#neil haskell

[tripleaaze]

Neil Haskell

[schuylerpics]

[pealeii]

goodbye theme i’ve had for a year and a half…you’ve been good to me

[retropopcult]

"Lotta Love" is a song written by Neil Young and was covered by Nicolette Larson in 1978.

Neil Young and his backing band Crazy Horse recorded "Lotta Love" first (in 1976), with Larson and Linda Ronstadt providing background vocals. After a year went by with Young indicating he might not use or release the song, Ronstadt suggested to Larson that she should record her own version, indicating she didn't care for the sparse, melancholy tone of Young's song. So Larson went into the recording studio, determined to create a more upbeat rendition: it featured a string arrangement by Jimmie Haskell, a classic soft rock horn riff and a flute solo - all of which made the tone of the song more optimistic. Larson would recall: "It was a very positive song and people don't want to hear how bad the world is all the time. It had a nice sound rhythm and groove. And a great visual video."

Listeners seemed to agree. Larson's version reached No. 8 on the Billboard Hot 100 chart and No. 6 on the Cash Box Top 40 in early 1979. It also hit No. 1 on Billboard's Easy Listening chart and was also a Top 10 hit in Canada, Australia and New Zealand.

[scorchedthesnake]

December 7, 2011

This is when Chapter 2 begins. Gossip Girl had aired; the Halloween parties and the Vanity Fair shoot had let the world know this was a scene. Neil Patrick Harris had raved on Regis and Kelly. The run was no longer extending in short fits and spurts. And original cast began to move on and new residents arrived. Some had trickled in: William Popp and Tony Bordonaro had come in in the late summer and fall. But tonight, I would learn, was the debut of many, many new faces.

As it happened, I was celebrating my 32nd birthday (my original blog said 31st, but come on, do the math). Friends gathered at Manderley with elaborate and themed gifts; a bottle of absinthe I wouldn’t finish until 2022; a journal crafted from my show notes. Banquo had been my first infatuation in the show, but I had pretty quickly moved on the Malcolm, and the journal told the tale of that new fascination.

But the new cast that night included a triumvirate of extraordinary women: Lily Ockwell (Sexy Witch), Haylee Nichele (Lady Macduff), and Chelsea Bonosky (Agnes). 

As I wrote at the time… Chelsea immediately took my breath away. And somehow I didn’t put together that when she picked me for the 1:1, it was her first one ever. We would revisit this moment numerous times over the years. Once, she pulled me in and said: people are being awful tonight, can we just sit for a minute? And most poignantly on her final night as a regular resident, when she would insist on an elliptical structure for our journey together in the building. 

Other highlights of the night: Haylee’s Lady Macduff, whose 1:1 I saw on her final pick. I had been with her at the start of the show and watched as her very first pick *declined her hand,* and she later told me the audience member she picked after that had to be ejected. I can’t imagine how hard it must be to learn these scenes, harbor the confidence to pick someone, and have two mishaps like that one after the other. 

Ben Thys as Malcolm. It was a golden age of handsome Malcolms with Ben and Will sharing the role. Many years later I’d have the good fortune to see Ben’s final Malcolm loop and be part of an audience that all choked up when he chose Will for his last 1:1. 

Tony Bordonaro as Banquo! It was not his premiere night, but it was my first time seeing him. In the very small universe we inhabit, I’d been told to look forward to this performance. Matt, in his final acting gig ever, had managed to land a small role on One Life to Live as a high schooler going to the prom (he was 30 already I think?) - and the other two boys in the posse were So You Think You Can Dance’s Neil Haskell (a fellow Western New Yorker)… and Tony.

Later, in Manderley, came John’s component of my birthday gift: an introduction to Maxine Doyle. He indicated I’d seen the show a fair few times, and she said, so what do you think of the new cast? I replied they were all wonderful and brilliant! And then she said, don’t patronize me, tell me what you really thought. So I tried my best to give some even notes on things that had felt off (but truly, the people I had followed closely, were in fact wonderful and brilliant!). I was moderately terrified but also in awe of her seriousness.

This was the final normal show of 2011 for me. The New Year’s Eve that followed was a massive, massive party and full of dramatic hijinks to kick off 2012, the year we all lost our minds. (sorry, work blew up and I am behind, I had hoped to reach Remixed 1 by today in honor of Remixed 2 but it will not happen. Enjoy Remixed 2!)

[jules-has-notes]

collaboration spotlight — Altar Boyz cast reunion fundraiser

When quarantine shut down the entertainment industry indefinitely, a lot of talented people found themselves with a lot of unexpected free time and a lot of fear for the future. Many of them turned to their communities to both seek and provide support. To that end, more than 30 previous cast members from the Off-Broadway and touring casts of Altar Boyz reunited to raise money for The Actors Fund.

.

The world needed some hope in the face of a sudden ending. Luckily, the big finale is the most hopeful song in the show. Expanding the arrangement from just five voices to nearly three dozen gives it an even more lush and powerful sound.

Details:

title: I Believe

performers: Tommaso Antico, Corey Boardman, Matthew Buckner, Andrew Call, Danny Calvert, Michael Kadin Craig, Jim Daly, Tim Dolan, Chad Doreck, Ryan Duncan, James Royce Edwards, Carlos Encinias, Adam Fleming, Neil Haskell, Cheyenne Jackson, Jesse J.P. Johnson, David Josefsberg, Andy Karl, Kevin Kern, Joey Khoury, Lee Markham, Tyler Maynard, Dennis Moench, Travis Nesbitt, Mauricio Perez, Scott Porter, Ryan J. Ratliff, Ravi Roth, Nick Sanchez, Ryan Strand, Shaun Taylor-Corbett, Daniel Torres, Nick Verina, & Adam Zelasko

original performers: Off-Broadway cast of Altar Boyz (2005)

written by: Michael Patrick Walker & Lynne Shankel

arranged by: Isaac Hayward & Michael Patrick Walker

release date: 2 July 2020

My favorite bits:

layering in the original Off-Broadway cast

adding ensembles of each character in the second verse

everyone on screen together for the second chorus

the synchronized finger waggle

those incredible belts and riffs from the Matthews

the powerful build-up, moment of silence, and dropping back to a end on a gentle chord

cover art for the Off-Broadway cast recording

original cast for the first national tour

Trivia:

The show debuted with preview performances during the New York Musical Theatre Festival in September 2004. The cast included Cheyenne Jackson as Matthew, Tyler Maynard as Mark, Andy Karl as Luke, Ryan Duncan as Juan, and David Josefsberg as Abraham.

Scott Porter took over the role of Matthew for the Off-Broadway production in March 2005, alongside the rest of the continuing cast. He ended his run in the show the following February to begin filming on the "Friday Night Lights" television series.

Scott and Matthew "Bucky" Buckner had met when they were both performing at the theme parks in Orlando. After Scott retired from his a cappella group 4:2:Five to take a job at Tokyo Disney in 2003, they recruited Bucky as their new member.

Bucky stepped into Matthew's shoes for the first national tour in October 2006, after he left 4:2:Five. When the tour finished in May 2007, he then joined the New York cast for the summer before passing the torch to Chad Doreck.

Oddly, both Scott and Bucky have Matthew as their actual first names, but Scott goes by his middle name, and Bucky also answers to a shortened version of his surname.

So You Think You Can Dance alumnus Neil Haskell played Luke from March 2008 to March 2009. He was then in several other shows before joining the ensemble cast of Hamilton when it moved to Broadway in the summer of 2015.

The Off-Broadway production of Altar Boyz closed in January 2010, having won several awards.

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In addition to the initial music video, producer Ken Davenport also hosted an hour-long livestreamed reunion hangout with the original Off-Broadway cast and crew members a week later. They reminisced about the origins of the show and their favorite memories from bringing it to life.

.

To express their gratitude to all the donors throughout the week, a few of the former cast members recorded another song written by the show's composer.

Details:

title: Leading the Way

performers: Jim Daly, Carlos Encinias, Scott Porter, Ravi Roth, & Shaun Taylor-Corbett (vocals); Gary Adler (piano); & JJ Johnson (violin / viola)

written & arranged by: Gary Adler

video produced by: Rick Hip-Flores

release date: 9 July 2020

My favorite bits:

Scott's earnest, clear timbre on the lead vocals

such lovely harmonies from the rest of the guys

Gary and JJ's build up to the bridge

the syncopation of ♫ "in my heart" ♫

the freedom in that final descant riff

Trivia:

This song was written for the musical but didn't make the final cut. It originally debuted in October 2005 as a post-show extra for the Off-Broadway audience, as part of a fundraiser for the Red Cross benefiting victims of Hurricane Katrina.

[lesterplatt]

Mullen "Drive The Impossible" from Emile Rafael on Vimeo.

For Mullen: VP Marketing: Jason Putnam Marketing Specialist: Cody Mahaffey

Agency: The ID Agency @theidagency VP Client Services: Josh Bulrice Creative Executive Producer: Alison Howlett @birdiefrombrooklyn

Directed by: Emile Rafael @helloemile Production Company: Arts and Sciences @artsandsciences_ Executive Producers: Mal Ward @malward, Marc Marrie, Christa Skotland @christacarrie Head of Production: Milena Milicevic @uniqueism9 Directors Rep West Coast: Depot of Sales Jonathan Logan, Dexter Dexter Randazzo

Produced by: Patric Harris @Patharris71

Written by: Atila Martins @atilamartinsl Emile Rafael @helloemile Cinematography: Gus Bendinelli @gbendinelli First Assistant Director: Ryan Lippert @lippy90265 - DGA Second Assistant Director: Sarah Craveiro @craveiro_sarah - DGA Production Supervisor: Chris Valdez @c.h.r.i.s.v.a.l.d.e.z Assistant Production Supervisor: Raymond Steege

Edit by: Patric Ryan @patricryan7 Assistant Editor: Hannah Yerbury @hannahyerbury Edit House: Marshall Street Editors @mse.tv Voice Over: Johnny Neal

VFX by: UPP @upp_advertising Senior VFX Supervisor: Mario Dubec @maxtorag Producer: Kristýna Řádková @tyna.radkova Grade: Ondrej Stibingr @ondrej.stibingr

Music Composition: @finnmcnicholas Music Company: @feltmusic Music Supervisors: Max Beattie, Jonny Joel Beck @jonnyjoelbeck, Steve Spiro @steve_spiro_

Sound by: Rascal Post @rascal.post/ Sound Design: Neil Johnson @neilkjohnson, Izaak Buffin @izaak.buffin Producer: Maddy Lebel @maddylebel

First AC: Ryan Sax @ryansax Second AC: Joe Ashi @joe_ashi DIT: Pete Aguirre @_pete_aguirre Pilot - Inspire: Tony Thompson PILOT - FPV: Tommy Tibajia @ummagawd Drone Cam OP: Zack Haskell @zackhaskell Drone 1st AC: Ben Stefanides @_benstef VTR: Calvin Evans @calvinleeevans Ukrainian Arm: Car Driver: Chris Barrett @cl_barrett Head Tech: Ross Wilson Crane Tech: Jason Tubbs Electric: CLT: Nick Durr @dicknurr ACLT: Justin Roxbrough @justin.roxbrough Key Grip: Jon Coyne @witgrip Grip: Luke Poole @lukeatmenow

[howardhawkshollywoodannex]

Mary Elizabeth Mastrontonio in Limbo (1999), photographed by Haskell Wexler. Haskell has eight entries among my best 1001 including John Sayles' Matewan, for which he was Oscar nominated.

Haskell also had 20 director credits from a 1953 short to a 2015 Neil Young video, including my best 1001 movies entry Medium Cool. His other notable credits include a 1978 John Wayne tv commercial and No Nukes.

[stranger-rants]

For context, this is what happens in Ch. 10 of Runaway Max from Max’s perspective. Billy had been pulled over and given a ticket. When Neil finds out, he hits him. Susan pretends like nothing is happening while she reads a magazine. but Max stands in the kitchen watching in shock. Neil continues to hit him. Billy ends up on the floor, and Neil takes off his belt to whip Billy:

Neil planted his feet and raised the hand with the belt. “Are you ready to take your punishment?” “Stop it!” I shouted it. I hadn’t known I was going to say anything until it came tearing out of me. It felt jagged, like I’d been holding something inside. Neil turned, and for a second, looking into his eyes was like looking into the sun, blank and dazzling. Then he smiled a tight, mechanical smile and turned back to Billy. “Is this the son I raised? A worthless loser who needs a little girl to fight his battles for him?” He said it with so much wonder and disgust that I felt my face get hot and my eyes fill up. In that second, I believed it - that he was right, that I was no one, just a little girl and there was no way to stop someone like him. He was a grown-up. Neil set his jaw and swung the belt. He did it without hurrying, like it wasn’t a big deal. He did it the way Mrs. Haskell down the street beat the dust out of her rugs. When he was done, he didn’t look at either of us or say anything else. He just turned and walked out of the kitchen.

Max asks if he’s okay, and he says “get away from me, Max.” She asks if he needs ice, and he says, “I said, get away from me.” more aggressively. Then she backs off. Here, we see the consequence of Max trying to intervene - Billy gets beat harder, with his father emotionally abusing him on top of it all. This isn’t Max’s fault, but it illustrates why Billy feels negatively about anyone trying to help him. Susan does nothing. Pretends nothing is happening. She doesn’t even look horrified by the situation, which unnerved Max. Max is just a little girl who cannot actually help him, though, so Billy feels hopeless. Neil intentionally divided them to make controlling and abusing them, easier, with Billy being his primary target.

There’s no evidence of Lonny doing anything like this to either Jonathan or Will. He was not a good father, and he traumatized his kids. However, his abuse wasn’t like this and people have got to stop comparing the two. Different contexts for abuse. Different maladaptive coping mechanisms. Different duration of abuse. Different support systems. Etc.

I know people aren’t going to listen to me, but you guys have got to stop comparing two completely different characters’ trauma.

Jonathan and Billy do not share the same trauma.

In fact, they are the exact opposites. Yes, both had abusive fathers. Fine. But that’s about it. Their similarities end there. See, Jonathan had one thing that Billy didn’t. Proper support.

Joyce didn’t decided to leave Jon with Lonny and disappear from his life forever. Jon was not left in an abusive household with absolutely so form of support. Joyce, instead, left Lonny, took her kids with her, and was trying her best to be a good single mother to her two young boys. Jonathan still had his mother and his brother to guide and support him.

Billy didn’t. His mother straight up abandoned him with his abusive father. I don’t know how many of you know what typically happens in those situations, but here’s how it goes. When there are two victims and one of them gets free, the abuser doubles down on the abuse of the victim still in their care. They want the remaining victim to think there’s no way they’re going to get free, so they tend to abuse the victim more frequently. Billy, already hurt from being abandoned, is suddenly alone and dealing with even more abuse than he was originally dealing with. You could argue that he did have support through Max at one point, but he pushed her away. Now, I haven’t read Runaway Max yet, but from what I understand Billy was getting beat worse due to Max trying to help. This was not Max’s fault by any means, but her help wasn’t actually helping. If anything it gave Neil even more leverage to abuse Billy into the mindset that he would never be helped or loved.

(Also, I’m not going to go into it in this post but, Max and Billy didn’t have the same trauma either. You can live in the exact same household and go through extremely different things.)

Jonathan Byers and Billy Hargrove did not go through the same trauma. Jonathan had a safe space. Billy never did.

[nealspaper]

Hamilton -- National Tour, Academy of Music

Hamilton — National Tour, Academy of Music

  Sweep on several levels accounts for the achievement and excitement of “Hamilton.” It’s no wonder it’s earned both critical acclaim and popular support since the Lin-Manuel Miranda burst of the theatrical scene in 2015.        Miranda manages to ace a feat that has daunted and defeated many. He has taken a person from history, to my mind the second most important figure in all of American…

[dancebook]

Neil Haskell and Sabra Johnson

[danceoftheday]

Performed by: Kameron Bink, Cedric Gardner, Jaimie Goodwin, Lauren Gottlieb, Neil Haskell, Sabra Johnson, Hokuto Konishi, Pasha Kovalev, Shauna Noland, Lacey Schwimmer, Danny Tidwell, and Sara Von Gillern

Number: “You Can’t Stop the Beat”

Choreographer: Adam Shankman

Style: Broadway

From: So You Think You Can Dance, Season 3 (2007)

[glitter-and-be-gay]

Oooooh this is a hard one! Ok, let’s see:

Seed to Dust: A Gardener's Story by Marc Hamer

The Starless Sea by Erin Morgenstern

Hogfather by Terry Pratchett

Olivia by Dorothy Strachey

The Ocean at the End of the Lane by Neil Gaiman

Complete Tales of the Unexpected by Roald Dahl

Meditations by Marcus Aurelius

Letters to a Young Poet by Rainer Maria Rilke

The Order of Time by Carlo Rovelli

In an Absent Dream by Seanan McGuire

A Psalm for the Wild-Built by Becky Chambers

The Girl Who Soared Over Fairyland and Cut the Moon in Two by Catherynne Valente

The Dictionary of Obscure Sorrows by John Koenig

Andromaque by Jean Racine

The Complete Tales and Poems by Edgar A. Poe

Beyond the Deepwoods by Paul Stewart

Le Petit Prince by Antoine de Saint-Exupéry

The Complete Calvin and Hobbes by Will Watterson

Sounds Wild and Broken: Sonic Marvels, Evolution's Creativity, and the Crisis of Sensory Extinction by George David Haskell

An Immense World: How Animal Senses Reveal the Hidden Realms Around Us by Ed Yong

20 books challenge

If you could only keep 20 books (physical/ebook/audio), which would be the ones you would keep?

Rules are simple:

1 book per author. 1 book per series. Tag #twenty books challenge

i saw a challenge from @theinquisitxor and tagged myself to do it

book names are below the cut

magic for liars by sarah gailey

american gods by neil gaiman

the silver chair by cs lewis

lirael by garth nix

the return of the king by jrr tolkien

jonathan strange & mr norrell by susanna clarke

we are okay by nina la cour

house of hades by rick riordan

the magician king by lev grossman

assassin's quest by robin hobb

crooked kingdom by leigh bardugo

black leopard red wolf by marlon james

words of radiance by brandon sanderson

dracula by bram stoker

squire by tamora pierce

a swiftly tilting planet by madeline lengle

just ella by margaret haddix

wuthering heights by emily bronte

the sweet far thing by libra bray

ptolemys gate by jonathan stroud

[pealeii]

i haven’t changed my blog theme in a year 😭😭 my banner image is still just neil haskell robert lenzi and michael park looking at you like bugs when you lift up a rock 😭😭

[thefederalistfreestyle]

20-schuy-teen

[thediaryofatheatrekid]

HAMILTON PHILLIP COMPANY CAST UPDATE

Nyla Sostre is now an Eliza u/s

Tommar Wilson has joined the company as standby for Burr, Washington and Lafayette/Jefferson

Aaron J. Albano is now a King George III u/s

Marcus John has joined the company as a swing and u/s for Lafayette/Jefferson and Mulligan/Madison

August 6th

Warren Egypt Franklin joins the company as Lafayette/Jefferson

Desmond Sean Ellington will be promoted to principle Mulligan/Madison

Neil Haskell joins the company as principle King George III