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jokeroutsubs · 1 year

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Joker Out interview with magazine Mladina, published on 30th of June 2023

Interviewed by Vanja Pirc

Photos by Borut Kranjc

This year's Slovenian representatives at Eurovision, the five-member band Joker Out, attracted an unusually large amount of attention with their accessibility and playfulness, especially with the song "Carpe Diem." In the days and weeks that followed, it became clear that their Eurovision entry, which only placed 21st, had indeed opened the door for them to go abroad. They started adding new concerts in Ireland, Croatia, the UK, Scotland, Finland, Sweden, Norway, Serbia, and others to the ones they had already arranged in Slovenia and the former Yugoslav republics. They sold out all of them, some in just a few minutes. Well over eight thousand people will see them on the UK and Nordic tour alone. For musicians working in Slovene, that's an incredible statistic.

It's a remarkable milestone to see how they've come from "Špil liga," where they first came to the limelight by winning in 2013 when they were still a high school band, to today, being greeted by masses of enthusiastic fans below the stage, and being selected by the Scottish band Franz Ferdinand to be their opening act at Croatia's Špancirfest festival. We spoke to lead singer Bojan Cvjetićanin, guitarists Kris Guštin and Jan Peteh, and bassist Nace Jordan. Unfortunately, drummer Jure Maček was missing, but we could see that he is a man of many talents by looking at the huge wooden structure with a platform that added another floor to the band's rehearsal space in Šiška, Ljubljana.

After Eurovision, you made no secret of your disappointment at finishing 21st, but your Eurovision song "Carpe Diem," sung in Slovenian, is now one of the most listened-to songs of this year's Eurovision event. It's being played all over Europe, most notably in Finland, Poland, the UK, the Netherlands, Spain... Did you expect this turn of events?

Bojan: The result we achieved at the Eurovision Song Contest was really not the greatest. Not even close. But, as you can see, in the end, it doesn't even matter. What is more important for us is that we managed to achieve the rest of the goals we had set for ourselves. We approached Eurovision in a very organic way, aiming to translate our stage and concert experience from real life to the Eurovision stage. It was clear to us that this is the biggest show stage in Europe, maybe even in the world. We were aware that this is a competition of one song, one comprehensive performance to be presented in three minutes. Our goal was to ensure that the audience would remember Slovenia's performance in 2023, and we have achieved that. We also aimed to connect with other performers, and we succeeded in doing so. But most importantly, we wanted both our Eurovision song and our other songs to be well-received in the real world. The data from radio stations, online streaming platforms, and concert offers confirm that apparently, we have achieved that as well.

Before, you were known mainly in Slovenia, and to a lesser extent in the Balkans. However, your Eurovision song has temporarily climbed to the top 50 most viral songs in the world chart on the streaming platform Spotify. You even briefly surpassed Sweden's Loreen, the winner of this year's Eurovision, in terms of popularity.

Bojan: Just to clarify, we only surpassed her for a day or two. But it's really nice that it happened on Spotify's list of the most listened-to songs in the world.

Kris: Well, she did get a billboard in New York's Times Square as the winner at the time, so it's a matter of who surpassed whom, I suppose (gesturing with his hands).

Well, who did?

Bojan: I believe that what we will gain from this performance will surpass what many other performers will achieve. Eurovision has introduced us to a very large audience in a very short time, and they have really connected with our music. They are now translating our lyrics into their own languages and even learning Slovenian. We were surprised to see how many of them bought dictionaries to learn Slovenian - we know this because we were asked to sign them. Others are learning Slovenian through online platforms, and there are even dictionaries being created on TikTok. These listeners are not bothered at all that we are not creating in English at this point; on the contrary, they would like us to keep it that way. However, we have to be realistic. To truly expand our listener base, it's important to be accessible to people.

That's why you have already prepared an album a few months ago, featuring songs from both your previous albums rearranged in English. The album is now awaiting release. One of your main goals was to be able to translate your concert experience onto the stage.

Bojan: The first real international test after Eurovision was in Zagreb, where we performed as the opening act for the most popular young Serbian band at the moment, "Buč Kesidi", at a previously arranged concert. We performed outdoors in the middle of the day, with the sun still high up in the sky. However, we were greeted by a crowd of 2,500 people and received a phenomenal response. They sang along with us, and later we read in the Serbian media that we probably have the most Croatian fans among Slovenian bands. After this show, when we announced a solo concert in Zagreb's Tvornica for November, which is comparable in size to Ljubljana's Cvetličarna, the tickets sold out in five hours. So, we arranged another concert in the same venue, and that one sold out as well. The response in Croatia has been truly amazing, and they have set a very high bar for the future.

You have been intentionally engaging with the countries of the former Yugoslavia lately. Through songs like "Demoni" ("Demons"), you have approached them language-wise. In addition to Croatia, you have also been booked for concerts in Serbia and Bosnia and Herzegovina. Your Eurovision song also reminds me a little of Plavi orkestar, which was once the most popular Yugoslav pop band, or Đorđe Balašević. It is probably not a coincidence that the line "The game of hatred is your thing, thank you, don't count on us" is reminiscent of his hit "Računajte na nas" ("Count on us")?

Bojan: No, no, it's not a coincidence.

Is it nevertheless more difficult to plan a breakthrough to the rest of Europe? After Eurovision, the Irish were the first to sign you up, did the audience there also know your songs by heart?

Bojan: Yeah, we haven't really gotten used to that yet (laughs). In Ireland, we managed to sell out our first show in 12 minutes. It's true that it was a small venue, comparable to Ljubljana's Orto bar, and it wasn't a solo concert, but a joint performance with this year's Irish Eurovision representatives. However, due to the high level of interest, we arranged another concert in a club twice as big, which is also their most iconic venue. Soon after, other venues started to show interest. We announced a UK tour, with over five thousand tickets on sale for four shows in major cities, and they sold out. We announced a Nordic tour, with around 2,500 tickets available, and it sold out in half an hour, along with three Finnish concerts in just ten minutes. Later, we released an additional 770 tickets, which were gone in five minutes. Offers are also coming in from many other countries, and it is impossible to predict what will happen in the upcoming months.

A number of Slovenian music artists have successfully reached international audiences, from Senidah to Laibach, from Gramatik to Umek, and you were the first ones to consider using Eurovision as a springboard. Would it make sense for our country to continue using this event to promote established musicians who are eager to make an international breakthrough? You were internally selected for this competition.

Kris: It all depends on what we as a country want to achieve from this competition in the future. We have to decide whether EMA is a competition where we find the most suitable representative and expect them to make the most of their opportunity while promoting our country along the way, or whether it is a competition where Slovenian musicians present themselves to Slovenian audiences. Personally, I believe that it is definitely better to choose a performer who already has an established infrastructure in place and a certain support base, because this can enable him to use his potential to the fullest.

Jan: I think that would be the best approach as well. However, since many musicians see EMA as one of the few opportunities to showcase their work to a wide audience through public broadcasting, it would make sense to maintain that aspect too, perhaps as a prelude to EMA, transforming it into a grand finale for carefully selected artists, similar to Sanremo.

Bojan: The main issue with the previous selections was that Slovenia didn't approach it with the intention of winning. Of course, success in such a significant event is not guaranteed. But why not approach it strategically nonetheless? For example, I believe we should send Senidah to Eurovision in 2024!

Senidah is the biggest star in the Balkans, the most listened-to musician. Is she also your role model in that sense?

Bojan: Absolutely. Senidah is the first Slovenian artist, after Mr. Predin and "Lačni Franz", to truly break through in the Balkans. She does write music in Serbian, but that's irrelevant; what's important is that she's made a remarkable breakthrough in a market that has so far been very closed off to Slovenians. And not only has she broken through, but she is topping the charts. However, I would understand if Senidah refused to participate in EMA, at least as long as the current rules are in place. EMA is too close in time to Eurovision. The winner has only one month to submit material. Imagine having to put together the most important performance of your life in just 15 days? We, on the other hand, had more time since we were internally selected—three months—and we utilized this extra time to design our pre-Eurovision campaign, which ultimately played a key role in our success. That's what left the biggest impression.

You managed to invest between ten and fifteen thousand euros of your own funds in this promotion. You have an extensive domestic touring career behind you. In October, you will fill our biggest venue, Stožice, for the first time, where you expect 12,000 people.

Kris: I've always considered it a privilege to have established a music career at such an early stage in our lives and to have quickly reached the point of financial self-sufficiency.

Bojan: It really worked out for us that right after we finished university, we began our professional lives as musicians.

Those who know you say that you are very disciplined, very organized. Bojan, your fellow classmates from Poljane Gymnasium in Ljubljana also say that even back then, you were absolutely convinced that you were going to make a breakthrough. Many people rolled their eyes at the thought, but you had a clear objective. You were networking with the right people, educating yourself, and Pavle Kavec taught you guitar...

Bojan: Yes, Pavle the legend. I knew during my time at Poljane Gymnasium that I wanted to be an artist. I hadn't fully decided whether it would be music or something else because I was also considering studying acting. But my thoughts were always centered around creating. I suppose that's more or less true for all of us. When Jure and Nace joined us, the first question was whether we were fully committed at 1000%, or if there was another one percent pulling us towards a "plan B," such as the directions we were trained in. No, there is no "Plan B" anymore. At some point, we made the decision to cut it off.

So, the high school students at Poljane Gymnasium may very well forget that you were once planning to be their sociology professor? We've also seen you in a few episodes of the series "Gospod profesor" ("Mr. Professor").

Bojan: I've given up on the professorship, but I still find acting very interesting. For once in my life, I would like to be in a film, playing a totally negative character. I would be mean as a snake. And it doesn't even have to be a Slovenian film; it can be from the Balkans.

Kris: I have to admit that I never thought of making a living from music, although I certainly saw it as an ideal. Even when I was deciding on my studies, I wavered between sociology and chemistry, and then preferred the latter because of its greater potential for employability. Well, later on, I did go into social sciences, for a master's degree in international relations.

Yet Kris, you were the one who had the ideal conditions to become a musician. You grew up playing guitar, because your father, Miha Guštin - Gušti, is the co-founder of "Big Foot Mama", one of the most popular Slovenian bands. Today, you are considered to be their successors.

Kris: I really had the ideal conditions to become a musician who does this for a living. Not only because of my dad, but my mum also worked for record labels for many years and has recently embarked on this path again, so I've been in touch with both sides of the music world, creatively and business-wise, since I was a little kid. But I didn't really start playing guitar until I was 14, 15. And nobody else among us is a trained musician either, except our drummer, Jure Maček.

Bojan: Yes, our Maček finished elementary music school, and he also played a lot, mostly with the "Logatec brass band".

Jan: Let's not forget his performances with the "Golaž brass band", and with the Cantabile Symphony Orchestra...

Jan, you are a mathematician. The link between music and mathematics was explored by Pythagoras after he listened to a blacksmith striking a hammer, and from that he developed the study of harmony.

Jan: Yeah, at the moment it's kind of like, if you have an out-of-tune guitar, you can just say you have a Pythagorean tuning (everyone bursts out laughing). To me, maths is relevant because it's the only thing in the existence of human understanding that you can really count on. It can be used to get definitive answers to at least some questions. I see it as something that gives you structure in your life.

Nace: I would have chosen to study veterinary medicine if I had gone to university, but I discovered very quickly that music was my passion. After high school I went out into the world, I played in a band on a cruise ship that more or less sailed the Baltic, somewhere between Russia, Finland and Sweden. You could say I've got a lot of musical mileage from playing abroad. But it's limited to German schlager and German rock. Our audiences were mostly German families (laughs).

You also have the most experience of performing in front of TV cameras, especially as a member of the in-house band of the TV show "V petek zvečer" ("Friday Night"), which gives airtime to more folk-music genres on TV Slovenia. Have you scrapped this "plan B" now as well?

Nace: Officially, I'm still a member of that band; maybe the managers are expecting me to come back to the show in the autumn. But it remains to be seen whether that will be possible. Most probably not.

Today, together with MRFY, you are considered the successors of our most popular rock or pop-rock guitar bands who managed to appeal to the masses, not only of "Big Foot Mama", but also, for example, "Siddharta" and "Dan D". Why hasn't there been a real breakthrough of new bands of this kind in the last few years? Were guitars considered to be outdated, were young people closer to electronica, trap, hip-hop, mixtures of genres?

Bojan: The music of "Siddharta" and "Big Foot Mama" was a kind of basic building block for me from the very beginning. These people have influenced me more than any other world-renowned musicians. So having them support us really means a lot to me. And the Špil Liga, where student bands have been entering for the last decade, has definitely been a very strong factor in the revival of the scene. MRFY are also from Novo mesto, which is considered a mini Slovenian capital of rock'n'roll, as many of the bands that have developed under the patronage of Tokac, the music producer and frontman of "Dan D", originate from there. At the same time, in last few years the Slovenian youth has become hungry for home-produced music of all genres, and this has stirred up a strong wave of creativity, which is being held in the hands of our own generation, as well as those a little younger and older than us. At this point, the whole spectrum of what we need, from clothes to design to photography, is being created by people our age, as well as those a little younger and older than us. Well, with one exception, of course, being our producer Žare Pak, but he's young at heart.

As you reach out to a wider audience, do you also feel the pressure to meet the ever-increasing expectations of both listeners and the music industry?

Jan: I feel that right now, more than ever, we can be confident and sure of what we are doing. We didn't even enter Eurovision with some deliberately made hit-like song to suit Eurovision ears, but we did a Joker Out song that could easily have been on our album last year. Our achievements so far prove that we are doing something right because people at home and abroad like it.

Kris: I also feel like we have more freedom to create now but also fewer inhibitions to go into more experimental waters in terms of music, outfits, visuals, or anything else.

Do you think that's what some people expect from you now?

Bojan: Musicians are often criticized for their style, genre, or sound. But such criticisms are absurd.

In particular, Slovenian rock or pop-rock has always been attacked in this respect for relying too often on tried-and-tested forms and less often, for example, on boldness, innovation.

Bojan: We've been on the scene long enough, and we know that the very concept of what Jokers do bothers some people. And that's why they keep pushing their idea that we don't make authentic music but rather some crap that we invented just to exist. So, they feel it would be good if we would stop doing that. These people want, or even demand, that Joker Out should stop being Joker Out. And we're happy that on the first and second album we were able to make music completely unburdened by expectations of how people would react to it. I think the second album is quite challenging in both its sonic elements and the overall meaning of the lyrics in certain songs. I'm sorry that not one of the critics mentioned "Plastika" ("Plastics") in their reviews. None of these intellectuals who have so much to say against our love songs thought that this could be a harbinger of a different, new direction.

This song was written in response to a study showing that the vast majority of teenage girls today want plastic surgery and other body modifications to meet their perverse beauty ideals.

Bojan: There's a lot of content that people don't want to see. On the other hand, I also don't understand why songs about love, which are in the vast majority in this culture at the moment, should be inferior to those about society. In fact, I hope to be able to sing about love for the rest of my life.

Kris: You will, you will sing "Umazane misli" ("Dirty Thoughts") for the rest of your life (laughs).

You addressed Europe with the words "We'll be dancing all night long, we'll love and play with each other as if there was no tomorrow." You have stated several times that you are not a political band, but isn't that actually very political? What is more political than being able to smile and rejoice even in the worst of situations?

Bojan: I very much agree. I even think that if Tokac had sung our song, the message would have gotten through to a lot more people. But because we sang it, a lot of people didn't take it seriously.

The current Prime Minister, Robert Golob, after learning that the future coalition had brought down the government of Janez Janša, said, "Today people are dancing, I am waiting for you to start dancing too." Do you think that if we had had your song then, he would have said instead, "We'll be dancing all night long"? As some employees of RTV Slovenia did when the depoliticisation of their institution could begin?

Bojan: The song "Carpe Diem" is largely written with the idea of fighting back against the things that are happening today. The fact that we had Eurovision in a country that was not last year's winner, because the event could not be held there due to the war, is quite an indication of the troubled times we live in. On the other hand, our only defense as musicians is to spread positive energy among the people and send socially relevant messages. We cannot do more than that. We do not want to take up arms, and we won't. Our only weapons can be our songs.

Culture and art can certainly be weapons too, especially in situations where people are suffering. Do you think that's why Ukrainians supported you at Eurovision, both the audience and the jury? The country is in ruins because of the war, people are displaced, and there is no end in sight to the conflict. But your dancing until dawn has been noticed.

Bojan: I am a child of refugees from Bosnia and Herzegovina. My parents had to leave their home in Banja Luka because of the war. They came to Slovenia as refugees and stayed here. They had to rebuild their lives. In light of today's events, I can only conclude that the saying 'Historia magistra vitae est' (“History is the teacher of life”) is clearly not true. Because one day, when all the problems of this world are solved, I too will be able to afford the attitude of being opposed to all that is positive. But at the moment, that is not a possibility.

Your parents, Bojan, had to move because of the war, and your mother, Kris, moved from the Netherlands to Slovenia for love.

Bojan: That's a much nicer reason, isn't it?

Kris: Well, I also have a grandfather who fled Indonesia because of the civil war.

Migration flows have been huge in recent years, with thousands of people pouring into Europe, but they are often met with contempt and harsh treatment. Do you feel that your intimate experience of all this migration has also shaped your attitude towards all those who are seeking a better life?

Kris: Absolutely. In my home, this has always been a topic we have talked about. When I was still living with my parents, we often watched the TV program "Dnevnik" together, and whenever they showed a piece on migration, my mother would get very emotionally involved in the scenes on the screen. And that sticks with you. When you see a parent who can understand someone who had to leave home for completely different reasons and on the other side of the world, it naturally rubs off on you.

Bojan: Most of all, you feel the spectrum of pain associated with having to leave your home is much more than just having to leave a place. Only then do you realize that home is really a tangle of space, of people, of smells, of tastes, of everything surrounding you. Leaving all that behind is not the easiest thing to do. It is even harder to leave under duress, and the hardest to leave knowing that your home is in the process of being destroyed and that when and if you return one day, it will not feel like home anymore. The same people will not be there, the same smells will not be there. What has shaped your life will no longer exist.

Alongside wars and conflicts, another key reason why people from other parts of the world are moving to Europe in large numbers is climate change. Your generation is leading the fight to reduce carbon dioxide emissions, to live more sustainably. How important is this cause to you?

Kris: The fight for climate fairness is one of our few very clear common political positions. Here we are completely united and support all political choices towards sustainability. It is also very clear that this is an important issue not only for us but also for a large part of our audience. It was interesting to note that two years ago, at a rally for climate justice in Ljubljana, we saw a poster with the lyrics of one of our songs. We've summed up our own thoughts on the subject in the song "Novi val" ("New Wave)," which was written last year and is currently one of our most successful and important songs.

In that song, you say "The radio only plays lightnings and strikes', the newspaper says that we' ve lost our way. Today we'll sing and raise our glasses, we were born yesterday and have already been blamed for everything." And what are you guilty of? Probably not the fact that your generation faces precarious employment, that loans are hard to come by, and so are real estate, even rental properties?

Bojan: These are the facts of life lived by the "born yesterday" generation. They are the result of the accumulation of bad decisions over decades. These facts manifest themselves in reality as obstacles that reduce our ability to build the pillars of our independence and, as a consequence, are the reason for our failure to live up to societal expectations. In a world where laws have been written for decades in favor of a mega-massive littering of the planet, we are guilty of standing up for environmental justice instead of "doing something smarter and more serious with our lives," even though previous generations have themselves turned the (labour) market into a war zone of precarious employment. We fight day in and day out with the uncertainty of whether or not we will be employed tomorrow...

But even in this song, you sing and you raise your glasses.

Kris: This song and the Eurovision song "Carpe Diem" are actually very similar in spirit and message, except the second one addresses the listener in a dance guise and this one in a much more serious manner.

The song "Novi val" ("New Wave") has received a lot of attention because of the English version you released before the Eurovision, which you performed with the renowned British musician Elvis Costello. Your now ex-member Martin has a godfather who is a friend of Costello's, and in 2013 you sent him the song "Gola" ("Naked") to listen to. He did listen to it and suggested that you send him more songs. So last year you sent him "Novi val" ("New Wave").

Bojan: Yes, that was true, and when I sent him that song, I also asked him if he would be willing to re-arrange it in English. And he wrote back that he was up for it. Shortly after that, only about a week later, he sent me another email saying if we all agreed, he was ready to sing the song with us. Interestingly enough, he felt the song even before he understood what it was about. His first reaction after hearing the Slovenian version was that it was "a charming song that transcends the understanding of language". He recorded his vocals in New York, and we recorded them in Ljubljana. At the end of the song, we kept the chorus in Slovenian, at his request.

Costello has two Grammys, two Brit Awards, and was named one of the 100 greatest rock'n'roll musicians of all time by Rolling Stone magazine. What does his support mean to you?

Bojan: I can say without any reservation that even if I never wrote another song after this, I would forever be proud of what I have achieved. But it was this collaboration that gave us an indescribable amount of new energy to create. I am very proud of it. However, I must add that I felt the same pride when Tomi Meglič or Grega Skočir gave us words of encouragement. The moment when I first felt their sincere appreciation was a turning point for me, and since then I have existed quite differently as a musician. But of course, it is clear that Elvis Costello's encouraging words carry international weight. And that is something completely new for us. It's just a pity that we haven't been able to meet up yet because he was on tour in the US at the time of the recording of the song and later the video.

He will be touring Europe in the autumn, including Hamburg. You recorded the Eurovision song there in December.

Bojan: He honored us greatly then. He sent us the song "Hamburg Postcard", which he wrote especially for us.

Kris: Let's not forget something else. Our band has always described our music as "shagadelic rock'n'roll" (the Oxford English Dictionary defines shagadelic as "sexy, but in a psychedelic or retro way", A/N). We borrowed this term from "Austin Powers", but it was actually spoken by Elvis Costello, who played himself in that film. When we sent him our song "Gola" ("Naked") in 2019, we thought it would be a good idea to let him know that we also use the term "shagadelic rock'n'roll". And then he personally gave his permission to use it because he felt that that was what it was. To complete the circle, Elvis Costello is one of the original protagonists of the English New Wave, and we are now singing together about the New Wave. He is also from Liverpool, which hosted this year's Eurovision. Our collaboration was clearly written in the stars.

Costello, as a Liverpudlian, knew the most famous local musicians, The Beatles, very well and had worked with Paul McCartney. The Beatles are also among your role models, and this year you also visited the place where the Beatles began their musical journey for the first time. Do you now understand better why they remain the greatest?

Kris: For me, visiting Liverpool and the places that influenced the Beatles and their music gave me some perspective. We knew them through songs, like Penny Lane, for example, but in reality, it's much smaller and more 'plain' than we imagined. Liverpool is a beautiful city, but the suburbs where the Beatles lived are very ordinary working-class housing estates. One could say quite bland. Now I walk around Ljubljana with different eyes. I can imagine that one of our future songs could also feature an insignificant, less exposed street that made its mark on us...

Bojan: And this is where you can see very clearly why the Beatles are the Beatles. Because everybody has a Penny Lane in their life, an ordinary street where you meet a friend. Penny Lane is the most universal thing in the world

The English song "Novi val" ("New Wave") was covered by the BBC and ITV, and the British voted for you at Eurovision. Your music and performances have always been influenced by British pop. Is that one of the key places for you, besides the Balkans?

Bojan: I think our focus is on any place that is willing to accept us, but England has a special charm because we ourselves have been heavily influenced by British music. I'm not the ultimate "nomad," I dislike long flights and exotic destinations that can be unpredictable, so Europe is very dear to my heart. I would be very happy if we could establish ourselves as a European band that could travel a little bit around Scandinavia in the summer and then Dalmatia in the winter...

Kris: Or Spain, where we would eat tapas.

Is the interest in your band in the country also related to the fact that Bojan speaks Spanish?

Bojan: Yes, I ended up doing more interviews in Spanish than in English. The Spanish have also been very active because of our links with their Eurovision representative Blanca Paloma.

Kris: It's really amazing how you can charm a foreign audience by speaking their language. I understand it with the Spanish, as they are mostly less proficient in English, but I was surprised by the Dutch. Dutch is my mother tongue, of course, but I didn't expect that it would matter because in the last few years I have noticed that in Amsterdam, almost only English is spoken on the street. Even the oldest market vendor speaks perfect English. But they were very enthusiastic. On streaming platforms, the Netherlands is one of our top 10 countries.

You mentioned earlier that your fans are now learning Slovenian. What about your future - will it be written in English?

Bojan: The next album will almost certainly have songs in English, Slovenian, and Serbian, but it's very possible that there will also be some in French or Spanish.

What about Finnish? At Eurovision, the most talked-about thing was your friendship with the Finnish representative Käärijä, who came in second place. When you, Bojan, sang his song, he praised you, saying it was "better than the original".

Bojan: We haven't talked about a musical collaboration yet, but I was a guest at his concert in Helsinki in June, and we would be very happy to have him at our concerts. Unfortunately, that won't happen in Stožice because he has a big concert on the same day.

Now that it is clear that your international ambitions are growing exponentially, what is the ultimate goal where you would say, well, now we have made it?

Kris: Even before we had international ambitions on the level we have today, we often talked about how performing on the main stage of the Hungarian festival "Sziget" would be a testament to the fact that we have achieved something in our lives. Do you remember?

Bojan: How European of us, right? (laughs)

And - have they called you yet?

Jan: Not yet, but we are already learning Hungarian just in case (laughs).

Kris: And we were just wondering why we shouldn't just announce a concert at Wembley Stadium in London in 2030.

Bojan: Yeah, because if we started selling tickets now, we might even be able to sell them by then. (Everyone bursts out laughing because the stadium seats 90,000).

#joker out #bojan cvjeticanin #nace jordan #jan peteh #kris gustin #jure macek

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anakin-pilled · 8 months

Text

𝘨𝘰𝘳𝘨𝘦𝘰𝘶𝘴 - anakin skywalker x fem! reader (part three)

pairing: anakin skywalker x fem! reader

wordcount: 9.4k

warnings: no use of y/n, mentions of EDs, body dysmorphia/body issues, fainting, mistreatment, hospitalization, crying, reader being emotional, anakin being a reckless driver, half proofread bc i got lazy (will probably edit another day, its late af as im posting this)

rating: 18+

author's note: hi, i'm so sorry for the delay on chapter three! life got really busy and i found myself not having enough time to write, but now life has settled and i finally had enough time and inspo to finish this chapter. i literally forced myself to stay home this weekend and finish this chapter bc i'll be traveling this week and won't have time to write. i hope i made up for it by making this chapter longer than usual!! let me know if u have any questions or comments. reblogs, comments, and likes are greatly appreciated xx

creds to saradika for the divider!

You originally had no plans this weekend, but after much persuasion from one of your closest friends, you decided to attend some party that a friend of a friend was hosting. It was better than being locked up in your apartment all weekend, letting the thoughts of Anakin consume your mind and slowly pick away at your sanity. After all, it gave you the chance to dress up prettily, consume free hooch, and maybe find someone to get under and help you get over Anakin.

The water in your porcelain sonic tub was doused in a fragrant Crimson Jelly Spire oil and mixed with the fragile petals of a Jasmine flower. The combination of spice and sweetness left your skin refreshed and smelling good. The midday light of Corscant filtered through the windows and cast the nearly all-ivory refresher in an ethereal lighting. The water swished around you as you hugged your knees to your chest and laid the side of your cheek on top of them. You trained your eyes on the refresher’s ceilings before blowing a loose piece of hair out of your face. You ran this bath about an hour ago, but you had yet to get up because your mind was occupied by him. Staying away from Anakin was harder than you anticipated. Your mind recalled, for about the hundredth time today, two instances that happened over the last few rotations.

The first instance with Anakin left you unnerved and unconfident in your self-proclamation to stay away from him.

The benefit concert was only a few rotations away now, so you started practicing. Even though you were only performing songs that you already performed and rehearsed before, it still didn’t hurt to practice even more. This was going to be broadcast across the Republic, so you had to be perfect.

You holed yourself up in your practice room for the majority of the day. The only time you saw Anakin was in the morning when your protocol droid prepared breakfast. You told Anakin that you would be practicing with your team of dancers for the day, so there was no need for him to stay with you all day. You encouraged him to take the day off and reassured him that your practice suite was located in a safe building with 24/7 security watch. Anakin insisted that he at least drop you off. He could take the time to stop by the Temple and check in on Ahsoka’s training.

That was hours ago. It was nearing your twelfth hour of continuous practice and you were exhausted, to say the least. Your vocal cords felt raw from the amount of singing you did today, and the legs in your muscles were spasming from the constant repetition of your dancing. You dismissed your team members around two hours ago, you didn’t think they should be subjected to your perfectionist tendencies. One of them, a Pantoran girl named Chione, voiced her concern for you. Chione was one of your oldest dancers, she joined your team during your first mini-tour around a few Core planets and has never left your team since. You considered her one of your closest friends.

“Are you positive that you’re okay to practice on your own? You’ve barely had any food today. I don’t want you fainting with no one to help,” voiced Chione in a dulcet tone. She was always looking out for your well-being, especially because she knew how hard you could be on yourself. Chione was a source of bright life in your life and one of the most genuine people you’ve ever known.

“I’ll be fine, Chione. I had a heavy breakfast, and I’ve made sure to eat energy pudding bars and stay hydrated during our breaks,” you reassured your friend. She looked unconvinced, but you rushed her out of the room with a kiss on her cheek and a promise to send her a message once you arrived home.

Now that you had the studio to yourself, you decided to go through a few more drills and focus on the routines that you struggled with the most. You weren’t always a perfectionist. Back when you lived on Bar’leth, you were neither the smartest student in your grade nor the dumbest student–you were perfectly average. You didn’t feel the need to engage in your classmates’ cutthroat competition or push yourself more than you required. Even when it came to your musical prowess, you sang and studied instruments because you enjoyed it and it brought you happiness. If you were stuck on learning a certain composition or hitting the right note, you would always put in your best effort, but you never lost any sleep over it. You knew that if you were to put pressure on yourself, it would take the enjoyment away. Music was yours, without any strings, expectations, or attachments to soil your relationship with it.

That swiftly changed once you were signed a record deal with one of Coruscant’s most famous record labels, Interstellar Records. You didn’t even know it was possible to become famous at the intergalactic level. Most of the artists you listened to on Bar’leth were artists from your planet. The galaxy’s population is enormous–Coruscant alone has around three trillion people! You never imagined that your name would known anywhere besides Bar’leth. Yet, luck seemed to be on your side on that one fateful day.

The story of how you were discovered is quite simple. Your school hosted an annual festival for the anniversary of the formation of Bar’leth’s government. It’s a joyous holiday where students are encouraged to promote Bar’leth’s culture through food, traditional customs, and performances. Families and regular citizens flock to the school to join and watch the students at the festival. It’s a day you look forward to every year. Each class section is assigned to a particular event. The graduating class of that year is always assigned to open the festival with a choir rendition of Bar’leth’s national anthem. You were asked to lead the choir since the music instructor knew of your talent, which meant that you would be the main singer. Little did you know that one of the executives from Interstellar Records was at the school festival. One of his nephews attended your school, so that was his reason for being there. As soon as you got off the stage and the festivities started, you were immediately pulled to the side by your school’s headmaster who introduced you to the executive. He spoke to you about your talent, and how he believed that you could make something of yourself with proper training and a recording label to manage you.

That was five years ago, and a lot has changed since then. After finishing your last year of government-mandated education, you moved to Coruscant and began your career as a professional artist. Life suddenly flipped. Your upbringing on Bar’leth was humble. You came from a decent, middle-class family and lived in a standard home. Suddenly, you lived in a fancy Coruscant apartment with the former senator Sheev Palpatine, and you were always surrounded by a team of managers who dictated your schedule from morning to night. You were given vocal training, attended dance classes, and sat through etiquette and media training courses all while trying to produce your debut record. The first year of your career was marked by sleepless nights due to the sheer amount of activities on your daily agenda. Many times throughout the first year, you debated if this was a smart decision.

You continuously pushed yourself through it because dreams weren’t achieved by themselves. You had to work to make your dreams come true. This was just part of the process. At least that’s what you said to reason with your inner self to avoid any feelings of regret and anxiety. Yet, throughout that first year, you were also exposed to a darker side of the industry that you weren’t equipped to handle as a barely legal adult. When you signed that contract with the label, you also signed away any right to individuality and personal autonomy.

You had a certain image to uphold as a public figure and this image was controlled entirely by your label. You were like clay that they could bend at their will–constantly being prodded and

molded until you were nothing short of perfection. Your clothes were preselected each day, hair was only done in styles the label wanted, and pre-answered scripts were given for interviews. Worst of all, even your diet was dictated by the label. How much you ate, what you ate, and even when you ate was all at the discretion of the executives. They even went so far as to weigh you weekly to make sure you were staying on top of your weight. If you weren’t at their goal weight, they subjected you to intense periods of exercise. It was an abusive cycle that fundamentally altered your self-esteem. Slowly, you became a shell of the person you once were. You didn’t find enjoyment in your career anymore, something you were once so passionate and excited about. The harsh regime of your management extinguished that flame. All that mattered to you was if you were meeting your label’s expectations. You were consumed by the weight of their expectations. You drowned under their judgment, and each criticism was like a blaster shot straight to your heart. The executives weren’t satisfied no matter what you did. Practice hours went from a few hours of your day to half of your day. You slowly cut contact with your friends from home and lied to your family when they asked how you were doing. You couldn’t bear to tell them the truth. You were miserable.

Eventually, the constant overwork and abuse by the label became too much for your body to handle and one day you fainted in the middle of practice. The medic at the medcenter informed you that your body shut due to exhaustion and malnutrition. Due to you being one year away from being a legal adult by the Republic’s standards, the medic was forced to report this incident to the authorities. Holonet tabloids somehow got a hold of this information and leaked it on their celebrity gossip pages. This prompted an investigation from the Intergalactic Federation of Musicians, the trade guild dedicated to musicians, performers, and songwriters, who determined that your label was not properly upholding their side of the contract. The IFM fined Interstellar Records and voided your contract, which left you free and away from their abuse.

It took you a few months to recover from the whole incident. The best course of action was to move back to Bar’leth while you healed. Your career didn’t stop there, however. Right before the situation, your debut album was released. Hence, you were practicing for upcoming promotions the label scheduled you for. The release of your debut album was quiet–until your face ended up on the Holonet’s hot spot after the initial news broke. The people of Coruscant, and even some people from neighboring planets, pitied you. You never intended for anything to be this way, but the story that the tabloids ran against you worked in your favor. You, a young fresh-faced, and doe-eyed girl from a smaller Core planet, were a victim of the cruel entertainment industry. Everyone blamed the label, rightfully so, but the amount of support and influx of love from Coruscant’s citizens catapulted you into fame and stardom. The public wanted to see you win (until they didn’t). Other recording labels were knocking at your door, trying to get you to sign with their company You were hesitant, not wanting to experience the same trauma. Senator Palpatine offered his help in negotiating the contract bids as an apology for not noticing what you were going through before. After all, you were still living with him while you were still signed to Interstellar. You didn’t blame him as you hid your problems well. Regardless, it all worked out in the end as you were signed to a new label, under terms and conditions you saw fit. Four years have passed since you signed onto Nebula Music Group. Your fame instantaneously increased after signing with them. Gido was assigned your new manager, and you were extremely thankful for him because he played a major role in ensuring you were properly treated and supported by the label. Nebula Music Group had more trust and faith in you than Interstellar, so they allowed you more authority and creative liberties in the music-making process. Because of this, you could produce authentic, critically acclaimed, popular albums. Your last album, Last Words of a Shooting Star, broke a record with the highest sales of sound slugs in history for a female artist. You did mini tours around the inner and mid-Core planets. Despite your initial hardships, life was turning out better than you envisioned. You had a second chance at your dream. You liked to consider yourself fully healed from the situation, but that was far from the truth.

Take now for example.

In moments like this, when it’s only yourself and the mirror, your mind can’t help but flashback to the horrible treatment you suffered at the hands of those people. You know that no matter how much therapy or how far removed from the situation you were, a part of you was still stuck in the past.

Chione was right to be concerned. This wasn’t the first time you stayed behind and continued practicing on your own, often to the point of exhaustion and breaking down. She’s caught you in these moments before, where you were so focused on perfection that you failed to take care of yourself properly—staying dehydrated, skipping meals, and not sleeping just so you could devote more time to practice. You would gladly damage yourself for it. You couldn’t help it. Insecurity was embedded in your bones. You knew that as a young female in the industry, you had a short shelf life (or at least that’s what your previous label hammered into your brain). Once the industry deemed you expired, you would be nothing. Thus, you needed to be so perfect, that even past your expiration date, people would still want you. You were nothing without desirability.

You looked at yourself with hard eyes in the mirror. Your eyes landed on the deep, heavy-set eye bags under your eyes. A scowl appeared on your face. You then moved your eyes to your arms, which never seemed skinny enough for you. A knot formed in your throat. Lastly, you laid your eyes upon your stomach. No matter how many meals you skipped, what diet fads you went on, or what food you prematurely threw away to avoid finishing, your stomach never looked the way you wanted. A sigh escaped your throat.

It was futile to worry about these things now. At a time so late in the day, nothing good would come of it. You inhaled and exhaled breathing as if you were absorbing and releasing all of your previous negative energy. Putting on a fake smile that didn’t reach your eyes, you gave yourself one last look before continuing to practice.

The song you were currently dancing to belonged to the glimmick genre–a genre of music that was associated with frenzied sounds and rapid beats. As an artist, you were most comfortable with the sparkle-bop and pop genres. That was your domain, and it was the genre that made you famous. However, you wanted you wanted to experiment on your recent album to get out of your artistic comfort zone and reach a wider audience, so you included songs of different genres, with glimmick being one of them. Due to the nature of the glimmick genre, your song “Atom of the Pneuma,” required an intricate, fast-paced dance with movements that you were not familiar with. The choreography for this dance was sharp and pristine, contorting and bending your body to resemble straight, angular lines. Most of your choreography featured lighter dance moves, with flowy movement and softer forms. It was the reason you stayed later than the rest of your team–you wanted to hone on this particular routine before the benefit concert.

Your legs were bent, hands placed on top of your thighs as you caught your breath and prepared to replay the song just a few more times before calling ending the day. You got into position. The song started and filled the room with a pounding, rich techno bass that bounced off the walls. You began to move your body to the beat while your right arm was simultaneously moving it to create a pattern that extended from your body outward. Your head followed the beat as well, which left you slightly dizzy. You learned to block out any negative sensations when dancing, a practice you learned from the days when you danced on little sleep and little food. The unpleasant sensation went ignored until you spun your body around and lost your balance resulting in an unceremonious fall toward the hard wooden floor. You placed your arms to cushion your fall out of reflex, but the fall never came. A pair of large, calloused hands were placed on your waist, holding you steady. The hands gently guided you toward the floor, forcing you to sit.

You raised your face toward the ceiling, trying to see who it was that miraculously saved you from your fall. The bright lights of the practice room invaded your eyesight and you could only make out the fuzzy outline of the person. Tiny, black dots swirled your vision as you tried to regain your composure. The feeling was overwhelming. You could feel your breath quicken as you tried to calm yourself. This wasn’t the first time you have fainted from overdoing it, but it was never any easier each time. You hated the feeling, you hated the coldness that washed over your body, you hated how your vision failed you, and you hated the dull panging inside your head.

You shut your eyes, barely focusing on the person next to you. Your nails dug into your palm, the pain distracting you from the uncomfortable feeling and forcing you back into the present. After a few more moments, you opened your eyes again and turned your vision to the only other figure in the room. You could feel the warmth of their body next to yours–the warmth overpowering the previous coldness your body felt.

“Anakin,” you whispered.

“You okay there, pop star?” Anakin softly replied. “You almost took a nasty fall, you could have sprained your wrist or hurt your head. We wouldn’t want that before the big day, now would we?”

His brown curls gently caressed his face as he looked down at you. He was kneeling over you, eyes scanning over your body to make sure you were okay. You didn’t even hear him enter. How did he get inside? Access to this room was only allowed by people with logged fingerprints and/or other DNA indicators.

“Just give me a minute please.” You still felt lightheaded.

Anakin stood up and walked toward your practice bag and grabbed the container of water that was sitting next to it. He then proceeded toward you, sat next to you, and put the tip of the container to your lips. You titled your head back as you drank. After a couple of gulps, you answered Anakin’s question.

“I apologize if I frightened you. I must have overdone it and got lightheaded because of it. I assure you that I feel better now and can continue my practice,” You tried to stand up before Anakin’s hand caught your wrist and dragged you back toward the ground. Your response was cold and robotic. That’s because you were in a different mode right now, your more “professional” mode which consisted of one thing only–to never give up until you were blue in the fact. It was ingrained in you from your past training that even if you felt like complete bantha shit, you couldn’t stop practicing just because you felt slightly off. Perfection could never be achieved if you stopped every single time you felt bad.

“Just take a moment to relax. You nearly fainted. You’re only going to hurt yourself more if you continue to practice in this state,” Anakin reasoned. He pitied you because he knew the exact look of determination on your face.

“I can’t stop. The benefit is only a few rotations from now. I have to get this routine down, or else I’ll look like a fool on stage,” you argued back. You turned, but Anakin kept a firm hold on your wrist.

“Stop being stubborn and just take a quick break.” The seriousness in Anakin’s tone made you want to cry. His voice projected across the now silent practice room. You were already feeling bad from almost fainting and now you were being emotional too. You slipped to the ground and hung your head low as tears welled up in your eyes.

“I-I’m sorry,” your voice wavered. Putting in this state always puts you in a weird headspace. You swallowed the tight knot that formed in your throat. You didn’t want to cry in front of Anakin.

Anakin noticed the waver of your voice and how you refused to meet his eyes. He didn’t mean for his voice to come out so harsh, but he didn’t want you to hurt yourself either.

“It’s okay. You have nothing to apologize for. I didn’t mean for my voice to sound that way,” Anakin hesitated before putting a hand on your shoulder for comfort. He felt slightly awkward. He didn’t know you very well yet, so he didn’t want to invade your personal space, but he recognized that you needed some comfort.

“You should leave. You don’t have to deal with me. I know the Chancellor asked you to watch over me, but this is too much. I promise I’m fine. This isn’t the first time this has happened.” You don’t know why you let that small detail split to Anakin. Perhaps you just wanted someone else to know that you weren’t fully healed from your past. You tried to do your best to hide it from the rest of your team, only Chione being the most knowledgeable on the subject.

“I’m not going to leave you. It’s late and you should be heading back to your apartment. I came to pick you up. Gido said you hadn’t arrived home yet and that I could find you here.”

You sighed at Anakin’s response. There were a few moments of silence before you began speaking again. “I’m sorry. You’re just being a decent person, and I’m here trying to push you away. I don’t mean it.” You took a deep breath, “I just get in a weird headspace whenever I’m practicing sometimes.”

Anakin didn’t want to pry, but he could tell there was a deeper meaning behind your words.

You started speaking before your brain could even comprehend what you were saying. You were desperate to let out all of your negative feelings. “Do you ever feel like you’re not good enough sometimes? Like the whole world is waiting for you to trip and fall?” You glanced at Anakin with glassy eyes.

You continued to tirade. “I know my life may look glamorous, and it is. But no one ever talks about the dark side of being in the public eye, especially as a female. They treat you as if you’re some spectacle for their entertainment as if you’re not a living being with consciousness and feelings. Even those who are supposed to be there for you end up on the same side as the critics and haters.” Your chest was now heaving up and down as a result of your heightened emotion. “Even when I work my ass off to be perfect, so I can meet their standards and so they can finally shut the kriff up, they find another thing to comment on just to tear me down.”

“Yes, I understand the feeling.” And Anakin truly did understand. Anakin wanted to comfort you, he felt empathetic as he watched you cry. Do you remember how I told you how I joined the Jedi at a later age than most?” You nodded as you sniffled. “The Jedi council didn’t want to take me in at first…but Qui-Gon convinced them to take me in because he saw potential in me, potential as the Chosen one. Master Qui-Gon died before he had the chance to train me, so his Padawan, my former master, requested that he take me up as his Padawan. No Padawan had ever been trained at such a young age, but the council accepted his wish as a dying request from Qui-Gon.” Anakin still recalls that day–he was waiting outside the council’s room–in wonder at the grand pillars of the Jedi Temple. It was so grandiose and had a sense of holiness, two things he never witnessed on Tatooine.

“I had to work twice as hard as the other younglings to get up to speed. Most of them already had years of experience with the Jedi, they knew how to properly wield the force and the Jedi scriptures were ingrained into their beings by that point. Eventually, I surpassed the younglings and surpassed the expectations of the council. But even then, the council has never fully trusted me. I feel they’re always scrutinizing me, watching for my next mistake too. I’m not the most conventional Jedi, and I don’t always play by the books, but I’m a Jedi through and thorough. No matter how many times I prove that the council, or even my former master, they don’t believe in me. We’ve been fighting this war for Maker knows how long, and they still refuse to make me master, despite being the poster boy for this war.”

“Wow, Anakin…I didn’t expect that from you.” You honestly didn’t expect to find yourself relating to Anakin, you were on completely different sides of society. How could you, a pop star, relate to a Jedi? It comforted you in a way, to know that you weren’t the only person to go through feelings of inadequacy and frustration. “How do you deal with it?”

“When I was a Padawan in training, I didn’t deal with it most healthily. I was snarky (he still is), and rebelled against my master’s teachings. I was stubborn, hoping that if I showed off my power, I could finally be appreciated by the council. I was wrong to do that, it’s how I lost my right arm.” Anakin then slipped off his glove to show you the silver mechanical prosthetic. You gasped, not expecting to learn this information. Anakin continued, “I still like to show off, but as I matured, I realized that I didn’t have to define myself by the approval of others. I know that I am capable, and I will keep working hard until the council recognizes that.”

“You don’t deserve that. I know we only just met, but I’ve only heard remarkable things about you. The Republic wouldn’t stand a chance against the Separatists against you. I mean no offense to the other Jedi, they’re all vital to the war effort too, but we need someone who takes risks and isn’t afraid to be unorthodox. I don’t know much about the Jedi, but I know one day you’ll make a great Master.”

This heart-to-heart chat with Anakin was unexpected but welcomed. You appreciated that he was honest and open with you–someone who was practically a stranger still. He didn’t have to come all this way to pick you up nor did Anakin need to comfort you in an hour of need, but he did. However, Anakin didn’t let the conversation marinate too long, suddenly embarrassed at the information he shared with you.

Anakin stood up from the ground and reached his hand toward you. You accepted his hand and Anakin pulled you up as well. “Are you feeling better now?”

Despite the dried tear marks on your face and the incoming headache you were about to face, you told Anakin that you did feel better. You weren’t ready to divulge your entire past with Anakin just yet, but maybe one day the two of you could become friends. Did that count as an attachment? You weren’t sure.

“Let’s get you home, pop star.”

“Thanks, General.”

The second instance with Anakin was in an unconventional situation, but it brought a smile to your face when you recalled it. It was only the fifth day of him being assigned as your bodyguard. The incident at the practice room happened on his third day there. You wanted to speak to him more after that night, but you found yourself pulled in all directions by your management team. You supposed you should be thankful–you promised to stay away from Anakin. The only issue is that you didn’t want to stay away from him anymore.

Anakin walked into your living room after talking with Obi-Wan through his commlink. Obi-Wan was updating Anakin on his most recent diplomatic mission on a nearby planet. A heated conversation was taking place between you and Gido.

“You’re being ridiculous! It’s not even that scary and you can’t keep on relying on others to transport you places,” Gido said as he pinched his nose with a hand, a look of frustration on his face.

“Of course I can! I’m rich. I can just hire chauffeurs!” you taunted in reply. You knew your argument wasn’t sound, but you just wanted to vex Gido at this point. Deep down, you knew your manager was right.

“What about when you’re old and retired? Who’s going to help you then? Certainly not I. I’ll be dead!” He pointed an accusatory finger at you.

A glare embraced your face at Gido’s words. You scoffed before turning your body, not realizing that Anakin entered the room. He had to stop sneaking in like that. Those damn Jedi.

Anakin looked at you two with a curious look. Having joined the conversation toward its end, Anakin did not know what you two were talking about. Heat ran up your neck and toward your face as Gido explained with a deadpan expression.

“My dear friend here does not have her Republic driving license, despite being an adult. I’ve been telling her to get her license for years, but she always manages to procrastinate. And every time I tell her, she brushes me off her shoulder.” He pointed at you with an accusing thumb.

With a high-pitched tone, you defended yourself, “I know how to drive!... Sort of. Look, I just don’t like driving. The skylanes are always chaotic and the last time I visited the Ministry of Transport, it took me hours to update my identification and the workers were extremely rude. I’m not going back there if I don’t have to!”

“And I keep telling her, she needs to get her license. Kid, don’t be stubborn. Wouldn’t you feel more independent if you could drive around yourself?”

“Oh, stop bullshitting me, Gido. You just don’t want to drive me around because you hate the sky lanes as much as I do!” It was true. Gido groaned and mumbled every time he had to drive you places, complaining that he wouldn’t need to take you to run your errands if you had your own license. You couldn’t help it–you enjoyed dragging Gido along and you knew he secretly enjoyed spending time with you.

Anakin had a solution to both of your problems. Driving was one of his fortes. Obi-Wan and Ahsoka would disagree, but Anakin knew he was the best pilot in the galaxy. Yes, Anakin could be reckless, but there was never a landing or move he couldn’t pull off. The innate talent he had as a young boy flourished when he moved to Coruscant and began his Padawan training. Having access to much more refined and newer technology allowed Anakin to perfect the craft of piloting.

“I can teach you how to drive. I’m the best pilot in the galaxy.” The seriousness on Anakin’s face indicated that he wasn’t joking.

You gulped. The heating sensation returned. You began to shake your head from side to side with wide eyes. Your hands moved in front of you as if to mimic the movement of your head, waving off Anakin’s solution.

“I don’t think that necessary,” you protested.

“Actually, I think it’s very necessary. Only the Maker knows how long you’ll push this off. Anakin, would you mind doing this favor? I have a few meetings with the company, we need to finalize the last details for the benefit. Feel free to use her airspeeder parked outside–it’s one of the newest models,” Gido stated.

Anakin grinned. He really did miss his yellow Eta-2 Starfighter, but he would never deny the chance to operate new technology.

That’s how you found yourself outside sitting in a neatly parked J12 Twin-pod on your apartment’s landing platform. The airspeeder belonged to you, though you’d never driven it before. The airspeeder was one of the newer models on the market. The surface was wrapped with a special pink-tinted chrome wrap making the car look sleek and expensive. Gido, your chauffeur, and occasionally Chione, were the only people to ever drive it.

You looked out the window and saw Anakin approaching the passenger side of the airspeeder. “Karking hell, I’m really doing this,” you thought. You detested driving. It made your palms sweaty and shot your nervous system. To make matters worse, you would be stuck in the confined airspeeder with Anakin! So much for trying to keep your proximity from him. You were both scared and embarrassed. Here was Anakin, the most famous Jedi at the moment, teaching pathetic you how to properly drive. Surely he had much better, more important things to do–like lead a war planning meeting or something.

The passenger door opened, and Anakin effortlessly climbed into the passenger seat and sat down. Your back stiffened, and suddenly the airspeeder seemed tighter. You shot an uneasy glance toward Anakin, who only smiled in excitement.

After the other night in the dance room where you had that conversation with Anakin, you felt less apprehensive around him. He was more human to you and less of a mysterious figure, less of a pretty face who made you nervous. You still found yourself mousy and internally reeling in his presence, but Anakin was becoming akin to a friend. You started conversing more during mealtimes, slowly getting to know each other.

“Alright, pop star, first we’re going to start with the controls. You have to fire up the engine by flipping this red switch. After the flip is switched, check your mirrors to ensure you can view directly behind and on your sides. Be careful with your blind spots. You don’t want to get rear-ended because you forgot to check for it. Coruscant sky lanes are no joke. With an airspeeder as pretty as yours, I’d hate to see it get destroyed. ” Anakin pointed toward a red button near the right side of the console, located next to the steering gear. “You got that?” Anakin questioned with one eyebrow raised.

Once again, Anakin felt your energy through the force. It was way calmer compared to the first day, but he could still feel your energy buzzing. Perhaps you realized that his presence was nothing to fear.

“Go on. Turn it on,” Anakin commanded. Butterflies erupted in your stomach when you heard the baritone voice command you. It reverberated several times in your head. Anakin’s voice was manly, and extremely attractive. You felt jealous that his soldiers got to hear that voice every day.

You reached toward the switch and flipped it upward with a shaky hand. The airspeeder lit up from inside, indicating it had come to life. There wasn’t an initial turbo–this was one of the main features of this model. It was supposed to fly seamlessly through the air. You placed your hands on each side of the steering gears. Not knowing what to do next, you looked at Anakin for guidance.

Anakin stood up to stand directly behind you. He reached out his arms and placed his hands on top of yours. He then leaned down to the side of your face and explained, “I’m going to show you how you properly place your hands on the steering gear and how to move it while you’re driving.” Anakin moved your hands toward the middle of the gear.

“Have a tight grip on the gear. The tighter the grip, the more control you have over the speeder. The higher sky lanes get more wind traction, so it’s especially important to have control in those lanes.” You nodded to show you were following. Anakin suddenly turned the gear harshly to the left, “Don’t do what I just did. When you turn the gear harshly, you jerk the speeder. If you’re switching lanes or turning a corner, switch on your indicators so other drivers know which way you’re going.” Of course, Anakin never followed his own advice, but for your sake, he played it by the books.

It all felt too intimate. Your head was in a rush, which probably wasn’t the best state to be in while you were about to drive. Anakin’s hands engulfed yours. The difference between his callused hands and your perfectly manicured hands drove you crazy. You could see the veins exposed on his ungloved hand. The sight of the green veins made your stomach turn warm. Much like his face, Anakin’s hand was sculpted by the Maker themself. Not even the finest marble statues could compare to the piece of art that was Anakin Skywalker.

“...Lastly, when you’re making a turn, do not turn the gear all the way around. The speeder has a built-in function that automatically rotates it. If you turn it all the way, you’ll make a sharp turn, ruining the internal tachyon drive regulator. Do you think you can handle this? Gido told me about the last time you tried to drive.” The last time you tried to drive, it resulted in several fines and almost caused a crash–the tabloids were on your ass for weeks after that.

You completely spaced out while Anakin was speaking, too focused on your inner thoughts. Hearing the teasing tone of his voice brought you back. You hated being undermined. You would prove to Anakin, and Gido, that you can drive perfectly fine and that you have nothing to be scared of.

“I can you assure that not only can I handle this, but you’ll be amazed at how quickly I learn,” you sassed Anakin back. You were lying. You couldn’t handle this, yet you couldn’t look like a ditz in front of Anakin.

“Let’s start flying. Don’t be nervous. I’m right here if you need me.”

Anakin sat back in his seat and observed you as you started maneuvering the aircraft. He directed you toward a sky lane to merge into. “I’m going to guide you to a specific path where the air traffic isn��t so busy. It should be easier for you to fly since there isn’t as much chaos.”

You kept a strong grip on the steering gear. Coruscant Prime, Coruscant’s only sun, was shining bright. The Weather Control Network did a splendid job at keeping Coruscant’s weather optical today–it wasn’t too windy and the sky was clear. You took it as a positive sign.

The airspeeder flew steadily through the air. Anakin was surprised. The way Gido described your driving, he assumed that he would need to take control of the speeder earlier. You weren’t doing a terrible job so far. Aside from the occasional jerk or harsh turn, you managed not to crash so far.

Maybe Anakin thought too soon. “Watch out! Watch out to your right!,” Anakin exclaimed. You tried switching lanes, but the speeder behind you wasn’t slowing down to let you in. You narrowly avoided an accident at the last second by going back into your lane.

“Oops–I didn’t mean that,” you said with a giggle and a shrug of your shoulders. “How am I doing so far?”

“You’re not doing too bad, with some more practice, you should be able to get your license in no time. Why do you hate driving so much?”

While still focusing on the sky in front of you, you explained to Anakin, “I love Coruscant and all that it has to offer. But the sky lanes in Bar’leth are much calmer and less congested. I grew up used to that. Even after all these years of living here, I still can’t stomach the driving here. It’s horrendous! I much prefer to have someone else drive, that way the pressure won’t be on me. I know Gido’s right, I need my license, but can you blame me? We’ve already witnessed almost two accidents! How did you get so good at flying?”

“I’ve always wanted to be a pilot since I was a little boy. I used to tinker in the garage, building and modifying parts for my own podracer. I even won the Boonta Eve Classic on Tatooine,” answered Anakin.

“Why did you want to become a pilot?” you wondered. Anakin seemed like like an intentional type of person–his actions, thoughts, and opinions were direct reflections of him and what he felt inside.

Not many people outside of the Jedi temple knew Anakin’s true origins–that he was a former slave. The first ten years of his life were filtered solely through this lens, it came to impact much of his opinions on life, politics, and society. He didn’t like speaking about it and avoided the topic as much as he could. Anakin hated his life as a slave and he hated slavery with every fibre of his being. However, Anakin especially hated speaking about this past life now because every time he did, he was reminded of how he willingly chose to leave his mother on Tatooine. Anakin felt like he was the reason she died. He wasn’t strong enough or fast enough to save her from the Tuskens, but maybe, just maybe, if he stayed with his mother instead of leaving with Qui-Gon, Shmi Skywalker’s death could have been avoided.

Anakin didn’t respond to your question. When you looked at him, his face was scrunched up in a deep thought.

You were about to say something else when you saw something approaching the speeder from the corner of your eye. You quickly glanced to your left, only to spot a human male nearly hanging off the side of his airspeeder with a cam held up to his eye. You groaned out loud which caught Anakin’s attention. They came at the worst time possible. You were trying to learn how to drive for Kriff’s sake!

“The paparazzi are following! Can’t they just leave me alone” you ranted. You needed them to get off your trail, fast. You had a complex relationship with the paparazzi. You hated the way they invaded your privacy and fed the Holonet tabloids with material to gossip about. For every bad picture, outrageous rumor, and leaked news, there was a paparazzi behind it. They caused you so much pain. At the same time, the very nature of your career relied on the paparazzi to dispel news and reveal your current state of affairs through pictures. They were unofficial members of your public relations team. Every celebrity knew that they needed the paparazzi as much as they hated them. You couldn’t imagine what ridiculous headline they would come up with now.

The man got closer and closer to your speeder as he tried to record you on his cam. He was mere inches away from crashing into the side of your speeder. You started to panic and your hands lost your tight grip as you started to tremble. Even the slightest movement to the left would cause a crash, potentially sending both of your speeders tumbling below.

“Anakin, what do I do? I don’t know what to do! They’re too close,” you yelped. Any closer and the paparazzi’s camera would touch your speeder’s window.

“Stay calm, pop star. I got this.” Anakin’s tone was cocky. He had something up his sleeve. This wasn’t his first high-speed chase, and it certainly wouldn’t be his last. Anakin switched into General mode. His hands swiftly moved across the dashboard as he pressed a multitude of buttons and flipped several switches.

“What are you doing?!” You hated how high-pitched your voice sounded, the fear slipping out of your voice a squeak.

“Relax. I’m just taking control of the speeder. This speeder model is programmed so that in case of emergencies, the co-passager can take control of the speeder and drive it.” A panel opened on the console and an additional steering gear emerged into view. Anakin gripped the gear and turned it to the right. The speeder lurched to the right, putting more distance between you and the paparazzi.

No longer needed to grip the gear, you turned toward Anakin and shielded yourself by facing your back toward the window. The Holo Net wouldn’t be getting anything out of you today. Those insatiable nerfhurders had no boundaries sometimes.

“You better hold on tight. Things are about to get bumpy.” The only way to get these paparazzi off your trail was by speeding up and losing them in the endless zigzags of Coruscant. Anakin wouldn’t do anything to jeopardize your safety. He felt his fingertips buzzing with anticipation–the past few rotations with you have been enjoyable and peaceful, but he needed an outlet for his energy. Ever since the Clone Wars started, Anakin was constantly on the go, so his body and mind were accustomed to this. Fortunately for Anakin, flying was the best outlet for him.

“What do you mean? Anakin, I’m begging you. Please don’t do anything crazy. I get motion sick-” Your words were cut off as the speeder accelerated. “ANAKIN!!!,” you screamed. You then quickly shut your eyes again. You couldn’t bear to witness the scene in front of you. Even with your eyes closed, you could tell Anakin was driving significantly faster than what was allowed by the law.

The speeder weaved in and out of lanes. At one point, Anakin squeezed in between two speeders before hitting the turbo boosters. The paparazzi were still hot on your trail, but at least they were no longer directly next to you. You finally opened your eyes and saw that you were nearing the retail district, CoCo Town. Suddenly, the speeder nosedived toward the ground and you tightly clung to the gear in front of you for stability. The paparazzi were still chasing you, their speeder also diving below.

“Anakin do you have to be so reckless?!,” you shouted as Anakin laughed.

“My apologies–it was either that or let the paparazzi stalk you. Which one did you prefer? I didn’t have time to ask while you were panicking,” he replied in a sarcastic tone. You were about to rebuttal, but Anakin continued talking. “As soon as I land this on the ground, we’re going to get out and run. Let’s try to lose them in the crowd.”

The speeder lowered onto the ground and Anakin quickly parked the vehicle on a landing platform where several other speeders were parked. The doors unlocked and you both quickly stepped out. Before you could even completely step off, Anakin grabbed you by your waist and lowered you onto the ground. He then grabbed your hand and started running in the opposite direction of the speeder. You looked behind you, only to see the paparazzi had caught up and were now looking for you. After a quick scan, one of their eyes caught yours and they looked toward each other before running in the same direction as you and Anakin.

You could barely think about the paparazzi chasing you down as your mind relished the feeling of Anakin’s hands engulfing your waist. Anakin was a statuesque man, it made sense that his hands would be the same. Your skin burned at the touch. You shook your head to wane off the thoughts and redirect your focus in front of you.

Anakin’s back was facing you, his wide shoulders moving up and down as you ran through the crowds together. His curls bounced with each step. You apologized to each person you bumped into, slightly embarrassed to be in a situation like this. Why did this have to happen to you? Couldn’t they have picked another celebrity to torment today? You heard from the jogan fruit vine that the Holodrama actress Alexis Cov-Prim was getting out of rehab today. Wouldn’t that be a juicer headline than you learning how to drive? You already had one bad story from driving, you didn’t need another.

Anakin made a sharp turn around and corner and dragged you into a store named “Madame Acantha’s Emporium.” You kept your head low as Anakin greeted the storekeeper. You didn’t want to risk being recognized again. As you looked around and observed the store, you noticed the store sold a variety of womenswear from dresses to accessories. Anakin scanned the store for any suspicious figures before turning towards you.

“Grab something to disguise yourself with. We can’t stay in here forever.” You started browsing through the racks of clothes, pulling out a large knitted sweater before walking over to the accessory area and picking out a pair of daytime spectacles and a vibrant magenta wig with a bob cut. Anakin couldn’t disguise himself as he was too big for the clothing sold here. That didn’t matter as long as you could disguise yourself.

You quickly walked over to the changing rooms before switching out your outer layer for the sweater. After putting on the sweater, you grabbed the only elastic on your wrist and tied your hair so the wig could fit on. Once the wig was secured on your head, you put on the daytime spectacles and walked out of the changing rooms. You rushed towards the cashier and quickly asked her to ring up the transaction before throwing your credit chip on the counter. The employee, a humanoid woman of a species you couldn’t name, quickly rang up the transaction before handing you a receipt and bidding you a good day.

You turned towards Anakin and asked, “Does this look alright? Do I look like myself?”

Anakin stepped closer to you and grabbed the sides of your face. He slipped some of the wig’s hair through his fingers before adjusting it so it sat properly on your head. His fingers lingered for a second before he nodded. “I can’t even recognize you. Let’s go before they catch up.”

Anakin walked out of the store first and scoped the street. He looked left and right before quickly going back inside. He grabbed you and shoved the both of you behind the first rack of clothes he saw. You were about to protest when you saw the two men from earlier, the one who was recording had his camera by his side. They went up to the shopkeeper at the cashier and began to converse with the lady, most likely asking her if she had seen anyone with the same description as you. While they were distracted, you and Anakin looked at each other and secretly decided to make a run for it.

You both ran out of the store and into an alleyway nearby. You saw the paparazzi running past the alleyway as you were catching your breath. Then, you started to giggle. The whole situation was absurd. You, standing in an alleyway, with a bright wig and sunglasses–obviously a terrible disguise–and Anakin Skywalker, the most famous Jedi at the moment, dressed in all of his Jedi garb with his lightsaber attached at the hilt.

“What are you laughing at?,” Anakin asked, one of his perfectly shaped eyes arched. You must have looked crazy.

“I’m laughing at the situation. I look like a clown,” you replied. “Let’s go, I’m hungry after all that running and chasing. Let’s get something to eat–my treat.” You then walked out of the alleyway together. Before you stepped into the public view, you turned towards Anakin, “Thank you, by the way. I don’t know what I would have done without you to save the day.” You gave Anakin a look of genuine gratefulness.

The both of you proceeded in the direction of the shops.

“Come on, pop star. I know a great diner that my old master loves. It’s called Dex’s Diner. Have you ever been there before?” Anakin asked.

The both of you arrived at Dex’s Diner and proceeded to order half the menu. You spent hours in the diner, the both of you enjoying each other’s company after the crazy events of the day.

You spent the same evening replaying all of the times Anakin touched you and how each touch made you feel.

You decided it was time to get out of your head and back into the present. If you stayed in the sonic tub any longer, you wouldn’t have enough time to get ready without feeling rushed. You stood up from the sonic tub and grabbed the plush white robe sitting on the table next to it. You then put the robe on and walked toward the mirror.

You grabbed the brush and started brushing through your hair to ensure that any tangles and knots were out. After deciding your hair was neat enough, you put the brush down and started moisturizing your body with your favorite lotion. You would let your hair air dry until you figured out how you wanted to style it. The lotion was made from the musk-rose plant and mixed with tiny hints of vanilla. When you were done moisturizing your body and applying your skincare, you walked out of the room and into the closet directly in front of the refresher.

To say your closet was huge is an understatement. When you finally earned enough credits to afford a high-rise apartment, the one thing you told your realtor was that you would not compromise on a small closet. The closet was lined with shelves and racks, each holding either your clothes or your shoes. In the middle of the closet sat an island, constructed with cream-yellow Selonian marble, that stored all of your accessories. A floor-to-ceiling mirror and lounging chaise were perched at the far corner of the room. You walked over to the shelf that held your dresses and began to sift through them. You felt the soft silks, thin taffetas, and the gorgeous gemwebs of your collection.

“Aha,” you muttered as your hand finally landed on the gown you were looking for. The gown, designed by one of the most in-demand fashion ateliers, was a floor-length, demicot silk-lined tight velvet black gown with a curved necklace. The upper half of the gown was pale pink and covered in a multitude of tiny sequins and pearl studs. One shoulder extended out into the shape of a single petal, which was also fabricated with sequins and pearls. You paired it with a pair of black gloves that extended to your mid-bicep. The dress was as much haute as it was a piece of wearable art. If there was one thing you loved about being wealthy, it was the clothes.

You laid your evening gown on the chaise before traveling to your vanity and beginning on your makeup. Since the gown was extravagant in itself, you decided that a more subtle makeup look would complement the overall look more. You wanted people to focus on the gown and all its intricacies and craftsmanship. After glossing your lips with a matching shade of pink, you finished your makeup and moved on to your hair. You settled on a suitable hairstyle and allowed your loose face-framing layers to enhance the shape of your face.

You looked at yourself in the mirror once more before deciding you were ready to go. You walked out of your room and towards the living where Anakin was waiting for you.

To be continued...

(Here is a link to the dress, which was designed by Miss Sohee. One thing I love about the SW universe is the fashion, so I wanted to include a dress that reflected that. Like, come on. Have you seen Padme’s and Satine’s outfits?)

taglist: @angie2274 @bunnylovesani @0709fullofstars @js-favnanadoongi @payton-dixonreader

lmk if you want to be added to the taglist!

#kendra's works !!!#anakin skywalker #anakin #star wars anakin #star wars #star wars fandom #star wars fanfiction #tcw anakin #anakin x you #anakin x reader #anakin skywalkwer x reader #anakin skywalker x you #anakin fanfiction #hayden christensen #darth vader #darth vader x reader #darth vader x you

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eddie-redmayne-italian-blog · 6 months

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The Untold History of Cabaret: Revived and Kicking

As Broadway welcomes the ever-evolving musical, its star, Eddie Redmayne—along with Liza Minnelli, Joel Grey, and Sam Mendes—assess its enduring power.

As director Rebecca Frecknall was rehearsing a new cast for her hit London revival of Cabaret, the actor playing Clifford Bradshaw, an American writer living in Berlin during the final days of the Weimar Republic, came onstage carrying that day’s newspaper as a prop. It happened to be Metro, the free London tabloid commuters read on their way to work. The date was February 25, 2022. When the actor said his line—“We’ve got to leave Berlin—as soon as possible. Tomorrow!”—Frecknall was caught short. She noticed the paper’s headline: “Russia Invades Ukraine.”

Cabaret, the groundbreaking 1966 Broadway musical that tackles fascism, antisemitism, abortion, World War II, and the events leading up to the Holocaust, had certainly captured the times once again.

Back in rehearsals four months later, Frecknall and the cast got word that the Supreme Court had overturned Roe v. Wade. Every time she checks up on Cabaret, “it feels like something else has happened in the world,” she told me over coffee in London in September.

A month later, as Frecknall was preparing her production of Cabaret for its Broadway premiere, something else did happen: On October 7, Hamas terrorists infiltrated Israel, killing at least 1,200 people and taking more than 240 hostages.

The revival of Cabaret—starring Eddie Redmayne as the creepy yet seductive Emcee; Gayle Rankin as the gin-swilling nightclub singer Sally Bowles; and Bebe Neuwirth as Fraulein Schneider, a landlady struggling to scrape by—opens April 21 at Manhattan’s August Wilson Theatre. It will do so in the shadow of a pogrom not seen since the Einsatzgruppen slaughtered thousands of Jews in Eastern Europe and in the shadow of a war between Israel and Hamas that continues into its fifth month, with the killing of thousands of civilians in Gaza.

Nearly 60 years after its debut, Cabaret still stings. That is its brilliance. And its tragedy.

Redmayne has been haunted by Cabaret ever since he played the Emcee in prep school. “I was staggered by the character,” he says. “The lack of definition of it, the enigma of it.” He played the part again during his first year at Cambridge at the Edinburgh Fringe Festival, where nearly 3,500 shoestring productions jostle for attention each summer. Cabaret, performed in a tiny venue that “stank,” Redmayne recalls, did well enough that the producers added an extra show. He was leering at the Kit Kat Club girls from 8 p.m. till 10 p.m. and then from 11 p.m. till two in the morning. “You’d wake up at midday. You barely see sunshine. I just became this gaunt, skeletal figure.” His parents came to see him and said, “You need vitamin D!”

In 2021, Redmayne, by then an Oscar winner for The Theory of Everything and a Tony winner for Red, was playing the Emcee again, this time in Frecknall’s West End production. His dressing room on opening night was full of flowers. There was one bouquet with a card he did not have a chance to open until intermission. It was from Joel Grey, who originated the role on Broadway and won an Oscar for his performance alongside Liza Minnelli in the 1972 movie. He welcomed the young actor “to the family,” Redmayne says. “It was an extraordinary moment for me.”

Cabaret is based on Goodbye to Berlin, the British writer Christopher Isherwood’s collection of stories and character studies set in Weimar Germany as the Nazis are clawing their way to power. Isherwood, who went to Berlin for one reason—“boys,” he wrote in his memoir Christopher and His Kind—lived in a dingy boarding house amid an array of sleazy lodgers who inspired his characters. But aside from a fleeting mention of a host at a seedy nightclub, there is no emcee in his vignettes. Nor is there an emcee in I Am a Camera, John Van Druten’s hit 1951 Broadway play adapted from Isherwood’s story “Sally Bowles” from Goodbye to Berlin.

The character, one of the most famous in Broadway history, was created by Harold Prince, who produced and directed the original Cabaret. “People write about Cabaret all the time,” says John Kander, who composed the show’s music and is, at 96, the last living member of that creative team. “They write about Liza. They write about Joel, and sometimes about us [Kander and lyricist Fred Ebb]. None of that really matters. It’s all Hal. Everything about this piece, even the variations that happen in different versions of it, is all because of Hal.”

In 1964, Prince produced his biggest hit: Fiddler on the Roof. In the final scene, Tevye and his family, having survived a pogrom, leave for America. There is sadness but also hope. And what of the Jews who did not leave? Cabaret would provide the tragic answer.

But Prince was after something else. Without hitting the audience over the head, he wanted to create a musical that echoed what was happening in America: young men being sent to their deaths in Vietnam; racists such as Alabama politician “Bull” Connor siccing attack dogs on civil rights marchers. In rehearsals, Prince put up Will Counts’s iconic photograph of a white student screaming at a Black student during the Little Rock crisis of 1957. “That’s our show,” he told the cast.

A bold idea he had early on was to juxtapose the lives of Isherwood’s lodgers with one of the tawdry nightclubs Isherwood had frequented. In 1951, while stationed as a soldier in Stuttgart, Germany, Prince himself had hung around such a place. Presiding over the third-rate acts was a master of ceremonies in white makeup and of indeterminate sexuality. He “unnerved me,” Prince once told me. “But I never forgot him.”

Kander had seen the same kind of character at the opening of a Marlene Dietrich concert in Europe. “An overpainted little man waddled out and said, ‘Willkommen, bienvenue, welcome,’ ” Kander recalls.

The first song Kander and Ebb wrote for the show was called “Willkommen.” They wrote 60 more songs. “Some of them were outrageous,” Kander says. “We wrote some antisemitic songs”—of which there were many in Weimar cabarets—“ ‘Good neighbor Cohen, loaned you a loan.’ We didn’t get very far with that one.”

They did write one song about antisemitism: “If You Could See Her (The Gorilla Song),” in which the Emcee dances with his lover, a gorilla in a pink tutu. At the end of the number, he turns to the audience and whispers: “If you could see her through my eyes, she wouldn’t look Jewishhh at all.” It was, they thought, the most powerful song in the score.

The working title of their musical was Welcome to Berlin. But then a woman who sold blocks of tickets to theater parties told Prince that her Jewish clients would not buy a show with “Berlin” in the title. Strolling along the beach one day, Joe Masteroff, who was writing the musical’s book, thought of two recent hits, Carnival and Camelot. Both started with a C and had three syllables. Why not call the show Cabaret?

To play the Emcee, Prince tapped his friend Joel Grey. A nightclub headliner, Grey could not break into Broadway. “The theater was very high-minded,” he once said. When Prince called him, he was playing a pirate in a third-rate musical in New York’s Jones Beach. “Hal knew I was dying,” Grey recounts over lunch in the West Village, where he lives. “I wanted to quit the business.”

At first, he struggled to create the Emcee, who did not interact with the other characters. He had numbers but “no words, no lines, no role,” Grey wrote in his memoir, Master of Ceremonies. A polished performer, he had no trouble with the songs, the dances, the antics. “But something was missing,” he says. Then he remembered a cheap comedian he’d once seen in St. Louis. The comic had told lecherous jokes, gay jokes, sexist jokes—anything to get a laugh. One day in rehearsal, Grey did everything the comedian had done “to get the audience crazy. I was all over the girls, squeezing their breasts, touching their bottoms. They were furious. I was horrible. When it was over I thought, This is the end of my career.” He disappeared backstage and cried. “And then from out of the darkness came Mr. Prince,” Grey says. “He put his hand on my shoulder and said, ‘Joely, that’s it.’ ”

Cabaret played its first performance at the Shubert Theatre in Boston in the fall of 1966. Grey stopped the show with the opening number, “Willkommen.” “The audience wouldn’t stop applauding,” Grey recalls. “I turned to the stage manager and said, ‘Should I get changed for the next scene?’ ”

The musical ran long—it was in three acts—but it got a prolonged standing ovation. As the curtain came down, Richard Seff, an agent who represented Kander and Ebb, ran into Ebb in the aisle. “It’s wonderful,” Seff said. “You’ll fix the obvious flaws.” In the middle of the night, Seff’s phone rang. It was Ebb. “You hated it!” the songwriter screamed. “You are of no help at all!”

Ebb was reeling because he’d learned Prince was going to cut the show down to two acts. Ebb collapsed in his hotel bed, Kander holding one hand, Grey the other. “You’re not dying, Fred,” Kander told him. “Hal has not wrecked our show.”

Cabaret came roaring into New York, fueled by tremendous word of mouth. But there was a problem. Some Jewish groups were furious about “If You Could See Her.” How could you equate a gorilla with a Jew? they wanted to know, missing the point entirely. They threatened to boycott the show. Prince, his eye on ticket sales, told Ebb to change the line “She wouldn’t look Jewish at all” to something less offensive: “She isn’t a meeskite at all,” using the Yiddish word for a homely person.

It is difficult to imagine the impact Cabaret had on audiences in 1966. World War II had ended only 21 years before. Many New York theatergoers had fled Europe or fought the Nazis. There were Holocaust survivors in the audience; there were people whose relatives had died in the gas chambers. Grey knew the show’s power. Some nights, dancing with the gorilla, he’d whisper “Jewish” instead of “meeskite.” The audience gasped.

Cabaret won eight Tony Awards in 1967, catapulted Grey to Broadway stardom, and ran for three years. Seff sold the movie rights for $1.5 million, a record at the time. Prince, about to begin rehearsals for Stephen Sondheim’s Company, was unavailable to direct the movie, scheduled for a 1972 release. So the producers hired the director and choreographer Bob Fosse, who needed the job because his previous movie, Sweet Charity, had been a bust.

Fosse, who saw Prince as a rival, stamped out much of what Prince had done, including Joel Grey. He wanted Ruth Gordon to play the Emcee. But Grey was a sensation, and the studio wanted him. “It’s either me or Joel,” Fosse said. When the studio opted for Grey, Fosse backed down. But he resented Grey, and relations between them were icy.

A 26-year-old Liza Minnelli, on the way to stardom herself, was cast as Sally Bowles. The handsome Michael York would play the Cliff character, whose name in the movie was changed to Brian Roberts. And supermodel Marisa Berenson (who at the time seemed to be on the cover of Vogue every other month) got the role of a Jewish department store heiress, a character Fosse took from Isherwood’s short story “The Landauers.”

Cabaret was shot on location in Munich and Berlin. “The atmosphere was extremely heavy,” Berenson recalls. “There was the whole Nazi period, and I felt very much the Berlin Wall, that darkness, that fear, all that repression.” She adored Fosse, but he kept her off balance (she was playing a young woman traumatized by what was happening around her) by whispering “obscene things in my ear. He was shaking me up.”

Minnelli, costumed by Halston for the film, found Fosse “brilliant” and “incredibly intense,” she tells Vanity Fair in a rare interview. “He used every part of me, including my scoliosis. One of my great lessons in working with Fosse was never to think that whatever he was asking couldn’t be done. If he said do it, you had to figure out how to do it. You didn’t think about how much it hurt. You just made it happen.”

Back in New York, Fosse arranged a private screening of Cabaret for Kander and Ebb. When it was over, they said nothing. “We really hated it,” Kander admits. Then they went to the opening at the Ziegfeld Theatre in New York. The audience loved it. “We realized it was a masterpiece,” Kander says, laughing. “It just wasn’t our show.”

“PAPA WAS EVEN MORE EXCITED ABOUT THE OSCAR THAN I WAS,” SAYS LIZA MINNELLI. “AND, BABY, I WAS—NO, I AM STILL—EXCITED.”

The success of the movie—with its eight Academy Awards—soon overshadowed the musical. When people thought of Cabaret, they thought of finger snaps and bowler hats. They thought of Fosse and, of course, Minnelli, who would adopt the lyric “Life is a cabaret” as her signature. Her best-actress Oscar became part of a dynasty: Her mother, Judy Garland, and father, director Vincente Minnelli, each had one of their own. “Papa was even more excited about the Oscar than I was,” she says. “And, baby, I was—no, I am still—excited.”

By 1987—in part to burnish Cabaret’s theatrical legacy—Prince decided to recreate his original production on Broadway, with Grey once again serving as the Emcee. But it had the odor of mothballs. The New York Times drama critic Frank Rich wrote that it was not, as Sally Bowles sings, “perfectly marvelous,” but “it does approach the perfectly mediocre.” Much of the show, he added, was “old-fashioned and plodding.”

In the early 1990s, Sam Mendes, then a young director running a pocket-size theater in London called the Donmar Warehouse, heard the novelist Martin Amis give a talk. Amis was writing Time’s Arrow, about a German doctor who works in a concentration camp. “I’ve already written about the Nazis and people say to me, ‘Why are you doing it again?’ ” Amis said. “And I say, what else is there?”

At the end of the day,” Mendes tells me, “the biggest question of the 20th century is, ‘How could this have happened?’ ” Mendes decided to stage Cabaret at the Donmar in 1993. Another horror was unfolding at the time: Serb paramilitaries were slaughtering Bosnian Muslims, “ethnic cleansing” on an unimaginable scale.

Mendes hit on a terrific concept for his production: He transformed his theater into a nightclub. The audience sat at little tables with red lamps. And the performers were truly seedy. He told the actors playing the Kit Kat Club girls not to shave their armpits or their legs. “Unshaved armpits—it sent shock waves around the theater,” he recalls. Since there was no room—or money—for an orchestra, the actors played the instruments. Some of them could hit the right notes.

To play the Emcee, Mendes cast Alan Cumming, a young Scottish actor whose comedy act Mendes had enjoyed. “Can you sing?” Mendes asked him. “Yeah,” Cumming said. Mendes threw ideas at him and “he was open to everything.” Just before the first preview, Mendes suggested he come out during the intermission and chat up the audience, maybe dance with a woman. Mendes, frantic before the preview, never got around to giving Cumming any more direction than that. No matter. Cumming sauntered onstage as people were settling back at their tables, picked a man out of the crowd, and started dancing with him. “Watch your hands,” he said. “I lead.”

Cumming’s Emcee was impish, fun, gleefully licentious. The audience loved him. “I have never had less to do with a great performance in one of my shows than I had to do with Alan,” Mendes says.

When Joe Masteroff came to see the show in London, Mendes was nervous. He’d taken plenty of liberties with the script. Cliff, the narrator, was now openly gay. (One night, when Cliff kissed a male lover, a man in the audience shouted, “Rubbish!”) And he made the Emcee a victim of the Nazis. In the final scene, Cumming, in a concentration camp uniform affixed with a yellow Star of David and a pink triangle, is jolted, as if he’s thrown himself onto the electrified fence at Birkenau.

“I should be really pissed with you,” Masteroff told Mendes after the show. “But it works.” Kander liked it too, though he was not happy that the actors didn’t play his score all that well. Ebb hated it. “He wanted more professionalism,” Mendes says. “And he was not wrong. There was a dangerous edge of amateurishness about it.”

The Roundabout Theatre Company brought Cabaret to New York in 1998. Rob Marshall, who would go on to direct the movie Chicago, helped Mendes give the show some Broadway gloss while retaining its grittiness. The two young directors were “challenging each other, pushing each other,” Marshall remembers, “to create something unique.”

Cumming reprised his role as the Emcee. He was on fire. Natasha Richardson, the daughter of Vanessa Redgrave and director Tony Richardson, played Sally Bowles. She was not on fire. She’d never been in a musical before, and when she sang, “There was absolutely no sound coming out,” Kander says.

“She beat herself up about her singing all the time,” Mendes adds. “There was a deep, self-critical aspect of Tash that was instilled by her dad, a brilliant man but extremely cutting.” He once said to her out of nowhere: “We’re going to have to do something about your chin, dear.” As Mendes saw it, she always felt that she could never measure up to her parents.

Kander went to work with her, and slowly a voice emerged. It was not a “polished sound,” Marshall says, but it was haunting, vulnerable. Still, Cumming was walking away with the show. At the first preview, when he took his bow, the audience roared. When Richardson took hers, they were polite. Mendes remembers going backstage and finding her “in tears.” But she persevered and through sheer force of will created a Sally Bowles that “will break your heart,” Masteroff told me the day before I saw that production in the spring of 1998. She did indeed. (Eleven years later, while learning how to ski on a bunny hill on Mont Tremblant, she fell down. She died of a head injury two days later.)

The revival of Cabaret won four Tony Awards, including one for Richardson as best actress in a musical. It ran nearly 2,400 performances at the Roundabout’s Studio 54 and was revived again in 2014. And the money, money, money, as the song goes, poured in. Once Masteroff, having already filed his taxes at the end of a lucrative Cabaret year, went to the mailbox and opened a royalty check for $60,000. “What the hell am I supposed to do with this?” he snapped.

Rebecca Frecknall grew up on Mendes’s Donmar Warehouse production of Cabaret. The BBC filmed it, and when it aired, her father videotaped it. She watched it “religiously.” But when she came to direct her production, she had to put Mendes’s version out of her mind.

Mendes turned his little theater into a nightclub. Frecknall, working with the brilliant set and costume designer Tom Scutt, has upped the game. They have transformed the entire theater into a Weimar cabaret. You stand in line at the stage door, waiting, you hope, to be let in. Once inside, you’re served drinks while the Kit Kat Club girls dance and flirt with you. The show’s logo is a geometric eye. Scutt sprinkles the motif throughout his sets and costumes. “It’s all part of the voyeurism,” Scutt explains. “The sense of always being watched, always watching—responsibility, culpability, implication, blame.”

REDMAYNE’S EMCEE IS STILL SEXY AND SEDUCTIVE, BUT AS THE SHOW GOES ON HE BECOMES A PUPPET MASTER MANIPULATING THE OTHER CHARACTERS, SOMETIMES TO THEIR DOOM.

Mendes’s Cabaret, like Fosse’s, had a black-and-white aesthetic—black fishnet stockings, black leather coats, a white face for the Emcee. Frecknall and Scutt begin their show with bright colors, which slowly fade to gray as the walls close in on the characters. “Color and individuality—to grayness and homogeneity,” Frecknall says.

As the first woman to direct a major production of Cabaret, Frecknall has focused attention on the Kit Kat Club girls—Rosie, Fritzie, Frenchie, Lulu, and Texas. “Often what I’ve seen in other productions is this homogenized group of pretty, white, skinny girls in their underwear,” she insists. Her Kit Kat Club girls are multiethnic. Some are transgender. Through performances and costumes, they are no longer appendages of the Emcee but vivid characters in their own right.

Her boldest stroke has been to reinvent the Emcee. She and Redmayne have turned him into a force of malevolence. He is still sexy and seductive, but as the show goes on, he becomes a skeletal puppet master manipulating the other characters to, in many cases, their doom. If Cumming’s Emcee was, in the end, a Holocaust victim, Redmayne’s is, in Frecknall’s words, “a perpetrator.”

Unwrapping a grilled cheese sandwich in his enormous Upper West Side townhouse, Kander says that his husband had recently asked him a pointed question: “Did it ever occur to you that all of you guys who created Cabaret were Jewish?”

“Not really,” Kander replied. “We were just trying to put on a show.” Or, as Masteroff once said: “It was a job.”

It’s a “job” that has endured. The producers of the Broadway revival certainly have faith in the show’s staying power. They’ve spent $25 million on the production, a big chunk of it going to reconfigure the August Wilson Theatre into the Kit Kat Club. Audience members will enter through an alleyway, be given a glass of schnapps, and can then enjoy a preshow drink at a variety of lounges designed by Scutt: The Pineapple Room, Red Bar, Green Bar, and Vault Bar. The show will be performed in the round, tables and chairs ringing the stage. And they’ll be able to enjoy a bottle (or two) of top-flight Champagne throughout the performance.

This revival is certainly the most lavish Cabaret in a long time. But there have been hundreds of other, less heralded productions over the years, with more on the way. A few months before Russia invaded Ukraine, Cabaret was running in Moscow. Last December, Concord Theatricals, which licenses the show, authorized a production at the Molodyy Theatre in Kyiv. And a request is in for a production in Israel, the first since the show was produced in Tel Aviv in 2014.

“The interesting thing about the piece is that it seems to change with the times,” Kander says. “Nothing about it seems to be written in stone except its narrative and its implications.”

And whenever someone tells him the show is more relevant than ever, Kander shakes his head and says, “I know. And isn’t that awful?”′

You can also listen the entire article here !!

https://www.vanityfair.com/style/cabaret-revival

I know it's a very long article , but very interesting!!

#eddie redmayne #cabaret #cabaret story #theatre #vanity fair #liza minelli #alan cumming #rebecca frecknall #director #gayle rankin #sally bowles #the emcee #nyc #august wilson #broadway #tom scutt #costume designer #scenic theatre #emma stone

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moonstonexgallery · 2 months

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IDEAS FOR COOKIE RUN OCS LETS GO

Okay so

Bavarian Cream Cookie is the loyal sailor who had a rough childhood, but that was when Captain Caviar Cookie brings her to the Crème Republic, and has her work with him, and she helps out Oyster Cookie, and Caramel Choux Cookie at times.

Ice Cream Roll Cookie is Candle Wax Cookie's love interest, and is her devoted partner, she's a barista at the Annual Parfaedian Café, she's also really good friends with Prune Juice Cookie.

Opalite Cookie is the Wizard of Nighttime, she holds the Soul Gem of Good Dreams, she's pretty much shy, but she does everything to help out Milky Way Cookie at the Dream Express, she also sees Aurora Candy Cookie as an older sibling due to their bondings at the Dream Realm.

Passion Fruit Cookie is a resident in Dragon's Valley, she is VERY passionate about the knowledge of dragons, and is Royal Margarine Cookie's childhood friend, they met when they both had dragons (She has a Grape Jam Dragon).

Raspberry Meringue Cookie is a super gentle, and passionately shy cookie, and she likes to sing at times, but most of the time, she loves making crafts with seashells that she found at the beach at times, she's going to be shipped with Abyss Monarch Cookie.

Brownie Cone Cookie is Ambrosia Cookie's older sister, she's SUPER protective of her, unless the one is proven trustworthy, she may seem like a young, and helpless cookie, WRONG!! She has a MALLET!

Ambrosia Cookie is Brownie Cone Cookie's young sister, and she loves reading, and is very smart, and kind to others, she, and her sister visit Cuckoo Town Square, she also loves collecting flowers for medicine, and sometimes, for sweet drinks.

Apple Rosette Cookie is a resident in the Crème Republic, and her dream is to go to the Vampire Kingdom, and reunite with her best friend, Werewolf Cookie, she's gentle to the little critters, and is indepent at times, she's going to be shipped with Vampire Cookie.

Peanut Butter Jam Cookie is a resident in Berryberg Street, she's a sassy cookie, and is always ready to party, she's one of Rhubarb Cookie's besties, and her roomates.

TW: Arson mention, do not expand if uncomfortable

This is an article for a new Cookie villain, i named them Cinnabar Cookie.

Cinnabar Cookie was Opera Cake Cookie's childhood friend, due to their passion for music, they were friends for the longest time, until that one day Opera Cake Cookie was rehearsing for an opera concert, and thats when Cinnabar Cookie snapped, they snapped into jealousy, the envious nature lead to them, and Opera Cake Cookie getting into an argument, and with that last blow, Cinnabar grabs out a lighter, and lights the entire Annual Berryberg Street on fire, cookies were burnt, some injured, some completely burnt to death, they have no remorse for what they did.

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usafphantom2 · 1 month

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Agile Combat Employment and Response to North Korean Nuclear Strike Among Ulchi Freedom Shield 24 Exercise’s Highlights

Ulchi Freedom Shield 24 will see the participation of 200 aircraft, including South Korean F-15Ks, FA-50s, and KF-16s and US F-16s and A-10s, which are expected to fly more than 2,000 sorties around the clock.

Parth Satam

Ulchi Freedom Shield 24

A ROKAF F-15K Slam Eagle, assigned to the 11th Fighter Wing at Daegu Air Base, takes off for a mission on Aug. 20, 2024. (Image credit: ROKAF)

This year’s edition of the joint South Korea and the U.S annual Ulchi Freedom Shield exercise, which kicked off on Aug. 19, 2024 has a lot of firsts. Among the most notable is the rehearsal, for the first time, of the response to a North Korean nuclear strike against South Korea.

An interesting feature is the practice of ACE (Agile Combat Employment) operations by the 8th and 51st Fighter Wings of the U.S. Air Force as well as the ROKAF (Republic of Korea Air Force) units. South Korean reports also said the air combat component will see what has been defined as the largest ever number of sorties planned, reportedly 2,000, around the clock.

More than 200 South Korean and US aircraft will participate. The US’ 8th Fighter Wing based at Kunsan Air Base and 51st FW at Osan Air Base announced their integration into the exercise, saying they incorporated the recurring wing readiness exercises into Ulchi Freedom Shield 24. The ROKAF will reportedly participate with the 11th, 16th and 20th Fighter Wings, which are equipped with F-15K, FA-50 and KF-16 jets.

Other goals include countering North Korea’s missile and cyber threats in 40 different kinds of field exercises, which will last until Aug. 29. The drills will also include unspecified computerized simulations components.

The Chosun Daily mentioned that “this year’s drill, for the first time, includes government response training for a hypothetical North Korean nuclear attack.” The report further added that “the primary focus of this year’s exercise is to master specific response measures in the event of a North Korean nuclear strike.”

A U.S. Air Force A-10C Thunderbolt II from the 51st Fighter Wing, takes off using an Alternate Landing Surface (ALS) at Osan AB, Republic of Korea, Aug. 1, 2023. (Image credit: USAF/Staff Sgt. Thomas Sjoberg)

The ROK and the U.S. Air Forces will undertake “120 hours of continuous day and night sorties for 5 days” for multi-domain missions, according to an automated translation of a video released by Yu Yungwon TV. The aircraft will practice both Defensive Counter Air missions, as well as air interdiction, with virtually simulated targets including cruise missiles and high-speed aircraft.

About 19,000 South Korean military personnel will participate in the drills, which will be held alongside civil defense and evacuation drills. The exercise will “reflect realistic threats across all domains,” South Korea’s Joint Chiefs of Staff was quoted by DW.

The U.S. stations around 28,500 troops in the ROK. The UFS 24 exercise also comes after US and Allies, including the ROK, Japan and Australia, wrapped up the annual Pacific Dragon 24 exercises, which also saw the firing of the ship-launched Standard Missile-series.

8th Fighter Wing

Saying that it has begun integrating into the UFS 24, the 8th FW, also known as the “Wolf Pack” and equipped with the F-16CM Block 40, mentioned it will conduct local flying and ACE (Agile Combat Employment) operations at forward locations to increase interoperability with mission partners in realistic combat scenarios. “These scenarios directly support the exercise’s focus on conducting multi-domain operations leveraging component assets, emphasizing countering weapons of mass destruction,” added the press release.

“It is imperative to link the Wolf Pack with the operational level of command,” said the 8th FW commander, Col. Peter Kasarkis. “These connections do not happen automatically and must be rehearsed. Exercises such as Ulchi Freedom Shield provide the sandbox to allow us to continuously improve.”

Additionally, the Wolf Pack is “testing its wing’s readiness, including its ability to support follow-on forces and defend the base against regional threats.” The commander further added that “participation in these exercises builds a more combat-ready force, better able to meet any challenge in the Indo-Pacific region.”

The 8th FW had also publicized its ACE practices during the Beverly Pack 24-1 held between May 7-9, 2024, which saw “67 airmen deployed to Gwangju Air Base” to “operate in unfamiliar locations at a moment’s notice.” The press release added that “the exercise challenged the wing’s retrieval, refueling, and aircraft launch capabilities while advancing Airmen’s knowledge and skills to effectively generate airpower across the Indo-Pacific region.”

ACE essentially means operating out of austere locations, airfields with minimal supporting and technical infrastructure in order to spread out from the larger bases that are likely to come under a sudden adversary missile barrage. An extension of ACE is Dynamic Force Employment where bombers or fighters quick movement of forces, and the ability to operate soon after reaching the deployed location and perform their mission.

Senior Airmen Dawson Leake, 80th Fighter Generation Squadron crew chief, provides preventative maintenance on a F-16 Fighting Falcon at Gwangju Air Base, Republic of Korea, May 7, 2024. (Image credit: USAF/Staff Sgt. Samuel Earick)

51st Fighter Wing

The 51st FW at Osan Air Base, meanwhile, is incorporating its recurring wing readiness exercise into UFS 24 for the first time in recent history. Similarly to the 8th FW, the 51st FW will also conduct local flying and ACE operations to not only enhance local wing readiness, but also reinforce U.S. Seventh Air Force and U.S. Forces Korea’s command-and-control training efforts.

The Wing, Seventh Air Force and the U.S. Forces Korea will “engage in contingency response exercises, training on mobilization and force deployment capabilities while simultaneously rehearsing the protection and sustainment of base operations,” said the press release. But the highlight would be aircraft and personnel mobilizing and operating “out of a co-operating base location in the Republic of Korea, further enhancing the wing’s ability to execute the mission in an unfamiliar environment at a moment’s notice.”

An F-16 Fighting Falcon from the 80th Fighter Squadron takes-off during Beverly Pack 24-1 at Gwangju Air Base, Republic of Korea, May 7, 2024. (Image credit: USAF/Staff Sgt. Samuel Earick)

Korean Reports

Yu Yongwon TV meanwhile released footage of ROKAF F-15Ks, FA-50s and KF-16s being serviced by ground crew and taking off during day and night-time sorties. The video said the ROKAF and the U.S.A.F will fly “120 hours of continuous day and night sorties for 5 days, strengthening wartime operational capabilities,” with a total of “2,000 sorties, the largest ever.” Interestingly, there were no mention of the ROKAF F-35’s participation.

The 200 aircraft participating include F-15Ks, FA-50s, and KF-16s of the 11th, 16th, and 20th Fighter Wings of the ROK Air Force, the F-16s and A-10s of the 51st Fighter Wing and the F-16s of the 8th FW of the U.S. Air Force. “This is the first time that multiple ROK and US Air Force squadrons have simultaneously conducted 24-hour live flight training for multi-domain missions,” said the reports.

Missions like Defensive Counter Air (DCA), Air Interdiction (AI) and Airborne Alert Interdiction (X-INT) are mentioned among the missions that will be conducted to ensure the absence of gaps in the air defense posture during the day and night. “This training is characterized by maximizing response capabilities. If an aircraft conducting defensive counter air training receives an order similar to a real situation, it will immediately switch to combat surveillance and perform it,” said the report.

This suggests the retasking during the flights, where fighters switch from one type of mission to another. “Virtual enemy formation will be deployed to simulate high-speed aircraft infiltration and cruise missile launches,” said the report, further adding that the training for “air units to support air operations” would involve “mass ammunition assembly, maximum armament loadout, and emergency return and re-departure.”

About Parth Satam

Parth Satam's career spans a decade and a half between two dailies and two defense publications. He believes war, as a human activity, has causes and results that go far beyond which missile and jet flies the fastest. He therefore loves analyzing military affairs at their intersection with foreign policy, economics, technology, society and history. The body of his work spans the entire breadth from defense aerospace, tactics, military doctrine and theory, personnel issues, West Asian, Eurasian affairs, the energy sector and Space.

@TheAviationist.com

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world-of-wales · 9 months

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─ •✧ WILLIAM'S YEAR IN REVIEW : NOVEMBER ✧• ─

1 NOVEMBER - The Prince of Wales held an Investiture at Windsor Castle. He gave a video message at Emergency Responders Mental Health Symposium. 2 NOVEMBER - The Duke and Duchess of Rothesay visited at Burghead Primary School and Brodieshill Farm. Subsequently they visited Day1 in Inverness. 4 NOVEMBER - William departed from Heathrow Airport for Singapore. He appeared in the BBC Earthshot Prize Trailer. He appeared in a video message to support the Stand Up To Cancer Campaign. 5 NOVEMBER - William arrived at Singapore Changi Airport and was received by the British High Commissioner to the Republic of Singapore. Afterwards, he attended a Welcome to Singapore event at the Jewel and was received by the Senior Minister of State for Foreign Affairs. 6 NOVEMBER - William visited PAssion Wave @Marina Bay and joined in a Dragon Boat Race. He was received by The President of Singapore at the Istana. Subsequently, William called upon the Prime Minister of the Republic of Singapore. He attended the United for Wildlife Global Summit. 7 NOVEMBER - William held Meeting with Finalists of the 2023 Earthshot Awards. Afterwards, he attended a Founding Partners' Lunch. He attended the Earthshot Prize rehearsals. He later visited EcoLabs. He attended the Earthshot Prize Awards. Subsequently he attended an Earthshot Prize Thank You Reception. 8 NOVEMBER - William visited TreeTop Walk at Central Catchment Nature Reserve. He attended the Earthshot+ Summit. He visited Centre for Wildlife Forensics. William attended a Meeting with UK Defence Advisers at the British High Commission. He attended a Reception for the Earthshot Prize. Finally, he departed from Singapore Changi Airport for the UK. William gave appeared in an Earthshot Q&A video. 9 NOVEMBER - He arrived at Heathrow Airport. 10 NOVEMBER - William appeared in BTS Earthshot Prize Portraits. 11 NOVEMBER - Will and Cat attended the RBL Festival of Remembrance. 12 NOVEMBER - The Prince of Wales along with The Princess attended the Remembrance Day Service of Remembrance and laid a wreath at the Cenotaph. The broadcast of the 2023 Earthshot Awards, featured a video of William and Catherine snorkelling with Coral Vita. 13 NOVEMBER - William received Lieutenant General Ian Cave & Brigadier Peter Dennis (Colonel & Secretary, Mercian Regiment) at Windsor Castle. Later, he attended the Funeral of Sir Robert Charlton. 14 NOVEMBER - William and Catherine attended The King's Birthday Party. 15 NOVEMBER - The Prince of Wales was represented by Miss Helen Asprey at the Service of Thanksgiving for the late Earl of Airlie KT. 16 NOVEMBER - William visited the Hideaway Youth Project in Manchester. Later, he visited Keeping It Real at Moss Side Millennium Powerhouse. Subsequently, he visited Jessie's Wall. 17 NOVEMBER - William appeared in a 'This or That' session video for Earthshot. 21 NOVEMBER - William and Catherine welcomed The President of the Republic of Korea and Mrs Kim Keon Hee at their Hotel. They then accompanied the Presidential Couple to Horse Guards and were met by The King and Queen. Afterwards, they viewed an Exhibition of the Royal Collection items relating to the Republic of Korea. Finally, they attended the State Dinner at Buckingham Palace. 22 NOVEMBER - Will and Cat held a Reception at Windsor Castle. 23 NOVEMBER - The Prince of Wales received Her Majesty Margareta, Custodian of the Romanian Crown and Prince Radu of Romania. Later, he visited The Mercian Regiment on Salisbury Plain. 24 NOVEMBER - He received The Crown Prince of the Sultanate of Oman. 27 NOVEMBER - William held an Investiture at Buckingham Palace. Later, he attended the Tusk Conservation Awards. 28 NOVEMBER - William received Lieutenant Colonel Guy Bartle-Jones (Regimental Adjutant, Welsh Guards). Afterwards, he received submariners. He awrote a letter to Dr. Alex George. 30 NOVEMBER - William and Catherine received Crown Princess Victoria of Sweden and Prince Daniel of Sweden at Windsor Castle. Afterwards, they were we're joined by Victoria and Daniel for the Royal Variety Show.

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harlowarchives · 1 year

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Can you write something with Jack Harlow where they have a date in ikea, maybe like the reader is not from the U.S., (she could be from somewhere in Latinamerica) and she always wanted to go to ikea, and it could be like a cute montage like in the film 500 days of summer

international, ⁱ 𝐣𝐚𝐜𝐤 𝐡𝐚𝐫𝐥𝐨𝐰.

jack harlow x latina reader!

𝐣𝐮𝐬𝐭 𝐟𝐥𝐮𝐟𝐟 <𝟑𝟑𝟑𝟑𝟑 + ilysmmm ty for my first request boo also such a cute concept

You & Jack met at a concert he was doing in the Dominican Republic, you stood out to him because you were the only fan who knew every lyric to every song not to mention you were insanely beautiful, he interacted with you the entire show dedicating his love songs to you. After the show, he built up the courage to greet you. “Hi, I'm Jack.” He said giving you a nervous smile and then lowering his eyes to meet yours you looked slightly confused but you were just dumbfounded he assumed you must’ve only known Spanish because he followed with “Hola, soy Jack?” you broke into laughter at his rehearsed introduction as he laughed with you “I'm y/n.” you spoke. The rest of the night the two of you bonded & Jack confessed how he was crushing on you all night & that you were the most beautiful girl in the crowd.

For the rest of his trip, you two were constantly together because after his performance he was free to explore & he did that with you. Goodbyes were too harsh for both of you so he scheduled a trip to come to visit him in the US & today happens to be your first date together in the US one twist though because when he was in your country you toured him, you made him promise he'd do the same. “Ready?” He questioned looking over at you before you began to nod eagerly he opened his door and walked to your side to help you down. You and Jack walked into the store and then you began looking around in amazement, taking in Ikea & all its glory. Your mouth was in an O shape & Jack just stood and watched your wandering eyes. The two of you walked down the aisles for a bit before you came to an abrupt stop letting go of his hand you took off flopping onto a white bed with silky sheets and a mattress that felt like a cloud. “Y/N!” Jack called running towards the bed & laying down.

You had your head buried in the covers just as comfortable as can be, after 15 minutes Jack started to bore. “Y/N! I wanna show you something.” He said with a wide grin as you groaned “I wanna stay Jack! Please Jack can we stay?” you pleaded as he shook his head. “Baby, I promise it's much better than this.” He said smiling “Fine!” you submitted.

After Jack had led you blind you heard his voice “Ok, open.” You opened your eyes to a children’s circus tent, you glared at him before rolling your eyes and crawling in the tent as he followed behind you. “My baby brother & I had one of these!” He said pressing on the walls before staring off into the distance then his eyes landed on you who was staring out the window of the tent mesmerized.

“Y/N! You want to go back to bed that bad?” he asked as you eagerly nodded not listening but indulging in the bed.

“Actually J, let’s play hide & seek,” you suggested as he nodded “See! That sucky bed isn't the only fun thing to do in here.” he smiled getting giddy. You two got out of the tent and set the rules, he would hide and you’d seek. You began counting as he ran away back inside the tent with a cheesy smile on his face sitting with his feet pressed together thinking she’ll never find me in here.

You counted walking off into the distance testing out every bed in the store like Goldilocks except all the beds were just right, and employees just stared at you like the nutjob you are. You caught yourself falling asleep forgetting about Jack, but he hadn't forgotten about you. He started getting bored and looked out the window seeing a short curvy curly-headed figure asleep on the bed outside the window & then it clicked. He stormed out of the tent & walked toward you so you wouldn't blow your cover you shouted “I found you.” You said smiling looking around, as he just looked at you annoyed “You’re a great hider!” You lied, you knew exactly where he was the entire time. You had actually taken multiple pictures of him in the tent giggling, he then sat on you suffocating you “SOMEONE HELP! PLEASE!” You called.

He didn't stop he just sat kicking his feet and singing “Lalalala!” as he listened to you wheeze “Ok Amor! I'm sorry please.” You pleaded feeling a weight lift off you. You got back on your feet slumping before Jack quickly threw you over his shoulder “Ok this is the best part.” He said while the blood in your body just shifted around, you began to smell a familiar meaty scent it was strange but in a good way.

Jack placed you down and let you take in your surroundings “You mean they have food AND BEDS?!” you said your face lighting up, your beautiful accent shining through. “J, what's a Swedish meatball?” you said looking up at him “Delicious.” He said.

You two finally got the food you ordered and Jack took you to sit down in their cafeteria but you quickly pulled him from his seat, you led him back to the tent, and his eyes visibly lit up he wrapped his arms around you and the two of you munched on your meatballs and he played with your hair. You were finally ready to go about then you looked across the street “Jack! MATTRESS KING.” You ran as he chased after you.

#urban Wyatt #jackharlow #jackharlowfluff #jackmanharlow #latina #jack harlow fanfic #fluff

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stardust948 · 7 months

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Frenemies AU Beginnings

[At the showcase]

Jee: Are you Bato's mom?

Kanna: I'm his aunt. What's wrong?

Jee: Come with me!

[Go backstage and find Bato's feverish]

Kanna: What happened?!

Bato: I don't know. It just sprung up out of nowhere.

Nurse: Does anyone know how this happened?

Hakoda: The herbal tea! You must have had an allergic reaction to it.

Jee: Will he still be able to perform?

Bato: *vomits*

Nurse: Does that answer your question?

Kanna, helping him: I'm sorry sweetie. You can do the concert next year.

Jee: Does anyone here know Bato's part?

Kya pointing to Hakoda: His cousin does.

Hakoda: Me cousin? No no no I just helped them rehearse. I'm not even a student here-

Kya, dragging him away: You know this whole thing inside out. The song. The chorography. You can do this! Come on!

Hakoda: Nuh-huh!

Kya: He said he'll do it!

Hakoda: No I didn't! I am not getting on that stage!

[Hard cut to Hakoda on stage]

Hakoda: 😬

Kya: *flashes a thumbs up*

Hakoda, whispering: I hate you.

*Nervously starts singing but grows in confidence. The crowd gives a standing ovation.*

[Backstage]

Kanna, hugging Hakoda: Oh honey I'm so proud of you!

Piandao: Excuse me? Who are you?

Hakoda: I'm Hakoda Kuruk. Who are you?

Jee: This is the principal of Republic Arts!

Piandao: You don't go to school here?

Hakoda: No I was just filing in for-

Piandao: Do you want to? Full scholarship!

Hakoda: Me? Should I?

*Everyone agrees*

Hakoda: But the kids who go there are crazy talented!

Kya: Yeah so are you!

Hakoda: I'm not good enough.

*Arguments break out. Kya raises the curtains.*

Kya to the crowd: Hey! This guy doesn't know if he's good enough to go to school here! What do you people think?!

Crowd: *cheers*

Kya: Okay?

Hakoda: ...Okay! I'm in! *hugs her*

[First day at Republic Arts]

Hakoda: *amazed by all the performers*

Hakoda, stopping a passing girl: Hey, I'm new here. Could you help me with-

Poppy: Oh! You're Hakoda! I saw you at the big showcase! You were amazing!

Hakoda: Thanks.

Poppy: My name's Poppy.

Hakoda: Like the flower?

Poppy: What's that supposed to mean?!

Hakoda: Nothing! I love flowers.

Poppy: *gasp* Me too! They're so pretty! *leaves*

Hakoda:

Kya: There you are!

Hakoda: Hey!

Kya: Excited for your first day at Republic Arts?

Hakoda: Excited, crying, throwing up-

Kya: Oh it's not that bad! Speaking of which how's Bato? Sucks he couldn't make your first day.

Hakoda: Doctors' said he'll recover in a week or two.

Kya: Great! C'mon we have first period together.

Hakoda: *walks into Ursa and spills her coffee*

Hakoda: I'm so sorry! *wipes it off*

Ursa: It's fine. Don't worry about it.

Hakoda: I think it's almost off.

Ursa, laughing: You're making it worse actually.

Hakoda: *smiles*

Ozai: Hey! Why are you rubbing my girlfriend?!

Hakoda: Oh I spilled coffee-

Ozai: Get away from her!

Ursa: Relax. It was just an accident. *kisses his cheek*

Ozai: *glares at Hakoda*

Bumi, rushing in: SPIRITS, THERE'S A HUGE FIRE!

*Everyone panics*

Bumi: Kidding! Just wanted to get your blood pumping which I did! HA! Now let's get started. Rumps in chairs!

Hakoda to Kya: That's our teacher?

Bumi: Okay, first I'd like to introduce our new student Hakoda. And thank him for her generous gift of two dollars which he handed to me outside of school this morning. Not necessary but much appreciated!

Kya whispering: Why did you give our teacher two dollars?

Hakoda: I thought he was homeless!

Bumi: First up, improv lessons! Hakoda do you know what improv is?

Hakoda: Yes and no.

Bumi: Well which is it?

Hakoda: No.

Bumi: Alright, crash course! Improv is acting without a script. Understand?

Hakoda: *about to ask a question*

Bumi: Excellent! Ozai you will captain the first session. Choose your players.

Ozai: Poppy, Kya, Ursa... and Hakoda.

Hakoda: ???

Ozai: Yeah. You.

Bumi: Scene is 'At home. Big news.' Action!

Ozai to Hakoda: Why don't you go wait in the hall.

Hakoda: Okay...

Ozai to Ursa: Hi honey how was work today?

Ursa: Uh, I got fired.

Poppy: Again?

Kya: Mom's a loser!

Ursa: Thanks.

Ozai: That's okay. I got big news that will cheer everyone up! *brings in Hakoda* I went to the animal shelter and got us a dog!

Hakoda: Uh yeah... I'm the new family dog. Woof?

Ozai: Ugh. Bumi would you tell this amateur that dogs don't talk and they don't walk on two legs. BUMI!!!

Bumi: Sorry I was sucking the milk out of this coconut. But it's true Hakoda, if you're gonna play a dog, be a dog.

Hakoda: Right... *gets on hands and knees* Woof.

Poppy and Kya: *pets him* Wow! He's so cute!

Hakoda: Woof. Bark.

Ozai: Uh-oh! Looks like this dog has bugs in his hair!

Poppy and Kya: *jumps back* Gross!

Ozai: That's okay. I read online coffee is great for getting rid of fur bugs. *steals Ukano's drink*

Ursa: Maybe you shouldn't-

Kya: Ozai!

Ozai: *dumps coffee on Hakoda's head*

Hakoda: !!!

Ozai: What's the problem, dog?

Hakoda: *runs out of the classroom*

Kya: *runs after him* Hey what are you doing?

Hakoda: Calling my mom to tell her I want to go back to my old school!

Kya: Why?

Hakoda: Because I don't like having black coffee in my hair!

Kya: Then I'll get you some cream and sugar. Everything will be chill.

Hakoda, on the phone: Hey Mom-

Kya: *Steals his phone* Nope!

Hakoda: Give me back my Mom!

Kya: You're gonna quit this school on your first day just because of one mean guy?

Hakoda: It's not just him! I don't fit in with all this!

Kya: Okay, the school's not normal-

Hakoda, sarcastic: Really?

Kya: But neither are you. I've seen what you can do on stage. You're special. You're fantastic! You belong at this school. Normal's boring.

Hakoda:

[At home]

Hakoda: *Rewatching his performance*

Bato: You know, it doesn't even look like you're gonna pee yourself in this.

Hakoda: *rolls eyes*

Bato: You're really gonna quit Republic Arts?

Hakoda: What do you think I should do?

Bato: I think you should come back.

Hakoda: Why?

Bato: So I won't be known as the guy whose cousin quit on the first day. *Playfully shoves Hakoda*

Hakoda: *laughs some*

Bato: And I think you were really good in the big showcase. That took guts.

Hakoda: ...Thanks Bato.

[Next day]

Hakoda: *returns to class*

Kya: You're back!

Hakoda: Yeah. You're right. Normal's boring.

Bumi: Today's lesson, ABC Acting. Who wants to start?

Hakoda, raising his hand: I do.

Bumi: Alright, chose your players.

Hakoda: Kya, Poppy, Ursa, and... Ozai.

Ozai: ???

Hakoda: Yeah. You.

Bumi: Start with the letter P. Go!

Hakoda: Please go take a shower.

Ozai: Quit telling me what to do.

Ursa: Relax. Let's all try to get along.

Poppy: Totally!

Bumi: Your line had to start with the letter S.

Poppy: Aww S is the worse!

Bumi: Here's a piece of candy.

Poppy: Yay I love candy!

Bumi: Kya your go!

Kya: Something bit my toe.

Hakoda: Turtle bit her toe.

Ozai: Unbelievable that you're even here.

Ursa: Very immature of you to say that!

Kya: What if the turtle broke my toe?

Hakoda: X-rays are the only way to find out.

Ozai: U should shut up.

Ursa: Zap! I just healed your toe with my magic finger!

Kya: Thanks!

Bumi: Your line had to start with an A! Sit down!

Kya: Aww I just got my toe bone fixed.

Bumi: Hakoda, keep it rolling!

Hakoda: Aliens are the only ones who can heal by finger zapping.

Ozai: By the way! *blows raspberry at Hakoda*

Ursa: Correct. I am an alien.

Bumi: Oh plot twist!

Hakoda: Don't hurt me, please!

Ozai: Even though he's extremely annoying.

Ursa: Fainting. Can't breathe your Earth air.

Hakoda: Gah she fainted!

Ozai: Hey why don't you go jump off that cliff over there?

Hakoda: I think you should.

Ozai: Just where did you come from?!

Hakoda: Kangaroos.

Ozai: Lousy animals. They're awkward and dirty.

Hakoda: Must have learned from you.

Class and Bumi: Oooooohhhhh!!!

Ozai: No one talks to me like that.

Hakoda: Obviously someone should.

Ozai: Please get hit by a bus.

Hakoda: Quite obnoxious of you to say.

Ozai: Really?

Hakoda: Sure was!

Ozai: Thanks!

Hakoda: Up your nose I see boogers!

Ozai: Very clever.

Hakoda: Wished you thought of it?

Ozai, pointing at his face: X marks the spot I want to punch!

Hakoda: Y-Your finger smells weird!

Ozai: Zero is what you are on a scale from on to ten!

Bumi: And back to the letter A!

Hakoda: As if I cared what you think!

Ozai: Better watch yourself!

Hakoda: Can't take it?

Ozai: Don't push me!

Hakoda: Eat your pants!

Ozai: YOU EAT YOUR PANTS! WAIT!

Bumi: Sorry Ozai. The next letter was-

Ozai: F! I KNOW!!! *glares at Hakoda then storms back to his seat*

Hakoda, helping Ursa up: Get up alien.

Ursa: Head still spinning.

Hakoda: I know what would make you feel better.

Ursa: Jumping jacks?

Hakoda: Kiss me.

Ursa: Let's do it. *They kiss*

Ozai: !!!

*Class applauds*

Hakoda: Man I love this school!

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queer-geordie-nerd · 9 months

Text

A nuanced and insightful interview with Mira from November 1996, in the middle of filming S4 of Babylon 5 - it touches on her war time experiences in Yugoslavia and the events that drove her from her home, and the similarities between her own life and that of Delenn. Once again, I am bowled over by the incredible integrity and courage she possessed:

STRANGER IN A STRANGE LAND

It's the one subject that pains Mira Furlan to discuss. The one subject that invades her privacy. The one subject that so violates her very soul.

And yet, it's the one subject that can't be avoided.

Nearly five years to the day of this interview, Furlan left her homeland of Yugoslavia, which was about to be engulfed in a bloody and horrific civil war. Ethnic passions restrained by decades of Communist rule had been unleashed by its collapse. Fascistic Nationalists arose to take its place, many of them former Communists. In their lust for power, they tore apart a nation of disparate republics and peoples that had once been a dream of poets, intellectuals and writers.

As one of Yugoslavia's most prestigious actors, Furlan risked her life and fortune to perform in cities on both sides, in Croatia and in Serbia. She hoped that she could be a bridge of unity, a symbol of pacifism, a clarion warning what terrible price their country would pay for unleashing the war their leaders were about to start.

Except for her husband, Goran Gajic, no one supported her.

Her colleagues abandoned her. Nationalist demagogues threatened to have her killed. Anonymous death threats were left on her answering machine.

She could not go silently. Before she left Yugoslavia, Furlan picked up her pen and wrote a farewell letter to her country. The letter was published a few days later in Zagreb (the capital of Croatia) and Belgrade (the capital of Serbia), cities on opposite sides of the coming war. It began:

“I hereby wish to thank my co-citizens who have joined so unreservedly in this small, marginal and apparently not particularly significant campaign against me. Although marginal, it will change and mark my whole life. Which is, of course, totally irrelevant in the context of the death, destruction, devastation and bloodchilling crimes within which our life now goes on.

This is happening, however, to the one and only life I have. It seems that I've been chosen for some reason to be the filthy rag everyone uses to wipe the mud off their shoes. I am far too desperate to embark on a series of public polemics in the papers. I do, however, feel that I owe myself and my city at least a few words. Like at the end of some clumsy, painful love story, when you keep wanting, wrongly, to explain something more, even though you know at the bottom of your heart that words are wasted; there is no one left to hear them. It is over.”

In Yugoslavia, Furlan was a leading actress of film, television and stage. She appeared in over 25 films, and won two Golden Arenas for Best Actress, their equivalent of the Oscar. Among her acclaimed theatrical roles were Ophelia in Hamlet, Celimene in The Misanthrope, and the title role in Euripides' Helen.

Under socialist rule, the arts were state-funded. "Your star status didn't mean that you were making money. But there were other advantages. Money was not the main obsession. The absence of money gave you a certain degree of creative freedom. We had all the time in the world. Movies were shot forever. Theatre plays were rehearsed forever. I personally was bored with that; things were not quick enough for me. But you had the luxury of having time to explore, to enjoy the creative process. These were the few advantages of living in socialism."

The notion of "freedom" in the arts in a socialist country may come as a surprise to Americans raised on Cold War propaganda asserting the opposite. "With my generation, the Communists were dying off," Furlan said. "Their grip on the artists' community was not as strong as after the war (World War II), when you could be in prison for just saying the wrong sentence. So we didn't feel it. I grew up totally despising them - the so-called them - and not having anything to do with them. And they left me alone. So there was relative freedom. Theatre was free because no one cared, basically. It was so marginal to the cause of the regime that people were left to do what they wanted. Film was much more dangerous, thus much more controlled."

That started to change when the Nationalists came to power. "The Yugoslav Communists didn't have the force that these new Nationalists now have, because these new leaders feel that the world is starting from them. They're creating new realities, new history, new language, new values. There's always this passion in the beginning; as a citizen, you don't want to be touched by that passion, because it can cost you your life."

Life in the former Yugoslavia was a political lifestyle largely unknown to Americans. "It was a double life. People had their own private thoughts. Publicly, they behaved as was prescribed; the majority were members of the Communist Party. Opportunism ruled. I think all Eastern Europeans have that built in — no confidence in any government, in any politicians. But, a contradiction! When Communism collapsed, Nationalism was born out of the old Communism. Trained in opportunism, people easily converted from Communism to Nationalism. That's the irony of it. Nothing has changed. The same people, the same names. The same faces. They just converted, switched just like that. That's what's so ugly in that whole situation. You just watch it and cannot believe that people don't remember what they were saying just two months ago. They didn't learn anything. They actually jumped into the first trap, completely surrendering to those new Nationalist leaders that brought them only pain lsss and devastation."

“I have no other way of thinking. I cannot accept war as the only solution, I cannot force myself to hate, I cannot believe that weapons, killing, revenge, hatred, that such an accumulation of evil will ever solve anything. Each individual who personally accepts the war is in fact an accessory to the crime; must he not then take a part of the guilt for the war, a part of the responsibility?”

"Historically, there were all kinds of frustrations on all sides, among all the peoples of the former Yugoslavia. There was a general feeling that each of these peoples who lived together in the former Yugoslavia had been somehow abused by the others. And there was a lot of truth in that. Nationalism is always partly grounded in truth. The Nationalists' politics manipulated the existing anger and frustration of the people and put their emphasis on that, and that's how the war started. The new Nationalists, who were for the most part converted Communists, took all the media. Journalists, I think, and media in general, bear an incredible responsibility for what happened."

The Babylon 5 episode being filmed during this interview, "The Illusion of Truth," has some eerie parallels. An ISN news crew films a documentary on B5, only to use the footage in a propaganda film for President Clark's fascist regime. It's an allegory for how America was consumed by Senator Joe McCarthy's witch hunts in the 1950s. "Sometimes I'm so appalled by what Joe (Straczynski) knows. I happened to experience a witch hunt — as an object! — but it's nothing new. Old stuff."

Furlan drew the attention of the Nationalists after she travelled from her home in Zagreb, Croatia to Belgrade, Serbia to perform at the annual BITEF Festival. BITEF was an international theatre event attended by actors from across Europe. She believed that her participation was a statement that her profession should not be drawn into supporting any political or national ideas. She felt it was her responsibility to establish bridges and ties, "for the sake of something that would outlive this war and this hatred which is so foreign to me," she wrote at the time. But the political leaders in Croatia were furious with her — and targeted her as an example of what would happen to others who chose the same path. Fearful for their careers, if not for their lives, and perhaps even sympathetic of the Nationalist cause, none of her colleagues spoke up to defend her.

“I think, I know and I feel that it is my duty, the duty of our profession, to build bridges. To never give up on cooperation and community. Not that national community. The Professional community. The human community. And even when things are at their very worst, as they are now, we must insist to our last breath on building and sustaining a bond between people. This is how we pledge to the future. And one day it will come . . .

I was willing and I would still be willing to undertake all and any efforts, if the hatred hadn't suddenly overwhelmed me with its horrendous ferocity, hatred welling from the city I was born in. I am appalled by the force and magnitude of that hatred, by its perfect unanimity, by the fact that there was absolutely nobody who could see my gesture as my defense of the integrity of the profession, as my attempt to defend at least one excellent theatre performance.”

"People's behavior is mainly built on fear. People think, 'Let them destroy her but just leave us alone.' When the media went crazy in Yugoslavia, I was a good example. I was a perfect target. I was a totally unprotected woman. Woman, that's very important. The war propaganda was constantly in search of 'internal enemies' just to homogenize the people, and to put fear in their heads so they could manipulate them. It's interesting that the majority of the 'internal enemies' were women. It's a very misogynist culture. It's a very misogynist world. I happen to be partly Jewish, and that came into the picture nicely. And I was never very obedient in my life and career. I left projects that I didn't really believe in. I made some unexpected choices in my work and in my life. All of that got wrapped up - Liberal. Feminist. Whore. Jew. Everything. The media combined it into this juicy bundle and served it to the people, who devoured it."

Abandoned by her friends and colleagues, and living with the threat of assassination, Furlan and her husband left Yugoslavia on November 15, 1991 for New York. She left behind the open letter explaining her departure.

“I am sending this letter into a void, into darkness, without an inkling of who will read it and how, or in how many different ways it will be misused or abused. Chances are it will serve as food for the eternally hungry propaganda beast. Perhaps someone with a pure heart will read it after all.

I will be grateful to that someone.”

American life and culture were a difficult adjustment, both in her profession and her personal life. Furlan has found the acting profession, indeed the entire entertainment industry, radically different from what she knew. Unlike in Yugoslavia, she found that diverse acting talents in the United States were rarely appreciated, much less rewarded.

"It's a European tradition among actors. Serious actors build their career in the theatre," Furlan said. "It's a completely different thing in America. The theatre is so marginal. The theatre doesn't matter because it's not mass culture. It's not the money-making machine. So yeah, I've learned that. We had a crash course in capitalism in the toughest spot. Hollywood is probably the toughest spot on Earth that way, the most cruel. It's a struggle, it's a fight. It's all about publicity and agents and names. That's what I really hate about being an actor here. I hated many things about acting in Yugoslavia. I was frustrated, and felt hopeless as an actor in socialism. I hated many things there, but I really miss concentrating on my work, which should be enough ideally, and it's not. Here, it's just a tiny part of everything else. Everything else is much more important, and you have to do so much of it yourself because no one else cares. Doing stuff that takes away your energy and your concentration and your precious time. These telephone conversations with people who have no interest in you, who don't have interest in anything but quick and easy money."

Babylon 5 is Furlan's first major television role in the United States; in fact it was one of her first auditions. It was also her introduction to science fiction. "I'm completely new to this whole thing. I knew the basics of science fiction literature — Bradbury, Clarke, just general culture — but there wasn't anything remotely similar to this. I was shocked when I went to my first convention."

The similarities between Furlan's life and Delenn's travails are striking. But it seems that it's no more than an amazing coincidence. According to Furlan, Straczynski didn't even know about her personal history when she was hired to play Delenn. "He surprises me so many times. And sometimes I feel as if he's written something directly for me. But he didn't know anything about me. Nothing. When the series started, we talked and he found out."

Furlan was an only child, raised among adults in a family of university professors. What was it that led her into acting? "It was a game! I always wanted to study languages. I studied English and French when I finished high school. I did them together, languages and acting. I went to the Academy for Film, Theatre and TV, and the University. But it was the other part of me, the part that wants to play, that finally won over the serious part, the one who sits at home and reads and learns and does research. It started as a game, it started as 'Let's play.'

"When I started at the Academy, they always used me for comedy, for light, playful stuff. Then I did a play in which something clicked in me. It was an English play in a famous little avant garde theatre, with only me and another actor. It was a very heavy play about marriage, marriage in three stages, which ends with this woman committing suicide on stage. I was so much younger than the part I played, but it completely opened this world of reality in acting. It started a journey inward for me. Once you experience that, once you open up in that way - people talk about getting in touch with your emotions, that's what you do in acting. That's your main job. That's your profession.

"That's why I miss theatre. That's the beauty of doing theatre. You are in touch with the greatest writers of world literature. Their thoughts, their characters. That's unbeatable. That's a pleasure in itself, no matter in what way it forwards your so-called career. I miss film. I miss having time to try things to discover subtleties, layers, little things. The comforting thing on Babylon 5 is Joe's writing, which sometimes touches the depth of the classic literature."

If Straczynski were to ask her to write a B5 episode, what story would she tell?" I have an image for some reason of the set for The Wizard of Oz. I'm in the middle, kind of a Dorothy figure. On one side is G'Kar, and on the other side is Londo, and we walk towards some incredible adventure. Having them on each side of me would make me feel strong and protected, and I would dare to go anywhere!" She suggests that her cat could play Toto, and we agree that cats are very Minbari.

Babylon 5 is fiction. But much of that fiction is rooted in reality, the reality of our 20th Century. It's easy to turn off the TV each week at the end of the hour, put away the popcorn bowl and say, "Aw, that couldn't happen here." But it has. It does. And it will.

Delenn is a fictional character, but Mira Furlan is not. It's easy for a fictional character to risk her life for a cause. For a living human being with friends, family, and a successful career, that decision is much more difficult. Fiction often poses for its characters the question, "Will you sacrifice all for what you believe?" In the fictional world of Babylon 5, that question is, "Who are you?" Reality rarely presents any of us with that challenge. Few of us will ever know what our answer would be.

All Mira Furlan ever wanted was to experience the pure joy of acting, the inward exploration of her soul, and to share that exploration with her audience. But history forced her to explore down unseen paths, paths of darkness, the same paths that took countless lives in her homeland. History demanded, "Who are you?"

Mira answered, and suffered for it. She and Goran have started a new life in America, strangers in a strange land. Their experience reminds us that life may one day demand a test of our integrity. If it does, let us hope that we are equal to their courage.

#mira furlan #babylon 5 #delenn #incredible woman #may her memory be a blessing

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