#remember in 2021 when he and his group had to use a rehearsal video because they had covid

[peachfolk]

I'm so happy that Dadi Freyr is finally getting to perform live in a Eurovision finale

[accio-victuuri]

(candy vault) : alexander mcqueen shoes, nike off white and yibo’s missing mole 🤍

this fandom has lots of candies in the past years and there are ones that fall through the cracks or things that i simply wanna talk about. also for the benefit of new turtles who probably missed it & a good trip down memory lane for those who’ve been here for a while. i made other posts similar to this before and i haven’t done a good old mini compilation so here ya go. ^^

2/23/2021 WYB was in Beijing, participating in the recording of CCTV’s Lantern Festival program in the evening. The actual broadcast was 2/26/2021.

In the materials initially sent out by YBO, for the photos, you couldn’t see AM shoes. Maybe the shoot was better off focusing on his face, which I totally agree, but it was like they didn’t want to focus on it that much. We only saw the shoes when they released the BTS video where it would be tricky to crop it out.

During the actual performance he changed into a more comfortable looking Jimmy Choo shoes. He was wearing AM outfit so it made sense that the shoes should match too. This should’t really be a big deal or even a CPN, only because changing shoes is sort of normal at events like this. Maybe he was more comfortable with the Jimmy Choo, although the choreography for this performance is not that complicated like his other routines. The way I remember it, WYB usually sticks to the shoes he has on.

The CPN alarm bells started going off tho when ZZ flew from Beijing to Shanghai wearing the same style McQueen shoes. He had shooting back in 2/24 and there were some talk that he was more than a half hour late as planned on set. So going by our collective galaxy brain, they could have spent some time together during late 2/23 and some time on 2/24 which is after the CCTV shoot. WYB probably lent the shoe to him or he just got it from their shared closet lol. This is why ZZ was sort of late, because he was with WYB. The pattern of ZZ being later than usual on set when he is with WYB is something that still happens this year. I’m not implying that he is slacking off when he is with WYB but more of just adjusting his schedule so he can accommodate the love of his life. they both deserve that in between their busy schedules.

maybe this is why YBO didn’t want to highlight that on the materials they released 2/26 ; because they knew where the shoe went 😂😂😂

While we’re in the subject of shoes, let’s take it further back with their matching nike off white in 2018. It’s one CPN that is often given as an example but I haven’t discussed on here.

AAAAAHHHHH! I miss the days when they could still wear Nike shoes. Oh well….

Looking through the airport pictures of ZZ before joining the CQL group from 2016 to 2018, there are no pair of Nikes that could often be seen in pictures of him. There are 2 back in 2017. Before CQL, ZZ had quite a variety of shoes, including a few pairs from Adidas. Like WYB, it is obvious that he likes to buy Nike co-branded products, likes to grab the latest models, and even buys more for collection.

Now let’s focus first on the shoes, it’s a collab of Nike air vapormax X off white. There are two shoes of the same style but in different colors. The black model will be available at 3/30/2018 and the white will be available at 4/18/2018. We know that at the time, WYB will surely have what’s new when it comes to NIKE. It’s either it will be sent to him cause he has a relationship with the brand or he will buy it himself. He is known to always wear the latest designs released. He is also a collector, so he most likely bought the black and white version.

WYB wore the white version on 4/28 and ZZ wore the black model on 5/8 based on photos.

As for ZZ, he was recording an episode for a show and he also used this shoe for the rehearsal. It is the same show where he had to dance and the choreography was taught by WYB. We’ve seen this in the BTS and ZZ talked about it himself.

WYB was seen again with the pair during PD101 on 5/10. It’s funny cause this is the same day where XZ was filmed candidly behind the scenes and he said he hasn’t seen LWJ all day.

These two. Honestly. They only formally “met” and then started shoot 4/16 and it hasn’t even been a month but they already have a couple shoe and ZZ was out there emoting about missing LWJ/WYB? It’s a common discussion that leads to alternative timelines like DT or 2017 or it could just be that it’s one of those rare instance where you connect with someone so quickly.

I have 3 possible explanations:

1. It’s totally unrelated. They bought their pairs separately since they like the style and collab.

2. WYB gave the shoe to XZ. I am a fan of both of them giving gifts to each other. And if you are someone who believed XZ gave him a lego set even before they started filming as a gesture of goodwill then this should make more sense to you. Also WYB is known to give gifts and that includes shoes ( for example SDC 3, he gave out multiple pairs ). This reasoning is not necessarily a CPN of them being boyfriends, but more of being close enough to give each other gifts. and not just the usual one you would give to a colleague cause if WYB only has the white and XZ has the black, it’s a couple shoe. WYB low key hinting at the prospect if them being a pair and XZ accepting it.

3. They bought it together, as you would when you’re with a friend and are scrolling through shopping apps together. I think there are fake rumors of that, the two, in between takes scroll through their phones and buy each other stuff or same style clothes. Again, it doesn’t necessarily mean boyfriend behavior, but more of being close enough to do that.

A clue for that is WYB was seen with the black pair during CQL filming around early 6/2018. You can clown that he is wearing ZZ’s shoes or he did buy the 2 kinds for his own and ZZ got the black only.

Lastly is the stolen mole!!!!! ♥️

Since cpfs are obsessing over WYB’s very visible mole from the Bazaar shoot.

It’s one of my favorite fake and it basically says, The reason why WYB cares so much about ZZ’s mole under the lip, is because WYB also had one like this when he was little. The elders in the family said it’s something good and it means he will have a happy life. However the mole disappeared. Or i guess in his case it’s not as prominent and has faded instead.

While filming, GG has scenes where he didn’t have make up or it gets taken off because of the heat. WYB looks at him closely and points out his lip mole, saying that he had something like that before but it disappeared. GG then added that his mom told him that his mole appeared only after a while when he was young.

That’s when WYB said GG stole his mole. When it disappeared, the mole transferred to GG 😂😂😂

Maybe this is why WYB is so fixated with his mole that he even includes it in his drawing of XZ/WWX.

-END.

[konpithepuppy]

[TRANSLATION: DUeT 08.2021]

7 MEN SAMURAI

Proofread by aji10647731 (Twitter)/ @janiappend

Scans not mineNeither an English nor a Japanese native speaker

Feel free to correct me, thanks

Shining smile , happy & fun every day x 6

PLEASE ACCEPT OUR SPARKLING SMILES.

7 MEN 侍 who charmed us with their passionate live in 「Johnny's Ginza 2021 Tokyo Experience」. For this month, we got their cheerful smiles ♪ We deliver to you in ample amount the diary of naturally overflowing smiles and happiness of these 6 people when gathered together!

MOTODAKA KATSUKI

[SMILE] I was happy when I heard that the official account of Japanese Fisheries Agency noticed me! They said, "There is someone from Johnny's Jr. who said he wants to join the Japanese Fisheries Agency?" and they mentioned my name. I made "うおうお TV", a series about fishes, in the ISLAND TV, and I wrote in my blog, "I want to join the Japanese Fisheries Agency in the future," and I think it is thanks to the fans for spreading my love for fishes to the world. That's why, I am really thankful!

[RECENT HAPPENING] I went to fishing alone in a long while and I had fun. I made measures to be not sunburned, I applied sunblock and wore long-sleeved top...But I got so absorbed in fishing and I rolled up the sleeve, so from my fingers to my elbows got sunburned (bitter laugh). It stings and it hurts~! But since I was able to caught 60 horse mackerel, so I was very satisfied♪ When I got home, I filleted the horse mackerel and rolled in shiso and fried those, I also did namerou (finely chopped fish with miso) and fish bone cracker. It was really delicious~!!

SASAKI TAIKO

[SMILE] (Takahashi) Yuuto conveyed his thoughts about 「Johnny's Ginza���, and he didn't only talk about 7 MEN 侍's  good points objectively, but he also talked about the parts where we have to do some more work. I am happy that he pointed out the things that are normally hard to say, so I am really relying on him. I was able to smile because I got an opinion that we can grow too! A relationship where we can discuss sharp reviews is valuable, I want to treasure everyone as close friends from now on too.

[RECENT HAPPENING] I went to watch IMPACTors' 「Johnny's Ginza」. Watching from the audience seat, I discovered things like, "if it is done this way, it will hype up the audience," and I also learned the hint on how to create a sense of unity during situations where audience can't clap their hands. I also learned that setlist is very important, and I also knew the importance of watching the lives of different groups. From now on, I will watch a lot of lives and DVD concerts, and I want to research on those and study them! 

SUGETA RINNE

[SMILE] I burst out laughing when I am watching variety shows. Recently, I like Chidori-san's variety show! I laugh everytime Chidori-san's accurate tsukkomi hits my humor. I always watch the recorded shows alone and burst into laughter (LOL). I get refreshed with laughing so it is great. Also, during filming or talking with the members...I smile when we are together. Since everyone is funny, so it is enjoyable to be with them! There are a lot of time when we are like, "this is funny, let's watch it again," and watch the videos we shot for Johnny's Jr. Channel and ISLAND TV.

[RECENT HAPPENING] I am happy that I got 2 rare cards that I like from the popular anime trading card arcade game ~♪ But, I got carried away and thought, "maybe a better card will come out" and I continued playing the game, but after that, I only lost! More than the joy of getting the rare cards, I regret wasting for game fee (bitter laugh). Whatever it is, it is important to know when to stop.

YABANA REI

[SMILE] I always smile at the members' foolishness (LOL). I really like the 7 MEN 侍 who passionately pursues to be funny than to be cool! When filming videos for ISLAND TV, we think of different things, but there are a lot of naughty ideas and plot twists, everyone's contents are like the contents of the boys in middle school (LOL). But, it can show our personalities so it's okay. Because of the videos, Taiko appeared in「Out x Deluxe」, and Katsuki also got a job from his videos about filleting a fish...I am happy that their contents landed them works! I also want to be in a variety show where I can talk about bass and musical instruments~! (praying)

[RECENT HAPPENING] In my "live setup" class in college, I've become the stage director. For the sake of earning some credits, I took the responsibility (/took the class), but I have to talk to a lot of my batchmates and juniors more than I did until now. I talked about the parts around the bass  to people who knows a lot about instruments, it's fun to be able to have a very maniac talk about those!

NAKAMURA REIA

[SMILE] I think The one that made me smile lately is when we started the 「Johnny's Ginza」!safely, we were unsure whether the shows could start as planned, but we believed the we can definitely have a live and we rehearsed with all our might. That's why, I was really happy when we were able to meet the fans! Moreover, I reconfirmed that being able to hold a live is not something to be taken granted for, and I was able to add more power to the performance. We tried to make it a live that would be engraved in the hearts of everyone so we rolled up our sleeves and determinedly performed. We were passionate in every performance, and it was so much fun!

[RECENT HAPPENING] I am concentrating in the rehearsal for the musical 「SUPERHEROISM 」which I am starring. (The interview was done on the first 10 days of June) During the break time, it was heavily raining, and when I went to buy a bento, I saw a boy, who is around at kindergarten age, wearing a raincoat and playing with a ride in the park. I remembered that when I was also a child, I didn't mind the rain and wanted to play in the park, and that scenery was heartwarming (LOL). I prayed for that boy to not catch a cold.

KONNO TAIKI

「Johnny's Ginza」live really made me smile! The online streaming is also fun, but the enthusiasm always rises more when performing in front of the audience! In addition, since the time we started playing the band, our bond really became stronger. In a band, it is important for everyone to produce one sound, so a practice is necessary. Before, each one's skills are in different levels and it was tough, but everyone became better recently, and we can now cover each one's weaknesses. Since I can now feel that, playing as a band became much more fun!

[RECENT HAPPENING] There is a studio where we can do band practice in the office. Our instructor teaches us a lot of things every time, but during break time, (Iwasaki) Taisho casually drops by to have fun, we sing together with my guitar accompaniment. That image is like during break time in school (LOL). I want to trying singing together with Taisho on stage someday.

[thoughts-on-bangtan]

Do you think BigHit pays attention to how much things to show to be able to "please" each ship, esp the maknae ships? For example, If a run ep/any content showed a little bit more of vmin, it will somehow highlight jikook or taekook next. For sure, the boys are not faking their interactions, but do u think BigHit consciously monitor these interactions and edit it in a way that can avoid violent reactions from diff ship groups? Sorry I cannot word this ask well. 😕 I'd love to hear ur thoughts.

Thank you so much for the amazing question! And your wording was really good and clear so don’t worry about that.

I think the first major thing we need to remember is that BH is a company, and a company’s main purpose, above all else, is to generate revenue. Which isn’t a bad thing in this case seeing as, depending on how much BH makes, so do the members since their contracts, compared to others in the same industry, have some great percentages in their favor.

With that in mind, the answer to your question is a very simple and straight forward yes. BH monitors and plans things accordingly to please (paying) costumers, in the context of this answer, shippers. Fan service and showing certain interactions in certain ways are a great marketing tool that every idol agency uses for decades now, it isn’t anything new or revolutionary in any shape or form, though it’s clear that the type of fan service the BTS members do nowadays has changed in comparison to earlier years, like Jimin being required to perform shirtless at an award show.

In the context of this answer when using “ship”, I simply mean two members interacting with each other and are liked together by a certain community of people, and not actual pairs that have (in my opinion) chances or signs of being real (in a romantic sense) at all, except for vmin and namjin, since those are the only two we see as fulfilling that criteria of romantic potential and are the only two we focus on on this account. But that at large is a post/discussion for another time.

When it comes to showing different interactions between ships, or even really any kind of duo or trio in the group, editing and what does and doesn’t get shown certainly plays a role and follows some kind of idea as well. A good example of that would be how following the release of Dynamite there was a bigger “focus” on J*k*ok, seeing as they had their own moment together in the choreography and we were shown more of their interactions/”moments” in content around that time. But, while that satisfied one major ship and its devotees, it didn’t satisfy another, so it needed to be balanced out. Which is exactly what BH did.

More below the cut since this got a little long:

If you look at the Break the Silence: Persona movie commentary done by the members, the maknaes sit together in the middle of the sofa (and the screen) with JK between vmin, meaning that both major ships could pay attention to their two members and be “pleased” at the same time by any and all interactions or “moments”. A counter argument to moments involving all three of them working in a positive manner would be the Dynamite performance at Jimmy Fallon (x) that ended with the members skating around on roller-skates where at one point the maknaes were together, JK holding Tae’s wrist while Jimin had his hands on Tae’s hips (?). It was a cute and funny moment of them just helping Tae since he can’t skate, but it caused a plethora of negative/awful reactions among those who ship one and the other “main” maknae ship with, in both cases, either Jimin or Tae being on the receiving end of awful accusations, insults, and alike. Then again, to balance out J*k*ok Dynamite content, we can look at the BE-hind Story video where JK and Tae sat together and were seen interacting more, while Jimin interacted more with Yoongi, where Yo*nm*n is also a rather popular ship.

Perhaps it sounds mean or calculated or like I’m badmouthing other ships as just “tools”, but the thing we have to keep in mind is that every piece of content is planned in a certain manner (BTS are seven people after all so you can’t just tell them to do something and hope it’ll just magically work out somehow), is filmed by a giant crew of staff from stylists to PDs and lighting crews, and while there are certainly also genuine interactions between the members, simply because they enjoy spending together and interacting, being close and have no issue touching each other etc, many of these things are not really anything that would really count as “intimate” moments due to the nature of the content itself. But shippers oftentimes ignore that in favor of enjoying whatever content of their ship they are given, which makes sense, as vminnies and namjinists we do too, but we also know that BH certainly has a hand in what is and isn’t shown, and the way in which it is shown.

Look at the trailer for Memories of 2019 and the famous J*k*ok moment that was front and center. From a marketing standpoint it was a genius move since it made sure that shippers would go and buy the DVD regardless of its price. Look at what we’ve gotten for Winter Package 2021 so far, J*k*ok being playful in the trailer, T*ek*ok squished together in the picture on IG, and J*k*ok next to each other, along with Seokjin, in the preview pictures on Weverse. Of course, there was also a picture of Yoongi and Hoseok together (a popular ship) as well as Namjoon with Yoongi and Namjoon with Tae (far less popular), but those three aren’t really selling arguments the way the major maknae ships are. Even vmin isn’t, seeing as the vmin community is much, much smaller than the other two maknae ships, and also vmin moments are often times written off as ‘friends’ interacting anyway and thus not taken seriously (or being paid attention to), if you know what I mean.

(Admin 1: I, for one, would really love to own the 5th Muster DVD because I love the concert itself but also because the famous vmin dancing together to Spring Day sequence is immortalized in picture form in the photobook, so I’m not innocent or “different” in any way since I fall for this marketing stuff just as much as everyone else.)

But on the other hand, there’s also content that isn’t as controlled by BH as pre-recorded and edited videos or DVD’s, as in their vlives or live content, like the BE/LGO release day vlive in pajamas where, sure, the members were given a general plan of what they’ll be doing and a timeframe for it, but certain things seemed more spur-of-the-moment and unplanned, like the vmin lipstick moment (Tae putting on the lipstick was planned, but the final executions likely wasn’t) and the way the other members reacted to it. Or things they do at concerts, which some of it is surely also rehearsed and planned, we saw Hoseok ask JK if he’d do a heart with him at some point during one of the concerts, as example, or Tae and Seokjin planning their typical moment that happened at every concert, but other ones are more in the moment and not controlled.

When it comes to concert DVDs, that is again a different story seeing as a camera can only show as much at a time, so the editors are presented all the footage from the concert and then decide which to show and which not. So, if we see an interaction between JK and Hoseok, for example, at the same time somewhere else Namjoon might be dancing with Seokjin or vmin could be doing something, but we’d simply never know since they can’t show us everything.

That, in a way, is also the case with actual concerts where there’s a difference, somewhat, between concerts that get filmed for DVDs or streamed online, and those that are not. Something that comes to mind would be a vmin moment during Best of Me in Busan on the day that didn’t get filmed where they skipped the first half of the choreography and vmin stood together, half of that sequence being just visible in the background while JK is the primary focus of the cameras that are shown on the side screens, and this whole thing only happened this one time and never again. (x) That’s a moment that, in my opinion, isn’t planned, or other similar moments where vmin change the choreographies (even if just a little) to do something together, like during Spring Day during WINGS Tour Final where Jimin adjusted his solo moment so that he ended up in front of Tae. (x)

There’s also this whole mythos I’ve heard/read about a lot about how supposedly at some of the not filmed Japanese concerts (where I’m not sure if people mean LY:SY or just LY) had some crazy moments between the members (in the sense of “ship” moments and alike) BUT I couldn’t find any proof of that, so if someone perhaps knows anything about this, let me know.

Finally, there’s also things like Bon Voyage and In the SOOP which, you’d expect that they would be less edited and less controlled, but even here a selection takes place of which scenes are shown and which are not. Something I find interesting is how the first half of In the SOOP feels very different to how the second half does when they return to the house after being gone for a few days. In the first half vmin (as well as namjin) seemed to “satellite” around each other and interact much more, playing ping pong or doing things together in some shape or form, but in the second half that was (nearly) completely gone and neither interacted much with each other, if at all. We even had Jimin who outright refused to join Tae and Hoseok on their car adventure, or we saw Seokjin wake up Namjoon to go jogging yet never got to see said jogging happening (if it did happen, that is).

So, to sum all of this up: Yes, BH definitely monitors and guides the way certain things are and aren’t shown in order to achieve certain things or avoid certain reactions, though it’s a complex balancing act and doesn’t always work out. There are things that are unplanned and not controlled, of course, but there’s also a fair amount of marketing play involved. 

After all BTS aren’t rookies anymore, instead they are giant household names and their actions and words move people, move money, and on top of that they are still idols, and part of what it means to be an idol is differentiating between your idol appearance/persona (so what we see in screen) and your personal private life, which is usually kept as secret as only possible. How much they themselves choose to share of their real selves and real feelings toward each other is up to them (as well as up to BH and how much they “allow” them to/don’t edit out). But that, too, is a whole other discussion for another time.

[justinunlocd]

STORY TIME!!!

When I was in the sixth grade, I started playing in band. We had two days to look at the band and orchestra instruments, and for some reason percussion chose me; probably because of the few years before playing in Mr. Kevin Downie’s Orff Ensemble. If my memory serves me correct, Mrs. Carolyn Valiquette, my band director at the time, assigned us the task of writing a short piece for our band with a classmate; I was partnered with John Case. We wrote this piece called “Immortal,” and she liked it so much, we were able to play it at the last sixth grade band concert. I remember my older brother and grandmother being there to watch me play...

Later in middle school, eight grade year actually, I played a little solo at contest and got a “I” rating on it. It was a Handel violin sonata in F and Mrs. Celeste Smith gave me the opportunity to play it during the last band concert. I remember distinctly saying, right before I was about to play, “you ain’t gon say something?” She chuckled and obliged me a short introduction about me working on that piece and how proud she was of me. I was elated...

Ninth grade was the start of high school, which meant marching band, and I was playing snare drum with Amy, Drew, Pauline and Collin. That was the same year I started working on four-mallet technique and went to play in the front ensemble the next year. Sophomore year was also the same year the Derby High School Wind Ensemble was severed to play at KMEA. That year, I made it into the top band and was one of the four percussionists featured on our performance of David R. Gillingham’s “Concertino for Four Percussion and Wind Ensemble.” That was such a fun piece! I got to play this chromatic xylophone part in unison with Jason Lord. Glenn Woolard and Pauline Kennedy were the other feature soloists. That was probably the highlight of my high school music experience honestly, at least on the concert percussion side...

Then we get to Twelve Grade, I audition for the solo competition with the Wichita Youth Symphony. Unfortunately I only get a runner-up spot because [redacted] although I had the better performance of the excerpt I chose, Ney Rosauro’s “Concerto for Marimba and Orchestra No. 2.” However, it would only be a few years later I would be able to play the piece’s first movement, and cutting in the cadenza from the third, with the WSU Symphony Orchestra as a soloist for their Concerto-Aria Competition. That was Junior Year, and don’t we love a good vindication story?...

But I’m getting ahead of myself, sophomore year of college was the year I had a realignment of my purpose, and for the first time, chose to purposefully and intentionally move in that direction. It was November 22, 2010. We had a percussion ensemble concert that night, with guest artist, the one and only, and Wichita State University School of Music Alum, Kevin Bobo! We played his piece “Boboland,” where I got to play on the same marimba as him for a moment, it was hilarious and I still remember that moment fondly...

Funny enough, I was still an engineering major Sophomore year. At the same time, I was leaving my Physics class early to go to steel band rehearsal, and skipping Statics altogether to hang out with Patrick, Da’Kneisha and Sparkle LOL. It wasn’t until the end of that concert, where my mom sent me a text message that said something to the effect of, “if you change your major to music, we support you,” and so I decided to change my major to music, and also choose to put my pursuit of happiness above everything else...

Oh yeah, and then the percussion ensemble I was in, Impulse Percussion Group, won second place in the Konrad Wolff-Ilse Bing Chamber Music Competition to a bit of controversy à la “is percussion a chamber group/instrument...” yup, even in 2013, that was a scandal that we even participated, let alone placed...

Then for my second senior year, I finally played my senior recital and graduated college with my music degree. I already had a job setup at my church that I went into full-time one week after I graduated. (I do NOT recommend jumping from college immediately into job, it was a horrible mistake, but life happens fast.) I worked as the music director for the church for only three years before I realized my mental health was taking a toll. I became less of myself when I was at the office, I despised having to appear busy when I already completed my daily tasks (especially when I asked my supervisor for work to do, because according to him, “no one here has down time,” and he had nothing for me to do...) anyway, while on Facebook, I saw a post for an emergency percussion GTA position at WSU and I immediately contacted my old percussion professor, Jerry Scholl, on what I needed to submit to apply. Within a few weeks, I worked up the excerpts, recorded them all, and was accepted to begin my masters degree at WSU. And yes, I was fleeing a toxic work environment...

Cut to August 13, 2020. I’ve graduated with my Masters in Music. I’m a year and some change out of school and still only working gigs as to not get into a 9-5/M-F job. I’ve started modeling seriously and got signed to not one, but two agencies. But my focus wasn’t honed in with music, what do I seriously do with this degree and the accomplishments I’ve earned and worked for after college? And then I reconnected with my old best friend Da’Kneisha Nikoyle Blount. We had a conversation the day before and also on the day of our friend’s wedding. We talked about how we should do music again, we just talked about it, almost in jest, but also in a reminiscence. Who knew what we got ourselves into...

Our first music video.

Then a few articles here and there.

An inauguration.

Then a billboard.

An MLK event.

Contacted for a premiere piece.

Then our first concert.

A benefit concert.

A church service.

Recording in the studio.

A fundraising event.

A video shoot...

And now, as of May 5, 2021, I’ve performed and premiered my first wind symphony piece as a member of @tupacmeetsbach with @dnikoyle. The piece is called, “Stained with Beauty - for Solo Soprano, Solo Marimba, Wind Ensemble and Choir” and is an elaboration and development of the original song written by Da’Kneisha. The piece comprises of four movements, and is roughly 25 minutes in length. This piece is our baby and as Renee would say, “one of the most honest and innovative music projects.” I’m so thankful to all the musicians who rehearsed for months to make this performance happen!

Thank you to Dr. Timothy Shade for reaching out to us and providing us an ensemble to realize this piece. Thank you to the choir who became a nice supportive background for Da’Kneisha. Thank you to the stage techs and sound engineers for filming and recording this premiere. Thank you to my parents for financially supporting me during the pandemic to allow me to sustain while working fervently on this piece. And a special thank you to my best friend and partner in rhyme, Da’Kneisha, for your heart, your mind, and your friendship!❤️❤️❤️

Y’all have really made my dreams come true and I can’t wait to start working on the next piece already!!!

[invisibleicewands]

Actor and activist Michael Sheen speaks about his career so far and how he has adapted to life during lockdown

Michael Sheen sighs. His fingers stroke his grizzly beard and for a moment, he’s no longer in New York; he’s stepping onto a stage for the first time back in his home town of Port Talbot.

Gone are the days of a telephone interview. The pandemic has seen to that. Zoom is the new way of life. And across the internet, across the Atlantic, Michael’s voice is beaming right into my Cardiff home.

He’s in the US, filming for the acclaimed drama series Prodigal Son. It goes without saying that he has come a long way since his early days in South Wales. But he traces the success of his career back to his days of youth in Port Talbot.

“As I’ve got older, I’ve realised more and more about what went into allowing me to have the path that I’ve had in life. I’m very aware that I had a supportive family, a family who would be involved with performing in one way or another.

“They also pointed me in the right direction, not necessarily professionally but my parents and aunts and uncles and grandparents were all involved with the amateur dramatics society. Coming from an area that had a tradition for actors in the form of Burton and Hopkins, there was a lot of respect for it.”

Michael has followed in the footsteps of the giants of stage and screen; but in doing so, he has forged his own path, straight out of the industrial South Wales town that he still calls home.

“If anyone was to take a look, they wouldn’t think that Port Talbot would have that kind of output. I was very involved with West Glamorgan Youth Arts groups that were borne out of the local education system. Godfrey Evans was the man responsible for founding the West Glamorgan Youth Theatre Company. He changed the lives of generations of young people from the same sort of South Wales area — myself, Russell T Davies and Catherine Zeta Jones, who I’m currently working with on Prodigal Son.”

Michael was to then train with the National Youth Theatre of Wales in the Welsh capital.

“We never moved around much when I was young so moving to Cardiff during the Summer holidays to do the National Youth courses — that was like going on holiday. Even going to Neath back then seemed exotic so to go all the way to Cardiff seemed like going to Mars. I remember we stayed in the university’s Senghenedd Court halls of residence. We’d rehearse in various places around Cardiff and it honestly felt like a mixture of being on holiday and going to space. It was so exciting. That was my introduction to Cardiff.”

The National Youth Theatre of Wales was to give Michael the grounding that has underpinned his career since.

“It was a brilliant youth theatre. It taught me great work ethics; it was very disciplined. Once I went to London, I realised that I’d taken it for granted about what was available in my area. I’m not too sure about how it compared to others in different parts of the country, but I started to see how my life could have gone a very different way. I owe a lot to the hard work of others. I’m amazed that I ever made it.”

Like Hopkins and Burton before him, Michael moved to London in 1988 to train as an actor. He attended the Royal Academy of Dramatic Art (RADA), where he picked up his first professional role and graduated in 1991. Throughout the 90s, Michael’s stage work brought accolade after accolade, and he made his first TV appearance in 1993.

“Stage work is where I started but theatre work has a tendency to take over your psyche. You wake up in the morning and all you can think is that you’re performing that night. You can’t concentrate on anything else. That may be the way for other actors too, I don’t know, but that’s how it is for me. And it’s strange because the performance only takes up a few hours of the day but it takes over an actor’s life. I do a lot more work now in front of the cameras these days and despite it sounding grim, I’d say that I feel more at home on the stage.”

Michael’s breakthrough screen role was as former Prime Minister Tony Blair in the 2003 film, The Deal. It was to mark his first collaboration with screenwriter Peter Morgan. They were to team up again for the 2006 movie The Queen, Michael once again reprising his role as Tony Blair. He was nominated for a BAFTA Award for Best Actor in a Supporting Role. In that same year, he also appeared as English actor Kenneth Williams in BBC Four’s Fantabulosa!

For the following year, Michael starred as the television broadcaster David Frost in Frost/Nixon in the West End, before it was adapted into a movie in 2008, in which he again played Frost.

“I’m very lucky to be in a position where I’m able to express who I am as a person. People always come up to me and say ‘Oh, you’ve probably heard this before but I love your work’. But I’ve been on the other side of that — I’ve done it myself, so I know how important it is for them to do that. What really puts a smile on my face is if someone says that they’ve been deeply touched by something that I’ve done.”

Michael has gone on to become a household name, both here in the UK, as well as in the US. But what would he be doing if he wasn’t acting?

“I was only talking about this the other day actually. If I wasn’t doing all the acting stuff, I’d like to run a book shop. But I wouldn’t want anyone to take the books. I’d want people to come in and talk about the books. They’d have to come in and we’d drink tea and talk about them. But I wouldn’t want them walking out with the books.” Michael pauses. “Maybe it’d have to be a library instead.”

Meeting people is one thing that many across the world have had to think twice about doing since the outbreak of COVID19. In June 2020, Michael starred alongside his friend David Tennant in a six-part television lockdown comedy called Staged, which was made using video-conferencing software. A second eight-episode season aired in January 2021.

“The pandemic has made me realise how vulnerable we all are. I’m working in New York at the moment and it really saddens me to see how many businesses are closed down — and for good. It’s startling to see how our economies have been brought to a halt. It’s frightening how many conspiracy theories have sprung up but overwhelmingly, it’s heartening to see how people have worked together.”

The actor has taken a keen interest in the fate of small local businesses, especially those faced with the challenges presented by the pandemic. He’s also keen to see Wales get a better quality media, suited to the country’s needs.

“Most of our news comes from outside of Wales and that has sent conflicting messages to the people of Wales during the pandemic.”

Despite his international fame and success, Michael hasn’t forgotten his roots or those who are in a place that he was once in.

“I’m lucky in that I can use the reach that I have to help change aspects of society for the better. I don’t do charity work in the traditional sense but I do see my life as two distinct parts and the acting side of it allows me to support causes that I care about.” He is currently the honourary President of Wales Council for Voluntary Action and in 2017, he founded the End High Cost Credit Alliance, which works to promote more affordable ways to borrow money.

As we wrap up the interview, Michael has spoken for more than half an hour. It’s still early morning in New York, his coffee has long since gone cold and he has another day of filming ahead of him.

“It’s a little unnerving being here with the pandemic still going on, but we’ll get through it somehow,” he says.

It seems it’s all in a day’s work for Michael Sheen.

[leastrachan123]

Making performance 2 blog Performance overview The key themes and issues within our performance were, sex trafficking, violence, abuse, sex, rape, prostitution, grooming, abuse, child abuse, suicide, and nudity, loss of identity, curupt society, and modern society. Our vision for the performance was to create a documentary piece that would educate, entertain and enlighten. By including statistics in our script it made the performance become a reality. Linking the performance to delight, We wanted to put our own twist on it and how the victims can gain back their identity and the delights in life. Enlightening our audience on the matter and structuring the performance in a way that does not horrify them meant we enlightened them on the subject, and did not push them away from wanting to help and educate others. In relation to the dramaturgical decisions, we took a lot of time discussing what movements would work and not, throughout the performance we made pre recorded sequences which included, cat walks, chair duet, and walking sequences. The reasoning for these choices was to make our performance as physical as possible and now covid regulations have changed we thought we would make the most of it, and give the audience a sense of liveness online and in person. The start of the performances started with Iona, Josh and I with bags on our heads and a pre-recorded video beforehand, we used breathing techniques at the start to create an atmosphere for the performance which then led to the opening monologues. Our lighting remained neutral for the monologues however we used red lighting in our pre recorded videos to represent the colour of love and sex, despite us playing the victims it represented how the victims are treated /perceived, yet a simple thing like sex which is so personal and private has been taken away from them, and is viewed by them as unsatisfying and tiring. We used props such as stockings, toothpaste, red lipstick, condoms and perfume. We wanted to make this live section very intense and seductive. Despite the realisation that the victims are being forced to work for traffickers it showed their day to day life of getting ready, we physically spat out our toothpaste, we slowly put on the stocking to create a sensual atmosphere, applying lipstick slowly and then getting close to the camera asif we was kissing the audience, little moments like these really structures the performance. The last section of monologues included our shadow work, we made the movement slow and meaningful and in one section the victim would get slapped which then sped up the rhythm of the piece, we ended the piece with Iona playing a victim who is spotted by charity workers, you see her struggle with leaving the pillow case and walking off, which then led to our last pre record video of a fire that had all the victims names on pillowcases that were then placed into the fire. Research into For our performance we chose the genre documentary, this meant that we would have to devise and write our own script, whilst researching possible sources and interviews which we could use within our script. Before deciding on this we did research into Derek Paget and all the information we needed to create a successful documentary performance, ‘when Derek Paget first wrote of the use of tape recorders to make documentary theatre, he noted that documentary forms were situated at the ‘edges of the professional theatre’ (1987: 317, sited by Cantrell, 2013:1), documentary theatre has come a long way and has become very popular, and today is seen as a ‘mainstream british theatre tradition’(Cantrell, 2013:1). We found sources from interviews, articles and government reports, which helped put together our script and what angle we wanted to take to structure our performance. Documentary drama is also known to contain many other elements and theatre techniques,‘The genre typically includes or is referred to as verbatim theatre, investigative theatre, theatre of fact, theatre of witness, autobiographical theatre, and ethnodrama’(Wikipedia, 2021). This genre has allowed us to be more creative and develop our own performance around a very significant matter, sex trafficking. Our two main influences for our performance were frantic Assembly and Berkoff, we decided on these because we wanted to focus on physical theatre. Whilst researching frantic assembly we thought it was crucial to follow some exercises that frantic assembly would do in workshops, ‘In the early stages of rehearsal we may ask our performers to improvise using rolls and lifts without ever coming off the floor, (Hoggett, by Scott Graham and steven, 2004:87). With our performance being so physical, exercises like these really helped create ideas for our physical movement/moments. Berkoff and Frantic Assembly both have similarities as they both like to focus on physicality, Our monologues/dialogues within our script was well thought through, therefore too much movement would distract the audience from the dialogue, however whilst researching Berkoff it was found that ‘Berkoffian actors use techniques such as background movement, repetitive actions, and mime to explore further the ways in which Berkoff approaches exchanges between two characters’, in our performance we worked with shadowing and background movement so that it does not distract the audience, but still creates meaning. Both Berkoff and Frantic Assembly worked well together with our research and gave us ideas/techniques on how we could make our performance physically successful, whilst still focusing on the speech. Sex trafficking was the most interesting to research into for me individually, as it was educational and shocking when finding statistics and articles. Shockingly from our findings it is aparant there is far more sex trafficking happening then what we know about worldwide, and although ‘UK authorities have began to launch aggressive anti-trafficking law enforcement efforts to uncover trafficking and identify victims’, the media and individuals still have a guard up around the sensitive subject. After researching individuals who have been victims of sex trafficking we wanted to share their experiences and stories, looking into research studies it was found that ‘one participant talked about being angry at anyone and everyone, another participant talked about being angry specifically at her trafficker, herself, and that no one had ever come looking for her’(Mumey et all, 2021:187). It was evident our main focus was to create justice for all the victims and create a physical piece that would symbolise all the emotions developed before and after being trafficked. Victims’ attitude and views of the world soon changed after being trafficked, and some would say ‘all men became potential “clients,” relationships became transactional and not for pleasure, and family became the other individuals working for the same exploiter’(Mumey et al, 2021:187). Reviews and analysis Shakesqueer by Tom Marshman Tom Marshman executed a wonderful digital performance, creating a sense of liveness, a montage of shakespeare plays, and queer atmopshere. What I took from the performance and would use in my own work was the idea of a moveable trolley, so that movement can be more fluid and moments with the audience could be more intimate,e.g getting close to camera and using eye contact and facial expressions. He embrased his sexual ora and used it in his favour to create a queer alternative view on shakespears plays, whilst also enteraining the audience. He quoted in the Q&A that his inspiration was heavily focused on David Bowie and his use of mime, this is also something that was used effectively and created an abstract illusion with the editing to create a mirrored effect of Toms face, whilst also quoting from A midsummers night dream. His change of costumes and backdrop developed on the idea of how crazy and vibrant shakespeare plays are, him and the tech team used appropriate music to compliment the scenes, overall the performance was very creative, however when performing we have to try and remain in character and focused despite whatever distractions occur. Sharps teeth Sherlock in Homes Sharps teeth did an amazing job of creating a live murder mystery and really engaged their audience, the main element/moment for me was the idea of breakout groups, this allowed them to create a personal relationship with the audience and also use improvisation for them as their character. We would ask the character we was investigating questions about the murder and at the end of each investigation they would give us a slight hint about the muder and leave, for me this small technique seemed to draw me in even more, even when i knew it was coming. Another element that impressed me was the costuming and background, they really did embrace their characters and not hold back, for me this virtually allowed me to put myself in that exact room with them and see in the backgrounds of the potential tools they used to kill the victim, which was also purposefully intended by the director. This performance brought many emotions alive and really made the audience active members whilst also entertaining them. Chang and Eng and Me Chang and Eng and Me was a well devised abstract performance that investigated many ideas of what theatre is and can be, one moment i vividly remember is the touching and sculpting of clay, which linked to the quote ‘I can count the times i’ve feared for my safety of my ethnicity on one, maybe two hands’, whilst quoting this the use of hands and pressure into the clay almost represented society and the anger ethnic individuals have towards society, yet feel stuck and trapped just like clay itself, for me this was a visual metaphor which was used so emotively/discreetly. The digital performance was not like many i have watched before and used the online platform to create liveness, what i also think worked well was the discussion of sexuality/race and the bareness that came with the performance, by getting changed infront of the camera and showing vulnerability just like many homosexual individuals feel scared about doing, it almost connoted that you should love yourself for who you are. I also picked up on the focus of puppetry and how these items can speak to audiences meaningfully, the focus of this performance was very creative and artistic with the use of drawing and sculpting e.g it painted a story without having to physically say anything. ShakesQueer. Tom Marshman. (2021). [Online, 27th February]. -Sherlock in Homes: Murder on Ice. (2021). Sharp Teeth Theatre. Directed by: Stephine Kempson. [Online, 4th March] Chang and Eng and Me: Wattle and Daub Figure theatre (2021) (online, 14th May) Evaluation following the performance Originally i developed the idea of an online meat auction, which we all as group discussed and put forward different ideas for, this was to symbolise that the victims are treated as meat and can be sent off globally, with this idea we explored breakout groups however the concept became too complex and we had a creative block for the middle section, therefore instead of still continuing with the idea we explored other ideas and researched into physical theatre. The research we found within sex trafficking and physical theatre inspired us to make the performance about physicality, the bareness of victims and how they are invisible, feedback from Laura helped us understand that if we was to approach the performance by making the audience feel to uncomfortable and shocked, it would make them less likely to keep watching, so after we had fully developed our script we decided to make a lot of the dialogue upbeat so that it would juxtapose with the speech itself. As a group we all worked very hard and put in a lot of time and effort, me and iona were the main editors for our flip grids and material for the piece, my strengths within this performance was to motivate and make sure everyone was always there, thinking of the slight movements and moments needed within the piece, charlotte and myself became the creative directors for the physical theatre (chair duets), personally i naturally take on a directing role, however we all equally put in ideas and bounced off eachother, and was definitely my favourite group to work with so far, my weaknesses are that i can be overwhelming with ideas, but the group helped turn these ideas into what became our performance. If we were to change our performance I would definitely like to explore some type of breakout room, however research and extra technical help would definitely be needed to make it successful and easy to follow. We were put off by making it too physical as our research from Berkoff shows that background movement can be more symbolic than up close and personal physicality. For me this year of online theatre making has changed my outlook on acting and theatre, we have managed to create an appropriate, well thought out/rehearsed performance about a topic that does not get spoken about enough, whilst also including all the dramaturgical elements i have learnt and explored this year, what i learnt mostly from devising 10,000 cases was that audience like repetition and difference, so by using the catwalks as a motif it allowed the audience to take in what was being said without even saying anything, and the repetition was the continuing of monologues with the pillow cases over our heads, and we used these to lose our identity and make the audience really listen to what was being said. I learnt a lot of elements in our rehearsal time and in class sessions. This year has definitely made me open to creating online pieces and understanding that theatre can be anything that you make it. Bibliography Cantrell (2013) Acting in documentary theatre. Acting Psychological aspects.; Acting; Experimental theater. Available at: https://www.vlebooks.com/Vleweb/Product/Index/680079?page=0 Mumey, Audrey; Sardana, Srishti; Richardson-Vejlgaard, Randall; Akinsulure-Smith, Adeyinka M (2021) Mental health needs of sex trafficking survivors in New York City: Reflections on exploitation, coping, and recovery. Available at: https://library.bathspa.ac.uk/items/eds/pdh/2020-79438-001?resultsUri=https%3A%2F%2Flibrary.bathspa.ac.uk%2Fitems%3Fquery%3Dsex%2Btrafficking%26checkbox%3Deverything%26facet%255B0%255D%3DEdsRecordOptions%253A%2522IsFullText%2522%26target%3Deds#availability Morgie BTECH acting ( 2015) Steven Berkoff’s techniques. Available at: http://morgiebtecacting.weebly.com/epq-extended-project-qualification/steven-berkoffs-techniques Graham, Scott, 1971- author; Hoggett, Steven, 1971- author (2014) The Frantic Assembly book of devising theatre. Improvisation (Acting); Frantic Assembly (Group); Theatrical companies Great Britain.; Experimental theater Great Britain. Available at: library.bathspa.ac.uk/items/eds/cat06393a/bath.106158?resultsUri=https%3A%2F%2Flibrary.bathspa.ac.uk%2Fitems%3Fquery%3Dfrantic%2Bassembly%26checkbox%3Deverything%26facet%255B0%255D%3DEdsRecordOptions%253AIsFullText%26target%3Deds#availability Wikipedia (2021) Documentary theatre. Available at: https://en.wikipedia.org/wiki/Documentary_theatre#:~:text=Documentary%20theatre%20is%20theatre%20that,altering%20the%20text%20in%20performance. Wikipedia (2020) Human trafficking in the united kingdom. Available at: https://en.wikipedia.org/wiki/Human_trafficking_in_the_United_Kingdom