#florian storyteller

[livesunique]

Saint Priest la Roche Castle,

Saint-Priest-la-Roche, Loire département, France,

@florian_storyteller

[addictedgallery]

Get Your Art Fix!

"I happen to be very confident in my own skin. It takes time to get to that place, but it’s all about embracing yourself and your body," ~ Christina Aguilera

"SKIN, New York, USA" by Florian Innerkofler, 2023

Series: SCULPTED

Arty-Fact: "I am fascinated by Greek and Roman historic marble statues. The idealised physique of the male and female body was and is a constant inspiration. The perfect chiselled shapes and proportions. The smooth skin. It is an ideal 3-dimensional mapping of the human body.

"Through layers of pastel colour blocks and the monochromatic black and white image, I wanted to approach this world with a more contemporary look. I also incorporated a multi-exposure layer, which shows the black-and-white photo in different graduations and densities. This is a classic darkroom technique where you would do exposure strips with various exposure times to find your perfect combination of time and light to expose the final image. It is a strip exposure technique.

"Combining classic human body shapes with the double layer of exposure and colour blocks is a new chapter in my photographic storytelling." ~ Florian Innerkofler

See It On Your Wall

[goodqueenaly]

Absolutely here for the way Sansa turns from using the story of Prince Aemon and Queen Naerys to idealize Joffrey (and, so she believes in that moment, her love for him) to using the story of Aemon and Queen Naerys to defend someone against Joffrey's abuse

Sansa first cites the romanticized history in AGOT, as the royal party travels near the ruby ford back to the capital:

The way he had rescued her from Ser Ilyn and the Hound, why, it was almost like the songs, like the time Serwyn of the Mirror Shield saved the Princess Daeryssa from the giants, or Prince Aemon the Dragonknight championing Queen Naerys's honor against evil Ser Morgil's slanders.

If Sansa's history is generally right here (at least regarding the verifiably historical figures she references), her allusion fails to accurately reflect her own situation. Far from Prince Aemon defying his royal brother's clumsy attempt to invent an almost certainly untrue accusation against their queen-sister by offering to stand as her champion in a trial by combat, Prince Joffrey had only followed the directions of the queen herself to go to Sansa, and later spend the day with her. Nor does either Ilyn Payne or Sandor Clegane really fit the role of Morgil Hastwyck, who had openly denounced the queen as a traitor and participant in an extramarital affair with Aemon himself: Joffrey in fact brags to Sansa that Sandor is his "dog" (or, as he allows, his mother's dog), obedient and "ever faithful" to the prince's command, and if Sandor had made a dry joke about the Stark direwolves, neither he nor the unwillingly mute Ilyn had actually falsely accused Sansa of anything, much less a crime for which the penalty was death (as Naerys had been accused). Indeed, though Sansa could not have known it in this moment, it would not be Joffrey who, Aemon-like, would intervene to save the life and honor of Sansa by confronting an antagonist knight in single combat, but Joffrey who would himself direct Ser Ilyn to crush and traumatize Sansa via the order for her father's head; likewise, it would be Sandor Clegane, very pointedly not a knight, who would intervene to help Sansa, as Joffrey gloried in the killing of Ned Stark and directed another one of his knights to abuse Sansa.

Later in AGOT, as Sansa still believes she loves Joffrey, she again uses Naerys and Aemon’s (supposed) romance:

"I love him, Father, I truly truly do, I love him as much as Queen Naerys loved Prince Aemon the Dragonknight, as much as Jonquil loved Ser Florian. I want to be his queen and have his babies."

Here, however, Sansa's allusion to Aemon and Naerys even less resembles the real-world history, much less her own situation. If Aemon and Naerys really did love one another (and I think they did, putting aside the very obvious criticisms of Aemon's position in the Kingsguard relative to Naerys' woeful position as queen), I definitely do not believe they ever engaged in a sexual affair, much less that the future Daeron II was the product of such an affair. (In fact, it was Naerys who had approached her father to prevent the marriage and her brother to end it after the birth of Daeron - hardly an auspicious example for Sansa.) To be clear, Sansa is I think only repeating the romanticized tale passed down by singers and storytellers for the better part of 150 years - yet even without a true sense of historical accuracy, Sansa's citation to Aemon and Naerys little supports her actual relationship with Joffrey. Indeed, far from the beau ideal of chivalry which Aemon the Dragonknight has come to represent in Westerosi culture, Joffrey instead more closely resembles Aegon IV - abusive, cruel, and hateful, eager for any humiliation great or petty (and especially sexual) which he could inflict upon his betrothed, much as Aegon had done toward Naerys. The story of Aemon and Naerys persists in Westerosi culture, moreover, in no small part because it is a doomed and tragic romance - an impossible love which neither queen nor prince could satisfy in their respective positions, clouded by a suspicious, malicious king. If Sansa had wished to cast herself and Joffrey as perfect lovers destined by their love to be together, her choice of story accomplishes precisely the opposite; to the extent that she and Joffrey will resemble this story, it will be with Sansa as the miserable princess doomed to marry the king and Joffrey as the king who causes her such misery.

So in ACOK, well aware of Joffrey's sadism and patterns of abuse, Sansa again reaches for the example of Aemon and Naerys - not, though, to laud Joffrey, but to support another against him:

Prince Tommen sobbed. "You mew like a suckling babe," his brother hissed at him. "Princes aren't supposed to cry." "Prince Aemon the Dragonknight cried the day Princess Naerys wed his brother Aegon," Sansa Stark said, "and the twins Ser Arryk and Ser Erryk died with tears on their cheeks after each had given the other a mortal wound."

Whatever the historical accuracy of her statement - Yandel reporting that "[t]he singers say that Aemon and Naerys both wept during the ceremony, though the histories tell us Aemon quarreled with Aegon at the wedding feast, and that Naerys wept during the bedding rather than the wedding" - Sansa seizes here on a pointedly apt moment from the story of Aemon and Naerys, as a direct counter to Joffrey's sneering criticism of his brother. Just as the occasion of his sister's marriage had (again, so the singers relate) been the cause of brother Aemon's tears, so now Tommen weeps to see his own only sister depart for her marriage. Nor does the parallel end there: here again, as in the days of Aemon and Naerys, are there three royal siblings, two brothers and a sister - and if neither Myrcella nor Tommen are exact duplicates of Naerys and Aemon, both live in shadow of an abusive and cruel eldest brother. Sansa takes the opportunity of Joffrey's attempt to hurt and demean Tommen by providing so admired an example of Tommen's very conduct. If even Prince Aemon the Dragonknight, popularly beloved for his (apparent) chivalry, bravery, and nobility, could have been seen to weep at his sister's nuptial parting without losing any of his celebrated standing, then how could Joffrey, so Sansa argues through this allusion, criticize Tommen in nearly the exact same circumstance? Just as Sansa had used (invented) singer mythology to defend Dontos Hollard from Joffrey's brutality, so now she cites the legend of Prince Aemon, preserved in song, to stand up for Tommen against the same.

[fandomshatepeopleofcolor]

If you are interesting in Roma storytelling, check out this podcast!

Also, check out Florian, a Romani youtuber:

[practically-an-x-man]

Vivienne Andenæs

(picrew is here for her human and siren forms, moodboard by @negative-speedforce, faceclaim is Rianne Von Rampaey)

Full Name: Vivienne Siversdatter Andenæs Pronouns: she/it (femme-presenting nonbinary, pansexual)

Nicknames: Vivienne Copanczik (first husband), Vivienne Wojchek (second/current husband), siren, she-devil (jokingly) Pet Names: rybko (little fish), żabko (little frog/froggie), perełko (pearl), serduszko (sweetheart) [Polish pet names from Wojchek]

Relevant Tags: #oc vivienne

Birthday: Somewhere in the early/mid 1800s Age in Chapter One: Appears in her 30s, but its real age is unclear

Universe/Fandom: Last Voyage of the Demeter (movie)

Physical Traits: - Human form: 5'10", extremely slender build. Has wavy red hair (usually tied back or braided) and extremely pale eyes, a tall oval-shaped face with strong cheekbones, small nose and lips, and a scattering of freckles across her cheeks. Often wears modest clothes befitting her time period, her wedding ring on a chain around her neck, and a drawn or stoic expression. - Siren form: Standard details such as the shape of its face do not change, however its eyes appear even paler to the point that it appears to completely lack an iris (just the pupil, and a bluish sclera around it). Its skin also appears faintly blue-tinted, like the ice of a glacier, and shimmers with the impression of iridescent scales. Below the waist, has a long purple-and-red tail akin to a betta fish, about 1.5x her height in length. Has the same purple-and-red fins along its forearms, webbed fingers, and small gills under the base of its jaw. Wears minimal clothing as it would inhibit its swimming, usually restricted to a loose skirt around the base of its tail, and the same wedding ring on a necklace.

Character Traits: Polite and reserved while on land/in her human form, though much more outgoing and boisterous while out at sea. When not restraining itself, it is outspoken and friendly if slightly off-putting (mainly thanks to its siren nature), shrewd, and surprisingly generous once she takes favor of someone. Enjoys the feeling of community, such as rallying the crew with a sea shanty or weaving tall tales about her past travels.

Relationships:  - Family: Siver (father, implied, she doesn't share about her family much), other sirens ("sisters" through the power of Poseidon) - Friends: N/A - Romantic Partner: Antoni* Wojchek (current husband), Florian Copanczik (first husband) *he's not given a first name in the movie, this is the one I chose for him

Additional Information: - Originally from Norway, but has spent much of her life at sea - Can switch between its human and siren forms at will, though the presence of water does influence its transformation (i.e. it is difficult if not impossible to remain human while submerged in water, and difficult to shift to her siren form when away from water) - Her first husband was also a sea captain, and taught her everything she knows about sailing and rigging a ship - Became a siren after her first husband cast her off his ship and left her to drown - Poseidon showed mercy on her and made her a siren, with the promise that she would never again marry a captain of the sea ^ MOVIE SPOILERS AHEAD - this promise becomes a self-fulfilling prophecy, as she marries Wojchek but he dies before officially becoming captain of the Demeter - Does have a siren-song capable of a sort of hypnosis, though is also able to speak and sing without using it. - Would be deemed nonbinary by modern standards, though its historical context hinders its expression - Its identity as a siren acts as a metaphor for historical nonbinarism - on land, she is constrained by society's expectations, while at sea it is free to be itself - Enjoys storytelling, and Wojchek has tried to convince her to write a book - Because its tail is so long and unwieldy, often needs assistance transitioning from water to land, and will sometimes just hang from the prow of the ship to speak rather than attempting to climb onto the deck

[asexxxualauthor]

Listen, all I’m saying is that Gen 5 gave us the biggest change in the series yet, and that was aging up the protagonists.

When Pokémon first started out, it was a fun, light-hearted story of little kids befriending monsters—like My Neighbor Totoro if Totoro was a street fighter. It was Ghibli-esque, in the sense that the world was bright and fun and beautiful, and children were the hope for the future, facing down comical villains not for any personal reason but because it was the right thing to do. And that theme carried the series for a time, but when discussions of Gen 5 started to make their way out, the two big notes were that it was going to be a soft reset of the series, and that the story would be more serious this time around.

Suddenly, as if a switch had been flipped, the world of Pokémon became more layered and grounded. This wasn’t just the lighthearted optimism of Ghibli—no, this was stark, serious Shonen storytelling. Where before we had cartoonish villains with ill-planned ambitions, there was now a team with a truly compelling mission— “save Pokémon from abuse”—and how that mission got twisted by corrupt individuals, and how idealism could be used as a tool by those with power. How even good intentions can lead to disaster when puppeteered by a villain. It was everything it set itself out to be, and more.

And to fit that heavier, more mature story, the characters were aged up to match. Hilbert and Hilda, the main characters, and their friends Cheren and Bianca are canonically 16 years old, and the antagonist N is about 20. These aren’t children having fun with the big friendly Snorlax they befriended in the woods—these are teens, young adults, who see injustice in the world they traveled out into and decide to stand up and make a difference, becoming national heroes in the process. While past villains were defeated quietly and anonymously, this time the whole of the Unovan League knows what you’ve done, and how hard you fought to save the region.

This game was very much made for a specific group of fans—the young teens who had been in love with the series since the first remakes, and were now stepping into a world that was scary and unknown. It was a story of community, of uniting with others in the face of oppression, and holding tight to your ideals, your dreams.

And it did so with a protagonist about the same age as its most ardent players.

No other game in the series has been able to match the drama and spectacle of Black and White, but the effects from it have certainly lingered. The drama of Lusamine’s grief, the spectacle of Galar’s Pokémon Championship, the awe and wonder of Area Zero and its mysteries—each are glimpses of the Pokémon Company trying to recapture that lightning that left the bottle. But the most telling and most undeniable ripple leaving Gen 5 are the ages.

Where once pre-teen protagonists were the norm and rule for Pokémon games, now they are the exception. Gen 6’s Calem and Serena are clearly meant to be in their early teens—a little younger than the Gen 5 crew but still older than the past protagonists before them. Gen 8’s crew of Gloria, Victor, Hop, Bede, and Marnie are all in their mid-teens. Rei and Akari—or, rather, Lucas and Dawn—in PL:A are stated to be 15 in-game. And while there is no clear age given for Florian and Juliana, the vibe of Scarlet and Violet as a whole is very much that of a Middle or High School, with Nemona and Arven clearly being a few years older.

Pokémon isn’t just the silly idealism of childhood whimsy—it’s a game for everyone, young or old. It has always been that sort of game, but it took the shonen-ass energy of one generation in particular to make that absolutely clear.

[sugaldean]

You know what? I had enough

Justice for Prince Philip in Sleeping Beauty (Disney)

I am not talking here about what the message the media brings to young people about needing a man, how love works etc. Those discussions exist, are known, etc.

I want to talk about all the hate I see for the poor guy whose worst crime is to be a part of an old story. In general Disney Princes get way more hate than they should but I'll tell about it another time.

So from a strictly storytelling perspective.

You are a child, you are brought to a baby a tout dad say : you will marry her one day.

As a child you are very unimpressed but luckily horrifyingly there's a curse of something and the girl disappears.

You then go on with living your life for 16 years, riding your horse, not thinking for a second about your arranged marriage because come on? No one has seen this girl, she might be dead for all you know.

One day you are riding your horse, apparently you are getting married tonight ? Anyway. And then. You hear her. A siren, the most beautiful, almost unreal voice.

And then you see her, she's everything you didn't even know you wanted. And she likes you back, so you want to see her again, so does she.

You've never wanted anything in your life. But you're getting married tonight but you simply can't cause you want her and nothing else. You also promised to meet her tonight!!

So you go but things get weird really fast now. You are captured by the witch who cursed your bride-to-be. You understand that the girl you feel in love with is the girl you were supposed to marry!! And only true love kiss can save her and the kingdom.

Thank god the three fairies help you escape, kill the witch, get to the tower.

So now you are here. On top of a tower with the woman you met today but you know she's the love of your life. You know the only way to wake her up is to kiss her (messed up parameter we all agree but what can he do about it?).

So you do! OF COURSE YOU FUCKING DO

Anyway. I love him, I love prince charming in cinderella (3) and they don't deserve to be put in the same bag as Florian.

[simmie-stories]

Gen 2. Cinderella #13 Ella's Pre-teen Debut

Child Aspiration: Artistic Prodigy complete (+Creatively Gifted) Teen Aspiration: Lady of the Knits (+Muser) New Trait: Neat (she's going to need this...), High Self-Esteem Title: Princess -> Princess Royal (once Florian is crowned King)

In this particular monarchy (and I don't know much about royal successions), next bloodline kin is heir as long as at least young adult, simply for storytelling purposes. I don't need Ella to be Queen of Tartosa since she marries another Prince and I get tired of living in the same world too long... so Soren will be Crown Prince.

Father and Daughter spent the day of Coronation taking photos:

(She reminds me of classic Barbie...)

New Custom Content Twisted Cat Lashes NO2 @miikocc hair

Main Back Next

[semper-legens]

189. Salt to the Sea, by Ruta Sepetys

Owned: No, library Page count: 378 My summary: Emilia. Florian. Joana. Alfred. Four young people from different lands, all thrown together in the chaos of the Second World War. East Prussia is being evacuated. Desperate people are fleeing the country to the ships promised to take them far away. But disaster is lurking on the horizon. When it's every person for themselves, who will live and who will die? My rating: 3/5 My commentary:

I thought I'd never read this book before. And yet, when I got about 50 pages in, it started to seem familiar - strangely familiar. I've read a couple of Ruta Sepetys' books before, namely I Must Betray You and Out of the Easy, which I haven't covered here. The former I didn't like, the latter I actually enjoyed. This is one of her earlier works, though not the earliest - it's apparently something of a sequel to a book called Between Shades of Gray, which I'm 90% sure that I haven't read. To its credit, I don't think not having read the earlier book hampered my engagement with this one. But less charitably…I wasn't all too keen on this one, it has to be said. While it wasn't bad in and of itself, I found it to be sensationalist and simplistic, and overall didn't quite live up to my expectations.

This story is about the Wilhelm Gustoff, a ship that was meant to be evacuating refugees from East Prussia during World War Two, but was sunk by Russian torpedoes, killing roughly nine thousand of the ten thousand people aboard. The story follows four teenagers - pregnant Polish girl Emilia, Lithuanian nurse Joana, Prussian boy Florian, and Nazi recruit Alfred. More on them later. The story follows the refugees as they travel to the ship, and the trials they face along the way, then ends with the sinking of the Wilhelm Gustoff. There's a lot of promise here - the chaos towards the end of the Second World War, the point of view of civilians from Eastern Europe which isn't so often told, an eye on a historical tragedy which the average reader might not have heard about.

But everything here was just a little bit too simplistic. Alfred's parts of the story kept hammering in how cowardly and weaselly and pathetic he is, Emilia's chapters made her seem like a saint, Florian's angst and brooding over how he's totally gonna be killed if he gets found out really doesn't fit the crime he's committing, and Joana's past is ill-defined and her story focuses more on her relationship with Florian. It's obvious that Florian and Joana are going to be the survivors. Emilia is too innocent, and Alfred is too bad. Even factoring in the extended cast - blind Ingrid is the first to go, then rude giantess Eva, then the sympathetic Shoe Poet. The child survives, because he's an innocent in a much purer way than Emilia. It's basic storytelling, and once that who's-going-to-make-it tension is gone, there really isn't that much left in the narrative to write home about.

And the narrative style is just too overblown for me. Every chapter is screaming look I've got secrets am I not the most mysterious thing to you, to the point where it just gets annoying. And the secrets themselves aren't all that shocking. It doesn't take a genius to guess that Emilia is a fantasist and the child she's carrying was concieved after an assault, or that Alfred's apparent sweetheart Hannelore isn't actually his sweetheart, and that he turned her in to the Nazis. Florian's whole thing, that he's carrying a small part of the Amber Room in defiance of Nazi Gauleiter Erich Koch, isn't all that compelling either. I was assuming he was involved in some anti-Nazi action - while this is technically anti-Nazi, it's hardly lifesaving revolutionary work. Joana, meanwhile, the audience is expected to be familiar with, which means I couldn't get much of a read on her. It's so disappointing, this could have been really good, but I was just taken out of it at every turn.

Next, three brave girls escape captivity in Australia.

[treasuredmomentspkmnrp]

Treasured Moments: Pokemon Violet RP

Image Source

Welcome to Paldea: the home of endless shenanigans!

We are an 18+ SFW literate roleplay group set after the events of Pokémon Violet! You can play an OC or canon character from any region. We are a highly active community focused on telling engaging stories and having fun. We offer in character chat rooms, literate roleplay threads, collaborative storytelling, engaging server wide events and a friendly community.

Current canons we are looking for (Not limited to these, these are just currently being looked for!)

ACTIVELY REQUESTED CANONS:

Violet - Geeta, Rika, Ryme, Tyma, Hassle, Kofu, Katy, and Florian (NPC)

Violet Team Star members - Eri, Ortega, Mela, Giacomo, and Atticus

Sword and Shield - Opal, Sonia, Gordie, Peony, Peonia, Marnie, Kabu, Melonie, Nessa and more!

Sun/Moon - Plumeria, Lillie, Hau, All Trial Captains, and Skull Grunts

Heart/ Silver (Crystal) - Ethan/Hibiki (NPC), and Lyra/ Kotone (NPC)

FireRed and LeafGreen - Daisy, and Blue (NPC)

Black and White - Hilbert, Bianca, Cheren, and more!

MC REQUESTS

MC from B/W (Either) MC from B/W 2 (Either) MC from Kalos (Either) MC from Sinnoh (Either) MC from Hoenn (Either) MC from Galar (Either) MC from Alola (Either)

SERVER PREMISE/STORY

Three months after the events of Pokémon Violet, life has returned to normal. School is in session, the league is back to work and all the residents of Paldea have returned to normal life. Things are going well until sightings of strange robotic Pokémon start pouring in. At first, the places were localized to areas and towns around the crater, but soon enough, the problem had spread to all corners of Paldea.

Top Champion Geeta sent out a call for assistance from all corners of the Pokémon World, calling for scientists, professors, and trainers alike to make way to Paldea and lend a hand. With the influx of new and interesting people, the paradox Pokémon running amuck, and Paldean residents dealing with all the changes happening there are sure to be shenanigans in store for all.

OUR SERVER FEATURES

Entertaining little Server and Fun Emotes!

Flexible and fluid timeline so you can fit in any character you desire OC wise, given it fits into Pokémon lore and the timeline, and play any canons we currently have open.

Multiple "factions" to be a part of! You can be a student, teacher, trainer, champion rank, and so much more!

Mini events to inspire activity between players on our server! From small interactable things like Carnival to Valentine's Day shenanigans where fairy Pokémon must be wrangled up!

We always welcome wiggling in a plot and seeing where it takes the story!

In-Character text channels & social media channels.

LGBTQ and Diversity inclusivity - IC and OOC! 

You can play canon characters from any game. We are also OC friendly!

And much more to come in the future! Always updating and improving!

Click here to join our discord server today!

[freaxs-blog]

Let's dive into the captivating world of Dido and her song, "White Flag"! 🕊️

Born Florian Cloud de Bounevialle Armstrong, Dido's journey to music stardom is as unique as her name! She grew up in London, surrounded by music thanks to her literary agent father and poet mother. Her nickname, "Dido," was taken from an African warrior queen in Virgil's Aeneid.

Dido's soulful voice and storytelling abilities led her to a career in music. She began her journey as a background vocalist for the UK electronic band Faithless, gradually finding her own path.

Did you know? Dido's brother, Rollo Armstrong, was a founding member of Faithless, further cementing her connection to music.

Her debut album, "No Angel," was a massive hit, propelled by the timeless track "White Flag." Dido's soothing voice and emotional lyrics struck a chord with listeners worldwide, making her a household name.

Dido has collaborated with some incredible artists, including Eminem on "Stan" and A.R. Rahman on "If I Rise," showcasing her versatility in the music industry.

This hauntingly beautiful song is about love, vulnerability, and the willingness to surrender to someone you care deeply for, even when they've hurt you. The white flag symbolizes a truce, a plea for reconciliation in the face of emotional turmoil.

"White Flag" is part of Dido's album "Life for Rent." Released in 2003, this album explores themes of love, loss, and the complexities of relationships, resonating with many during its time and still today.

Now, hit play on "White Flag" and immerse yourself in Dido's enchanting world of music! 🎶

[lidensword]

Battlecry (Two Steps From Hell)

Cinematic Compendium (Adam Saunders & Mark Cousins)

In Memoriam 1914-1918 (Arapà)

Appalachian Journey (Edgar Meyer & Mark O'Connor & Yo-Yo Ma)

Dream Once Again (Florian Bur)

Storyteller (Secret Garden)

and many more...

[addictedgallery]

Get Your Art Fix!

"It is most difficult to acquire the, how shall I say? the 'depth' of a subject in composition in silhouette." ~ Ugo Mochi

"BWB Silhouette" by Florian Innerkofler, 2022

Series: Black White Black

Arty-Fact: “My Black White Black series explores the balance of negative and positive spaces reduced to monochromatic images.” ~ Florian Innerkofler

See It On Your Wall

[ear-worthy]

Behind The Song Podcast: Classic Rock Tunes For All-Time

A podcast about music is a natural extension of an audio journey through a song, album, or playlist. Although music videos are popular, music is still primarily a sonic experience. Therefore, there exist music podcasts for even the most arcane genres—Christian heavy metal, paranormal C&W, steampunk synth pop.

Fortunately, the Behind The Song podcast swims in safer sonic waters — focusing on classic rock songs. The podcast is produced by a Chicago-based classic rock station, WDRV97.1 FM, “The Drive.”

Since I’m not from Chicago, I checked out WDRV. It is a commercial radio station licensed to serve Chicago, Illinois. The station is owned by Hubbard Broadcasting and airs a classic rock format. The station’s predecessor, NIB, was founded and built by Bill Florian. The call letters stood for Northern Illinois Broadcasting. The station began broadcasting in 1955, and had the slogan “Chicago’s FM Voice of Variety.” It primarily broadcasts jazz, show tunes and easy-listening music. In 2001, the station’s call sign was changed to WDRV, and the station adopted a classic hits format as “The Drive.” The station was sold, along with 16 other stations, to Hubbard Broadcasting in 2011.

Over the years, The Drive’s format evolved into a broad-based classic rock format

Hubbard Broadcasting started Behind The Song in September 2018, with its first episode focusing on David Bowie’s hit song Heroes. Many will recognize this song as the ending of the 2000 Keanu Reeves—Gene Hackman football movie The Replacements.

Here’s the podcast marketing pitch: “Dig deep into the lyrics of classic rock songs and the storytellers that created them in Behind The Song, a podcast by The Drive’s Janda Lane. Hear what was happening behind the scenes while some of the most iconic songs in rock history were being written.

And Lane polished her rock and roll credentials along the way.

“The podcast infrastructure at Hubbard is great, so that was there already,” Lane says. “I wanted to do a podcast, and I had this thought of doing something with music. But it’s difficult to do a music podcast because you can’t use the music without getting the rights.”

Lane then reveals her secret weapon — her husband, Christian.

“He’s a musical genius and can reproduce any song he hears. It’s not 100% like the song, but has the right sound or feel. As for the subject of the podcast, every song tells a story — especially through its lyrics. So, that’s the basis of this podcast. Telling the stories of timeless and impactful classic rock songs. My goal is to entertain for ten or fifteen minutes but also to do service to the song and the songwriter because I’m truly a fan, and I’m in awe of every single song I tackle.”

With Lane’s background, knowledge, and track record, it’s little wonder that Behind the Song has proven to be a popular podcast destination.

Here’s the format and structure of the show. First, the episodes are blissfully short and yet content-rich, at about 15 minutes. Second, Lane is an exceptional narrator who infuses drama, pathos, and respect for the creative process into her tale.

Second, Lane knows how to tell a story. For example, in an episode about Mr. Blue Sky by ELO, Lane starts by setting the scene. Band leader Jeff Lynne is in Switzerland in 1977 to write songs for the group’s upcoming album, Out Of The Blue.

Lynne arrived to a two-week period of constant rain and miserable weather, which clogs his creative muse. Then, one day, the sun suddenly came out, and Lynne found the path to write the lyrics and music to Mr. Blue Sky. Lane leaves an Easter egg for us, just as Lynne did for vinyl listeners at the end of the song, where most listeners think they hear “Mr. Blue Sky” repeated. In reality, Lynne says, “Turn the record over,” since the song ends on side three of the double album.

In the July 20, 2022, episode about Down Under by Men At Work, Lane goes beyond the uniqueness and quirkiness of the lyrics to reveal the true intention of bandleader Colin Hay, who said, “The chorus is really about the selling of Australia in many ways, the overdevelopment of the country. It was a song about the loss of spirit in my country. It’s really about the plundering of the country by greedy people.”

Lane narrates the development of the song with her usual engrossing chronicling, including the lawsuit years later.

Lane excels as a podcast host. You would think that radio DJs would naturally excel as podcast hosts with their broadcast experience, but that’s not always been the case. Lane, however, has perfect pitch for the podcast. It’s clear that the show is not only a job but also a passion, and that intensity flows into her narration.

Episodes are released every two weeks. So far, some of my favorite shows have been:

Drive by The Cars was their biggest hit, and its video sparked a long marriage between Ric Ocasek and supermodel Paulina Porizkova. However, the song touches on unusual questions.

Africa by Toto, which the group didn’t even want on the album they were making.

Do It Again by Steely Dan, their debut single, is multi-layered in meaning, ranging from addiction, violence, and rash decisions.

Check out Behind The Song. If you’re a classic rock fan, this podcast is for you. Or if you enjoy the story behind the song, then this podcast delivers.

[qnewsau]

Sydney Fringe Festival begins

New Post has been published on https://qnews.com.au/sydney-fringe-festival-begins/

Sydney Fringe Festival begins

The Sydney Fringe Festival has launched this week with a program of over 400 events and 12 festival hubs taking over the city until September 30.

The Festival kicks off with a program of unforgettable shows at the Spiegeltent Festival Garden and the newly expanded Village Green Festival Garden, plus Sydney Place comes alive on Saturday, September 7 with a one night only exhilarating live concert, featuring South Korean underground sensation MEMI.

Spanning theatre, music, comedy, dance, visual art, circus, and cabaret, Sydney Fringe Festival program highlights include events at the Village Green Festival Garden at Darling Quarter, featuring four weeks of comedy, drag and circus programming.

Highlights include musical comedy duo Otto & Astrid, fresh from Glastonbury, Die Roten Punkte, cabaret romp Leather Lungs: Shut Up & Sing! and the bewitching burlesque Something Wicked, featuring a lineup of international and award-winning artists performing death-defying acts.

The inaugural Queer Hub at Qtopia Sydney, presented by QNews, will amplify the work of LGBTQIA+ storytellers with an exciting line-up of international and local artists.

Highlights include Frankie Fearce’s acclaimed satirical show DAZZA; Melbourne cabaret star Florian Wild’s show MONSTER; and Purple Plastic Maori, singer and comedian Shalom Kaa’s autobiographical show of self-discovery, weaving together comedy, song and storytelling.

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Machine Hall will host a dynamic series of events presented by Maker’s Mark, including Just Desserts on September 27. Guests will be treated to an intimate evening of live music by Ngaiire while enjoying sweet treats by powerhouse pastry chef Anna Polyviou and Maker’s Mark cocktails, surrounded by vibrant floral artistry by ACID FLWRS.

Producer, interviewer and co-creator of multi award-winning ABC show You Can’t Ask That, Kirk Docker is set to host Feed Your Fire at Machine Hall on September 20. Featuring an evening of conversations around what makes Sydney’s cultural scene tick, participants will gather around a communal table and enjoy dishes crafted by the social enterprise Plate it Forward.

Sydney Fringe Sideshow returns every Tuesday to Sunday throughout the festival, with a program of immersive and experiential shows performed in pop-up spaces throughout The Rocks. Highlights include Dancefloor Conversion Therapy, a history of dancefloors and joyful regret by Sydney DJ Jonny Hawkins, Lola’s Piano Bar, the ultimate pop-up musical theatre club, and the Multicultural Comedy Hub at 37 George Street featuring a diverse array of comedic talents.

The Spiegeltent Festival Garden takes over Entertainment Quarter, with the iconic Sydney Spiegeltent hosting two headline shows by triple Grammy award-winning Soweto Gospel Choir.

A collaboration between ARIA-nominated DJ Groove Terminator, History of House is a celebration of dance music through the decades, while the all-new concert Hope, features a rousing program of South African freedom songs, alongside beautiful renditions of protest music from the Civil Rights Movement.

Also at the Spiegeltent Festival Garden is must-see show 27 Club, celebrating the music of Janis Joplin, Amy Winehouse, Kurt Cobain, Jim Morrison and Jimi Hendrix, performed by Australian rock royality, while circus dome The Vault is home to comedy-acrobats Headfirst Acrobatics’s multi-5-Star reviewed show GODZ and All Star Circus.

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Made in Sydney returns from 17 – 28 September at PACT Centre for Emerging Artists, with a lineup featuring two sensational Sydney-made works and six award-winning shows from the 2023 Sydney Fringe Awards.

Highlights include Voices of Joan, a radical retelling of the story of Joan of Arc through a solo performance by actor and theatre-maker Janie Gibson; Hillsong Boy, a queer holy communion musical chronicling weird and wonderful experiences of an ex-Hillsonger, The Ukulele Man, the untold story of wartime comedian and ukulele legend George Formby, and acclaimed one-woman show ENDHOE that uncovers actor and comedian Anna Dooley’s journey of living with endometriosis.

Bringing to Sydney smash-hit shows from the international Fringe circuit, the Touring Hub is back at New Theatre from September17-28. Highlights include Clockfire Theatre Co’s Plenty of Fish in the Sea, Tom Moran’s hilarious solo show Tom Moran is a Big Fat Filthy Disgusting Liar; Sh!t Theatre’s award-winning show Drink Rum with Expats; and rising star of Australian dance, choreographer-director Lewis Major’s show Triptych.

The LIMITLESS hub returns to 107 Redfern from 10 – 21 September, celebrating the work of deaf artists and artists living with a disability, while offering an inclusive and accessible space for audiences and artists to enjoy.

Highlights include stand-up comedian Loz Booth’s show Extra Ordinary, Not Dead Yet! by Crones in Cabaret, and Crips & Creeps Comedy, an inclusive comedy night that celebrates comedians who are marginalised due to sexuality, race, gender or disability.

The Neilson Studio at Sydney Dance Company will host the festival’s Dance Hub from September 26-28. Highlights include contemporary dance work Love Arena by Sydney-based choreographers Remy Rochester and Jasmin Luna; and Move FM, an eclectic assortment of contemporary dance by Sydney’s most exciting emerging artists and makers.

The Cabaret Club finds a new home at Kings Cross Hotel with a month-long program of burlesque, piano sing-alongs, musical satire, and more.

Highlights include the world premiere of Gladys: A Musical Affair, ABBAsolutely Abbey as Abbey Paige Williams explores self-discovery through the beloved music of ABBA; and back by popular demand, the interactive, inclusive, body positive production Church of the Clitori.

Immersive piano concert In the Key of G celebrates the creativity of Sydney’s city centre. Four celebrated composers have crafted unique pieces that will come to life on two pianos in the George Place foyer, with music enthusiasts and piano players from the Sydney community invited to learn segments of the compositions before performing them together on September 25.

On September 28, at the final Saturday night of the festival and official closing party, audiences are invited to join Daft Punked – The Tribute as they don their replica chromed helmets to celebrate and continue the legacy of electronic dance music pioneers.

-Visit the website for full details of all Sydney Fringe Festival events at sydneyfringe.com

For the latest LGBTIQA+ Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, Twitter, Instagram and YouTube.

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