#as a singer actor and lover of the arts I can only dream of being a part of something like this one day

[saystheonewithaguitar]

Dear Matt,

Thank you. As a new Critter (2022, how did it take me this long to discover D&D and Critical Role??), all I can say is that the arts has saved me multiple times in my life. The stage. Movies. Music. And now a TTRPG, of all things. I never thought I could be so emotionally invested and enraptured by a game. Sure, some games have tugged on my heartstrings-Final Fantasy 7, The Last of Us, and many more that I can't think of right now because I'm EMOTIONALLY WRECKED FROM EXU: CALAMITY?!??!!??! Like I legit had to go take a nap and I've just caught up on the first half that I missed and had to stop there. I need a few days to process before I rewatch the finale in one go, it was THAT good. Laughter. Sorrow. Heartbreak. The catharsis was much needed.

It's almost 5am in my part of the world, and I'm a sensitive soul who has been going through some really heavy shit in my own life, and Critical Role has been a light in the darkness. So even though ExU: Calamity broke me in the best possible way, it was, at the end of the day, a masterpiece in storytelling. Lightning in a bottle. This is what happens when talent, friendship, trust, kind hearts and a love for storytelling come together. Magic is created.

I wish, more than anything, that we, the human beings that populate this world, planet Earth, could work together like that instead of letting the "real life" equivalents of the Betrayer Gods fill our minds and souls with lies, greed, betrayal and evil. But for now, we have the containment and beauty of the arts to escape to when our hearts are weary.

[d-criss-news]

Darren Criss acts as playwright when he writes songs. He’s far more confident, and certainly more vulnerable, when he allows himself to play the part. In such a way, songwriting opens up a whole new world that pulses with untapped potential. So much of what he has accomplished in 15 years resides in his willingness to expose himself to what his imagination and intuition have in store. He steps into a playwright’s shoes with considerable ease (just look at his resume), and always one to put on plenty of bravado, especially during our Zoom face-to-face, it’s the natural order of things.

“As I get older and write more and more songs, I really recognize that I’ve always preferred to write for another context other than my own,” Criss tells American Songwriter. He speaks with a cool intensity, gesturing emphatically to accentuate a sentence, and when you let him go, he’s like the Energizer Bunny 一 “I can tell by just how quiet you already are that you’re fucked,” he jokes at the start of our video chat. But he remains just as engaged and focused when listening.

He soaks in the world, taking astute notes about behavior and emotional traits he can later use in song. His storytelling, though, arrives already in character, fully formed portraits he can then relay to the world. It’s not that he can’t be vulnerable, like such greats as Randy Newman, Tom Waits, and Rufus Wainwright, who have all embroidered their work with deeply personal observations, it just doesn’t feel as comfortable. “I’ve always really admired the great songwriters of the world who are extremely introspective and can put their heart and soul on the chopping block,” he muses. “That’s a vulnerability that I think is so majestic. I’ve never had access to it. I’m not mad about it. It’s just good to know what your deal is.”

Criss’ strengths lie in his ability to braid his own experiences, as charmed as they might be, into wild, goofy fantasies. In the case of his new series “Royalties,” now streaming on Quibi, he walks a fine line between pointed commentary on the music industry, from menial songwriting sessions to constantly chasing down the next smash, and oddball comedy that is unequivocally fun. Plotted with long-standing friends and collaborators Matt and Nick Lang, co-founders of Team StarKid, created during their University of Michigan days (circa 2009), the show’s conceptual nucleus dates back more than a decade.

If “Royalties” (starring Criss and Kether Donohue) feels familiar, that’s because it is. The 10-episode show ─ boasting a smorgasbord of delightful guest stars, including Mark Hammill, Georgia King, Julianna Hough, Sabrina Carpenter, and Lil Rel Howery ─ captures the very essence of a little known web series called “Little White Lie.” Mid-summer 2009, Team StarKid uploaded the shoddy, low budget production onto YouTube, and its scrappy tale of amateur musicians seeking fame and fortune quickly found its audience, coming on the heels of “A Very Potter Musical,” co-written with and starring Criss. Little did the trio know, those initial endeavors laid the groundwork for a lifetime of creative genius.

“It’s a full circle moment,” says Criss, 33, zooming from his Los Angeles home, which he shares with his wife Mia. He’s fresh-faced and zestful in talking about the new project. 11 years separate the two series, but their connective thematic tissues remain striking. “Royalties” is far more polished, the obvious natural progression in so much time, and where “Little White Lie” soaked in soapy melodrama, the former analyzes the ins and outs of the music world through more thoughtful writing, better defined (and performed) characters, and hookier original tunes.

“Royalties” follows Sara (Donohue) and Pierce (Criss), two struggling songwriters in Los Angeles, through various career exploits and pursuits. The pilot, titled “Just That Good,” features an outlandish performance from Rufus Wainwright as a major player in dance-pop music, kickstarting the absurdity of Criss’ perfectly-heightened reality. As our two main characters stumble their way between songwriting sessions, finally uncovering hit single potential while eating a hot dog, Criss offers a glimpse into the oft-unappreciated art of songwriting.

In his own songwriting career ─ from 2010’s self-released Human EP and a deal with Columbia Records (with whom a project never materialized) to 2017’s Homework EP and Computer Games’ debut, Lost Boys Life, (a collaboration with his brother Chuck) ─ he’s learned a thing or two about the process. Something about sitting in a room with someone you’ve never met before always rang a little funny to him.

“You meet a stranger, and you have to be creative, vulnerable, and open. It’s speed-dating, essentially. It’s a different episode every time you pull it off or not. All the big songwriters will tell you all these crazy war stories. Everyone has a wacky story from songwriting,” he says. “I slowly realized I may ─ I can’t flatter myself, there are tons of creative people who are songwriters ─ have prerequisites to just put the two together [TV and music]. I’ve worked enough in television as an actor and creator. I can connect the dots. I had dual citizenship where I felt like it was really time for me to go forth with this show.”

But a packed professional life pushed the idea to the backburner.

Between six seasons of “Glee” (playing Blaine Anderson, a Warbler and lover to Chris Colfer’s Kurt Hummel), starring in “Hedwig and the Angry Inch” on Broadway, and creating Elsie Fest, a one-day outdoor festival celebrating songs of the stage and screen, he never had the time. “I was lucky enough to be busy,” he says. “As Team StarKid’s star was continuing to rise with me being separate from it, I was trying to think of a way to get involved again with songwriting.”

At one point, “Glee” had officially wrapped and his Broadway run was finished. It appeared “Royalties” may finally get its day in the sun. “I went to Chicago for a work pilgrimage with the Langs. We had a few days, and we put all our ideas on the map: every musical, feature film, show, graphic novel, and animated series we’ve ever thought of,” he says. “A lot of them were from the Langs; they were just things I was interested in as a producer or actor. We looked at all of them and made a top three.”

“Royalties” obviously made the cut.

Fast forward several years, Gail Berman’s SideCar, a production company under FOX Entertainment, was looking to produce a music show. Those early conversations, beginning at an otherwise random LA party, showed great promise in airlifting the concept from novel idea to discernible reality. Things quickly stalled, however, as they often do in Hollywood, but Criss had at least spoken his dreams into the universe.

“I finally had an outlet to put it into gear. It wasn’t until two to three years after that that things really locked in. We eventually made shorts and made a pilot presentation. We showed it to people, and it wasn’t until Quibi started making their presence known that making something seemed really appealing,” he says. “As a creator, they’re very creator-centric. They’re not a studio. They’re a platform. They are licensing IP much like when a label licenses an indie band’s album after the fact.”

Quibi has drawn severe ire over the last few months, perhaps because there is a “Wild Westness” to it, Criss says. “I think that makes some people nervous. Being my first foray into something of this kind, Quibi felt like a natural partner for us. If this had been a network or cable show, we would’ve molded it to be whatever it was.”

Format-wise, “Royalties” works best as bite-sized vignettes, charming hijinks through the boardroom and beyond, and serves as a direct response to a sea of music shows, from “Nashville” and “Empire” to “Smash.” “Those shows were bigger, more melodramatic looks at the inside base of our world. I’ve always been a goofball, and I just wanted to take the piss out of it,” he says. “This show isn’t about songwriting. It’s about songwriters… but a very wacky look at them.”

“30 Rock,” a scripted comedy loosely based around “Saturday Night Live,” in which the focus predominantly resides around the characters, rather than the business itself, was also on his mind. “It’s about the interconnectivity of the people and characters. As much of the insider knowledge that I wanted to put into our show, at the end of the day, you just want to make a fun, funny show that’s relatable to people who know nothing about songwriting and who shouldn’t have to know anything.”

Throughout 10 episodes, Criss culls the “musicality, fun, and humor” of Fountains of Wayne’s Adam Schlesinger and Max Martin, two of his biggest songwriting heroes, and covers as many genres as possible, from K-Pop to rap-caviar and classic country. While zip-lining between formats, the songs fully rely on a sturdy storytelling foundation ─ only then can Criss drape the music around the characters and their respective trajectories. “I wanted to do something where I could use all the muscles I like to flex at once, instead of compartmentalizing them,” he says. “I really love writing songs for a narrative, not necessarily for myself. I thrive a little more when I have parameters, characters, and a story to tell.”

Bonnie McKee, one of today’s greatest pop architects, takes centerstage, too, with an episode called “Kick Your Shoes Off,” in which she plays a bizarro version of herself. “She has her own story, and I’ve always been fascinated by it,” says Criss, who took her out to lunch one day to tell her about it. Initially, the singer-songwriter, known for penning hits for Katy Perry, Taio Cruz, and Britney Spears, would anchor the entire show, but it soon became apparent she would simply star in her own gloriously zany episode.

In one of the show’s standout scenes, Pierce and Sara sit in on a label meeting with McKee’s character and are tasked with writing a future hit. But they quickly learn how many cooks are in the kitchen at any given moment. Everyone from senior level executives to publicists and contracted consultants have an opinion about the artist’s music. One individual urges her to experiment, while another begs not to alienate her loyal fanbase, and then a third advises her to chronicle the entire history of music itself ─ all within three minutes or so. It’s absurd, and that’s the point. “Everyone’s been in that meeting, whether you’re in marketing or any creative discussion that has to be made on a corporate level by committee. It’s the inevitable, comedic contradictions and dissociations from not only rationality but feasibility.”

Criss also draws upon his own major label days, having signed with Sony/Columbia right off the set of “Glee,” as well as second-hand accounts from close friends. “There are so many artists, particularly young artists, who famously get chewed up and spat out by the label system,” he says. “There’s a lot of sour tastes in a lot of people’s mouths from being ‘mistreated’ by a label. I have a lot of friends who’ve had very unfortunate experiences.”

“I was really lucky. I didn’t have that. I have nothing but wonderful things to say,” he quickly adds.“It wasn’t a full-on drop or anything. I was acting, and I was spreading myself really thin. It’s a record label’s job to make product, and I was doing it piecemeal here and there. I would shoot a season [of ‘Glee’] and then do a play. I was doing too many things. I didn’t have it in me at the time to do music. I had written a few songs I thought were… fine.”

Both Criss and the label came to the same conclusion: perhaps this professional relationship just wasn’t a good fit. They parted ways, and he harbors no ill-will. In fact, he remains close friends with many folks from that time. So, it seems, a show like “Royalties” satisfies his deep hunger to make music and write songs ─ and do it totally on his own terms.

“I still say I want to put out music, and fans have been very vocal about that. I feel very fortunate they’re still interested at all,” he says. “That passion for making music really does come out in stuff like [this show].”

“Royalties” is Darren Criss at his most playful, daring, and offbeat. It’s the culmination of everything he has tirelessly worked toward over the last decade and a half. Under pressure with a limited filming schedule, he hits on all cylinders with a soundtrack, released on Republic Records, that sticks in the brain like all good pop music should do. And it would not have been the same had he, alongside Matt and Nick Lang, not formed Team StarKid 11 years ago.

Truth be told, it all began with a “Little White Lie.”

[fy-2pm]

2PM Nichkhun, Not Afraid of 14 Days Quarantine Coming into Hong Kong for Hollywood Movie!

Faith & Love

Beliefs are humanity’s value and living style. It’s also a measure of one’s meaning in life. It doesn’t necessarily need to be related of religion. It can be communicate through one’s emotions and brain waves, which stimulates our desires. The childhood imaginations and the dreams of the youth, both are the living anticipations in one’s beliefs. Unfortunately, people are living in the reality. While we are diligently chasing our dreams, we come across many obstacles, which leads our frustrations.

With the rise of Korea’s “Star Creation Culture”, besides the many newborn solo singers and idol groups each year, it has also “forcefully” changed the dream job for the millennium. Behind the glamorous of the Korean idol groups, there is a heave price to pay. The whole process of “audition and training” is like a canoe in the middle of the rough sea. It is being hit by continuous wave one after another with an unforeseen destination.

This time “MR” has invited early generation of Korean idol group member, known as the “Beast Idol”, 2PM’s Nichkhun to talk to us about his “Crazy Star Creation Dream” being the only foreign member in his group, his “Stardom” journey gives people sense of motivation.

The Curiosity of Exploring the Big World

Despite the world that contains many different kinds of culture or education principle, there is a universal compulsory lesson one must take called, “My Ambition”. For Nichkhun who was in the first wave that exports the Korean music culture into the world, most would think that his ambition since his childhood is to become a singer. However, the thought of entering the entertainment industry has never came across Nichkhun’s mind since childhood. He said, “When I was a child, I was just a ‘Regular boy’. Same as everyone else, I received a standard education. Everyday, I went everywhere and played with my friends. I was having fun and enjoying my youth. At the same time, trying to discover my ambition.”

In contrast, the recent trend for Korean idols is to give up their education and youth at an early age. Around the age of 10, they start their trainee lessons and after 8-10 years, they may be given the chance to debut. It’s no surprise that Nichkhun feels very fortunate and grateful. He said with a smile, “When I was a child, I was very shy. It was even up to the point where I didn’t know how to communicate with others. I thought of becoming a scientist because staying in the laboratory day and night just mixing chemicals seems fascinating.” However, as he grew up, he realized he is not the typical studying type. Because of that, he started to approach the creative art industry.

Nichkhun is different to most of the Korean artists. After he received his fame, he did not change his path and went into the business industry. Instead, he wants to focus in the showbiz by taking on more challenges. In the recent years, he was in varies different reality shows, dramas and movies, no matter how big or small.

This time, Nichkhun especially came to Hong Kong to film “Hong Kong Love Story.” The movie is a story about seeking love and friendship. Nichkhun has generously shared with us value in relationships. He said, “I think both love and friendship consist of ���love’. The only difference is, the first one consist of the ‘romantic element’. This time I am participating in ‘Hong Kong Love Story’ with a theme that sticks relatively close to the ground. It’s bringing up the choice between the lover and friends. It makes people realize what’s more important in their hearts. Although, love is about give and take, behind all the unconditional giving, there is still the hope for some sort of return. Even if it is just a little bit.”

Nichkhun agrees that even though both singing and acting belongs to the entertainment industry, the way to perform and the to way to receive feedback are very different. He said, “In 2PM, I am just playing the role of Nichkhun and being myself. I can express myself freely with my personalities. I can receive feedback immediately from a live audience. In acting, I need to jump out from the soul of Nichkhun, I need to speak as the character from the story and to analyze the character’s personalities. For example, if I am the bad guy in the script, should I act as a person with some humor, or should I express the character with some masculine charisma?”

Nichkhun is still exploring as an actor, “I think I am still a newbie actor. I am still exploring how to ‘role play’. Although, there are times when I feel uncomfortable and lack of confidence, I believe everyone should jump out from their comfort zone to gain more in life! The main obvious different between acting and singing is that the feedback comes at a later time. You cannot fix the mistake immediately because you only notice the viewers’ reaction after the drama is released. Only then, you realized where you can make your improvements” with what he said, you will notice he is a humble person who is eager to learn.

Me, My Beliefs

As a public figure, you have to take in all the compliments and criticism. If they are good, you must continue with it but if they are negative comments, it will serve as a self-reminder. Nichkhun said with confidence, “I never go into the internet and search comments about myself. We need to remind ourselves, ‘I am me. I am living for myself!’ It does make sense with what he said. There is no need for everyone to be like Nichkhun’s character in “Brother of the Year”, Moji who keep thinking about how others feel. Although, he also agreed that criticism could help with areas where he is lacking. However, we need to distinguish between the good and the bad. There is no need to take care of the ‘garbage’ others have thrown onto us.

Without noticing, Nichkhun has already debut for more than 10 years. Do not look at his handsome appearance and judge him as someone who is “Naturally born for the industry.” Only he knows all the hardships he has gone through and he only looks at ‘today.’ He said, “I don’t have days in the past that I missed. I also don’t have days that I want for the future. The most memorable and happiest day will definitely be everyday’s today!” Nichkhun emphasized that there is no need to feel troubled with the past. He said, “What if I did this, the outcome may be better? You cannot avoid thinking like this but don’t overthink it. You have to believe that every decision I’ve made becomes who I am today. If you have made another decision in the past, the me today may have another unexpected outcome.”

Nichkhun explained the important of ‘Today,’ “We should think about what I can finish off today or what goal I can achieve. If you only think deeply into the future, it will only become imagination and empty wishes. Instead of struggling with time that is intangible, why not use this immediate moment and take into action?”

Life is an exploration that goes up and down. On the stormy and rainy days, it creates inconveniences. On the days when the flowers blossom and the birds are singing, it makes us feel at east. “Self confidence” is like the unshaken lighthouse in the middle of the stormy sea. Although the light can be dim but the darker it gets, the brighter it will be. Over time, in the sea with crowds of people, may us be more like Nichkhun with a faithful pounding heart going towards the lighthouse with motivations.

Credits and translation @JLML718

[secretradiobrooklyn]

Get In Moses Edition | 2.13.21

Secret Radio | 2.13.21 | Hear it here.

art by Paige, liner notes mostly by Evan, *means Paige

1. Chantal Goya - “Tu m’as trop menti”

From the movie “Masculin feminin,” a DVD we borrowed from Tim. This is the film where Godard was whispering the lines into a headset of the actor, so they were learning their lines literally as they were saying them. This is the opening song. Not particularly Valentine’s Day, in that it’s about lying too much… but still there’s a dissatisfaction that is undeniably a part of French romance.

2. Human League - “(Keep Feeling) Fascination”

Such a square song! But the keys hook is so immortally beautiful, with its crucial warble. The rest of the song is sweetly and innocently ‘80s. It reminds me of being in art class in high school, fully participating in the aesthetic crimes of the era. 

3. Marijata - “Break Through” - “Afro-Beat Airways”

Analog Africa is just now releasing a repress of this long sold-out collection. I’d listened to it before, but I guess that was before I knew about Marijata (thanks again, Jeffrey!) because it was a shock to discover a track by one of our very favorite Ghanaian discoveries. So far as I knew, Marijata only released one album of four songs — which is fantastic — and then eventually started backing a guy named Pat Thomas. Those records, unfortunately, are nowhere near as vital and fascinating as their own record. So finding this song was a welcome revelation! I should also say that, no surprise, the whole collection is a banger from front to back, and will definitely show up again on the show.

4. Philippe Katerine (avec Gérard Depardieu) - “Blond”

This strange guy is a kind of joker songwriter in French pop, as far as I can tell. This song is all about what one can get away with if one is blond. He’s a really fascinating character, a tiny bit like Beck maybe, in the sense that he seems to have made a successful career of taking unexpected directions. He’s also an actor, working with Claire Denis (!), Jonathan Demme and Gille Lellouche among many others. He was also in “Gainsbourg - A Heroic Life,” which is an excellent movie that we highly recommend. (We had no idea who he was when we saw it at the St. Louis Film Festival.) Also, he appears to be married to Gérard Depardieu’s daughter, which would seem to explain this particular guest star.

- The Texas Room - “Cielito Lindo” 

Several years ago, a producer in St. Louis put together the amazing album known as “The Texas Room,” which brought together immigrants from all over the world who currently lived in St. Louis. That meant Bosnians, Cameroonians, Mexicans, and native-born Americans… including Andy Garces, a fellow Paige went to high school with — His mom was Paige’s voice teacher as a matter of fact — who recorded this strange and excellent version of “Cielito Lindo.” The release party for the album was one of the greatest nights we spent in that or any city, dancing our faces off to all kinds of music. At one point the Bosnians got so excited they took over the room, shouting along and hoisting up their guy in the air. Basil Kincaid did the art for the album, and I think that’s the night we finally met. We have one of his collages on our studio wall right now — right over there!

5. The Modern Lovers - “I’m Straight” *

When we got the current SK van (circa 2015) we were super excited because we could finally bring out other musicians on the road and we could also have folks from other bands that we were out with jump in the van with us for a stretch. That February we were on tour with Jamaican Queens, and our friend Andy Kahn came out with us to play guitar. Not only is Andy a rad musician and great guy to be around, but he was an excellent road DJ. Somehow I made it to 30 without getting into The Modern Lovers (I know, crazy!) Andy has great taste and had a well appointed iPod so he was the official van DJ pretty much right away. He put on this record one day and I just lost it. The thing is, after that I was like “Play ‘Roadrunner’ again!” all the time. When I hear this record I still think of that tour. Andy in the back seat DJing, Ben and Erik jumping in the van to come with to Baltimore, graduating to “truck” in the Holland Tunnel queue, so much snow, host Bentley, “Go cats?”, Aaaaaahhhhh!

6. Frances Carroll & the Coquettes - “Coquette / When I Swing My Stick / Jitterbug Stomp”

I think we learned about this band last year, when Coquettes drummer Viola Smith died at 107 years old (in Costa Mesa, not Silverlake, Paige would like you to know — her bad). The video link below is highly recommended — the whole band swings hard, and the interaction between them and Frances Carroll is well worth the watch. They were considered a curiosity at the time, being an all-female band, and man they could play. Viola Smith in particular had an insanely long career, playing from the 1920s straight through into 2019! She played with Ella Fitzgerald and Chick Webb, and in the original Broadway production of “Cabaret.” Her particular innovation was having two toms at shoulder height, on either side of her head, which she would roll and ricochet shots off. Very cool style, never copied.

https://www.youtube.com/watch?v=pFDD_NxtKZ4

7. Pierre Sandwidi - “Boy Cuisinier”

Born Bad Records is one of the world’s coolest record labels, with a huge array of vintage discoveries as well as African albums as well as contemporary pop and noise bands. “Boy Cuisinier” is off Pierre Sandwidi’s album with them. It bears some definite relation to Francis Bebey but takes its own turns just as often. Sandwidi hails from Burkina Faso, known as the Upper Volta when he was growing up. We’re just now learning about him and his scene — I confess I didn’t even know Upper Volta was African; I thought it was Slavic — so I wouldn’t be surprised if some more Voltaic music shows up here soon.

8. Evan Sult avec Tracy Brubeck  - “The Cats Won’t Stay In”

Paige’s mom Tracy called while we were in the middle of the show, and they paused to have a conversation about, you know, whatever — the snowstorms, the neighbors, the news. She was on speakerphone so that we could all talk, and eventually I just started taking notes as fast as I could. This is the result. I find it fascinating. That’s Paige singing lead on the Marty Robbins tune.

9.  Kil Monnower Alimunna, Grup Hindustanbul - “Tadap Tadap” 

Years ago I saw the movie “Monsoon Wedding” by the director Mira Nair. It really stuck with me, particularly the gorgeous opening credits in maroon and orange and sky blue. I was trying to tell Paige about that sequence, so just in case we could catch a glimpse of those colors, we watched the trailer. This song is the soundtrack to the trailer. It’s really an amazing track — so Indian, of course, but with definite Western points of contact, like when it goes to the major chords unexpectedly in the post-chorus, which sounds practically American. And the final outro minute or so is full of delayed, reverbed vocals in a psychedelic style, til it reaches the strange and intoxicating sound that he makes with his voice as the song fades into the distance.

- Martial Solal “New York Herald Tribune” - “A bout de souffle” soundtrack 

10. Gillian Hills - “Tut Tut Tut Tut” 

Gillian Hills, probably more famous for “Zou Bisou Bisou.” This track is great, listen for those syrupy slides and harmonies. I just learned that she is English, and the music video for this song is definitely shot in Angleterre. Full of famous red phone booths (now famous little free libraries.) When we were doing this week’s show I asked Evan “Is this song too obvious?” He said no, it wasn’t too obvious. If you know why I’m asking, then you know. So is it? 

11. Jacques Dutronc “La Compapade”

We’ve been into Jacques Dutronc for many years now, because he’s a brilliant French songwriter and composer. But this one track has been a baffler for many years now. It shows up out of nowhere and sounds like… what? What the hell IS that? Is it African? It sounds African, but — is it? Is it just some strange lark on his part? Paige was apprehensive about playing it on the show, even though we both really enjoy it, because we couldn’t tell if it was somehow demeaning to someone. But eventually I argued that we don’t know what the hell most of the singers are saying in the songs we play, or which cultural taboos they’re transgressing, and the same is true in this case. If it is somehow offensive to anyone, I hope it’s clear that wasn’t our intention. But… I don’t know. I don’t think it is. I think it just comes from a cultural heritage and context that is French in a way Americans cannot understand or appreciate. In any case, it’s an amazing performance and recording!

12. K. Frimpong & His Cubanos Fiestas - Me Da A Ɔnnda”

Research into African rock and styles eventually brought us to K. Frimpong and His Cubanos Fiestas, which has turned out to be a satisfying step into the Ghanaian highlife/Cuban scene. I love the keyboard hooks in this one and the way the patterns just roll on and on with each other like a river, in no hurry but pulled forward by their own currents. He was also a visual artist — his art appeared on the cover of last episode’s Nyame Bekyere album. This was also the first time I’ve encountered the character “Ɔ” in the wild. I have zero idea how it is pronounced.

13. They Might Be Giants - “Birdhouse In Your Soul” 

“Not to put too fine a point on it / Say I’m the only bee on your bonnet / Make a little birdhouse in your soul.” I remember when I first realized that was a feeling I was feeling — hoping to build a birdhouse in the soul of another, to be inside one another in a little protected place. The rest of the song is a nerd-rock dream palace I love as much as any other nerd, but the chorus is where I discovered an emotion I hadn’t suspected was there when I first heard and fell for this song and this band in high school (thanks, Jeremy Peterson!). 

Paige adds: This song is blowing my mind. I don’t like writing lyrics, my ratio of melodies and harmonies to lyrics way out of whack. Evan brought this song back into our lives this week when Sleepy Kitty was asked what our favorite love songs are on a real radio show. We’ve been listening to it a bunch since Thursday and damn, these lyrics are good. It’s really reminding me that you can write about ANY.THING. Blue Canary in the freakin’ outlet by the light switch. Looking at the lighthouse picture. It’s a clinic. I learned something, and I can go home. 

On the original topic, I love thinking of this as a love song. If you hear a love song, it’s a love song. It’s a love song.

14. Sleepy Kitty - “Tu veux ou tu veux pas” *

I took two years of French in high school and missed out junior and senior year because of a scheduling lulu that made 3rd and 4th year French conflict with advanced painting which was the primary reason I was taking French in the first place. I’m still not over it. Years later, I’m at Electropolis (in my memory) and I hear this Brigitte Bardot song on Tim’s excellent sound system and I can understand…most?…some…of it! I fell in love with this song and with French again and started stumbling, scrabbling at it again. We started working up this cover. Thank you Suzie Gilb for helping with the pronunciation. We did a 7” of this song and it’s a rare SK track with me playing trombone on it. 

15. The Velvet Underground - “I Love You” *

I don’t really have much to say about this track except that it reminds me of flying to Germany because I got the 5 Disc set with all the extras on it a few days before leaving for a high school foreign exchange program. I was so happy to have those discs to absorb on the long flight, and come to think of it, it really inflected the whole trip.

16. Secret Song - “African Scream Contest”

The genesis of our love for African rock/funk/whatever (if for a moment we don’t count the profoundly influential “Graceland”) is the immortal collection “Legends of Benin,” put out by Analog Africa. As soon as we dug further for our favorites from that collection, we found “African Scream Contest” vols 1 and 2. I was drawn to the second one because it had a killer track by our hero Antoine Dougbé, but eventually spent as much time with the first volume. Both are absolutely fantastic. Part of what I love so much about them is learning how much of an impact James Brown and his band had on African music, which is super apparent throughout these collections and especially this track. The drums and the grunts and the hard stops and the horn blasts — it’s all there. 

One of the finest elements of these records is the hidden track at the end, tucked five or so minutes back from the last song. These are often some of the hottest tracks on the album, well worth the wait, and this mystery song is no exception. Unfortunately, though, that means we don’t know who made this track or what it’s called. Oh well — that only makes it cooler!

- Adrian from Brooklyn

17. The Beatles - “Dizzy Miss Lizzy”

We watched “The Beatles: Eight Days a Week” recently (totally worth a watch), and we were struck all over again by how insane their lives must have been at that time. Yes fame, yes sudden fortune, yes global supremacy, yes yes yes — the thing that I can’t get over is the shrieking, and how it wasn’t just present at their shows, it was EVERYWHERE THEY WENT, AT ALL TIMES ON ALL DAYS, EVERY SECOND THEY WERE OUTSIDE. How completely unsettling that must have been, to be the center of that howl, day after day, year after year. 

18. The Fall - “Sing! Harpy”

Dedicated to Adrian from Brooklyn and all those young women and men losing their minds over the Beatles so completely that all they could do was shriek, even at shows where the crowd’s sound completely obliterated the sound of the band they so desperately loved and came to hear. 

(This is also some of my favorite violin playing in any rock music, right up there with “Boys Keep Swinging” and The Ex’s “State of Shock.” I would LOVE to work with a violinist in this mode.)

19. T.P. Orchestre Poly-Rythmo - “Gnon a Gnon Wa”

So intense! That constant chord strike throughout the song is a kind of high-note drone that we find ourselves drawn to. It kind of reminds me of the sound of a casino, where you walk in and all of the machines are chiming the same note, promising to just take your mind away and keep it safe until you need it again.

- Tommy Guerrero - “El Camino Negro” - “Road to Nowhere”

20. Black Dragons de Porto Novo - “Se Djro” What a slinky number! I love how spare the instrumentation is, but how much power is contained in that one guitar part. This is side A of a 7” put out on Albarika Store, the label that T.P. Orchestre called home for many albums. 

21. Helen Nkume and Her Young Timers - “Time” This is (so far) the closest we’ve gotten to reggae on WBFF. I know nothing about the band or the music other than their fantastic name and sound — oh, and the fact that she is known elsewhere as Prophetess Helen Nkume. She appears to be Nigerian, or anyway her record label is. I love the guitar hook on this song, it just sneaks in and steals the show.

22. Anne Sylvestre - “Les Gens Qui Doutent”

23. Parvati Khan - “Jimmi Jimmi Jimmi Aaja Aaja Aaja Re Mere” A lucky find! Someone in one of my Facebook groups posted a video from this album, so I took note and returned later to check it out. This is from an Indian movie called “I’m a Disco Dancer” that looks like a real kooky thrill. The actors appear to have only the vaguest sense of what “disco” might be — or what a guitar might be, for that matter. It kind of looks like someone saw a single photo of a disco night and extrapolated a whole movie from it. Nonetheless, Parvati Khan is entrancing in the song and in the video, and we HAVE to see this movie, with or without subtitles. The smoldering look alone really requires investigation:

https://www.youtube.com/watch?v=ZUdJQSUcK_Y

24. Nancy Sit - “Love Potion #9” * One thing I’ve always known about Evan is that he doesn’t like the song  “Love Potion #9.” When we stumbled across this, I thought it was awesome but I didn’t want to make Evan listen to a song he doesn’t like on Valentine’s Day! Evan says this song has little to do with “Love Potion #9” which makes me wonder, Evan, what’s the part you don’t like about “Love Potion #9”?

Evan adds: I honestly can’t remember what my issue with this song was. I swear, it was like… it was around the time of “Melt With You,” which I also found inexplicably irritating (and still do). I suspect now that there was an inept cover version that first steered me wrong… but luckily there’s a strange Chinese version to steer me right again! Oh life.

- Michel Legrand - “Solange’s Song (Instrumental)” - “The Young Ladies of Rocheforte”

25. The Velvet Underground - “I’ll Be Your Mirror” * This is the song that I said was the best love song of the western world on the real radio. I think it’s so beautiful and so adult. I don’t even know if I would have thought of this as love song a few years ago. When first got into the V.U. I thought it was a pretty song – a neat song, but I didn’t really know what it meant, what it could mean. What’s funny is when I think of this song, I have a Lou Reed version in my head – his voice, the harmonies. When I revisited the Max’s Kansas City live version (which as far as I know is the only one besides other more recent live versions and surely what I’m thinking of?) I realized that the version in my head is essentially that one but cleaned up, remastered, different EQ, and as far as I know entirely imagined.

Evan adds: (Paige has been playing this song recently around the apartment. I don’t even have to tell you how lovely it is.)

*p.s. If you want to hear the piece about musicians talking about favorite love songs on KWMU it’s here: https://news.stlpublicradio.org/show/st-louis-on-the-air/2021-02-11/listen-love-songs-to-keep-you-warm-on-cold-winter-nights

Super fun getting to talk about this stuff and in such good company!

[reachfortheskiespeeps]

The Meeting

FANFICTION BY: ''You know who you are ; ))'' AU: #actorAU PAIRING: MIKHAIL x ARCHER (aka HS!AU Adult Emilio's actor and HS!AU Adult Abel's actor)

⬛⬛⬛⬛⬛⬛⬛⬛⬛

((A/N: I ended up writing this before the one I initially thought to do, I swear this is much tamer than the other 😂 Sorry to disappoint, no spicy scenes, maybe next time XD Thank you Eszii for your spicy art, I just about burst into flames from it 💞

It’s this ship again, Mikhail x Archer, bc I am currently in love with them. I don’t think I’ll get over them for a while. I wanna write about them going through classic shoujo tropes, like, idk, beach episode? xmas episode? kabedon? ‘A got sick so B took care of A’? Gimme ideas y'all. I wanna keep writing while I have the motivation to do so, since I’ve had a dry spell for a year now 😂

One thing to note before getting started, Idk how to phrase it, but basically this fic is not in chronological order–but also yes bc it’s in the order i wrote it–I hope it’s not too confusing. Aight happy reading!))

——

Mikhail loves leaving butterfly kisses and hickeys all over Archer’s soft and fair body. He has his favorite areas, which are evident from how many and how deep they are, so Archer can’t even look at his reflection without blushing. Mikhail likes the sight of his lover covered in marks he made, knowing it was he who made them. While he does want to make it known that Archer is his, he doesn’t cause trouble by leaving marks on areas impossible to cover. On days when Archer isn’t busy, Mikhail is given free reign to kiss wherever he wished. He doesn’t want Archer getting hurt, so he rarely makes blatant bite marks, and the only times he did that was because Archer was being naughty and had to be taught a 'lesson’. (Although Archer didn’t seem very hurt by them, and instead….)

Archer, on the other hand, likes biting Mikhail’s hard body. He bites, he scratches, he licks. He did it the first time because he was being pouty and petty–it’s tough being the receiver ya know? And Mikhail just lets him because he’s cute and it’s kinda hot to feel his fangs sinking in like that. But then Archer got used to doing it and eventually did it because Archer noticed that Mikhail seemed to like being bitten (by none other than him, of course). He once caught Mikhail looking at his body on the mirror with a happy little tug on the corner of his lips, looking very much like a content Big Bad Wolf. Archer could almost see an imaginary tail wagging. He loves Mikhail’s body for all its glory and imperfections, even if the man himself didn’t, so leaving those marks on him was one of Archer’s many ways to show affection.

So one day when Mikhail shows up to work without bothering to cover up (it wasn’t noticeable anyway, his dark skin, tattoos and intimidating aura was enough for people not to look long enough to notice anything), Logan, who was beside Mikhail getting prepared for a scene, saw a small portion of scratch marks on his chest, the rest hidden by the v-neck shirt Mikhail wore.

And before he could stop his mouth, Logan found himself asking, “You have a cat, Mikhail?” Yuki, who was in the room with them too, looked up from reading his script upon hearing the brave attempt of Logan to converse with Mikhail. He didn’t join them, but he sat there, just listening in on their conversation. He didn’t have the guts that Logan had, but he was still interested to see how their conversation would go.

Mikhail looked at him–it was an ordinary glance but Logan still almost flinched. “Oh?”

'It was a gentler reply than I expected,’ Yuki thought. 'He is in a good mood?’

Logan seemed to think that as well, so he carried on the conversation. “Since when did you have it? Did you get it vaccinated yet? Some cats are just really playful, they don’t mean to be naughty, so it’s better to be patient and discipline them when–”

“Why do you think I have a cat?” Mikhail interrupted.

“Hm? Ah, I saw the scratch on your chest. What does your cat look like, by the way?”

Mikhail thought about it before he answered. “Pretty, soft, round, and pure white, got some claws, but never intends to hurt me. It’s cute.”

“And the eyes?” Logan eagerly asked.

“Hypnotic.” Mikhail unconsciously smiled, though Logan didn’t seem to notice, too happy to talk to the man in a pleasant manner. “Makes the cutest sounds too.”

But Yuki did.

“You must really love your cat huh?” Logan, as well as the silent Yuki, was surprised to know that Mikhail had a soft side. Well, not so surprised. He’s only ever truly obedient to Archer, whether the two of them noticed it or not.

Mikhail thought back to the man resting at home. Archer’s next scene was scheduled for tomorrow, so he had enough time to recover the energy he lost.

Mikhail played with his 'cat’ a bit too much last night. His clothes hid the many marks all over his chest and back made by his oh so cute little cat who grew resentful of Mikhail’s stamina, yet still unable to withstand mewling to his irresistible charm.

With a mischievous smile, Mikhail said, “I do.”

—-

Bonus:

After the shoot, in the shower rooms.

Yuki’s reaction when he saw Mikhail’s back: やっぱりね~ [Yappari ne~] Not a ネコ [neko], but a こいびと [koibito]…. Well, maybe both.

((A/N: Fun fact, neko in Japanese slang can also mean the “bottom” in a relationship. The more you know~

Can you guys recommend some sexy songs? I need background music for when I write stuff like this lol))

——

The first time Mikhail 'met’ Archer, it was on the radio. He was in his car, driving alone to a destination that no upright citizen should have any business with. He wasn’t in a good mood. Everything ticked him off–the traffic that he’d already passed, the voices on the radio who thought they were being funny, the sun blazing high up in the cloudless sky. He turned the radio off because it was annoying, but the goddamn silence left him with too much space to think. He needed a distraction. So he turned it back on and chose a random station.

“–by Archer Charles,” after the introduction, a pleasant-sounding voice thanked and began to sing live.

When Mikhail heard that voice, he sharply inhaled through his nose, his slightly dry lips parting.

Mikhail was not very good at describing. He could only say what he felt upon listening to Archer’s voice. Mikhail, who had been irate, was awestruck. He had never heard a voice so…. erotic. It’s not that the song itself was sexy or whatever, but there was something about that voice that made him….

'Ah.’

“Damn.” Mikhail cursed when he looked down to check his pants. “Almost.”

Mikhail heaved a deep breath to calm himself down.

'Charles Archer, was it?’

Ever since then, he became a fan of Archer. He kept this interest a secret from his colleagues; he didn’t want to hear their ribbing. He supported the singer the best he could and eventually, an opportunity arised for him to meet Archer at last.

He took a day off and even disguised himself to look as normal and harmless as possible for a man of his stature. Of course, he got his hands on a backstage pass. It wasn’t difficult to get for someone like him. He asked the staff if it was possible for him to meet the singer before the concert, because despite having taken a day off for today, Mikhail was concerned he would have to cut his holiday short. What if there was an emergency at work halfway through the concert? No, he’ll make use of this backstage pass, he would make sure he wouldn’t leave this place without meeting Archer.

At least, that’s what he thought before hearing his voice.

They were separated by the door he was about to open, but he could clearly hear an angel from behind this flimsy slab of wood. Mikhail knew from Archer’s instagram story yesterday that he was singing a song from an animated movie he just watched and he really loved it. Archer sung the song slowly, gently, as if lulling a child to sleep, and yet it did not lose its cheer.

“I’ll swim and sail on savage seas With never a fear of drowning And gladly ride the waves of life If you would marry me,

"No scorching sun nor freezing cold Will stop me on my journey If you will promise me your heart And love me for eternity,”

Oh. Oh. Mikhail covered his mouth with his hand, feeling the blood rush to his cheeks. The staff were buzzing around in preparation for the concert, but all he could hear was Archer’s voice.

“I have no use for rings of gold I care not for your poetry I only want your hand to hold I only want you near me,”

His hands were trembling–from what, he wasn’t sure. It was as if he had no control over his body. He felt parched, but at the same time, while listening to Archer, he felt so good. The best ever, after all these years. Like he was floating, higher and higher, Archer leading him by the hands, and Mikhail did not feel a shred of fear of falling.

“To love and kiss to sweetly hold For the dancing and the dreaming Through all life’s sorrows and delights I’ll keep your laugh beside me,

"I’ll swim and sail on savage seas With never a fear of drowning I’d gladly ride the waves so white If you will marry me!”

The heart he thought that had gone cold was reminding Mikhail of its presence when he heard the loud beating, as if his heart were right next his ears. His body seemed to throb achingly along with every beat.

Mikhail was brought back to earth when he felt the vibrating of his phone. It was the right decision to use the backstage pass early. He had to go back now.

'Meeting Archer will have to be moved. Again.’ Mikhail thought, changing out of the disguise in his car.

He was pissed that his work disturbed his time with Archer. Mikhail knew that after today, it wouldn’t be enough for him to just listen to his voice from a recording. He was being greedy, he knew, but he couldn’t help himself. After hearing his voice in real life, after almost seeing those mesmerizing scarlet eyes for himself, after being so close to meeting the reason he’s been sleeping well these past few months,

How could it be held against him to want more?

Mikhail had been mulling over this for a long time, but now he finally had the resolve to do so. He had enough power, he could do it.

Mikhail wanted to be with Archer.

But first, he had to go to Archer’s world.

—–

“I only want one person to play Abel.” Mikhail demanded.

The director raised an eyebrow, meeting Mikhail’s glare with a steady gaze. “I chose you because you’re a perfect fit for the role of Emilio, even though you’re a complete rookie.” Milo went back to looking at applicants for the role. “You’re in no place to make demands.” Milo retorted, disregarding the fact that Mikhail was the drama’s biggest sponsor. From the short time he’s known the man, he knew Mikhail wasn’t so unreasonable that he thought the world should bow to his whims because of money. However, he did have no qualms in using to his advantage the fear of people towards him due to the rumors of his ties to a gang.

“Archer. Archer Charles.” Mikhail took a drag of his cigarette, rudely blowing smoke to Milo’s direction, although they were on either ends of a long table so Milo didn’t mind.

Milo paused. The name that Mikhail said just so happened to be the one he was currently looking at. 'He looks…. good. A singer? Hmm.’ Archer was the one who had everything Milo was looking for in Abel. But he didn’t want to indulge that brat. He wouldn’t admit out loud that the one Mikhail recommended looked fit for the role.

“We’ll see in the auditions,” is what Milo finally said. “let them all act out a scene with you. The chosen actor for Abel should have good chemistry with Emilio’s actor.”

In contrast to what Milo predicted, Mikhail’s eyes gleamed, a slight smirk on his lips as he scoffed, “Chemistry? I’ll show you chemistry. Careful not to burn your pretty boy face,”

Milo smiled sweetly. “My my, how thoughtful of you.”

Mikhail held his cigarette in one hand, using the other to flip the director off. Milo mentally laughed at his juvenile response.

After three candidates, it was finally Archer’s turn. From the moment he entered the room, he brought with him a soothing aura and such a genuine smile that they couldn’t help but return the smile, easing the atmosphere in the room. From the corner of his eyes, Milo knew that Mikhail’s gaze never left the singer.

“You’re not being very subtle, you know?” Milo teased lowly.

“Mind your own damn business, pretty boy.” Mikhail would have snarled, but his eyes were still trained on the angelic singer in front of them, and he didn’t seem to be capable of showing a bad face in the presence of Abel. There was no way Archer couldn’t notice it, so Milo admired the way Archer didn’t seem to mind. That in itself already won him plus points; despite Mikhail’s unconcealed disinterest, the other candidates were still visibly nervous because of him. Regardless of what Archer thought of Mikhail, he didn’t outwardly show it.

Milo asked them to do two scenes–the first was a very short, simple scene compared to the others: Emilio coming home after two days and Abel comforting his touch-starved husband.

The scriptwriter was already losing her mind, soundlessly slapping the producer beside her. She spoke in a tone that was between a whisper and a squeal, “Oh my god, oh my god. They’re so perf I cannot even. They’re like, they’re like, so good together. Archer looks so soft and warm and white like rice, Mikhail is a mouth-watering dish, and together they make a complete meal!”

The second scene was not so innocent. To see how well they’d work together ad lib, they were not given any lines, just a scenario.

Abel in heat, in need of his alpha.

The judges watched, engrossed in the scene played out by the two. Archer’s wet, glassy eyes, flushed cheeks, panting and whimpering as he stared up at Mikhail, wordlessly pleading to be held. Mikhail, rigid for all but three seconds, scooped him into his arms, his unveiled desire lacing his husky voice and the almost feral look in his eyes. “I got you, babe.”

Archer went limp in his embrace, letting his whole weight be carried by Mikhail, arms reaching up to hug his neck. He rubbed his cheek against Mikhail’s neck, bare skin on bare skin, and let the words breathily escape from his mouth: “Please, dear, please, hmmm….”

At this point, the scriptwriter couldn’t hold her shrieking anymore, and so the spell was broken; Archer moved five steps away from Mikhail, who looked terribly displeased at the disturbance. “You got it! Oh honey, you’re perfect!” She stood up from her seat and enthusiastically gushed about the chemistry between the two.

The producer tugged her sleeve and reminded, “We have yet to discuss it together, keep your crazy down.” It is notable though, that the producer did not refute her words.

“Fine, let’s talk about it now. What does director think?” she turned to ask Milo.

Milo didn’t reply to her. Instead, he looked at Archer with a welcoming smile. “We start shooting next month, please call your manager in and we’ll discuss in more detail.”

The moment the cameras were rolling–no, even if they were off, sparks would still fly, that much the judges could tell. They were so perfect for the roles, they even pulled off not being cringy or awkward despite being relatively new to the acting business. It was because they complemented each other, both as themselves and the characters they portray.

Granted, Mikhail played favorites and didn’t do his best with the others trying out for the role, but what he had with Archer…. was unique. Together they were like a flame. They made anyone watching them feel like moths unable to look away from the bright and warm light, and anyone who gets too close will burn. Milo knew he struck gold with these two.

Milo looked at the innocent Archer and the devilish Mikhail. 'Poor kid. He’s not letting you go.’ Milo mentally smiled mischievously. 'Oh well, this will be fun to watch.’

—–

Bonus:

Archer, alone in a room: w h y, he was so cool, I was so flustered I couldn’t even look him in the eye, I’m so lame aaaaaahhhhh

—–

“I love it when you sing for me,” Mikhail says, his fingers tracing random patterns on his wife’s chest. “Even better when I make you sing.”

Archer shot an amused glance at his fiance, catching the man’s wandering hand on his chest because it was starting to tickle and make him shiver, and he was not about to be led into another round. Archer is determined to stand his ground this time, not to be affected by Mikhail’s seduction. It was his own stubbornness really, because it was so frustrating that he was the only one who always got flustered and unraveled.

But he has yet to learn his lesson, since he naively asked, “What’s the difference?”

Mikhail softly nips at Archer’s exposed collarbone, and Archer all but melts into a puddle when his irritatingly charming husband-to-be whispers, Mikhail’s lips against the helix of his ear: “Let’s find out, hm?”

Archer thinks to himself, 'Whatever, it’s not like he’s bad at it.’ When Archer has these kinds of thoughts, he feels even more embarrassed, and takes it out on Mikhail, the bad influence, by biting whatever part of his body Archer can reach at the moment.

And years after, as Archer reads a book on the large sofa while Mikhail naps with his head on Archer’s thicc lap, he realizes something about his husband.

Mikhail had the power to make Archer’s knees tremble in the most delightful way. He could make Archer reach the limits of his vocal range as they exercised. He could crumble Archer with a single, rare smile–a genuine smile, not a teasing grin or a provocative smirk, not that they don’t make him feel butterflies all the same.

But Archer, it belatedly dawned on him who made Mikhail that way. Archer roused the fire in Mikhail, made it hungry for him, made it want him. Archer didn’t just see it–he heard it, he felt it. Everyday, Mikhail would kiss him. He was not shy to say 'I love you’ contrary to everyone else’s expectations; he would hug Archer’s waist, bury his head on the crook of Archer’s neck, and mutter, 'I missed you’ or 'Come home soon’ when either of them became bogged with a packed schedule. Archer didn’t even know if Mikhail was conscious that he makes puppy dog eyes when doing those gestures.

Archer makes Mikhail melt.

He was notorious in the industry for the rumors of his ties to the yakuza, and it didn’t help that he looked the part and always answered ambiguously when asked. There was no media coverage about their tying the knot, perhaps thanks to Mikhail’s interference, but the people in their industry know. Most, who have never seen or worked with them together, didn’t believe it would last. They had even been worried about Archer getting hurt.

Hurt? By this defenseless, naughty, loving man?

Archer’s nails dug into the skin of his hands and assured them that his husband was not that kind of man. He smiled, but deep inside he was angry. Angry at them, but also at himself. Because once upon a time, he was scared of Mikhail too. Scared of him because of the rumors, scared of him because of his daunting build, scared of how easily Mikhail could break him, scared of how, despite all that, Mikhail was still so attractive in his eyes.

But Mikhail was gentle. Yes he was teasing and lewd, but he was always so sweet, so caring. Mikhail would cup his hands on Archer’s cheeks, staring in entertainment at how he made him blush, then kiss his pouting lips several times. And then, Mikhail would smile. His eyes curved, whatever harshness on his face melted away.

Archer still remembers the day he said yes.

Mikhail had never looked as nervous, then dumbfounded, then jubilant in a span of a minute. Mikhail grabbed him into a hug and spun him around, bursting with an unrestrained, happy laugh. If others saw Mikhail then, they would probably be weirded out and think he’s on some sort of drugs. He was never so positively expressive outside of acting out his role, and even then, most of them were directed at Archer. For Archer, it wasn’t strange at all. Mikhail slowly opens up to him for each day they are together, in the more frequent smiles, in the stories of his tattoos and the scars underneath. He knew Mikhail was only like that in front of him, and he felt so childish for feeling proud of it.

Mikhail put him back on his feet, arms still around his waist. They were forehead to forehead, eyes focused on the other pair, and Mikhail swore, “I’ll be good to you forever,”

Archer smiled. He had half the mind to think, 'Oh, he was a forever man. Such a romantic.’ He said, “I know. I’ll be good to you forever too,”

Archer ingrained in his memories the look of absolute joy and love on Mikhail.

Mikhail stirred from his nap. “Um…. hey.” the man blinked a couple of times. “Did you eat yet? Sorry, just wake me up next time.”

“It’s too early to eat, dear, it’s only been an hour. You came home in the morning, you should catch up on your sleep.” Mikhail always rushed home after an out of town job, unmindful of the jetlag and exhaustion that would follow.

“Yeah,” there was still sleep in Mikhail’s tone. Archer knew he would go back to sleep if he just closed his eyes.

“Why don’t you close your eyes?” At this point in their relationship, Archer was aware that Mikhail liked being spoiled, and he liked it even more when he could flirt like this with Archer.

“I want my goodnight kiss.” Mikhail said righteously.

Archer chuckled and bent down to place a chaste kiss on his husband’s lips.

He put a hand on Mikhail’s forehead, brushing away the stray strands of hair. “There, now go to sleep, dear.”

Mikhail hummed, evidently pleased, and obediently followed his wife’s demand.

As for whether Archer stole a kiss from his handsome sleeping husband, and whether Mikhail was actually asleep, that would be a secret they’d keep to themselves.

——

((A/N:

Q: If Mikhail is so tired since he rushed home, why are they resting on the sofa? Isn’t the bed more comfy?

A: The bed is broken. They have yet to buy a new bed because Abel wants Mikhail to learn to be more restrained. Mikhail is okay with it, since this time, he is thinking of testing the durability of the sofa, the table, the bathtub….))

Bonus:

Preparing for the wedding.

Archer: Dear, do you think I should wear a suit, or a gown?

Mikhail: Doesn’t matter.

Archer: ( • ^ • ) ?

Mikhail: I’ll be taking it off anway. ( =-= ) ✧

Archer: *sighs* I should’ve known. (〃 - 〃)

Mikhail: Wear whatever’s comfortable for you. You look beautiful in anything, even in nothing. Especially in nothing.

Archer: Mikhail! (⁄ ⁄>⁄ꇴ⁄<⁄ ⁄) … . *whispers* You too.

[immortalbutonlybyname]

Reviewing Drama’s I Have Watched Pt 2

My rating system goes like this: 1- Did not like, 2- Enjoyed but probably wouldn’t watch again, 3- Enjoyed and would watch some episodes again (or for movies may watch again), 4- Enjoyed and would watch again, 5- Loved

Korean Drama 

Strong Girl Do Bong-Soon: 4/5

             Strong Girl Do Bong-Soon is about a girl with super strength that is passed down through her family to all the females. She begins working as a bodyguard for the CEO of a gaming company, An Min-Hyuk, who is being targeted for inheriting his father’s company. This is another one that had a love triangle but was well handled so I actually enjoyed it. I love the character dynamics, Do Bong-Soon was strong but still very kind and humble which I think is hard to find anymore. Min-Hyun is arrogant, hilariously dorky, and rather naïve. I started it thinking that it would be funny and cute, and while it definitely was, I was not expecting the darker tones that quickly took over the show.

The Liar and His Lover: 4/5

             The Liar and His Lover follow a genius music producer, Han-Kyeol or K, of the band CrudePlay who keeps his identity a secret, and a high school student who dreams of becoming a singer and is a huge fan of CrudePlay and its mysterious producer. It deals with the difficulty of achieving your dream, sticking to your morals, and opening up to love. This was really great, some of the later episodes got a little boring or annoying but overall it was really good. It took me forever to finish though as the episodes were hard to find when I tried to watch them, might be easier to find now though (update: It is now Netflix for some countries). This was the first show I had seen with Red Velvet’s Joy and I must say her acting was really great, she was super cute and really convincing. The song I’m Okay is one of my favorite songs ever, it is so soft and cute. I highly recommend this show.

 High School 2013/ School 2013: 4/5

High School 2013 is about the struggles of being both the student and the teacher in a high school. It follows Namsun as he struggles with his past and the guilt from it, while learning to move on.  While the main character seems to be Namsun, this show actually follows a lot of other characters stories Mrs. Jeong is an idealist teacher who was assigned to class 2-2 also known as the difficult class as it has many underachieving students. While Jeong believes that all students need is love and support, the new teacher Mr. Kang believes in a more strict, academic side of teaching. The two must learn to get along to help the students cope with both school and life. Meanwhile, many of the students are dealing with problems of their own like bullying, prepping for college, and the traumas of their pasts.  Warning: This show does contain triggers such as suicide, abuse, and bullying. I really enjoyed this show, I finished it in exactly a week around school, work, and just general life. To be honest, while I love Namsun and he is my favorite main character, I do have a soft spot for Kim Min-gi, his storyline made me feel all the emotions and he had such amazing character development. I personally think he had one of the best, if not the best story line and character development in the show. Namsun and Heung-Soo was such an amazing storyline and friendship too. I especially love how they didn’t focus on romance at all really and mostly conveyed friendship and it’s own set of struggles which was really refreshing. The ending was a little more bittersweet but I guess that life, you can’t win every time.

Korean Web Drama/ Mini-series 

Another Parting: 4/5

             Another parting is about an alien who comes to earth for 24 hours to find the reason humans cry and a woman who just lost everything. It is a rather strange mini-drama but still so good and it keeps your attention throughout the whole series. I was confused by the ending, but I would definitely watch it again.

Love for a Thousand More: 2/5

             Love for a Thousand More follows an immortal woman who hates men and love but works as a love counselor. When one day, a noisy neighbor moves into the apartment above her, she begins to question her stance on love and men. This show was pretty good but a bit on the boring side for me personally. It had its funny moments and a few plot twists but overall was a little lackluster. It was good during study breaks, but I probably won’t watch it again.

Ma Boy: 5/5

Ma Boy follows Geu-Rim as she enters an arts high school for the elite. She soon finds life at this new school won’t be exactly as she was hoping, especially when her roommate and the schools #1 female CF star, Irene, has a huge secret that Geu-Rim must keep. Absolutely love this one, definitely my favorite mini-drama. I watched this one in between study sessions and it is perfect to relax to and just enjoy for an episode before getting back to studying or just when you want to watch a cute show really quick to cheer yourself up. I will definitely be watching this again when school starts again. It is a bit goofy and cheesy at times but super cute and the parts that are awkward are great for a laugh.

Magic Cell Phone: 4/5

             Magic Cell Phone is about a young man whose childhood friend and crush has become a popular idol. When he discovers that she is in a dangerous situation he is determined to protect her. During a walk at night, he comes across a lady who gives him a magic cell phone that allows him to protect his crush only three times, with some very dangerous consequences. I loved this mini-series; it was super cute with a darker twist. The storyline was adorable, and the actor and actress were super cute. I would watch this again when I’m back in school as each episode is the perfect length for a study break.

Unexpected Heroes: 5/5

             Unexpected Heroes is about three teenagers who gain superpowers after their respective transplant surgeries. They begin to have dreams about the man who they received the organs from and use their superpowers to find out what really happened and if their donor’s death was really an accident. I love this Web drama so much; I have watched it a few times already and will watch again. It appears to have been set up for a second season however I don’t think there will ever be one which is so unfortunate as I have so many questions.

Chinese Dramas

Meteor Garden: 4.5/5

Meteor Garden is loosely based off the manga Hana Yori Dango, or Boys Over Flowers. When Shancai is accepted into the most prestigious college in China, she thinks school life will be a breeze. Unfortunately, that is not the case once she encounters the F4, a group of rich and handsome seniors who are the most popular, top students in the school. Si, the leader of the F4 who starts out as Shancai’s enemy, begins to fall in love with her, but Shancai has a crush on Lei, Si’s friend and the quiet musician of the F4. I love the dynamics between the F4, you can definitely tell they are childhood friends, and each has a very distinct personality. Some of the characters can get pretty annoying but they are still likable most of the time. At first, I was completely against the main couple and hated them so much. Especially after a certain scene, which I will not spoil but those who have watched it probably know what I’m talking about, but as the show continued, I started liking them more and more. The reason this show has a 4.5 is because I loved it so much and still do love it. However, towards the end it became very repetitive and kind of annoying to watch, almost like they ran out of ideas. I swear I watched the same story arc two to three times just in different cities. Despite the repetitiveness at the end I still love this show so much and would definitely watch again. My friend and I actually binge-watched a solid half of the series in two days during a sleepover, then took about five more days to finish the rest because life happened. It has some awkward parts with both the writing and the visuals but overall really great.

Chinese Web Drama/ Mini-Series 

Intouchable: 3/5

Intouchable is about a high school girl whose boyfriend has disappeared after a date. She receives a card and meets a butler who tells her that she has to travel to multiple worlds and eras in order to find all 10 butlers and complete a contract with them in order to get her boyfriend back. This show was pretty enjoyable but rather cringy and confusing at times. They took inspiration from Twilight, Hunger Games, Game of Thrones and I'm sure many other popular books. This was actually one of the first dramas I watched, and I still do enjoy some of the episodes but I'm not too big of a fan. The actors were pretty good, but the storyline and writing could have used some work.

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[taminoamirfouad]

Vogue Hommes 2019: PRINCE OF MELANCHOLY

By Sophie Rosemont / Photographed by Paolo Roversi / Styled by Anastasia Barbieri  ‘Let’s get together when there’s time,’ he says. ‘I’ve finally taken a break and just been to a week of fashion shows, so I am less anxious than usual’. When you have known the young man since his first EP was released, in 2017, you know he’s not exaggerating. The apparent serenity scarcely hides the tension, the tension of forward-thinking perfectionists, whilst allowing their talent to mature and develop.

Dark eyes, a tall slender figure and jet-black hair, Tamino-Amir Moharam Fouad was born in Antwerp of a Belgian mother and Egyptian father. He doesn’t only reflect his mixed origins through his physique. In his music, he calls to mind a form of romantic rock influenced by Nick Cave (even though his high-pitched voice is more suggestive of Jeff Buckley or Thom Yorke) and the melodies of the ancestral East. His grandfather was none other than Moharam Fouad, nicknamed ‘the sound of the Nile’, an extremely popular singer and actor in Egypt. He died when Tamino was a little boy, but he profoundly inspired him: ‘I love his music. And I could identify with what I was told about him. He was obsessed by his work and never stopped singing.’

The artistic tastes of Tamino, who was so named as a tribute to the prince in Mozart’s Magic Flute, date from when he was very young. At the age of eight, he dreamt up a play and asked his little brother to play the main character: ‘I had a specific idea of what I wanted, and when he didn’t acquiesce, I flew into a rage. I was a little dictator! It was then that my parents realized that I had a strong interest in the arts, the theater, etc.’ His mother was a music-lover and always playing the piano. She initiated her son, who, after taking several classical lessons, quickly broke away from the classics: ‘I didn’t have the patience to learn the pieces as I was expected to. I wanted to interpret them differently. I admire the discipline of classical musicians, but my idea was to create a story and embody it, expressing what I wanted to say. It’s an experience. A song you like that transports you, instantly, is instinctive. You don’t know where it comes from. I don’t want to think of that too much when I’m composing, otherwise the spontaneity gets lost, and the pressure rises.’   

After his secondary schooling, he headed to Amsterdam to attend the conservatory there, as it had a reputation for being open-minded. Alone in the Dutch city where he didn’t know a soul, he composed a number of songs in his room. Once they were shared on the Internet, the buzz was such that he went back to Belgium to devote himself to his career. He had offers to perform on stage, on the radio, was invited to appear on TV and given front-row seats at runway shows. No one could resist his young leading man looks straight out of The Arabian Nights. The title of his first album Amir, actually means ‘prince’ in Arabic. Radiohead’s eminent bass player, Colin Greenwood, stars on ‘Indigo Night’ and was one of Tamino’s earliest fans. ‘Habibi,’ with its twilit mood, was an instant hit that revealed his talent for soft velvet folk.

The twelve songs on Amir, recorded with an orchestra of Tunisian, Iraqi and Syrian musicians, speak as much of love as of solitude, sensuality and contemplation, rather like those of Leonard Cohen. ‘He’s the ultimate model, a high-flying poet,’ he sighs. ‘Even though he was a passionate person, he never tried to alter his destiny, he remained elegant whatever the occasion. And, at 80, he was still recording superb albums.’ Tamino also calls to mind Nick Cave, for the corrosive, contagious tenor of his style of rock, but not just that: ‘When he gets up in the morning and puts a suit on. Whether it’s to rehearse, go on stage or get a coffee, he is always impeccably dressed.’ Rather like Tamino, in a more urbane, more understated, style. Tamino’s favorite color is black, which is at the same time romantic, gothic, minimalist, and adaptable, which he likes. 

When you meet him on a cold Paris Fashion Week Saturday, he is trying clothes on at his compatriot Ann Demeulemeester’s, who also dresses Patti Smith and PJ Harvey. ‘With Ann, I understood that a garment could be the extension of who you are, that comfort didn’t exclude the singularity of a look. Today, my creativity varies according to what I’m wearing.’ For Tamino, music inspires fashion and vice versa. ‘A fabric, a cut, an attitude can bring a melody to life. The correspondence between the two seems obvious to me.’ That said, he is far from being obsessed about his appearance. At the moment, he spends his days on the road to promote Amir. Whereas he doesn’t compose when he’s on tour, he reads Dostoyevsky, and the Lebanese poet, Khalil Gibran, whom he quotes: ‘In depth of my soul there is/A wordless song -- a song that lives/In the seed of my heart’ (from ‘Song of the Soul’, 1912). Perhaps a way for Tamino to assert his need to be alone, which is vital to him when he is composing, providing a space for him to exercise his love of words. ‘Even if at first I think about the melodies and the orchestration,’ he says, ‘I can’t imagine that a song doesn’t convey a message, or at least a feeling, that it is empty.’ He hasn’t discarded his childhood dream of being an actor, but says that if he had to take a break from music for a film shoot, the role would really have to be worthwhile.

When asked for what his definition of elegance is, he answers immediately: ‘Being kind to others, respectful, while at the same time being sure of who you are. Recently, I met Yohji Yamamoto. He’s an example of this. He is kind to everyone, relaxed, yet never leaves anything to chance.’ The same chance, or destiny, mektoub in Arabic, that has cast its benign light on Tamino. VOGUE HOMMES

(article and pictures source (x))

[cure-candy]

Sweet! Dreaming Precure

Hi!  My name is Ellie and I am creating a Precure fan series.  I discovered Precure over the summer and was instantly drawn to the colorful optimism that the show presents.  I recently thought of the idea of making my closest friends and me into Cures!  This started off as a powerpoint presentation with ideas, names, reference pictures, and small bios.  I’m not an artist, otherwise, I would have just drawn them.  But when talking to a friend about this, she suggested that I turn it into a school project where I can learn to draw and animate a show.  I immediately took this to the independent study teacher and signed up.  So now, here I am!  This blog may become part of my final project even!  I’m going to talk about what I know so far, and put it below the cut!

Basics

Sweet! Dreaming Precure has the typical dream theme.  Following your dreams no matter what, because that’s just what inspires me.  Other themes are creativity, self-expression, and candy!  There are 6 main characters: Cal, Elle, Amira, Lizzie, Sabrina, and Hannah.  (Sweet! Dreaming Precure will be in English, located in the town where my friends and I live, simply because it’s what we all know best.)  

Characters 

Please note that I do not know some of the finer details just yet, or have drawings for these characters.

Cal/Cure Aria - Cal is non-binary/agender.  The bubbly, outgoing, cheery protagonist!  Loves to visit the candy store and share candy with their friends!  Civilian wear, they dress pretty casual, somewhat edgy.  Often wears a headband and sometimes even a cat ear headband!  Hair is short, straight and light brown.  Cal is an actor!  They love being in musicals and singing and dancing on stage!  Cure Aria - The Pink Cure!!! Hair turns bright magenta and grows a bit longer too.  Two little pigtails?  Undecided.  But definitely a feminine outfit.  Fancy ruffle skirt, pretty lace things, and pink!  

Elle/Cure Candy - Elle is happy and extroverted but also a crybaby and very pouty.  Elle is a dancer!  She loves ballet the most.  She works at the candy store and loves to hang out with the kiddos that come by.  She loves kids!  Her civilian wear is very pastel and soft.  She wears cute sneakers and skirts and little hair barrettes!  She has dark brown curly hair, that she wears in two pigtails!  She has bangs too!  Cure Candy - The Yellow Cure!  Hair turns yellow, like a pastel yellow and grows longer but sticks with the pigtail & bangs look.  She gets a kind of ballet tutu/bubble skirt and bubble sleeves.  Lots of tulle accents in pink.  Pink hints and candy bows!  Ballet slipper shoes!

The Cure Candy & Cure Crystal friendship.  Elle and Amira have been best friends since 2nd grade and are basically inseparable.  So naturally, they kinda have a duo transformation.  That’s just the thing.  Their outfits aren’t too too matchy but that’s alright.  They’re kind of opposites so it doesn’t make sense for them to be perfectly matching all the time.

Amira/Cure Crystal - Amira is quiet, friendly, artistic and rather introverted.  She loves art!  She’s really good at all art forms and loves to make art for her friends.  She looooves her little Civilian wear, she wears loose, flowy clothes usually, sometimes cuffed jeans and converse.  Glasses.  Amira wears a hijab in the civilian and Cure form because she is Muslim.  Cure Crystal - The Blue Cure!  Still has her hijab!  Angelic vibes, very flowy, soft and pretty.  Light blue, tulle accents.  

Lizzie/Cure Flower - Lizzie is pretty serious on the outside, caring, quiet and friendly.  Secretly, she is very sassy and sarcastic.  She loves baking!  Long, light brown hair, always kept up in a messy bun.  Sweaters and turtlenecks, flowy dresses.  Floral!!!  Cure Flower - The Green Cure!  Hair turns a light green and one very long braid with flowers!  Flowy, off the shoulders and elegant.  Kinda floral, nature-ish themed.

Sabrina/Cure Mystery - Grumpy, defensive and very protective of her friends!  She has a real soft spot for Elle.  Sabrina is a singer/songwriter!  She plays the guitar!  She also enjoys fashion and dressing up!  Civilian wear, she dresses very edgy, pop-punk.  With skirts and combat boots!  Black straight hair with bangs, kinda long?  But not too long.  She has a cat, named Kay, who is friends with Lucky.  Cure Mystery - The Purple Cure!  Hair turns galaxy and grows out longer and curlier.  Purple dress with black tulle accents.  Dramatic and long.  Edgy and mysterious.

Hannah/Cure Alchemy - Hannah is the 6th ranger.  Moves in town midway through the season.  She is sassy, serious, funny and memey.  Hannah likes photography/filmmaking.  Hannah’s biggest passion though is science.  She wants to be a scientist and make a change in the world.  Androgynous style.  Wears button-ups often, usually flannels or hawaiian shirts. Hair is similar to Cal’s but light blonde and straighter.  Cure Alchemy - The Red Cure!  Hair grows longer and the tips are dyed black.  She has a shorts/skirt look going on.  Pretty androgynous style still.  Epic boots.  Red with dark red tulle accents.

The Lore (ig)

Candyland is the world of Princess Emily and her lover, Prince Aaron.  When Queen Nightmare and her workers attacked, Princess Emily used up the last of her power to send her away, damage her health close to death and to send her prince and her cat fairy, Lucky, to earth to find the legendary Precure who can save Candyland. 

Queen Nightmare.  She wanted to make it big, make people proud.  But she failed and people laughed her off stage for because they didn’t like her idea.  She decided from that day on she would make sure that no one could express themselves, so no one can get hurt.  No one can reach their dreams because no one has dreams.  Her henchmen are as follows:

James: The edgy one, angsty, funny.  James so far is the only villain with a backstory.  I won’t say it here as for spoilers but let’s just say, he lost someone close to him.  Eventually, the Cures will befriend him and convince him that he doesn’t need to destroy the world’s dreams.

Alice: Genius one, smart ideas but backfires.  Wholesome.  She uses magic to lure the Cures into traps but it fails.

Nina: The one with history with the fairy/prince/princess, hates them

One aspect of Precure series that I love to see is a Cure Hangout!  So here ya go!

Elle’s candy store!!! Her boss (turns out her boss is Prince Aaron) doesn’t care that all her friends are over all the time, they all get along great with kids for the most part and can help out!  They all talk about things, the mysteries of Candyland, Princess Emily, and everything.  The kids sometimes overhear and they play it off as a make-believe story.  Prince Aaron also overhears and discovers their identities.

Random ideas for the series

- Sabrina is difficult to get to join the team.  She doesn’t want to do something like that with people, she’s kind of secretive and is worried about letting people in.  Elle is the key to getting her, she has a real soft spot for Elle.

- Lucky and Kay get along well.  Lucky decides that she likes Kay and does some magic and now Kay is able to talk.  Sabrina is shocked but not overly upset.  Kay is spunky, sassy and adorable.  Lucky is more serious.  The two of them make up the mascots.  

- An episode where Elle’s sister, Gale, will have an episode where she finds out about Elle’s powers and steals them.  She becomes Cure Calculous.  Everyone is shocked and Cure Calculous has to fight with them for a little bit.  Elle is upset with her sister and Gale learns that being a magical girl is harder than she thought.  She gives Elle her powers back.  Lucky though, isn’t satisfied.  Lucky wipes Gale’s memory of her sister being a magical girl.  

- Gale is a 5th-grade genius.  She is very smart, has read War and Peace and is on the high school Mathletes team.  

- An episode where everyone has a crisis about college.  The girls are seniors now and realize that when they all go to their own colleges, they won’t be able to fight as a team anymore or see each other.  This divides them for a little bit but eventually, in the midst of a fight, the remember that their friendship is stronger than distance and they become stronger.

- Each girl will have an episode near the end where they overcome a personal struggle and unlock a special power that ends up being the pieces to the puzzle to defeating Queen Nightmare.

[undertheinfluencerd]

https://ift.tt/3l3uQqZ #

No television show is complete without a soundtrack that works to elevate and add nuance to its scenes, and Never Have I Ever seems to have nailed the art of great writing coupled with tunes that makes the audience feel the emotions of each character.

RELATED: 8 Unpopular Opinions About Never Have I Ever, According To Reddit

The music in the series sets the mood, and the juxtaposition of the modern-day school setting with 80’s influenced synth-pop music is fun to both hear and watch. The show has a collection of some of the dreamiest and catchiest tunes that complement its dramatic, romantic, and sometimes hilarious scenes.

10 “Dancing On My Own” – Robyn

Swedish singer-songwriter Robyn’s hugely popular track found a suitable place in Never Have I Ever‘s first season. The story of Devi and her mysterious loss of mobility in her legs was being narrated, as well as her miraculous recovery when she saw Paxton and his muscles emerge from a swimming pool.

The thumping intro beats of this song usually serve well in risqué scenes that involve either sex or sexual admiration, and it’s been heard in a number of other shows, like Gossip Girl. The feminist lyrics are a great bonus.

9 “Boys Like You” – Kids At Midnight

Dreamy and wistful, this layered synth track provided the score for Ben and Devi’s first kiss on the beach after she scattered Mohan’s ashes with her mother. The tension between Ben and Devi was a different kind, and the release of it to this sweet song was quite lovely and calming.

RELATED: The 10 Funniest Never Have I Ever Characters

The lilting vocals and adorable lyrics about first loves, jilted hearts, and the excitement of teenage steps into the world of romance make this the perfect high school alternative tune.

8 “Summer Love” – Hello Pongo

Inspired heavily by the ’80s pop sound, this song played when Paxton and Devi danced together at the winter social dance, making their official outing as a couple. Ben watched them in jealousy and awe, telling himself that Paxton had always been the one for Devi until Eleanor told him that he had been her first choice.

The sparkling, groovy song is a big winner because it sets the mood for a school dance beautifully, but also captures Ben’s longing for Devi at the end of season 2.

7 “Beautiful Day” – U2

Devi’s dad, Mohan, was a big fan of “Beautiful Day” by U2 in the show, and the lead single from the 2000 album All That You Can’t Leave Behind played in a heartwarming flashback where he openly expressed his fondness for the song.

In a sweet callback to his memory, the soothing song made its way onto the show’s season 1 finale when Nalini and Devi scattered his ashes, thus putting him to rest. The song is about discovering joy in life, which perfectly suited the most likable character of Never Have I Ever.

6 “Fire For You” – Cannons

A pulsating, slow jam, “Fire For You” was played in both seasons of Never Have I Ever. Paxton and Devi’s surprise kiss in his car was punctuated by this gradually undulating track, which suited the moment perfectly.

RELATED: The 10 Best Quotes From Season 2 Of Never Have I Ever

So, it only made sense that in season 2, when Devi noticed that she had a voicemail from the school hunk, the alt-tune started playing in her mind, as she reminisced about the time she locked lips with the gorgeous swimmer.

5 “Mehndi Laga Ke Rakhna” – Lata Mangeshkar & Udit Narayan

A round-up of music on Never Have I Ever would be remiss without some vivacious Bollywood fare. Devi may be more American than Indian, but her culture plays a huge role in the series, especially in season 1. This instantly fun tune from a classic Bollywood movie was heard when Ganesh Puja celebrations take place in the Sherman Oaks High School’s gym.

Usually played at weddings, this song roughly translates to a lyrical conversation between the bride and groom as she gets traditional henna art on her hands before the nuptials.

4 “Art School” – Frankie Cosmos

One of the best couples in Never Have I Ever, Fabiola and Eve had their fair share of amazing music scoring their cutesy love story. The two lovers shared an intimate moment with each other to the tune of this indie-rock number by Frankie Cosmos.

The leisurely number is flecked with school time nostalgia, the feeling of a new crush, and swooning over a new partner, which lingers in the pretty echoes of the chorus.

3 “JuJu” – Summer Twins

Devi is no stranger to breaking the rules, but if somebody dares her to do something, she doesn’t even care about the consequences. When Aneesa, Eleanor, Fabiola, Ben, and her snuck out at night to a tattoo and piercing parlor, Ben dared Devi to get her nose pierced.

Her bad-ass transformation after the piercing was complemented by the opening riffs of this seriously catchy song by Summer Twins, and it made for an epic scene.

2 “Karma” – Raja Kumari

Not every song on Never Have I Ever is dreamy and ethereal, and Devi’s rage can sometimes be heard in angry rap through some of the series’ more audacious music, like Raja Kumari’s “Karma.”

While looking back at Ben and Aneesa’s interactions, Devi realized, in retrospect, that Aneesa and her former flame weren’t bantering, but actually flirting with each other playfully, which unleashed an angry demon in the teenager.

1 “Heat Waves” – Glass Animals

Apart from being one of the best new Netflix original comedy series, Never Have I Ever has given fans some of the most unforgettably steamy scenes between Paxton and Devi. It doesn’t hurt that both actors are attractive individuals, but the music also helps with the run-up to their characters’ moments.

Devi was convinced that she was being played by Paxton, and at that exact moment, he climbed in through her window, wet from rain, and kissed her to this high-energy dream-pop anthem by Glass Animals.

NEXT: The Main Characters Of Never Have I Ever Ranked By Season 2 Arc

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[tinymixtapes]

Feature: 2018: Second Quarter Favorites

TMT’s Musical Innovation Summit, now in its 14th year, is the oldest meeting of its kind in the industry. Like last quarter’s summit, roughly 10 music professionals from TMT gathered in New York to discuss the latest musical breakthroughs and make predictions on which releases will spark future awe-inspiring innovations. To help make the predictions, we interviewed 45 random fans, 30 venture capitalists, and a handful of media who cover the music industry across the country to get their collective thoughts on what’s imminent. That list is then honed by eliminating long-shot candidates, followed by a double-elimination round to get rid of shitty artists. Nominees are thoroughly vetted, and the groups eliminate candidates throughout the process. Today, we are proud to present the results: the BEST 26 releases of the last three months (with a shortlist at the end). We predict that these releases will change music forever. --- SOPHIE OIL OF EVERY PEARL’S UN-INSIDES [Future Classic] [WATCH · READ] Now’s raw doubt flanges in this memory’s mercury, and we’re back in the basement dark, floor paved with silver marbles. We will shine a light on one, outline the floor with reflecting. I ask are you sure of this? and you say no, never not of any thing. You squeeze your foreign-feeling shoulder, slim quick doubt. Then you hold a marble up to your eye, unclipped cuticles before corneas, a silver pearl. It’s okay. Flashlight on. We gape. There is no neat sequence. No light is set Surface contorts seeing. The shining is bent in coils. There is no straight path, just what we can move into in this whole new world. Roll the flashlight, and it’s a world warping, brilliance refracted, reflections re-membering. The world we built in the dark teaches us how being between might be. Our un-insides, SOPHIE’s sound, teaches us that brilliance doesn’t diminish its self, that light and self and is what we call it. And you say call me Vivian. Becoming who we’re becoming, “no matter where I go, you’ll be here in my heart.” –Frank Falisi --- Playboi Carti Die Lit [Interscope/AWGE] [LISTEN · READ] The arrival of Playboi Carti’s debut album proper, following last year’s crucial self-titled mixtape, could seem like a mere victory lap, an easy cop-out that plays up to the well-established framework of overstuffed rap albums in the streaming age. What a pleasure, then, that Die Lit implodes that logic. The heady balance of mood pieces and out-and-out anthems that characterized Playboi Carti is further refined here, but even without that baggage, Die Lit is a success on its own terms, a flickering visage that compounds Carti’s most enticing impulses — barely-there vocals, Reichian repetition, knotty Pi’erre Bourne beats — with all the best facets of the album form. And if Carti is only incidental on the mic, the tracks left in his wake are anything but. Herein lies a set of real Ohrwürmer, the inner soundtrack to your day, long after the album subsides. The cloud bursts forth; lightning really does strike twice. –Soe Jherwood --- DJ Healer / Prime Minister of Doom Nothing 2 Loose / Mudshadow Propaganda [All Possible Worlds] [LISTEN · LISTEN] On DJ Metatron’s 2 The Sky, the anonymous artist threaded a Jake Gyllenhaal interview through intricate waves of house music that helped give rise to this enigmatic and highly gifted producer. This year, his efforts have come twofold, with a double release under two new monikers that plot the same channels of intricacy but through two very different means. In place of the Donnie Darko reflection that deepens the narrative of 2 The Sky is a 2002 Whitney Houston interview with Diane Sawyer, where the troubled singer discusses her drug problems and an unnerving sense of optimism that inevitably collapsed 10 years later. Essentially, the music that accompanies both of these otherwise unrelated samples is the atmospheric gel that binds them together; an actor speaking about his fascination with a perplexing story line, and a generational icon battling with herself, fighting to overcome the very thing that took her life. That disparity lies at the heart of this joint release, which merges two highly distinctive personalities while linking them through religious and personal overtones. Mudshadow Propaganda is perfect in its projection of minimal techno tracks that build on the traits of our secretive producer’s expired alias, The Prince of Denmark, while Nothing 2 Loose is almost confessional in the sincerity that it lays bare. But where both records celebrate the dexterity and imagination of a single producer, they also paint a picture of human existence at its most conflicted, from the carnal and the primitive to the haunted and the divine. –Birkut --- Grouper Grid of Points [Kranky] [LISTEN · READ] In seven tracks and less than 30 minutes, Liz Harris sought to take us nowhere. So she stranded us anywhere. Giving up on finding anything instructive or stabilizing in the passing moan of a stray vocal, the odd cluster of muted piano keys, or the occasional sharp gust of static, it became clear that the only place where anything “new” could happen was in a place where nothing old and familiar was left. “Where are we?” started to sound more like “Where aren’t we?” It might have been some heavenly shoreline where the water was the same perfect gunmetal color as the sky, but it might just as likely have been the vacant parking lot of some long-since-demolished Disneyland. It didn’t really matter. Anyplace we chose to stand and look from was just as good (or bad) as another. “Might as well call this the center,” we figured. Gotta start somewhere. –Dan Smart --- Seth Graham Gasp [Orange Milk/Noumenal Loom] [LISTEN · READ] A symphony of perversions and memories that ignites every time you rapid-fire through your Instagram stories. Refried beans left over from the camping trip you took to a closed beta somewhere off the coast of Spy Kids 4D. A million splintered renderings of classical text that you half-scrawled onto the back of your hand before you realized that you were actually just passed out on the keyboard again. Gasp is like a raw feed of how music itself operates in 2018; brief bursts of genius materializing right before us, only to be swept away and digested into something unrecognizably new. The entire sum of human history rubbing elbows with that ASMR video you had to rush to minimize before your roommate could ask you what the fuck you were just watching. A guy as unassuming as Orange Milk label head Seth Graham conjuring up untold universes of possibility from his home in Dayton, OH, his bank of MIDIs a window into our gentle, distraught, and hilarious world. –Sam Goldner [pagebreak] Klein cc [Self-Released] [LISTEN · READ] “Oh my god! Who’s actually going to listen to this?” asks Klein, lounging with friends, reflecting on her last EP, Tommy and a still-emerging network of diasporic black art and sound. A year and new EP later, cc sees Klein more comfortable in the discomfort, pushing further with her collages of confrontational intimacy. “You have to squint” as the voices build and spiral, like an endless loop of out-of-office replies, a pitch-bent dawn chorus, singing to each other, but listening too. Klein made us think: about blackness, about opacity, about femininity and Disney princesses, all at once. Feelings too, and a lack of language to convey them; anxiety, elation, mania, but less medical, sometimes an incantation, sometimes an exorcism. In cc, Klein created a space of unique and disarming affect and mood: a deeper, darker stage in the process of “me being my own therapist,” the sound of someone finding a plurality of voices, of listening to yourself. –Joel White --- Beach House 7 [Sub Pop] [WATCH · READ] Attempting to describe what dreams are seems like a task both impossible and pretentious. But, as it floats like a wandering mind, drifting from thought to thought with each track, 7 certainly feels like a dream. Alex Scally plays guitar, but it sounds like an unfamiliar squall from another universe. Victoria Legrand sings, but it comes out in French. Look at the clock, you’ll be unable to tell how much time has passed. You know, dream stuff. For a genre that gets its name from something as complex as the random images our brains send to us while we sleep, “dream pop” music can often be very formulaic. That’s why, seven albums into their career, it’s remarkable that Beach House have found a way to not only completely refresh their sound, but make perhaps their best album yet. Awash in a chaotic darkness that’s been lingering in different forms throughout their entire discography, 7 hurtles towards oblivion: beautiful, glorious, infinite. –Jeremy Klein --- Eartheater Irisiri [PAN] [WATCH · LISTEN · READ] I keep losing track of Irisiri; it keeps slipping away from me. This isn’t meant as the insult it might scan as. An elegiac spin on the cyber-cyborg-meat-machine kick that everything relevant is twirling toward, this series of sad little processed ditties and twisted car jams charts a swerve back-and-forth between evasiveness and directness. Its unnerving stuff, giving the impression of solidity while remaining impossible to hold. Flirting with hip-hop and electro-acoustic, bedroom pop and sexed-up sopping wet plastic, it keeps moving out of view, even as I keep returning to it. Listening to the album is like chasing an object out of reach, an object I desire without knowning, a body I want without seeing. Also, C.L.I.T. fucking slaps. –Jessie Jeffrey Dunn Rovinelli --- THE HIRS COLLECTIVE FRIENDS. LOVERS. FAVORITES. [SRA/Get Better] [LISTEN · READ] For a few decades now, raw musical aggression has been underpinned with a lot of unintelligible vocal sentiment. Just steam on in with howling, power riffs and punishing beats please. But what’s that on the edge of the blast radius, dashing in headlong through the smoke? Clear sentiments that uplift, testify, and provide some sharp kicks in heteronormativity’s floppy old dick? Yes please! Even with its closing remix section, the album’s corroded (and collaborative) essence remains triumphantly tight. The perfect way Lilium Kobayashi’s quick stomping techno pop take on “Murdered by a Woman” flits to “Wake Up Tomorrow” when this album is on repeat further dispels any sort of tacked-on/bonus trax superfluousness. The cultural constant of immediate, frothing punk rage is obviously not going anywhere. It’s essential to have an album, in fuck-this-shit 2018, where that rage is specifically righteous, even with its eternally itinerant self-laceration (i.e., humanity). –Willcoma --- Delroy Edwards Rio Grande [L.A. Club Resource] [LISTEN · READ] Delroy Edwards has made the funk (in its many different strains) the connective tissue of his intrepid, joyful, and often perplexing work. It’s an approach never as explicit as in his latest LP, Rio Grande. That might indeed be its greatest success. In Rio Grande, keeping the raw, hissy, determinedly idiosyncratic credentials that first introduced him to the world, Edwards lets the funk take center stage; sometimes riding grimy techno beats, other times pushing beyond the ridiculous-by-design minimalism of the grooves. The goal is simple: to provide his audience with interesting jams to dance to. Edwards takes pride in the anonymous efficiency of that pretense, as the name of his label L.A. Club Resource indicates. He is happy to be the reliable supplier of a service, the invisible demiurge leading patrons to delirium; slipping in some eccentric turns here and there for the kick of it, to the enjoyment of all but mostly because… why the hell not?. And, let there be no doubt, Rio Grande is the most effective toolkit he has yet assembled in pursuit of that goal. –jrodriguez6 [pagebreak] emamouse X yeongrak mouth mouse maus [Quantum Natives] [LISTEN · READ] Hey, not to bring this up here, but borders, am I right? Why do we even have these invisible lines dividing my side from yours? We can get so much more done without them, not to mention the added benefit of not having to split up families in real life as they cross the imaginary demarcations. Who on earth has the chutzpah to enact stupid shit like that? Not emamouse — no way. No, emamouse had the opposite in mind as she commented from her Tokyo base of ops, “What’s this thing keeping me out of New Zealand? An ocean? Screw that!” And thus, the BORDER between Japan and New Zealand was erased forever — whether through the magic of the internet or the ocean suddenly turning into a jello trampoline is anyone’s guess. But emamouse was no longer separated from NZ sound slinger/cartoon centipede yeongrak, and together, through the magic of Quantum Natives, mouth mouse maus was born, a sticky, gooey, sugary, epilepsy-inducing strobe blast of video-game grit and played-with-too-much pink slime from a plastic egg. Cookcook, in her review, inferred that utopias can emerge from collectivity, highlighting the compatibility of these two artists. I think what she meant was “Fruitopia,” which someone obviously spilled all over the mouth mouse maus backup hard drive. Remember Fruitopia? That was Coca-Cola’s own attempt to eradicate borders, except they were the borders between taste and… OK, between them and your money. –Ryan Masteller --- Félicia Atkinson Coyotes [Geographic North] [LISTEN] I once went to New Mexico but mostly stayed inside. Reasons why. Félicia Atkinson’s Coyotes, inspired by her own trip to New Mexico, maps a journey I may have taken, among other wonders. The crafted narrative and its exploratory form gestures toward an experiential unknown. Her travel log collages echoes, maps, receipts, dried leaves, sand stuck in the crevices of shoes, plaques, diary entries, signposts, mythology, spirituality, and the facts and facets of the land’s native and colonial histories into a total atmosphere, something approaching a direct translation of a lingering impression. It’s so effective and affecting, because the whole is actually a scrap: “a slip of paper, something/tiny & torn off/lifted by the wind” writes poet Christian Hawkey in Citizen Of. Atkinson lineates her memories into similarly moving verses. –Cookcook --- Pusha T Daytona [G.O.O.D. Music] [LISTEN · READ] DAYTONA by Pusha T is hard work. It’s this blurb being written at 5:20 AM on the 7-train to “the office” a day after having led 46 tweens on a non-stop four-day Boston field trip. It’s teaching about heterosexism and female empowerment, leading sixth grade field day, and handling logistics for eighth grade graduation in a single day. It’s your body feeling like a crash-test dummy on a Wednesday, having left in the early, early morning, putting in 12 hours of sweating gallons for money, and arriving home at 8:30 PM. It’s wearing Terminator shades on 125th Street talking Spanish to people you never met. It’s the endurance of confidence while facing every fear you’ve experienced — focused — diving straight into the freezing water. DAYTONA proves Pusha T and Kanye are relentless professionals that continue to transcend literary and sonic aesthetics in space and time. We need role models like these, forever. –C Monster --- DJ Koze Knock Knock [Pampa] [LISTEN · READ] Many publications have referred to Stefan Kozalla as a “trickster” or a “prankster.” While there are freckles of truth on the face of that assessment, much of his affability comes from his most mistaken quality: his earnestness. It’s what makes him such a delightful musicmaker. Being earnest, of course, is the perfect foil to the kind of negativist universalism that plagues the psychedelics/mindfulness landscape in which DJ Koze so often finds himself (and, also, finds himself). Koze’s House is perfect (see: “Pick Up”) and his plunder-pop turns weird into sublime and vice versa (see: the wails incorporated into “Scratch That”), but it’s his unpresuming and gracious approach to influences, samples, and collaborations that push this record into extraordinary territory. It’s not alien; it’s absolutely Earthly, and it reflects so well the modest subject that is Koze. After all, Koze never changes, except in his affections. –E. Fosl --- Elysia Crampton Elysia Crampton [Break World] [WATCH · READ] Elysia Crampton opens in media res, with a nativity. And then it revs up, restlessly — its machinic gears grind like plant medicine visions; water flows and burbles; disharmonic chords take us in unanticipatable directions. And through it all, the oscollo, the feline guardian of people outside gender binaries, oscillates wildly. Elysia Crampton’s maximalist approach takes it beyond the strings and cackles of 2016’s Demon City, yet Golgotha remains always present. Standout track “Moscow (Mariposa Voladora)” was inspired by Ofelia, a Bolivian mariposa (“femme revolutionary”), and it judders roughly, darkly. Crampton’s Aymara and trans identity are her displaced subjects, particularly in light of the gestural movement between her origins in Bolivia and her current home in the US. But this is not any straightforward folk music revival — rather, it’s a deconstruction that reconstructs. The difficulties and contradictions of critical theory, in particular writers such as José Muñoz and his exploration of queer brown-ness, are braided into the work. The first written reference to queers as mariposillas (“little butterflies”) is from Pedro Cieza de León, in the 16th century, in which he compares “sodomites,” subject to punishment by burning at the stake, to moths drawn to the flame. The suffering of our ancestors can’t be recuperated, but through art, we may yet dance grotesquely but triumphantly on the pyre. –Rowan Savage [pagebreak] The Caretaker Everywhere at the end of time - Stage 4 [History Always Favours The Winners] [LISTEN · READ] The late hauntologist Mark Fisher once cruelly noted that the OED lists one of the earliest meanings of the word “haunt” as “to provide with a home, house.” And now that we live in a world that has lost the very possibility of loss, we have also lost the one who can lose, cohabiting with oneself in the present’s presence. Ghosts no longer have a home to haunt in any case, and their yearning and lingering voices are consigned to a past that can never pass away. Although it is haunting and horrifying to behold Everywhere at the end of time’s fourth installment pass from memories to their source — what Kirby calls “the post-awareness stage” — perhaps we must be grateful that someone can forget (for (us)). For, the source of memory must remain, even after all memory has been stripped away from it, even though this source can never be aware of itself. Yet, this source is not, strictly speaking, an identity. What it may be I do not know, but The Caretaker allows you to hear, what, behind those eyes, devoid of any recognition of life; we hope, we plead to be someone who remembers us, yet the only bliss, as transient as it is empty, is the wry smile that, for an instant, says, “Do not save me.” –Evan Coral --- Lucrecia Dalt Anticlines [RVNG Intl.] [WATCH · READ] OK, Hoag. You wake up in 1925, in a different place but with the same objects. Lucrecia Dalt’s Anticlines is playing on the victrola. She sings, “Skinless others/ Oils on waters,” and you realize you’re in the same room as the killer. The only other person in the room is dressed exactly like you, and that person’s talking up the other place — the one you believe you are still in — saying, “I think you’d like it there.” Where again? Both places go out of view. Now possibly dreaming, in a time and place before flight, Gein or radio, you wait at a blue-dipped railway platform as trains roll by on their way to Oclupaca and Ortseam. You’re hoping to catch a ride to somewhere similar but elsewhere, more elemental, past the unseen concupiscence between thermosphere and exosphere, out there where you don’t have to wonder, anymore, what the toys do while you’re away. –Rick Weaver --- Tierra Whack Whack World [Self-Released] [STREAM] In the face of incomprehensible excess and stream-gaming nonsense, Tierra Whack — yes, that’s her real name — provides a grotesque yet charming response with the wonderfully weird “Whack World.” Rather than dragging the tempo or chopping the tracklist, the 22-year-old Philly rapper embraces something like a skip-button aesthetic of preview clips and non-member samples, unceremoniously cutting off her songs as soon as they hit the one-minute mark. With 15 songs in just 15 minutes — an absurdity further heightened by its surreal video — traditional payoffs are just beyond reach, forcing us to sit through a goofy, lighthearted romp of youthful innovation and bizarre genre play that includes everything from slow jams and trap bangers to country parodies and kids pop. It’s delightfully ridiculous and sometimes annoying af, but it arrives with undeniable energy and child-like wonder, bursting out confetti-like from a singular, captivating voice who’s on one of this year’s quickest and most unexpected come-ups. Blink and you’ll miss it. That’s the point. –ミスターおしっこ --- GAS Rausch [Kompakt] [WATCH · LISTEN · READ] I consumed the hour-long experience of Rausch, blaring through my headphones, as golden hour became twilight and the mosquitoes started biting. Luckily, my timing was great; 2017’s Narkopop, with its penchant for forlorn ruminations, ultimately owed a lot to its namesake: pop music. Now, those hopeful moments of liquid sunlight are far away. Rausch finds GAS staying true to its typically ascetic atmosphere, but any strand of accessible melodicism is replaced by shattering layers of dissonant drone upon drone, Doppler effect-synths, and percussive textures that pierce through it all — shimmering cymbals, palpitating kick-snare rhythms. As each funeral march bleeds into the next, the delirious effects of Rausch take hold. My arms are covered in bites, and temperatures still haven’t dropped below 90. For the superimposed intensity of Rausch, a more fitting listening environment couldn’t be created. –Rounak Maiti --- The Body I Have Fought Against It, But I Can’t Any Longer [Thrill Jockey] [LISTEN · READ] It’s so much to bear. We’re expected to carry more than our own weight. The pain and suffering of our past traumas, the present crises, the future uncertainties. More and more, any attempts to alleviate the pain, to share the burden, are undermined. All we ever wanted, all untenable. They demand purity (in lieu of that, submission by “privilege”), individuality, personalization, subscription. They won’t cry for us. Everything must be on you and you alone. Time will not notice you are nothing. You are already hatred as an abstract to someone else. The pull of the personal must end. The allure of ontology and self-indulgence must be shattered in the face of those who leer lewdly into its mirror and contort on the floor in false ecstasy. But it is a painful burden. “I lower my guilty-looking eyes. I’m afraid of looking people in the eye.” War is necessary and proper, to shatter illusions. But it’s all so much to bear. –Ze Pequeno [pagebreak] serpentwithfeet soil [Tri Angle/Secretly Canadian] [WATCH · LISTEN · READ] It’s crazy to think that soil is serpentwithfeet’s debut album. The queer, pagan singer, a former choir boy from Baltimore, emerged in 2016 with blisters, a set of mesmerizing slices of new age R&B delving into faith, superstition, and love. His voice and composition live up to the lofty themes; delicate and meandering, serpent recalled the acrobatic opulence of 90s R&B with brooding, industrial production from The Haxan Cloak. The most visionary artists are those who sound like nothing other than themselves and exhibit a gravitational aura that inspires imitation, lust, and disbelief. soil lurches and waltzes, while Josiah Wise, who prefers to go by “serpent,” remains fully exposed in the mix, employing innovative vocal stacks that whisper, conjure, and croon behind him like a choir of restless spirits. Despite the divine quality to serpent’s voice, which is at times shellacked with layers, often battling against static noise and its own quivering vibrato, the subject matter of soil is immediately relatable and quotidian: the navigation of a shifting dating landscape, the sublime essences of individuals, intimacy and grace in heartbreak, the projection of sorrow onto the world. serpent doesn’t want to be “small sad,” but “big, big sad,” to the point that he’s sure his friends are “tired of him talking.” The domesticity infects us all: How can we properly grieve? How can we redeem ourselves? The occult instrumentation falls away to reveal a queer individual who is merely describing their personal desires. –Ross Devlin --- Sara Davachi Let Night Come On Bells End The Day [Recital] [LISTEN · READ] I walked through the streets barefoot, clothed only in a robe. The bells were ringing, playing their ancient song, letting the world know that the night had begun. My feet were bleeding from the cobblestone streets, which is how they found me in the morning, just outside of town in the woods. I didn’t drink that night. The evening swept me up, and some tribal instinct forced me outside in virtually nothing. My neighbors looked and closed their curtain as I kept walking, holding the hand of the force that was dragging me. I remember parts like my head hurting and my eyes watering. I remember spinning in the center of town underneath a street lamp. I don’t remember why I left town and headed toward the woods. I don’t know why I left my house. I remember being woken up by the police and being embarrassed to face to my neighbors. They took me home and put me in bed, because the medic cleared me at the site. I’ve never spoken of it since, and I still clench up when the night comes on and the bells end the day. –Sam Tornow --- Jenny Hval The Long Sleep EP [Sacred Bones] [WATCH · LISTEN · READ] Roping in some of her favorite jazz musicians to explore ideas, Jenny Hval has managed to escape the noose of her recent collaborative concepts and delve within to produce yet another stunning act of imagination. The pure reach and weight of The Long Sleep is extraordinary. Hval moves across emotional ground with certainty and delicacy, capturing the subtlest of feelings. Like a soundtrack to a brilliant short, Hval plays with recurring motifs first presented in the “conventional” “Spells,” but then swerves genre expectations along the way, through the piano-led clap frappe of “The Dreamer Is Everyone in Her Dream” to the blissful title track drone. On “I Want to Tell You Something,” her presence is so powerful, as she attempts to express trance closure through an oblique narrative before realizing simple words are all she needs. Fecund, savage, and irresistible, The Long Sleep demonstrates once again why Hval is so intriguing. –David Nadelle --- Gemini Sisters Gemini Sisters [Psychic Trouble] [LISTEN] How does one describe something so beautiful and uplifting — a beacon of light in a shroud a darkness. I was wallowing deep in the muck and mire, desperate to claw out of it rather than sinking down into it. But that tar pit of sorrow and defeat is thick, and it cares not about your will. But I saw the light and followed it. It led me to two helpful, outstretched hands. Jon Kolodij and Matt Christensen met my palm with a hardy grasp and a hefty pull. And I felt the warmth of Gemini Sisters. The sprawling, uplifting sonic aura of the duo’s debut speaks to energy from whence Kolodij and Christensen are christened: the two having their daughters born on the same day of the same year (and those offspring being Geminis). It shows with the delicacy of their aural attack. It is spiritual, reaching toward the heavens to pluck the constellation and bringing its brightness to our darkest places. Right now, the flesh is weak and the mind wavers. But our essence remains pure and chaste. Thanks to Kolodij and Christensen, I have traded the hastened quicksand for a tether to the sprawling galaxy. –Jspicer --- Christina Vantzou No. 4 [Kranky] [LISTEN · READ] When you’re in a vehicle moving at a slow, constant speed, sometimes you can convince yourself that you aren’t moving at all. No. 4 moves me like that. I know how tired that metaphor is, and if you listen to gentle drones like “At Dawn” and “Remote Polyphony” and think I’m a hack for digging the spatial metaphor up once again to describe slow, deliberate music, I understand. But I feel that uneasy compromise between motion and rest deeply and at every strange, shimmering moment of the album. It’s in the bells of “Percussion in Nonspace,” ringing in a sort of dual presence and absence; in the little arpeggio that creeps up through “Doorway;” in the pitch-affected choral chant that closes out “Sound House.” Whether we interpret track titles as thematic hints or as mere word games, the names of the tracks on No. 4 suggest, along with the music, that Christina Vantzou wants to domesticate and eventually upend and denature space through sound. Usually a device for ordering abstraction, she turns that hackneyed spatial metaphor into one for abstracting order. This record moves at no speed, in no direction, and toward no goal, except maybe to suspend us temporarily in a kind of beauty without dimension, not far from terror. –Will Neibergall --- Kanye West ye [G.O.O.D./Def Jam] [LISTEN · READ] Just because an album sparks cathartic conversations doesn’t mean it’s good, and not all good albums invite candid dinner table discussions concerning their mercurial merits. Kanye, however, has just as big of a reputation for arousing furor as he does for leaving listeners speechless. Meanwhile, critics scramble for thoughtful words that won’t get them blacklisted for being associated with that black magic that has been infiltrating every aspect of daily life since Cain murdered Abel, thus birthing division. Calling ye a divisive document at TMT would be an understatement, and attributing its inclusion here to justifying countless hours of collectively unpacking just over 23 minutes of noise would obscure what ye actually contains: disturbing spoken word admonitions about premeditated murder, breathless bars on prescription drug addiction, ironic fantasies about butts of sex scandals, gorgeous gospel keys and beautiful dark twisted harmonies, celebratory reflections on fame and success, spectral arena rock vibes, and staggering room for growth cleared out by fear and love and loyalty. Regardless of our own individual feelings, ye keeps reminding us that this music shit that gets us through each day often requires plunging into dark places and reemerging with our own beacons of light. Believe it or not, I still love it, and like watching a bright-eyed child grow up in a world this dark, I’m terrified and excited for what’s next. –Jazz Scott --- The Shortlist: King Vision Ultra’s Pain of Mind, Shygirl’s Cruel Practice, Oneohtrix Point Never’s Age Of, Ashley Paul’s Lost In Shadows, James Ferraro’s Four Pieces For Mirai, Larry Wish’s How More Can You Need, Jon Hassell’s Listening To Pictures, Rainforest Spiritual Enslavement’s Red Ants Genesis, Parquet Courts’s Wide Awake!, The Carters’ EVERYTHING IS LOVE, Bernice’s Puff LP, Carla Bozulich’s Quieter, Pinkshinyultrablast’s Miserable Miracles, Duppy Gun Productions’s Miro Tape, DRINKS’s Hippo Lite, Valee’s GOOD Job, You Found Me, and Frog Eyes’ Violet Psalms.   http://j.mp/2Kt2EKx

[madrasbook]

SPB, Simply Phenomenally Bountiful

SPB’s death has caused immense grief. When Steve Jobs died, his step sister Mona Simpson said, “We all die medias res—in the middle of a story.” What makes SPB’s passing an inconsolable mourning is that he died in the middle of a beautiful melody—in the midst of a music career that would have gone on and on. The philosophy that life on this earth is not permanent seems to offer solace. Some stalwarts push us into a delusion of immortality. And we thought SPB could never die. He was hearty, radiated warmth and remained jolly good. Ageing never seemed to have happened to him. His voice still generated awe and even at 74, he was amenable to music. That’s surely a rare gift that God bestowed on him. But slightly probing to see the effortless ease with which he went about his art, he made it possible only by winning over all the ordeal he had to endure—multiple surgeries on this vocal cord, bariatric surgery, and numerous ailments that kept coming to him, small and inconsequential. God had given him another gift that his voice was not cracked by any surgery. He kept making remarkable recoveries and comebacks. He was able to preserve his voice through time and multiple strains. But it was also a gift for which he didn’t do anything special for his voice. The deadly coronavirus finally infected him, snatching him away from us, and perhaps that was one time he rather gave in to the illness against his will.

SPB’s personality remains surreal as how someone can lower himself to such remarkably humble levels. Vinayam is one way to greatness and it was a so natural part of him. He was no doubt a phenomenal talent, evident by his five-decade-long career in music. He traversed the careers of genius composers and lyricists and sang a mindboggling 45,000 songs in 16 languages, probably an unsurpassable achievement. His popularity is not restricted to Tamil cinema. He was equally feted in Telugu film world, where he was the Ghana Gandharva, and more appropriate as Telugu was his mother tongue. And in Kannada, he was not far behind in popularity and also gave memorable numbers in Hindi (even as the Hindi world didn’t welcome him with open arms to begin with and it is to the credit of ace director KB that he debuted in Hindi with Ek Duje Keliye). And that repertoire extends to several other languages. 

He embellished his talent with being extraordinarily human, which pulled even people on the fringe to his fan circle. Initially very outsider to his fan circle, soon I jumped in, dissolving in his melting voice that kept my company on many long nights at my desk. Maybe he was so contented with his gifts that he never saw the faulty side of humans. As Kamal Haasan said, he simply swallowed every insult and harboured no ill will. If God is love, he was all of love. His demeanour defied his impossibly tall achievements. It used to be asked of Charles Dickens if he never slept or rested that he just churned one work after another. Rarely went a day when SPB didn’t sing perhaps. His corpus of work not only shows his versatility and talent but also his dedication to work. To surpass every possible singer on earth in terms of numbers is a feat that he seemed to have achieved with felicity. Behind it lies hours of hard work and unmatched sincerity to his art. Though he created history, he didn’t receive public felicitation for his achievements. He consciously refrained from it. Maybe, if he were alive to give us 50,000 songs, he would have agreed to a felicitation. His exemplary manner kept all his genius under wraps, but can passing clouds hide the blazing sun? And his manner was as sweet as his music. Grace and humility a part of his persona that just endeared people to him. Big or small, those who knew SPB also knew his generosity of spirit and his warm way of treating others with dignity and respect.

SPB’s career started in the music world that was already filled with stalwarts of the era. If MSV and Kannadhasan combo was ruling Tamil cinema, TMS and P. Susheela were their favourite crooning pair for romantic numbers. TMS had perfected the music voice of MGR and Sivaji Ganesan. S. Janaki was another popular singer giving her nectar-filled voice to many a heroine. And then Yesudoss just had broken into this talent pool. Into this heady mix, SPB made his entry with a two-year wait after debuting in Telugu (that’s because MSV asked him to perfect his Tamizh). SPB’s first song in Tamil happened to be a non-starter for a film called Hotel Ramba, which wasn’t released. But his next two numbers (Iyarkkai Ennum Ilaya Kanni for Gemini Ganesan and Aayiram Nilave Vaa for MGR) made him a household name. After then there was no stopping him.

With no formal training in classical music, his remarkable ability to turn into a musical voice for the MGR and Sivaji generation and then for the Rajini and Kamal generation turned the tables for him. He could modulate suitably for different actors and infuse variation into his singing style to suit their personality and voice at some level. This proved to be a clincher for him right down to Vijay, Ajit and Dhanush, the fourth generation of actors in his long career. If Vaali was a permanent fixture as a lyricist in Tamil cinema until death, SPB etched his place with equal ease for also his unique ability to offer emotions inside songs. He would giggle, laugh, cough and emote all inside a song to give that ‘feel’. And his romantic interludes and modulations just made lovers seek their sweethearts by just singing his numbers. He was a constant in the musical dreams of youngsters hopelessly in love.

His camaraderie with Ilayaraja, hailed as the god of music by his fans, was special and the duo gave Tamil cinema vintage songs that still accompany many a fan on their car travel and at night. Perhaps fans still relish the memorable and melodious numbers this combination made for Mic Mohan, who shone in film world for a short time, that are inerasable by time. SPB hits composed by Ilayaraja is an indelible chapter in Tamil film music. His romantic numbers for Kamal and opening songs for Rajini were special treats to fans of both stars. He also gave musical voice to the present-day stars Ajit, Vijay and Dhanush. 

SPB just captured millions of hearts by his melting voice, another plus to his talent. And as melting was his voice, equally pleasing was his manner, which proved to be a magnet for people to get attracted to him. He propounded love of unmatched proportions. He loved life, loved people, loved music, loved everything in life. As he knew no hate, no one could hate him.

He left the world in tears more than anyone in recent memory. It looked that a day will never come when we would sing eulogies for him. For someone immortalized already by his songs, his passing is just the end of his bodily frame and pleasing manner. We would miss his live concerts where he would greet the audience with a bow and extol people who gave him life to heights of glory. His pat on the back for many upcoming talents was all the boost they needed in affirmation of their abilities. He may not be there to do all this but his songs will still float in the air waves for many many years to come and he will die only when his last standing fan would pass on, and that would be seven generations from now, as Kamal Haasan said.

But a man in whose music we soaked in left us soaking in tears too!

[wallshipjournal]

BSC Company 2017: Aaron Tveit Media Links & Review Excerpts

Last update: 25/8/2017 (Video+Review) - Will be updated if/when new links/reviews appear. Reviews excerpted under cut.

VIDEO Barrington Stage Company - Rehearsal Footage Broadway.com - Opening Night Backstage Interview Barrington Stage Company - Performance Footage Promo Video

AUDIO WAMC "The Roundtable" - Preview w/ some Full Songs & Interviews sarcasticstagemanager - “Being Alive” (full audio bootleg for trade/gift)

PHOTOS Barrington Stage Company - Official Production Photos on Flickr BroadwayWorld - Opening Night Bows & Afterparty Broadway.com - Backstage on Opening Night Playbill.com - Behind-the-Scenes Photos by Mara Davis (+ Snapchat video)

REVIEWS

News Sources & Magazine Blogs

Broadway World Boston: “Barrington Stage Company (recently voted Best of The Berkshires) set a new record at the opening night of Stephen Sondheim's COMPANY last night. There appeared to be more selfie photos attempted of Aaron Tveit the show's star and the cast leaving the stage door of the Boyd-Quinson Mainstage than are taken by the ever present throngs in Broadway's Shubert Alley after a show. Aaron, who was Bobby in the extraordinary production directed by BSC's founder and artistic director JuliAnne Boyd, was mobbed by what seemed like the entire audience as Tveit and the cast tried to exit the stage door and continue on to the after party at the home of BSC Chair, Minky and Bruno Quinson. [...] You can't talk about Aaron Tveit, you have to hear and see him on the stage. One minute he's brilliantly acting and all of a sudden you realize you're hearing his glorious voice singing. One minute he's walking and all of a sudden you're watching a handsome guy moving like Fred Astaire. It's a Tony Award Winning performance, although in this case it will probably garner a Berky Award given by the Berkshire Critics Association.” (x)

Broadway.com: “Broadway.com was in on the action to capture Tveit taking his bow as "Bobby, baby...Bobby, bubi" after an incredible performance. [...] We'll be here, dreaming about Tveit's fantastic take on 'Being Alive.’” (x)

Albany Times Union: “Aaron Tveit brings a riveting magnetism to the leading role of Bobby in “Company,” the Stephen Sondheim-George Furth musical that is receiving a masterful revival at Barrington Stage Company. Tveit, returning to BSC after a decade during which he achieved significant success on Broadway, television and film, has the presence but not the remoteness of a star — he’s a standout, yet also fully part of a remarkable ensemble. It would be easy to overplay Bobby, a single man in 1970s New York City surrounded by five married couples all eager for him to join their wedded ranks. Tveit, as directed by Julianne Boyd, instead makes Bobby both the focus of the couples’ attention and a mirror reflecting their varied relationships. Bobby has to just be, neither too anguished about being single nor too carefree, and Tveit achieves this to perfection. [...] By the end, there’s only one thing left to do, and that’s Bobby singing “Being Alive.” It’s a song, Sondheim has said, that moves from complaint to prayer...As sung by Tveit, it’s neither cynical nor sappy. It’s bitter and angry, plaintive and hopeful, pleading and optimistic. It’s being alive.” (x)

The Daily Gazette: “The show’s glue is Aaron Tveit. Boyd rightly sets him down stage center on “Someone is Waiting,” “Marry Me a Little,” and “Being Alive” because he’s such a great communicator. Listen to the phrasing. Read his body language. In these songs and elsewhere, Tveit convincingly reveals why people like Bobby and why what they like may not be what he wants.” (x)

The Westfield News: “Aaron Tveit is a superb Robert, a difficult character to portray, since he’s primarily an observer with little outward emotion, until he breaks his barriers with the emotional Sondheim song “Being Alive”, which is the heart and soul of Company. Tveit is a fine singer, dancer, and actor, and he makes Robert an appealing leading man.” (x)

Boston Globe: “Bobby is a tricky character to play, largely because he’s a protagonist who is more reactive than active (perhaps only Hamlet is more paralyzed by indecision than this guy). Though he is the obsessive center of attention for his friends and his lovers, virtually the apple of their collective eye, Bobby’s posture is largely that of a detached observer...If anything, the Barrington Stage production further emphasizes Bobby’s apartness; while the rest of the cast are attired in garish ’70s clothes...Tveit wears a tastefully understated blue jacket that would not look out of place in 2017.That apartness means that an actor playing Bobby can seem remote or passive, and Tveit does not entirely avoid that trap. His Bobby is urbane, enigmatic, bemused, sometimes amused, sometimes amusing, but he does not come across as terribly conflicted. Except, crucially, in song. There, Tveit shines. He powerfully nails the yearning in Bobby’s solo “Someone is Waiting,’’ and he captures his character’s confusion and ambivalence in “Marry Me a Little,’’ in which Bobby insists he’s ready for marriage while stipulating rigid conditions that suggest he’s not at all ready.In the climactic “Being Alive,’’ Tveit passionately conveys the liberation achieved, paradoxically, when a gregarious loner like Bobby finally surrenders, unconditionally, to his need for another person. (x)

Berkshire Fine Arts: “This season Boyd has taken another crack at Company and critics appear to be unanimous that a sensational production is on the short list of her best work. Boyd is noted for loving musicals and this one is a corker.Much of that is owed to the serendipity of casting Aaron Tveit as a truly charismatic, charming, sexy and all around fabulous Bobby. He is the now 35-year-old swinging bachelor who just can’t take the plunge into marriage. The character charmngly (sic) hovers on the cusp of maturity...There were chills and goose bumps all over me when Bobby belted out that final solo ‘Being Alive.’” (x)

iBerkshires: “Hugh Jackman has it. The young Robert Redford had it – that preternatural ability to exude charisma and magnetic sexiness even when standing stone still. Aaron Tveit has it, too, in addition to his impressive singing, dancing and acting skills. Tveit is the star of Barrington Stage's "Company," one of Stephen Sondheim's biggest hits, and he is just the tip of the talent iceberg in this simply fantastic production. [...] Those of us in the audience who knew the show eagerly awaited "Being Alive," Bobby's final song that sets his inner realization to music. As we all suspected he would, Tveit knocked this iconic musical song out of the ballpark.” (x)

ZEALnyc: “Tveit, in particular, turns out to be an inspired choice for Bobby. Tveit has a chiseled everyman look, pretty but not ethically specific, which actually works well for Bobby, who’s meant to be a sort of cipher. Tveit has a powerful voice, great scene presence, and a terrific, focused way with interpreting a song.Tveit appears to have come a long way since his homogeneously bland take on Frank Abagnale, Jr. in Broadway’s Catch Me If You Can. Plus, he’s so damned good-looking, he can even make a ‘70s leisure suit look hot. Tveit wisely sings most of the songs pretty straight, although he couldn’t seem to help himself during “Being Alive,” during which he threw in a few vocal flourishes and Elphaba riffs.” (x)

Arts Fuse: “If you are a Sondheim enthusiast and can’t get enough of his music, lyrics, and sensibility, you will be pleased to know that Julianne Boyd has cast a strong production of Company, with an excellent Bobby (Aaron Tveit) and vibrant band and ensemble. [...] Slender and likeable Aaron Tveit delivers Bobby’s songs in a lyric tenor; the performer does his best to put some flesh on this stick figure as he ponders the passage of time and lack of human connection on his 35th birthday. Like [the rest of the cast], Tveit is a consummate performer, speaking, singing, and dancing with equal élan.” (x)

The Berkshire Eagle: “There is a stunning ah-ha moment late, very late, in Julianne Boyd's hugely accomplished production of Stephen Sondheim's "Company" at Barrington Stage Company. It occurs in Bobby's — and the musical's — final number, "Being Alive." Bobby (a smart, masterly performance by Aaron Tveit) spends the first half of the song cataloging the downside of relationships, marriage in particular — the entanglements, the choking obligations, the surrenders. The tone is unforgiving. There is not an upside anywhere until Bobby comes, for the first time, to the words "being alive," which he then, as interpreted by Tveit, repeats three more times, slowing down each time as he hears and begins to consider what he is saying. You can see a hint of something registering in Tveit's eyes. Music director Dan Pardo holds the orchestra in a vamp while Tveit's Bobby takes in what he is hearing; begins, finally, to put everything together and then goes back through the catalog he's just completed, this time with surging hope and welcome. It's a defining moment for Bobby. At 35, he has come of age, at last. The number would be triumphant enough on its own. The fact that it comes virtually on the heels of the memorable Ellen Harvey's perfectly calibrated delivery of "Ladies Who Lunch"...makes "Being Alive" an absolute coup de theatre. [...] Tveit wasn't even born when "Company" premiered on Broadway in 1970, but watching him go to work on Barrington Stage Company's Boyd-Quinson Mainstage feels as though he and Bobby were destined for one another. I say go to work, but in fact, Tveit's meticulously crafted performance looks so effortless. His singing voice is a marvel of control, breadth and expression and he dances with graceful assurance. His timing, his sense of Bobby's sense of purpose is clear and resonant, especially in his scenes with the girlfriends... [...] It's been 17 years since Boyd first tackled "Company." Barrington Stage was in Sheffield then. Tveit was 17. Just look how far they all have come.” (x)

WAMC Midday Magazine: "Company is one of those shows, however, that cannot succeed without the lead role of Robert being sensitively interpreted – including his two musical show-stoppers: “Someone is Waiting,” and “Being Alive.”  The leading man must be charming, dashing, vulnerable, disarming, wistful.  This production has such a star in Aaron Tveit, who proves up to the task from opening to closing curtain." (x)

Wall Street Journal: “Directed by Julianne Boyd, it stars Aaron Tveit as Robert, the commitment-phobic New York bachelor whose role was created by Dean Jones in the original 1970 production. I doubt there’s been a better Robert since Mr. Jones left the show. A true tenor with brilliantly gleaming high notes, Mr. Tveit is also a superior actor whose interpretation of the part is a volatile mix of charm, reserve and well-concealed fear. Not since Ben Platt opened in “Dear Evan Hansen” have I seen a musical performance as exciting as this one. In a way, though, what’s most surprising about Barrington Stage’s production is that Mr. Tveit doesn’t stand out nearly as much as you’d expect given the remarkable quality of his performance. Role for role, this is the best-sung “Company” I’ve ever heard—not just in regional theater, but anywhere.” (x)

Review Blogs

Boston Bright Focus: “Tveit is young, handsome, slender and charming, a decent dancer and a good singer, a comedic actor who keeps us serious in this funny show about funny people. There is a strange quality to his work at time when Bobby is hurt or mentally injured we see and feel his pain rather than just witness the incident or hear the remark. He reacts to everything in this role better than anyone else I've seen play Bobby. In its short, two year run on Broadway I saw the show four times with both its male stars, Dean Jones and then Larry Kert. I saw the revival with Raul Esparza. I saw the revival with Boyd Gaines. I saw George Chakiris in Los Angeles. None of them ever brought this quiet understanding, or struggle for understanding that Tveit conveys in the role.” (x)

CurtainUp: “All fourteen actors are multi-talented and each makes his/her role an integral part of the cast dynamics. However, it is Aaron Tveit's Bobby as he quietly glides about and absorbs the energy of those around him who drives the show to its rich and satisfying conclusion. His facial reactions are empathic and he truly becomes the human each of the others believes him to be. Yet he knows that this is not satisfying and is destructive to his own development. Tveit's "Being Alive summarizes the dichotomy of the human longing to connect while remaining free of responsibilities. When he sings In the final line "Someone to force you to care/ Someone to make you come through/Who'll always be there frightened as you /Of being alive," the electricity is palpable and breathtaking as he realizes '...The unlived life is not worth examining.'” (x)

Berkshire on Stage: “The acting, led by Tveit’s sensitive portrayal of Bobby’s confusion and understanding, is marvelous.” (x)

Critics At Large: "...it’s in the show’s revered pair of final numbers, “Ladies Who Lunch” and “Being Alive,” that the production shifts into a different gear. What I find so impressive about Harvey and Tveit in their respective deliveries of these two songs is the sense that they aren’t just basking in their star moments in the spotlight. Instead, they’re using the numbers to take their characters somewhere. [...] As for Tveit, he doesn’t possess superhuman powers, so he can’t make “Being Alive” work in terms of Bobby's overall narrative, but he does convey a remarkable sense of progression throughout the number. It’s a moment of genuine revelation for Bobby. It also stands in stark contrast to the rest of Tveit’s performance, not because he’s bad in the role, but, paradoxically, because he’s perhaps cast almost too well. Since I’m hammering on about the weaknesses in Furth’s script, it’s always bothered me that he intentionally and explicitly makes Bobby such a cipher. The idea that he’s the likable, inoffensive guy whose refusal to wade too deeply into a relationship allows his friends to project their desires onto him, thereby making him their common best friend, makes sense, but it’s also hard to figure out how an actor ought to approach such a role, or how to get the audience to invest in him emotionally. Tveit manages to convey Bobby’s breezy but noncommittal charm, making it clear why his disparate groups of friends enjoy being around him – although, at 33 years old and with a record of playing younger than his age in his major roles, it’s hard to fully buy into this actor as someone who is hitting an age-related crisis. However, he’s smart enough to play up the contrast between that version of Bobby and the newly uncertain but more complex character who emerges at the very end of the play. There’s an open-endedness to such an interpretation, a suggestion that this is merely a beginning, rather than a cathartic ending, for this man." (x)

Rural Intelligence: Tveit faces the challenge of any actor who plays Bobby. While his friends continually profess their love for him, it’s not actually clear what’s so endearing about Bobby besides his being a reliable third wheel who helps keep his friends’ marriages intact; in return, these married couples keep Bobby company so he doesn’t have to settle down. In the finale, Tveit reveals that Bobby’s been paying attention to his friends, and he delivers “Being Alive” with the gusto of a pilgrim who has finally glimpsed the promised land. (x)

From the Desk of Jim R, Take 2: "As played by the enigmatic Aaron Tveit, Bobby's complicated plight and final resolution, is real, raw, honest, soulful, cheerful, passionate and very moving. There's also a vibrant charm, passion and natural dreaminess to the character that makes Tveit's interpretation of Bobby much more believable and grounded than that of his Broadway predecessors Dean Jones, Larry Kert, Boyd Gaines and Raul Esparza. Back then, all four were simply acting out a part and nothing more. Here, Tveit plays Bobby. But he also owns the part. Big difference. From the moment he appears on the Barrington stage, he is Bobby, front and center, backwards and forwards, etc. Moreover, there's real talent behind that boyish allure mixed with just the right amount of poise, presence, flair and personality. Sure, it's all rehearsed, but Tveit makes us believe we're seeing his Bobby for the very first time. There is nothing remotely calculated about his facial expressions, line delivery, body language or interaction with the other onstage actors. Though he wasn't born when "Company" was first conceived, you'd swear Sondheim and playwright George Furth wrote Bobby with Tveit in mind. It's the musical performance of 2017. And one, you'll want to see again and again. Vocally, Tveit's voice is beautiful, polished, strong, commanding and natural. He pays close attention to the beats, lyrics and different rhythms of every Sondheim song he sings. And when he takes center stage and joins the entire cast for a song or two, he avoids that annoying grandstanding you find in other Sondheim shows where the lead actor looks you right in the face with private thoughts that cry out, "Hey, look at me. I'm in a Sondheim show." With the emotional "Being Alive," Tveit passionately reveals the quiet longing and intimacy Bobby desires with another person. The stirring "Marry Me A Little" conveys his confusion and doubt over a real relationship while "Someone Is Waiting" poignantly portrays the character's quiet yearning for that special something collectively shared by his married friends." (x)

Mixed or Negative Reviews (Negativity Warning!)

The Saratogian: "We see all of them through the eyes of Bobby, a handsome, 35-year-old bachelor, portrayed by Aaron Tveit as an unobtrusive observer. George Furth’s book tells us little about Bobby, and Tviet [sic] is faithful to that failing. His main function in this interpretation is to provide an outsider’s view into the private lives of the couples. A problem with the Barrington Stage production results from Tveit playing Bobby as a passive character. We are uncertain as to why the others want him as a close friend and confidant. Tveit presents a handsome figure who is a genuinely nice guy, but for most of the play, he is rather anonymous. It’s not wrong to make Bobby a cipher, but it doesn’t add depth to the friendships. This same passivity extends to his relationships with the three girlfriends we meet. We might understand why they are attracted to Bobby, but his disinterest with the women makes his expressed interest to be married seem insincere. The only times Bobby reveals anything of himself is through the songs “Someone is Waiting,” “Marry Me a Little” and the iconic anthem, “Being Alive.” In these moments, Tveit is marvelous. The doubt he expresses in these songs is revealing, touching and real. If we could see more of this personality throughout the show, the production would have been much more genuine and sincere." (x)

The New York Times: “Company’...is in some ways the least ambitious of the three, and also the most successful. By least ambitious, I don’t mean the material itself...the original production in 1970 was a musical theater game-changer that remains, with its impenetrable main character and abstract action, a difficult piece to pull off. I mean that despite a skilled New York cast led by the glossy Aaron Tveit, Barrington’s “Company,” directed by Julianne Boyd, is neither a Broadway tryout nor an attempt to reinvent the wheel. From the ’70s satire inherent in its pungent costumes to the gorgeous singing of the entire cast, it has evidently been packaged as pure entertainment. How well that approach represents the ambivalence at the show’s core is another matter. Bobby (Mr. Tveit) is a 35-year-old singleton at the height of the sexual revolution; he insists he is enjoying his freedom but his “good and crazy” friends — five married couples — think he is just afraid of commitment. The action consists mostly of Bobby’s watching those couples bicker, and drawing what conclusions he can from the way they make up. Time has not made the plot less problematic. A 35-year-old in 1970 apparently was more middle-aged than he is today; as played by Mr. Tveit, who is 33, there is no sense that Bobby is late to the marriage gate. And later revisions made by Mr. Furth to foreclose on the possibility that Bobby is gay now seem counterproductive. His denial comes across as more of a devious dodge than his silence ever did. Could it be that, absent disruptive directorial interventions like those made by John Doyle in the 2006 Broadway revival, the book is becoming untenable? Instead of psychology, it gives most of the wives gimmicks: One’s a first-time marijuana smoker, another a karate enthusiast. The interchangeable husbands barely get that much. And even Mr. Tveit, though ideally cast, can’t find much to do besides taking his safari-style suit jacket on and off. His Bobby is not merely passive but disaffected to the point of depression. It’s a reasonable reaction to a plot that incessantly nudges him from point A to point A. The good news is that Mr. Sondheim’s score remains thrillingly incisive, dramatizing every issue in its path. Problems of interpretation tend to dissolve when the songs are sung and played as well as they are here, not only by Mr. Tveit but also by Nora Schell as an earthy Marta (“Another Hundred People”) and by Ellen Harvey as a furious Joanne (“The Ladies Who Lunch”). If the result feels like a highlights reel, there are far worse things a musical can be.” (x)

Post-Chronicle: “In the key role of Bobby, Mr. Tveit cuts a handsome figure but rarely projects a distinct personality here. This may be again due to the writing, but in recent revivals both Neil Patrick Harris and Raul Esparza did create a Bobby of both magnetism and depth. Tveit’s bland acting is gratefully overshadowed, though, by his magnificent tenor voice and he successfully rocks the theatre with such Sondheim standards as “Marry Me A little” and “Being Alive”. In a company of superior singers, he is an able leader and often capable of being a thrilling performer.” (x)

[simplysaiyanlicious]

[ I could be an asshole and just make you answer all 100 of them. But I'll be nice and just select like 98 of them. ^^ So, hmm.. let's see. I'm so bad with options. >/ 1-5. And then 7, 12, 13, 15. 16, 17, 22 (DON'T LIE), 23, 28, 36, 37, 38, 41-46, 49 (wtf xD), 50, 52-56, 58-66, 69, 71-74, 78 (DON'T LIE), 84, 85, 89, 90, 94, 95 (go for that Miss Universe title~), 98-100. ]

... NOW YOU LISTEN HERE, VEGETA. YOU MAY BE THE PRINCE OF ALL SAIYANS BUT THAT DOESN’T MEAN YOU CAN JUST COME INTO MY INBOX AND DEMAND-

Yeah okay fine I’ll do it, you dick.

Nuuuuu ilu

1.What is your middle name?Suzanne ^^

2. How old are you?30~

3. When is your birthday?February 21st!

4. What is your zodiac sign?Pisces/Bunny

5. What is your favorite color?Teal, hands down. So much in my house is teal; the curtains, a wall, my towels, my pillows, my decorations, my floor mats, you name it I probably have it in the color teal.

7. Do you have any pets?I doooo. Currently I only have a very old bunny named Bunneh and a handicapped cockatiel named Loki (he can’t fly). I also used to own a bunch of cats, a budgie, two gerbils, a hamster, four chinchillas and a tame hedge sparrow and he was the BEST BIRB EVER! ;__;12. What was your last dream about?... The Nanny. MISS FINE AND MR. SHEFFIELD! I don’t even know why.

13. What talents do you have?... art? XD I also have this very useless talent that lets me memorize dialogue real easily, which allowed me to memorize entire DBZ episodes as a kid and that’s how I taught myself English.15. Favorite song?Les Friction - Torture (listen to it, seriously!)

16. Favorite movie?I dunno, I like way too many movies to just pick one favorite.

22. Have you ever got in trouble with the law?No I’m a good girl.

23. Have you ever met any celebrities?No but I do have a Belgian actor in the family. Never met him either though.28. What type of music do you like?I mostly prefer game and movie OSTs, and also ‘epic’ songs, the type of music often used in movie trailers.36. Favorite clean word?Keukendeur, which is Dutch for kitchendoor and this is a really long story but basically it’s an old inside joke between me and some friends and it’s not gonna make any sense if I tell you. XD

37. Favorite swear word?I don’t really have a favorite one, but back when I still RPed in Dutch (15 or so years ago) my favorite swear word to use for my character to call other people was ‘opruiige bakvis‘ which... doesn’t really translate into English well, so... yeah XD;;;

38. What’s the longest you’ve ever gone without sleep?Close to 30 hours, during a movie night when I was still in high school.41. Are you a good liar?I... don’t know? I think so... I mean, I’m no saint, I’ve lied plenty as a kid and I usually got away with it.

42. Are you a good judge of character?I like to think I am. I tend to trust my gut and it’s usually right (I WAS RIGHT WITH YOU!!

43. Can you do any other accents other than your own?I never tried honestly...

44. Do you have a strong accent?YES AND NOTHING YOU CAN SAY WILL EVER MAKE ME THINK DIFFERENTLY! XD

45. What is your favorite accent?Hmm... there’s this youtuber from Sweden (no, not that one) whom I really like listening to because of his accent. It really reminds me of how Zevran from Dragon Age Origins talks. His name is Keralis, look him up, he’s funny.

46. What is your personality type?INFP (mediator)49. Are you an innie or an outie?Innie

50. Left or right handed?Right handed52. Favorite food?Sushi and lasagna, you can always wake me up for either of these!

53. Favorite foreign food?... sushi and lasagna? XD

54. Are you a clean or messy person?I’m not a clean freak and I like to pile things up and cover every available space with stuff instead of putting it neatly away, but my place is not gross or dirty or anything. It’s organized chaos! Gets dusty real quickly though, but that’s what happens when you have pets.

55. Most used phrased?Oh snap!

56. Most used word?‘Lol.’ All the time.

58. Do you have much of an ego?No. When I receive a compliment I get terribly self-aware and start getting all awkward and shy.

59. Do you suck or bite lollipops?I suck ‘m!

60. Do you talk to yourself?All the time, it’s a terrible habit XD

61. Do you sing to yourself?I only sing along, never without actual music.

62. Are you a good singer?I’m average at it.

63. Biggest Fear?Drowning.

64. Are you a gossip?... maybe a little. XD

65. Best dramatic movie you’ve seen?Hmm... I honestly don’t know.

66. Do you like long or short hair?Looooong hair all the way, on the ladies AND on the men!

69. Extrovert or Introvert?Very introvert.71. What makes you nervous?Everything. Not even joking, almost everything makes me nervous or gives me stress and anxiety. The joys of having a severe anxiety disorder. >

72. Are you scared of the dark?Depends. I don’t like being outside while it’s dark, and I’m seriously afraid of being in a forest in the dark. But at home? No problem.

73. Do you correct people when they make mistakes?Only when I feel it’s actually important, like when the mistake they’re about to make will have actual consequences. In all other cases, learn from them.

74. Are you ticklish?WHY DO YOU WANT TO KNOW? I’M VERY SUSPICIOUS OF YOUR MOTIVES RIGHT NOW (yes I am).

78. Have you ever done drugs?No, unless you count actual medicine like anti depressants and such. I was in the hospital once and they gave me oxazepam and I was so fucking high when they wheeled me off to surgery, I was grinning the whole way. I had a blast, lol.84. What color is your hair?Boring brown. I used to dye it, I’ve had it black for a while, and various shades of red, but I’m honestly too lazy to keep it up.

85. What color is your eyes?Greyish green with amber flecks. My eyes are purdy :D89. Do you like your age?Eh, my real age doesn’t reflect my mental age anyway, so whatever. XD

90. What makes you angry?When I see people hurting animals. I’m a huuuuuge animal lover. I’m really super shy but if I see you hurt an animal I will go fucking bananas on you! >C94. What are you strengths?I dunno. People say I’m a good listener so there’s that I guess. This is kind of difficult to answer.

95. What are your weaknesses?I’m what I like to call a ‘doom thinker’. I always immediately think of the worst case scenario when something happens. A friend doesn’t show up on skype for a day? They probably got into an accident and I’ll never know. A small pang of pain in my chest? Yep I’m having a heart attack.  My 98 year old grandpa doesn’t answer the door after ringing twice? Something happened to him and he’s probably dead.

Stuff like that. It sucks.98. Do you have any scars?Smalls scars here and there but the most noticable one is on my left wrist. Derpy kid!me was trying to feed a pony and I accidentally cut myself open on rusty barbed wire. Oops.

99. Color of your bedspread?... teal. Don’t even bother acting surprised. XD

100. Color of your room?Which one? XD My bedroom has white and grey walls, and my living room has white and teal walls.

[renatorizzuti]

Spotlight on Cleo Berry: Actor/Singer

Interview by Renato Rizzuti

Cleo Berry is known as “the funny guy.” During the course of this interview, Cleo is shown be much more than that! A well trained and passionate actor that has a great attitude towards acting and towards life! Cleo’s well thought out and thorough answers reveal a dynamic actor and a lover of life! 

Renato: You were born in Little Rock, Arkansas, USA, on February 10, 1984. This makes you an Aquarius from an astrological point of view. I was born on February 12 which also makes me an Aquarius. What qualities do people born under that sign possess that makes the person perfect for an acting profession? Is this personally true in your case? 

Cleo: First, Happy Belated birthday my Aquarian brother. As you know, Aquarians are known to be deep thinkers, very intellectual and generally just want to help the world be a better place. These are qualities that I bring into my everyday acting career. I have to think deeply about the character. What are their quirks? What makes them tick? What’s their motivation for life? What do they want most of all in the project? I fully believe that being an intelligent person is an asset as an actor. There’s tons of reading scripts and studying. It’s almost like full time college. We’re constantly preparing a group project that we have to perform in front of the class for a grade or in my case a job booking. But I absolutely love it. No complaining here. And I think we as actors are merely putting a mirror up to society and showing them parts of our humanity. Sometimes it’s a drama and sometimes it’s a comedy but we’re always trying to be as true to life and the character as possible. 

Renato: Was there a person or thing that inspired you to be an actor during the 18 years you spent in Little Rock? 

Cleo: I’ve always attended an Arts school. From first grade through college, I’ve been immersed in performing arts. So, I caught the acting bug in sixth grade when my elementary school took out our music class to a dinner theatre matinee show to see my music teacher perform Nancy in “Oliver!” It was there that I saw actors my age singing, dancing and acting. I instantly knew that I wanted to do that too. A few days later, while in music class, I asked my teacher how I could do it too. She helped my mom and I get me into a training camp over that summer. I’ve been on this path, since then. 

Renato: You moved to New York at age 18. What motivated you to make the move? How did you feel about the move? 

Cleo: Yes, I left LR for NYC at eighteen because I needed more training. The best trained there. So, I applied and auditioned and was accepted into the musical theatre training program at AMDA (NYC). I was excited about the move. The fact that 9/11 had just happened the previous year didn’t scare me at all. 

Renato: You graduated from The American Musical and Dramatic Academy (NYC). What is the most important thing you learned about acting there and was there a particular instructor who inspired you?                                   

Cleo: Most important things that I learned is how to break down a script and a song. I hated all the monotonous work of creating a character while in school but it definitely helped me with establishing my own short cut to getting to the heart of a character, scene. Darren R. Cohen is the acting instructor who I learned the most from. From my first semester there, Darren helped mold me. He absolutely let me be me and guided me through my schooling. He even created a cabaret show for me and three other students after we graduated. His belief in me is something that I still wear like a badge of honor.

Renato: You missed your graduation from the Academy to go to a feature film callback. What factors did you take into consideration when you made that decision?                                                                                                                   

Cleo: I was paying to attend a performing arts conservatory with the hopes of getting acting work once completed. I had the opportunity to land a lead in a film. It was something that I couldn’t pass up. I did not book the job but I proved to myself how bad I truly wanted my dream to happen.

 Renato: You made a name for yourself as “the funny guy” in numerous commercials and promos. What qualities do you possess that make you ideal as “the funny guy?” How do you personally feel about being “the funny guy?” What higher life purpose do “funny guys” serve or in other words what do “funny guys” do for the rest of humanity? 

Cleo: I’m a rotund guy with a big smile. I’m also quite funny, when prompted. Those are the qualities I possess to work in commercials. I love commercials. Great work, if you can get it. Being funny pays but I don’t think I’m serving any purpose other than selling a product. I certainly hope that if someone out there is having a bad day, and they see a hilarious commercial it brightens their day. Flips it around. But that’s pressure I don’t put on myself.

Renato: You also excel in dramatic roles and have worked with award winning actors such as Hugh Laurie, Glynn Turman and Ving Rhames. From an acting point of view how are dramatic roles different from comedic roles? I what ways are they similar? Given a choice, would you choose comedy or drama? 

Cleo: For me, dramatic roles are easier. I love being in that raw, real space of a role. With comedy, no matter what you do, it’s gotta be funny. With both drama and comedy you’ve gotta be open and readily available for what the scene and story demands. Sometimes, comedy gets to be a bit stressing to me. Coincidentally, it’s also the easiest for me to perform. If given a choice, I would pick drama 7 out of 10 times.

Renato: Name one of your favourite comedic roles.

 Cleo: Captain Chandler on “Young & Hungry!” I thought that character was absolutely hilarious. And I got to do a bit of physical comedy. Which is something that I love.  To view, click on link: https://www.imdb.com/videoplayer/vi2092219161

Renato: Name one of your favourite dramatic roles and explain why.

 Cleo: Daryl Fisher on Monday Mornings! I got to act opposite Ving Rhames. He’s been a favorite actor of mine for a very long time. Also, the character I played went through hell and back. Love playing those kinds of characters.To view, click on link: https://www.imdb.com/videoplayer/vi2092219161

Renato: You were in two Super Bowl commercials. As far as commercial acting is concerned that is quite an achievement! How did you feel being in a Super Bowl commercial? How do you feel about doing commercials in general? 

Cleo: Yes, I was in a Super Bowl commercial for Tide. It turned out great and was the big spot everyone was talking about. This year, I did a Super Bowl spot for Pampers. Got to act and sing with John Legend and Adam Levine. Super cool.  The Super Bowl is the top of the commercial realm. Something I always wanted to achieve. Very thankful to finally be able to cross it off my vision board.

Tide, to view click on link: https://www.imdb.com/videoplayer/vi2225322265

Pampers, to view click on link: https://youtu.be/S9A9Uw9e2p8

Renato: Your bio refers to your “stunning tenor singing voice.” Can you tell us which musical performance has been a highlight of your career?

Cleo: Playing Horton on a National Tour of “Seussical The Musical” was awesome! I loved traveling around the country to all the cities and towns and putting up a show. No performance video as it was over 10 years ago but it was a great show and cast.

Singing video, to view click on link: https://youtu.be/4f5UGb_7Yls

 Renato: You studied Taekwondo and played football. Can you tell us how the discipline learned through sports can be carried over to acting?

Cleo: It’s all about practice and performing at your best. It’s goal driven as well. Block or tackle in football. Break the wood board in Taekwondo and Booking in the Acting world.

Renato: Acting involves mental and physical work. How do you keep prepared for both?            

Cleo: I work with a terrific acting coach when I need to tune up or need help with the development phase of a character. Physically, yes, I do have to get some exercise on my weekly calendar. It’s tough but I make it happen.

Renato: Are there any upcoming projects you would like to tell us about?

Cleo: Yes, I have a project that comes out February 13 on YouTube Premium called “Weird City.” I play an awesome character named Dirg. That’s about all I can say. It’s written and executive produced by Jordan Peele (Get Out) and Charlie Sanders (Key and Peele). Love the way that they write. Definitely give it a watch. I’m guest starring in the third episode of season one.

Trailer, to view click on link: https://youtu.be/raJJbbiKtlY

My episode, preview only, (the first two episodes of the series are free but  you have to pay to watch the 3rd and remaining episodes of the series), to view click on link: https://youtu.be/y-MnuR0n1R8

Renato: Any social media links or other links that you would like to include?

Cleo: Please follow me on my verified Twitter account: @CleoBerry I’m not on any other social media sites.

Renato: Your personal quotation is, “I’m like the Energizer Bunny…you tell me I can’t do something and I keep going and going… until I do it!” Was there a situation in your life that you put that into play?

Cleo: When I was venturing out on my own at eighteen and embarking on school and a professional career, I would always tell myself this. I knew I’d come up against a multitude of brick walls, No’s and who are you’d! So, I’d remind myself to keep going. 

Renato: In general, what is your philosophy of acting?

Cleo: To get to the heart and truth of the character without judgment. Sounds easy but we all have our prejudices and quirks. Sometimes it’s tough to put yourself on hold and put a character on. Buts it’s something that must be done to effectively live as that role.

Renato: In general, what is your philosophy of life?

Cleo: To live, love and explore.

Renato: You won a special recognition at The Boston International Film Festival. What was that for? 

Cleo: The film I was in won Special Recognition. The indie film was called “Mow Crew.” It was my first lead in a movie and we shot on location in Martha’s Vineyard for a month. At the time, it was the first film to shoot on the island since “Jaws.” The locals were amazing and I can’t wait to get back there.

Renato: Thank you very much for your time and all the best to you!

[lynchgirl90]

#TwinPeaks Star Chrysta Bell on Being David Lynch’s MuseIs her Agent Tammy Preston the new Dale Cooper?

There was more than an air of mystery surrounding David Lynch’s revival of Twin Peaks—it was an impenetrable fog. But curious fans of the original series and of the mythology that both Lynch and co-creator Mark Frost continued to build around the world of Laura Palmer, Agent Cooper, and the Black Lodge had one primer to go on: Frost’s 2016 novel, The Secret History of Twin Peaks. In that book, one alluring new character takes center stage: Agent Tamara Preston, who appears on almost every page. Twin Peaks fans had no idea who would be playing Preston in the new series until Episode 3, when singer, model, and actress Chrysta Bell showed up to debrief Lynch’s Agent Gordon Cole and Miguel Ferrer’s Agent Albert Rosenfield. We may not know much about the rest of Twin Peaks: The Return, but we can count on Agent Preston—who serves as something of an Agent Cooper proxy—to feature prominently for the rest of the season. How, though, did the actress land such a plum role?

Though her name may not have immediately popped against the rest of the Twin Peaks revival’s starry cast list, David Lynch devotees will recognize Chrysta Bell (full, first, and only name) as the writer/director’s longtime musical collaborator. The pair met in the late ’90s when she, then a jazz/swing singer, was chasing dreams of becoming the next Vonda Shepard from Ally McBeal. She met Lynch through a series of agents and managers and it was musical love at first sight. “The first time I saw [Bell} perform, I thought she was like an alien. The most beautiful alien ever,” Lynch said in 2016. “I had to kiss a lot of frogs to find that,” Chrysta Bell tells VF.com during a recent phone call. They released two “dream pop” albums, This Train (2011) and Somewhere in the Nowhere (2016). But not even Chrysta Bell suspected Lynch would tap her to take on her first major acting gig in his Twin Peaks revival—let alone in such a pivotal role. Though Chrysta Bell, like the rest of the cast, is sworn to Peaks-ian secrecy, she did hop on the phone to discuss her new album, We Dissolve, as well as Agent Tamara Preston’s most memorable on-screen moment thus far.

Vanity Fair: Given your longstanding collaboration with Lynch, I imagine you weren’t made to jump through the same audition hoops as some other people in the cast.

Chrysta Bell: [laughing] I think my audition lasted about 19 years!

Yes, maybe more hoops than anyone.

If anyone had to work for their part, let me just tell you. I had no idea David was going to ask me to be in Twin Peaks. I did not know that our collaboration would extend beyond music, and I didn’t honestly dare to dream. But David knew what he was getting with me, you know, because we’ve been pals for many, many years. Plus David’s one of those people—if intuition were a muscle, his would be really big and strong. And he uses it a lot. And so he was flexing his intuition muscle and fortunately I was uplifted in the process.

Most F.B.I. agents on TV, even someone like Dana Scully from The X-Files, have a really drab sense of style. But not Agent Preston. How much say did you get in creating her look?

You’re the first person to ask me about this. Nancy Steiner is the style maven for the show, and we probably tried on, oh I don’t know, 50 shirts before we hit gold. The skirt probably took like, seven to nine incarnations before we realized we wanted to get a nice kind of high waist on it. But finally we were able to hone in on the fact that David wanted a retro look for the undershirt and tops. He liked the crêpe and the silks and the lace—but the kind of more vintage-looking lace. It was kind of desolate there for a while, but that was definitely David’s idea and David’s vision for Tammy’s look and we worked to find it.

Unlike most of the other actors playing new characters, you had this kind of playbook for Tammy in The Secret History of Twin Peaks. Did you read it?

I did! I wasn’t aware what a significant aspect Tammy was until I kept reading and turning every page and I was like, “Damn, she’s actually kind of a big deal.” I learned a lot about Tammy from Mark’s perspective, you know, because Mark and David have their different views. I loved every minute of reading The Secret History, but I’m kind of way into the whole extra-terrestrial cosmic expansion awareness-type jazz. I loved reading Tammy’s thoughts, but I’d already filmed, you know.

You didn’t get to read the book beforehand? They didn’t sneak you an early copy? Were you like, “Thanks, guys, this would have been helpful before”?

I mean, as I’m watching Twin Peaks, I’m learning about what my character does later. I mean, everyone is. We didn’t get anything in the script except our own lines. And how they were in context with only the lines immediately following and preceding. So, we’re all learning together how everything works itself in. And so, yeah, there was none of that. We didn’t get to do any research. It was all just giving yourself over to the experience and allowing the process itself to infuse all that you needed into the moment of being your character. Every part of the process was mysterious, like, unreal in a beautiful and maddening way.

But Kyle MacLachlan got the script in full. Were any of you tempted on set to interrogate him about your character?

No, because there is just, there’s a reverence for everything going on. It’s like we’re all holding something that’s very fragile and yet mystically powerful. And so you’re just kind of doing everything that you can do to help transport this thing that you don’t even know what it is. But you’re all working together to do it, and you feel so fortunate. A couple of times, I would read something online about the show that kind of led me to believe that there had to be some kind of breach somewhere. But not from anyone on set, because I could not imagine anyone on set letting a piece of this thing go out into the world. Everyone was protecting it—reverence is the only thing I can think of. David, you see him giving heart and soul, and Mark’s there, and you just can’t help but feel like, okay, you have to step up to the best of who you are to be able to hold space for whatever this amazing thing that’s happening is.

Getting to watch and and discover the show along with the rest of the audience, was there a particular moment in the first five episodes that surprised or delighted you?

The sequence, I don’t know if it was a dream, with Cooper and the blind woman in the room—I feel like I could watch that 27 times and I would still be seeing new things. All the visuals at the top of Episode 3, with the purples and the ocean, was David Lynch getting to really express himself with support and with resources. And so there’s the comical and the meaningful and the Easter eggs people talk about. But that one sequence had my jaw, like, on the floor. Like wow, David. I was so proud of him and amazed. He’s such a humble, lovely person, and it’s just been so many years—and now seeing him finally get to fulfill his purpose and give this to the world is really something. And then, of course, for me the other incredibly significant thing is seeing [the late] Miguel [Ferrer] again, and remembering him. I can’t say that any of it hasn’t been a delight, because so many parts of it are just simultaneously sweet and awkward and expansive and ridiculous and it’s all covered in the Lynch patina.

What do you make of the fans who want to brand you as the new Agent Cooper?

I stopped reading everything because, you know, I was going to take David’s advice. Because I am not prepared to delve into everyone else’s ideas and thoughts about Tammy. I can’t speak for how David does it, but I think he’s pretty insulated from a lot of the noise, you know, about what the world is saying. But as far as being the new Cooper, I think Tammy and Cooper have a lot in common as far as just really, really wanting to be great F.B.I. agents and being studious and very curious. I think that I would say, you know, maybe Cooper is more open in some ways, and Tammy’s still learning to be open. But I think there can only ever be one Cooper, and I think as far as that’s concerned, Tammy would very much respect and admire Agent Cooper—yet want very much to be known as Agent Preston and find her own way.

I wanted to get your read on one Agent Preston scene at the end of Episode 4, where she walks away and the camera follows her as Agents Cole and Rosenfield look on and comment on her appearance appreciatively. What does that mean for you?

I have to admit—I’m personally kind of also a lover of the feminine form, and have almost, like, driven off the road looking at a woman on a bicycle. I have the same thing within me. And so when I was reading the script, you know, and Tammy walks off, I was like, “Oh my God, I get to walk off?” It never occurred to me that people might take it in a different way. I myself have always had really great father figures and personal, sensual, healthy relationships in my life and with myself. So I thought this was just a sweet moment. Tammy is such a badass, and is also dressed a certain way. She may be sensitive to her power as a woman, but her power as a woman is not what is at the forefront of who she is. It’s the power of her mind, and how she can figure things out and work a room. She’s just kind of built how she’s built, and she knows what she knows, and it all works together to be, you know, a pretty powerful force.

And I think women get to appreciate the human form, and it’s not seen as being lascivious or objectifying. Like maybe if there was a man who was ogling a beautiful woman—like I do sometimes—it might be taken the wrong way, but because I’m a woman who sees it as like appreciating, you know, art of a form. I see it as a compliment. At the end of Episode 4, it was like a bunch of concrete, and then you’ve got a woman walking away. Seemed like the natural thing to do, but I’m kind of a weirdo.

Are you a longtime fan of Twin Peaks?

My relationship was definitely with the original airing. Even though a lot of the nuances and sophistication was definitely over my head, what I did get was how the music connected to the visuals and, in particular, the theme song was expansive for my little bean. So that was a really precious association that I had with David’s art.

And you recently covered Julee Cruise’s original Twin Peaks theme song, “Falling.” How did that come about?

No one knew much about the new Twin Peaks, but in my mind, there was going to be a different theme song. I just figured David would make a new one. So I was inspired by this Guardian article, which made me realize that “Falling” came first, and the theme music for Twin Peaks was taken from the song. I always thought it was the other way around. So I thought I’d give my respect the only way I knew how, which was with my voice. And this is all happening before the show was out. This producer, John Fryer, made this beautiful, dark, very somehow cold but inviting track out of it, and it turned out to be very reflective of the mood of the new Twin Peaks. But this was nothing to do with the revival; it was just an homage to the song that captivated me as a child and made out of reverence for Julee Cruise, Angelo Badalamenti, and David.

And now you’re releasing a new album, We Dissolve, in the eye of the storm of Twin Peaks. How does this experience differ from your previous album releases?

Well, all of this happening at once was of course to some degree by design. But I don’t know that I was fully understanding what that would look like. You know, you’re doing all this administrative stuff, and I own the record label, and I’m also tour managing for my upcoming European tour, and preparing the live show as well as all the press. I’m sometimes overwhelmed, to the brink of tears—but I’m growing because if it. I think part of that is what David has imbued in me, because I see him do everything he does with such grace. And I see the tools that he uses to do it, which is the meditation. I don’t know how I would have done all of this without the meditation, because when you are on the brink and you’re like, ‘Okay, it’s either six Valium or TM [transcendental meditation]. Okay, I don’t have a Valium, so let me go ahead and meditate so that I can keep going.’ Without that, I would be probably somewhere in the stratosphere like a basket case. I mean, it’s a little silly, but every time I think that I can’t do it, I can. And that’s been a pretty remarkable thing to feel about myself. Maybe it’s Tammy. She’s helping.

link (TP)

[arthur-recaps]

I apologize for skipping recaps for the last two weeks but I am starting a new job and have been working late to reach out in my network to find my replacement and finish up my projects to make things smoother for my replacement. My new job starts next week and I will hopefully enter my groove again. Just to be safe, I am queuing up another recap to run next Tuesday as well.

Arthur surmises that the world can be divided into things that adults like and things that kids like. He thinks about the time Jane and David took him to see the foreign film Il Straneri, which was apparently about two people who never meet but throw coins in the same fountain. Arthur is confused as to why his parents think it’s such a great movie and I got to tell you Arthur, some day you will be an adult and still not get why other people like things. I think House of Cards is overrated but there’s a bunch of people who want to give that show a bunch of awards.

Similarly, modern art can be hard for kids to understand. All they see is the same scribbles and shit they did back in kindergarten and here’s some 30-year old person getting paid thousands of bucks to do it on a bigger sheet of paper. Arthur is skeptical of the praise Muffy gives to a painting and she admits that she doesn’t like it but her dad does so she wants to give it a try.

Ed announces that he has bought the painting and it will be installed in Muffy’s room. It’s not the ugliest thing in the world but if Ed really liked the style, he could have just gone down to the local Hobby Lobby, picked up some paints and canvas, and let a four year old go to town.

Am I wrong?

It’s morning at Chez Crosswire and Muffy is presented with concert tickets on her plate. She thinks it’s for the Tween Dream concert but Ed explains that the opera is playing his favorite, George Bizet’s Carmen, and he wants Muffy to accompany him. Side note: it’s been very much implied that the Crosswires are “new money”, especially with Ed’s job as a used car salesman but I like that he has “sophisticated” interests like the opera. I totally did not see that coming from a guy who uses car euphemisms when coaching the kids’ soccer team.

Muffy is a little bummed that the tickets aren’t for something that she’d like, but she hints to Ed that she’s going to need an outfit and he promptly hands over fifty bucks. I need Muffy to teach a class on how to become a sugar baby and swindle rich men out of money.

Muffy takes Francine and Prunella to go shopping with her and give opinions on outfits. Prunella declares that opera is nothing more than “people in silly costumes in a language you don’t understand” and Muffy brushes it off, saying that maybe Prunella isn’t sophisticated enough to appreciate it. Prunella snottily replies that she’s actually been to an opera and it was boring as hell, thank you very much. She also bets that Muffy will fall asleep before the overture.

To add insult to injury, Francine tells Muffy that the dress she’s trying on makes her look like a rice pudding.

Well, if your girls won’t tell you the truth, who will?

Muffy decides that perhaps it would not be a bad idea to listen to some opera before she actually goes to get an idea of what it would be like. She asks Bailey if he knows anything about opera and he responds by singing a selection from Wagner’s Ring Cycle.

Show-off,

Muffy is not impressed by her chauffeur’s Italian singing (Which she should be! How many people can sing like that?!) and does not like the idea of sitting through four hours of that. Then Bailey adds that opera lengths vary; Ring Cycle lasts for sixteen hours.

Muffy’s reaction:

Ed tucks Muffy in for bed and tells her that he can’t wait to go to the opera. Muffy dreams that they are at the opera, watching what the Arthur Wiki tells me is a mishmash of  Rossini’s The Barber of Seville and Wagner’s Die Walküre, which is pretty impressive since Muffy doesn’t know jack about opera. In her dream, Muffy falls asleep during the show and her snoring is so loud that the whole theater, including the singers, stop to look at her. She wakes up and tries to applaud the show, calling, “Bravo!” Then she realizes the show still isn’t over and sits down, embarrassed.

At school, Francine suggests that Muffy just tell her dad that she doesn’t want to go so Muffy can stop worrying about whether she’ll like it or fall asleep. Muffy insists that she can’t because Ed is really looking forward to seeing the show with her. Francine asks what the opera is about and to their surprise, Binky interjects, describing Carmen as “professional wrestling” set to great music. He invites Muffy to come to his house after school to listen to the CD and gives her the basic plot: Don Jose is a soldier who falls in love with gypsy Carmen. He quits the army and leaves his fiance and becomes a bandit to be with her, but then Carmen falls in love with a bullfighter and leaves Don Jose.

As she listens to the music, Muffy pictures herself and her friends as the characters. Now, I know most of these voice actors are kids, but they don’t really have a strong set of pipes. Nevertheless, I like how the writers have reworked most of the plot details of Carmen to be more family-friendly. For example, Prunella and Francine work in a gum factory instead of a cigarette one and the soldiers sing for Muffy to let them take her to the opera, instead of asking her to choose a lover. Muffy sings back that she prefers boy bands and thinks the opera is “for tired old fools” and “soldiers who make minimum wage.”

Ouch.

Still, Binky, in the Don Jose role, literally drags Muffy to the opera against her protests. Then Rodney Gilfrey comes down on a flying bull and encourages Muffy to give opera a chance. Muffy immediately becomes more enthusiastic and runs after Rodney, much to Binky’s anger. He sprinkles sleeping powder on her so she’ll sleep through the show but he overdoes the dosage and she presumably dies.

Side note: I was very surprised to see that Rodney Gilfry is a blonde white dude because his animated version made me think he was black or at least, very tan. Observe:

Anyway, Muffy comes out of her daydream and tells Binky it was amazing. He is surprised because she slept through the whole show and snored.

Muffy worries that she is hopeless.

Muffy is even willing to return the gorgeous dress she bought so she doesn’t have to go the opera. She admits to her mom that she doesn’t like opera but Mary Alice convinces her to give it a chance. She tells Muffy that she didn’t like opera either and now it’s one of her favorite things. Muffy counters that it probably helps that Mary Alice is a grown up so Mary Alice gives her a pair of opera glasses, saying that the opera is more enjoyable when she can see the actors’ expressions.

Muffy is still apprehensive about enjoying the opera when she finally goes but just like Mary Alice predicted, she really likes the show! She even tears up at the end when Carmen dies. I’m not tagging this as spoiler because a 200-year old opera and there was even a version with Beyonce so we should all know what happens by now.

At the end of the episode, she is seen telling Francine over the phone that she is going to see an opera is Crown City and supervising Bailey hang up a framed autographed poster of Rodney Glifry.

It’s lights, camera, and opera for that other shitty painting.

Grade: A (This was very well written and well paced and I liked that the writers took the time to insert so many little details about opera in Muffy’s fantasies. I also like that the lesson here is for kids to take a chance on things they think are too adult and “boring”, but other than that, there really wasn’t anything that set me on fire her. It was a good, strong episode but it wasn’t amazing enough to be an A+. I can tell you that I’m a little divided on the dig Rodney Gilfry sang about Tween Dream being “teeny bopper trash.” I mean, Tween Dream probably is going to go down in the Music Hall of Fame but I don’t really like that whatever girls like, especially very girly girls like Muffy, must be trashy and unsophisticated. I mean, the Spice Girls and *NSYNC and The Backstreet Boys really had a big influence on kids even if they aren’t as artistically complex as The Beatles, who by the way, had a huge teen girl fanbase in their early years. That’s the only problem I had but I swear it’s not what prevented this from being an A+. I think if they wanted to get a +, they could have tried a little harder with the songs in Muffy’s fantasy. The rhymes and singing were really basic and even Rodney Gilfry could only elevate it so much.)

Rating: 79% intense. The opera is intense.

  Will Muffy like the opera? It's not over until the fat lady sings! #ArthurRecap I apologize for skipping recaps for the last two weeks but I am starting a new job and have been working late to reach out in my network to find my replacement and finish up my projects to make things smoother for my replacement.