still and I will forever/That was my part of the deal, honest/We got so familiar”. The humility and humanity of the moment is heartbreaking, and speaks volumes about the depths of Frank’s artistry. Blonde set a new benchmark for avant-garde pop, and is arguably the most influential album of the past decade.

Essentials: “White Ferrari”, “Nights”, “Self-Control”

1. Cosmogramma- Flying Lotus

After breaking through with his superb sophomore LP, Los Angeles (a singular blend of IDM, trip-hip, and woozy Dilla & Madlib-esque instrumental hip-hop) it would have been easy for Flying Lotus to continue mining the same sounds for successive records that were just slight variations on that singular template. But for FlyLo’s third LP, Cosmogramma, he blew his sound wide open, eschewing the quantized beat grid for a lusher, more sprawling sound that couldn’t be confined to standard rhythms. Cosmogramma is steeped in the lineage of instrumental hip hop and IDM like its predecessor, but it manages to juggle a wider palette of disparate styles such as four on the floor, drum and bass, jungle, free-jazz, and experimental bass while incorporating a wide variety of guest musicians that do a superb job of fleshing out his expansive compositions. Cosmogramma is a record that can barely contain its ambition, and despite having been released over a decade ago it still shines like a beacon illuminating the boundless possibilities of where music can go.

The sublime fusion of the live instrumentation, supplied by Thundercat on bass, Miguel Atwood-Ferguson contributing string arrangements, and Ravi Coltrane providing tenor saxophone, among many others coupled with FlyLo’s mind-warping production is what gives the album it’s compelling thrust. The first half primarily splits the difference between frantic drum and bass/synth-pop heaters and atmospheric cosmic-jazz interludes, and the pacing is just remarkable, with no moment overstaying it’s welcome and plenty of space to give each idea the space it needs to develop. Thom Yorke drops by for a wispy vocal performance on the agile IDM strut “And the World Laughs With You” while Thundercat delivers a formal career introduction on the tender ballad “MmmHmm” before the record shifts into the infectious four on the floor centerpiece, “Do the Astral Plane”. From here the record deploys the astral jazz and eastern influences in a more pronounced fashion on songs like “German Haircut” and “Dance of the Pseudo Nymph” respectively. The celestial ambience of “Table Tennis” featuring Laura Darlington is a welcome breather for the life-affirming synth surge of closer “Galaxy in Janaki”, ending the album on a somber, but ultimately uplifting note with Flylo sampling the ventilators that his mom was hooked up to on her death bed for a euphoric, synth-streaked send-off.

The enduring appeal lies in its function as ambition existing for the sake of ambition. The songs throughout Cosmogramma all vary in texture, tempo, and tone, and they all around great on their own, but it’s the journey from start to finish that Cosmogramma exemplifies as a spiritual experience. Cosmogamma was intended to function as a loose concept album of sorts about lucid-dreaming and out of body experiences influenced by the study of the universe, heaven, and hell, and it’s remarkable to hear just how much of that vision that he’s able to convey without the prevalence of vocals. Although electronic music has changed dramatically in the decade since Cosmogramma was released, the execution of FlyLo’s masterpiece hasn’t been in matched, in electronic music or anywhere where else. Cosmogramma is both the pinnacle of where music has been, and a glimpse at the possibilities of where it could go moving forward.

Essentials: “Galaxy in Janaki”, “Do the Astral Plane”, “MmmHmm” ft. Thundercat

139 notes · View notes

karls-writing-space · 3 years

Text

『 Backstory 』

➵ Any TWs? :

➵ Subtle Mentions of Transphobia.

➵ Beau Romano - his deadname being Bianca - was born a year after his older sister, Faye. He lived with his semi-wealthy parents, Camilia and Dylan Romano in Manitoba.

When he was in second grade, Beau began to have a big sprout of creativity. He had drawn pictures of people and anthropomorphic animals, and create small little tales about these people/animals he has drawn. He Drew more and more of these as time slowly passed, and he enjoyed telling stories about these drawings. This had grown into a hobby, and something he enjoyed thoroughly.

His older sister came out when she was nine that she felt like a girl and that she was attracted to girls. Now, their parents are very accepting people and proceeded to assist and support Faye - who was formerly known as Lovino - get what she needed to transition.

Beau happily cheered on his big sister on, supporting her and showering her with love. He celebrated her transitions and her relationships happily, happy that he had such a prideful older sister.

By the time Beau was ten, he had begun to experiment with his sexuality by feeling some weird way towards a guy in music class. He talked with this guy more and more, and these feelings continued to grow.

After a couple of weeks, he felt the same way towards a girl in music class too. The feeling for the boy stayed, but now he had feelings for a boy and a girl.

One day, while walking to school with his mom, he heard two girls behind him talking about the people they liked. One of the girls had said that she was Bisexual, to which little Beau tugged on his mother's sleeve and asked what "Bisexual" meant. The woman explained that it was when someone liked two or more genders.

Beau put that into thought, and not even a minute later, he exclaimed "I'm Bisexual!"

His mom smiles and ruffled her son's - then daughter's - head. While Beau was still a kid, and she thought that Beau didn't know what he was talking about, the boy knew exactly what he was talking about.

Those feelings of the boy and girl faded over time. When Beau was twelve, he had fallen for another person. There had been this really cute girl in class who enjoyed drawing, and boy, what a talented artist she is.

Slowly, but surely, Beau began to fall in love with this girl, and spent time with her. Months went by, and the two had fallen in love.

The girl had confessed to Beau, which he accepted.

These two were a great, healthy Lesbian couple at the time. They were both very happy and loving. Beau had welcomed his girlfriend into the family, to which they welcomed with open arms.

The relationship lasted for two years until they fell out of love. The spark was gone. Their breakup wasn't nasty - they awkwardly stated that they lost that romantic spark on both sides. Beau had turned thirteen at the time. Beau and his ex-lover are on good terms to this day.

Once puberty hit, Beau looked at the body he had at the moment. He didn't quite fit with how it was. It made him feel like he didn't fit in a girl's body. He wanted to cut off his developing melons. So, he decided to talk to Faye later that evening, whom had fully transitioned. She was a beautiful woman. As he talked to her about what had been up, Faye stated that Beau could be Transgender, and even gave him a few articles on Gender Dysphoria.

Weeks of looking into gender identities later, Beau took the label "Trans Male" and used it to describe himself. With encouragement from Faye, he came out to his parents, who accepted him. He didn't want to transition as quickly as Faye, and wanted to take it slow. Testosterone and binding first.

As he grew older, Beau got bullied for being a Transgender Bisexual man. He was experiencing Transphobia from a few of his fellow peers. He knew that not everyone would accept him for being who he was, but this hurt quite a bit. Being bullied for this wasn't fair - he had every right to express himself! - but nooo, people were idiots.

His love for writing had grown more and more over the years. He began to write little stories that he presented in school and posted online. People loved his little stories. Whether they were fanfiction or characters and universes he had created in his head, they received a lot of positive feedback. Sure, there were haters, bullies, trolls, and rude people in general, but Beau didn't pay attention to them too much.

Beau had gotten top surgery when he was fifteen. He had been on testosterone for a year, and he had been binding for that time being. He loved his new, flat chest. Sure, he would have a scar on his chest from the surgery, but it didn't really bother him. He was happy that his tibbies were deleted. Now he could feel like a guy somewhat.

During the time passed from fourteen and fifteen years old, Beau had been watching a show known as "Total Drama" with Faye. The show was appealing to the young teen. The risky challenges were entertaining, most of the cast was likable, and it was really entertaining for the young boy. He'd talk about joining the show every now and then and would think about what his label or cliche would be on the show.

Timeskip to now, Beau and Faye are sixteen and seventeen respectively. After watching an ad to audition for the next season of Total Drama, Faye looked over at her little brother.

"Hey... You should audition to be on there!"

Beau, liking the idea, auditioned for the show. Once his audition was seen, Beau was invited to be on a season of Total Drama.

『 Voice Claim 』

youtube

『 Miscellaneous Facts』

➵ Theme Song

youtube

➵ Quotes

"O-Oh, hello...!"

"I'm Beau. It's nice to meet you!"

"It's too people-y in there. I-I'd like to stay right here."

"He's... Kinda pretty."

"Are you lonely? I could hang out with you if you'd like."

"I-It's not a diary! It's just a journal that I put my writing and ideas in."

"Sorry, I'd rather be by myself. I-It's nothing personal -- I j-just don't like large groups of people."

"Sorry... I'm rambling again, aren't I? Sorry about that..."

"He's a... He's a man. And I'm just a boy."

"Ciao, bello..!" (Hello, handsome..!)

"Aren't you guys a little too old for a bedtime story?"

"Fine, fine. Once upon a time, there were a few guys on an island who needed to go the fuck to sleep. G'night, guys."

"What do you mean that 'isn't a good bedtime story? I think it's a brilliant story."

"Fine... There was once this God named Fóllame de lado-"

"Hey - do you wanna fuck around with the others?"

"H-Hey! I apologize for interrupting what you were doing, but... I'd like to confess something if that's o-okay? Look, I'll cut to the chase. I... love you, dude. And not in some bromance way. Like... I have romantic feelings for you. I love you so much I could scream it to the world..! I hope you f-feel the same way. And if you don't? That's p-perfectly fine."

"Good morning, mio amore."

"Sorry, but could you like, shut up for five seconds? Thanks..."

➵ Ship Names (OC X Crush or OC X OC)

Duncan x Beau = BeauDun/ BeauCan

DJ x Beau = BJ / BeauJ

Alejandro x Beau = AleBeau

Mike x Beau = Meau/Bike

Lightning x Beau = Blightning/BeauLight

Topher x Beau = Beaupher / Beaupher

Shawn x Beau = Sheau / Bawn

➵ Random Facts

• If they're comfortable, Beau calls his male friends "Bello" (Handsome), and his female friends "Bella" (Beautiful).

For Nonbinary folk, it depends on what they prefer.

•Beau has learned how to play the ukelele from Faye.

•He would actually like to go windsurfing sometime!

• Speaking of his sister, she's a well-known acrobat/performer for her age. He admires her for being so talented in such a thing..

• His sister is an extrovert, and more outgoing than Beau. The two are opposites,,but yknow, opposites attract!

•Beau prefers to write stories that are/include horror, action, and supernatural/fantasy. He can write romantic stories, but he doesn't prefer writing things like that.

•He has written some shitty fanfictions when he was younger. He will share them among his friends and laugh at what he wrote.

•The languages he speaks are:

• English

•Italian

• (Some) Spanish. [Italian and Spanish are similar language-wise in a few ways. That, and Beau just wanted to learn Spanish.]

• Respectful boi when it comes to Pronouns, Names, People's likes and dislikes, etc.

•Beau has some family members that live in Italy. He has gone to Italy to visit them numerous times.

• Beau doesn't believe in soulmates. He thinks that it's just some fairytale thing that people believe in. He wants to love someone on his own accord - not someone who the universe was like "Oh, let's put these people together.".

♫♪.ılılıll|̲̅̅●̲̅̅|̲̅̅=̲̅̅|̲̅̅●̲̅̅|llılılı.♫♪

╚═══*.·:·.☽✧ ✦ ✧☾.·:·.*═══╝

#td oc #total drama oc #beau romano #tdpi #tdas #tdwt #tdi #vix writes stuff #nico writes stuff #Youtube

5 notes · View notes

mikauzoran · 4 years

Text

Lukadrien: Among the Wild Things: Chapter Five

Read it on AO3: Among the Wild Things: Chapter Five: Unity

Rose spent the morning dragging Adrien around the town at the center of the enchanted wood, helping him shop for new clothes and other personal items.

Adrien bit his lip nervously as Rose produced gold coin after gold coin to pay for their purchases. He wasn’t sure how much the goods were worth in mortal money, as he had never had to pay for anything before in his life, but he had the feeling that this shopping trip was expensive, and he was beginning to feel guilty.

“Rose,” he called tentatively as they left the second tailor’s shop. “Is there any way I could get some sort of employment, do you think?”

Rose arched an eyebrow at him. “I mean…maybe. I wouldn’t recommend it, but… Why do you ask?”

He lowered his head and his voice. “I just feel really bad. I didn’t mean to become a financial burden, so…I was hoping there was some way I could earn money to pay the family back and contribute somewhat.”

Rose openly laughed at the idea, reaching up to give his ear an affectionate tug. “Oh, Dri. You’re so cute. No, no, no. There is absolutely no need for you to go get a job. Just learn how to do practical things like cooking and cleaning and fixing things and help out around the house. That’s more than enough.”

He was very tempted to take her at her word and let it go, but he still felt like he wasn’t doing his part in comparison with everything the Couffaines were doing for him. “But…I’m sure it costs a great deal of money to keep an additional person fed and clothed. Are you certain I’m not a financial drain on the family?”

She laughed again and shook her head. “Dri, Anarka is clan leader for this whole district. We have plenty of money. Even with all that we’ve spent today, there’s still more than enough left for us all to live very comfortably for decades to come.”

Adrien’s eyes went wide, and he stopped walking. “Wait. You mean… Is Anarka, like…the queen of the fairy kingdom?”

“Not the whole thing,” Rose snickered, endlessly amused by her new mortal brother. “We don’t really have royalty. At least, not in this country. We have Parliament and a Prime Minister here. Anarka is kind of a big deal, though. She’s the appointed representative for this whole district, our ‘clan leader’. She runs things for the area, makes sure that resources are distributed fairly, mediates disagreements…that kind of thing. When all the clan leaders get together to discuss policy matters, she goes and represents our district, so…I don’t know if you humans have anything like that, but that’s what Anarka does.”

Adrien nodded in awed silence, rolling the ideas around in his mind as they began to walk again.

“So, you’re not a burden,” Rose summarized, tugging him towards a third tailor’s. “Come along. We need to get you an outfit for the ceremony tonight.”

Adrien was incredibly nervous as Rose helped him get ready for the ceremony.

She went over the proceedings several times with him, slowly walking him through every step so that he would know what to expect and what would be expected of him.

It still didn’t prepare him for how beautiful the ceremony was and how emotional the whole thing made him.

After sunset, along the bank of Anarka’s lake, the fair folk of the district gathered, seated in rows with a wide aisle between the two sections, not unlike the main aisle of the chapel on the castle’s grounds back home where Adrien was supposed to have gotten married to some duke or another’s daughter.

The clearing was lit with floating orbs of light that looked like fireflies or stars hovering overhead. The trees had been draped with blue, green, and yellow ribbons, and a canopy of vibrant flowers was suspended as if by magic over the spectators.

Anarka was waiting at the end of the aisle to perform the ceremony, dressed in her official clan leader robes.

Luka, looking somehow even more ethereal than the day when Adrien had met him, walked down the aisle first, accompanied by Juleka who proudly carried the red ribbon that would be used to tie Luka and Adrien’s hands together to symbolize their unity.

“Our turn,” Rose whispered once Juleka and Luka had reached Anarka, slipping her arm through Adrien’s and coaxing him down the aisle.

Adrien knew that hundreds of eyes were upon him, but he couldn’t feel their judgmental stares. All he saw was Luka: radiant, handsome, beaming, lovestruck Luka who was looking at Adrien as if he were the sole reason the sun rose in the morning and the stars came out at night.

Adrien floated down the aisle in a trance, and once he reached the end, Luka pulled Adrien into his arms, giving him a squeeze and letting their foreheads rest against one another for a private moment that lasted an eternity.

“Love you,” Luka whispered, not caring who saw how besotted he was with this mortal boy.

“Love you too,” Adrien chuckled, savoring this little pocket of time.

Too soon, they pulled back so that only their hands were joined, and Anarka started the traditional rites.

Anarka spoke for several minutes about love and partnership and respect and supporting one another, but Adrien didn’t hear any of it.

He was too busy drowning in Luka’s presence, trying to memorize the exact shade of aquamarine of Luka’s eyes, the tilt of Luka’s lips as he smiled lovingly back at Adrien, the way the mystical firefly light highlighted some parts of Luka’s face and cast others in shadow, the warmth and weight of Luka’s hands in his own…

Adrien only realized that Anarka had stopped talking when she cleared her throat, looking at Luka expectantly as she silently laughed with her eyes.

“Stop ogling your prince and recite the pledge already,” Juleka prompted with a fond eyeroll.

Luka gave a start and blushed as he came back to himself. He took a deep breath and bashfully recited, “I pledge myself to you, to be your partner in all things, to be your support and your shelter, to forever be on your side, never to trick or deceive you, and to respect and love you always, in this life and the next.”

All eyes turned to Adrien who took a shaky breath and nervously repeated the vow.

His voice cracked, and Luka gave his hand an encouraging squeeze.

They shared a tender smile, and Adrien finished strong with utter conviction in the words, “to respect and love you always, in this life and the next.”

The final part of the relatively quick ceremony (Rose had explained that this was because the afterparty was the main event for the fair folk and that the dancing, drinking, and feasting typically went on until dawn) was the tying of the hands.

Juleka stepped forward and held out the red ribbon to Anarka who gently wrapped it round and round Luka and Adrien’s intertwined hands, saying, “The string of fate now binds you together. You are one. Remember the oaths you pledged one another today, and do no purposeful harm, always act in the other’s best interest, be faithful and true, and never let anything come between you. You are one. Your mate is your other self. Remember that well so that you do not destroy yourself from the inside out. You are one.”

“Now kiss!” Rose stage whispered excitedly.

Adrien stepped in, pressing his mouth firmly to Luka’s ready and willing lips.

Luka responded eagerly as the applause of the gathered crowd faded into the background unnoticed as the couple focused every fiber of their attention on one another.

Slowly, Luka pulled back and gave Adrien’s cheek a reverent lick before carefully leading Adrien back down the aisle.

Adrien happened to catch glimpses of the expressions of some of the creatures who had gathered to celebrate their union. Some looked bored or indifferent, and others were scornful, but the majority of the faces Adrien spied as they made their exit seemed to be wearing positive expressions.

Adrien hadn’t been sure exactly what to expect. The fair folk he’d met earlier that day on his shopping trip with Rose had seemed pleasant enough, but the way Juleka had talked about the idea of Luka marrying a mortal and what the community would think hadn’t left Adrien optimistic…but maybe things would be okay after all.

They made it to the end of the aisle, and Anarka, Rose, and Juleka soon followed to help them untie their hands as the congregation started to file out on their way to the afterparty.

Adrien was introduced to over a hundred people and had a hard time keeping up with names, but most people were nice and repeated their names several times without being asked, and Luka and Rose made sure to say people’s names over and over throughout conversations to help Adrien out.

The banquet was delicious with dozens of dishes spread out on a long table by the lakeside that seemed to magically refill itself whenever the serving trays ran low.

The firefly orbs hovered overhead, and the guests gathered around bonfires to eat and mingle, giving the clearing a warm, cozy atmosphere.

Luka stayed close at Adrien’s side the majority of the night, but he occasionally got pulled away by some important person or another who had known him since he was a child and wanted to talk to him one-on-one to impart sage advice. At those times, Rose swooped in to play chaperon so that Adrien was never without a familiar face.

Adrien slowly began to feel like he had his feet under him as the night went on, and he even started to make friends. Ivan and his sweetheart Mylène were trolls from the foot of the mountain not far off from Anarka’s lake, and Ivan had been playing in a band with Luka, Rose, and Juleka for some time. Mylène was close friends with Juleka and Rose and very sweet and welcoming to Adrien.

It turned out that Alya, a fox spirit, was extremely curious about human beings and had often snuck away to visit the town surrounding Adrien’s castle. She and Adrien had a long discussion about human customs that Alya had always found fascinating but never understood.

Kim (a selkie), Max (a nix), Alix (a lamia), and Ondine (a siren) came from a lake on the other side of the trolls’ mountain and were all in some kind of polyamorous relationship with one another. They were very friendly, and Adrien had a good time talking with them and watching as Kim and Alix competed with one another, seeing who could eat more bite-sized yuzu tarts in one minute, who could fit more dates into their mouth at once, and who could swim more laps of the lake. Ondine joined in this last contest and won.

Adrien decided to participate when they competed to see who could swim down to the bottom of the lake the fastest. He lost by quite a bit, but everyone gave him credit for his efforts despite being at a clear disadvantage.

They were all laughing on the lakeshore when Luka found them.

“Do you guys mind if I steal my mate back from you?” he chuckled, smiling proudly at the fact that Adrien had managed to make friends.

“Actually, we’re thinking about annexing him,” Max joked, and his mates all joined in, affirming this assertion.

“Not funny,” Luka snorted, reaching down to pull Adrien up to his feet. “Mine,” he announced, wrapping his arms around Adrien and nuzzling his neck possessively.

“Luc,” Adrien chuckled. “They’re not serious. Relax,” he coaxed, turning around in Luka’s arms to give his cheek a dutiful lick. “You’re the only one for me.”

“Aww,” Ondine and Rose chorused while Alix made gagging sounds at the romantic display.

“Go ahead and go do nasty, couple-y things,” Kim snickered, waving them off. “You have our blessing, but know that we’ve got our eyes on your sexy human boy.”

“You are so crude,” Max sighed, shaking his head in fond exasperation as he patted Kim on the shoulder.

“Come on, Love,” Luka called gently, tugging Adrien away.

“It was nice meeting you all!” Adrien called back to them. “We’ll have to hang out again some time.”

“For sure!” Alix answered for them all.

“I’m glad you’re making friends,” Luka remarked as he led Adrien away from the crowd, into the woods.

“Me too,” Adrien chuckled giddily. “I think I mentioned before that I wasn’t really allowed to interact with peers much back at court. I mean, Chloé and Kagami and Lila were kind of sort of my friends, but…it was more in name only most of the time. Chloé and Kagami were a little closer to me, and we did connect sometimes, but…I didn’t really feel like I could be my true self with them. Their expectations were a little restrictive. I was really only myself in front of Nino and Marinette, but the crown prince isn’t really allowed to hang out with his guard and his seamstress, so… It means a lot to me to finally be able to freely interact with people,” he summarized.

“I’m so glad that you’re finally getting this opportunity,” Luka stressed as he came to a stop in a small clearing where the glow of the bonfires and fireflies just barely reached.

Adrien took a moment to look around curiously in the dim lighting. “So…what brings us here?”

“Nothing in particular,” Luka explained, sheepishly scratching at his cheek. “It’s just a secluded place, and I haven’t been truly alone with you since we left our room this morning, so…can you really blame me for wanting to be alone with my—what’s the human word for it again? Husband?”

“Husband,” Adrien agreed, pulling Luka into his arms and giving his throat a slow lick.

Luka shivered, letting out a low nicker of pleasure.

“I love that sound,” Adrien hummed happily.

“I’ll be sure to make it more often,” Luka chuckled, nuzzling Adrien’s hair.

“Mm,” Adrien agreed contentedly, savoring the sensation of having Luka in his arms. “…I feel like I’m living in a fairy story.”

“Is that a good thing?” Luka had to wonder.

“Mmhm,” Adrien confirmed. “In the stories my mother used to tell me, the princess always escaped from her evil stepmother’s clutches and found her prince and lived happily ever after. Now, here I am escaping my father’s plan to make me miserable and force me to be just like him, marrying my kelpie prince, and on my way to living very, very happily with him.”

“I’m not a prince, though,” Luka chuckled.

Adrien rolled his eyes. “Clan leader’s son. Whatever. Same difference.”

“Not really. My mother is an elected official,” Luka clarified, delighting in teasing his mate and seeing him pout. “The power of her office doesn’t extend to me.”

Adrien looked up at Luka and glared, “Orpheus, stop poking holes in my personal fairy story with your dumb facts. I’m trying to be a starry-eyed romantic over here. Where’s Rose?” He looked back at the crowd of revelers, trying to spot his sister-in-law. “She would get it.”

“I get it. I get it,” Luka protested, pulling Adrien back in close. “I was just teasing. I’m sorry.”

“Meh. I guess I forgive you,” Adrien snickered. “But only because it would be lame to be mad at you on our wedding night.”

“I thought last night was our wedding night?” Luka chuckled. “Didn’t we get married yesterday?” He hummed as he ran his fingers over the impromptu ring that Adrien still wore.

“Yes,” Adrien decided in a measured tone, “but tonight is too. Yesterday we celebrated like my people. Today we’re celebrating like your people so that it feels legitimate to both of us; therefore, we get two wedding nights.”

Luka bit his lip as he considered Adrien’s words. He pulled back to meet Adrien’s gaze as he hesitantly remarked, “You seem a little insecure about the legitimacy of our union. Are you okay, or is this something you want to talk about, or…?”

Adrien looked away, training his gaze on the party guests. He breathed a deep sigh as he replied, “…I don’t know. It’s just that almost all my life I knew I didn’t like girls like I was supposed to. I was always so scared that someone would find out, and I was always so jealous of the princesses who had been born ‘right’ so that it was okay for them to fall in love with and marry princes, so… Where I come from, what I feel for you is wrong. Expressing our love together is a crime, so…if you were a human like me, this wouldn’t be possible. I couldn’t be your husband, and we’d have to sneak away together in shame and hope that no one ever caught us because they would kill you and lock me up in a tower until they found some suitable woman to marry me off to, so…”

Adrien took a big breath and looked back at Luka with tears beading in the corners of his eyes. “So, yeah. I’m kind of insecure about the legitimacy of our union because, where I come from, our union isn’t legitimate. I never thought I’d be able to have this with someone I love. I thought I was doomed to be alone and miserable my whole life, but…”

He shook his head and shrugged. “Yeah. Being able to have a wedding and be treated by the community as a real couple is a big deal for me. I’ve wanted this so badly for so long, and I’m scared stiff that someone’s going to take it away.”

“No one is taking me away from you,” Luka promised, stepping in and resting his forehead against Adrien’s. “You heard what my mother said during the ceremony, right? You and I are one. The string of fate binds us together, and no one is capable of severing our bond. Not even your father. We’re safe, Little Prince. No one can break us apart.”

“Oh,” Adrien breathed, relaxing into Luka’s hold.

“Mmhm,” Luka whispered. “You’re mine now. Always. Just like I’m yours. We’ve got the rings on our fingers and the bite marks on our shoulders to prove it, don’t we?”

“Yeah,” Adrien mumbled tiredly, setting his head down on Luka’s shoulder. “You’re right. We’re safe, aren’t we?”

“Absolutely,” Luka assured, gently rocking Adrien from side to side.

They stayed there for a long time, holding one another and swaying in rhythm to the music coming from the clearing just beyond the trees.

Luka eventually began to hum along, and the calming sound of his husband’s breathy vocalizations nearly lulled Adrien to sleep as all tension left him.

“Hey,” Luka called softly, causing Adrien to stir.

“Hm?”

“Dance with me,” Luka entreated. “Teach me a human dance.”

“A human dance?” Adrien chuckled.

“I’ve seen humans dance before, so I know you do it,” Luka playfully accused. “Don’t play dumb with me, Little Prince. Show me your cultural practices.”

“I’m not a very good dancer,” Adrien excused himself perfunctorily, “but I guess I could try teaching you to slow dance.”

“Slow dance?” Luka echoed, intrigued. “Okay. Sure. Show me.”

“Here.” Adrien took Luka’s right hand in his own and guided Luka’s left hand up to rest on Adrien’s shoulder. He placed his right hand at the small of Luka’s back. “This is a standard dance hold. Now, all we’re going to do is step-touch with our feet back and forth. See?”

Adrien slowly stepped to the right and touched his left foot to the ground before stepping back to the left and touching with his right foot.

Tentatively, Luka joined in, mirroring Adrien.

“Okay. I think I’ve got it. Now what?” Luka prompted after several rounds of step-touching.

“Now we move,” Adrien informed with a smile, using his hands as leverage to guide Luka into a turn. “Just keep step-touching and follow where I lead you,” he instructed and found that Luka was a quick study.

“We’re dancing,” Luka laughed gleefully as Adrien carefully guided him around the clearing.

“Yep. You’re a really good student, Orpheus,” Adrien praised. “…Do you want to try leading now?”

“May I?” Luka questioned with a tentative eagerness.

Adrien readily nodded and stopped to change the positions of their hands. “Just lead me where you want me to go with a gentle pressure, and I’ll follow.”

Luka pursed his lips and furrowed his brow in concentration as they began to move. He was hesitant and careful, almost as if he were afraid of hurting Adrien.

“Luka,” Adrien called softly, “You’re not going to break me. I mean…you could if you wanted to, but you don’t, so you’re not going to. I trust you.”

Luka’s teeth sank deeper into his lip. “I worry that you trust me too much sometimes.”

Adrien shook his head. “You worry too much.”

“That’s what Juleka said,” Luka sighed.

“You weren’t so careful yesterday when we were in bed,” Adrien baited and did an internal victory dance as his husband’s face flushed scarlet.

“That… You…” Luka struggled to produce sentences. “Naughty human.”

“Very,” Adrien agreed with a devilish smirk.

“Hush. We’re dancing now,” Luka pouted, proceeding to lead Adrien around the clearing more assertively.

“There you go,” Adrien praised, proud at how quickly Luka was picking up the steps. “It must be a musician thing. You’re really good at this.”

“Maybe,” Luka allowed. “But aren’t you a musician too? You said you played the harpsicord, didn’t you?”

“Meh. I’m just a hobbyist,” Adrien deflected with a shrug. “You’re the real musician in this marriage.”

Luka hummed thoughtfully. “We Couffaines are all musicians. Music is in our blood. Maybe it’ll rub off on you.”

“Hm… I’d like that,” Adrien decided.

“…Teach me another dance?” Luka requested after they’d been going for some time.

“Maybe some other time,” Adrien answered apologetically. “The rest of the dances I know are kind of complicated. It would take a while to explain the figures, so we wouldn’t be able to actual dance right away, and I want to keep dancing with you.”

“Oh, all right,” Luka relented. “But I’m holding you to it.”

“Sure,” Adrien agreed. “Maybe you could even teach me some of your people’s dances too.”

“It would be my pleasure,” Luka assured. “The fair folk adore singing and dancing and merrymaking.”

“Then, I’ll show you a different version of the slow dance,” Adrien proposed, stepping in and circling his arms around Luka’s neck. “Put your hands on my waist,” he directed, and Luka complied. “Now, we just sway from side to side and shuffle our feet around a little.”

“Not a very exciting dance,” Luka started to chuckle but then abruptly stopped laughing as Adrien came in closer until their bodies were pressed flush together. “Oh.”

“Yeah,” Adrien purred. “It’s a nice, simple dance.”

“I like this dance,” Luka reported.

“This is the first time I’ve ever enjoyed it,” Adrien sighed, laying his head down on Luka’s shoulder. “Usually, it’s just a hurtful reminder of how I’m broken…when I’m at banquets and have to dance with women,” he elaborated.

“You’re not broken, My Love,” Luka cooed into Adrien’s hair. “You’re perfect just as you are.”

“I’m finally starting to believe that,” Adrien whispered. “It’s just…all this time, I was told that people like me were sick and disgusting. I guess there’s still a part of me that believes that lie.”

“Your society is what’s broken,” Luka insisted, squeezing Adrien tighter. “It’s okay, though. You’re safe here, and day by day it’s going to get easier to believe that there’s nothing wrong with you. It’s going to get easier.”

“Yeah,” Adrien breathed softly, melting into Luka’s embrace and trying to let go of all the baggage that had continually held him down throughout his life.

They swayed gently from side to side, enjoying this stolen moment together for as long as it would last.

Eventually, they slowly pulled away and gazed at each other with pure love in their eyes.

“Want to head back to the party?” Luka suggested, tipping his head back towards the clearing by the lake where the revelers were still eating, drinking, and dancing like it was their occupation.

Adrien shook his head, an impish smile peeking out from around the corner of his lips. “I want to head back to our room. Like you said earlier, we haven’t really been alone all day since we left our room this morning, and I want my husband all to myself.”

“Oh,” Luka snickered, eyes flickering with mischief. “Well, then. That can certainly be arranged.”

Adrien pursed his lips, cautiously inquiring, “We’re not going to offend anyone by sneaking off, are we? I don’t want to start my life here off on the wrong foot.”

Luka shook his head with a knowing smile, taking Adrien’s hand and leading him back towards the lake. “Trust me, so long as there’s food and wine and music, ninety-nine percent of our guests won’t care.”

Adrien’s brow furrowed slightly. “What about the other one percent?”

Luka chuckled. “That would be Maman, Rose, and Juleka, and Maman and Rose would find the reason for our truancy amusing.”

Adrien nodded slowly in understanding. “And Juleka already hates me anyway, so it doesn’t really matter.”

Luka flinched, shooting his mate a pleading look. “She doesn’t hate you, My Love. It’s just very complicated…. Please give her time.”

Adrien bit the inside of his cheek.

It sure felt like Juleka hated him, but…how did he really know what was going on inside his sister-in-law’s head? Luka had mentioned that she’d been traumatized by her interactions with humans when she was very young, and Adrien could plainly see why she didn’t want her brother marrying a mortal. He could understand some of the reasons why Juleka potentially didn’t like him, but that didn’t make her rejection of him hurt less.

Still.

Adrien was the cause of the Couffaines’ lives being turned upside-down, and yet they were treating him well and attempting to adapt. Rose had outright befriended him, and Anarka was trying her best despite her misgivings. Juleka wasn’t friendly, but she wasn’t making his life hell (which it would be well within her power to do) either.

The Couffaines’ reception of Adrien was far warmer than Luka’s would have been at court if their roles were reversed and Adrien had brought a kelpie fiancé home.

The least Adrien could do was be patient and give them time.

He forced his lips into a small smile and nodded dutifully. “Okay,” he acquiesced, giving Luka’s hand a gentle squeeze. “I’ll do my best. She did say yesterday that it was nothing personal, so…she’s probably just worried about you. I can tell she really loves you.”

Luka returned Adrien’s forced smile with a genuinely grateful one. “She does, and I love her too. I’m very close with my sister, so it makes me sick to think that my relationship with one of you could drive a wedge between me and the other. I know it’s very difficult for the both of you, but…if you two could just keep trying, it would mean the world to me.”

Adrien stopped to pull Luka in for a bolstering kiss. “Don’t worry, My Love. I would never do that to you, and if Juleka really does love you, she wouldn’t either. You’ll never have to choose between us. Okay?”

Luka placed a grateful kiss on Adrien’s forehead, affirming, “Okay. Thank you, Adrien.”

A jolt went through Adrien at Luka’s use of his real name, coursing through his veins and spreading out across his entire body. He pulled Luka in for another, rougher kiss, whispering, “Anything for you,” against Luka’s lips.

Luka hummed into the kiss, loving when Adrien’s buried assertive nature came out. “We really need to get home now.”

“Agreed,” Adrien sighed longingly, employing all of his self-control not to pounce his husband then and there on the lakeshore.

#Lukadrien #Miraculous Ladybug #Miraculous Ladybug Fanfiction #Luka Couffaine #Adrien Agreste #Rose Lavillant #Fluff #Marriage #Wedding #Fae AU #Fae Luka #Prince Adrien #Dancing #Kissing #Hurt/Comfort #Mikau's Writings #Among the Wild Things

17 notes · View notes

blackjack-15 · 4 years

Text

All Aboard the Hardy Boys — Thoughts on: Last Train to Blue Moon Canyon (TRN)

Previous Metas: SCK/SCK2, STFD, MHM, TRT, FIN, SSH, DOG, CAR, DDI, SHA, CUR, CLK

Hello and welcome to a Nancy Drew meta series! 30 metas, 30 Nancy Drew Games that I’m comfortable with doing meta about. Hot takes, cold takes, and just Takes will abound, but one thing’s for sure: they’ll all be longer than I mean them to be.

Each meta will have different distinct sections: an Introduction, an exploration of the Title, an explanation of the Mystery, a run-through of the Suspects. Then, I’ll tackle some of my favorite and least favorite things about the game, and finish it off with ideas on how to improve it.

There will be an additional section between The Intro and The Title on the Nancy Drew/Hardy Boys Supermysteries, as this game is the first to pull from them and because the game (and the Hardy Boys) benefit from exploring and understanding that universe.

If any game requires an extra section or two, they’ll be listed in the paragraph above, along with links to previous metas.

These metas are not spoiler free, though I’ll list any games/media that they might spoil here: TRN, mention of ICE, mentions of WAC, mention of John Grey in SAW, SPY.

The Intro:

Yeah, I’m not sorry for that title.

Coming off a solid, in-joke heavy game like CLK, Last Train to Blue Moon Canyon could have been anything — and it rose to the occasion like few other games in the entire series. It was the unprecedented 13th game in a 12-game series, and boy did they start the next phase with a bang.

Our next jet-setting game, we leave 1930s Titusville behind in favor of the modern day — albeit the modern day inside a train from the late 1800s, staffed with every kind of celebrity from the 2000s — socialites, authors, tv personalities, and Miami-Vice-meets-Ice-T cops.

Honestly, had they included a teenybopper pop star, I would have said that this game wasn’t just an excellent game, but a time capsule for 2005.

This odd location for a game not only solidifies its place in the Jetsetting Games, it also behaves as a Locked Room Mystery, the first one in a while (FIN being the only other one so far). Nancy can’t leave the train until 2/3rds through the game — but neither can anyone else, resulting in not only the perfect place to commit a crime, but also the perfect place to interrogate suspects.

TRN is perhaps most famous for its on-screen appearance of the Hardy Boys, who invite Nancy with them on this invite-only trip to make it more fun for themselves (and so that HER could experiment with playing from a non-Nancy [and even better, a Frank] point of view, even if it is just to make cheeseburgers). Honestly, it should be famous for it.

Not only is this a huge mechanics change, but it also blasts open the Nancy Drew Universe — the Drewniverse, if you will — and introduces both the games and players to the world of the 80s/90s Supermysteries by basing itself on #8 of the series, aptly titled Mystery Train (which we’ll talk about in the following section).

TRN also boasts one of the largest casts in the Nancy Drew games series, with 7 voiced in-person characters, two phone friends, and 3 extras. The choice to put in more characters into a smaller location really helps the locked room feel of the game, and leads to a game that is slightly more centered around interrogation than concrete investigation (which is the correct choice for a locked room mystery).

While TRN’s historical backstory isn’t quite prominent enough to get its own section here, it is worth dipping our toes in it here in the intro section. This game’s backstory (handled with a light hand) takes place during the late 1800s and finishes early years of the 1900s — 1903, to be exact, during the Edwardian Era and before World War I — when Jake Hurley’s beautiful train is found abandoned with only the dead engineer onboard. It overlaps with the Colorado Gold Rush in the United States, where Americans and immigrants alike made a mad dash out west in order to strike it rich.

This was a time when trains were the beautiful and incredibly fast (relatively) way to travel in America, especially out west as they were safer and quicker than taking the route in covered wagons or handcarts. Public trains were well-furnished and comfortable, but private trains like Jake Hurley’s were luxuriously and gorgeously decorated with all the amenities that were possible at the time and were meant to entertain guests as well as convey them from point A to point B.

The lush decorations in Camille and Jake’s cars are especially good representations of just how comfortable and flashy private trains could be; these trains that exist today in museums or private collections recall a bygone age where travel was a thing to look forward to, rather than a necessary evil to be suffered through.

The last bit of introduction I’ll do for TRN proper before we delve into the Hardy Boys/Nancy Drew supermysteries is its wonderful way with locations. By limiting its locations to really one at a time, TRN very neatly creates a semi-linear playthrough while still allowing the player the freedom to solve Jake and Camille’s mysteries in most any order they choose. It’s a great trick to make the game feel a bit more open while still telling a linear story, and TRN pulls it off better than most other early Nancy games.

Now that we’ve introduced the game, let’s get on to the Drewniverse.

The Supermysteries:

Pairing Nancy Drew actively with the Hardy Boys (live and in person) was hardly a new thing in 2005, even though it was the first time it had been accomplished in the game series’ history. The Hardy Boys and Nancy Drew TV series from the 70s was the first big screen meetup of the two sleuthing parties, both owned by the Stratmeyer Syndicate.

While the earlier episodes of the show trade back and forth between Nancy and the boys, the second season saw increasingly frequent mashups of the two separate storylines, allowing for much bigger risks and much more satisfying stories — and, of course, the now famous love line between Nancy Drew and Frank Hardy.

After the TV show, there was now an uptick in Nancy/Hardy Boys interest — the two had become linked by more than just the Syndicate. That interest created the space for the 80s/90s series of books referred to as the Nancy Drew/Hardy Boys Supermysteries (not to be confused with the series of the same name that came out after the turn of the millennium, which are less flirty, less well-written, and much shorter as a series).

Wildly popular, the Supermysteries have 36 titles to their name and span over a decade of heart-racing, Nancy-tingling fun. The Hardy Boys and Nancy Drew are either assigned to sister cases or discover the other party on the same case, and take turns helping the other out. Often, Joe separates (sometimes with whatever party Nancy brings along or with a pretty suspect) and leaves Nancy and Frank to work in tandem, giving opportunities for the two sleuths to flirt (and sometimes more) in relative peace.

If there’s one thing that the Supermysteries are really famous for, however, it’s the relationship between Nancy and Frank. Seemingly every book starts with reminding us that Frank and Nancy both have “steadies” back home, to use Dave Gregory’s terminology, and then promptly describing Frank as an Adonis and setting Nancy’s “tingle” (80s/90s code for arousal) ablaze as they work in closer and closer quarters and have some Experiences together, including an on-screen kiss and a sexy fade-to-black — and then reluctantly going back to their boyfriend/girlfriend at the end of the book.

TRN is based specifically on parts of Supermystery #8, Mystery Train, where the Hardy Boys are lured in by the promise of $25k if they can find the Comstock Diamond, stolen 15 years earlier. Nancy happens to be on the same train, accompanied by the best of the best sleuths of the day — and a beautiful actress that catches Joe’s attention.

You can see the ties to TRN — a ‘beautiful’ socialite, a band of detectives and researchers, a lost treasure — all present in both the book and the game. Though the game takes a slightly different course, it owes its strong foundation to the Supermystery that proceeded it.

The Title:

Harking back to Supermystery #8 (Mystery Train), Last Train to Blue Moon Canyon is one of the finest titles that HER ever came up with. Appropriately pulpy, it gives a sense of urgency, history, and mystery all at once while still pointing to the focal point of the game: the train.

After playing the game, it’s also a little ironic — it might be the last train to Blue Moon Canyon, but it’ll hardly be the last visitor to the historic spot, once the world gets wind of exactly what was there and the history behind it.

Last Train to Blue Moon Canyon is honestly a much better title than Mystery Train, and the title (plus the wonderful cover art) is part of the reason that this game is so well-known among casual and hardcore fans alike.

The Mystery:

Summoned by her good (phone) friends the Hardy Boys, Nancy embarks on a train ride to Blue Moon Canyon, the last known location of wealthy eccentric Jake Hurley’s personal train, and rumored to be the spot where he left his treasure. The train having been purchased and restored by socialite Paris Hil — ah, I mean Lori Girard, it once again houses the notable travelers of the day…and possibly the spirit of Jake Hurley’s wife, Camille.

Not 10 minutes into their journey, Lori disappears with a scream and a crash, and the hunt is on — not only to find their missing hostess, but to unravel the secrets of Jake Hurley’s train, Camille’s ghost, and the treasure that may be hiding in Blue Moon Canyon. It won’t be an easy task even for three seasoned teen sleuths, not with a cagey wonder-cop, irritable historical romance writer, and techy ghost hunter all trying to keep their motivations and actions a mystery.

TRN is superb in most respects, so it shouldn’t come as any surprise that the mystery is 90% perfect — barring one unfortunate plot point, which I’ll cover in at least 3 sections below, and the next paragraph. Tightly paced with suspicion spread thickly and nigh-evenly, TRN doesn’t run into the trouble of knowing who the culprit is from the first 20 minutes of the game and doesn’t feel the need to clear one suspect earlier than the others so that they can help Nancy — Frank and Joe take that job instead, leaving a pretty clear field through most of the game.

The biggest problem with TRN is the identity of the “final” culprit — that is, the culprit who leaves Nancy behind in the crumbling mine in order to generate some good publicity for herself and who knows about Jake Hurley’s final “treasure” all along: Lori. Her reveal as the first culprit is wonderful and logical, even if it’s not too hard to figure out that she kidnapped herself. Her reveal as the second culprit, however, is so odd and against her character that it doesn’t just feel like a mistake — it actually reads as a mistake as well.

To have the entire game culminate in a culprit that 1) doesn’t make any sense to be the culprit and 2) must behave in a completely out-of-character way in order to be the culprit is the one black mark on TRN’s otherwise spotless record. Other than that, this mystery is one of the best of the series so far and is a fully enjoyable ride from start to almost-finish.

The Suspects:

Lori Girard, Paris-Hilton-expy and socialite extraordinaire, is the hostess of the little trip down to Blue Moon Canyon with a streak of ruthless camera-whoring that nearly matches the level of the other camera whore on board (see next suspect).

Lori is, rather gloriously, the first culprit — the one who kidnapped herself, showing her love for flair, her smarts, and her enjoyment of detective stories. Kidnapping herself is right along with the character we see she has, and makes so much sense that it doesn’t feel like a let-down that the player (and a few other characters) figure it out — rather, it feels like her character is introduced strongly and well.

Lori is, completely unbelievably, the second culprit as well. Lori’s previous stunts — i.e. her previous ‘kidnapping’ before the story begins, the train disappearance — involve herself, have no danger to them at all, are intensely theatrical, and rely on the willing cooperation of others. Trapping Nancy in the mine and trying to kill her doesn’t involve Lori at all, has a ton of danger (not to mention a death toll), and isn’t theatrical at all — it happens all ‘off camera’.

We’ll get to more problems with this in The Unfavorite, but making Lori the second culprit was a huge mistake, and her character — and the game — suffer from it.

Tony Balducci is a self-described wonder cop and sometime lover of Lori who wants nothing more than to toot his own horn…provided he leaves out some of the less flattering notes. Having caught two bank robbers by luckily being in the right place at the right time, Tony now tries to live up to the name of ace detective — mainly by being a giant douchebag towards everyone.

As a culprit, Tony would have been an interesting choice, as someone driven by the hanging spectre of his own ego, desperately trying to catch it while knowing deep down that he’s just not good enough to do so. He’s just a little too obvious, a little too hateable, and a little too in-your-face to be the proper culprit for this game.

He instead lives to fight another day to show up in ICE, where no one asked for nor wanted him. A douche to the end.

Charleena Purcell of Secret of Shadow Ranch fame is live and in person this time, having accepted Lori’s invitation out of curiosity for what really happened to Jake — and a bit of a guilty conscience.

As a reoccurring character, Charleena wasn’t going to be the culprit, but I do love that she’s a character who does some morally questionable things — like taking Lori’s suggestions for a new book and incorporating them without crediting Lori. While legally she’s fine, it is a total dick move, and she deserves to get reamed for it.

I love that Charleena’s a bit uptight and snappy while still being a ‘good guy’ (or at least not a baddie), and I do love that she did something wrong that has no impact on the actual crime at all. While she’s not in my top 5 of reoccurring characters/characters that appear in more than one game, she is a nice representation of what most authors are like (dedicated researchers and hard workers, not people who have wacky hijinks with the mystical people in their head that talk to them).

John Grey is a ghost hunter who relies more on tech than on spiritual intuition and hosts his own TV show dedicated to proving the existence of ghosts and spirits. He’s convinced — or rather really hoping — that he can prove the existence of Camille’s ghost and attribute her power to all the wacky things happening on the train.

He also really hates it when Nancy plays the piano around his sensitive audio equipment, which is the biggest reason to play the piano around his sensitive audio equipment that I can think of.

Heartbreakingly, John is the perfect culprit; he lies just under the radar enough not to be immediately obvious, but isn’t immediately discounted either. He also has the perfect motivation: with his show failing, he really needs a show-stopping apparition like Camille’s ghost to boost his ratings and save his show. He’d be an Abby Sideris-type culprit Writ Large, but this time he’d be manipulating people’s perceptions of an actual ghost that truly exists on the train.

John’s status as, frankly, no villain at all is the single biggest flaw in TRN, and it makes me sad every time I play it.

Listed officially as a suspect, Fatima of Copper Gorge is a Charleena fangirl and taffy enthusiast, with a temper as wide as Copper Gorge itself. She constantly wears an old-timey miner’s costume — foam head mask and all — and can apparently even sleep in it.

As a culprit, Fatima would have obviously been a poor choice for a Nancy Drew style game — she barely appears, and is there for a puzzle and a task and that’s pretty much it. She is however incredibly intriguing, as…well, she never takes off the mask. As a fair-play mystery, Fatima was never an option; she does stand out among all masked characters as one of the few that is never revealed to the player/Nancy.

Though they’re not officially suspects, the Hardy Boys both deserve a breakdown in this area.

Franklin Hardy is the elder of the two and barely counts as a teenager (being 19), though he does work for ATAC (American Teens Against Crime, which is the funniest acronym in the world). Detail-oriented with a dry sense of humor, Frank is the de facto leader of the Hardy Boys and far less hot-headed than his brother Joe.

A great researcher and planner, Frank knows a little bit about almost everything, and is more cautious (as most older siblings are) about the danger of any particular situation than either Joe or Nancy tend to be. Fiercely loyal and indisputably protective, Frank believes in the power of teamwork and is constantly on watch for people who might want to hurt his friends and family. In SPY, his bio specifies a “strong connection to [Nancy]” as not only an example of this loyalty but also as a point towards his feelings for her.

It would do Frank a disservice to boil his entire characterization down to his relationship with Nancy, but it is worth mentioning briefly. There are hints of his affection towards Nancy pre-TRN, but it’s really post-TRN that it kicks into high gear (probably because of working in close circumstances with her during TRN).

TRN is, possibly coincidentally and possibly not, the last game where Wayne Rawley voices Frank, as the man/myth/legend Jonah Von Spreecken takes over in the next game Danger by Design. Not only is JVS’s Frank a little less subtle about his feelings for Nancy, he’s also a little younger sounding (more like his actual age) and a little more enthusiastic (while still being very dry). As any reader of any of these metas could probably tell you, I find JVS’s Frank to be the best of his VAs, and he’s only enhanced when Nik takes over from WAC on.

Joseph Hardy, to contrast, is the 18 year old younger brother (and, if HER is working off the supermysteries, skipped a grade to be in Frank’s graduating class) and the more impulsive of the two. Generally laid-back in contrast to Frank’s meticulous nature, Joe is no less quick and is noted in his character bio from SPY to be an “extremely proficient tactician” — a role generally reserved by lesser writers for more uptight characters.

While easily distracted and a bit prone to conspiracy theories, Joe is quick to discover interpersonal links and motives and is at least somewhat handy with mechanics. His seemingly odd fixations usually lead (in a roundabout way) to finding out the truth behind crimes and leading him to a cool treasure or historical fact along the way. He’s big-picture in a way that Frank is not, which helps him both as he sifts through Nancy’s mysteries, and when he and Frank are on the job for ATAC.

As of Lani’s departure as Nancy Drew, Rob Jones (Joe’s voice actor) is the only VA to have voiced the same character for the entirety of their presence in the series. As much as I praise JVS in all of his roles (Frank and others) Rob really deserves 90% of the credit for Joe being as loved and wonderful as he is. Rob’s voice gives Joe the correct amount of youthful enthusiasm, glee in bad puns, and continual just plain enjoyment of the world he lives in and the job he has.

The Favorite:

If it wasn’t obvious, TRN is one of my favorite Nancy Drew games — definitely in the top 5, almost definitely in the top 3 — and that makes this section really easy.

First off is the physical presence of the Hardy Boys. It feels really natural to have them appear after being in most of the games leading up to TRN, and they make every second of this game better. From Joe’s cheeseburger face to playing briefly as Frank and eavesdropping (a minigame that would reach its Pinnacle in WAC) to watching Nancy sit down with the boys and pow-wow to figure out the mysteries, the Hardy Boys are a delight from beginning to end,

My favorite moment in the game is that lovely moment where Nancy sees Camille’s ghost dancing along the train window. Camille’s spirit looks so cheerful and effervescent, gently bubbling along her beloved husband’s train, and it’s a beautiful moment.

It’s also a crucial moment in the Nancy Drew game series and lore as a whole, as it, for the first time, clearly and plainly establishes what it’s hinted at since MHM — that in the Nancy Drew universe, ghosts and spirits are real. They’re almost never the culprit, and they don’t often look like Scary Cartoon ghosts, but they’re real all the same. This moment does so much for the game and for the series that it will forever be one of my favorite moments in the series, not just in this game.

My favorite puzzle would have to be finding and placing all the gemstones. I’ve always loved gemstones, and this game really increased my love of them (and interest in their meanings/folklore). Figuring out which animal goes with which stone — and mastering what the “hand from the deep” actually looks like — is a lot of fun, and the animatic of all the different parts whirring and coming together is beautiful. It’s often placed alongside one of the best quotes of this game: “above all…let nothing happen to my train; it holds wonderful things”.

I also love the “true treasure” of the game; sure, Nancy’s line about friendship is a bit corny, but ND has always been a bit corny, and it’s a wonderful sentiment that a true gift can simply be your ability to make connections, rather than any material possessions or social standing.

Camille is one of my favorite “historical characters” in the series, and I know I’ve mentioned her ghost just above, but I love how personal and friendly she feels; you really do get the sense as the player that she’s there, helping Nancy along. It’s Jake’s mystery, and Jake’s mine, Jake’s friends, and Jake’s treasure, but to me, Jake Hurley’s train forever belongs to Camille.

The Un-Favorite:

As far as my least favorite puzzle in TRN goes…I don’t think I have one. I enjoy all of them for their varied styles, their tie-ins to the time period and to palace trains in general – they don’t exactly feel like puzzles, even, more like well-integrated plot points. I think this is one of the few — if not the only one — that absolutely no puzzle comes to mind, so good on TRN.

Alright, you knew it was coming. My least favorite moment in the game is where Lori reveals herself as the second culprit and tries to trap Nancy in the crumbling mine (and the fallout in the letter Nancy writes). I’ve already gone into how Lori makes no sense as the actual culprit from a characterization point of view — and TRN runs on characterization — so I won’t repeat it. But I do have problems with it besides that.

TRN feels like it was set up to have a “culprit” — Lori, kidnapping herself — and then an actual culprit. Lori wanting to find Jake’s treasure as a publicity thing is totally fine, but the whole mystery feels like there’s another sinister presence working on Lori and the rest of the cast the entire time, trying to steer them to where they want them for their own machinations.

It would shock me not at all to find out that this scenario was the original plan, cut for time. TRN came out in mid-September of 2005, not even two months after CLK. While I know that different games are worked on simultaneously, that’s still quite a quick schedule to keep — especially since game #13 (TRN) wasn’t in the cards at all, the game series meant to be 12 games in total.

The ending feeling slapdash — “ah, we don’t have time to work out a criminal, let’s just have it be Lori again” — isn’t shocking looking at the timetable and circumstances behind TRN even becoming a game. While I understand it, I feel like the lack of thought put into the last 5 minutes or so of the game is really noticeable, and undermines both character and theming.

The Fix:

So how would I fix Last Train to Blue Moon Canyon?

Unsurprisingly (and since the rest of the game is borderline perfect), the one change/fix I would make is to the identity of the final culprit. John’s ‘arc’ is somewhat anticlimactic — he’s the only character to sort of drop off the face of the game at the 2/3rds mark — and I truly believe that it’s because the seeds are there to reveal him as the true villain, but it was never carried out.

My proposal is this: the vast majority of the game stays exactly as it is. Lori kidnaps herself, is found by Nancy, and rewards her by giving her all the information she has about the location of the mine — there being a small reference to Jake receiving a letter from an “important friend” or some such descriptor.

Nancy, of course, wonders briefly about the letter and then moves on to solving the location of the mind, working in tandem with the Hardy Boys — but because John has listening devices all over the train, he hears about the letter and begins to research on a hunch that this letter has information that can help him “establish” Camille’s ghost better and make her hauntings more plausible.

In this canon, of course, John’s show really is on the brink of being cancelled without being picked up by any major network, and his paranormal tours that the player finds out about in SAW (and is referenced again in TMB) aren’t doing so well either, so he needs a huge boost to his credibility. Camille’s story — and the treasure/letter that Jake Hurley left behind — is the perfect thing to get him back on top, if he could just get the nosy detectives out of the way.

By listening in on Nancy and the Hardy Boys, John knows just as much as they do — and more, thanks to his research team for Ghost Chasers turning up a connection between Jake and Abraham Lincoln — and decides that the best way to frame this for his show is to have “Camille’s wrath” come upon the uppity teen detective, collapsing the mine to protect Jake’s treasure as soon as she finds it (and he can take it from her).

Used to working in the dark and moving quietly, John, directed by Lori (who he’s manipulated into having him follow Nancy with cameras to capture the moment), follows Nancy into the mine, helping out with a few “good guesses” (actually his knowledge from listening in and researching) and snapping a few pictures of the treasure when they find it. After asking Nancy to hand him Lincoln’s letter so that he can film it better, John runs out of the room and blocks up the exit, standing outside to gloat to Nancy.

John talks about how he manipulated Lori, how he listened in, how this is the thing he needs to boost his show up to be the most-watched program in the ghost hunting business, how clever he was to run rings around Tony, Lori, Charleena, and most of all the Hardy Boys and Nancy herself. He then tells Nancy that she won’t live to tell the tale, but he’ll get footage of “Camille” causing a quake in the mine to protect her husband’s treasure — running as the mine begins to collapse.

From there, the game would continue as normal until Nancy catches the culprit (the only difference being who the culprit is) and rides to safety.

While this section seems really long, this change isn’t actually that big in the scheme of things — it just makes far more sense to have Lori only be the first culprit while having the second culprit be someone with a lot more to lose and a lot more to gain. In general with mysteries, your culprit should always be the person with the most to lose (though the detective and/or player shouldn’t know how much everyone has to lose from the beginning), and John suits that far more than Lori does.

That being said, this is the only change I’d make; I think the rest of the game not only was great at the time of its release but has also stood the test of time a decade and a half later. The change I’ve proposed would simply take the game from being a classic with a slight blemish to a truly perfect game.

#nancy drew #last train to blue moon canyon #clue crew #nancy drew games #TRN #nancy drew meta #long post #video games #my meta

31 notes · View notes

nobayenixaba · 4 years

Text

Article Title : "Gratitude "

One of The Best Director, Nobayeni Xaba has worked with in the Showbiz , is none either than Thembi Nyandeni, Director and Founder at Africa Umoja . She couldn't be more greatful and appreciative of the Values she has instilled , without her even knowing. Her motto was Simple " Go big or Go home" and they all knew it's either you have it or you don't. Mom Thembi Nyandeni as a director she is brutality Ohnest and as a result she has a way of bringing out the best in you as a performer.She has a good eye of spoting talent, and it's in her voice that you realise "It's about to go down",. It's in her Motherly Instict and her selection of cast members, that would just make you feel great, because it meant not only did you prove to her that you've got what it takes, but it would be a fulfillment from inside, feeling in an authentic way that you belong to the first cast, and that meant greatness and respect from her.

I used to be scared of her, "Nobayeni Xaba stated", but later I realised it's actually the deep respect that I have for her. One of the principles I have learned from her was that:

"When You Are Short, interms of height, make sure that your moves looks bigger on stage, especially when Perfoming with taller people next to you" . ( wherever I go, Bealive me I take this advice with me, and it has been a winning formular ever since. )

Most of the people would come to me and ask, " where do you get this energy from, on stage"? . Some would say I love your Energy and your Grace, when you perfom.Everytime when people say this to me, one thing rings a Bell. Mom Thembi Nyandeni. I mean how can I forget because she groomed me." I was trained by the best, I would say to my Self" Nobayeni Xaba, give the credit where it's due".

I thought, how can some body so great and powerful Bealive in me " of course it was my insecurity talking. She's a sucker for growth. I remember when I told her, one day I would like to have my own company, As Africa Umoja was my stepping stone, and her response was," That's great, make sure the people you choose to work with have the same love and passion but most importantly make sure you Trust them.This made me feel all sorts of ways that are warm, coming from a legend herself. Later in the years having worked with her previously and now joined different musical shows, I have realised that her advice and work ethics were the best formular. As a result I was ohnered with the "BEST FEMALE DANCER AWARD" 🏆 at Khabodacious Moves Awards, year 2011.And later thereafter worked with other directors, who are Giants in the Theatre namely ;

Thapelo Motloung, ( Spirit And Bones Musical/ " Izimpande Zabangoma " ) Dr. Mbongeni Ngema,( Sarafina Broadway Musical).

Meshack Mavuso ( One Square Mile Musical) and the Multi Award Winner Aubrey Sekhabi,(Freedom The Musical) just to name a few.

Not only did she groom me so well but, she taught me coping Mechanisms of how to deal with challenges faced on stage, even out of stage. The importance of punctuality and always refining your skills, and this means " Practice more, until you get it right". Most Importantly I've learned from her that your cast members are your family members.Hence we would overdeliver on stage because of the tough love and warmth she would spread. Though there were clutch of personalities among cast members, but you would not pick that up when we were on stage. I can go on and on, but in a nutshell I would like to celebrate this powerhouse woman, a mother, a director, and her excellence that is noticeable.Now I know Excellence is a habit because of her.

Issued By : Nobayeni Xaba / Founder & Managing Director at Lelotainment Productions ( Pty) Ltd.

Date : 05 May 2020

#Gratitude #Career Growth #Perfoming Arts #Theatre & Dance #Mentorship #Youth Development

1 note · View note

trans-advice · 5 years

Link

Actor Michael D. Cohen Has Something to Share: ‘I Transitioned’

Actor Michael D. Cohen in Burbank, Calif. on April 16, 2019.

“We need more sweat!”

On that command, a production assistant takes a spray bottle filled with glycerin and scurries over to actor Michael D. Cohen, making his bald head glisten as a crew stands by at a studio in Burbank, Calif. They’re filming the fifth season of Henry Danger, a farcical superhero saga that is Nickelodeon’s longest running live-action sitcom. In it, Cohen plays a character named Schwoz, a quirky genius who aids the show’s good guys much as Q aids James Bond. In this scene, as a goof, Schwoz is leading some of the show’s younger actors through an aerobic workout. Cameras roll as Cohen, clad in spandex and now suitably sweaty, breaks into action. “Your life begins where your comfort zone ends!” he barks while huffing through the routine.

It’s just a line that Cohen is delivering in his character’s silly accent. But it also expresses an idea that the actor has come to understand intimately, one he is ready to embrace again, whatever it might mean for his future. Spurred in part by the political climate — which in recent years has seen fraught public reckonings around issues related to gender — Cohen wants to publicly disclose a private fact that he has been sharing with colleagues on the set of Henry Danger: Nearly twenty years ago, he transitioned from female to male.

“I was misgendered at birth,” Cohen says. “I identify as male, and I am proud that I have had a transgender experience — a transgender journey.”

Today, there are more actors than ever who are open about having had, as Cohen puts it, a transgender journey. This is in part because there is a proliferation of shows, including Pose and Transparent, that are portraying nuanced transgender characters. But Cohen is rare in that he worked in the entertainment industry for more than two decades before he chose to make this disclosure.

In many ways, the environment is far more welcoming than it was when Cohen first transitioned, back when issues of gender identity were largely relegated to spectacles like The Jerry Springer Show. In Hollywood, figures like Laverne Cox and Asia Kate Dillon have nabbed major roles, helping to shift mindsets among producers and audiences alike. More broadly, there is unprecedented awareness about LGBTQ issues, in courts and legislatures as well as the cultural zeitgeist. Yet that visibility has also spurred backlash from conservatives who cast transgender and gender nonconforming people as a threat to societal norms.

Cohen does not use the word transgender to describe himself, but he does view himself as part of a community that typically embraces that label, and he didn’t feel he could be an outspoken advocate until he made his history known. The actor has grown restless while watching the Trump administration roll back protections for transgender people in schools and the military, as Republicans have fought bills that would protect them from discrimination in public spaces.

“This crazy backlash and oppression of rights is happening right in front of me. I can’t stay silent,” Cohen says. “The level of — let’s be polite — misunderstanding around trans issues is so profound and so destructive. When you disempower one population, you disempower everybody.”

It’s a chilly April evening in L.A., and I’m sitting with Cohen on the otherwise empty patio of a sleek restaurant on Sunset Boulevard. One of the first things you notice about him is the same thing casting directors do: he’s short, just over five feet tall. Tonight, his big eyes are framed under a flat cap and he’s sporting salt-and-pepper stubble that will be shaved before filming starts the next day. As we talk, Cohen has a tendency to fiddle with the cuff of his blue blazer. The Canadian-born actor also has a tendency to crack jokes, displaying the comedic talents that have propelled his career. When asked about how it’s been having the name Michael Cohen lately, for instance, he says that he’s had it: “I’m thinking of changing my name to Paul Manafort.”

Today, a central struggle for openly transgender actors is combatting the expectation that they should play transgender characters. If Cohen has been hemmed in, it’s only by the perception that he’s a character actor — a type of thespian he defines as “not good looking enough to sleep with a leading woman.”

He recalls watching The Carol Burnett Show as a kid in Winnipeg, marveling at the way that television can be unifying for people laughing together on a couch “regardless of whatever else is happening in that family unit.” Though Cohen always wanted to be an actor, there was a time early in his career when he focused on behind-the-scenes work and voice acting instead. “I think I loved acting so much,” he says, “that I didn’t want to do it as a woman.” Eventually, his love of acting won out. Cohen played female roles until he transitioned in 2000, a process that, in his case, involved medical treatment as well as changes in how he presented himself socially.

Some years later, Cohen left the studios of Toronto for Hollywood and started landing roles at a greater clip. In 2014, he began appearing on Henry Danger. Today, more than 750,000 kids tune in to watch the sitcom each week. According to Nickelodeon — which, along with parent company Viacom, shares wholehearted support for Cohen and “diversity in all its forms” — it’s the number one live-action kids’ show on basic cable. Adults may have seen Cohen elsewhere, on sitcoms like Powerless, in films or commercials like a Wendy’s “Biggie Bag” spot that has been airing recently.

Actor Michael D. Cohen on the set of Henry Danger in Burbank, Calif. on April 16, 2019.

Ryan Pfluger for TIME

Another reason Cohen wants to publicly talk about his history now is that he is preparing to put on a new production, a play about his life that has been in the making for the past fifteen years. In the one-man show that he wrote and stars in — called “4 Cubits Make a Man,” a reference to Leonardo Da Vinci’s famous Vitruvian specimen — he chronicles how he came to grips with his identity, as well as how he navigated family, romantic relationships and widespread ideas about what makes someone a man.

“It is not random, it is not arbitrary, it is not chosen,” he says of gender identity. “It’s like trying to negotiate with gravity.”

The play, funny enough to get the audience through the raw pain of many scenes, centers on this tension. “In my experience, I was born male. What my body said about it was irrelevant,” Cohen says. “No matter how hard I tried, it was not up for negotiation. Believe me, it would have been so convenient if I was actually a woman.”

People like him are not, as some social conservatives have suggested in fiery debates about LGBTQ rights, the product of “radical ideology” spreading around the Internet or a figment of anyone’s imagination, he says. “My chromosomes do not dictate my gender. I’m a man,” Cohen says. “It’s not that hard.”

In the play, Cohen also explains why he does not describe himself as transgender.

He understands that this word is commonly used by people who identify with a gender other than the sex they were assigned at birth. Many people “feel that does reflect their identity and they’re very comfortable with that, and that’s completely valid,” he says. But, for him, the term feels off, and he does not want to make compromises about how he describes himself at this point in his life. “I have worked so hard to get to the truth and I’ve taken on labels in the past that didn’t feel true for the sake of convenience at that moment,” he says. While the word transgender may describe his past or his transition, he says, he has always felt his “core being” was male, and so that is the language he uses.

Cohen knows that may seem complicated. But that comes with the territory. He believes that animus toward people like him — however they identify — comes in part from the fact that their existence complicates simple maxims about gender. That is part of what has made transgender people a target in political battles over issues like the sports, religious freedom and civil rights. And Cohen wants to stand with them. “These are my people. I belong to this group,” he says of Americans who have been affected by policies like the Trump Administration’s guidance on Title IX, the law that prohibits sex discrimination in education.

Though Nickelodeon has been supportive, Cohen knows this is a complicated time to be making this disclosure in Hollywood, too. The entertainment industry continues to grapple with what it means to be inclusive, and while LGBTQ issues are intermingling with kids’ programming more than in the past, sensitivities remain. Cohen is hopeful about the message that his continued presence on the show — which has filmed more than 100 episodes and was recently picked up for 10 more — will send to young viewers who are attuned to issues of gender identity. Yet he is also prepared for backlash from parents.

“People don’t understand. They think this has to do with sexuality and it doesn’t. They think this has to do with pushing an agenda on kids and it doesn’t,” he says. “What it does is send a message to kids that whoever they are, however they identify, that’s celebrated and valued and okay.”

There’s something about Cohen that kids respond to, the producers of Henry Danger say. Maybe it’s his small stature. Maybe it’s his talent for physical comedy. Maybe it’s the feeling that Schwoz is a fantastical bridge between the grownup and kid worlds.

Chris Nowak, the showrunner for Henry Danger, says that colleagues respect what Cohen has told them but continue to see him as they always have: “Just a guy who’s real good at his job.” Jace Norman, a teen heartthrob who plays the show’s protagonist, Henry Hart, says in an email that the news “didn’t change anything about the high level of respect and admiration I have for the guy,” and thinks “it’s in the best interest of the entire world to have every type of person represented on TV.”

On set, Cohen’s news seems to have been processed with little hubbub. Of far more concern is the timing for delivering jokes as he flees, still in his spandex getup, from a frazzled woman who has traveled back from the future to warn everyone that humanity will be enslaved by robots. As she pursues him, Schwoz zips frantically around the show’s secret superhero lair like he’s in a Benny Hill chase scene. In between takes, he jokes that, for this particular episode, he has been drawing inspiration from Chekhov’s The Cherry Orchard.

However frivolous it is, when the episode airs, it will reflect a serious reality back to the actor: that the world sees him as he sees himself, a guy who plays another guy on TV. And he hopes that sharing the fuller picture might make the idea of disclosure less uncomfortable for others. “If I tell my truth,” Cohen says, “that gives other people permission to tell theirs too.”

Write to Katy Steinmetz at [email protected].

24 notes · View notes

yobaba30 · 5 years

Text

trump’s reality TV gig

Expedition: Robinson,” a Swedish reality-television program, premièred in the summer of 1997, with a tantalizing premise: sixteen strangers are deposited on a small island off the coast of Malaysia and forced to fend for themselves. To survive, they must coöperate, but they are also competing: each week, a member of the ensemble is voted off the island, and the final contestant wins a grand prize. The show’s title alluded to both “Robinson Crusoe” and “The Swiss Family Robinson,” but a more apt literary reference might have been “Lord of the Flies.” The first contestant who was kicked off was a young man named Sinisa Savija. Upon returning to Sweden, he was morose, complaining to his wife that the show’s editors would “cut away the good things I did and make me look like a fool.” Nine weeks before the show aired, he stepped in front of a speeding train.

The producers dealt with this tragedy by suggesting that Savija’s turmoil was unrelated to the series—and by editing him virtually out of the show. Even so, there was a backlash, with one critic asserting that a program based on such merciless competition was “fascist television.” But everyone watched the show anyway, and Savija was soon forgotten. “We had never seen anything like it,” Svante Stockselius, the chief of the network that produced the program, told the Los Angeles Times, in 2000. “Expedition: Robinson” offered a potent cocktail of repulsion and attraction. You felt embarrassed watching it, Stockselius said, but “you couldn’t stop.”

In 1998, a thirty-eight-year-old former British paratrooper named Mark Burnett was living in Los Angeles, producing television. “Lord of the Flies” was one of his favorite books, and after he heard about “Expedition: Robinson” he secured the rights to make an American version. Burnett had previously worked in sales and had a knack for branding. He renamed the show “Survivor.”

The first season was set in Borneo, and from the moment it aired, on CBS, in 2000, “Survivor” was a ratings juggernaut: according to the network, a hundred and twenty-five million Americans—more than a third of the population—tuned in for some portion of the season finale. The catchphrase delivered by the host, Jeff Probst, at the end of each elimination ceremony, “The tribe has spoken,” entered the lexicon. Burnett had been a marginal figure in Hollywood, but after this triumph he, too, was rebranded, as an oracle of spectacle. Les Moonves, then the chairman of CBS, arranged for the delivery of a token of thanks—a champagne-colored Mercedes. To Burnett, the meaning of this gesture was unmistakable: “I had arrived.” The only question was what he might do next.

A few years later, Burnett was in Brazil, filming “Survivor: The Amazon.” His second marriage was falling apart, and he was staying in a corporate apartment with a girlfriend. One day, they were watching TV and happened across a BBC documentary series called “Trouble at the Top,” about the corporate rat race. The girlfriend found the show boring and suggested changing the station, but Burnett was transfixed. He called his business partner in L.A. and said, “I’ve got a new idea.” Burnett would not discuss the concept over the phone—one of his rules for success was to always pitch in person—but he was certain that the premise had the contours of a hit: “Survivor” in the city. Contestants competing for a corporate job. The urban jungle!

He needed someone to play the role of heavyweight tycoon. Burnett, who tends to narrate stories from his own life in the bravura language of a Hollywood pitch, once said of the show, “It’s got to have a hook to it, right? They’ve got to be working for someone big and special and important. Cut to: I’ve rented this skating rink.”

In 2002, Burnett rented Wollman Rink, in Central Park, for a live broadcast of the Season 4 finale of “Survivor.” The property was controlled by Donald Trump, who had obtained the lease to operate the rink in 1986, and had plastered his name on it. Before the segment started, Burnett addressed fifteen hundred spectators who had been corralled for the occasion, and noticed Trump sitting with Melania Knauss, then his girlfriend, in the front row. Burnett prides himself on his ability to “read the room”: to size up the personalities in his audience, suss out what they want, and then give it to them.

“I need to show respect to Mr. Trump,” Burnett recounted, in a 2013 speech in Vancouver. “I said, ‘Welcome, everybody, to Trump Wollman skating rink. The Trump Wollman skating rink is a fine facility, built by Mr. Donald Trump. Thank you, Mr. Trump. Because the Trump Wollman skating rink is the place we are tonight and we love being at the Trump Wollman skating rink, Mr. Trump, Trump, Trump, Trump, Trump.” As Burnett told the story, he had scarcely got offstage before Trump was shaking his hand, proclaiming, “You’re a genius!”

Cut to: June, 2015. After starring in fourteen seasons of “The Apprentice,” all executive-produced by Burnett, Trump appeared in the gilded atrium of Trump Tower, on Fifth Avenue, to announce that he was running for President. Only someone “really rich,” Trump declared, could “take the brand of the United States and make it great again.” He also made racist remarks about Mexicans, prompting NBC, which had broadcast “The Apprentice,” to fire him. Burnett, however, did not sever his relationship with his star. He and Trump had been equal partners in “The Apprentice,” and the show had made each of them hundreds of millions of dollars. They were also close friends: Burnett liked to tell people that when Trump married Knauss, in 2005, Burnett’s son Cameron was the ring bearer.

Trump had been a celebrity since the eighties, his persona shaped by the best-selling book “The Art of the Deal.” But his business had foundered, and by 2003 he had become a garish figure of local interest—a punch line on Page Six. “The Apprentice” mythologized him anew, and on a much bigger scale, turning him into an icon of American success. Jay Bienstock, a longtime collaborator of Burnett’s, and the showrunner on “The Apprentice,” told me, “Mark always likes to compare his shows to great films or novels. All of Mark’s shows feel bigger than life, and this is by design.” Burnett has made many programs since “The Apprentice,” among them “Shark Tank,” a startup competition based on a Japanese show, and “The Voice,” a singing contest adapted from a Dutch program. In June, he became the chairman of M-G-M Television. But his chief legacy is to have cast a serially bankrupt carnival barker in the role of a man who might plausibly become the leader of the free world. “I don’t think any of us could have known what this would become,” Katherine Walker, a producer on the first five seasons of “The Apprentice,” told me. “But Donald would not be President had it not been for that show.”

Tony Schwartz, who wrote “The Art of the Deal,” which falsely presented Trump as its primary author, told me that he feels some responsibility for facilitating Trump’s imposture. But, he said, “Mark Burnett’s influence was vastly greater,” adding, “ ‘The Apprentice’ was the single biggest factor in putting Trump in the national spotlight.” Schwartz has publicly condemned Trump, describing him as “the monster I helped to create.” Burnett, by contrast, has refused to speak publicly about his relationship with the President or about his curious, but decisive, role in American history.

Burnett is lean and lanky, with the ageless, perpetually smiling face of Peter Pan and eyes that, in the words of one ex-wife, have ��a Photoshop twinkle.” He has a high forehead and the fixed, gravity-defying hair of a nineteen-fifties film star. People often mistake Burnett for an Australian, because he has a deep tan and an outdoorsy disposition, and because his accent has been mongrelized by years of international travel. But he grew up in Dagenham, on the eastern outskirts of London, a milieu that he has recalled as “gray and grimy.” His father, Archie, was a tattooed Glaswegian who worked the night shift at a Ford automobile plant. His mother, Jean, worked there as well, pouring acid into batteries, but in Mark’s recollection she always dressed immaculately, “never letting her station in life interfere with how she presented herself.” Mark, an only child, grew up watching American television shows such as “Starsky & Hutch” and “The Rockford Files.”

At seventeen, he volunteered for the British Army’s Parachute Regiment; according to a friend who enlisted with him, he joined for “the glitz.” The Paras were an élite unit, and a soldier from his platoon, Paul Read, told me that Burnett was a particularly formidable special operator, both physically commanding and a natural leader: “He was always super keen. He always wanted to be the best, even among the best.” (Another soldier recalled that Burnett was nicknamed the Male Model, because he was reluctant to “get any dirt under his fingernails.”) Burnett served in Northern Ireland, and then in the Falklands, where he took part in the 1982 advance on Port Stanley. The experience, he later said, was “horrific, but on the other hand—in a sick way—exciting.”

When Burnett left the Army, after five years, his plan was to find work in Central America as a “weapons and tactics adviser”—not as a mercenary, he later insisted, though it is difficult to parse the distinction. Before he left, his mother told him that she’d had a premonition and implored him not to take another job that involved carrying a gun. Like Trump, Burnett trusts his impulses. “Your gut instinct is rarely wrong,” he likes to say. During a layover in Los Angeles, he decided to heed his mother’s admonition, and walked out of the airport. He later described himself as the quintessential immigrant: “I had no money, no green card, no nothing.” But the California sun was shining, and he was eager to try his luck.

Burnett is an avid raconteur, and his anecdotes about his life tend to have a three-act structure. In Act I, he is a fish out of water, guileless and naïve, with nothing but the shirt on his back and an outsized dream. Act II is the rude awakening: the world bets against him. It’s impossible! You’ll lose everything! No such thing has ever been tried! In Act III, Burnett always prevails. Not long after arriving in California, he landed his first job—as a nanny. Eyebrows were raised: a commando turned nanny? Yet Burnett thrived, working for a family in Beverly Hills, then one in Malibu. As he later observed, the experience taught him “how nice the life styles of wealthy people are.” Young, handsome, and solicitous, he discovered that successful people are often happy to talk about their path to success.

Burnett married a California woman, Kym Gold, who came from an affluent family. “Mark has always been very, very hungry,” Gold told me recently. “He’s always had a lot of drive.” For a time, he worked for Gold’s stepfather, who owned a casting agency, and for Gold, who owned an apparel business. She would buy slightly imperfect T-shirts wholesale, at two dollars apiece, and Burnett would resell them, on the Venice boardwalk, for eighteen. That was where he learned “the art of selling,” he has said. The marriage lasted only a year, by which point Burnett had obtained a green card. (Gold, who had also learned a thing or two about selling, went on to co-found the denim company True Religion, which was eventually sold for eight hundred million dollars.)

One day in the early nineties, Burnett read an article about a new kind of athletic event: a long-distance endurance race, known as the Raid Gauloises, in which teams of athletes competed in a multiday trek over harsh terrain. In 1992, Burnett organized a team and participated in a race in Oman. Noticing that he and his teammates were “walking, climbing advertisements” for gear, he signed up sponsors. He also realized that if you filmed such a race it would make for exotic and gripping viewing. Burnett launched his own race, the Eco-Challenge, which was set in such scenic locations as Utah and British Columbia, and was televised on various outlets, including the Discovery Channel. Bienstock, who first met Burnett when he worked on the “Eco-Challenge” show, in 1996, told me that Burnett was less interested in the ravishing backdrops or in the competition than he was in the intense emotional experiences of the racers: “Mark saw the drama in real people being the driving force in an unscripted show.”

By this time, Burnett had met an aspiring actress from Long Island named Dianne Minerva and married her. They became consumed with making the show a success. “When we went to bed at night, we talked about it, when we woke up in the morning, we talked about it,” Dianne Burnett told me recently. In the small world of adventure racing, Mark developed a reputation as a slick and ambitious operator. “He’s like a rattlesnake,” one of his business competitors told the New York Times in 2000. “If you’re close enough long enough, you’re going to get bit.” Mark and Dianne were doing far better than Mark’s parents ever had, but he was restless. One day, they attended a seminar by the motivational speaker Tony Robbins called “Unleash the Power Within.” A good technique for realizing your goals, Robbins counselled, was to write down what you wanted most on index cards, then deposit them around your house, as constant reminders. In a 2012 memoir, “The Road to Reality,” Dianne Burnett recalls that she wrote the word “FAMILY” on her index cards. Mark wrote “MORE MONEY.”

As a young man, Burnett occasionally found himself on a flight for business, looking at the other passengers and daydreaming: If this plane were to crash on a desert island, where would I fit into our new society? Who would lead and who would follow? “Nature strips away the veneer we show one another every day, at which point people become who they really are,” Burnett once wrote. He has long espoused a Hobbesian world view, and when he launched “Survivor” a zero-sum ethos was integral to the show. “It’s quite a mean game, just like life is kind of a mean game,” Burnett told CNN, in 2001. “Everyone’s out for themselves.”

On “Survivor,” the competitors were split into teams, or “tribes.” In this raw arena, Burnett suggested, viewers could glimpse the cruel essence of human nature. It was undeniably compelling to watch contestants of different ages, body types, and dispositions negotiate the primordial challenges of making fire, securing shelter, and foraging for food. At the same time, the scenario was extravagantly contrived: the castaways were shadowed by camera crews, and helicopters thundered around the island, gathering aerial shots.

Moreover, the contestants had been selected for their charisma and their combustibility. “It’s all about casting,” Burnett once observed. “As a producer, my job is to make the choices in who to work with and put on camera.” He was always searching for someone with the sort of personality that could “break through the clutter.” In casting sessions, Burnett sometimes goaded people, to see how they responded to conflict. Katherine Walker, the “Apprentice” producer, told me about an audition in which Burnett taunted a prospective cast member by insinuating that he was secretly gay. (The man, riled, threw the accusation back at Burnett, and was not cast that season.)

Richard Levak, a clinical psychologist who consulted for Burnett on “Survivor” and “The Apprentice” and worked on other reality-TV shows, told me that producers have often liked people he was uncomfortable with for psychological reasons. Emotional volatility makes for compelling television. But recruiting individuals for their instability and then subjecting them to the stress of a televised competition can be perilous. When Burnett was once asked about Sinisa Savija’s suicide, he contended that Savija had “previous psychological problems.” No “Survivor” or “Apprentice” contestants are known to have killed themselves, but in the past two decades several dozen reality-TV participants have. Levak eventually stopped consulting on such programs, in part because he feared that a contestant might harm himself. “I would think, Geez, if this should unravel, they’re going to look at the personality profile and there may have been a red flag,” he recalled.

Burnett excelled at the casting equation to the point where, on Season 2 of “Survivor,” which was shot in the Australian outback, his castaways spent so much time gossiping about the characters from the previous season that Burnett warned them, “The more time you spend talking about the first ‘Survivor,’ the less time you will have on television.” But Burnett’s real genius was in marketing. When he made the rounds in L.A. to pitch “Survivor,” he vowed that it would become a cultural phenomenon, and he presented executives with a mock issue of Newsweek featuring the show on the cover. (Later, “Survivor” did make the cover of the magazine.) Burnett devised a dizzying array of lucrative product-integration deals. In the first season, one of the teams won a care package that was attached to a parachute bearing the red-and-white logo of Target.

“I looked on ‘Survivor’ as much as a marketing vehicle as a television show,” Burnett once explained. He was creating an immersive, cinematic entertainment—and he was known for lush production values, and for paying handsomely to retain top producers and editors—but he was anything but precious about his art. Long before he met Trump, Burnett had developed a Panglossian confidence in the power of branding. “I believe we’re going to see something like the Microsoft Grand Canyon National Park,” he told the New York Times in 2001. “The government won’t take care of all that—companies will.”

Seven weeks before the 2016 election, Burnett, in a smart tux with a shawl collar, arrived with his third wife, the actress and producer Roma Downey, at the Microsoft Theatre, in Los Angeles, for the Emmy Awards. Both “Shark Tank” and “The Voice” won awards that night. But his triumphant evening was marred when the master of ceremonies, Jimmy Kimmel, took an unexpected turn during his opening monologue. “Television brings people together, but television can also tear us apart,” Kimmel mused. “I mean, if it wasn’t for television, would Donald Trump be running for President?” In the crowd, there was laughter. “Many have asked, ‘Who is to blame for Donald Trump?’ ” Kimmel continued. “I’ll tell you who, because he’s sitting right there. That guy.” Kimmel pointed into the audience, and the live feed cut to a closeup of Burnett, whose expression resolved itself into a rigid grin. “Thanks to Mark Burnett, we don’t have to watch reality shows anymore, because we’re living in one,” Kimmel said. Burnett was still smiling, but Kimmel wasn’t. He went on, “I’m going on the record right now. He’s responsible. If Donald Trump gets elected and he builds that wall, the first person we’re throwing over it is Mark Burnett. The tribe has spoken.”

Around this time, Burnett stopped giving interviews about Trump or “The Apprentice.” He continues to speak to the press to promote his shows, but he declined an interview with me. Before Trump’s Presidential run, however, Burnett told and retold the story of how the show originated. When he met Trump at Wollman Rink, Burnett told him an anecdote about how, as a young man selling T-shirts on the boardwalk on Venice Beach, he had been handed a copy of “The Art of the Deal,” by a passing rollerblader. Burnett said that he had read it, and that it had changed his life; he thought, What a legend this guy Trump is!

Anyone else hearing this tale might have found it a bit calculated, if not implausible. Kym Gold, Burnett’s first wife, told me that she has no recollection of him reading Trump’s book in this period. “He liked mystery books,” she said. But when Trump heard the story he was flattered.

Burnett has never liked the phrase “reality television.” For a time, he valiantly campaigned to rebrand his genre “dramality”—“a mixture of drama and reality.” The term never caught on, but it reflected Burnett’s forthright acknowledgment that what he creates is a highly structured, selective, and manipulated rendition of reality. Burnett has often boasted that, for each televised hour of “The Apprentice,” his crews shot as many as three hundred hours of footage. The real alchemy of reality television is the editing—sifting through a compost heap of clips and piecing together an absorbing story. Jonathon Braun, an editor who started working with Burnett on “Survivor” and then worked on the first six seasons of “The Apprentice,” told me, “You don’t make anything up. But you accentuate things that you see as themes.” He readily conceded how distorting this process can be. Much of reality TV consists of reaction shots: one participant says something outrageous, and the camera cuts away to another participant rolling her eyes. Often, Braun said, editors lift an eye roll from an entirely different part of the conversation.

“The Apprentice” was built around a weekly series of business challenges. At the end of each episode, Trump determined which competitor should be “fired.” But, as Braun explained, Trump was frequently unprepared for these sessions, with little grasp of who had performed well. Sometimes a candidate distinguished herself during the contest only to get fired, on a whim, by Trump. When this happened, Braun said, the editors were often obliged to “reverse engineer” the episode, scouring hundreds of hours of footage to emphasize the few moments when the exemplary candidate might have slipped up, in an attempt to assemble an artificial version of history in which Trump’s shoot-from-the-hip decision made sense. During the making of “The Apprentice,” Burnett conceded that the stories were constructed in this way, saying, “We know each week who has been fired, and, therefore, you’re editing in reverse.” Braun noted that President Trump’s staff seems to have been similarly forced to learn the art of retroactive narrative construction, adding, “I find it strangely validating to hear that they’re doing the same thing in the White House.”

Such sleight of hand is the industry standard in reality television. But the entire premise of “The Apprentice” was also something of a con. When Trump and Burnett told the story of their partnership, both suggested that Trump was initially wary of committing to a TV show, because he was so busy running his flourishing real-estate empire. During a 2004 panel at the Museum of Television and Radio, in Los Angeles, Trump claimed that “every network” had tried to get him to do a reality show, but he wasn’t interested: “I don’t want to have cameras all over my office, dealing with contractors, politicians, mobsters, and everyone else I have to deal with in my business. You know, mobsters don’t like, as they’re talking to me, having cameras all over the room. It would play well on television, but it doesn’t play well with them.”

“The Apprentice” portrayed Trump not as a skeezy hustler who huddles with local mobsters but as a plutocrat with impeccable business instincts and unparalleled wealth—a titan who always seemed to be climbing out of helicopters or into limousines. “Most of us knew he was a fake,” Braun told me. “He had just gone through I don’t know how many bankruptcies. But we made him out to be the most important person in the world. It was like making the court jester the king.” Bill Pruitt, another producer, recalled, “We walked through the offices and saw chipped furniture. We saw a crumbling empire at every turn. Our job was to make it seem otherwise.”

Trump maximized his profits from the start. When producers were searching for office space in which to stage the show, he vetoed every suggestion, then mentioned that he had an empty floor available in Trump Tower, which he could lease at a reasonable price. (After becoming President, he offered a similar arrangement to the Secret Service.) When the production staff tried to furnish the space, they found that local venders, stiffed by Trump in the past, refused to do business with them.

More than two hundred thousand people applied for one of the sixteen spots on Season 1, and throughout the show’s early years the candidates were conspicuously credentialled and impressive. Officially, the grand prize was what the show described as “the dream job of a lifetime”—the unfathomable privilege of being mentored by Donald Trump while working as a junior executive at the Trump Organization. All the candidates paid lip service to the notion that Trump was a peerless businessman, but not all of them believed it. A standout contestant in Season 1 was Kwame Jackson, a young African-American man with an M.B.A. from Harvard, who had worked at Goldman Sachs. Jackson told me that he did the show not out of any desire for Trump’s tutelage but because he regarded the prospect of a nationally televised business competition as “a great platform” for career advancement. “At Goldman, I was in private-wealth management, so Trump was not, by any stretch, the most financially successful person I’d ever met or managed,” Jackson told me. He was quietly amused when other contestants swooned over Trump’s deal-making prowess or his elevated tastes—when they exclaimed, on tours of tacky Trump properties, “Oh, my God, this is so rich—this is, like, really rich!” Fran Lebowitz once remarked that Trump is “a poor person’s idea of a rich person,” and Jackson was struck, when the show aired, by the extent to which Americans fell for the ruse. “Main Street America saw all those glittery things, the helicopter and the gold-plated sinks, and saw the most successful person in the universe,” he recalled. “The people I knew in the world of high finance understood that it was all a joke.”

This is an oddly common refrain among people who were involved in “The Apprentice”: that the show was camp, and that the image of Trump as an avatar of prosperity was delivered with a wink. Somehow, this interpretation eluded the audience. Jonathon Braun marvelled, “People started taking it seriously!”

When I watched several dozen episodes of the show recently, I saw no hint of deliberate irony. Admittedly, it is laughable to hear the candidates, at a fancy meal, talk about watching Trump for cues on which utensil they should use for each course, as if he were Emily Post. But the show’s reverence for its pugnacious host, however credulous it might seem now, comes across as sincere.

Did Burnett believe what he was selling? Or was Trump another two-dollar T-shirt that he pawned off for eighteen? It’s difficult to say. One person who has collaborated with Burnett likened him to Harold Hill, the travelling fraudster in “The Music Man,” saying, “There’s always an angle with Mark. He’s all about selling.” Burnett is fluent in the jargon of self-help, and he has published two memoirs, both written with Bill O’Reilly’s ghostwriter, which double as manuals on how to get rich. One of them, titled “Jump In!: Even if You Don’t Know How to Swim,” now reads like an inadvertent metaphor for the Trump Presidency. “Don’t waste time on overpreparation,” the book advises.

At the 2004 panel, Burnett made it clear that, with “The Apprentice,” he was selling an archetype. “Donald is the real current-day version of a tycoon,” he said. “Donald will say whatever Donald wants to say. He takes no prisoners. If you’re Donald’s friend, he’ll defend you all day long. If you’re not, he’s going to kill you. And that’s very American. It’s like the guys who built the West.” Like Trump, Burnett seemed to have both a jaundiced impression of the gullible essence of the American people and a brazen enthusiasm for how to exploit it. “The Apprentice” was about “what makes America great,” Burnett said. “Everybody wants one of a few things in this country. They’re willing to pay to lose weight. They’re willing to pay to grow hair. They’re willing to pay to have sex. And they’re willing to pay to learn how to get rich.”

At the start of “The Apprentice,” Burnett’s intention may have been to tell a more honest story, one that acknowledged Trump’s many stumbles. Burnett surely recognized that Trump was at a low point, but, according to Walker, “Mark sensed Trump’s potential for a comeback.” Indeed, in a voice-over introduction in the show’s pilot, Trump conceded a degree of weakness that feels shockingly self-aware when you listen to it today: “I was seriously in trouble. I was billions of dollars in debt. But I fought back, and I won, big league.”

The show was an instant hit, and Trump’s public image, and the man himself, began to change. Not long after the première, Trump suggested in an Esquire article that people now liked him, “whereas before, they viewed me as a bit of an ogre.” Jim Dowd, Trump’s former publicist, told Michael Kranish and Marc Fisher, the authors of the 2016 book “Trump Revealed,” that after “The Apprentice” began airing “people on the street embraced him.” Dowd noted, “All of a sudden, there was none of the old mocking,” adding, “He was a hero.” Dowd, who died in 2016, pinpointed the public’s embrace of “The Apprentice” as “the bridge” to Trump’s Presidential run.

The show’s camera operators often shot Trump from low angles, as you would a basketball pro, or Mt. Rushmore. Trump loomed over the viewer, his face in a jowly glower, his hair darker than it is now, the metallic auburn of a new penny. (“Apprentice” employees were instructed not to fiddle with Trump’s hair, which he dyed and styled himself.) Trump’s entrances were choreographed for maximum impact, and often set to a moody accompaniment of synthesized drums and cymbals. The “boardroom”—a stage set where Trump determined which candidate should be fired—had the menacing gloom of a “Godfather” movie. In one scene, Trump ushered contestants through his rococo Trump Tower aerie, and said, “I show this apartment to very few people. Presidents. Kings.” In the tabloid ecosystem in which he had long languished, Trump was always Donald, or the Donald. On “The Apprentice,” he finally became Mr. Trump.

“We have to subscribe to our own myths,” the “Apprentice” producer Bill Pruitt told me. “Mark Burnett is a great mythmaker. He blew up that balloon and he believed in it.” Burnett, preferring to spend time pitching new ideas for shows, delegated most of the daily decisions about “The Apprentice” to his team, many of them veterans of “Survivor” and “Eco-Challenge.” But he furiously promoted the show, often with Trump at his side. According to many of Burnett’s collaborators, one of his greatest skills is his handling of talent—understanding their desires and anxieties, making them feel protected and secure. On interview tours with Trump, Burnett exhibited the studied instincts of a veteran producer: anytime the spotlight strayed in his direction, he subtly redirected it at Trump.

Burnett, who was forty-three when Season 1 aired, described the fifty-seven-year-old Trump as his “soul mate.” He expressed astonishment at Trump’s “laser-like focus and retention.” He delivered flattery in the ostentatiously obsequious register that Trump prefers. Burnett said he hoped that he might someday rise to Trump’s “level” of prestige and success, adding, “I don’t know if I’ll ever make it. But you know something? If you’re not shooting for the stars, you’re not shooting!” On one occasion, Trump invited Burnett to dinner at his Trump Tower apartment; Burnett had anticipated an elegant meal, and, according to an associate, concealed his surprise when Trump handed him a burger from McDonald’s.

Trump liked to suggest that he and Burnett had come up with the show “together”; Burnett never corrected him. When Carolyn Kepcher, a Trump Organization executive who appeared alongside Trump in early seasons of “The Apprentice,” seemed to be courting her own celebrity, Trump fired her and gave on-air roles to three of his children, Ivanka, Donald, Jr., and Eric. Burnett grasped that the best way to keep Trump satisfied was to insure that he never felt upstaged. “It’s Batman and Robin, and I’m clearly Robin,” he said.

Burnett sometimes went so far as to imply that Trump’s involvement in “The Apprentice” was a form of altruism. “This is Donald Trump giving back,” he told the Times in 2003, then offered a vague invocation of post-9/11 civic duty: “What makes the world a safe place right now? I think it’s American dollars, which come from taxes, which come because of Donald Trump.” Trump himself had been candid about his reasons for doing the show. “My jet’s going to be in every episode,” he told Jim Dowd, adding that the production would be “great for my brand.”

It was. Season 1 of “The Apprentice” flogged one Trump property after another. The contestants stayed at Trump Tower, did events at Trump National Golf Club, sold Trump Ice bottled water. “I’ve always felt that the Trump Taj Mahal should do even better,” Trump announced before sending the contestants off on a challenge to lure gamblers to his Atlantic City casino, which soon went bankrupt. The prize for the winning team was an opportunity to stay and gamble at the Taj, trailed by cameras.

“The Apprentice” was so successful that, by the time the second season launched, Trump’s lacklustre tie-in products were being edged out by blue-chip companies willing to pay handsomely to have their wares featured onscreen. In 2004, Kevin Harris, a producer who helped Burnett secure product-integration deals, sent an e-mail describing a teaser reel of Trump endorsements that would be used to attract clients: “Fast cutting of Donald—‘Crest is the biggest’ ‘I have worn Levis since I was 2’ ‘I love M&Ms’ ‘Unilever is the biggest company in the world’ all with the MONEY MONEY MONEY song over the top.”

Burnett and Trump negotiated with NBC to retain the rights to income derived from product integration, and split the fees. On set, Trump often gloated about this easy money. One producer remembered, “You’d say, ‘Hey, Donald, today we have Pepsi, and they’re paying three million to be in the show,’ and he’d say, ‘That’s great, I just made a million five!’ ”

Originally, Burnett had planned to cast a different mogul in the role of host each season. But Trump took to his part more nimbly than anyone might have predicted. He wouldn’t read a script—he stumbled over the words and got the enunciation all wrong. But off the cuff he delivered the kind of zesty banter that is the lifeblood of reality television. He barked at one contestant, “Sam, you’re sort of a disaster. Don’t take offense, but everyone hates you.” Katherine Walker told me that producers often struggled to make Trump seem coherent, editing out garbled syntax and malapropisms. “We cleaned it up so that he was his best self,” she said, adding, “I’m sure Donald thinks that he was never edited.” However, she acknowledged, he was a natural for the medium: whereas reality-TV producers generally must amp up personalities and events, to accentuate conflict and conjure intrigue, “we didn’t have to change him—he gave us stuff to work with.” Trump improvised the tagline for which “The Apprentice” became famous: “You’re fired.”

NBC executives were so enamored of their new star that they instructed Burnett and his producers to give Trump more screen time. This is when Trump’s obsession with television ratings took hold. “I didn’t know what demographics was four weeks ago,” he told Larry King. “All of a sudden, I heard we were No. 3 in demographics. Last night, we were No. 1 in demographics. And that’s the important rating.” The ratings kept rising, and the first season’s finale was the No. 1 show of the week. For Burnett, Trump’s rehabilitation was a satisfying confirmation of a populist aesthetic. “I like it when critics slam a movie and it does massive box office,” he once said. “I love it.” Whereas others had seen in Trump only a tattered celebrity of the eighties, Burnett had glimpsed a feral charisma.

On June 26, 2018, the day the Supreme Court upheld President Trump’s travel ban targeting people from several predominantly Muslim countries, Secretary of State Mike Pompeo sent out invitations to an event called a Ministerial to Advance Religious Freedom. If Pompeo registered any dissonance between such lofty rhetoric and Administration policies targeting certain religions, he didn’t mention it.

The event took place the next month, at the State Department, in Washington, D.C., and one of the featured speakers was Mark Burnett. In 2004, he had been getting his hair cut at a salon in Malibu when he noticed an attractive woman getting a pedicure. It was Roma Downey, the star of “Touched by an Angel,” a long-running inspirational drama on CBS. They fell in love, and married in 2007; together, they helped rear Burnett’s two sons from his second marriage and Downey’s daughter. Downey, who grew up in a Catholic family in Northern Ireland, is deeply religious, and eventually Burnett, too, reoriented his life around Christianity. “Faith is a major part of our marriage,” Downey said, in 2013, adding, “We pray together.”

For people who had long known Burnett, it was an unexpected turn. This was a man who had ended his second marriage during a live interview with Howard Stern. To promote “Survivor” in 2002, Burnett called in to Stern’s radio show, and Stern asked casually if he was married. When Burnett hesitated, Stern pounced. “You didn’t survive marriage?” he asked. “You don’t want your girlfriend to know you’re married?” As Burnett dissembled, Stern kept prying, and the exchange became excruciating. Finally, Stern asked if Burnett was “a single guy,” and Burnett replied, “You know? Yeah.” This was news to Dianne, Burnett’s wife of a decade. As she subsequently wrote in her memoir, “The 18-to-34 radio demographic knew where my marriage was headed before I did.”

In 2008, Burnett’s longtime business partner, a lawyer named Conrad Riggs, filed a lawsuit alleging that Burnett had stiffed him to the tune of tens of millions of dollars. According to the lawsuit, the two men had made an agreement before “Survivor” and “The Apprentice” that Riggs would own ten per cent of Burnett’s company. When Riggs got married, someone who attended the ceremony told me, Burnett was his best man, and gave a speech saying that his success would have been impossible without Riggs. Several years later, when Burnett’s company was worth half a billion dollars, he denied having made any agreement. The suit settled out of court. (Riggs declined to comment.)

Article from January 7, 2019 By Patrick Radden Keefe

Yobaba - New Yorker mag articles are LONG; I posted this mostly for my own reference so I will have a record of it; that said, I strongly urge everyone to read this. it explains a lot.

2 notes · View notes

catholicartistsnyc · 6 years

Text

Meet: Peter Atkinson

PETER ATKINSON is a NYC-based actor and teacher. (petercalvinatkinson.com and [email protected]) CATHOLIC ARTIST CONNECTION (CAC): What brought you to NYC, and where did you come from?

PETER ATKINSON (PA): I came to NYC in Fall 2017, to train in Columbia University's MFA Acting program. For two years before that, I was founding a Shakespearean theater program down in Florida at a Catholic high school. Eventually I realized I needed to be practicing the craft and not just teaching it!

CAC: How do understand your vocation as a Catholic artist? What do you see as your personal mission as a Catholic working in the arts?

PA: I think that art helps us encounter our interior wounds in a visceral way. Without God, that artistic encounter with those wounds either turns to nihilism or to a mistaken celebration of those wounds (without calling them wounds). I think our faith is challenging us to encounter those wounds, call them by name, and remain with those wounds as God heals us. (Without a spiritual director or a spiritual community to support this, I've found it almost impossible to do that!)

I love theater because it can expose the raw condition of humanity - our great need for love and acceptance, the horrible things we do to try and fill that hole, the beautiful potential for self-sacrificial love and redemption. What is most beautiful to me is when Jesus surprises us by meeting that need with his own presence.

If anything, I hope that my work renews in people the hope that their hearts might be fulfilled. It's certainly been my experience that my journey in the arts has led to a deeper healing of my heart and a continuing encounter with God through the Catholic faith.

I suppose that being an artist is about being authentically present in the world in a revealing, vulnerable way - and hopefully, if you're a Catholic, that would necessarily communicate your yearning for God, right?

CAC: Where have you found support in the Church for your vocation as an artist?

PA: Cole Matson was a wonderful welcoming presence in the city. Because of his Catholic Artists NYC meet-up, I worked with a Catholic playwright, ended up reading for a director, and starred in an off-broadway show at the Sheen Center!

Storm Theatre has been a huge support, as they cast me as Richard in their production of 'Ah, Wilderness!' at the Sheen Center. It was incredible to leave rehearsal and be able to stop in the Sheen Center's chapel to pray for a bit afterwards.

Quite a few priests have been incredibly supportive as well - both in spiritual direction, mentorship, hosting readings of plays, etc. etc. I'm so grateful to the spiritual community that the Church has provided for me.

Additionally, if I wasn't living at Ford Hall, I'm not sure I could afford the city! Ford Hall is a Catholic house for graduate students at Columbia University. We have the Eucharist in the chapel in our upper room, Mass said weekly in the house, and the cost of living is subsidized somewhat. Ford Hall has given me a Catholic family to come back to in NYC.

CAC: Where have you found support among your fellow artists for your Catholic faith?

PA: Almost all of my fellow artists in NYC are not Catholic. Pretty much all of them have been extremely respectful of my faith, though there have been some instances of being yelled at in disbelief that I believed in God when they saw my Ash Wednesday ashes.

I've found that the artistic training has deepened my experience of my faith and of prayer, regardless of the personal beliefs of any given teacher. Most of my experience has been that professional actors and artists are more interested in the craft and creating a piece of work than in condemning your faith.

One of my classmates actually came to Ash Wednesday Mass with me this past week - it's a gift to be able to befriend fellow artists and witness to the 'normalcy' (in a sense) of Catholicism. I think many lapsed Catholic have been 'burned' by their experience of faith and of religious institutions and simply befriending them and sharing life with them can be a powerful witness to the goodness of the Catholic faith.

But, fundamentally, I don't look to fellow artists to support my faith as much as I depend on my faith (particularly in Eucharistic adoration) to be the bedrock of my life.

CAC: How can the Church be more welcoming to artists?

PA: Pay artists attention. That's it.

Whether it's through paying artists financially, hosting get-togethers for artists to connect, having priests and religious preach about art, or whatever - making artists feel important and heard in the cultural life of the Church is fundamental.

But I don't mean the liturgy. Often people think "art in the Church" means felt banners or Gregorian chant - but since 90% of a Catholic's life is spent outside the Church's walls, it's important to nurture a Catholic culture in the marketplace, on Broadway, and in schools, etc.

I think one a major shift in American Catholicism has been the Magnificat, published by the Dominicans. Because of its focus on art, hundreds of thousands of Catholics are contemplating pieces of the artistic vision of the faith every week. They've had many reflections about the importance of being an artist and the artistic vocation - it's been incredibly useful and encouraging!

CAC: How can the artistic world be more welcoming to artists of faith?

PA: Don't equate politics with religion or religion with politics. When people assume that they fully understand a person's views or feelings because of their creed, there's no room for relationship, much less conversation.

However, my experience has actually been very positive. Most every person I've met has been welcoming of my faith and curious about my beliefs.

But perhaps if the art world didn't caricature every religious group that it encounters, that might be an improvement. I think that theater could do a better job of taking the big questions seriously. Right now my impression is that there's a continual wallowing in pleasurable nihilism. I totally get it - it's an option. But it's not my choice and I'd like to hear some voices that propose real, challenging answers to questions like: is there a purpose to life? Is there evil? How can God be good in this world of suffering?

Those would make for some good drama. Right now it can sometimes feel like every New York theater show has a predictable set of moral conclusions it must reach. It would be refreshing and challenging to see a show that held open the possibility of God, wasn't caught in some predetermined Hegelian idea of progressive history, and maybe thought that maybe Freud wasn't the greatest.

But that might just be me!

CAC: Where in NYC do you regularly find spiritual fulfillment? Do you participate in any church groups you would recommend to others?

PA: Because I live in Ford Hall, I am lucky enough to have Jesus as my roommate. Just down the hall there is a chapel with the Eucharist present, where I pray morning and evening prayer. Having a Catholic family to live with has been a beautiful gift to have in NYC. I also teach CCD at Annunciation Parish on Convent Avenue which is right across from my studios. And my spiritual director at Xavier Parish has been incredible for me.

I would encourage any Catholic in NYC to teach CCD at a Church near them. It only takes a few hours on Sunday and it constantly reminds me of how powerful learning about the faith can be. Without passing on the faith, some of these kids would never have the chance to come to know God - it's such a gift to help pass it on!

CAC: Where in NYC do you regularly find artistic fulfillment? Where do you go to get inspired?

PA: Training at Columbia University has been my main artistic work in the city for some time. Since I started my MFA program in 2017, I've been working 9-5pm every day to deepen my work. Besides that, I've been lucky enough to help teach at the Atlantic Theater Company and worked with a few theater companies in the city.

I've also trained as a teaching artist at Roundabout Theatre in Times Square. Their educational program is incredible! I'm traveling to a few schools over Spring Break to help teach workshops in classrooms, using Roundabout's work as a framework for these schools.

To get inspired, I simply slow down and meditate. A meditation practice in NYC is - for me - essential. It's counter-intuitive to the pace NYC asks you to run at, but it's essential with getting back in touch with your own heart and humanity.

CAC: How have you found or built community as a Catholic artist living in NYC?

PA: Ford Hall has been a god-send. But besides that, I've gone to theology on tap, a few summer Love and Responsibility talks, and other events. The young adult mailing list for the archdiocese is great and there are simply too many events to attend - but make as many as you can!

CAC: What is your daily spiritual practice? And if you have a spiritual director, how did you find that person?

PA: I get up at 5am and try to spend one holy hour in Eucharistic adoration. Often I'll journal, read two books that I'm working my way through, and read a selection of the Bible (I'm trying to read through it in one year!).

My spiritual director is at Xavier Parish and I simply pulled him aside after Mass for confession - I've always been fearless about grabbing priests for a quick confession. Well, within 5 minutes both of us were weeping and we both felt the presence of the Holy Spirit, so I figured I should probably stick with this guy for a while and emailed him later to be my confessor. It's been a wonderful gift!

CAC: What is your daily artistic practice? And what are your recommendations to other artists for practicing their craft daily?

PA: I do a one hour vocal or physical warm-up every day, usually led by a Columbia University teacher. It's based in either Feldenkrais movement work or in Linklater vocal work. I also record every single one, so I have over one hundred warm-ups recorded. I'm preparing for graduation day, so that I can just listen to the warm-up recordings and use them to continue my warm-up practice throughout my life.

But I think the single most important practice is 'arriving exercises' or meditation practice. Anything to get you present in your body and out of the judgmental frame of mind.

CAC: Describe a recent day in which you were most completely living out your vocation as an artist. What happened, and what brought you the most joy?

PA: Hoo boy - well, I guess this would have been when I was performing in 'Ah, Wilderness!' I woke up, went to a men's prayer group up town, came back down and had lunch with some Catholic friends who were visiting from out of town, and then performed two shows back to back!

I think the most joy I had was in registering how much progress I've made in my craft since I came to the city. It's easy to be discouraged as an artist in the city - or anywhere I guess - but it's truly gratifying to see how years of work start to enable you to artistically do things that you couldn't do before.

Of course, there's leagues to go before I'm anywhere near satisfied with my work (Martha Graham's "divine dissatisfaction" amiright?) but that was an exciting day!

CAC: You actually live in NYC? How!?

PA: Living in Ford Hall helps with rent, meal planning for food, and never eating out. Harlem is a great area and the commute is totally fine.

I found Ford Hall through an undergraduate friend of mine who connected me. Use your connections in the city! Seriously - this city runs on personal connections.

CAC: But seriously, how do you make a living in NYC?

PA: I work two jobs while in graduate school - both jobs through Columbia University. I'm also launching an educational non-profit company right now, but that won't be profitable for a few years anyways.

My hope is to make a full-time living from my art in about 5 years. Realistically, it takes time to build up reputation, get a network, and start to 'take off.' Hopefully it'll happen sooner, but I'm fine with being young, scrappy, and hungry for a while anyways.

CAC: How much would you suggest artists moving to NYC budget for their first year?

PA: You can make it by with about $25,000 - but that's a huge struggle. I would say $30,000 realistically.

CAC: What other practical resources would you recommend to a Catholic artist living in NYC?

PA: Jordan Puhala is the best headshot photographer (she's on facebook). Ray's Barbershop is the best barbershop. Email me for the best dentist, ENT doctor, podiatrist, and skin doctor - seriously. Or you could just use ZocDoc for that - it's an incredible app to find doctors in NYC!

CAC: What are your top 3 pieces of advice for Catholic artists moving to NYC?

PA: 1. Research the Catholic groups in NYC before you come and reach out to find about events. NYC can be incredibly lonely when you get here first - find your people! 2. Know your finances really really well - once that's not a stress-point, NYC gets a lot easier. 3. Get a spiritual director in the city! NYC is a hard city to live in sometimes - it's loud, it's brash, and it has every temptation known to man. Your spiritual life will either deepen *a lot* or get real shallow. Set yourself up to deepen your faith by getting resources to protect yourself with!

1 note · View note

dannyreviews · 2 years

Text

The Joy Luck Club (1993)

For the last 4-5 years, the number of films from Asia or American made Asian films have been popping up in American theaters and streaming devices. One such film, “Parasite”, stunned the world by winning Best Picture at the 2020 Academy Awards. But this modern wave is a slow one, built upon the success of another Best Picture winner, “The Last Emperor” (1987) and led to the success of films like “Raise the Red Lantern” and “Farewell My Concubine”. Wayne Wang’s 1993 breakthrough film “The Joy Luck Club”, from the bestselling novel by Amy Tan, is the first American made big budgeted film to feature a predominantly Asian cast and what a pioneering masterpiece it has evolved into.

The film opens in the present time with June (Mina-Na Wen), who just lost her mother Suyaan (Kieu Chinh) and has discovered that she has twin half sisters that were abandoned by Suyaan during the Japanese invasion of China in WWII. During a party to celebrate the milestone, June narrates of her mother’s inner circle of Mahjong playing friends known as “The Joy Luck Club”; Lindo (Tsai Chin), An-Mei (Lisa Lu) and Ying Ying (France Nuyen) and their respective daughters Waverly (Tamlyn Tomita), Lena (Rosalind Chao) and Rose (Lauren Tom). The bulk of the film is comprised of flashbacks of the older generation growing up in China under a male-oriented system of arranged marriages, abuse, and separation and how those experiences are carried down to the next generation in America.

“The Joy Luck Club” is mistakenly thought of as just being a schmaltzy chick flick, but it is so much more than that. The wonderful adaptation by Tan and Ronald Bass treats its protagonists as human beings that overcame the worst possible living conditions to make it in the land of the free. They aren’t plastic in the sense that it’s some cheap dime store novel, but rich in character and beauty. The flashback sequences are edited in a way that the intergenerational stories can be easily deciphered, even as there are flashbacks within flashbacks. Only one other film was able to master this screenwriting art and that was Fred Schepisi’s adaptation of Graham Swift’s “Last Orders”. Whereas “Last Orders” was one story with many components, “The Joy Luck Club” is four mini stories fused in a fictionalized anthropological study and that’s the bigger challenge. It’s screenplays such as “The Joy Luck Club” that should easily win Oscars, but are pushed aside because of stiff competition.

At the time of this film’s release, none of the main actors were among the top percentile of household names and yet somehow, their amazing performances won over audiences and shifted their names into the forefront of American film and television. It’s strange to think that Ming-Na Wen was an unknown but after this breakthrough role, she was in “ER”, then voiced Mulan and today, she’s on the “Mandalorian“. You can tell by watching her on screen and listening to her narration that there was a star in the making. Even someone like Rosalind Chao, whose only other major role before this was in the final episodes of MASH as Soon-Li, Klinger’s fiancée/wife, shows that she was more than an actress of smaller parts. Her monologue in the rain is one of heartbreak and emotion as she regains her Chinese identity. She would later be known for “Star Trek: Deep State Nine”, but this role was a great foot in the door.

The two best performances in “The Joy Luck Club” belonged to Tsai Chin and Tamlyn Tomita as Mother and Daughter Lindo and Waverly. It was their story that had the most layers and the clearest parallel between the generations. Young Lindo (Irene Ng) was in an arranged marriage which she got herself out of through a concocted story about a vision. Years later, her daughter Waverly is trying to convince her mother that a white man named Rich (Christopher Rich) is the love of her life. The younger Lindo would’ve said “go for it”, but as she got older, she took on her mother’s traditional ways and has now become that strict, overbearing parent with high standards. Tsai Chin’s performance as Lindo is the film’s highlight and the scene where she gives Waverly her blessing to marry Rich is worth several Oscars. Tomita is excellent in channeling her character’s bitchiness and taking up the acerbic tongue of her mother. It’s when you look at the comparison in personalities between the mothers and daughters, in particular Lindo and Waverly, that reinforce the idea that “The Joy Luck Club” is not a chick flick, but a solid character study on top of an epic.

If “The Joy Luck Club” was released today, it would have stacked up at least 10 Oscar nominations and won awards for Best Adapted Screenplay and Supporting Actress for Tsai Chin. Being released in 1993 was a drawback in that regard, but it gave the film a head start in highlighting Asian actors in an American made film, which is now becoming the norm with films like “Crazy Rich Asians” and “The Farewell”. The mixture of Anime and Manga rivaling with Disney and American Comic Books in popularity and a bump in the Asian population in America, the cultures of China, Korea, Japan, India etc... will be more dominant as the years go on and it’s great to see where it all started with “The Joy Luck Club”.

9/10

#dannyreviews #the joy luck club #amy tan #ming na wen #kieu cinhn #tsai chin #lisa lu #france nuyen #tamlyn tomita #rosalind chao #lauren tom #ronald bass #irene ng #christopher rich #china #asian film #wayne wang

1 note · View note

officerofcybertron · 6 years

Text

Mantle

@oneshallstand is to blame for this. They and I spoke about how it seemed strange that Optimus would not speak with Magnus at all prior to surrendering his spark. Ultra Magnus said nothing as Optimus spoke to the others, so I thought to write my own scene to explain that.

Please note at this time I do not consider this as part of Magnus’ IC status. That may change, but as there are other characters involved I do not believe that would be fair.

The battle against Unicron was won, Megatron had disbanded the Decepticons, and now Optimus Prime was gathering Team Prime, and the Decepticon Knockout, in front of the Well of All Sparks. It would be a momentous occasion for the Cybertronian race and the culmination of the Autobot Cause as the All Spark was returned to its rightful place. Life would return to the planet. The rebuilding process could begin. Soon there would be peace.

Such a joyful moment should not have summoned the apprehension in Ultra Magnus’ spark.

The berth he currently occupied was situated close to the Well where he, and the others, could watch its rebirth. Ultra Magnus’ frame was still badly damaged despite Ratchet’s work and pain wracked his sensor net. Between his own troubled silence and the other’s wish not to disturb him – in case he was resting until the ‘big moment’ – Ultra Magnus was mostly left on his own. Ratchet, perhaps drawn by his disquiet, had questioned him, but Ultra Magnus had assured him he was alright. It did not entirely appease the old medic, but as Optimus approached and indicated he wished to speak with Ultra Magnus Ratchet gave way for the moment and joined the others.

It was from Optimus that the source of Ultra Magnus’ unease radiated. He had not seen him directly after Megatron fled the planet, but as Opitmus walked among the Autobots, talking, and placing a reassuring hand on their shoulders Ultra Magnus noticed something about the ever present, yet invisible, weight on Optimus’ own shoulders. Now, despite the fact they had won, it seemed heavier than before. As a counterbalance to that weight he gazed upon every Autobot, including Knockout, was so filled with pride it seemed to lift the weight from Optimus’ shoulders a little higher with each mech he spoke to.

As he approached Ultra Magnus reflected on times long past. Orion Pax had always seemed a gentle mech burdened by a certain understanding, but retained innocence in his beliefs. That innocence had tarnished; he had been named Prime and became Optimus. He fought a war to save his people. Ordered mech’s to their deaths. Watched planets destroyed by the Cybertronian civil war and fought the Chaos Bringer once on Earth and now a second time on Cybertron. Through it all, though his innocence may have been lost, the gentle nature of Orion Pax persisted as was evident in the compassionate way he spent time with each mech in their team.

“Ultra Magnus,” he greeted as he always did, “Ratchet informed me you will make a full recovery.”

“Yes, Ratchet is an excellent medic,” Ultra Magnus agreed even as he searched Optimus’ face. Ultra Magnus, while not unfamiliar with, did not often condone intuition. Instincts in battle were acceptable, but intuition bordered on the mystical. Still he could not deny it was intuition he felt rather than instinct and his intuition told him he was close to understanding what it was that made him feel uneasy about Optimus Prime’s countenance.

“He is,” Optimus agreed and turned to look at where Ratchet stood laughing with the rest of them at something someone had said. “I have always been grateful for his assistance and council throughout the war.”

Together they remained like that for a few quiet moments. Watching the team, how happy they all were, and it allowed Ultra Magnus to feel a sense of relief. It was all over. The war was done, the Decepticons per Megatron’s decree were no more, and soon the Well of All Sparks would be producing life again. It was a moment Ultra Magnus allowed for a few more seconds, but he decided the only way to find out what he needed to know was to ask.

“Optimus,” he said prompting Optimus to look back again, “I cannot help but feel you are not yourself, sir.” Optimus watched Ultra Magnus for a moment after that most likely weighing his words and whether he could answer. There were times, Ultra Magnus knew well, when a Commanding officer did not have the words necessary to communicate what was happening to a subordinate, but Ultra Magnus would remain patient and accept any answer, or lack there of, that Optimus was able to give him.

“The war is over, my old friend,” Optimus began having found the words he needed, “and the time of the Primes is coming to an end.”

Optimus’ words settled like a weight on Ultra Magnus’ spark. He knew, now, what it was he had sensed from Optimus as he moved among his team. Optimus was gaining solace from the happiness of his family even while his presence brought joy to them. He was creating one last memory before he said goodbye.

Ultra Magnus recognized it. He had seen it before among the Autobot forces left on Cybertron after Optimus had left in the Ark. Before a major attack, particularly after Iacon was taken, the Wreckers would celebrate raucously and a few of them would move from mech to mech laughing, clasping hands, or chest-bumping their fellows. None of them knew if they would survive the next strike operation, the next ambush, so they would make those moments last. It was the one time Ultra Magnus allowed them to behave in a manner not necessarily becoming of an Autobot soldier. They deserved it.

It was because of his experience with the Wreckers that he recognized the same thing in Optimus now. Optimus’ way of making that last memory was a quieter, gentler, thing befitting the mech he was and had been.

“Ultra Magnus,” Optimus continued, bringing Ultra Magnus out of his musings, “there is something I would ask of you.”

“Of course, sir.”

“I would like for you to continue leading them in my place,” Optimus said. Ultra Magnus looked over to Team Prime and overheard Smokescreen explaining to a captivated Knockout how Bumblebee had fooled Predaking into believing a random chunk of warped metal rod was the immobilizer. He watched long enough to notice that everyone was smiling at the story and Bumblebee seemed a little embarrassed. “They will need your guidance.”

Turning away from the group, but not meeting Optimus’ optics, Ultra Magnus cast about for something to say. He would be lying if he claimed not to have any doubts. He had known that Optimus had been training him for the day when he would take over as Supreme Commander of the Autobots and, though it had gone unsaid, when Ultra Magnus would take up the mantel of Prime as the next Matrix bearer. It had never been something Ultra Magnus had looked forward to. He was very much a soldier. While he was a capable SIC he did not have the same confidence Optimus did, but it was a responsibility he had taken on. If duty demanded he take up Optimus’ role he would have done so, but all these years he had been grateful it had not.

Until now if he was inferring Optimus’ words correctly. They meant that Optimus would not be here to lead Cybertron, there would be no more Primes and therefore no more Matrix. It was a relief that Ultra Magnus would not be required to take up the Matrix, but already grief was digging deep into his spark. He had never spoken as such to Optimus, but Ultra Magnus considered him a brother. It was out of respect for the relationship Optimus had with Megatron that Ultra Magnus had not voiced his sentiments. That was an old would Ultra Magnus would not reopen.

“Optimus I am honored, but,” Ultra Magnus hesitated as he rarely voiced his doubts, “I am uncertain if I am worthy.”

“You are most worthy, old friend,” Optimus’ reply was immediate and the compassion in his voice drew Ultra Magnus’ optics. There was a smile on his friend’s face and it helped to ease the worried knot in Ultra Magnus’ spark. “You have the spark of a true Autobot and have been dedicated to our cause since the beginning. Cybertron has need of you and your fair minded leadership.”

It would be a difficult task to mesh Autobot, Decepticon, and Neutral forces under a united Cybertronian banner, Ultra Magnus thought. There would need to be pardons passed, trials for those who committed acts too heinous to forgive, and above all the task of emplacing a proper, fair, government body. Ultra Magnus would not only command the Autobot forces but, by default through the Autobot’s victory, be the leader of Cybertron itself.

That is, he decided, until a leader who was better suited to the role was ready to take up the mantel. He thought of the Autobots he’d most recently had the honor of serving with. Each of them had qualities of a leader, but all of them were a little too young, too inexperienced in command, and some, like himself, were more comfortable as a soldier, or medic. One day one of them, or perhaps a newly sparked Cybertronian, would be ready to lead Cybertron. Ultra Magnus would have to prepare for that day. To pass on the great responsibility as Optimus was now passing it on to him, but for now he would be bare this great gift and burden.

“I will watch over your family, Optimus,” Ultra Magnus promised, looking up into Optimus’ optics remembering how Optimus’s words to him on Earth.

“Our family, Ultra Magnus,” Optimus corrected him and they both smiled as their optics inevitably turned to the others. “Our family.”

#Ultra Magnus Headcanon

5 notes · View notes

back-and-totheleft · 4 years

Text

10 Best Movies Ranked

Considered to be one of the most important (and sometimes controversial) filmmakers working, Oliver Stone has a powerful filmography. The filmmaker began as a screenwriter, winning the Best Adapted Screenplay Oscar for 1978's Midnight Express. Stone spent the next six years trying to sell his script for Platoon to uninterested studios, finally making the film in 1986. The success of that film led Stone on an incredible streak as a filmmaker.

Oliver Stone takes honest looks at America and examines its hypocrisies. He is the foremost cinematic authority of Vietnam, examining the war over many films. Equally praised and criticized, Stone's body of work is one of the best by any American filmmaker.

10. Heaven & Earth (1993)

Oliver Stone had already won Oscars for his two previous Vietnam films, Platoon and Born On the Fourth Of July. For the third film in his Vietnam trilogy, the director chose to show the effects of the war from another perspective. Heaven & Earth tells the true story of Hiep Ti Le, a Vietnamese woman whose life and family is affected by the war in her country. Le meets and marries a suicidal G.I. (a powerful Tommy Lee Jones) and begins a life in America, only to find that she is not accepted among the suburban housewives and struggles to find her place in a foreign land.

Le Ly Hayslip gave a moving lead performance and the film, while not embraced by the public, is an emotional and empowering tale of one woman's journey from youth to womanhood during a tumultuous time.

9. Nixon (1995)

Taking on the political career of Richard Nixon was a risky project. A three-plus hour film about the controversial president was unsure in its box office potential, as audiences usually favor fictitious presidents over true stories. Oliver Stone knew a proper story had to be told and created a fascinating portrait of the emotionally scarred man who would become (at that time) the country's most controversial leader.

Anthony Hopkins starred as Nixon and pulled off an amazing and Oscar-nominated performance using his great skills and rightfully staying away from too many prosthetics. Hopkins embodies every part of this broken man who clings to political life although his career is flatlining. With a strong supporting cast that included Joan Allen, Powers Boothe, and James Woods, Nixon was a well-reviewed and masterful drama that found an audience thanks to its director's unique vision. Stone didn't make Richard Nixon a villain nor a hero. He showed the man that was, flaws and positives, in a non-judgmental and striking film.

8. Wall Street (1987)

Stone took on another type of "battleground" in Wall Street. Charlie Sheen stars as "Bud Fox", a young Wall Street broker who will stop at nothing to achieve success and to "catch the big fish," a job working for a financial titan named Gordon Gekko.

Stone's father was a Wall Street broker, so the filmmaker had insight into that world. Coupled with that knowledge and the greed mentality of the 1980s, the film was a financial success, speaking to the times in which it was filmed. Michael Douglas finally joined his father in being an Oscar winner due to his committed performance as Gordon Gekko.

7. The Doors (1991)

The Doors was the first of Oliver Stone's one-two punch of 1991 with JFK to come later in the year. Stone's recreation of the late 60s was jaw-dropping in its scope and accuracy and the cast he assembled to play The Doors was perfect.

Kevin Dillon, Frank Whaley, and Kyle MacLachlan were impeccable as the band and Val Kilmer was phenomenal as Jim Morrisson. His performance was eerily perfect, as if the ghost of Morrisson was flowing inside him. The film earned mixed reviews, but did good at the box office and stands as a testament to one of music's most unique artists and bands.

6. Born On The Fourth Of July (1989)

Tom Cruise rose to another level with his moving portrait of Vietnam Veteran Ron Kovic in Born on the Fourth of July, Oliver Stone's Oscar-Nominated adaptation of Kovic's true story. Kovic fought in the Vietnam war and came home a changed man who took an anti-war stance, becoming one of the most important voices to speak out against America's involvement in Vietnam.

Tom Cruise received the best reviews of his career and the film was a box office hit, earning eight Oscar nominations and winning two for editing and Stone's direction.

5. Talk Radio (1988)

Perhaps the most undervalued film of Oliver Stone's career, Talk Radio was the director's sharp and intimate adaptation of Eric Bogosian's play of the same name about a radio talk show host who begins to unravel due to the hatred of humanity that he encounters on his program.

Bogosian plays the lead, Barry Champlain, and is a force of nature with his performance. The actor and the film burn across the screen like a cinematic flamethrower. Stone's direction matches Bogosian's lightning-like cadence, searing the film's potency for the audience. A box office flop in 1988, Stone's film and Bogosian's performance received great reviews.

4. Platoon (1986)

Oliver Stone made his mark with 1986's Platoon, based on his personal Vietnam experience. The film followed Chris, a new soldier who comes to Vietnam and falls in with a platoon where he becomes caught in a moral battle between his two superior officers.

Nominated for eight Oscars and winning four including Best Picture and Best Director, the film was a huge critical and financial success, making stars out of Charlie Sheen, Tom Berenger, and Willem Dafoe (who were both Oscar-nominated) and changing the way Americans and cinema dealt with the effects of the war, allowing for deeper national understanding.

3. Salvador (1986)

Salvador was Oliver Stone's true tale of Richard Boyle, an American photojournalist who covers and becomes affected by the political unrest of 1980 El Salvador.

James Woods starred as Boyle and did career-best work with his unhinged and emotional portrayal of a man in too far over his head both politically and professionally. Stone's screenplay is a viciously honest critique of America's unholy union with dictators and many critics placed the film on their year's best lists. Woods' performance and Stone's screenplay were rightfully nominated for Oscars.

2. Natural Born Killers (1994)

Controversial and completely unique, Natural Born Killers exploded across movie screens in 1994 to big box office results and mixed reviews. Stone's film followed Mickey and Mallory, two vicious serial killers who become media celebrities.

Stone reworked Quentin Tarantino's original screenplay and molded it into a timely attack on media culture and unhealthy hero worship. Woody Harrelson and Juliette Lewis gave two of the finest performances of their respective careers and were supported by a strong supporting cast. Stone's inventive and experimental style made for wild behind the scenes tales on the making of the film.

1. JFK (1991)

Oliver Stone never garnered more controversy than he did with JFK, his indictment of the lies and injustice regarding the investigation into JFK's assassination. The scope of the film and the information it holds is quite astonishing. Kevin Costner stars as Jim Garrison, the attorney who takes on the U.S. government, giving what is perhaps his deepest and most personal performance.

Tommy Lee Jones, Joe Pesci, Kevin Bacon, and Sissy Spacek are among the many supporting actors portraying real-life characters who were involved in one way or another. Donald Sutherland has the film's most important role as an unnamed government agent who lays out the reasons behind the plan to kill Kennedy. Nominated for eight Academy Awards, the film won two for editing and cinematography. Whatever side of the controversy the viewer is on, it cannot be denied that Stone's masterwork is one of the most important American films ever made.

-Anthony Francis, “10 Best Oliver Stone Movies Ranked,” ScreenRant, Sept 27 2020 [x]

#screenrant #oliver stone #lists #ten best

0 notes

blankasolun · 4 years

Text

It is the 10th anniversary of Ronnie James Dio’s death today so I am posting this article from Metal Hammer. Expect more Ronnie related articles next week.

Ronnie James Dio: A Life In Metal

By Malcolm Dome (Metal Hammer) March 03, 2014

#gallery-0-5 { margin: auto; } #gallery-0-5 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-0-5 img { border: 2px solid #cfcfcf; } #gallery-0-5 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

In 2014, Metal Hammer celebrated the released of tribute album Dio: This Is Your Life by looking back at the man’s inspirational career

Ronnie James Dio is more than an icon. He is among the most articulate and exhaustive representatives the metal community has ever had. See, even now, some four years after his death, you still think of the man in the present tense. A measure of his continuing impact.

“If you wanted to introduce aliens to what metal stands for, then you’d pick Ronnie as the man to convince them it’s got a lot going for it,” said the late Deep Purple keyboard master Jon Lord. And it’s hard to argue with that sentiment.

Born in New Hampshire to parents of Italian descent, Ronald Padavona listened to a lot of opera when growing up, but it was in 1957 that he got the rock’n’roll bug and formed his first band, the Vegas Kings. He was a bassist at the time, but quickly switched to vocals, as he strived to find the right style to suit his voice.

His first official single, with the band that started to make his name, The Red Caps, was released in 1958. Titled Conquest, it arrived at a time when Elvis Presley, Dean Martin and Chuck Berry still ruled the charts.

“I got into rock’n’roll through the radio,” Dio would recall in 1988. “It was an escape from reality, but like so many others, it inspired me to try my luck in a band.”

By 1960, he’d changed his name to Ronnie Dio – allegedly inspired by the Italian-American gangster Johnny Dio – but despite releasing a succession of singles under different band names, nothing appeared to be working for the young singer.

“I always knew something was wrong,” he later admitted. “But when Elf arrived, I found my home in heavy music.”

Originally formed as The Electric Elves in 1967, the band became Elf in 1972 when they released their first album. Self-titled, it was produced by Deep Purple bassist Roger Glover, and drummer Ian Paice, and kickstarted Dio’s journey into heavy metal history.

“You knew that while the band were good, it was Ronnie who was outstanding,” Roger recalled with admiration years later. “Elf were doing a lot of touring opening up for Deep Purple in the States, and they were getting bigger. It appeared this lot would be the next big thing out of America.”

youtube

Sadly, that wasn’t to be the case; they recorded just two more albums, including the celebrated 1975 Trying To Burn The Sun, before Ritchie Blackmore took a major hand in the future of Dio’s career.

“We were on tour, when on a day off Ritchie’s guitar tech knocked on my hotel room door,” recalled Dio. “He said the man would like me to sing on a track he was gonna record away from Purple.”

The song in question was Black Sheep Of The Family, a cover version that Ritchie had failed to convince the rest of Purple to go along with. But what was intended as a one-off session with Dio and the rest of Elf (inevitably minus guitarist Steve Edwards) would ultimately turn into Rainbow. There was an obvious magic here from the start. Dio and Ritchie, together with a revolving cast of huge talents, worked on three studio albums and one live release. And it was 1976’s Rising, the band’s second offering, that proved the first of a number of true classics to feature the great vocalist’s name.

“I knew we had something special at the time,”

Dio said 10 years later. “But did I know it would stand up? You hoped that would be the case, however you can only see this retrospectively. I’m grateful so many people rate the album.”

However, Ritchie Blackmore’s steady drift towards a more commercial approach was at odds with Dio’s own penchant for a more romantic, gothic style of lyrical imagery.

“I love writing about fantasy,” Dio mused. “To me, this reflects the epic quality of our music. While there is a place for realism, it doesn’t allow me as much scope for allegory as I can get through my accepted style.”

Things came to a head after the recording of 1978’s Long Live Rock ’N’ Roll album. Itself successful, this only fuelled Ritchie’s desire to streamline the band.

“We just agreed to differ,” Dio remembers, while keyboard player Don Airey (who had just been brought into the lineup) has a vivid memory of his first day in rehearsal:

“I walked in as Ronnie was walking out. When I asked what had happened, I was told ‘He’s just quit the band.’ I was so looking forward to working with him, but it wasn’t to be.”

Over the subsequent years, Dio remained diplomatic about his relationship with the guitarist who gave him his big break:

“I have nothing but the highest respect for him, and if the chance came to work with Ritchie again,then I’d be delighted. My door is always open.”

The end of his tenure with Rainbow brought a fresh challenge for Ronnie Dio, who had now firmly established himself as one of the great singers on the heavy rock scene. Black Sabbath were floundering after firing Ozzy, but a chance meeting with Tony Iommi in late 1979 at the conveniently named Rainbow Bar And Grill in West Hollywood altered Ronnie’s life. He was asked to join Sabbath. And we all know what followed.

“None of us had any money,” Dio said of those early Sabbath days. “But what we did have was a real belief. I know what I can do, and was convinced I could help to take Sabbath in a different direction. The other guys were on the same wavelength.”

“We wrote Children Of The Sea on the first day, and it flowed from there,” laughed a still-amazed Tony several years later. “Ronnie was exactly what we needed.”

Heaven And Hell was released in 1980 and has since become, quite rightly, regarded as amongst the greatest metal albums of all time. A year later, the heavier Mob Rules proved this was no flash in the pan. By this time, Dio had made another bit of metal history by trademarking the devil’s horns gesture, which has since become the signature sign of metalheads across generations.

“Ozzy used the peace sign, so I wanted something different,” recalled Dio. “I remember my grandmother used this sign to ward off evil; I thought it would work in the context of Sabbath. But I had no idea it would catch on.”

But, following the release of Live Evil in 82, Dio left the band because of interminable arguments appearing during certain production cycles.“It was a misunderstanding,” Tony has said since.

“The studio engineer was telling us that Ronnie would come in and turn up his vocals when we weren’t there. And he told Ronnie that Geezer Butler and I were turning up our instruments in his absence. The result was confusion and anger.”

“I got a call from Geezer, who told me I was sacked,” admitted Dio. “But in a way that was so positive, because it meant I was free at last to do things my way.”

youtube

However, the new band was starting from ground zero, as Dio revealed later on.

“I wasn’t even thinking about doing anything outside of Black Sabbath, until I got the call from Geezer,” revealed Ronnie. “I certainly wasn’t holding back any songs from the band, that’s not my way. So, when Vinny Appice [drums] and I got together, I quickly wrote two songs – Holy Diver and Don’t Talk To Strangers.”

Not a bad start. With bassist Jimmy Bain and then unknown guitarist Vivian Campbell completing the line-up, the band took the name of Dio.

“It wasn’t an ego thing on my part,” insisted the frontman. “I had a certain reputation, and it just made sense.”

Holy Diver came out in 1983 and made a huge impact in the UK and the States, where Dio’s stature with Rainbow and Sabbath stood him in good stead. This was the third iconic album he had blessed in a mere smattering of years, and his reputation grew steadily as 1984’s The Last In Line and 85’s Sacred Heart cemented Dio’s place as one of the elite hard rock bands on the planet. Ronnie even found time to put together the Hear ’n Aid project to raise funds through the metal community for the starving in Africa. While such endeavours were testament to the man’s character, it was his band that remained his chief focus over the following decade or so, with Dio’s lineup shifting a few times to keep the band’s creative output fresh and interesting.

In 1992, Dio returned to the Sabbath fold for the Dehumanizer album, as the band showed they had the rigour and vision to update their sound without losing their innate place in history. However, while the album was well-received, Dio’s reunion with his Sabbath chums came crashing down when the band agreed to support Ozzy at the Costa Mesa Amphitheater in California later the same year.

“I have no problem with Ozzy,” Dio remarked at the time. “But I just feel that it’s beneath a band of this stature to support their former singer. It shows a lack of self-respect, and I wouldn’t be part of this.”

Sabbath did the set with Rob Halford on vocals, and the reunion was back in the dumper. As for Dio, he returned to his own band, putting together a new line-up which was altogether more rooted in the realism of the era.

“It was a different Dio at that time,” insists keyboardist Scott Warren. “It was cool. And intense. It was the 1990s. Things had changed I remember thinking, ‘This is biker music.’”

“Every night, Ronnie would come up to each of us individually and say, ‘Have a good gig’,” sighs bassist Jeff Pilson. “That was the measure of the man. He cared about people, and wanted you to feel part of everything. I don’t think I have ever had so much fun working with anyone. Each night was a pleasure.”

Dio continued to enjoy a lengthy stint with his main band, with five studios albums released to generally positive acclaim between 1993-2004. After that, however, there was to be yet another twist in the tale, when Dio regrouped with Tony Iommi and Geezer Butler, together with Vinny Appice (who had been a part of the Dio-era Sabbath line-ups, as well as a crucial member of Dio’s solo band). They avoided any diplomatic fallout with the Ozzy camp by taking the name Heaven & Hell, touring to huge acclaim and releasing the album The Devil You Know in 2009 to overwhelmingly positive reviews. But it was all stopped in its tracks when Ronnie was diagnosed with stomach cancer in late 2009. Tragically, despite all the hopes and prayers around the world, Ronnie James Dio passed away on May 16, 2010. The tears and tributes to him at the High Voltage Festival two months later in London underlined what a massive loss he was to the metal community, and how much he was loved by hundreds of thousands of fans across generations and continents.

“Ronnie Dio can’t be replaced,” Anthrax’s Scott Ian said shortly after he died. “He was unique. As long as Ronnie’s music is played, he’ll be in our minds.”

Now, some of the greatest names in metal are paying homage to the man, and in doing so raising funds for the Stand Up & Shout Cancer Trust, set up in his memory. From Metallica to Anthrax, Motörhead to the Scorpions, and Halestorm to Killswitch Engage, there are a plethora of major metal mavens who’ve lent their considerable talents to make this album come to fruition. They perform songs from Rainbow, Black Sabbath and Dio, yet again emphasising the insurmountable debt we all owe this most treasured and unique of metal singers.

And while he may have been born in Portsmouth, New Hampshire, his heart was certainly won over by metal’s homeland.

“Ronnie loved the English way of life,” opined Tony Iommi in 2010 of the man’s penchant for his would-be adopted country. “He enjoyed a beer and a curry, and even took things so far as to have his house in LA built like a castle!”

youtube

Above all else, though, and as loved as he was across every country his music touched, Ronnie James Dio himself always knew his worth. “I never underestimate my talent,” he said during one of the last interviews he gave before his death. “But nor do I overestimate it. I believe if you get that balance right, then you’ll have a healthy perspective on your place in music.”

At the time, Dio hinted that he could see an end to his performing days, but not to his involvement in music. When it was suggested to him that he might retire if he dropped even a small distance from his exacting standards, even if nobody else could detect it, he responded:

“Maybe there is some truth in there. I would never like to be one of those singers who carries on long past the point at which they can deliver. It’s a shame when a legend is diminished, and while I would never put myself into the category of ‘legend’, I can’t ever see myself disappointing fans who have paid good money.

“But the one thing I will never lose is my love of music. I still enjoy coming across young talent, and helping to guide them if I can.”

The breadth and depth of the classic songs on Dio:This Is Your Life proves that, more than anything else, Ronnie Dio’s life is defined by the music he has left us. And that’s an enduring epitaph.

This was published in Metal Hammer issue 255.

ROCK ‘N ROLL CHILDREN

COREY TAYLOR

“I heard that they were putting together this tribute album and they were trying to get hold of me and I was like, ‘Dude, I have to be on that record!’. When it looked like it was going to be difficult to get either of my bands together to do it, I was just like, ‘Fuck it’ and I put a band together myself, just me and some of my buds. I was that desperate to be involved. I was lucky enough to meet Ronnie on a few occasions, in fact I can remember the first time… It was at an awards ceremony and we were both nominated for the best vocalist award, which, to me, was an honour just to be in the same category as him. He won and I was so stoked, then I was being interviewed later on and he walks in to say ‘Hi.’ If you watch the video you can see on my face I’m just totally awestruck by the guy. The thing that most impressed me about Ronnie onstage was that he just made it look so effortless, so natural. The Dio era was my favourite time of his because it’s when he stepped out on his own. He wasn’t a member of Rainbow or Sabbath, he was just Ronnie. The guy’s a legend.”

youtube

DORO

“I first saw Dio in 85 or 86. I didn’t meet him then, but it was the first time that I saw him. I went to his show somewhere in Germany, and we were standing on the sound desk, because I’m small! I tell you, I haven’t had this kind of experience before or after. I got chills, I couldn’t stand up, it was unbelievable. The sound blew me away, and really, I was so fascinated. I thought it was the greatest, most mindblowing thing I have ever seen. I was deeply, deeply impressed. I met Ronnie later on tour in 87 – he was playing pool, and we talked and he said, ‘We’re so happy you’re on tour with us. If there’s ever a problem, don’t go to the manager, don’t go to the tour manager, don’t go to my assistant. Just come straight to me.’ He was always very kind and lovely. We developed a great friendship.”

youtube

GLENN HUGHES

“Ronnie was a human being who had time for all people – those he worked with and his family. But more importantly, he devoted a lot of his aftershow time to his fans, and would listen to them tell their stories of how their lives had been touched by his work, and he never, ever forgot a fan’s name. He was an amazing one-of-a-kind artist, who gave his love and life and art to the heavy metal genre. I first met Ronnie in the fall of 1973, when he fronted his upstate New York Band, Elf. They were opening for my band at the time, Deep Purple. I remember being backstage when Elf started playing, and I heard this thunderous super-lung voice echoing around the arena, so I went onto the stage to see and hear what was calling me. I was immediately turned on to something, someone, who I had not heard before, and that was a thrill for me. He was a master at his craft and soon, before our eyes, he would become heavy metal’s greatest vocalist. Ronnie was so believable in his realm, singing of dragons, dark lords and distant oceans that carried us all away. We knew we were not alone, because Ronnie was our formidable rider in the eye of the sky, who would lead us back to our safe land. Ronnie, my brother, I want to thank you for all the hours, days and years that we spent together, and on behalf of your loving fans – we believed we’d catch the Rainbow… See you again, dear heart.”

youtube

WENDY DIO

“I’m so pleased with how this album came out, everyone involved has just been a pleasure to work with. I know Ronnie would have been so humbled and so proud with these incredible artists paying homage to him. When you have Metallica saying ‘We can’t pick one song – we have to do a medley of four!’… well, he’d have been honoured. I’ve so many wonderful memories of Ronnie, we had 30-plus years together and we were so happy. It’s hard to pick out one specific memory, but the early days when he was starting out was an exciting time and he was so happy to get back together with Sabbath and rebuild those bridges at the end of his life. That was fitting. I think people loved Ronnie because they could relate to him, he never changed, he stood for what he believed in and never wanted to let people down. He was always delighted to speak to his fans, as I said, he was a humble man, a genuine man. He always gave everything, even towards the end when he was suffering with these stomach pains, which he thought was just indigestion, he never gave less than everything he had. I just hope this album raises a lot of money for cancer research and carries on the memory of Ronnie and keeps his legacy alive.”

youtube

The 10th Anniversary of Ronnie’s Death It is the 10th anniversary of Ronnie James Dio’s death today so I am posting this…

0 notes