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bizarrequazar · 3 years ago

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GJ and ZZH Updates — April 17-23

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This is part of a weekly series collecting updates from and relating to Gong Jun and Zhang Zhehan.

This post is not wholly comprehensive and is intended as an overview, links provided lead to further details. Dates are in accordance with China Standard Time, the organization is chronological. My own biases on some things are reflected here. Anything I include that is not concretely known is indicated as such, and you’re welcome to do your own research and draw your own conclusions as you see fit. A glossary of names and terms often used can be found [here]. Please let me know if you have any questions, comments, concerns, or additions. :)

04-17 → Audio from an hour long unreleased interview Zhang Zhehan did last August (pre-813) surfaced on Douban. A full text translation can be found [here]. At the time of this post QuelleVous’s team are working on a full subbed video and have released some short clips: - On his next role: [Twitter] [YouTube] [Instagram] - On becoming popular: [Twitter] [YouTube] [Instagram] - On following his heart: [Twitter] [YouTube] [Instagram] - On fan mob mentality (spoken by Tan-laoshi, not zzh): [Twitter] - On being put on a pedestal: [Twitter] [YouTube] [Instagram] - On himself vs his characters: [Twitter] [YouTube] [Instagram] Fan Observation: This interview, specifically the second clip, is where the shorter voice clip that appeared on 03-18 is from.

→ Dragon TV took down Gong Jun’s COVID PSA video they had posted on 04-12 due to hateful comments being left on it.

04-18 → Nothing of note.

04-19 → A rumor was spread (originating from a newly registered account) that CPFs were trying to get the Instagram shut down by mass reporting it for impersonation. As well as being untrue, Instagram’s TOS only allows for accounts to be shut down for impersonation if it is reported by the victim themself and proven with photo ID. There is speculation of if this rumor was created to pin the blame on CPFs if Xie Yihua closes the account herself. → Antis posing as CPFs left hateful comments en masse on Gong Jun’s Instagram. Actual CPFs and JWXs posted positive comments and reported the hateful ones to try to counter it.

→ QuelleVous found that Xie Yihua’s son had made a comment on one of Su-Shifu’s podcast episodes on Bilibili on August 17th sharing that “his [Zhang Zhehan’s] Instagram isn’t completely his.” His account was deleted about half a day after QuelleVous posted about this.

→ A promo for MARRSGREEN was posted to Gong Jun’s Douyin and MARRSGREEN’s Weibo.

→ Gong Jun’s studio Weibo posted two photo ads for outfits by 361°.

→ LOCKnLOCK used photo ads of Gong Jun on their Taobao for wedding season and Parent Child Day.

→ Real1640 posted previously unseen bts footage of the Word of Honor ep.20 hug.

→ YA-MAN released a photo ad featuring Gong Jun.

04-20 → DataWin posted its annual TV drama market analysis on Weibo. All of Gong Jun’s dramas that aired last year made it onto lists, with Word of Honor ranking highly in several categories. Zhang Zhehan’s name was included in full for the first time since August! The article was unfortunately taken down then reposted without his name not long after, but the original lists were later reposted to Sina News with his name still there.

→ 361° posted three photo ads featuring Gong Jun, the first two using the same photos from the previous day.

→ HOGAN posted a photo ad featuring Gong Jun to their Twitter.

04-21 → Several pieces of news regarding Xie Yihua’s merch: - A rumor was spread that CPFs had bought hats, damaged them, then returned them and demanded refunds. As well as there being no evidence for this happening, there would also be no way to tell that CPFs were the ones responsible. [source] - Multiple big fan accounts who have been supporting Zhang Sanjian were “too slow” to buy a necklace (the one worn in the Instagram videos) before it supposedly sold out, yet declined when others offered to sell them theirs. [source] Some haizhes who have trusted these accounts up to now cancelled their own orders following this. - The photo used on the product listing for the aforementioned necklace has been found to have been taken in 2018 [source] [video evidence] and was retouched in Photoshop on 21-08-15—the same day CAPA put out their call to boycott Zhang Zhehan. [source] Addition 04-24: [here] is a thread rebutting an attempted defense about the 2018 date.

→ More photos were posted to the Instagram account, immediately apparent as being from the same day as the previous ones. Caption (mtl): “I will adjust the air conditioner to 24 degrees I will adjust the water heater to 46 degrees I will adjust the drink machine to 55 degrees I will never forget the 105 degrees in the early summer of that year One day I will realize my dream and feel the temperature of your sea”

Fan Observations: - There was a hotsearch about Yasukuni Shrine active on Weibo when these were posted. - Once again no location has been set. - It’s been noted that the caption uses some Taiwanese characters not used in mainland Chinese. [example] - Weather in Beijing was between -3 to 7°C (26 to 44°F) in March—a bit chilly for what he’s wearing, especially considering he said in the August interview above that he gets cold easily nowadays. - It was found that the earrings he’s wearing in these and the previous pictures—by a brand called Ambush—are currently only commercially available at Ambush’s physical stores in Tokyo*. Given that analysis of the photos suggests they were taken in the summer and that the earrings themselves were photoshopped to be more noticable, it’s been suggested that they may have been for an unannounced endorsement pre-813. The wearing of such a product under present circumstances would be unwise for obvious reasons. *Correction 04-25: It was found that the earrings are also available at their Beijing store, but only to VIPs.

→ Gong Jun’s studio Douyin posted a bts video which seems to have been filmed at the same time as the one he posted on 02-13. Caption: “Guess what Boss Gong Jun is filming?”

→ HOGAN posted another photo ad of Gong Jun on their Twitter and in their Instagram story.

→ Roving Inspection Team made a post: “Soon, yes ♥ It’s not easy......” Fan Observation: The post was made at 11:32pm, a 511 kadian. Obviously take this with a grain of salt.

04-22 → Gong Jun’s studio Douyin posted the video that the previous day’s bts was from. Caption: “Feature film.”

→ QuelleVous and Bluebird posted findings about Sophie, a person who works under Xie Yihua who possibly aided in getting Zhang Zhehan’s name on CAPA’s November immoral artist’s list, has possible connections to a water army company, participated in the girlfriend rumors last July, and was one of the first people to spread the current round of rumors about Gong Jun, among other things.

→ Mengniu ice cream posted an ad featuring Gong Jun on their Taobao.

04-23 → Xie Yihua/Sophie’s supporters tried to distract from the information QuelleVous was sharing by attacking a big name CPF. In retaliation, the CPF and others released a ton of candy that hadn’t been made public before—some are photos and short videos, many only hearsay.

Bearing in mind that these are rumors, here’s an incomplete summary: - Butt smacking [video and testimonial evidence] - Canoodling on set [here] and [here] - Zhang Zhehan changed his schedule at the last minute to make it to the Tom Ford event last year. - Gong Jun likewise changed his schedule so he could visit Zhang Zhehan while the latter was filming. - Zhang Zhehan: “I also really like Gong-laoshi.” - Gong Jun promised a co-star tickets to Zhang Zhehan’s concert. (I have a vague recollection of seeing the video footage mentioned, but don’t quote me on that. I’ve definitely heard this one before.) And much more... 🍬🍬🍬

→ Gong Jun made a surprise appearance on the show Global Chinese Music, singing two songs: 迎梦而来 (flashing lights warning) and Light Up The Future. A full subbed video of his appearance can be found [here]. His studio Weibo later posted photos from the appearance. Caption: “With faith and enthusiasm, we will come to our dreams and light up the future together!” Fan Observation Added 07-19: (I’m not sure why I didn’t include this before...) During the appearance, the host asked him what his favourite role was and he hesitated for a moment before saying his role from The Flaming Heart. Afterwards, there’s a moment when the camera’s not focused on him where it looks like he’s trying to hold back tears.

Additional Reading: → Flora’s Justice of the People daily timeline

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This post was last edited 22-07-19.

#I was all ready to post this and then Junjun said ''Wait one more thing''#Ending on a high note this week #Zhang Zhehan #Gong Jun #Word of Honor #woh cast #lld timeline #my sophie tag

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hedwigencyclopaedia · 6 years ago

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David Bowie (Pt. 2)

“There’s old wave. There’s new wave. And then there’s David Bowie.” [1]

After his brief foray into “plastic soul” with 1975’s Young Americans, Bowie released Station to Station— the first in a string of albums heavily influenced by both contemporary German musical artists like Kraftwerk and Neu!, often referred to as krautrock, and German philosophers like Friedrich Nietzsche. [2] Bowie was no stranger to philosophical references in his work, having previously referenced Nietzsche’s works with “Oh! You Pretty Things,” “Quicksand,” and “Supermen,” all off of 1971’s Hunky Dory. [2, 3]

Station to Station introduced the Thin White Duke persona; a character he later referred to as “a nasty character for me.” It was during this era he made controversial comments referring to Hitler and had the infamous incident at Victoria Station that took what was meant as a wave at the gathered crowd and alleged it to instead be a Nazi salute. He had also been detained in Poland for having Nazi paraphernalia. [4]

Having picked up Iggy Pop on his Isolar Tour, David took a short break from producing his own music to help Pop produce his first solo album The Idiot (1977) and to an extent workshop the new sound he had wanted to explore. They headed to Switzerland to create the album with Iggy often “scribbling lyrics” while David and the other musicians worked at crafting the sound of the album. [1]

For Bowie’s next album, he picked up frequent collaborator and producer Tony Visconti as well as newcomer Brian Eno to work on the first of what would become known as the “Berlin Trilogy” or the “Berlin Triptych” in Low (1977). Although known as part of the Berlin Trilogy, work on Low started at the same Swiss chalet that had seen the creation of The Idiot. The move was partly inspired by Bowie’s larger goal to get himself and his friend off of their respective drug addictions and largely to give them both a new mindset away from the fame, fans, and record labels they faced in either the US or the UK. After its completion, Bowie sent a copy of Low to Nicolas Roeg with a note stating “This is what I wanted to do for the soundtrack,” referring to The Man Who Fell to Earth, the film they had completed the previous year and for which Bowie had initially been promised he’d be able to write the soundtrack. [1]

The release of Low was delayed by Bowie’s record label RCA not caring for half the album being instrumentals and the critical reception — what little there was due to a lack of promotion — was mixed to the point that over the years, it was referred to as almost entirely negatively received upon release. [5]

Bowie’s next album, “Heroes” (1977) expanded on the themes explored in Low, distilling and blending them into the next phase of his career. Recorded ‎at Hansa Studio, which overlooked the Berlin Wall, it loosely used the same format as Low with more accessible lyric songs on Side A and instrumentals making up the majority of the B side. Furthering the similarities, both albums featured use of the “cut-up technique” of writing in which an author takes a poem or written work and cuts it up, rearranging the pages to form an exquisite corpse. [1, 6] Where it differed was while Low’s lyrics were largely inspired by Bowie’s life and current troubles, “Heroes” was considered as a whole to be a less personally inspired project and heavily informed by the culture, history, and “essence” of Berlin. [1]

Bowie continued his experiments not only with sound techniques, but recording and writing styles with the final album in the Berlin Trilogy, Lodger (1979). In writing it, he used techniques such as having his band switch instruments to create a more “garage band” “just learning their instruments” feel for “Boys Keep Swinging,” playing chords from “All The Young Dudes” backwards to create new song “Move On,” reusing the musical track from Iggy Pop’s Sister Midnight, from Bowie-produced The Idiot for “Red Money,” and taking further inspiration from producer Brian Eno’s Oblique Strategies cards, which Eno had introduced while he, Bowie, and Visconti worked on “Heroes.” [1]

Going into the 80s, Bowie was determined to have a hit record. [5] Despite previous fame and relative successes, Bowie wanted to not just be a hit artist; he wanted to be the hit artist. And with his divorce from Angela and his split from MainMan officially finalized, now was the time. The next album, Scary Monsters (and Super Creeps) (1980), reached #1 on the UK charts going platinum [7] and #12 in the US. [8]

The follow up three years later, Let’s Dance (1983) outdid its predecessor, both reaching #1 in the charts and going platinum in both countries. [7, 9, 10] The supporting tour, the Serious Moonlight Tour had the distinction of selling out every one of the 96 shows and being one of the largest shows of the time. [11]

The two subsequent albums Tonight (1984) and Never Let Me Down (1987), offered diminishing returns in terms of chart performance [12, 13] and critical reception, with Bowie later disowning Never Let Me Down saying in 1995 “My nadir was Never Let Me Down. It was such an awful album. … I really shouldn’t have even bothered going into the studio to record it. In fact, when I play it, I wonder if I did sometimes” [13] and later in 2002 “There was a period when I was performing in front of these huge stadium crowds and at that time I was thinking 'what are these people doing here? Why did they come to see me? They should be seeing Phil Collins'…And then that came back at me and I thought 'What am I doing here?” [14]

In 1987, as part of the Glass Spider Tour, Bowie had one of the most profound experiences of his touring career while playing a stage that butted up to the Berlin Wall. The sound from the fans on the East side singing along was so loud that Bowie could hear it about the din of his own concert. Part of the concert lives on on YouTube as well as a clip of David’s speech in German addressing both sides of the Wall. The influence of this show was acknowledged by the German Foreign Office in 2016 after Bowie’s death with a tweet reading “Good-bye, David Bowie. You are now among #Heroes. Thank you for helping to bring down the #wall” and linking to a live performance of David performing the song. [15]

As the 80s came to a close, Bowie chose to take some time away from his solo career and formed the band Tin Machine with Reeves Gabrels, and the brothers Hunt and Tony Sales.

He married his second wife, Somali supermodel, philanthropist, and entrepreneur Iman, twice in 1992; the first in a private ceremony and the second in a lavish ceremony in Tuscany. According to David, he was already naming their future children the night he met her. [16] His next album Black Tie, White Noise (1993) was as much a wedding album as it was a reflection of the things currently going on in his life from being in LA when the Rodney King riots started to the death of his beloved half-brother Terry and was a distinct return to “eclecticism” over marketability. [17]

The nineties continued the theme of “eclecticism” with 1995’s Outside, an exploration into the budding industrial movement framed by a murder mystery in support of which he toured with alterative/industrial band Nine Inch Nails [18], 1997’s Earthling, which examined electronic music, and 1999’s hours… which while more conventionally mainstream than its two predecessors in tone, was less well received. [19]

Between albums, Bowie was expanding his horizons beyond his music and film careers such as 1997’s release of Bowie Bonds, an early return for him on future earnings that was presented as an opportunity for the bearer to receive a 7.9% return on their investment [20]; BowieNet, a dial-up internet service provider that also gave subscribers exclusive content and a BowieNet email address [21]; and Omikron: The Nomadic Soul, a futuristic video game that featured songs from ‘hours…’ and featured David and Iman’s voices and likenesses. [22]

Bowie also had started work on Toy which would become his first unreleased album since The Man Who Fell to Earth soundtrack had been scuttled in the mid-70s. Some of the tracks from Toy ended up on his next album, 2002’s Heathen. [23]

His last album before taking a ten year hiatus was Reality (2003) During the supporting tour, he had a lollipop thrown in his eye, (later memorialized in a self portrait) [24], and had the heart attack that stopped him from touring his own music outside of occasional guest appearances with other artists such as David Gilmour of Pink Floyd and at events such as Fashion Rocks in the US. His last live performance was at a benefit for Alicia Keys’ Keep a Child Alive campaign where the pair sang a duet of Bowie’s song “Changes.” [25]

In 2013, he ended his hiatus with the unexpected release of The Next Day, the cover art for which featured a large white box overtop of the iconic “Heroes” album cover. The same year, he partnered with the Victoria and Albert museum in London to exhibit the David Bowie Is collection that later that year began a world tour with stops in Chicago, Paris, the Netherlands, Melbourne, and ending at the Brooklyn Museum on July 15th. [26] A digitized version of the collection became viewable on January 8th 2019 with the David Bowie Is app with narration by Gary Oldman. [27]

Despite the album reaching #2 on the US charts [28] and #1 in the UK [29], producer Tony Visconti said that Bowie had no intention of touring the album [30], a comment that music magazine Pitchfork chose to run with to mean that Bowie would never tour again. [31] Regardless of the intent of the statement, Pitchfork ended up being correct in saying the Bowie would never tour again.

In 2017, Bowie’s long standing ambition of writing a musical was realized when Lazarus opened in New York. Following what happens after The Man Who Fell to Earth, the plot sees lead character Thomas Jerome Newton in the modern day having not significantly aged since the events of the original story. Its composition took inspiration more the original novel by Walter Tevis than from Bowie’s role in the 1976 film. [32]

Bowie’s last album was released January 8th 2016, two days before his death from terminal liver cancer. ★, pronounced “Blackstar” incorporated some of the new songs Bowie had written for Lazarus with originals. Recent successes, past fame, and his very current death made sure that Blackstar placed #1 in 24 different countries including the US, UK, and Germany. [33]

After his death, Bowie was honoured not only with fan memorials and tributes, but with official plaques in Berlin and around England noting places of “historic significance.” [34, 35]

[1] Bowie in Berlin by Thomas Jerome Seabrook. 2008.

[2] David Bowie and Philosophy by Theodore G. Ammon. 2016.

[3] http://loudwire.com/songs-inspired-by-german-philosopher-nietzsche/

[4] https://www.thedailybeast.com/on-race-david-bowie-delved-deep-into-the-darkness-and-came-back-human

[5] Starman by Paul Trunka. 2011. Advanced Galley.

[6] https://www.theguardian.com/books/booksblog/2010/apr/13/construct-exquisite-corpse

[7] http://www.bowiewonderworld.com/faq.htm#m09a

[8] https://www.davidbowie.com/blog/2017/9/24/anciant-album-focus-scary-monsters

[9] https://www.riaa.com/gold-platinum/?tab_active=default-award&se=david+bowie#search_section

[10] https://www.billboard.com/articles/columns/chart-beat/8457017/david-bowie-no-1-hot-100-1983-chart-rewind

[11] http://www.electricmud.ca/2018/david-bowie-toronto1983/

[12] https://www.billboard.com/music/david-bowie/chart-history/billboard-200

[13] https://www.rollingstone.com/music/music-features/how-david-bowies-biggest-disappointment-became-a-posthumous-reworked-album-702189/

[14] David Bowie interviewed on Jonathan Ross, June 29th, 2002.

[15] https://twitter.com/GermanyDiplo/status/686498183669743616

[16] http://ultimateclassicrock.com/david-bowie-black-tie-white-noise/

[17] http://ultimateclassicrock.com/david-bowie-black-tie-white-noise/

[18] https://www.revolvermag.com/music/see-david-bowie-sing-hurt-nine-inch-nails-1995

[19] https://pitchfork.com/reviews/albums/881-hours/

[20] https://web.archive.org/web/20130620051917/http://www.commodityonline.com/news/david-bowie-bonds--ip-securitization-1896-3-1897.html

[21] https://www.theguardian.com/technology/2016/jan/11/david-bowie-bowienet-isp-internet

[22] https://www.polygon.com/2016/1/11/10749686/david-bowie-omikron-nomad-soul-david-cage

[23] http://www.davidbowieworld.nl/mijn-bootlegs-2-2/bbc/attachment/david-bowie-toy/

[24] https://twitter.com/dark_shark/status/692853482512977921?lang=en

[25] https://www.rollingstone.com/culture/culture-news/inside-david-bowies-final-years-237314/

[26] https://www.brooklynmuseum.org/exhibitions/davidbowieis

[27] https://www.davidbowie.com/blog/2019/1/8/david-bowie-is-virtual-launched-today

[28] https://www.billboard.com/music/david-bowie/chart-history/billboard-200/song/775880

[29] http://www.bowiewonderworld.com/features/thenextdaycharts.htm

[30] https://www.spin.com/2013/01/david-bowie-producer-the-next-day-album-details/

[31] https://twitter.com/Tonuspomus/status/289810690338856960

[32] https://lazarusmusical.com/about

[33] http://www.bowiewonderworld.com/features/blackstarcharts.htm

[34] https://www.theguardian.com/music/2016/aug/22/david-bowie-berlin-plaque-commemorates-singers-time-in-city

[35]

https://www.theguardian.com/music/2017/jun/15/david-bowie-three-blue-plaques-bbc-music-day

General Resources:

https://www.davidbowie.com/about/

#david bowie #david bowie pt 2 #d

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art-angels · 4 years ago

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Los Angeles Art Galleries Turn to Technology and Beyond

Survival practices developed during pandemic are possibly here to stay

By Lily Moayeri via fineartglobe.com

March 31, 2021

Art Angels, Micah Johnson Billboard, ‘Black Sheep’ by Micah Johnson, Billboard on La Cienega Dec 2020- Jan 2021. (Photo: Art Angels).

The social and emotional value of art and culture has become all the more apparent this past pandemic year. To keep their doors from shutting permanently and their exhibitions active while providing a space for artists and audiences, many independent art galleries in Los Angeles have embraced technology, tapped into their visitor base, social media outlets, and turned up creativity. As the world creeps toward cautious re-opening, these new practices are being integrated into the “new normal.”

One of the initial moves galleries made was taking advantage of their social media. Instagram was the first place Art Angels in West Hollywood, which specializes in contemporary and provocative art, and Eastern Projects in Chinatown, which calls itself “a love letter to LA,” turned to connect with their viewers. Eastern Projects provided walking tours of the gallery on Instagram Live, showcasing the work and answering viewers’ questions; Art Angels enhanced what they were doing already on the platform by involving their artists.

“We had our artists show what they were working on by sharing images of pieces in their studios,” says Art Angels’ co-founder, Kat Emery. “We started adding installation shots and ‘the making of’ work-in-progress videos from artists.”

The new contemporary art space Corey Helford Gallery in DTLA hosted their virtual openings on Instagram Live. The gallery’s curator Caro Buermann and its director, Sherri J. Trahan, teamed up for these events — Buermann conducts the virtual tours while Trahan responds to viewers online. Also on hand are the artists who share insights and take questions. In addition to photo albums of each exhibition available on the gallery’s Facebook page following the opening, the work-in-progress images and pre-and post-opening videos have always been provided.

“We reached out to some of the talented photographers we’ve worked with to help us develop self-guided virtual tours for our exhibitions,” says Trahan, citing Birdman and Eric Minh Swenson as two of the photographers and videographers who have been involved in creating dynamic and interactive tours of Corey Helford.

Art Angels Gallery, ‘A Battle Won’ exhibition installation and an exterior mural by PUNKMETENDER, Exterior View. (Photo: Art Angels).

Art Angels has also reimagined their shows in a virtual space. “We re-curated the gallery for a virtual show,” says the gallery’s other co-founder Jacquelin Napal. “A camera was placed in each part of the gallery. It does a 3-D spin to capture everything in the space. When we post the video on our website, it provides a collector with a virtual walk-through of the space and allows to move in closer to the paintings, plus stop and start views at their own pace using their cursor on the screen.”

Another purveyor of the new contemporary art movement, Thinkspace Projects, relocated from Culver City to a much bigger building in West Adams mid-pandemic.

Thinkspace Projects: EPOS by Roby Dwi Antono in Gallery I, Certain Scars Can’t Be Seen by Edith Lebeau in Gallery II, Installation View. (Photo: Birdman).

“We have already been providing our entire inventory online, have an active webshop, digital previews for all our exhibitions, and video recaps of the opening receptions for some years,” says the gallery’s curator and co-owner, Andrew Hosner. “When the pandemic hit, we pivoted to making them more about the works. We had artists send in voiceovers and put together video tours of the shows for our vast social network. The one new thing we added was the virtual self-guided tour aspect. Our patrons the world over have been loving to have the chance to walk through the space and look at the works at their own pace.”

As routine visits with artists weren’t an option anymore for Thinkspace, the artists brought their studio to the gallery via video. “They sent tons of footage of themselves painting, their studio and supplies, their daily trip to their studio, their pets, and an audio track, all recorded and shot on their iPhones. Our A/V guy works his editing magic, and we’ve got a nice clip we can share all over our socials.”

Eastern Projects was prepped for the opening reception of Frank Romero’s Coquelicots when the city mandated that public places should only allow 45 persons or less. Within days of the opening, the first lockdown happened. According to the gallery owner Rigo Jimenez, Romero sold 80% of the show, even though the entire exhibition went online and the in-person viewing was eventually reduced to three people at a time. ” Quite a feat, considering it was the start of the shutdown and attendance was significantly impacted.”

Art Angels’ exhibition A Battle Won with PUNKMETENDER’s signature butterflies was set to open the first week of the lockdown. In addition to 3D online viewing, the gallery took advantage of its transparent glass walls that allow art to be seen from the street and even from passing cars, extended the physical show to the outside with a 100-foot mural wrapped around the building. “We chose PUNKMETENDER because butterflies are a powerful symbol of hope and transformation in a period of challenging and uncertain times,” says Emery. “He certainly delivered on this mural, bringing the life of the gallery to the streets in this time of closure.”

Corey Helford Gallery Dosshaus, Installation view of POP GOES, DOSSHAUS, Corey Helford Gallery May 30 – July 3, 2020. (Photo: Angela Izzo).

Art Angels took advantage of their positioning to deliver “drive-by art” to the community. They partnered with digital media company Standardvision to bring two of Micah Johnson’s works, “sä-v(ə-)rən-tē” (pronounced sovereignty) and a piece from his Black Sheep collection to massive, traffic-stopping billboards.

The limited in-person visits that have taken place through the pandemic have been by appointment. John Valadez’s timely Pinturas Pandemia saw 10 visitors at a time with 30-minute intervals at Eastern Projects. Art Angels provided rapid Covid-19 testing onsite for its Russell Young Heroes and Heroines exhibition. This allowed for a six-hour reception and by-appointment viewing with the artist present, making for an exclusive, one-on-one experience.

“We plan to continue building on such experiences, incorporating full immersion both inside and outside of the gallery and throughout the city, with larger-than-life installations,” says Emery. “We’ve been extremely specific about the shows we’ve done during this time. If anything, the pandemic has pushed us to be two steps ahead and innovate creatively with our platforms, especially with how we bring our works to collectors. It’s all progress and positive. We will continue to incorporate the changes as standard practice.”

“The pandemic has helped us grow on an international level,” says Hosner. “We’ve hosted many sold-out shows, and most shows have been averaging more people seeing them in the virtual realm than have ever seen them in the physical world in the past. Between tour video, studio tours, going live on Instagram, and so forth, we’re averaging around 10,000 views per exhibition. It’s pretty wild.”

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hammondcast · 5 years ago

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NBC Chime Machine At California Historical Radio Society

#WATCHMOVIE HERE: NBC Chime Machine At California Historical Radio Society Jon's archive https://archive.org/details/nbcchimemachineatcaliforniahistoricalradiosociety Youtube https://youtu.be/SnpV3akc1JY FB https://www.facebook.com/hammondcast/videos/10156428926572102/

NBC Chime Machine At California Historical Radio Society

Jon Hammond

(short clip) NBC Chime Machine at California Historical Radio Society - Jon Hammond #NbcChimeMachine https://en.wikipedia.org/wiki/NBC_chimesThe NBC chimes are a sequence of three tones played on National Broadcasting Company (NBC) broadcasts. Originally developed in 1927 as seven notes, they were standardized to the current three note version by the early 1930s, and possibly as early as 1929. The chimes were originally employed as an audible programming cue, used to alert network control engineers and the announcers at NBC's radio network affiliates. They soon became associated with NBC programming in general, and are an early example of an "interval signal" used to help establish a broadcaster's identity with its audience.

In 1950 the NBC chimes became the first "purely audio" service mark granted by the U.S. Patent and Trademark Office. Nearly ninety years after their introduction, they continue to be used as an audio signature by the NBC TV network and its affiliates, and also on the NBC Sports Radio network and at the opening of the hourly NBC News Radio broadcasts.The NBC chimes sound mark is currently assigned to NBCUniversal Media, LLC. Its official description, as recorded by its registration at the U.S. Patent and Trademark Office, is:

"The mark comprises a sequence of chime-like musical notes which are in the key of C and sound the notes G, E, C, the 'G' being the one just below middle C, the 'E' the one just above middle C, and the 'C' being middle C, thereby to identify applicant's broadcasting service. While general information about the origin of the NBC chimes is well documented, precise details about the earliest developments are not as clear, and in some cases researchers have come to differing conclusions. It is particularly difficult to establish exactly when the initial, longer, versions were pared down to the final three-tone sequence. "General Electric Company" folklore[edit]A commonly suggested explanation for the chimes' "G-E-C" sequence is that it comes from the initials of the General Electric Company (GE). In 1987, Robert C. Wright, the president and C.E.O. of NBC, testified before the U.S. Congress that "Not everyone knows that GE was one of the original founders of RCA, NBC's former parent, and that the notes of the famous NBC chimes are G-E-C, standing for the General Electric Company."[3] References to this purported link date back to at least 1945.[4] However, this was over a decade after the NBC chimes were adopted, and NBC's own early historical reviews make no mention of this supposed origin.

In 1919, General Electric founded NBC's parent company, the Radio Corporation of America (RCA). At the time the NBC chimes were being developed, GE was still RCA's largest shareholder and also held 30% of NBC's stock. (As part of an antitrust case settlement, in late 1932 GE agreed to relinquish its RCA and NBC holdings. In 1986, GE reacquired RCA and NBC.) The small handheld chimes commonly used when the NBC chime sequence was being developed had only four tones: High G, Low G, E and C. Given these limited choices, it was most likely only a coincidence that the adopted sequence matched GE's initials, and while useful as a mnemonic for remembering the notes' correct sequence, there is little evidence actually supporting any link.Early radio station sound signatures[edit]Because radio is sound oriented, it was a natural development for stations to independently adopt a variety of audio signatures, which in some cases took the form of chimes. Examples existed from the earliest days of organized broadcasting, including at least three by the summer of 1923:

WSB in Atlanta, Georgia claims it was the first station to sound a musical identification at the end of programs, using a four-bar xylophone given to station manager Lambdin Kay by a performer, Nell Pendly. A three note signature, E-G-C, was developed, based on the first three notes from the chorus of the World War One classic "Over There".[5]WHAS in Louisville, Kentucky. Station manager Credo Fitch Harris, who wrote in his memoir "what devil put the idea in my head to begin with, may never be known", in 1922 had eight metal chime bars constructed so that he could play — "with fear and trembling, lest the do-dad I struck with hit the wrong thing" — the chorus of "My Old Kentucky Home" at station sign-offs.[6]KFI in Los Angeles, California. The caption on a 1923 photograph of the station's studio mentioned the "electric chimes which open and close the program" Introduction of the NBC chimes[edit]

Although NBC normally used four-bar Deagan Company chimes, WMAQ in Chicago used a xylophone to play the notes (c. 1930)What differentiated the NBC chimes from these earlier identifying sounds, at least in the beginning, is the use of the NBC chimes for network communications and coordination. Later they would also become a signature sound representing the network, but their primary initial purpose was to help ensure smooth network operations. In 1932,[8] NBC explained that: "The purpose of the chimes... is to synchronize local station identification announcements and to serve as a cue to engineers at relay points all over the country to switch various branches of the networks on or off as the programs change every 15 minutes."[9] This reflected the organization of the network schedule, which was divided into 15 minute program blocks. In addition, effective May 11, 1927, the Federal Radio Commission's General Order No. 8 specified that each station was "directed to announce its call letters and location... not less than once during each 15 minutes of transmission".[10] The use of the NBC chimes as network switching cues eventually allowed the network to save money on infrastructure costs. Until 1933 it was common practice to run a second line that used telegraphic signalling to provide networking communication. After that date the normal policy was to eliminate this second line and send the networking cues over the program lines.[11]

Information about the early development of the NBC chimes is very sparse, although work began shortly after the first NBC network broadcast on November 15, 1926. A 1950 internal NBC memo, "NBC Chimes: First Use of the famous NBC Chimes", states that "The use of chimes for identifying NBC was first conceived by Phillips Carlin," and this memo has a timeline entry for December 22, 1926 that states: "Chimes purchased from Lesch Co for $48.50".[12] Phillips Carlin was a well-known NBC announcer, who had experience employing chimes in radio broadcasts dating back to at least 1924. At that time he was the announcer for the "Silvertown Chimes" program, which was broadcast over the "WEAF chain" network originating in New York City. (WEAF was owned by the American Telephone & Telegraph Company (AT&T). In 1927, after the RCA bought out AT&T's radio operations, the WEAF chain was reorganized as the NBC Red Network.) A contemporary review of this show noted that each program opened with "the soft ringing of chimes", followed by Carlin's announcement that "The Silvertown Chimes have rung out their greeting. Each week they have announced an hour of music, a program of dance so delightful that it drives all thoughts of care away."[13]

A 1942 NBC account of the origin of the chimes gave additional credit for their refinement to NBC chief engineer O. B. Hanson and Ernest LaPrade, an NBC orchestra leader. This account also states that there was an ongoing evolution during the developmental period, as the chime sequence originally consisted of seven notes, which, according to Ernest LaPrade, proved difficult to play correctly, so the sequence was shortened to five, then four, and finally three notes.[14] The notes were manually played on four-bar chime sets manufactured by the J.C. Deagan Company of Chicago.[15] Additional reports state that the initial sequence was G-C-G-E-G-C-E, which became G-C-G-E[16] and then just G-E-C. November 29, 1929 is sometimes reported to be the date that the three-tone sequence was adopted,[17] however the longer intervals were still in use until 1931 according to surviving network recordings.[18]

The use of signalling tones to indicate the end of a program would be unique to the NBC networks. The CBS Radio network, founded in 1927, never adopted anything similar, instead keying its network switching to the standard phrase "This is the Columbia Broadcasting System".[19] Initially NBC had two national networks, the NBC Red Network and the NBC Blue Network, however the Federal Communications Commission (FCC) was unhappy with this and worked to eliminate the common ownership. In late 1942 Phillips Carlin became vice president of programming at the soon-to-be independent Blue network, which later became the American Broadcasting Company (ABC). One of his first decisions was whether to adopt "a new set of chimes (as distinguished from the NBC chimes now in use)",[20] and the choice was to instead end their use on the Blue network.[21] However, the remaining NBC network operations considered the chimes to be an important part of their corporate identity. In 1942, NBC estimated that the average listener heard the tones 16 times a day, while annually there were nearly 20 billion impressions worldwide.[14]

Additional origin explanations[edit]Once the NBC chimes became established, a few claimants appeared who stated they were the original inspiration for the practice. However, like the earliest days of the NBC chimes history, there is very little information available to evaluate these claims.

One assertion is that the three notes really did stand for "General Electric Company", because it had been the practice to play the keys G-E-C on a piano at WGY, a GE-owned station in Schenectady, New York.[22]A further claim for WSB in Atlanta is that, in addition to being the first station to adopt a three-chime signature, it was directly responsible for NBC's chimes. This explanation states that, as an NBC affiliate, WSB was hosting a network broadcast of a Georgia Tech college football game, and NBC staff at the network's New York City headquarters heard the WSB chimes, which prompted them to ask permission to adopt it for use by the national networks.[23]Rangertone chime machine[edit]The original chimes were played by hand by the announcers, which led to occasional errors and undesirable variations. In 1932 a standardized "chimeless chime", which promised to play the notes consistently — one reviewer commented that "there will be no more sour notes from those NBC chimes[24] — was developed by Richard H. Ranger, a former RCA engineer who had invented an electronic organ.[25] Ranger's creation was a music box-style electro-mechanical device, which played the three-note sequence at the push of a button.[26][27]

The initial installation was made at New York City headquarters, and went into operation on September 18, 1932.[9] Following successful tests, the network ordered multiple additional units, which were distributed to major sites throughout the United States, including Los Angeles, New York City, Chicago and San Francisco (which had two machines, a main one and a backup). About a dozen of the Ranger units are estimated to have been constructed, a few of which survive in collections.[28] Around 1941 the Rangertone devices started to be replaced with an all-electronic system developed by NBC engineers. By the mid-1980s, these dedicated devices had been replaced by a magnetic tape cartridge recording of a chimes machine that was played back as needed.[29]

The "fourth chime"[edit]The "fourth chime" was a variation of the standard three-segment version, which repeated the closing "C" chime, to become "G-E-C-C". It was initially adopted as a paging method for the New York City area, summoning employees listening at home to report for work at NBC headquarters in order to assist with an important developing story. However, as knowledge of the signal's meaning spread, it also became a way to notify affiliate stations and knowledgeable listeners of pending urgent programming. The "fourth chime" was first used in 1937 in response to the Hindenburg disaster,[30] and saw a majority of its use during World War Two. An NBC account of its employment at the start of the "D-day" invasion on June 6, 1944 stated: "At 2:30 a.m. the network was put on 'flash' basis; the NBC four-chime-alert calling all newsmen and commentators to their microphones, key operating personnel to their stations, sounded from the newsroom control room."[31]

There are very few recorded examples of fourth chime transmissions. Although NBC publicity, and some of the contemporary recordings, agree that the "fourth chime" sequence merely repeated a "C" at the end, some of the other recorded examples, although composed of 4 tones, have pitches that appear to be significantly different.[32] The use of the "fourth chime" ended shortly after the close of World War Two.[33]

Service Mark registration[edit]Prior to 1946, U.S. law limited registered trademarks to tangible goods. The law was changed that year to allow "service marks" for offered services, and, in an application made with the U.S. Patent Office on November 20, 1947, NBC filed for service mark protection for use of its chimes in conjunction with the "broadcasting of radio programs". Notification of the pending application, which stated that the chimes had been in use since November 1927, was published by the Patent Office on January 17, 1950.[34] There were no objections raised, so on April 4, 1950[35] the three notes of the NBC chimes became an officially registered service mark.[36]

It is sometimes incorrectly stated that this was the first grant of a U.S. service mark. Actually, numerous earlier service marks had been approved, but previously they had been logos or descriptive names for the service being provided. What made the NBC chimes grant unique was that this was the first time that a service — in this case NBC's radio broadcasts — was granted protection for the use of a service mark that was a "purely audible" trademark, or what became to be known as a "sound mark".[37]

The original radio broadcasting "sound mark" registration expired on November 3, 1992, after NBC Radio had become a content subsidiary of Westwood One. However, a second registration, made in 1971 and covering the "broadcasting of television programs", remains in force.[2]

Later usage[edit]

NBC TV chimes logo for color broadcasts (1954–1959)Although the Rangertone chime machines had to be manually triggered, in 1950 RCA reported that the chimes now normally "sound automatically at 30 seconds before the hour and 30 seconds before the half hour".[38] A December 1953 report in The Billboard noted that:

"The NBC Radio chimes, trademark of the web for many years, will soon be trimmed from their traditional five seconds to three seconds. Thus they will conform with the timing of the chimes as aired by the NBC-TV web. The video network slashed the time quite a while back to give the affiliates 10 seconds instead of eight when the outlets began selling shared identifications to sponsors."[39]

The use of the chimes as a network communications signal ended around 1971, the result of automation, which in the case of radio led to shorter tones and "chirps" that were commonly filtered out by the stations so they were unheard by listeners, and in the case of television included use of the vertical blanking interval to transmit cues that were not seen by viewers. However, subsequently there have been numerous examples of the chimes being used in NBC programming as an audio signature.

In 1974, WNBC incorporated the sequence into the opening of its synthesized theme music for its local newscasts, NewsCenter 4 (sharpening the pitch by a half-step); the stinger was heard at the opens to the station's 5:00, 6:00 and 11:00 p.m. newscasts. Eventually, NBC Radio adopted WNBC-TV's NewsCenter 4 stinger as its top-of-the-hour news sounder. With alterations (and a brief interruption in the early 1990s), WNBC has used a form of the chimes on its newscasts ever since.The music used on NewsCenter 4, "NBC Radio-TV Newspulse" (composed by Fred Weinberg), was later used for NBC Nightly News in the 1970s and NBC News bulletins/special reports in the 1970s and 1980s. The usage of the NBC chimes continues in local newscasts on NBC stations to this day; in fact, many stations owned by or affiliated with the network play the chimes sequence during the extended forecast slide at the end of their newscasts' main weather segment.In 1976, the chimes were revived nationally in honor of NBC's 50th anniversary. Modern musical versions of the three-note chimes are still in popular use on the NBC radio and television networks (and are the opening and closing notes of the current version of the theme music for NBC Nightly News), as well as in the closing logo for NBCUniversal Television Distribution, the television production arm of NBC's current immediate parent, NBCUniversal (the orchestral variant currently used by NBCUniversal Television Distribution was first used in 1995 in the closing logo sequence for the NBC Studios production unit).From 1982 to the early 1990s, most voiceover promos heard during the end credits of NBC network shows would begin with the chimes. From 1982 to 1987, the chimes would blend into an instrumental version of the promotional slogan that NBC would be using at the time.Today made the chimes the centerpiece of its theme in 1978, resolving a legal dispute between the network and the composers of Godspell. The musical's composers felt that the Ray Ellis-penned closing theme Today, which had been used for the program since 1971 (and was also used as the show's opening theme starting in 1976), was lifted from the classic Godspell song "Day by Day". Using the chimes as his template, Ellis composed a new theme song, which stuck. Although Today has used a segment from John Williams' music package for NBC News, The Mission, since 1985, Ellis's revised composition has been used on and off during portions of Today ever since.NBC Television News uses a version of the original chimes for special breaking news reports that interrupt regular programming on the network and/or its stations (the tendency of this version to precede major events has earned this variant the nickname, the "Chimes of Doom").NBC's on-air promotions for the fall 2008 television season featured the chimes prominently alongside the new slogan "Chime In". Several used alternate versions tied to specific shows' themes: for example, ringing telephones for The Office; the ringing of cash registers for Deal or No Deal; and objects striking metal for America's Toughest Jobs and Crusoe. Similarly, the chimes have also been used for select promotions during the fall 2012 season.In 2015, NBC brought back the generic themes of the chimes (that were used in 1994 to 2009) during the production company vanity cards shown following the closing credits of most programs, but with newer and more dramatic ones that were heard on the network's specials like Christmas in Rockefeller Center (the same year's edition of the special for the first time, including the bell and orchestral version of the chimes), as well as the network's new shows like The Brave, Law & Order True Crime and the second season of This Is Us as of 2017.In 2018, NBC introduced an "NBC Presents" vanity card before their in-house programming which uses the chimes.Other uses[edit]

In 1938, NBC reached an agreement with the Baltimore and Ohio Railroad to use the G-E-C tones to summon rail passengers for meals.[40]In 1938, NBC's Advertising and Promotions Director, E. P. H. James, made an agreement with NuTone Chimes of Cincinnati to provide chime sets for sale to the general public. The chimes were used in the dining cars for a few railroad and steamship company lines, starting with the Baltimore and Ohio and New York Central railroads. A line of toy chimes was also produced.[41] That same year the network's fans could buy their own set of chimes from NBC for $2.95 each, with the suggested uses of "Call your family to dinner . . .signal your maid".[42] 1938 also saw the installation of outdoor clocks, in New York City and Chicago, that rang the NBC chimes on-the-hour.

In the 1940 Disney animated short film Fire Chief starring Donald Duck, the NBC chimes are used when Huey, Dewey, and Louie fall on top of Donald. And for a few years in the 1940s and 1950, NBC produced an in-house magazine named NBC Chimes.

Musical adaptations of the NBC chime notes[edit]A number of news theme packages have included the NBC chimes, for example ones made for exclusive use by NBC stations, or as a variant used by NBC stations in themes syndicated to stations regardless of network affiliation. Songwriters have also incorporated the sequence, and some NBC-owned radio stations, including WNBC (now WFAN) included chimes in their station ID jingles. Examples include:

Songs:

"I Love You (Three Little Tones)" (conjectured title; early 1930s?) A paean to the three-note NBC chimes of which little is known, including the singer, the orchestra or the circumstances under which it was recorded. Decades later, on October 7, 1978, the tune opened the first episode of the fourth season of Saturday Night Live. Garrett Morris sang the vocal, with backing by Laraine Newman, Jane Curtin, and Gilda Radner. Musical director Howard Shore conducted the orchestra.[32]"Announcer Blues" by Paul Whiteman & his Orchestra (1935)"The NBC Polka" by Kurt Maier (1949)"The Three Chimes of Silver" by Meredith Willson (1951—the silver anniversary of NBC's 1926 founding)Around September 1953, the radio network produced a program called Salute to the Three Chimes of NBC, which was summarized as: "Five very different musical groups play an original composition, based on the NBC chimes, called 'Bing, Bang, Bong: A Fantasy On A Trademark.'"[43]"Let's Go Get Stoned" by Ray Charles (on his 1966 album Crying Time)"Here's Love" from the 1963 Meredith Willson musical Here's Love (it plays during the lyric "CBS to NBC")"Chimes" by Stan Zabka, from his 1965 album Themes from Television."Frosty" by Albert Collins (1969)"Do Your Thing" (album version) by Isaac Hayes (1971)Jingle packages:

"NBC Stations" by Edd Kalehoff"It's a New Day" and "The Tower" by 615 Music"The Rock" by Stephen Arnold Music"The NBC Collection" by Gari Media Group"L.A. Groove" by Groove Worx"Nothing But Class" and "The Only One" by JAM Creative Productions

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NBC Chime Machine, California Historical Radio Society, John Stuart, Short Clip, Broadcasting History, NBC Network

#NBCchimes #BroadcastingHistory #NBC Network #Radio #TV

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srbachchan · 8 years ago

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DAY 3309

Jalsa, Mumbai Apr 19/20, 2017 Wed/ Thu 1:04 am

Dubbing .. a process to correct the sound in film if there is disturbance and external sounds during the time of the shoot .. sync sound is quite common on shoots these days ; a process where extreme caution is taken to create a sound system on the premises of the shoot when all is quiet ! Difficult at times but many a production has been able to achieve this through a most rigorous exercise, using personnel of the production stationed at various portions of the perimeter of the shooting making sure that there is absolute silence, during the timing of the shot ..

It is by far a most tedious process ! Recereating the same atmosphere, mental and physical conditioning as at the time of the shot, in a sterile individual recording studio, is tough ..

Many an artist prefer not to dub because it is almost impossible to get the right tone of the performance in a solitary changed atmosphere. But such are the requirements of cinema, that is has become a necessity ..

Many an artist actually prefer to dub .. it is that one moment for them to improve upon the performance they may have given during the shot .. any correction of word pronunciations, inaudible sound of dialogue, and many other aspects ..

For me personally I would prefer a system of sync sound ; an atmosphere when the artist can actually hear within what they are expressing and not be disturbed by either the sound of the camera whirring, or any traffic or external sound ...

The Arriflex camera when it came out was lighter and more portable than the Mitchell camera , which was extremely large, and a physical burden to operate .. but the Arriflex made a lot of sound as the film ran on the reel inside the loaded reel .. a ‘blimp’ was then devised which ws worn by the Arriflex as a cap and which reduced the sound to a negligible amount ..

With the Arri camera sound artists had to speak louder than normal, in order for their sound to be recorded, and in turn help in dubbing later .. if the sound track during the shoot is bad, then lip syncing the dialogue was another pain ..

Of course now with advanced sound technology, the absence of film, the doing away with those large camera machines, resorting now to the chip loaded inside digital cameras, where the duration could run for hours .. life has become a lot easier .. otherwise in the early parts of the film industry most shoots were kept in Studios after midnight, when most of the city slept and the noise pollution was very limited .. a normal day in the life of an artist therefore invariably began by the late afternoon or evening .. because they would finish by sunrise and then got back home to rest and get their night sleep, in the day ..

For long, artists were blamed for not being available in the morning hours, for normal meetings or social domestic events .. why .. because they only got to rest and sleep after the sun had risen - they being at work the entire night .. due to the recording of the sound factor ..

Till the early years of my time, if the shoots were to be conducted outdoors, and the recordist wished for sync sound without any disturbance, production would actually programme the shots after ascertaining what time flights took off near by, or train passings were monitored, for their sound would drown the dialogue delivered .. even now at time we have to wait for a flight to go by or a train to pass, before we can register a take ..

BUT .. to get back to dubbing .. it is an art by itself ..

Different procedures are followed. Many artists prefer to stand and dub, many wish to sit and dub .. many insist that in whatever physical condition the shot was taken, sitting or standing they would want the same condition inside the dubbing studio .. place ments of the mike, closeness of the face to the microphone or away from it is all dictated by the recordist .. you may wish to be at a distance that is comfortable for you, but if the recording is not right context to the mike, the dub shall be negated ..

So how does one dub emotional scenes ?? they are a measure of the capability of an artist .. you may have lived the scene at the time of its shooting .. there were other artists present, a scenario conducive to the scene was present to put you in the correct emotional mood .. but in the studio .. nada .. nothing .. one has to imagine the entire process all over again and give the best dis connected emotional take .. and the tragedy is that this is the take that shall be judged as your performance, not what you gave originally .. nah ..

The portion to be dubbed is run on a screen in front of you, in silent mode .. the audio track of the sound of that scene is provided for you in earphone which you wear to get an idea of the words and the sound, and then as you start taking the spoken words need to fall in sync with the lip movements and the emotion of the scene running silently in front of you on screen ..

There are some very accomplished artists ! They just put on the ar phone, never look at the screen to see if their lips are matching or not, and simply are able to give a audio take absolutely in connect with the lips and the emotion .. them I admire most .. there are others even more accomplished .. they ask for the shot to be dubbed to be run with audio sound on the screen in front of them, ask the recordist to cut the sound and just go ahead merely looking at the silent screen and have the ability to synchronise the sound to the picture ... !!!

I have none of these abilities .. so I seek forgiveness with my director and beg him not to dub a particular scene that requires dubbing, because I shall be unable to recreate the same effect ..

Case in point : the mirror scene in Amar Akbar Anthony, the drunk scene in Satte pe Satta .. and many more ..

Technology has made our lives a lot easier .. sync sound is quite prevalent even in noisy streets now .. efficient miniature microphones are stuck inside your being, your shirt your jacket discreetly, unknown or unseen by naked eyes, or the eyes of the camera, batteries that run them are placed even more discreetly inside trouser pockets or clipped onto the back of your garment .. and we are on .. these mike marvels have the ability to pick up sound from distances as also your most intimate breathing .. becomes a bit embarrassing when we forget that the mike is on 24 hrs , so after the shot is over whatever you may be uttering is getting recorded as well .. hmmm .. even more embarrassing when you forget to switch it off for a toilet break .. !!!

Ahhh .. the vagaries of film making ..

However even after you have given, in your estimate, the perfect sound for a scene in the dub .. it is the sound designer that has the last word .. he will finally mix the film with sound and background music and effects, and your own dubbed sound, which eventually could turn out to be a thousand times better or worse .. according to your standards .. which invariably are never acceptable to the sound designer .. for he has to keep in mind its reproduction in the theatres which have different sound systems .. and a universal sound track has to be made for them .. different theatres produce different sounds, depending on what sound system they use and the acoustics of the theatre ..

Welcome to a mere small section of film making .. next lesson another day ..

GN .. love

Amitabh Bachchan

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junker-town · 7 years ago

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Dale Earnhardt Jr.’s podcast shows why he's NASCAR's most-popular driver

A behind-the-scenes look at why Dale Earnhardt Jr. decided to become a podcast host and how it's preparing him for his upcoming role with NBC.

It was a little after 7 a.m. ET when fans began arriving. First a couple here and there, then a steady stream of people, all lined up outside a NASCAR team shop located in a business park on the outskirts of Charlotte, N.C. They were waiting for JR Motorsports to unlock its doors at 8 a.m. so they could go inside to watch Dale Earnhardt Jr. record his weekly podcast.

That Earnhardt has such a legion of loyal fans is no revelation. But their willingness to show up on a Tuesday morning just to hear their favorite driver co-host a podcast for an hour is a level of devotion no other NASCAR driver can come close to matching.

Among those waiting to get inside to grab a position outside the glass studio was Brian Baird, 30, an Air Force E-5 Staff Sergeant and Purple Heart recipient who was hoping to get Earnhardt’s autograph on two noses and two doors off cars Earnhardt had previously raced.

“He may be a rock star, but he’s a real person.” — Brian Baird

Stationed at McChord Air Force Base in Tacoma, Wash., Baird decided to make a “detour” to the Charlotte area on his way to Biloxi, Miss., for additional military training. Visiting JRM to take a in a recording of The Dale Jr. Download was something Baird had long wanted to do. And while Charlotte and Biloxi aren’t exactly bordering cities, the relative proximity meant Baird got to cross something of his bucket list.

As Baird stood outside JRM sipping an orange Mountain Dew Kickstart — one of Earnhardt’s main sponsors — Earnhardt came driving up behind the wheel of a Chevrolet Colorado with a giant tire fastened to the roof. It was this pickup truck that Earnhardt accidentally left running for eight hours at the airport last month while taking a day trip to Richmond — a bemusing story Baird says underscores Earnhardt’s homespun charm and why he made the drive across the country to see a mere podcast recorded in person.

“He has actual substance, he’s not vanilla,” Baird told SB Nation. “He may be a rock star, but he’s a real person. The things he talks about on his show are things I relate to.”

JR Motorsports

Dale Earnhardt Jr. (left) chats with Brian Baird (right) after a recording of The Dale Jr. Download podcast.

Baird’s summary is the genius behind The Dale Jr. Download, devised to give fans a window into Earnhardt’s life and serve as an extension of his social media feeds, in a format where he can expound on topics in-depth. Subjects vary from week to week, though each show typically begins with a recap of the previous weekend’s race, focusing first on Earnhardt’s finish, then transitioning to the race overall. From there, it’s a hodgepodge of free-flowing talking points, though there is a one-sheet outline Earnhardt and co-host Tyler Overstreet try to follow.

On this day, the 193rd episode of the podcast, Earnhardt calls good friend Martin Truex Jr., who two days prior had won the Cup Series playoff opener at Chicagoland Speedway. During the conversation Earnhardt asks Truex if he just woke up. Truex denies the suggestion, even though Earnhardt is convinced otherwise.

When the interview with Truex concludes, the topics run the gamut of serious (discussion on how Earnhardt would feel if Jimmie Johnson were to win an eighth championship breaking the record he shares with Earnhardt’s father and Richard Petty) to the absurd — including Earnhardt sharing a story of how his namesake on a hunting trip once shot a doe while sitting on a toilet.

“People love the human side of it.” — Dale Earnhardt, Jr.

“Being active on social media is simple, easy,” Earnhardt told SB Nation. “People love the human side of it. They get to know you and feel like they get to see you as a real person. That is so valuable when they see you at the track and out on the track and they connect to you.”

Throughout the recording Earnhardt, 42, is insightful, glib, and personable, showcasing the personality that has made him a 14-time most popular driver and crossover mainstream superstar. Watching the proceedings the entire time is Baird, along with nearly 100 other fans, all of whom cram into JRM’s gift shop where the studio is located. With no seating, everyone stands and observes through the glass, much like zoo visitors would watch the bears.

For all five years of its existence, The Dale Jr. Download has aired on the Dirty Mo Radio, an online radio podcast network under the Earnhardt portfolio. But while it has Earnhardt’s name in the title and tapes at the team he co-owns, he didn’t have a real hand in it, at least in the beginning. And that was by design, says Mike Davis, who handles brand strategy and communications for Earnhardt and JRM.

It was Davis who conceptualized a weekly podcast that would cater to Earnhardt’s sizable fan base. Not wanting to overburden Earnhardt nor wanting him to commit his time to a project he may not feel completely motivated about, Davis elected against Earnhardt having direct involvement. If Earnhardt wanted to be onboard then it would happen organically, something he chose to do on his own accord.

So initially the show, utilizing various hosts, featured a recap of how the No. 88 Hendrick Motorsports team performed each week, in-car audio snippets, and a popular segment called “Reaction Theatre” that replayed voicemails fans left on a designated hotline. Depending on how Earnhardt finished that week, the calls featured an array of emotions and was almost always an amusing listen.

Gradually, Earnhardt became more involved. In the 22nd episode, five months after the show’s debut, he made his first appearance, one in which he and Davis reminisced while looking through old Earnhardt family photos.

“When we first started the podcast I didn’t want to do anything weekly or lock myself into any kind of routine,” Earnhardt said. “I knew I was going to hate it and not wanna get up in the morning to record it. But over a couple of years of seeing it grow and understanding what it was, how to use it and what kind of tool it was to engage fans it became more and more interesting to me.”

JR Motorsports

Dale Earnhardt Jr. looks over a show rundown during a recording of The Dale Jr. Download podcast on Sept. 19, 2017.

Easing into the commitment, a segment was formulated for the 2014 season that had Earnhardt calling in and leaving an audio clip sometime in the hours after a race ended to recap what transpired. This occasionally meant Earnhardt would record the message at home, which brought with it unexpected and entertaining moments that also provided fans a glimpse into his life away from the track.

“It was gold. He was able to decompress and really go back and replay the race in his head,” Davis told SB Nation. “Sometimes he was doing it in his basement bar or he’d be walking around outside and you’d hear the donkey and buffalo make donkey and buffalo sounds, or the dog would be barking. It felt like you were there with Dale.”

Earnhardt took on an even greater presence on The Dale Jr. Download last summer and the reason wasn’t something anyone envisioned. A concussion sustained in an accident during the June race at Michigan International Speedway would eventually cause him to miss the final 18 races of the season, creating significant doubt whether Earnhardt would actually be able to return to competition at all.

During this period while sidelined and amidst an extensive rehabilitation program, Earnhardt wanted a way to keep his fans abreast of what was happening and his recovery. Instead of Twitter posts in 140 characters or short videos, Earnhardt realized he had a perfect outlet right before him in the form of the podcast bearing his name.

He became a regular on the show, updating his recovery and chiming in on other topics. Not surprisingly the show became a must-listen for those wanting to hear how he was doing.

“I was so candid about all that because I was afraid if people didn’t see me or see what I was dealing with or hear what I was going through, they were going to make guesses and assumptions from one extreme to the other,” Earnhardt said. “I didn’t feel like what I was going through was anything to hide or be ashamed of. This is what is happening to me in my life and I want people to know what is happening to me, what I was dealing with and out 18 races.

“It gave me a lot of peace of mind. Had I not done that, I would’ve sat at home thinking everyone was making assumptions.”

Another thing occurred as Earnhardt was sidelined: He took the opportunity to dabble in television broadcasting, a post-driving career avenue he never thought he’d venture down. But last October he accepted a spot in the NBC Sports booth as a guest analyst for the playoff races at Talladega Superspeedway and Martinsville Speedway. Afterward, he had a eureka moment and his outlook changed.

“I got out of the booth right out of the door and I looked at whoever was with me and said, ‘Holy (expletive), that was fun!” — Dale Earnhardt, Jr.

“I got out of the booth right out of the door and I looked at whoever was with me and said, ‘Holy (expletive), that was fun!” Earnhardt said. “Like, I couldn’t believe how much fun that was.”

Seeking greater comfort in front of the microphone and to better understand the detail and preparation that goes into being an effective analyst compelled Earnhardt to take a larger role on The Dale Jr. Download. At the beginning of this season, which would be his last as a full-time competitor, having announced in April he would return at the end of the year, he took over hosting duties on a permanent basis.

“The podcast was a way to learn about being a media personality,” Earnhardt said. “See what works, what doesn’t work, what people find interesting. A way to make mistakes and be able to learn and get better.”

Spurred by his newfound enthusiasm for broadcasting, which elicited widespread praise, Earnhardt and his team engaged in discussions with NBC and Fox Sports, NASCAR’s television partners about potential future opportunities. In July, he announced that he had signed with NBC in a multi-faceted deal that will likely see Earnhardt have a role beyond just NASCAR, possibly on the network’s coverage of the Olympics or NFL.

Earnhardt will also have his own television show, with talks underway on what exactly that will entail. One option is simulcasting The Dale Jr. Download or developing a new program with a similar concept that highlights Earnhardt’s charisma and capitalizes on his ability to give well-thought, heartfelt answers.

Whatever comes about on the television side won’t impact Earnhardt’s current role on The Dale Jr. Download. Maintaining a prominent presence within NASCAR and wanting to continue having a connection with fans upon retirement are motivating factors, as is expanding Dirty Mo Radio.

“We look at pairing with NBC as an awesome opportunity, but we want NBC to look it as an opportunity,” Earnhardt said. “We want them to see the potential in Dirty Mo Radio. I want to keep doing the podcast and get more creative.”

In addition to Earnhardt’s show, seven other podcasts air on Dirty Mo Radio with several more in the planning stages, including a lifestyle-centric program hosted by Earnhardt’s wife, Amy, set for early next year.

The impetus behind developing every podcast is twofold: Deliver a platform that allows Earnhardt and other NASCAR personalities to connect with fans beyond conventional avenues, while also providing additional benefits to JRM’s partners. The latter is especially pertinent in a tough NASCAR economic climate where funding is scarce. It’s no coincidence several of Earnhardt’s or JRM’s sponsors have a direct affiliation to a specific podcast.

“It’s another connection point to the fans,” Kelley Earnhardt Miller, older sister of Earnhardt Jr., co-owner of JRM, and herself a podcast host told SB Nation. “A way to give (sponsors) more value than just the paint on the car, which is so important. It’s really become a great tool for us.”

But it is The Dale Jr. Download, one of the top 200 most-downloaded sports podcasts, according to iTunes — which will in all likelihood increase with Earnhardt now hosting — that is the franchise with an in-person viewing audience from around the world.

Fans from Alaska, Hawaii, Canada, England, Ireland, Japan, and Scotland have specifically traveled to see Earnhardt Jr., according to Cathy Earnhardt Watkins, sister of Dale Earnhardt Sr. who manages the JRM gift shop. Davis even recalls one Canadian visitor asking him not to post a photo on social media became he was playing hooky from work and his work might see it.

On the day before the recording of the 193rd episode, a man from Upstate New York was perusing the JRM gift shop on a Monday when Davis informed him that Earnhardt would in fact be in studio the next day. There was just one hitch: To make it to the taping, the man had to lie to his wife and craft an excuse why he had to stay another day in North Carolina. Wouldn’t you know it, the man was there the following day.

“I was talking with her and I kept acting like my phone had bad reception,” he said. “That way she couldn’t ask too many questions.”

Another good crowd on hand for the @DaleJr Download! Thanks to all the fans that came out to listen! #appreci88ion #DJD http://pic.twitter.com/fM01RUnTLR

— Dirty Mo Radio (@DirtyMoRadio) August 15, 2017

Earnhardt recognizes the lengths his fans will go to get a moment with him. He’s advocating for Davis and his aunt to come up with way to add portable bleachers so spectators won’t have to stand for the duration, and after each show he will sign autographs for those in attendance.

It is these interactions where lasting memories are made and why folks come out on a Tuesday morning. For 15 minutes Earnhardt and Baird talk like old buddies about the doors and bumpers Baird brought with him.

The front bumper with yellow and blue Wrangler colors particularly catches Earnhardt’s eye. It is off the No. 31 car he drove in his eighth-career Xfinity start, when he was still trying to make a name for himself.

If you didn’t know better, you’d think Earnhardt was as excited to meet Baird than the other way around. Earnhardt quizzes Baird about how he came across these pieces of memorabilia, even going as far to suggest maybe they could go into business together. And as he’s walking away for a planned interview, Earnhardt turns to Baird and says if he’s ever thinking of selling to make sure he lets him know first.

It is a goodbye of two people who seemingly know each other quite well even though they just met.

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