#s america bites the dust tour

[freddiemercurylegendabovelegends]

March 8th, 1981 - Queen Story!

Buenos Aires, Argentina, Estadio José Amalfitani

'S. America Bites The Dust Tour'

Freddie Mercury and Veronica Townsend at "Los años locos"(The Crazy years)

📸 In this photo, Freddie wears the shirt that Diego Armando Maradona (1960-2020) gave him

[illuminopseudonymous]

Every single Brawl Stars character as songs

So, I was unhappy with my prior posts on this topic, both because of the song choices I made and because I didn't properly credit the musicians behind them. Ergo, I'm going to compile all of the brawlers into a single list below the cut, and then update and reblog this post each time a new brawler is released.

Feedback regarding song choices is encouraged if you think you have a better fit for a character.

8-Bit: "Pac-Man Fever" by Buckner & Garcia

Amber: "Burnin' Up" by A Flock of Seagulls

Angelo: "There! Right There!" from Legally Blonde: The Musical (written by Nell Benjamin and Laurence O'Keefe)

Ash: "Trash Day" by "Weird" Al Yankovic

Barley: "Bottle Action" by Ms. B'Havin

Bea: "Lord of the Hornets" by Robert Calvert

Belle: "Disciple of Lightning" by DJ the S

Berry: "Skipper Dan" by "Weird Al" Yankovic

Bibi: "Take Me Out to the Ball Game" by Albert von Tilzer and Jack Norworth

Bo: "The Wild West is Where I Want to Be" by Tom Lehrer

Bonnie: "Human Cannonball" by Webb Wilder

Brock: "Rocket Jump Waltz" from Team Fortress 2 (by Valve Studio Orchestra)

Bull: "Another One Bites the Dust" by Queen

Buster: "Rock-And-Roll Nerd" by Tim Minchin

Buzz: "Run This Town" by JAY-Z featuring Rhianna and Kanye West

Byron: "A Little Heart-To-Heart" from Team Fortress 2 (by Valve Studio Orchestra)

Carl: "Diggy Diggy Hole" by The Yogscast

Charlie: "Spider-Man (1967) Theme" by Paul Francis Webster and Bob Harris

Chester: "I Remember Larry" by "Weird Al" Yankovic

Chuck: "Toccata and Fugue in D Minor" by Johann Sebastian Bach

Clancy: "Crab Rave" by Noisestorm

Colette: "Every Breath You Take" by The Police

Colt: "Shoot to Thrill" by AC/DC

Cordelius: "White Rabbit" by Jefferson Airplane

Crow: "Young Dumb and Ugly" by ""Weird Al" Yankovic

Darryl: "He's a Pirate" from Pirates of the Caribbean: Curse of the Black Pearl (Composed by Klaus Badelt)

Doug: "Surf Wax America" by Weezer

Draco: "Through the Fire and Flames" by Dragonforce

Dynamike: "T.N.T." by AC/DC

Edgar: "Smells Like Teen Spirit" by Nirvana

El Primo: "Mexican Wrestler" by Jill Sobule

Emz: "Respectless" from Hazbin Hotel (Composed by Sam Haft, Andrew Underberg, Andrew Alderete, Gooseworx, and Parry Gripp)

Eve: "Mean Green Mother from Outer Space" from Little Shop of Horrors (Composed by Alan Menken)

Fang: "Kung-Fu Fighting" by Carl Douglas

Frank: "Fireflies" by Owl City

Gale: "Much Too Young (To Feel This Damn Old)" by Garth Brooks

Gene: "Arabian Nights" from Aladdin (Performed by Robin Williams)

Gray: "Scheming Weasel" by Kevin MacLeod

Griff: "Big Boss Man" by Jimmy Reed

Grom: "Main Theme" from Bomberman (Composed by Jun Chikuma)

Gus: "Turn the Lights Off" by Tally Hall

Hank: "Send the Marines" by Tom Lehrer

Jacky: "Poundcake" by Van Halen

Janet: "Death from Above" by Turbonegro

Jessie: "More Gun" from Team Fortress 2 (by Valve Studio Orchestra)

Juju: "Friends on the Other Side" from The Princess and the Frog (performed by Keith David)

Kenji: "Title Theme" from Fruit Ninja (Luke Muscat)

Kit: "Nyanyanyanyanyanyanya!"/ "Nyan Cat Theme" by daniwell featuring Hatsune Miku

Larry & Lawrie: "Back to Back" by Pretty Maids

Leon: "Right Behind You" from Team Fortress 2 (by Valve Studio Orchestra)

Lily: "Return of the Giant Hogweed" by Genesis

Lola: "Big Shot" by Billy Joel

Lou: "Sky-High Sundae" from Mario Kart Tour (composer unknown)

Maisie: "What's Up Danger" from Into the Spider-Verse (by Blackway & Black Caviar)

Mandy: "Cookie Land" from Mario Kart: Double Dash!! (Composed by Shinobu Tanaka and Kenta Nagata)

Max: "Caffeine" by Psychostick

Meg: "Peach-ball Launches! Robobot Armor" from Kirby: Planet Robobot (Composed by Hirozaku Ando and Jun Ishikawa)

Melodie: "Miku" by Anamanguchi featuring Hatsune Miku

Mico: "Beverly Hills" by Weezer

Moe: "Cripple's Shield Wall" by The Knight in Leslie Fish

Mortis: "Hate the Day" by Behind the Scenes

Mr. P: "Hotel California" by The Eagles

Nani: "Time in a Bottle" by Jim Croce

Nita: "Wild Child" by The Doors

Otis: "Graffiti Crimes" by Mi-Sex

Pam: "You Will Be Okay" from Helluva Boss (Composed by Sam Haft and Andrew Underburg, performed by Bryce Pinkham)

Pearl: "Pass the Biscuits, Mirandy" by Spike Jones

Penny: "You Are a Pirate" from LazyTown (by Stefan Karl Steffanson and composed by Máni Svavarsson)

Piper: "A Spoonful of Sugar" from Mary Poppins (Composed by Richard M. Sherman and Robert B. Sherman)

Poco: "Spooky Scary Skeletons" by Andrew Gold

R-T: "Eye in the Sky" by The Alan Parsons Project

Rico: "Pinball Wizard" by The Who

Rosa: "Garden Song" by David Mallett

Ruffs: "Send the Marines" by Tom Lehrer

Sam: "Super Macho Man" from Punch-Out!! Wii (Composed by Mike Peacock, Darren Radtke, and Chad York)

Sandy: "Enter Sandman" by Metallica

Shade: to be released

Shelly: "Faster Than a Speeding Bullet" from Team Fortress 2 (By Valve Studio Orchestra)

Spike: "Super Mario Bros. Desert Theme" from Super Mario Maker 2 (Composed by Koji Kondo)

Sprout: "Trees" by Tom Lehrer

Squeak: "Slime Creatures from Outer Space" by "Weird Al" Yankovic

Stu: "Drive Fast (The Stuntman)" by Bruce Springsteen

Surge: "Rules of Nature" from Metal Gear Rising: Revengeance (Composed by Jamie Christopherson)

Tara: "Hot Rails to Hell" by Blue Oyster Cult

Tick: "Drop Da Bomb" by Doctor Steel

Willow: "It's Beginning to Look a Lot Like Fishmen" by H. P. Lovecraft Historical Society

[1001albumsrated]

#23: Dave Brubeck Quartet - Time Out (1959)

Genre(s): West Coast Jazz

"Hey there kid, wanna buy some ~odd time signatures~?"

That's the question Dave Brubeck and Paul Desmond asked America in 1959, and against all odds the answer was a resounding yes. This may not sound like a recipe for commercial and critical success, but the numbers say otherwise: the lead single Take Five was the first jazz single ever to crest 1 million sales, and the album is certified double platinum today (making it one of the best-selling jazz albums of all time). In fact, and I have zero data to back this up beyond a strong gut feeling based on years of music retail experience, I suspect this is the best-selling album focused on odd time signatures of all time.

A brief, over-simplified explanation of time signatures for the non-theory inclined: time signatures are how you count the beats of the music. The bottom number is the type of beat you're counting as the underlying pulse of the music (ie quarter notes, eighth notes, etc), the top number is how many of those make a measure (typically one line of a verse, etc). So your standard dance beat (think Stayin' Alive, or Another One Bites The Dust) is 4/4, or four quarter note beats to a measure. Your standard waltz is 3/4, or three quarter notes to a beat (think Piano Man, or Leonard Cohen's Hallelujah). Most popular music is written in standard "simple" times, where the top number is equal to or less than the bottom, with the majority being a variant of 2/4, 3/4, and 4/4. "Odd time signatures" is a catch-all term for just about everything that doesn't fall into those traditional forms. For example, increasing the number of beats per measure beyond the count (like 5/4 or 9/8, both created by "tacking" an extra beat onto the measure) creates an unnaturally lopsided or rushed feel. These times take a fair amount of technical skill to play well, particularly for the rhythm section, often feeling like a foreign language to most players.

And I think that's what, to me, is most impressive about Time Out: everything here feels natural. A lot of bands tend to hit you over the head with odd time signatures, emphasizing the lilting sonic strangeness of them. On Time Out, a casual listener not versed in music theory and/or dance is unlikely to notice something is up, aside from the songs having a certain uniqueness to them. The odd time signatures aren't really the point in the way they are with a lot of "progressive" music (I say this as a HUGE prog rock dork, just to be clear), they're a natural extension of the melodic ideas of the song. Take Five doesn't feel like 4/4 with a beat tacked to the end, it feels like 5/4 and, more importantly, it feels like Take Five rather than a textbook exercise. Time Out doesn't feel like an album where they forced themselves to play outside the rhythmic norm, it feels like a great jazz album full of creative melodic and harmonic concepts that happened to also have some odd rhythms. What's particularly interesting to me is that that feeling is the opposite of the truth of how the album was composed: Dave Brubeck heard the traditional 9/8 aksak rhythm while on tour in Turkey and thought it would be a cool idea to make a whole album of odd time signatures. So while the time signatures did, in fact, come first, they still managed to write a set of truly organic sounding tunes within that constraint. That, to me, truly is testament to the quality of Brubeck and Desmond as songwriters, and the quality of the whole band as musicians.

There's also a lot here that echoes styles of the future. The approach to odd times obviously will become a big influence on prog rock down the road, but there's also an element of classical music in the compositions here that really coalesces in some of the prog bands of the 70s. Keith Emerson (of ELP fame, watch this space as we'll listen to some ELP later down the road in this series) in particular was a vocal fan of Brubeck, but I think the whole genre owes him a great debt.

All that being said, MUST you hear Time Out before you die? Absolutely. There's something universally captivating and iconic about these tunes, and the compositional and improvisational skills on display far exceed the time-based trappings of the album. Time Out is also highly accessible, and alongside Kind of Blue is essential beginning listening for anyone interested in plumbing the depths of jazz.

Also, for the nerds who care: my copy of this album is the first edition CD from 1984, which I prefer to the remaster (although the remaster is a perfectly fine listen in its own right). Don't pay goofy collector's prices for that thing though, it's easy enough to find at more normal used prices if you browse your local record store's bins often. Also of interest (and an easy tell for those looking to find one) is that the title is misprinted as Take Five on the spine rather than Time Out. Pretty neat!

Next up: the eponymous debut album from folk legend Joan Baez!

[freddiemercurydaily]

Gallery Update 4 March 1981, Queen performed @ Estadio José María Minella, Mar Del Plata, Argentina  ‘S America Bites The Dust’ Tour The band arrive only 6 hours prior to the concert, there were security concerns as thousands of people snuck in and tensions were compounded by the fact that the band hadn't yet been paid for their previous show in Buenos Aires. Freddie's voice is once again in superb shape tonight. There is much anxiety on and off stage due to security concerns. People are trying to make their way on stage throughout much of the evening, making it an uncomfortable atmosphere for the band and entourage. There’s no doubt that the Argentine tour was a milestone in Queen's career. Here’s an interesting article:QUEEN EN MAR DEL PLATABy Pablo Javier Junco (article published)On February 28, 1981, Queen debuted in Argentina, giving 5 shows. Three at the Vélez Sársfield Stadium,

 one at the Mar del Plata World Cup stadium, and another at the Rosario Central stadium. The band arrived really surprised to see the magnitude of the public that they summoned, since they did not think they had a fan base in South America. In turn, Argentina was in full de facto government, which further complicated things. Despite this, the shows passed without serious incidents, and the band left an indelible mark on the history of concerts in Argentina.On Wednesday, March 4, 1981, the Queen group appeared to play in Mar del Plata. The person responsible for bringing the British group to Mar del Plata was the businessman from Mar del Plata, Ricardo Pollera. The group and its entire entourage arrived at the Mar del Plata airport six hours before the recital. A large number of people gathered in the hall and the surrounding area, hoping to get closer to the musicians. The departure for the hotel was like a movie, with patrol cars and motorists sounding their sirens, crossing the city at high speed, while a group of fans on motorcycles tried unsuccessfully to approach the cars of the musicians.The performance almost failed as a result of an economic problem raised between SADAIC and the businessman of the Argentine tour Alfredo Capalbo, due to a debt of 200 thousand dollars contracted before the entity during the group's performance at the Velez Sarsfield stadium that had not been paid , which prompted SADAIC authorities to travel to the city to meet with the businessman and settle the matter so that the English band would play.Another inconvenience that was not disclosed to the public originated in the presence of a justice official from the capital courts with the surname Bergallo, who, by order issued by a higher authority, proceeded to seize the ticket offices together with Mr. Tizone of ADYCAPIF for a debt does not pay the directors of the Velez Sarsfield Club. But beyond what happened, everything could be corrected. Excited Ricardo Pollera declared before the newspaper El Atlantico on March 5, 1981 at the end of the show:"The important thing is that Queen performed in Mar del Plata, that’s all that was wanted, and I achieved it, despite everything I had to go through at the last minute"Despite the initial deployment, there were serious security problems in the Mar del Plata stadium. During the show, a large number of people entered through forbidden places and tried to reach the stage. After this, Queen had a meeting, the four of them alone. The subsequent proposal was very clear: if they did not have the necessary security in place to protect them for the next presentation in Rosario, there would be no show.Queen presented their latest album, The Game, peppering it with their hits, all of them forceful: “Keep Yourself Alive”, “Killer Queen”, “Somebody to Love”, “Fat Bottomed Girls”, “Bicycle Race”, “Flash” and "Don't Stop Me Now. “Let Me Entertain You”, “Death On Two Legs”, “I`m In Love With My Car”, “Now I`m Here”, “Sheer Heart Attack” and “Tie Your Mother Down”.According to Pelo Magazine, the group was very nervous about the obvious security problems in Mar del Plata and also had to endure inconveniences up and down the stage. Brian May had his black night: he first broke a string on his guitar, and when he changed it, he found that the other one didn't work either. He ended up giving up his solo. The ones within the group who maintained an extra-musical relationship before Queen are Roger Taylor and Brian May. However, each one attends to his life, but it is not true that there are tensions or that they do not talk, as some rumors suggested. The professionalism with which the group moved at all times was absolutely overwhelming. Something very difficult to achieve by local organizers, accustomed to the "elasticity" of our environment. But soon they had to get ready to follow the rigorous and punctual rhythm of the band's activities. The skill shown by the musicians in each of the sound checks was surprising. They arrive separately, and each one tries his instrument and the voices. Then all four come up and briefly play a song. The sound engineer usually asks them for brief interventions and then quickly adjusts the sound.After the tension experienced in Mar del Plata, everything changed in Rosario. Security worked perfectly and the group put on one of the best shows of the tour. Despite a persistent drizzle, the audience (thirty thousand people) was receptive and set the stage for Queen to put on a brilliant concert. During each of the concerts the filming of the film "Queen On Tourne" continued, for which eight cameras were used. The film will be completed with images from the concerts in São Paulo and Rio, in Brazil. Of course there will also be scenes from the US tour and the Japan tour.All the members of the band and their assistants were surprised at the prices of things. The musicians complained about how expensive everything is in relation to Europe and the United States, and recommended the staff to measure their "extra" expenses. The most affected was the official photographer, Neal Preston, who had to buy extra film. He was very surprised with the very high prices of photographic material in Argentina.On their way back to Buenos Aires, all the members of the group agreed that the Argentine public was one of the best audiences they had faced. They even pointed out that some organizational errors (due to lack of experience in this type of event) had been overcome with the will of the organizers, and that the enormous affection of the people had ended up minimizing any problem.Some moments of tension were experienced before the start of the last concert in Vélez. With the capacity of the stadium completely filled, and a large number of public struggling to enter, there were moments of nervousness. It was necessary to help many people with symptoms of suffocation and fainting due to the enormous pressure that was in the popular stands. Even the police had to cut the fence to help people who had these problems.The last dinner on the waterfront when they were about to leave Argentina was highly emotional. The whole group was visibly shaken by what had happened a few hours earlier. They all ate and, for the first time, drank abundantly. Everyone felt the sensation of the nervous preliminaries. Brian, John , Freddie and Roger agreed that the Argentine tour was a milestone in Queen's career.

[renegade2026]

TOM HARDY SAVES THE DAY (NO, REALLY)

One of the most intense actors of our time agreed to take us on a motorcycle tour of his hometown—and then the day spun way off-script.

ERIC SULLIVAN AUG 7, 2018

We're at the first stop on Tom Hardy’s literal tour down memory lane, and he’s already causing trouble. The caretaker of St. Leonard’s Court, an apartment building in the leafy London suburb of East Sheen, comes out to the driveway to say that a tenant has lodged a noise complaint. Hardy leans back in the saddle of the offending source, a Triumph Thruxton fitted with a not-so-subtle 1200cc engine. “Must be hard for someone who’s home at 3:00 p.m. on a Tuesday doing fuck-all, innit?” he says to the caretaker, who’s already in retreat. Then, overriding his knee-jerk snark: “It won’t happen again.”

“I’m the youngest person to own a flat on this block,” Hardy, forty, tells me, sounding both proud and bemused. He bought the place fifteen years ago, moved out six years later, and now uses it as a crash pad for out-of-town guests. He didn’t choose the location for its social scene, if the few geriatric residents shuffling by are any indication. Rather, he was the prodigal son returned: He grew up in the upper-middle-class community, the only child of Chips, an adman and writer, and Ann, an artist. His parents still live nearby.

“Ready for the five-dollar tour?” he asks. Our plan is to trace the path from what he calls his “privileged bourgeois background” to the upper-upper-class town of Richmond, where he now lives with his wife, actor Charlotte Riley, and their child, his second. (He also has a ten-year-old son with assistant director Rachael Speed.) The journey is short in distance—a little more than two miles—but ultramarathon-long in life experience.

“Behind the Laura Ashley curtains, there was naughtiness and fuckeries!” he begins like an overenthused docent. I point out that’s a line he’s delivered many times to many writers. He shrugs. “It’s easier to say that than to go deep-sea diving into it.” To Hardy, a fiercely private man and a reluctant public figure, the canned story serves the useful purpose of making an unsuspecting person feel like they’re getting to know the real Tom. “Should we fuck off?” he asks as we pull on our gear. Except for the beat-up jeans, his five-foot-nine frame is covered in black, from his helmet to his motorcycle boots. We get on our bikes and fuck off.

Five minutes later, just past the prep school he attended as a boy, Hardy spots a commotion, and we pull over. A woman, blood covering her face, lies faceup, half on the sidewalk and half in the street. A few bystanders are crouched around. As Hardy approaches, he says, “I know her.”

It's Mae, the mother of one of Hardy’s childhood best friends. [Some names have been changed.] He drops to one knee and takes her hand in his. Someone in the crowd tells us that Mae tripped while walking her dog. She’s slipping in and out of consciousness.

“Mae, it’s Tommy,” Hardy says. “Squeeze my hand. Keep talking to us. Can you open your eyes?” She moans. He tries out a joke. “Are you Canadian?” he asks. She manages a word: “No. ” He says, “Not even a little Canadian?” She doesn’t reply. By the time the ambulance arrives, Mae is responding, but barely. Shortly after, her son Albert pulls up on his bicycle. When he sees his mother laid out, he bites his fist. Hardy wraps his arms around his friend, both to comfort him and to keep him at a safe distance.

The paramedics load Mae onto a stretcher, and Hardy asks if they can bring Albert, too, then asks again to make sure they remember. They say yes, but they’ll first check Mae’s vitals.

After the ambulance doors close, Hardy turns his attention back to Albert. “Your mom took a whack to the forehead. But I’m not concerned immediately, ’cause she’s responding better than when we arrived. And ’cause they’re not rushing off. You settle in at the hospital, and then we’ll meet you.” Albert protests, but Hardy stops him. “I’m one of your best mates, and I love you.” He slips money into Albert’s pocket. “Just for now,” he says. As soon as the ambulance leaves, bound for Kingston Hospital, he calls Albert’s wife.

For the half hour we’ve been here, Hardy has not stopped moving. He’s talked himself through each step as if checking off boxes on a crisis to-do list. Suddenly, he turns to me and considers our circumstances. We began the day as writer and subject, but that dynamic dissolved the moment he saw Mae. “There was no interview here,” he says. “We find ourselves in a situation where we needed to put everything on hold.” A smile cracks across his face. “Welcome to my neighborhood. I told you there’s always something to find behind the Laura Ashley curtains.”

Private Tom and Public Hardy: These are the two sides that define him. That his time is split between work life and family life, and that his obligations toward both are sometimes at odds, isn’t unique. However, his steadfast struggle to separate them is; he’d be thrilled if never the two should meet. But they do, with increasing frequency, in ways that are beyond his control.

Public Hardy may be an accomplished actor in the U. S., but in his home country he’s a national treasure. In June, he was awarded the title Commander of the Order of the British Empire, which, while not as prestigious as knighthood, is on the same scale. In February, Glamour UK named him the sexiest man of 2018. Madame Tussauds in London recently displayed his likeness reclining on an oxblood chesterfield couch, one arm perched atop the back cushion like an invitation. (“Cosy up to Tom on his leather sofa and feel his heartbeat and the warmth of his torso in what is surely the hottest seat in town,” hypes the wax museum’s site.) He tells well-worn anecdotes to keep Private Tom concealed, and he’s always on alert.

We meet for the first time the day before the accident, at the Bike Shed, a motorcycle club and café in Shoreditch where, last year, he spent his fortieth birthday. It’s Hardy’s favorite place in London—not surprising, as he’s an investor in the company, which plans to open a location in Los Angeles soon. Every few minutes during our conversation, he nods hello to yet another bearded, inked-up passerby. He’s wearing a loose T-shirt and cargo pants with enough pockets to fit all the world. Brown fuzz dusts the crown of his head. A copper beard stippled with gray blankets the lower half of his face.

He answers my first question—how he’s doing—without missing a beat: “I’m tired.” He’s been working a lot, mostly on Marvel’s Venom (October 5), in which he plays the title role, a reporter named Eddie Brock whose body is hijacked by an alien symbiote. Venom has remained one of Spider-Man’s best-known foes since he first appeared in comic-book form in the late eighties. At times, he’s an outright villain; at others, including in Hardy’s hands, he’s more of an antihero. He can’t discuss the plot, but he says the tone of the movie, directed by Ruben Fleischer (Zombieland), is “dark and edgy and dangerous.”

The three-month shoot, which ended in January, took him to Atlanta, New York, and San Francisco, where the movie is set. “I see America by where the tax breaks are,” he jokes. Next, he headed to New Orleans to play a syphilitic Al Capone in Fonzo, directed by Josh Trank (Chronicle). That crew went hard: nineteen hours a day for six weeks. The day they wrapped, he flew home, threw on a suit, and attended the royal wedding with Riley. (All he’ll say about why they landed the coveted invite is that “it’s deeply private” and “Harry is a fucking legend.”) The work wasn’t the hardest thing; it was, he says, spending such long stretches away from his family.

Yet workwise, Hardy has arrived at what you might call a stakes moment, one that’s twenty years in the making. At the dawn of his career, after landing just two small roles, albeit in big projects—Band of Brothers and Black Hawk Down—he scored his first major part, as the bald, asexual villain in 2002’s Star Trek: Nemesis. But the movie tanked, snuffing buzz over his excellent performance. Five years of forgettable films and a few distinguished stage performances passed before Hardy played lead roles that fully showcased his talents: the homeless drug addict with a heart of gold in the BBC’s Stuart: A Life Backwards (2007), for which he shed nearly thirty pounds, and the most violent inmate in Britain in Bronson (2009), for which he packed on fifteen pounds of muscle.

Physical change is just part of Hardy’s exacting, chameleonlike transformations. “One can embellish with flair or an accent,” he says. “But ultimately you need to ground the character in some form of recognizable truth.” Hardy will talk your ear off about acting theory— Stanislavsky versus Adler, presentation versus representation, the use of clowning and mask work. “I’m a complete geek about it,” he says. But those seams don’t show. At his best, Hardy so thoroughly embodies a character, in both body and spirit, that he all but disappears.

Take a scene from 2015’s The Revenant. Hardy plays Fitzgerald, the coldhearted fur trapper and the target of revenge for Leonardo DiCaprio’s Glass. One night, around a campfire, Fitzgerald makes a veiled threat to a suspicious travel companion. He never raises his voice, but it’s as if he’s ripped out the man’s heart. Hardy’s performance earned him both an Oscar nomination and, after losing a bet with DiCaprio over whether he’d receive such recognition, a tattoo on his right arm that reads leo knows all.

His knack for magnetic unease can inject a blockbuster with edge: Mad Max: Fury Road, Inception, and, most notably, The Dark Knight Rises. But aside from Fury Road, whenever he’s assumed the lead role—Lawless, Warrior, This Means War, The Drop, Locke, Legend, Child 44—the results have come up short critically, commercially, and sometimes both. Venom is Hardy’s most visible role yet.

“Sounds like a lot of pressure, doesn’t it?” he half-jokes. But he says he’s not concerned about box-office returns; as always, he’s consumed with building a good character. He admits he knew little about Venom when he first read the script. “So I spoke to the only person I could really trust in this environment: my older boy.” His comic-book-loving son “was a huge influence on me doing the role.”

Hardy prepped for the movie for more than a year. He undergoes a rigorous process to shape each performance, complete with its own argot. A script is a “case file,” to be “unpacked” via “investigation.” He often begins by using personalities, both real and fictive, as lodestars toward which he guides his portrayal. The voice he developed for Al Capone in Fonzo is based on Bugs Bunny’s; to prove it, he plays me a clip of the raw footage on his phone. Sure enough, he sounds like the cartoon rabbit with a severe case of vocal fry. In Venom, the dual roles of Eddie Brock and Venom reminded him of three wildly different traits of three wildly different people: “Woody Allen’s tortured neurosis and all the humor that can come from that. Conor McGregor—the überviolence but not all the talking. And Redman”—the rapper—“out of control, living rent-free in his head.” Those are not details he revealed to the execs at Sony, which is producing the movie. “You don’t say shit like that to the studio,” he says.

“IF THE ODDS ARE STACKED AGAINST SONY, THAT’S NOT MY FUCKING BUSINESS. IT'S IRRELEVANT.

“If the odds are stacked against Sony, that’s not my fucking business,” Hardy says. “It’s irrelevant.” He burnishes an image of himself as a creative lone wolf, and in the third person no less: “Tom is very mercenary when it comes to work. I cannot give a fuck what the writer, or the director, or Larry in Baltimore thinks about my choices.” (He later clarifies the perspective shift: “Sometimes I talk in the third person because it’s a lot easier to see myself at work as a piece of meat. So when Tommy says he doesn’t give a fuck what you think, it’s only because I give too much of a fuck, and it gets to a point where it stifles me.”) But it’s hard to square his claims of artistic purity with the occasional very non-lone-wolf detail like, “Market research shows that the biggest fan base for Venom is ten-year-old boys in South America.”

If this movie does well, there will be sequels. And if Sony builds its cinematic Spidey universe, Hardy may well appear in those, too. Beyond those commitments, he’s vague about his post-Fonzo plans, most of which don’t involve acting. “What I’d like to do is produce. Write. Direct,” he says. Through his production company, Hardy Son & Baker, he’s working on the second season of Taboo, a moody period drama set in early-1800s London that he stars on and cowrites with his father. The first season was a mixed bag—its premiere ranks as one of the most streamed episodes of any BBC show, but historians criticized its accuracy and U. S. viewers met its FX airing with indifference—yet his stature is such that the BBC green-lighted the second season. He also optioned Once a Pilgrim, a thriller by a veteran of the Parachute Regiment, the elite airborne infantry of the British army; he’s considering directing the adaptation.

Hardy’s future looks rosy. And yet, more than anything, he feels worn down. Physically, sure: He’s walking with a limp. He says he tore his right meniscus on the set of Venom, but he doesn’t know how it happened. “At the end of a job, I normally end up on the side of the road,” he says. “And then carrying the toddler around on my shoulders. . .” He lets loose a two-note cackle. “Things get in the way of looking after yourself.”

But the fatigue is also mental. Maybe it’s because the growing demands of the job, especially the time spent far from his wife and children, are beginning to outweigh its diminishing gratification. When I ask if being forty has changed how he feels about his career, this time he answers in the second person. “You’ve summited Everest. It’s a miracle that you’ve made it anywhere near the fucking mountain, let alone climbed it. Do you want to go all the way back and do it again? Or do you want to get off the mountain and go fucking find a beach?” He tugs his left temple so hard that it looks like the skin might tear. “What is it that draws you to the craft? At this age, I don’t know anymore. I’ve kind of had enough. If I’m being brutally honest, I want to go on with my life.”

After the ambulance leaves with Mae and Albert, Hardy suggests that we stop at a few places on our way to the hospital. Not for my benefit, but for his friend’s. “Albert needs to be alone with his mum and his thoughts,” he says. “He’s going to be taking care of her, so it’s important he pays attention. Sometimes, when there are other people around, that’s hard to do.” Hardy isn’t trying to swashbuckle; he’s thinking of how to best help two loved ones. And, apparently, a guy he just met: Looking me up and down, he says, “We’ve had a bit of a shock ourselves. We could use some sugar.” We set out for a refreshment stand in a nearby park he first came to as a toddler with his mother to paddle around the kiddie pool, and then as a teen with Albert and others to play rugby.

When we arrive, the stand is closed. As we get back on our bikes, a father walks by carrying his son, a chubby boy with an explosion of straw-colored curls. “How old are you?” Hardy asks the boy. “He’s two,” the dad beams.

“When will you be three?” Hardy asks.

“July,” the toddler says softly.

“That’s really soon!” he says. “You’re a bit older than my youngest, who’ll be three in October. Oh, you’ll be a big boy by then. You’re already a big boy. Do you want to sit on my bike?” The boy buries his face in his father’s chest. “I appreciate I’ve made you feel nervous. This is what I will do: I will disappear,” he says, which could double as his two-sentence acting manifesto. He revs his engine over and over. As we depart, the boy watches Hardy, his mouth agape.

We cut into Richmond Park, a twenty-five-hundred-acre expanse that’s equal parts polished and untamed. When something catches Hardy’s attention—stags in the brush, a view of the Thames, a tree with knotted bark—he raises two fingers to his eyes in a V, then points so I see it too, like I’m his Dunkirk wingman.

We pull over at a dead end. With our engines rumbling, Hardy tells me that his parents moved to this part of London to enroll him in the best schools they could afford. The area is among the wealthiest in the UK, but it’s also an economic patchwork where council houses sit blocks away from mansions. “Growing up, you mix and mingle. You can sit in the shit if you want to, or you can make something of yourself,” he says. “Or you can end up under too much pressure and fading out young.”

As a child, Hardy had a strong relationship with Ann, but he butted heads with Chips. Father and son made up years ago, and Hardy resists going into detail about their difficult past. “My father was the most wonderful of teachers in a world that can be cruel,” he allows. “He treated me like an adult, as opposed to changing his persona for his child. There was no filter. Do you understand? No filter.”

In his teens, Hardy wobbled. “The centrifugal force in my life is a natural disposition to not be happy with the way I feel,” he says. That, combined with a robust contrarian bent—“Nine times out of ten, when somebody says, ‘Don’t do that,’ my instinct is to say, ‘That has to be done’ ”—got him into a fair bit of trouble. He hung out with the wrong crowds; he fought in school. “I grew up in the neighborhood being a dick,” he says. “I’ve learned and will continue to learn from being a dick. To try and somehow chisel myself into being a human being so I can respect myself when I look in the mirror. And that’s a procedure that will go on until I die.”

Starting at thirteen, he struggled with alcoholism and other addictions. He still has a soft spot for those with similar demons. In April 2017, when two kids riding stolen mopeds were T-boned at an intersection and tried to run, Hardy, who lived nearby, apprehended one of them. The Sun headline sums up how the press covered the incident: “Tom Hardy Catches Thief After Dramatic Hollywood-Style Chase Through Streets Before Proudly Saying, ‘I’ve Caught the C**t.’ ” He disputes the details of what was reported— “It wasn’t much of a chase; when I found him, he was in fucking rag order”—but that’s beside the point. The tabloids missed the real story: After the incident, he tracked down the kid he turned in and got him help. “He must stand accountable for what he’s done,” Hardy tells me. “But he’s got issues, and he’s in a bad way. Do we just give up on a sixteen-year-old?”

As a boy, Hardy was given second, third, and fourth chances. Along the way, he discovered that acting offered an outlet for his baneful discontent. He attended one drama school, then another, got kicked out twice, and was cast in Band of Brothers before he graduated.

Still, for years, he questioned his chosen path. Hardy even signed up for a Parachute Regiment training course—but never followed through. “Oh, mate, I did so much backpedaling,” he says. “The reality is that where I belonged was not there. The last person defending the realm was Mr. Hardy.” He calls the decision to back out “one of my biggest regrets. I wonder what life would’ve been like. I would’ve loved to have served and been useful.”

In 2003, at twenty-five, Hardy cleaned up with the help of a twelve-step program—he calls it “my first port of call”—and he’s been sober ever since. “It was hard enough for me to say, ‘I’m an alcoholic.’ But staying stopped is fucking hard.” Sitting on his Triumph, at the center of the place that held all the risks and possibilities that would define him, Hardy sounds almost wistful.

We take off through the park. He rides with his legs bowed out, his left hand resting on his knee, and his right hand holding steady on the throttle. When he rips on a vape pen, white plumes swirl around his head and dissipate into the damp air.

We head to Richmond. The town sits within the borders of Greater London, but its roots are as much in the countryside as in the city. Generations of famous Brits seeking refuge have called it home: Queen Elizabeth I liked hunting stags in the park; Charles I relocated his court here to avoid the plague; Mick Jagger lived near the Thames with Jerry Hall, who, though now married to Rupert Murdoch, apparently still co-owns the home they shared.

We stop at a café around the corner from Hardy’s place. The wall between us that crumbled upon seeing Mae—or seemed to, anyway—is fortified just as quickly. When Private Tom reaches playfully for my stack of questions and I instinctively pull them back, he casts a leery eye. “I see I’m not in the circle of trust,” Public Hardy says, when in fact I just got booted from his.

“Can I get a double espresso?” he asks our waiter.

“For sure,” the waiter says. “By the way, big fan. I always know if you’re in a movie, it’s going to be a good one.”

“Thanks. But don’t put your money on that,” Hardy says. “I’ve got to be crap at some point.”

“I would say you’re one of my top three best,” the waiter says. “Action actors,” he clarifies.

“I think I’m a bit too old now for action.”

“Except for the next Expendables,” the waiter jokes.

“I’m tempted to ask who the other two are,” Hardy says after the waiter walks off. “I showed great restraint. Great restraint.” He might claim that the opinions of others don’t matter, but this is driving him crazy. “Who are the fuckers?”

When the waiter returns, I ask. “Mark Wahlberg,” he says without delay, as if he were waiting for the question. Hardy, stone-faced, says nothing. “And Matt Damon.”

Finally, Hardy speaks. “Can I give you this?” he says, handing over a plate, any plate, just to send the waiter on his way. Almost as an afterthought, he adds, “Thanks, man. Good company.”

He deals with this sort of thing all the time. “I’ve crossed the line of being a public figure. And I accept that means to a certain degree I’m public property,” he says, “even though I project an image of myself to them,” acknowledging Public Hardy in all but name. Most people he meets are lovely. But “the downside of being overt is you invite darkness,” he says. “It only takes one person to cause real harm.” He defends himself as if someone has called him out. “That’s not being paranoid. That’s just facts.”

“THE DOWNSIDE OF BEING OVERT IS YOU INVITE DARKNESS. IT ONLY TAKES ONE PERSON TO CAUSE REAL HARM.”

By filtering which parts of himself become public, he’s mostly okay with the balance of Private Tom and Public Hardy. Except, that is, when it comes to his children. “I will pose for you, and photos of me and my wife are fine,” he says. “But if someone takes a photo of my kids, all bets are off. I will take the camera off you and beat the fucking shit out of you.” His voice contains no hint of exaggeration. “That’s the one that hurts. My kids didn’t ask for what my job is.” He pauses. “There’s something that really upsets me about the imposition of a grown-up world on a child.”

When we spoke earlier about his relationship with Chips, he said he was working to become a better father by learning from the mistakes of his own. “In trying to protect my children, I’ll probably give them their own dose of problems,” he told me. “But I don’t want them to go through what I went through.”

At Kingston Hospital, we make our way to Mae’s room. She’s feeling better, but dried blood still cakes her face. She and Albert don’t know who or what to expect next, or how long it will be. Hardy asks what she remembers—“Hit the pavement,” she says. “Made a nice sound”—and what still hurts. We unload snacks we brought, and then we wait.

The three relax into a familiar rhythm. Age has smoothed but not erased the boys’ mischief and the mom’s sass. Hardy jokes to Mae, “All right, lovely, want salt-and-vinegar chips with a side of infectious disease? Pick up a little souvenir?” She smirks.

Hardy squeezes some sanitizer onto his hands and rubs it, then reaches for a chip. “Don’t do that,” Mae says. “Wipe off your hands first. It’s not for eating.”

“It’s better than eating disease,” Albert weighs in. “I’d rather be sanitized to death.”

“I’m gonna take my chances,” Hardy says.

“How’s your mum and dad?” she asks.

“Very good, actually,” he says. “It was my mum’s birthday last week.”

“Twenty-one again?”

“I’m glad to see you’re cracking jokes,” Albert says.

“Me too,” Mae says.

When she leaves the room with the help of a nurse, Hardy turns to Albert and delivers a dose of optimism: “She’s walking, mate. That’s a good sign. The next thing we’re going to get is an X-ray, or maybe a CT scan if they’re concerned about bleeding or swelling in the brain. They’ve got to check all the boxes.”

Once Mae is back, Hardy steps out to talk to the nurse without saying why. “Is he using his celebrity powers?” Albert asks me. “Not the first time I’ve witnessed that.” He laughs, then quiets. “But it’s a nice tool to have.”

Hardy returns without explanation. A few minutes later, the nurse comes in. “She’s going to be seen next.”

Like that, Mae is at the top of the list.

Though Hardy is coy about how much he played the fame card, it’s clear his job here is done. As we say goodbye, Mae pulls him in close. “I want you to know that I have plans to see Venom,” she says. “You’ve done something that’s close to my heart. You know I’m a sci-fi freak.”

“You’re gonna enjoy this one,” Hardy says. “This one’s just for you. And for my boy.”

Hardy wants to exert control over his world. The brutal irony is that the more successful he becomes, the more the world controls him. But as we walk out of the hospital, I suggest that while his celebrity might feel like a burden, in the instance of Mae and Albert it was . . . He finishes my sentence: “Perfect.”

At the exit, an orderly chases us down. “Tom! Tom Hardy!” We stop. “I just love your movies. Can I take a picture?” Two more fans follow. He smiles as they gather around in the hospital parking lot and start snapping selfies.

This article appears in the September '18 issue of Esquire.

https://www.esquire.com/entertainment/movies/amp22627852/tom-hardy-venom-fonzo-september-cover/

[freddiemercurylegendabovelegends]

March 1981, Brazil - Freddie Mercury with John Deacon's children: Michael and Robert

(during 'South America Bites The Dust Tour')

[filmtexts]

“Real Eyes” by Gil Scott-Heron

December14, 2010

Discovered this while browsing through the jazz section at my regular haunt Dussmann: Gil Scott-Heron’s 1980 album Real Eyes. Hmm, taking the lame pun into account, a mention of this album seemed suitable for this somewhat namesake blog.

Somehow, I had overlooked Real Eyes in my investigation of Scott-Heron’s discography. I first became aware of the U.S. jazz poet, lyricist, singer and composer (as well as acknowledged precursor of rap) and his caustic social commentary a few years later than Real Eyes. 1981’s anti-Reagan song-poem B-Movie certainly helped me better understand the state of affairs in America – racial and economic inequality and the simplistic Cowboys ‘n’ Indians foreign policy that was dangerously reintroducing the prospect of nuclear showdown. The sequel Re-Ron (released as a one-off single in 1984 in the hopes of reversing the inevitable tide of Reagan’s re-election) surpassed the earlier song, with even more biting lyrics and state of the art production by jazz-electro-avantrock-worldbeat fusionist Bill Laswell.

Sadly, this salvo would be Scott-Heron’s last release for 10 years. He was dropped from his then label, Arista, and ceased recording, although he continued to tour. Rediscovered by the audience of the ‘conscious’ and political rappers he inspired, Scott-Heron enjoyed a recording comeback in 1994 (with Spirits and the chastisement of gangsta rap Message to the Messengers). Drug problems sidelined him again, but in 2010 he bounced back with the widely acclaimed I’m New Here. A rare disenchanted critic bemoaned that Scott-Heron sounded like he was backed by moody British dubstep producer Burial. That’s actually not a bad thing, further evidence of Scott-Heron’s ability to highlight his signature voice and concerns within a conducive contemporary soundscape – be it Laswell’s brachial electro-funk in the mid-80s or the sparse, skeletal and spooky accompaniment on I’m New Here.

Rewind three decades. Real Eyes is a transitional album. It was Scott-Heron’s first with a new backing band, the Amnesia Express, and minus his co-billed collaborator, pianist Brian Jackson. (Jackson does lend his smoky playing to the initially unwieldy-seeming but ultimately engrossing love song Combinations.) Some tracks strongly foreground Scott-Heron’s jazz background while others focus on funky basslines and Scott-Heron’s ever smoother crooning (as opposed to the poetry recital or sprechgesang of earlier songs). Lyrically, socio-political issues share center stage with personal concerns. The Train to Washington is the latest of Scott-Heron’s ongoing criticisms of how out of the Federal government is out of touch with its citizens. How demoralizing it feels to be Not Needed is vividly conveyed in the song of the same name from the point of view of a recently fired longtime employee. The Klan (a cover version of a song popularized by 1960s folk singer-songwriter Richie Havens and co-written, pseudonymously, by Oscar-winning actor Alan Arkin) is an outraged history lesson while Waiting for the Axe to Fall is a bleak description of the 1980 status quo. In any case, the post Civil Rights Movement despair was a ticking timebomb, and Real Eyes captured this mood.

The album also had a lighter side (even at their darkest, Scott-Heron’s lyrics are always characterized by witty wordplay). ” …he had more romances than doctors got bills. He had had more romances than Beverly got Hills,” so imagines himself the self-styled Casanova in Legend In His Own Mind, presumably unaware of how Scott-Heron is poking fun at 1970s leisure suit Lotharios and their inflated macho egos. Real Eyes ends on a hopeful note – Your Daddy Loves You (For Gia Louise), Scott-Heron’s promise to his infant daughter that he and her mother will work it out. (That’s Gia Louise on the album cover.)

While none of Real Eyes’ tracks became signature tunes the order of, say, The Revolution Will Not Be Televised, Johannesburg, Winter in America, The Bottle, B-Movie or Angel Dust, it is a rewarding album. Maybe this year’s re-release will spark a reassessment.

Mash-up of The Revolution Will Not Be Televised with The Dead Kennedys’ California Über Alles

Video for The Bottle

[freddiemercurydaily]

6 March 1981, Queen performed @ Estadio Mundialista Gigante de Arroyito, Rosario, Argentina  This is the band’s fourth show in the country !‘S America Bites The Dust’ Tour The Rosario concert was played to the smallest crowd of the month - about 42,000 people. Once again, this is a venue traditionally referred to by its football club's name, Rosario Central. After the security issues the band encountered in Mar Del Plata, things were stepped up a notch in Rosario. The concert went smoothly. Freddie, after ‘Somebody To Love’: "Listen, we're gonna do a song now from an album called ‘A Night At The Opera.’ This is a song written by Roger Taylor. It's called ‘I'm In Love With My Car’." In the first chorus, after Roger professes his love for his automobile, "Freddie responds, "Oh, yes he is!" Both Freddie's voice and the four-man instrumental machine are in excellent shape tonight. A radio broadcast of this show exists, which is particularly interesting because many Argentinian radio stations around this time were unlicensed, meaning that the show (and others on this tour) may well have been broadcast illegally without the band's permission, and that there were no advertisements beforehand. A five minute 8mm video from this show exists as well. Most of it was broadcast (without audio, as the footage is silent) on Argentinian TV in 2019 as part of a talk show.

[amberlouise06]

Queen

Queen formed in 1971 and in 1973 signed their first recording contract for EMI. That year they released their first album, Queen. The same year saw their first major UK tour, and in 1974 they released Queen II as well as making their first UK headlining tour.

They made their first US tour, and in November released Sheer Heart Attack which was a hit on both sides of the Atlantic. 

 1975 saw their new release, A Night At The Opera, and significantly the single Bohemian Rhapsody. At 5:55 it should have been too long for successful radio play but it became one of the greatest singles of all time, staying at No. 1 in the UK chart for nine weeks.  

The song has regularly featured in all major pop polls and was recently named again as the best single of all time. The success of A Night At The Opera was equally stunning, giving the band their first platinum album.

In 1976 they toured the US and Japan and by spring all four albums resided in the UK Top Twenty. Later that year they released A Day At The Races and gave a free concert in Hyde Park to an estimated crowd of 200,000 fans.

The following year saw two major US tours, the band’s sixth album, News Of The World and the legendary double A side single, We Will Rock You and We Are The Champions.

1978’s Jazz, included another huge hit single in Bicycle Race and Queen toured the US and Canada. They spent much of 1979 touring in Europe and Japan, as well as releasing their first live album, Live Killers.

They were also approached to write the score for a forthcoming feature film, Flash Gordon. 

Before that they released The Game in 1980 which went five times platinum in Canada alone! Another One Bites The Dust became the band’s biggest selling American single.

In 1981 they toured the Far East and were the first band to make a stadium tour of South America. They played to 131,000 people in Sao Paolo, the largest paying audience for any band anywhere in the world.

Next year saw the release of the band’s twelfth album, Hot Space whilst they were in the middle of a European tour.

1984 saw The Works and the single Radio Ga Ga became a worldwide hit, reaching No. 1 in 19 countries. Another huge hit was I Want To Break Free, featuring one of their most famous videos, all dressed in drag. In 1985 they were the headlining act at Rock in Rio, the biggest festival to be held anywhere in the world.

They again made history that year with the show-stealing performance at Live Aid from Wembley Stadium, which proved to be a turning point for the band, One Vision being the first post Live Aid release.

1986 saw their 14th album, A Kind Of Magic, which was the soundtrack to the Russel Mulcahy film, Highlander. The title track became another worldwide smash and the album entered the UK charts at No. 1.

later in the year the 2nd live album, Live Magic, went into the charts at No. 3. Between 1988 and 1991 Queen released three more albums, The Miracle in 1989 and in 1991 Innuendo and Greatest Hits II. All three entered the UK charts at No. 1, as did the single Innuendo.

On 23rd November 1991 Freddie Mercury announced to the world that he had AIDS and the next day he died peacefully at his home, surrounded by family and friends. He remains the most high profile loss from the disease in the entertainment world and the news shocked fans throughout the world.

As a tribute, Bohemian Rhapsody / These Are The Days Of Our Lives was released as a double A-sided single to raise funds for the Terence Higgins Trust. It entered the UK chart at No. 1, where it stayed for five weeks, raising over £1,000,000 for the charity and Queen became the first band to have the same single top the UK charts twice.

In December of that year Queen had 10 albums in the UK Top 100. In 1992 Freddie was awarded posthumously the BRIT’s “Outstanding Contribution to British Music” and Days Of Our Lives won Best Single.

On 20th April many of the world’s top stars joined Brian, Roger and John on stage at Wembley for an emotional tribute to Freddie.

In 1995 the tracks that Queen had begun in 1991 were completed by Brian, Roger and John and the long-awaited Made In Heaven was released worldwide. It was the end of an era. Since then the phenomenon of Queen has remained, however, with continuing sales for their recorded output on CD and video.

Brian and Roger continue to be ambassadors for the Mercury Phoenix Trust, the HIV/AIDS charity set up following the death of Freddie in 1991. To date the charity has helped over 800 projects worldwide and raised over $16 million in the fight against the disease.  

Since 2012 Queen have enjoyed a fruitful collaboration with US singer/songwriter Adam Lambert and have toured extensively across North and South America, Europe, the UK, Asia and Australia and New Zealand.

[tinamrazik]

Review: Queen + Adam Lambert Live in Concert at the BB&T Center, August 17, 2019 The Rhapsody Tour: Queen – Long May They Rein

  There are instances when the words Legend and Icon are not enough, such is the case with Freddie Mercury. The death of the Queen front man in 1991 dimmed the musical landscape forever. Not only was Freddie an incomparable singer, his songwriting prowess, flamboyance, and charisma has been unparalleled by any other musician in rock and roll history. His vocal ability of five octaves crossed all genres of music, (country, rock, pop, soul) bringing millions of fans together all over the world. Some of the greatest rock anthems and songs ever put to paper, were penned by Mercury and his bandmates: Brian May, John Deacon, and Roger Taylor. Another One Bites the Dust, We Will Rock You, We Are the Champions, Somebody to Love, Crazy Little Thing Called Love, Radio Ga Ga, the list of hits goes on and on. Queen is the only group in rock history to have Number One hits individually written by all members of the band while still together. Their iconic epic Bohemian Rhapsody holds the record for the most downloaded and streamed song in music history. Though their popularity has been steady over the past 40 years, they have had bouts of resurgence. Most notably, 2018's Academy award-winning blockbuster film of the same name, the musical drama, "Bohemian Rhapsody." 

 Brian May and Roger Taylor decided to carry on the Queen Legacy after the passing of Mercury and departure of John Deacon. In 2012, American Idol alumni Adam Lambert officially joined Queen as their lead singer. Knowing full well Mercury could never be replaced, Lambert added his own flair to the Queen catalog making it possible for Queen fans to experience the band live in concert once again. This current tour named the “Rhapsody Tour,” will take the band across North America, Canada, Korea, Japan, Australia, and New Zealand at the start of 2020.

 This evening at the BB&T Center is standing room only – the show has been sold out for months in anticipation of Rock Royalty. Suffice to say, the band did not disappoint. The show in its whole, was GRAND on the hugest of scales. Combing incredible lights, sound, and downright showmanship, Queen and Adam are unparalleled live on stage. The set list itself is beyond impressive with a staggering 28 songs (yes, really 28). From the first note of their masterpiece Innuendo opening the show, it was obvious we were off to the races. Lambert has a commanding presence as he struts across the stage, glammed to the hilt, having the time of his life.  “You know we’ve been together for over eight years now. And every time I get on stage with these guys I realize, it’s such an honor, and I’m so proud to sing music with these two legends (May and Taylor). And carry the torch for one of my all-time heroes. Let’s hear it for the irreplaceable, one and only rock God, Freddie Mercury. See you and me, we’re actually the same. I’m a fan just like you guys.  So, can you make me a little promise tonight? That we will celebrate Freddie and Queen together.” If the thunderous applause was any indication, the promise would be kept.

 Guitar virtuoso Brian May is possibly the best he’s ever been, leading songs with powerfully melodic searing guitar riffs that are as familiar as an old pair of shoes.  His guitar solo in Bohemian Rhapsody was a monster as May rose up from the floor in an iridescent bionic suit and mask playing one of the most recognizable solos of all time. Taylor is as solid as ever on drums, adding his own flair to the evening’s entertainment, taking a turn as vocalist with Lambert on Under Pressure, and lead vocal on I’m In Love with My Car.

 There are those stand out moments in every show, no matter the performer. Queen has raised that bar incredible high to the point of raw emotion. Thanks to modern day technology, Freddie and Brian duet-so-to-speak (via Freddie’s hologram) on the exquisitely beautiful, Love of My Life. Cell phone lights held high in the air waving gave a haunting glow throughout the arena as we sang along. It was extraordinary. Keep Yourself Alive, Killer Queen, Somebody to Love, The Show Must Go On (a personal favorite of mine), Another One Bites The Dust, I Want It All (favorite #2), Crazy Little Thing Called Love, I Want To Break Free, Who Wants To Love Forever (another show stopper), Fat Bottomed Girls, Radio Ga Ga, oh my goodness gracious. We haven’t even gotten to the encore! Bicycle Race, added an extra kick as Lambert straddled a blinged-out motorcycle, dressed to the hilt in black leather. Unfortunately, none of us were going for a ride, but the spectacle took the song to new heights as he spun in a circle.

 Freddie re-appeared on the screen for a sing-along vocal improvisation from the group's 1986 Wembley Stadium performance. We all participated in the “Ay-Oh,” celebratory moment which was pure joy for everyone. Thus, began the encore which included the ultimate rock anthems: We Will Rock You and We Are the Champions. Holy cannelloni folks, what a show! Being here this evening was a dream come true for this ole’ diehard Queen fan. God Bless Queen, Freddie, and Adam.  Long may you wave.

 Queen + Adam Lambert Setlist:

Now I’m Here Seven Seas of Rhye Keep Yourself Alive Hammer to Fall Killer Queen Don’t Stop Me Now In the Lap of the Gods Somebody to Love The Show Must Go On I’m In Love With My Car Bicycle Race Another One Bites the Dust Machines (Or ‘Back to Humans’) I Want It All Love of My Life ’39 Doing All Right Crazy Little Thing Called Love Under Pressure I Want to Break Free You Take My Breath Away Who Wants to Live Forever Last Horizon (Brian May cover) Fat Bottomed Girls Radio Ga Ga Bohemian Rhapsody

Encore: Ay-Oh We Will Rock You We Are the Champions

[sentrava]

Canada’s Big 3: A Guide to Skiing in Banff + Lake Louise

My first foray into the beauty of Banff was more than a decade ago in the height of summer. I took the train from Vancouver through the Canadian Rockies, then ended my tour with a few days in the bustling ski town. A year ago, I returned in winter: this time with my mom, my best friend and her mom in tow. It was one of the best trips to date—and far less crowded than in summer months, I might add—but I missed out on one of the area’s greatest draws: skiing in Banff.

So when Travel Mindset invited me back for a weekend of skiing “the Big 3”—that’s Banff Sunshine, Lake Louise and Mt. Norquay—I rearranged my schedule, dusted off my ski gear, grabbed my favorite travel buddy and flew to Calgary.

Getting to Banff

As far as ski destinations go, Banff is one of the easier ones to access. You fly into Calgary, an extremely manageable airport, pick up your car—the rental services of which are on-site (again, convenient!)—then head due west to the town of Banff. It took us exactly an hour and 25 minutes from the time we left the airport, and we had zero traffic coming or going. For my American friends, note that you do need a passport to enter Canada.

We rented a larger SUV with snow tires from Enterprise’s airport location for $378 for the five days, though we didn’t wind up experiencing any precarious driving conditions whatsoever. All the roads, both the highways and the smaller ones that went up the mountains, were completely plowed and ice-free, and the driving could not have been easier. Not to mention, the views weren’t shabby at all.

We opted to fly through Minneapolis instead of Toronto. I’d recommend this route (or another U.S. hub like Seattle) if you want to avoid guaranteed delays, as Toronto is one of the more confusing airports I’ve ever flown through when transiting back to America. From Nashville, it was about 90 minutes to Minneapolis, an hour layover, then just under two hours to Calgary. The flying-and-driving part of the trip could not have been easier. I’ve taken similar ski vacations to Colorado, and while I love the resorts there, the traffic getting to them is a turn-off. During all three of my trips to Banff, I’ve never run into any traffic on Canada’s Highway 1 (also known as the Trans-Canada Highway).

Where to Stay in Banff

First things first: You need to book your hotel. This was my third overnight trip to Banff, but my first staying in the iconic Fairmont Banff Springs. I’d been to this castle in the Rockies a few times before for meals, but as a bona-fide Fairmont Hotels fan, it had always been my dream to spend a night there.

But there are a couple things you should know about this palatial property. For one thing, the hotel first opened in 1888—the original structure burned down nearly 40 years later, and it was rebuilt and reopened in 1928—as the vision of railroad tycoon William Cornelius Van Horne. It sits smack within Canada’s first national park, established in 1885.

Which brings me to this: You cannot enter Banff National Park without a pass, which costs around $30 for family access (or per car). You can either purchase one online or stop at the gate on Highway 1 when you enter the city. We stupidly didn’t realize you needed one just to get into the town and had planned to pick one up before we ventured into the mountains—then got a ticket on our car. But in true polite Canadian fashion, it was simply a warning and we were able to pick up our pass on the way into Lake Louise and make good on our rookie mistake.

One-hundred-and-thirty years after its initial debut, Fairmont Banff Springs now bears the designation of being both a National Historic Site of Canada and a UNESCO World Heritage Site. There are 764 rooms, so it’s very easy to get lost in the labyrinth comprising this hotel (and we did, I’ll admit, a time or two). Since this is one of the brands oldest properties, it definitely has a more old-fashioned feel than some of the newer Fairmonts we have stayed in, and rooms are on the smaller size. I love that despite its opulence, pets are welcome, and we saw several dogs roaming the hotel with their owners. Ella would be so jealous!

While the Fairmont Banff Springs feels remote, tucked up against the mountains in a very regal fashion, it’s actually less than a mile from Banff Avenue, the main drag in town, and just 15 minutes by car from the nearest ski resort. We easily could have walked, but it was a wee bit chilly, so we took advantage of the hotel’s complimentary shuttle to get into town and the city’s free bus service to get back.

Like every Fairmont I’ve ever visited, it has a gorgeous Willow Stream Spa with various plunge pools and a larger mineral pool perfect for soaking in after a long day on the slopes. In addition to the regular massage and facial treatments, there’s a host of other spa offerings like saunas, steam rooms and a salon.

We ate the majority of our meals at the hotel, simply due to ease before leaving in the morning, as well as fatigue when we returned at night, not wanting to shower, get all dressed up and venture out again. And with 13 different restaurant/bar concepts, as well as in-room dining, we could have eaten every single meal at the Fairmont Banff Springs without repeating once.

Most mornings, we grabbed food to eat on the go at STOCK, the cafe-style restaurant and bakery in the lobby of the hotel. I don’t like to fill up too much before hitting the slopes, so we usually had avocado toast or yogurt and granola before taking off for the day.

On the lone morning we got a leisurely start, we took advantage of our added time in the hotel and dined at the Vermillion Room, which had a very Art Deco look to it and was quite different from the aesthetic throughout the hotel.

One night, we did après at Grapes wine bar with a group of friends and gorged on wine and cheese, charcuterie plates and Old Fashioneds. Another evening, just SVV and I settled in for a bite and round of cocktails (OK, two) at Rundle Lounge, which despite its size still feels fairly intimate and had live music to boot.

We did not, however, get to partake in Fairmont’s famed afternoon tea, so this will be the first thing I do when next we return. There’s also a golf course for those traveling during warmer months.

Buying the SkiBig3 Pass

A big perk of skiing in Banff is the fact that you can buy the SkiBig3 pass and get access to all three resorts, which lay claim to nearly 8,000 acres of skiing, two gondolas and 26 chairlifts. Definitely buy the pass online before you leave on your ski trip, as there are often substantial savings on the pass, as well as offers for ski-and-stay packages. You can bring your own gear or rent it from SkiBig3’s Adventure Center in downtown Banff.

A three-day ski pass for this month, which is good for three days on any of the mountains over a five-day stretch of time, runs just $250 (or about $83 a day, which is less than half of what I paid for a single day on the slopes on my last trip to Colorado). That also includes complimentary shuttle service to/from all of the resorts. I honestly couldn’t believe how much more affordable it was to go skiing in Banff than resorts of comparable size in the United States; of course, it also helps that the U.S. dollar is strong in Canada right now.

Like all ski resorts, there are seasoned pros available for lessons for adults and kids, as well as a ski school that I’d advise any family with little ones to take advantage of. New to SkiBig3’s offerings is the Guided Adventures, which we made use of when a ski instructor toured us through the three resorts in back-to-back-to-back ski days.

While I was living in California and had my Tahoe annual ski pass, I often employed an instructor to go with me simply to cover more terrain in a day, and this option at SkiBig3 is a game-changer, particularly for those who are new to skiing in Banff and Lake Louise and/or have a limited amount of time; you see a lot more of the resorts than you would if figuring out the ropes on your own. I love that we didn’t waste any time trying to navigate the mountain on our own, as we had one of the ski instructors, Jamie or Carlo, guiding us almost the entire time.

Once you’ve tackled all three resorts during your time in Banff, be sure and redeem your ski pass at SkiBig3’s Adventure Center for a complimentary pint of beer at the Elk & Oarsman, as well as a trail sign souvenir.

Mt. Norquay

What it’s all about: Mt. Norquay is a great place to get your ski legs and warm up before tackling a more serious mountain like Lake Louise. Dubbed “the locals’ mountain” by ski bums and featuring eight lanes of a tubing park with a magic carpet towing system in addition to four lifts, this resort is on the smaller side, while still sporting fairly challenging blues and blacks, particularly on an icier day.

It also has a readily accessible and wide-open trail on the four-chair Cascade that is perfect for beginners and younger children just starting out, plus is home to one of the largest ski and snowboard schools in Canada, with training levels at all stages of skill and age.

Mt. Norquay has daycare, a terrain park, downhill race course and night skiing until 9pm—it’s the only resort that offers this—in addition to on-site rentals.

The food experience: At Norquay’s Cascade Lodge, you have the option of more grab-and-go pub food downstairs or gourmet fare in the Lone Pine Pub on the second level. If you have the time, I recommend the latter, as the menu is very elevated for a ski lodge with seasonally diverse bites from Executive Chef Morne Burger like bao buns, arancini and salads.

At the very top of the mountain is Cliffhouse Bistro, where we ended our final afternoon of skiing with craft beer and s’mores over the fire.

Not only does Cliffhouse have some of the best views in the area, but we got to ride a two-person chairlift up (and down!) without skis that reminded me a whole lot of being in the Alps. 10 out of 10 recommend doing this, whether you’re a skier or a lodge bunny.

The benefits of Mt. Norquay ski resort: You can land in Calgary in the early morning and be on the slopes in the afternoon to get a practice run or two in before going hard in the coming days. It’s one of the smaller mountains, but it’s also the closest to town, so very easy to access if you only want to squeeze in a couple hours on the slopes on any day during your trip. Family excursions will particularly benefit from a visit for the convenience alone.

Distance from downtown Banff: 4.6 miles or 14 minutes

Lake Louise

What it’s all about: Lake Louise Ski Resort used to be the biggest in all of Canada, and it’s definitely my favorite place to have skied ever. It’s about five miles from the lake itself with the most picturesque views and variable trails in this section of the Canadian Rockies.

Massive terrain parks for skiers and snowboarders coupled with front and backside lifts on 4,200 acres of alpine forest make the crowds, particularly during a weekday, seem insignificant.

Keep an eye out for lynx and their children on the deserted gondola runs, particularly Juniper where a mama and her two cubs were spotted the day we arrived.

The food experience: Being one of the biggest (and best), Lake Louise has a dozen dining options, spread throughout the sprawling resort. We had fully planned to have ramen at Kuma Yama at the resort’s Lodge of Ten Peaks, but instead found ourselves mid-mountain at Sawyer’s Nook around lunchtime, not wanting to waste any time trying to ski back down to base camp. This wound up being a very happy mistake, as Sawyer’s was one of the best meals we had all trip, with a decadent burger served on a pretzel-style roll with a pepper aioli and a bit of a kick. I’m still dreaming about that burger.

Once you’re done skiing, I highly recommend hitting up the Fairmont Chateau Lake Louise before heading back to Banff for a bite at Alpine Social, a drink in the ice bar and a mosey onto the frozen lake. It’s one of the most iconic spots on Earth.

The benefits of Lake Louise ski resort: There’s a lot of intermediate terrain that crisscrosses both the front and backside of the mountain. Even if you’re a beginner to intermediate, there are plenty of green and blue runs that leave from the very top and there’s always an easy way down.

On the flip side, it’s got some of the best terrain for experts, as well. The Back Bowl is essentially filled with mini-helicopter drop-in spots that have rocky chutes and steep slopes surrounded by the beginner trails. Everything is clearly marked and is absolutely epic for an adrenaline junkie (or the spouse of one who wants to make sure his/her other half makes it to the bottom).

Distance from downtown Banff: 36 miles or 44 minutes

Banff Sunshine

What it’s all about: Banff Sunshine comprises three craggy mountain ranges and feels like a surrealist painting of another world. The views are spectacular, distracting and will have you yanking off a glove for a selfie or landscape picture for at least the first half day on the slopes. With 3,300 acres of accessible snow terrain, eight high speed quads, a gondola and a literal anomaly in the chilly world of snow-filled adventures, a BUBBLE-ENCLOSED HEATED lift, you’ll be blown away at the elevated nature of this Canadian wonderland.

We actually started our ski week at Sunshine Village, but if I were to do it again, I’d do Mt. Norquay first to get my ski legs back, Lake Louise on the second day as it’s undoubtedly the toughest terrain, and Sunshine on the final afternoon as there are plenty of wide-open groomers, perfect for lazy cruising or a muscle-burning, 15-minute speed run.

Note: You have to take the gondola up to the chairlifts, which was about a 20-minute trip. If you leave a half-hour before dark by skis or snowboard, you can cruise all the way to the bottom from the village, and it was one mighty fun and scenic ride down.

We took a black diamond for part of it, but if you’re more comfortable sticking to green, there’s one that goes all the way down to the base.

The food experience: We had lunch at the hotel’s Eagle’s Nest Bistro, which was mainly salads, sandwiches and the like, then snacks and après drinks at Mad Trappers following our afternoon skiing.

The benefits of Banff Sunshine ski resort: We’ve played on mountain slopes across the northern hemisphere, from California to the Alps in Switzerland, and both of us agree that this is top of the list for amenities, views, crowd size and diversity of runs. Most of our trips down the mountain (albeit mid-week) were completely devoid of other human beings. One of the guides gave us a neat trick, too: shift around from the top of the mountain to middle mountain at mid-day so you beat the half day crowd. It totally worked. Genius!

Distance from downtown Banff: 11.5 miles or 20 minutes

Where to Eat in Banff

There’s no shortage of delicious places to eat in the town of Banff, but one mistake we made last year was not making reservations, particularly on the weekends. So be sure and call to reserve your dinner table at least a few days in advance.

For breakfast, I’m a fan of Wild Flour Bakery, while our ski instructor friends tell us Juniper Hotel Bistro boasts one of the best brunches in town. Park Distillery has a great weekend brunch, though it doesn’t open until 11am.

Chuck’s Steakhouse is your place for all things meat—don’t pass up on the corn bread pudding or cheesy garlic bread either—while Banff Ave. Brewing Co. is a prime spot for a quick bite and a few pints. Craving pizza? Bear Street Tavern has some of the best pies I’ve sampled in ages, while High Rollers bowling alley is also ace at both pizza and craft brews (be sure and book your lane weeks in advance; this place is always packed).

On site at the Fairmont, we had our best meal in all of Canada: a Bavarian feast at Waldhaus. Even if you don’t stay at the hotel, I’d recommend you plan a dinner at this German-style restaurant; it’s divine, and you can’t leave without the chocolate fondue for dessert. If you’re a Fairmont guest and dining here during winter months, opt for the free shuttle, as it’s a bit of an icy walk down to the restaurant.

Overall, our trip to Banff lasted four full days, which was sufficient enough for a sampler of the area, but I’m convinced I could have spent a full week skiing the Canadian Rockies and not grown bored with the varied terrain (plus, all those restaurants and bars to try!). Note to self: Next time, stay longer!

This project was in partnership with Travel Mindset, SkiBig3 and Fairmont Hotels. All opinions and ski-related injuries are my own.

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Canada’s Big 3: A Guide to Skiing in Banff + Lake Louise published first on https://medium.com/@OCEANDREAMCHARTERS

[depechemodespiritera]

DEPECHE Mode is a band of existential angst, pain, sadism, horror and darkness. There’s a communist aesthetic, a fascist element; no bubblegum. Everything is multi-layer, contradictory and ambivalent.

Not my words, but those of Richard Spencer, the American white nationalist who caused gasps and shudders last month – as the band were about to announce their Barrowlands show – with his claim that “Depeche Mode is the official band of the Alt-Right”.

The group were quick to disassociate themselves from Spencer and his politics. Their derision felt genuine, but so does his devotion. His favourite album, according to his Facebook page, is 1986’s Black Celebration, released when he was seven years old, although he has a lot of time for 1983’s Construction Time Again, in particular the single Everything Counts. One might hope that the line, “See just how the lies and deceit gained a little more power” would have some uncomfortable satirical bite for Spencer in the age of Trump, but perhaps not. If the whole unseemly incident proves anything, it is that everyone keeps faith in their own version of Depeche Mode.

“It’s really hard to express how much Mogwai love Depeche Mode. It’s beyond language,” says the Glasgow band’s Stuart Braithwaite. “I think they might have written some of the best pop songs and most powerfully anthemic pieces of music of any band. They’re an important group. It’s going to be amazing to see them at the Barrowlands, probably my favourite venue in the world.”

The gig at the venerable Glasgow concert hall sold out in minutes; hardly surprising given that their only other British date is the 60,000-capacity London Stadium and that they last played Barrowlands (having made the leap from Tiffany’s) in 1984, back when they were deep within their M&S-meets-S&M phase, and their big new track was Master and Servant. This time, it is likely that Just Can’t Get Enough, if they play it, will be the song of the night, given its adoption as a terrace anthem by Celtic fans. In that particular venue, in that part of town, it should be quite a moment – a cultural collision to shake floors and walls and bones.

One man who will certainly be there is Andy Pollard, who owns a bar in Aberdeen, Halo, named after a song from the Violator album. Pollard is a member of The Kilts, a small group of hardcore Scottish Depeche Mode fans – ultras, you might call them – who follow the band around the world. “They have been,” he says, “the soundtrack to my life.” He has seen them around 200 times, his first gig being back in 1984, at the Edinburgh Playhouse, when he was thirteen. “And that was that,” he says. “There’s been loads of parties and rammies along the road.”

The Kilts are a sort of auxilliary force of the tartan army, forever popping up, pint in hand, in post-Soviet capitals. That the Barrowlands show coincides with a World Cup qualifier against Slovenia means that Pollard will miss his first Scotland home game in 21 years. They wear black (though not leather) kilts while painting the town red, and have formed swallied alliances with similar groups of fans from other countries – “the mad Danes, the Irish mob, the Black Swarm from Germany”. Pollard is more interested in the live experience than in collecting memorabilia, “but I did once try to buy Alan Wilder’s jacket. The auction was on while I was watching Scotland beat Lithuania 1-0 at Hampden. I got some bids in before I lost signal.”

Why do Depeche Mode provoke such obsessiveness? “The band seem to think that they are still outsiders and attract outsiders,” says Simon Spence, author of Just Can’t Get Enough, a history of Depeche Mode’s early years. “But even though they have never been particularly mainstream, they are the only band of their generation that are still able to do these huge international stadium tours. They are unique among British bands for longevity and still growing as a creative force.”

A few months ago, I was in London in a part of the South Bank where streets are named after Dickens characters. On Copperfield Street, I chanced upon an old church – All Hallows – deconsecrated and shuttered, ivy growing over the wooden, weatherbeaten figure of Christ crucified which was cemented into a concrete plinth. This, according to a sign pinned to a “Church Notices” frame, was once the home of Blackwing studios, where, in 1981, Depeche Mode recorded their debut album, Speak & Spell. Press an ear to the locked door, and you can almost hear the fading chords: new sounds, new life, ghosts of synthpop past.

Depeche Mode were, back then, just kids. A short film of the time shows them fresh-faced in Blackwing, working on an evangelical song (most of them came from a faith background) and later sitting at the foot of the crucifix for a discussion of their cultural moment. “Depeche Mode,” explains the narrator Danny Baker, “show how much futurism has changed now it has hit Essex.”

They had come from the new town of Basildon, “a new sort of band from a new sort of town” as Dave Gahan once put it. Is there an argument that what Depeche Mode did so effectively, like some of the best black music, was mix sex and spirituality? “That’s hit the nail on the head,” says Simon Spence. “Their music is a sort of British blues.” They came from the Thames Delta, he says, which in the late 19th century, was “all shacks and swampland” as working class speculators from London bought up small plots of farm land. “So there is that romanticism to Basildon’s history, the town itself is all modernist and brutal, and if you add the influence of the church – those are the roots of Depeche Mode and you can hear it all in their music.”

Remarkable that this very English confection should have become so popular in America, and yet – as documented in DA Pennebaker’s documentary 101 – that is exactly what happened.

Lori Majewski, the US author of Mad World: An Oral History Of New Wave Artists And Songs That Defined The 1980s, saw Depeche Mode for the first time at Christmas 1987 in Madison Square Garden. She had fallen for them hard. “Their songs spoke directly to the teenage heart,” she recalls. “I remember I had been in gym class in school and the girl sitting in front of me had a shaved head and this Black Celebration T-shirt on. Oh my God, I just wanted to be her. So I started taking pictures of Dave Gahan to my barber where I’d get my hair shorn like his. And I only wore black from then on.”

What was it about them? “I love a lot of bands from that era, but Depeche Mode woke me up sexually. It was the way they sang to women. A Question Of Lust, A Question Of Time, Dressed In Black – I went from girlhood to womanhood because of those records. And they say you never grow up from high school, right? Today, when I see Dave Gahan swivel his hips, I’m 16 all over again.”

As in New York, so in Ayrshire, where one man’s relationship with the band exemplifies their ability to creep into the quiet places of a life and stay forever. “Growing up gay in the 1980s and loving Depeche Mode could be my specialist subject on Mastermind,” says Ian Morrison, who comes from the former pit village of Auchinleck. The subject feels raw and live for him. He buried his father the day before we talk. Ian Snr, a former miner who was supportive of his son’s musical taste and sexuality, had driven him to Edinburgh for his first Depeche Mode gig, in 1988. “He’s intertwined with the story,” says Morrison. “He was never ashamed of me, although he was maybe mortified when I walked down the street with my bleached Martin Gore hair.”

Morrison got into the band in the summer of 1986, aged 13, listening obsessively to a C60 copy of the singles collection. That music, the sadness and euphoria and frailty and strength of it, he’d never heard anything that went into him so deeply. He needed to hear more, but pocket money didn’t stretch far. “So I went to town with my friend and, on the way to the cinema, shoplifted the first five albums from Woolies. We then casually went to the Kilmarnock Cannon and watched Big Trouble In Little China.”

What was it like being a massive Depeche Mode fan in Auchinleck? To wear black nail varnish in a community with coal dust under its fingernails? “As far as I was concerned, no one else knew what I was going through. It was almost like a parallel with being gay. ‘Nobody understands! Nobody gets me!’ I got called a poof at school just for wearing a band T-shirt. I used to laugh that off.”

He would wander in the fields near his home, walking his dog Ben, listening to Shake The Disease. Fed up being the only fan in the village, he put a personal ad in Smash Hits (“If you’re aged between 1 and 101, get writing to Ian Jnr”) and ended up with 25 pen pals around the world. Having come out as a Depeche Mode obsessive, he felt able, in his letters, to start telling people he was gay. It is just one of the many ways in which the band have shaped his life.

In the hospital, at his dad’s bedside, in the last days, Morrison learned that a friend had managed to get him a ticket for the Barrowlands show. He texted back that he was excited, but in truth he didn’t feel anything.

Now, though, with the funeral over, and staying with his mum for a few days, the longest period he has spent in Auchinleck for 25 years, Morrison has had time to reflect on the the band, his father, his love for both, and how linked they are in his mind.

“He ran me to so many gigs, and so I take a wee bit of comfort that he’d be happy I was going to this concert,” he says. “If this was the last time I ever saw Depeche Mode, I’m sure I could live with that.”

Depeche Mode play the Barrowlands, Glasgow, on March 26 as part of the BBC6Music weekend in the city. The Kilts are hosting a pre-show party at the Solid Rock Cafe, Hope Street, Glasgow, from 2-6pm

[savetopnow]

2018-04-06 23 CAR now

CAR

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[wbwest]

New Post has been published on WilliamBruceWest.com

New Post has been published on http://www.williambrucewest.com/2017/02/10/west-week-ever-pop-culture-review-21017/

West Week Ever: Pop Culture In Review - 2/10/17

Last night, my friend Mike and I went to check out The Lego Batman Movie. Seeing as how we were the only two people in the theater, I’m not quite sure what its weekend box office is gonna look like. I bet John Wick: Chapter 2 takes #1, since that’s where everyone seemed to be heading. Anyway, I LOVED the film. First up, it considers EVERYTHING canon. If you saw it onscreen, then it happened in that universe. The whole thing is kind of surreal, as the movie focuses on Batman’s loner status, while also confronting his complicated relationship with The Joker. On the Batman Beyond cartoon, there’s an episode where old Bruce Wayne and his protege, Terry McGinnis, go to a Batman-themed musical. Bruce can’t get over how goofy the whole thing seems, but I feel like this film is the movie version of that musical. It doesn’t have the camp of the ’66 show, but it’s a movie that never really takes itself seriously. I loved the liberties they took, like making Jim and Barbara Gordon people of color (voiced by Hector Elizondo and Rosario Dawson). It doesn’t hurt the story any, while bringing some diversity to the Lego world. I also liked how it tied in concepts from The Lego Movie, such as the fact that Batman is a Master Builder. I’m not going to spoil the movie for you, but I feel like it’s strong until the middle of the second act, at which point it switches from a Lego Batman movie to a Lego Dimensions movie. Trust me, you’ll understand when you see it, and I think you’ll agree that the story gets a bit weaker at that point. In any case, I can’t wait for it to hit Blu Ray, so I can rewatch it a thousand times to catch all the Easter eggs.

This week, we got a trailer for a new season of Arrow. Wait, what? That was actually for Iron Fist? Huh. Yeah, I was really underwhelmed by that trailer. Finn Jones doesn’t seem like a great actor, there’s not a lot of Kung Fu on display, and it seems like it’s more focused on corporate takeover, as Danny Rand tries to reclaim his family’s business. Since it’s a Netflix Marvel show, there’s also Rosario Dawson and another damn hallway fight. I welcome the former, but I’m SO over the latter. I’ll get around to watching it, but the days of me binge-watching a Marvel season the weekend of its release are long gone. Considering I still need to watch Daredevil season 2 and Luke Cage, I’ll be lucky to get around to it in 2017. That said, I know a lot of y’all will binge it that day, and will tell me if it sucks or not.

In other TV news, it’s rumored that NBC wants to spin Saturday Night Live‘s Weekend Update segment into a weekly 30-minute show. I guess they looked at John Oliver and Samantha Bee, and realized they might be leaving money on the table. Still, Jost and Che as “polarizing”, at best, and I’m not sure if that segment has the legs to air 30 minutes every week, in the same format. Plus, would it also remain a part of SNL, or would it be excised completely? I think this would’ve been a good idea in an election year, as there’s just so much news to cover, but now that all that is behind us, I’m just not sure this is going to work. And then what happens? If it does leave SNL, would it come crawling back next season, with its tail between its legs? The difference between Last Week Tonight/Full Frontal and Weekend Update is that those cable shows are actually smart, with smart hosts. Plus, they can get away with a bit more because cable. Weekend Update has gotten a lot more biting since Trump was elected, but is it too little, too late? Are the SNL writers up to the task of this project? I just feel like it’s a bad idea that will dilute the Weekend Update and SNL brands.

It was also announced that Viacom will be rebranding Spike TV as the Paramount Network. In my lifetime, I don’t think I’ve witnessed a network go through as many format changes as that one. As far back as I can remember, it was The Nashville Network. Then, to appeal to a wider audience, it became The National Network. Then, to appeal to dudebros, it became Spike TV. Now, I don’t even know who they’re targeting. I also don’t know why they chose this particular name. It’s like they have short memories or something. After all, there’s already been a Paramount Network. Sure, most of us referred to it as UPN and not the United Paramount Network, but that’s what those letters stood for. And it was the definition of “failed experiment”. Sure, it hobbled along for about 10 years, but its legacy is basically Star Trek: Voyager, America’s Next Top Model and Girlfriends. Outside of that, it gave us such critical darlings as Shasta McNasty, Homeboys In Outer Space, and The Secret Diary of Desmond Pfeiffer. Hey, let’s see how many shitty (that means all of them) UPN shows I can list without looking them up: DiResta, Legend, Platypus Man, Hitz, Good News, Sparks, Dilbert, Marker, The Watcher, The Sentinel…yeah,that’s enough to make my point, which is you probably don’t remember any of these. UPN did NOTHING for the Paramount brand, and its effects are still being felt 11 years after its demise. So why, WHY would Viacom want to go down this road again? Anyway, the early plans for the rebranding call for the network to be a warehouse for hit Viacom programming from their other networks. It’s basically just gonna be the Now That’s What I Call Viacom Channel, posting the highlights from MTV, Nick, Nick Jr, etc. In fact, there are no concrete plans for the future of other Viacom networks, such as VH1, CMT, and TVLand, but reports say that there’s no immediate push to shut them down.

It was also rumored that there are already talks of an American Idol revival, but this time on NBC. Now, keep in mind the show just ended its run on Fox last year. The idea is that The Voice would be reduced to one cycle a year, and then they would slot Idol in one of its old slots. I feel like NBC sees the value in that show in that it actually creates household names – something The Voice has failed to do after 11 seasons. The focus is too much on the judges, and the winners have gone nowhere. Quick, name a winner of The Voice without looking it up. Hell, I watched the first season, and I can’t even remember that guy (I looked it up: Javier Colon. Who? Right). So, there’s definitely something to be gained from acquiring the franchise. That said, though, I also feel like a network only gets one of those shows. Fox had Idol, NBC had The Voice, ABC had Rising Star, and CBS had some show that got canceled that I forgot. Fox hurt Idol by double-dipping and picking up The X-Factor. That show never caught on in the US, and it hurt the Fox singing competition brand. If NBC picks up Idol, it’s going to do the same to The Voice. I mean, how much longer does America want to see Blake Shelton and Adam Levine bicker at each other? Sure, there’s a new dynamic now that Blake and Gwen Stefani are dating and both judges, but unless the show breaks them up, I don’t know how engaging that’s gonna be. And Miley Cyrus as a coach? Now, let me say that Bangerz was a great album. I’ve written about how awesome it was. But I don’t think Miley is established enough as a singer to be coaching anyone. She’s more known for her antics than her music. Then again, Paula Abdul was a has been, judging the talent of tomorrow, but that was intrinsic to the formula. Ultimately, America chose the Idol, and the show brought in established stars as coaches. The Voice has an unnecessary layer. They have talented judges, but then they also have the coaches, and then America. As Idol showed us, ANYBODY cane a judge, which is going to be an important thing for NBC to remember once it comes to for contracts to be renegotiated. Anyway, I think Idol needs to rest a few more years before they dust it off. It was once a powerhouse, but television AND music changed over time. Let the industry figure out its next steps before trying to reenter it.

I don’t know about you, but I grew up with women, which meant I did a tour of duty with soap operas. I started with Days of Our Lives back in the late 80s, then shifted to The Young and the Restless, and then shifted back to Days in the 00s. And besides Victor Newman, there is no soap villain quite as diabolical as Stefano DiMera. Well, the actor who portrayed him, Joseph Mascolo, died back in December, but his final filmed episode aired yesterday.  Although Mascolo had been battling Alzheimers for the past few years, he had portrayed the character for around 30 years. For some reason (I haven’t watched in a while), he was in prison (he’s killed/led to the death of a lot of folks. But they typically come back after contract negotiations), and at the end of the episode, he escapes! What a beautiful ending, knowing that he will be forever “in the wind”, as they can’t really catch him again unless they recast him. Seeing as how the rumor is Days is coming to an end this year, they won’t even have time to do that, with scripts written about 6 months in advance. So, here’s a toast to one of the greatest villains to ever grace the television set. You will be missed, you evil son of a bitch.

Let’s get a little controversial, shall we? This week, comedian George Lopez got in hot water for kicking a woman out of one of his shows when she objected to a racially-charged joke he told. Basically he said, “There are only two rules in the Latino family: Don’t marry somebody black and don’t park in front of our house.” Apparently, a woman gave him the finger after that joke, to which he began to tell her to “sit [her] fucking ass down or get the fuck out.” Now, comedians are on his side because they say he was just shutting down a heckler. Meanwhile, the general public is on her side because they’re offended by the joke, and don’t see why he had to kick her out for objecting. Here’s my take: First of all, he’s told variations of this joke for years. He used to joke about how his grandmother wouldn’t even want President Obama in her house. If you’re familiar with his material, then his joke the other night shouldn’t surprise you. Now, for the folks offended by the joke: was he wrong? All I know is my own life experience. I dated a Cuban, and as polite and Ivy League-educated as I could be, I was still the Black guy who could only illicit grunts from her father. And I don’t know anyone named Esmeralda Jenkins or Manuela Johnson. Growing up where I did, Black guys didn’t get Latinas or Asian girls. Those girls’ families weren’t gonna stand for that! So, this is one of those jokes that’s grounded in truth. It might rub some folks the wrong way, but it’s not necessarily untrue. Where I stand, I don’t think he really did anything wrong. After all, that’s how comedians handle folks who they feel are interrupting their show, and the joke itself was par for the Lopez course. I wouldn’t say it was “haha funny”, but it wasn’t wrong.

Things You Might Have Missed This Week

An animated series based on the Castlevania video game is coming to Netflix later this year. Hopefully it will star gay Simon Belmont from Captain N: The Game Master.

Kate McKinnon will voice Ms. Frizzle in Netflix’s reboot of The Magic School Bus

Speaking of Netflix, Love, The OA, and Trollhunters have all been renewed by the streaming service.

Queen of Soul, Aretha Franklin, announced that she’s retiring after her next album is released.

After 25 years over covering the Olympics, Bob Costas announced he’s handing the reins over to Mike Tirico

Entertainment newsmagazine show The Insider has been canceled after 13 seasons.

Formerly of USA’s Satisfaction, Blair Redford has been cast as the first mutant in Fox’s X-Men TV series

Not to be outdone by Beyoncé, it was announced that George and Amal Clooney are expecting twins. Those Hollywood In Vitro clinics are working overtime these days!

Speaking of babies, Jason Statham proved he’s the Transporter of Sperm, as he announced he’s expecting a baby with girlfriend Rosie Huntington-Whiteley

I don’t like Tom Brady. Don’t like a thing about him. I find it odd that you can be suspended for cheating AND win the Super Bowl in the same damn season. That said, that was a Hell of a comeback during Sunday’s Super Bowl LI. Somehow, the Atlanta Falcons blew a 25-point lead, allowing the New England Patriots to mount an amazing comeback and win their 5th Super Bowl title. It was the first Super Bowl to go into overtime. There was Edelman’s amazing catch. Some are calling it the most exciting game of football ever. But in the end there can only be one winner, and that was the Patriots. So, with that in mind, the New England Patriots had the West Week Ever.

[freddiemercurylegendabovelegends]

Today - March 20, 1981 - Queen Story!

São Paulo, Brazil, Estádio Cícero Pompeu de Toledo

'S. America Bites The Dust Tour'

"Morumbi Stadium" is a nickname for the venue, as Morumbi is a small district of São Paulo

[prideguynews]

Let us just take a appear at our most loved headlines for Tuesday, Oct. nine. For starters, but one more Trump appointee bites the dust as information of today’s Nikki Haley resignation as America’s ambassador to the United Nations has been making the rounds.

Also, bear in mind how yesterday we claimed on Taylor Swift at last breaking her political silence? Very well, large matters have occur from it. Big. Enormous.

Plus, disconcerting information out of California, where one more homosexual person who was regularly employing PrEP to stop HIV has occur down with the virus. In Taiwan, the federal government has resolved to hold a referendum on homosexual marriage (yuck) and see why pop star Sam Smith has some animal activists viewing pink.

From the Nikki Haley resignation to Sam Smith’s fishy consuming behaviors, listed here are the day’s major headlines:

one. Nikki Haley Resignation Will make Her the Most up-to-date Trump Appointee to Connect with It Quits (Information)

“It was a blessing to go into the U.N. with body armor just about every working day and defend The united states,” Nikki Haley instructed reporters nowadays even though seated up coming to Donald Trump in the Oval Business office. She also referred to as it “an honor of a life time.” Information of the Nikki Haley resignation has been hailed as predicted by Trump himself, who states Haley constantly meant to depart immediately after two decades. He states he options to name her successor in the up coming month. Haley, one of the handful of women in the Trump administration, will keep on being in her place by the close of the year. The New York Instances mentions that earlier this year some White House Republicans ended up whispering about the possibility of a Pence / Haley ticket in 2020.

two. In 1 Day, Taylor Swift Caused a Enormous Spike in Voter Registration (Celebrities, Politics)

Yesterday we claimed that burgeoning pop icon Taylor Swift broke her rigidly apolitical stance on Sunday by encouraging Americans to get out and vote, supporting queer legal rights and endorsing two Democratic candidates in her home point out of Tennessee. By natural means, backlash from conservatives adopted, several conveying a very good ol’ fashioned “shut up and sing” sentiment, Donald Trump declaring, “I like Taylor’s tunes about twenty five% fewer now” (???) and previous Arkansas Gov. Mike Huckabee trying to land a joke by declaring Swift’s put up will not influence the election for the reason that thirteen-year-old girls just cannot vote.

So you can impression Huckabee’s certain aggravation when the Taylor Swift Insta put up prompted a enormous spike in voter registration, up 65,000 registrations in 24 hours in accordance to Vote.org‘s director of communications.

3. A San Francisco Male on PrEP Has Contracted HIV (Wellness)

A sixth instance of seroconversion by an person making standard use of pre-publicity prophylaxis (PrEP) was claimed at yearly conference IDWeek 2018 in San Francisco. Scientists ended up swift to relay, however, the rarity of such a circumstance, with one PrEP researcher commenting, “I genuinely want to say that PrEP is just about there in terms of a hundred% [defense]. This is a scarce circumstance and I never want any individual to fret as well a great deal.” In spite of adhering to proper PrEP utilization, the San Francisco person, a 21-year-old Latino, came into get hold of with a particularly resistant strain of the virus.

“HIV infections for the duration of PrEP use are exceptionally scarce,” states PrEP researcher Robert Grant of UCSF. “There are only a handful of conditions claimed worldwide immediately after hundreds of hundreds of individuals have employed PrEP and tens of hundreds of HIV infections have been prevented.”

Browse the full tale by AIDSMap listed here. 

4. Taiwan to Keep a General public Vote in November on Relationship Equality (Information, World)

It was only May when the optimum courtroom of Taiwan dominated that not permitting homosexual couples marry is unconstitutional — the 1st ruling to say as a great deal in Asia — but nowadays all those battling for homosexual marriage in Taiwan are facing a setback. Just today the island nation’s Central Election Fee permitted a petition to hold a referendum on Nov. 24, asking the public no matter whether the country’s civil code should understand homosexual marriage or no matter whether there should be separate legislation for homosexual marriage (which homosexual marriage supporters say would not make full equality). Also having area up coming month is a referendum on no matter whether LGBTQ education and learning should be integrated in faculty curricula.

LGBTQ residents of Taiwan are annoyed by recent President Tsai Ing-wen’s failure to legislate homosexual marriage, as she campaigned on the challenge. Afterwards this month, queer individuals from all throughout Asia and the planet will meet in Taiwan for the continent’s greatest Delight celebration.

5. Sam Smith Posts Movie of Uncooked Octopus Meal, Online Goes Off (Celebrities)

He’s one of the world’s most loved pop crooner’s of the instant, and he’s at the moment touring Asia. But why are some of Sam Smith‘s followers at the moment pissed? Yesterday Smith posted the above online video on Insta he’s at Gwangjang Market place in Seoul, South Korea, and in the vid he and his buddies are making the most of regional eats, which includes an octopus dish in which the sea creature is killed just before getting served, which results in its tentacles continuing to wiggle even as it is getting ingested. Several followers referred to as the dish “disgusting,” even though other folks appeared upset he was ingesting an animal at all. Nonetheless other folks commented that what’s really disgusting is the bashing of one more society — in this circumstance something that is viewed as a Korean delicacy.

What are your thoughts on the Nikki Haley resignation? Are you hella pissed at Sam Smith, as well?

The post Nikki Haley Resignation, PrEP Fails California Gay Man: Today’s Headlines appeared first on PrideGuy - Gay News, LGBT News, Politics & Entertainment.