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miserablesme · 3 years

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The Les Miserables Changelog Part 3: 1987 Broadway Production

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through all the changes between the musical as it existed on the West End around 1985-1986 and the revised libretto for the 1987 Broadway production.

In some ways, this is a much easier changelog to compile than the last two simply because it is much easier to find audio evidence of the show from this era than from its pre-1987 self. We have a full soundboard of the original Broadway cast as well as a very good quality bootleg of the very first Broadway preview, as well as several audios from the next few years which use exactly the same script. We also have an officially released Symphonic Soundtrack which almost (but not quite) follows this version of the libretto exactly. So no more relying on unclear bootlegs and speculation to figure out what was changed when!

Having said that, the changes in this production were MASSIVE. It's almost certainly the most extensive edit the show's libretto has received to this day. As such, this will be a very long edition of this blog. So make sure you have a bit of time on your hands before reading it! With all that cleared up, let's begin.

The first change literally can be heard as soon as the musical begins. The pre-Broadway show opens up with the same recurring motif also heard, for instance, at the openings of "At the End of the Day" and "One Day More". This music then transitioned to the instrumentals to the opening "Work Song". The post-Broadway libretto cuts right to the chase, with the opening instrumentals to the "Work Song" starting right up without any preamble.

One interesting little non-scripted change occurs later in the "Work Song", but only in American productions. For whatever reason, every American Javert from the original Broadway cast until the first Broadway revival sang "And I am Javert" instead of "And I'm Javert", for reasons that honestly baffle me. Again, the libretto retained the original contraption as far as I'm aware, and the West End production as well as later UK and Australian tours still used it as well.

The next change happens while Valjean is on parole. After Valjean pleads against the farmer underpaying him, this was the farmer's original response:

Do you believe

A yellow ticket of leave

Allows a criminal like you to earn full screw?

Since Broadway, his response is instead as follows:

You broke the law

It's there for people to see

Why should you get the same as honest men like me?

I much prefer this revised version. Though the information is essentially the same, it feels more dramatic, as well as feeling less awkward now that it is in the form of separate sentences as opposed to a single sentence spoken in three lines with pauses in between. Moreover, the phrase "honest men like me" as used here provides interesting foreshadowing for its more well-known usage in "Master of the House". One could spend quite some time analysing the implications of this recurring description, but this blog is long enough as it is so now isn't the time!

In the same number, originally the innkeeper's wife had the following remark:

My rooms are full

And I've no supper to spare

I'd like to help you really, all I want is to be fair

Since Broadway, her line has been slightly modified:

My rooms are full

And I've no supper to spare

I'd like to help a stranger, all we want is to be fair

I suppose "I'd like to help a stranger" sounds less slang-y than "help you really". Presumably this is why it was changed. I find the change of subject from singular to plural far more interesting. My hypothesis is that the writers wanted to make it clear than this is a communal grudge, not a personal one. Everyone around sees it as perfectly fair to deny shelter to a former convict, not just this one individual. I definitely prefer the revised line, but evidently the producers of the West End production didn't; that production held on to the original lyrics for more than a decade after they were originally revised! More on that in a later edition of this blog...

A more minor change can be heard during "At the End of the Day". Originally, Valjean asks the factor workers "What is this shouting all about?" The Broadway script changes this to "What is this fighting all about?" Much less trivial implications now. I'm curious as to whether or not a staging change may have accompanied this. Usually the two workers get into quite a bit of physical scuffle by this point, far beyond the realm of shouting. Did the original pre-Broadway production use more subdued choreography?

"The Runaway Cart" has some noticeable differences. After Valjean asks the townspeople for help, the original response was sung by the entire ensemble, and went as follows:

(SOLO)

Don't go near him, Monsieur Mayor

There's nothing at all you can do

(ENSEMBLE)

The old man is a goner for sure

Leave him alone

The Broadway libretto revised this into a sequence sung by one individual at a time with the following lyrics:

Don't go near him, Monsieur Mayor

The load is as heavy as hell

The old man is a goner for sure

It will kill you as well

A female ensemble member sung "The old man is a goner for sure" while a male member sung the rest. I sort of like it better as an ensemble piece (something that would be largely brought back in later years, as I'll soon discuss) although I think it's cool that it rhymes now. Having said that, I'm fairly confident that no one in the real world has ever actually used the phrase "Heavy as hell"!

An official change in the libretto occurred in "Who Am I?" but listeners to the original Broadway cast would not have heard it. While the pre-Broadway show had Valjean refer to "This innocent who bears my face", the revised libretto instead refers to "This innocent who wears my face". Perhaps a means of avoiding repetition, given that the word "bear" is used again later in the number? Regardless, Colm Wilkinson didn't actually bother to adapt to this change! He still sings "This innocent who bears my face" in the Broadway production (as well as the tenth anniversary concert; not until his 1998 stint in Toronto did he ever start singing the revised lyrics). Since every future Valjean (except Ivan Rutherford for some reason) sings "wears", I still see it as appropriate to mention here.

At the end of the song, Valjean's "You know where to find me!", used on and off in the Barbican previews before becoming a settled part of the production by the final pre-Broadway libretto, is once again removed for the Broadway show. However, the West End production would keep it for a few years - more on that later...

Just listening to the original Broadway cast, one might think Javert's "Dare you talk to me of crime?" becomes "Dare you speak to me of crime?" However, this seems to be a Terrence Mann-exclusive change. Every Javert after him reverts to the original lyrics (as did Terrence himself when he returned to the musical fifteen years later). I'm still making note of the change here for the sake of clarification.

An instrumental change occurs between "Castle on a Cloud" and "Master of the House". Mme. Thenardier's "You heard me ask for something and I never ask twice" was original followed by three bars of notes, then by six more bars of notes that are identical to each other. After the Broadway production, however, those six bars of notes grow increasingly more dramatic as they go on.

A very slight change happens during the preamble to "Master of the House". Originally one of the guests proclaims "Hell, what a wine" while the revised libretto instead has him claim "God, what a wine". Definitely more natural in my opinion, though not a huge difference by any means.

A few subtle differences exist in the "Waltz of Treachery" number. First off, Thenardier originally asks "Have we done for your child what is best?" The Broadway libretto changes "your child" to "her child". I personally like the original lyric better, as it goes back to the idea established earlier that Valjean is metaphorically bargaining through the spirit of Fantine. It's definitely not a difference that makes or breaks the number, though.

Towards the end of the song comes another change that cannot actually be heard by listening to the original Broadway cast. In the pre-Broadway show, Valjean used the line "Let us seek out a friendlier sky", while the revised libretto has him say "Let us seek out some friendlier sky". However, Colm Wilkinson once again doesn't bother to adapt to the change, and unlike the "Who Am I?" change he wouldn't learn it over time either. He continues to sing "a friendlier sky" throughout his on-and-off performances as Valjean, right up to and including his 2002 run in Shanghai!

After the bulk of the number comes a more significant change. Prior to the Broadway production, as was discussed in the last entry, the "Waltz of Treachery" was followed by about forty-five seconds of vamping and then this exchange in the tune of "Castle on a Cloud":

(LITTLE COSETTE)

We're going home right now, monsieur

What is your name

(VALJEAN)

Now my dear

I've names enough, I've got names to spare

But where I go, you always will be there

Nor will you be afraid again

There is a sun that's shining yet

(LITTLE COSETTE)

I'm going to call you my Papa

(VALJEAN)

I'm going to call you my Cosette

The Broadway libretto replaced it with just under twenty seconds of vamping, followed by a sequence in the tune of the "Waltz of Treachery":

(VALJEAN)

Come Cosette

Come my dear

From now on I will always be here

Where I go

You will be

(LITTLE COSETTE)

Will there be children

And castles to see?

(VALJEAN)

Yes, Cosette

Yes it's true

There's a castle just waiting for you

This is followed by another fifteen or so seconds of vamping, and then the humming duet between Cosette and Valjean carries on as before.

Arguably the biggest change in the entire edited libretto happens now. Whereas the number was originally directly followed by "Stars", things have been moved around so that it instead transitions directly into "Look Down". "Look Down" itself receives a lot of adjustments. First off, the number began in the pre-Broadway musical with a bar of music that was then repeated. The Broadway version only plays the bar of music once, and the sung part happens immediately afterwards.

Gavroche's verse receives some lyrical updates. Originally it used the following lines:

This is my school, my high society

From St. Denis to St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

If you're poor, if you're free

Follow me, follow me!

The Broadway production rewrote that sequence a little:

This is my school, my high society

Here in the slums of St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

Think you're poor? Think you're free?

Follow me, follow me!

Better lines in my humble opinion; "slums" conveys the poverty of Gavroche's community much more effectively than the original line, and phrasing the "poor" and "free" lines as questions is more dramatic than their original statement form.

The old beggar woman's original "You give 'em all the pox" becomes the less grammatically accurate "Give 'em all the pox" for Broadway, though I have no idea if the original "You" was part of the libretto or simply an improvisation. Since seemingly all actresses used that line for the first few years of the West End production, it strikes me as warranting a mention.

Right after this comes another change. In the pre-Broadway show, the argument between the beggar woman and the prostitute was followed by an exchange by a few individual beggars. All of the following lines were said by one person at a time, the first three being said by female beggars and the last one by a male beggar:

When's it gonna end?

When're we gonna live?

Something's gotta happen, dearie

Something's gotta give

The Broadway libretto changes this to an ensemble piece performed by all the beggars simultaneously:

When's it gonna end?

When're we gonna live?

Something's gotta happen now or

Something's gotta give

I really like the switch to a group effort, as it really emphasizes that the beggars are a community sharing the burden of poverty. It really feels like an epidemic to an extent that it doesn't when it's just a small conversation. Evidently the producers of the West End show didn't agree with me though, as they held onto the original sequence for more than a decade after the official change, and by that point it had already been largely reverted worldwide! More on that in a later blog...

Originally, the exposition about General Lamarque was given by a few random students (supposedly not specified in the libretto, but in practice portrayed as Combeferre and Feuilly). Some ensemble dialogue between beggars was put in between. Feuilly sings over the end of the ensemble's lines - but many have speculated that this was not intended by the writers, as the background music sounds super out of sync with his singing! Here's how the scene went:

(COMBEFERRE)

As for the leaders of the land

As for the swells who run this show

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

Something for a meal

Something for a doss

Something in the name of Him who died upon the cross

On the cross, come across

On the cross, come across, come across

(FEUILLY)

Lamarque is ill and fading fast

Won't last the week out, so they say

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Fortunately, the writers of the Broadway libretto had the sense to change the purveyors of the message into people actually relevant to the show's plot, namely Marius and Enjolras. Moreover, the beggars' dialog was rewritten into a sequence that feels far less clunky to me. The background music was fixed to account for the solo singing (now done by Marius) overlapping the beggars' lines, so it is now perfectly in sync. Here's the edited exchange:

(ENJOLRAS)

Where are the leaders of the land?

Where are the swells who run this show?

(MARIUS)

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

See our children fed

Help us in our shame

Something for a crust of bread in Holy Jesus' name

(SOLO BEGGAR)

In the Lord's holy name

(BEGGARS)

In His name, in His name, in His name

(MARIUS)

Lamarque is ill and fading fast

Won't last the week out, so they say

(ENJOLRAS)

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Much better in my opinion! It should be noted that David Bryant instead sings "these people here below", but as far as I can tell every future Marius (or later Enjolras - more on that later) sings "the people, which is the actually phrasing in the libretto.

One final change in Look Down: Gavroche now says that all of Thenardier's family is "on the make", as opposed to the original "on the take". A rather pointless change in my book, though it certainly doesn't hurt anything.

"The Robbery" is another heavily edited number. Thenardier's line after acknowledging Brujon, Babet, and Claquesous was originally as follows:

You Montparnasse, watch for the p'lice

With Eponine, take care

You've got all the hash, I've got all the cash

The Broadway show rewrote those lines into their still-current form:

You Montparnasse, watch for the law

With Eponine, take care

You turn on the tears, no mistakes my dears!

This changed lyric more naturally transitions the scene into the gang's actual plan, though the original is an interesting continuation of Gavroche's recollection of Thenardier once running a hash house.

Mme. Thenardier's response is also altered from the original lyrics:

Here come a student from our street

One of 'Ponine's peculiar gents

Our Eponine would kiss his feet

She never showed a bit of sense

Into the current ones:

These bloody students on our street

Here they come slumming once again

Our Eponine would kiss their feet

She never showed a scrap of brain

It's interesting how the edit shifts the focus from Marius in particular to the students in general. It seems that Mme. Thenardier is less aware of the specifics of her daughter's personal life now, something that makes sense for her character.

After Mme. Thenardier's "You'll be in the clear", there was originally just eighteen seconds of a musical motif (the same one which opens "At the End of the Day" and "One Day More") followed by Thenardier's speech. Since Broadway, it's instead been followed by a few more lines of dialogue:

(MARIUS)

Who is that man

(EPONINE)

Leave me alone!

(MARIUS)

Why is here?

Hey Eponine!

Only now does the musical motif play. But instead of staying silent upon seeing Cosette, Marius now sings "I didn't see you there, forgive me..." Interestingly, in this video of a 1987 performance of the original West End production, Marius just stops without bumping into Cosette as he usually does. This makes me wonder whether or not the bumping was added into the Broadway version, and the lyric was added to accomodate for the blocking change. Of course, this is all speculation; I have no way to know for sure.

Thenardier's con job is also quite a bit different post-Broadway. Originally it used the following lyrics:

How you do? Spare a sou

God will see all the good that you do

Look monsieur, lost a leg

Hero of Waterloo now has to beg

Wait a bit, know that face...

The Broadway libretto edited it into its current form:

Please monsieur, come this way

Here's a child that ain't eaten today

Save a life, spare a sou

God rewards all the good that you do

Wait a bit, know that face...

It's interesting how Thenardier's facade shifts in focus from his own supposed hardship to that of an alleged child. I suppose the latter would be a good bit more effective in convincing passersby to donate!

During "Javert's Intervention", Thenardier now says "It was me that told you so, as opposed to the original "Wot told you so"; however, this seems to be a regional choice to account for a lack of Cockney accent, not an official libretto change. British productions retain the original "Wot".

“The Robbery” ends quite differently. Its pre-Broadway form had Gavroche’s remarks directly follow Javert’s “Clear this garbage off the street!” However, now Javert’s line is instead followed by some instrumentals to a slower version of the same tune as, for instance, “Honest work/Just reward/That’s the way to please the lord” and “He will bend/He will break/This time there is no mistake”.

After these instrumentals come the “Stars” number, now in a much more natural location given that Javert now has a logical reason to be thinking about Valjean!

The number itself is mostly the same, up until the final segment. After Javert’s “Those who falter and those who fall must pay the price”, he originally had the following lyrics:

Scarce to be counted

Changing the chaos

To order and light

You are the sentinels

Silent and sure

Keeping watch in the night

The post-Broadway show replaced this with a much more climactic remark:

Lord let me find him

That I may see him

Safe behind bars

I will never rest ‘til then

This I swear

This is swear by the stars

WOW, what an improvement! Now the stars are tied much better to Valjean himself, and Javert’s motivation is much clearer!

Now that “Stars” is over, we finally get Gavroche's remarks. The lyrics are the same; however, instead of the tempo progressively getting faster as it goes along, it now gets progressively slower. Interestingly the audio of the first preview has Gavroche saying "mother dear" instead of "auntie dear", but it's back to the original line by the second known original Broadway cast audio. Both audio feature Braden Danner; whether the "mother dear" was a choice on his part or a director's, a flub, or a libretto change that was later reverted is unknown.

"Eponine's Errand" has some significant changes. First off, the original libretto gave Marius and Eponine this exchange:

(MARIUS)

Did you see that lovely girl

(EPONINE)

A lovely two-a-penny thing

The Broadway libretto edited it a little:

(MARIUS)

Eponine, who was that girl?

(EPONINE)

Some bourgeois two-a-penny thing

Marius' request has also been changed from its original lyrics:

Eponine, do this for me

But careful how you go

Your father mustn't know

He'll strike another blow

'Ponine, I'm lost until she's found

Into some far clearer and more direct instructions:

Eponine, do this for me

Discover where she lives

But careful how you go

Don't let your father know

'Ponine, I'm lost until she's found

And yes, the line was "your father" right from day one. Michael Ball flubs it as "her father" on the complete symphonic recording, leading many to assume that was the original lyric which was changed later. But I'm not aware of a single live performance to use that lyric (which doesn't make a lot of sense anyway).

Another side note: Some Marius actors have very slightly changed the third line to "Be careful how you go" or "But careful as you go", though neither lyric is the standard.

Post-Broadway, as the instrumentals to "Red and Black" play, a student (I'm not sure which one) now shouts Enjolras' name before the singing begins.

During "Red and Black", Michael Maguire changes the original "It is easy to sit here and swat 'em like flies" to "Oh, it's easy to sit here and swat 'em like flies". However, this is an individual choice of the actor, not an official libretto change. Every future Enjolras I'm aware of (except Ramin Karimloo for some reason) uses the original line.

An actual libretto change occurs soon afterwards. After Marius' entrance, Grantaire originally asks, "Marius, what's wrong with you today?" The post-Broadway show changes this to "Marius, you're late. What's wrong today?" This makes it much clearer why Grantaire might suspect something is wrong.

Soon afterwards, Grantaire's original line "We talk of battles to be won, and here he comes like Don Juan" is slightly tweaked to "You talk of battles to be won". This is a little more appropriate, since Grantaire isn't actually doing a lot of talking!

After "Red and Black", Gavroche's part is very slightly changed. First off, American performances for a few years would have Gavroche whistle right before everyone quiets down, though I have no idea if this was in the libretto or not.

Secondly, Gavroche's original remark, "It's General Lamarque! He's dead!" is shortened to just "General Lamarque is dead!"

In another contender for the biggest change in the entire edit, the entire "I Saw Him Once" number is totally removed. I have mixed feelings about this. It does give Cosette, a frustratingly underwritten character, some additional content. However, stylistically it's not all that much like any other number in the musical, and it doesn't really add enough information to the show to warrant a whole song. So I say with regret that it was probably for the best to delete the number.

To compensate for the lost number, "In My Life" is lengthened to include the establishing character moments that "I Saw Him Once" originally did. Originally it opened as follows:

(COSETTE)

Dearest papa, can I tell him of this?

How can I tell him the things that I feel?

How could he understand?

(VALJEAN)

Dear Cosette, you're such a lonely child...

The post-Broadway opener is instead as follows:

(COSETTE)

How strange, this feeling that my life's begun at last

This change, can people really fall in love so fast?

What's the matter with you Cosette?

Have you been to much on your own?

So many things unclear

So many things unknown

In my life

There are so many questions and answers

That somehow seem wrong

In my life

There are times when I catch in the silence

The sigh of a faraway song

And it sings of a world that I long to see

Out of reach, just a whisper away, waiting for me

Does he know I'm alive? Do I know if he's real?

Does he see what I see? Does he feel what I feel?

In my life

I'm no longer alone

Now the love in my life is so near

Find me now, find me here

(VALJEAN)

Dear Cosette, you're such a lonely child...

After Valjean gives Cosette his cryptic defense of his secrecy, Cosette had a remark that is sadly incredibly hard to understand in the quality of the recordings we have. It apparently went something like this:

There are voices I hear

That come into my mind

Full of noise, full of fear

When the noise was unkind

In my life

I'm no longer afraid

And I yearn for the truth that you know

Of the years, years ago

Her post-Broadway response is much shorter:

In my life

I'm no longer a child

And I yearn for the truth that you know

Of the years, years ago

Shorter, but just as effective in my book. Plus, the use of the word "child" nicely ties into Valjean's initial remark that Cosette is "such a lonely child", as well as Cosette's frustration that he still sees her as "a child who is lost in the woods".

The next number, "A Heart Full of Love", also has a LOT of rewritten lyrics. First of all, after Marius' "I do not even know your name", these are his original lyrics:

Dear mademoiselle

I am lost in your spell

The Broadway production changed the lyrics into:

Dear mademoiselle

Won't you say? Will you tell?

I suppose this fits a little better with his remark about not knowing Cosette's name.

After Marius and Cosette finally learn each other's names (an important step in a relationship if you ask me!) this was their original way of showing their affection:

(MARIUS)

Cosette, your name is like a song

(COSETTE)

My song is you

(MARIUS)

Is it true?

(COSETTE)

Yes, it's true

The Broadway production rewrote it into the following:

(MARIUS)

Cosette, I don't know what to say

(COSETTE)

Then make no sound

(MARIUS)

I am lost

(COSETTE)

I am found

In my opinion, the rewrite captures the slight awkwardness of young love much better, as well as making a lot more sense!

Immediately afterwards, this is the original exchange:

(MARIUS and COSETTE)

A heart full of love

A heart full of you

(MARIUS)

The words are foolish but they're true

Cosette, Cosette

What were we dreaming when we met?

(COSETTE)

I can sing

(MARIUS)

Dear Cosette

(COSETTE)

A heart full of love...

The Broadway libretto redoes the scene as the following:

(MARIUS)

A heart full of love

(COSETTE)

A night bright as day

(MARIUS)

And you must never go away

Cosette, Cosette

(COSETTE)

This is a chain we'll never break

(MARIUS)

Do I dream?

(COSETTE)

I'm awake

(MARIUS)

A heart full of love...

Almost a totally different scene! The post-Broadway variant is better structured, but I do like the original too.

As the trio of Marius, Cosette, and Eponine exchanges inner monologues, Marius originally has the line "I saw her waiting and I knew". The Broadway libretto changed this to "A single look and then I knew". I kind of prefer the original, as it implies a little more than something as trivial as a cursory glance.

In the closing lyrical overlap of the song, Cosette originally sings "Waiting for you", but post-Broadway she sings "I knew it too". Then, she originally sings "At your call" but post-Broadway she sings "Every day".

During the opening to "The Attack on Rue Plumet", Montparnasse refers to Valjean as "the one that got away the other day" as opposed to his original "the bloke wot got away the other day". However, this is another regional change made for the sake of making sense outside of a cockney accent. The official libretto still had the original lyrics.

A tiny change occurs during Thenardier and Eponine's fight. Claquesous originally thinks it's a palaver and an absolute treat "to watch a cat and its father" picking a bone in the street. The Broadway libretto changed this to "see a cat and a father". Why exactly the writers felt the need to make such a miniscule edit is mystifying to me, but it certainly doesn't hurt anything.

Another change occurs later in the number, after Eponine's scream. Originally this was Thenardier's reaction:

Make for the sewers, don't wait around

Leave her to me, go underground

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

These lines were mixed up a bit for the Broadway libretto:

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

Leave her to me, don't wait around

Make for the sewers, go underground

The post-Broadway variation arguably is a bit less climactic due to it not ending on a threat. However, the original climax isn't all that appropriate since Eponine and Thenardier never actually interact at any later point in the musical. I like that the post-Broadway version ends on something that's actually relevant to the remainder of the show (namely, that Thenardier will be in the sewers). Evidently the West End producers didn't agree with me; this is another line in which the original was kept there for more than a decade (at which point a rewrite closer to the original was already being used worldwide)!

In "One Day More", Javert's "One day more to revolution" is slightly changed to "One more day to revolution". However, the number is otherwise unchanged.

And that's it for Act One! The opening barricade scene to act two has a small change. Grantaire's pre-Broadway "Some will bark, some will bite" was changed to "Dogs will bark, fleas will bite". Makes a lot more sense in my opinion!

The opening to "On My Own" is changed as well. Originally it was performed as follows:

And now I'm all alone again

Nowhere to go, no one to turn to

I did not want your money sir

I came out here 'cause I was told to

The Broadway version rewrote it into the following:

And now I'm alone again

Nowhere to turn, no one to go to

Without a home, without a friend

Without a face to say hello to

A huge improvement in my book. It actually rhymes now, and is far less likely to be misconstrued as ungrateful.

After receiving a massive overhaul not that long before, "Little People" was slightly tweaked for the Broadway show. The pre-Broadway version had this ending:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up!

Another line (taken from the original longer version of "Little People" as well as all versions of its reprise) was added for the post-Broadway show:

So never kick a dog

Because he’s just a pup

We'll fight like twenty armies and we won't give up

So you’d better run for cover when the pup grows up!

Grantaire's line afterwards is literally reversed in meaning from the original "Better far to die a schoolboy than a policeman and a spy!" into "What's the difference? Die a schoolboy, die a policeman, die a spy!" This post-Broadway lyric fits better into Grantaire's cynical personality.

A very subtle edit is made in "Little Fall of Rain" (to the point that I only just realized its existence by reading an old internet forum!) Pre-Broadway, Marius asks Eponine "Did you see my beloved?" The tense is changed from past to present perfect for the Broadway libretto, so that he now sings "Have you seen my beloved?"

"Drink with Me" receives quite a bit of editing. The opening few lines are originally all sung by Grantaire:

Drink with me to days gone by

Sing with me the songs we knew

Here's to pretty girls who went to our heads

Here's to witty girls who went to our beds

Here's to them and here's to you

Now, those lyrics are split between various students:

(FEUILLY)

Drink with me to days gone by

Sing with me the songs we knew

(PROUVAIRE)

Here's to pretty girls who went to our heads

(JOLY)

Here's to witty girls who went to our beds

(ALL STUDENTS)

Here's to them and here's to you

A far more touching scene now that it entails an entire group of friends reminiscing about their lives, as opposed to the thoughts of one heavily drunk individual.

Originally this was followed by a segment by the male ensemble:

Drink with me to days gone by

To the life that used to be

At the shrine of friendship never say die

Let the wine of friendship never run dry

Then, this was followed by the same lyrics, but sung by the male and female ensembles overlapping. The Broadway libretto removes that and replaces it with an all-new segment with Grantaire. It's much more cynical and philosophical than his original lines:

Drink with me to days gone by

Can it be you fear to die?

Will the world remember you when you fall?

Could it be your death means nothing at all?

Is you life just one more lie?

The lyrics from the pre-Broadway show, in their male-and-female overlapping form, are played afterwards.

The next change occurs during the Second Attack. Pre-Broadway, this was how the opening lyrics went:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but bullets running short

(MARIUS)

Let me go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

Some very small edits were made for Broadway:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but ammunition short

(MARIUS)

I will go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

The following exchange also is a bit edited. Here's how it went pre-Broadway:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same can be said for any man here

(VALJEAN)

Let me go in his place, he's no more than a boy

I am old and alone and have nothing to fear

Post-Broadway, it instead goes as follows:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same is true for any man here

(VALJEAN)

Let me go, he's no more than a boy

I am old, I have nothing to fear

Finally, Gavroche's final lines are as follows pre-Broadway:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up

And we’ll fight like twenty armies and we won’t give…

A small edit is made for the Broadway production, so that the latter two lines are reversed:

So never kick a dog

Because he’s just a pup

We’ll fight like twenty armies and we won’t give up

So you’d better run for cover when the pup grows...

I'd say this is an improvement, since Gavroche's death is all the more impactful when his literal last unfinished words are about growing up.

Not long afterwards comes the Final Battle. Leading up to Enjolras' climactic moment, the original lines went as follows:

(ENJOLRAS)

Come on my friends, though we stand here alone

Let us go to our deaths with our face to our foes

(COMBEFERRE)

Let 'em pay for each death with a death of their own

(COURFEYRAC)

If they get me, by God, they will pay through the nose

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

The sequence was edited for Broadway, giving a bit more breathing space:

(ENJOLRAS)

Let us die facing our foes

Make them bleed while they can

(COMBEFERRE)

Make them pay through the nose

(COURFEYRAC)

Make them pay for every man

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

"Dog Eats Dog" is a very heavily-edited number. First off, the vamping at the beginning originally lasts about 30 seconds. By Broadway, it has been reduced to about nineteen seconds.

After Thenardier's "As a service to the town" line, he originally sung the following lines:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

That entire sequence was cut for Broadway.

Soon afterwards, Thenardier originally proclaims "Here's a little toy". The Broadway edit changes it to "Here's another toy", perhaps to make it seem less repetitive after his "pretty little thing" line.

The exact same lines from after "As a service to the town" are repeated in the pre-Broadway number after Thenardier's "When the gutters run with blood" line, with one more line added afterwards:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

Unlike the first instance of those lines, they aren't completely excised for Broadway. They are, however, significantly rewritten:

It's a world where the dogs eat the dogs

And they kill for the bones in the street

And God in His heavens, He don't interfere

'Cause He's dead as the stiffs at my feet

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

I really like how the edited version focuses more on godlessness than on how gross the sewer is. Not that a lack of a god is inherently sinister; I am quite agnostic myself and I think the unbreakable connection between religion and morality alleged by some is ridiculous. But it is blatantly obvious that Thenardier sees no reason to be moral provided no one will punish him.

As a side note, the 1985 London official soundtrack oddly uses this variant, yet the 1986 bootleg audio I have uses the original. Perhaps the original was experimented with, reverted, and later put in again? Who knows...

After the number, Thenardier now shouts Valjean's name.

The encounter in the sewers between Valjean and Javert originally ended as follows, with Javert's first two lines here in a tune not heard anywhere else in the musical to my recollection:

(VALJEAN)

Come, time is running short

(JAVERT)

Go take him, I'll be waiting at the door

I've never met a man like you before

A man such as you

The sequence was extended for the Broadway libretto, to the tune of "Look Down" and the "Work Song":

(VALJEAN)

Come, time is running short

Look down, Javert

He's standing in his grave

(VALJEAN - simultaneously with the next two lines)

Give way, Javert

There is a life to save

(JAVERT - simultaneously with the previous two lines)

Take him, Valjean

Before I change my mind

(JAVERT)

I will be waiting, 24601

A slight change can be heard in "Every Day". Originally Marius sings that he and Cosette will "remember that night and the song that we sang". The Broadway libretto edited this into the decidedly less medium-aware "remember that night and the vow that we made".

"Valjean's Confession" has been reworked to the point that it can scarcely even be considered the same song. After Valjean's "There's something now that must be done", this was how the song went:

(VALJEAN)

Monsieur, I cannot stay a night beneath your roof

I am a convict, sir, my body bears the proof

My name is Jean Valjean

I never told Cosette, I bear this guilt alone

And this I swear to you, her innocence is real

Her love is true

Our love, our life, are now her own

And I must face the years alone

(MARIUS)

I do not understand what's the sense of it all?

Is the world upside down?

Will the universe fall?

If it's true what you say, and Cosette doesn't know

Why confess it to me?

Why confess it at all?

What forces you to speak after all?

(VALJEAN)

You and Cosette must be free of reproach

It is not your affair

There is a darkness that's over my life

It's the cross I must bear

It's for Cosette this must be faced

If I am found, she is disgraced

(MARIUS)

What can I do that would turn you from this...

After the Broadway rewrite, Valjean's "There's something now that must be done" is followed by this:

(VALJEAN)

You've spoken from the heart, and I must do the same

There is a story, sir, of slavery and shame

That you alone must know

I never told Cosette, she had enough of tears

She's never known the truth, the story you must hear

Of years ago

There lived a man whose name was Jean Valjean

He stole some bread to save his sister's son

For nineteen winters served his time

In sweat he washed away his crime

Years ago

He broke parole and lived a life apart

How could he tell Cosette and break her heart?

It's for Cosette this must be faced

If he is caught she is disgraced

The time is come to journey on

And from this day he must be gone

Who am I?

(MARIUS)

You're Jean Valjean

What can I do that will turn you from this...

The few lines afterwards are the same, but as you can see not much else in the song is! Even the tune diverges a lot between the two variants. I'm very conflicted about which one I prefer. I gravitate towards the final one, though it's nice that the original actually tried to address to confusing notion that Valjean wants to tell his son-in-law of his past yet not his own daughter.

"Beggars at the Feast" originally ended with a solo for Thenardier:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

(THENARDIER)

And when I'm rich as Croesus

Jesus, won't I see you all in Hell!

The Broadway libretto switched this to a group line:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

And when we're rich as Croesus

Jesus, won't we see you all in Hell!

I much prefer the revised version, as the two Thenardiers clearly are in this act together. It seems more appropriate to let them both have the last laugh.

A small change occurs in the Epilogue. Pre-Broadway, Fantine sings "You raised my child with love". However, post-Broadway, she instead sings "You raised my child in love".

Another change occurs later in the epilogue. In the pre-Broadway show, Cosette tells Valjean that "It's too soon to ever say goodbye". The post-Broadway libretto instead has her sing "It's too soon, too soon to say goodbye". Repetitive as it may be, I prefer it over the original because the original awkwardly combines language clearly denoting the moment with language implying eternality.

Phew, we're finally at the end! Rest assured this is almost certainly the longest changelog you'll ever be forced to endure. I'm fairly sure it's complete, but this particular rewrite was so extensive it's not impossible that I missed something. Please feel free to let me know if that is the case.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, or some audios that you haven't traded in a few years, I’d love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye…

#les miserables #les mis #changelog #les mis changelog #marius #valjean #cosette #javert #eponine #enjolras #thenardier #1985 #1987 #broadway #part 3 #long post #the les miserables changelog

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bloodontheclocktower · 3 years

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August 2021 - Fancy PPC & Other News

Now that you’ve had a few days to point your eyes at our initial photographs, in the last post, it’s time to go into more detail about the pre-production copy. I’ll be separating this post into three sections. First I’ll go over what they’ve absolutely nailed, which will make up the bulk of the post. Then I’ll discuss what we had issues with and how those issues have been addressed. Finally, we’ll talk about what wasn’t included and why it wasn’t included. But before I do, please keep in mind that the purpose of a pre-production copy is to iron out any remaining creases. It’s a dress rehearsal, so don’t panic if the actors get a few lines slightly wrong.

The Good

The Rulebooks are fantastic. We spent so much time getting these right, but there’s always that fear that the text might come out weird and unreadable, or the artwork might look all washed out and crappy on paper. But the rulebooks have absolutely outstripped our expectations and we’re just thrilled to bits with how awesome they look.

The Grimoire is extremely sturdy and well-built. We’ve slapped it around a fair bit and it’s clearly built to withstand a lot of punishment. This is good, because you will end up lobbing it around a lot.

The Character Sheets are just wonderful. Not only do they seem to be even more durable than the previous white sample examples sent through, but they’re also vibrant and very easy to read.

The Felt is fantastic. It’s arguably the weirdest part of the whole box, and certainly not something that your average board game producing factory is used to manufacturing. We honestly had nightmares worrying about how this particular component might need loads of extra scrutiny. But credit where it’s due, Panda Manufacturing have absolutely nailed it on their first try.

The Pages on the outside of the grimoire look so cool. This might seem like a little thing, but we made sure to get the lines on the edge of the grimoire to line up properly, creating the illusion of an actual, giant tome of eldritch lore! It’s those little touches that really add to the atmosphere of a game and, frankly, which make the difference between a good game and a great game. It’s mega satisfying to see it look so real.

The Token Boxes fit together really well. They’re the perfect size to contain all of the necessary bits, but most importantly, they’re very sturdy. In a lot of our prototype copies of the game, the token boxes needed to be held closed with rubber bands, so we’ve ensured that the cardboard around the edge of these versions is nice & thick and keeps them closed naturally, as you can see from the pictures below.

The Bad

The Sleeve around the Grimoire is a little askew. It fits perfectly, but the folds in the PPC were in the wrong spot. It looks a little jarring if you know what it’s supposed to look like.

The Double-Sided Tokens, in some instances, have some pretty heavy drift on one of their sides.

Both of the above issues have been confirmed by Panda as not being representative of the finished product. In their exact words, “this is normal in a PPC since the tokens are cut by a plodder and not die cut. In mass production, drift is a maximum of 1 mm in the worst situations. Don't worry this is typical for a PPC.”

The Absent

The Death Shrouds, Token Bags, and Plastic Sleeves were not in this most recent sample provided. This is because the PPC contains only printed products. We’ve already seen samples of all of these and approved them in advance. You can check the death shrouds out in this update from almost a year ago and the bags can be seen in this one, from May of 2020.

In Other News

If you’ve made a pre-order for Blood on the Clocktower and need to change your postal address, this can be done easily via the CrowdOx portal. If you do need to do this we’d appreciate you having it done as soon as possible, to ensure that your game is delivered to the correct address. We’ll have a final deadline for address changes for you in future. If you’re having any issues, or if you need to change your address to a different country, don’t hesitate to drop us an email at: [email protected]

We’ve received some questions regarding whether we’re still on schedule for our November 30th release date. Our initial estimates, regarding how long each step in the manufacturing would take, were quite conservative, providing for a bunch of potential issues at each step. Essentially, all of the times have a lot of 'padding' on them. At the moment, we’re still on track for the planned date, but if that changes at all it'll likely be to do with the current freighting crisis. We have the funds to absorb extra costs that we might incur, but we’ve got no control over shipping times, unfortunately. Having said that, our freight partner hasn’t yet suggested that we’ll be affected, but if they do then we’ll update the timeline and delivery expectations accordingly.

I’d also like to drop you all a link to the experimental characters section of the wiki, which has come a long way since our last mention of it. You’ll notice that almost all of the experimental characters are now included on it. The wiki really is a fantastic resource for getting to grips with individual characters and finding fun ways to play them, so please do go check it out.

Finally, I just want to point out that this will likely be our final major news on physical production. We’ll continue to check in with you guys every month, and you can expect more useful information to come along between now and release. But really, these final adjustments mark the end of our work on the game itself and the beginning of it transitioning into something that exists on your shelves and at your local board game stores. Thanks again for taking this journey with us, and I personally can’t wait to play this game with as many of you as I can convince to tolerate me!

- Ben

#bloodontheclocktower #socialdeduction #socialdeception #gaming #hiddenrole #tabletop #kickstarter #tabletopgaming #botc #ttgames #tabletopgames

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radramblog · 3 years

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Halo Through its Guns: Reach

The year is 2010. Bungie has one final game left on their contract with Microsoft before they can make something that isn’t Halo. They were going to make it count.

Reach is the last Halo game that Bungie developed, and the latest non-numbered entry in the series that’s still a First-Person Shooter (unless Infinite dropped the 6?). It came at a time where FPS games were at the height of their popularity, when they dominated living rooms and the fledgling days of e-sports, before the rise of MOBAs and mobile games and the like.

The game is a reflection of all of this. It’s a mirror to both the franchise past and those others that sprung up in its wake. It’s a deliberately different game in story, aesthetic, and play to the others around it. And it’s proof that Bungie’s developers as a whole really loved working on this series, seeing as they put so much into their final entry.

As per usual, I think you can use the weapons as a lens into the game. As such, this is Halo: Reach through its gun- the Grenade Launcher.

In order to talk about Halo: Reach, we have to talk about Call of Duty. I know, I don’t like it either.

2009 and 2010 were the height of what could be referred to as the Halo/Call of Duty rivalry. Halo 3 was still huge, ODST had just released, with the franchise arguably at its peak of popularity- but Call of Duty was faring similarly, with the incredibly popular Modern Warfare releasing the same year as Halo 3 and the series sill riding the high of Modern Warfare 2 in 2009. Moreover, Halo: Reach and Call of Duty: Black Ops were set for release within the same few months of 2010. In effect, if you were, like me, a preteen middle class dude who had touched an Xbox controller before, you had to have an opinion about which one is better. Lines were drawn in the sand over which you preferred (with the other clearly being dirt), though CoD had the advantage of not being a console exclusive.

To those unfamiliar with shooty mans games, the two franchises look incredibly similar, but this isn’t especially true. Call of Duty is what many refer to as a “twitch shooter”, with an increased emphasis on reflexes and map awareness. Engagements between players are typically much shorter owing to their increased fragility, with much more weapons being able to kill in one or two hits. A melee is always a kill in CoD, whereas in Halo that’s only true if you catch someone from behind.

In place of the weapon sandbox from more classic shooters (like Halo), the CoD games of the era featured a huge range of customization options in the form of Loadouts. This kind of completely changes how weapons are treated in the series- since you can spawn in with any weapon in the game, the idea of a “power weapon” cannot exist for game balance, and so traditionally powerful weapons like sniper rifles and grenade launchers are significantly weaker than they’d be in other games. This, combined with the restriction that the guns have to be, you know, real actual guns that exist, makes the guns all kind of blend together. Most of the time, the differences are statistical rather than functional, and minor at that. I’m not saying this is an inherently worse way to go about things, but it’s very different, and something that will likely determine how much you enjoy either franchise.

This brings us to Reach. Bungie was very obviously aware of Call of Duty’s design at this point- they’d already been outsold by Activision twice- but I’m not sure anyone was expecting them to so deliberately change the way their own series works as a result. While obviously the game is still Halo, the way the gameplay has been facelifted in Reach is a clear reflection of the influence of the franchise’s primary competitors.

The biggest, most clear divide is in the massive complexity increases with weapons both old and new. Especially seeing as Reach heralded the final, permanent removal of dual wielding from the franchise, individual weapons were enabled to be more differentiated as a result. Looking at the new weapons from the game, only one of them could be argued as “basic”, and that’s the DMR- yet that’s also a major change, as it replaces the series’s now iconic Battle Rifle, having a longer range and scope to allow the Magnum to reclaim some of its former glory at medium/close range now that it’s been buffed and scoped once again.

I shit you not, every single one of these weapons is fucking odd. The Plasma Repeater’s fire rate slows as heats up, making it worse in an extended firefight, but you can press the reload button to vent it out it a pinch. The Needle Rifle features the Supercombine effect from the Needler on a longer range weapon, with the 3-bodyshot explosion making it much stronger in the hands of less experienced players. The Plasma Launcher echoes the Spartan Laser, but fires homing Plasma Grenades and allows versatility in how much you charge it up. The Beam Rifle has been replaced by the Focus Rifle, a long-range…Sentinel Beam? I dunno I’m not a huge fan of the Focus Rifle actually.

And then there’s the Grenade Launcher. The most obvious comparison to Call of Duty the game has. Modern Warfare 2 had an underbarrel Grenade Launcher available as an option for many primary weapons, with its quick switch option and instant-kill potential earning it the nickname of the “N00b Tube”. Bungie, on the other hand, nicknamed their Grenade Launcher the “Pro Pipe” and it shows in the gameplay. It has effectively two firing modes, requires very precise aim and timing to use most effectively, can shut down vehicles, and most importantly won’t be one-shotting anything anytime soon. It can be used to flush out enemies behind corners, as a trip-mine in objective-based gamemodes, and if you’re good, can even work very well against airborne opponents.

Speaking of airborne opponents, the Grenade Launcher interacts very interesting with most of the game’s new addition of Armor Abilities. Just about every gamemode has multiple available to spawn with, and they all work great in different situations. Unfortunately, just about all of them paled in usage compared to the Sprint ability and Jetpack- Halo not having an increased speed option was a deliberate choice, which Sprint really messes with, making it typically the best option. And Jetpack is so utterly insane for mobility, especially when you’re playing a game with powerful weapons in far-off spots. The Armor Abilities replaced the Equipment from 3, and I’m ultimately not sure how I feel about it. They did, however, contribute to something else, which we’ll get to in a moment.

Before that, I want to talk about factions. Much of Halo 2’s weaponry was dedicated to parallelising the UNSC and Covenant loadouts, to make going between Chief and the Arbiter easier, and 3 continued this with the Brute weapons. By contrast, Reach goes out of its way to deparallelise the two factions, deliberately making the two play slightly differently. You can still pair them up (though some of those are kinda a stretch), but there’s enough difference between each pairing that each weapon feels different, which especially makes playing as a Spartan or an Elite a subtly changed experience.

This is all (arguably) in service of what I’d call Reach’s crowing achievement- Invasion mode. It is the culmination of everything the game has to offer- an asymmetrical, objective-based gamemode with massive maps and incredibly complexity. The default loadouts are fairly basic, but as the game progresses, the power of each player’s equipment ramps up. The round-three loadouts are extremely cool, often letting you spawn with what would be considered a power weapon (albeit a more niche one like the Shotgun), each with a different Armor ability that suits its weaponry, and each forming a different role in an effective team. The Grenade Launcher gets to seriously shine as a part of the Grenadier loadout, particularly on Defense, as a tool to keep vehicles at bay, and the loadout’s Hologram ability lets you get an idea of enemy placement or movement so you can more effectively fire on out-of-sight targets.

Invasion is just such an incredible game mode. It perfectly suits the story and gameplay changes of Reach, and it is just really bloody fun. It has a scale that no other Halo Gamemode has managed to achieve, dwarfing even Big Team Battle. It lets you fully take advantage of everything the game has to offer, from weapons to abilities to vehicles to maps. As well, with Reach’s massively expanded gamemode customization and Forge map editor (with Forge World being a much greater canvas to work with than Sandbox ever was), it can and has been expanded and played with for years, being arguably the game-mode with the most potential for variety of all of them.

This complexity is what made Reach great. It’s what set it apart from its competitors, and what sets it apart from the other games within its own franchise. Sure, it doesn’t have dual wielding, but it really doesn’t need it. Bungie set out to make their last Halo game a memorable one, and its inarguable that with Reach, they succeeded.

Unfortunately, it’s also a level of complexity we’d never see again. While Reach was deliberately different from its contemporaries, the next games in the series would instead fall further in line with them. Join me next week, as we enter the 343 era of Halo.

…I’m going to need to find a way to play Halo 5 real quick, aren’t I?

#ramble #halo #halo reach #video games

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accio-spaceman · 5 years

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VORTEX Magazine - Issue 122

(April 2019)

Download PDF version for FREE on the Big Finish website

Partners In Time

At last! The Doctor and Donna are back!

[Above Cover for “The Tenth Doctor Adventures Volume Three”, featuring (l-r, top-bottom) Catherine Tate, David Tennant, Jacqueline King, Bernard Cribbins, and two Judoon.]

The Doctor and Donna Noble are arguably one of the most popular Doctor and companion pairings ever, and their adventures in space and time continue in The Tenth Doctor Adventures Volume Three. David Tennant and Catherine Tate reprise their TV roles for a second run of audio adventures from Big Finish.

(Full Article Under Cut)

Producer David Richardson says: “I actually got very nervous in the weeks before recording, as I did on their previous box set. You are just so aware that you are going to be working with two of the biggest stars in this country, and you want them to have a brilliant time and for the whole thing to run smoothly.

“The night before recording I just told myself, forget the nerves, treat it like any other production and it will be great. And actually by the time David and Catherine arrived at Moat Studios, the nerves had totally evaporated.

“David and Catherine don’t behave like stars – they walked in as two normal people who get on with everyone. When you’re sitting having a cup of tea with David Tennant talking about The Avengers or whatever, you’re really just chatting to a lovely human being.”

It was director Ken Bentley’s first time directing David and Catherine, and before recording began he admitted to Vortex: “I’ve not had much time to think about it as we’ve been extremely busy through August and September. I only just managed to squeeze in the time to schedule it!

[Above (l-r) David Tennant and Catherine Tate]

“I’m like any fan, dying to hear what the Nobles, Wilf and The Doctor get up to. What a dream cast!”

– Russell T Davies

“I always get excited about working on a new range. The bit I love the most about directing is working with actors, and to work with actors new to me is always something I look forward to.

“In my line of work it’s the rehearsal room and the recording studio where the magic happens, and it’s always a treat to watch professionals bringing roles to life.

“All actors work and respond differently. Part of my job is to quickly figure out how an actor likes to work so I can help make the recording go as smoothly as possible for them – and for everybody else. It’s a challenge I enjoy and I like to get it right. So it’s exciting for me to work with an entirely new team and to figure out what makes them tick.”

[Above Cover for “No Place” by James Goss, featuring (l-r) Bernard Cribbins, Catherine Tate, David Tennant, and Jacqueline King.]

The first story in the set is No Place by James Goss. Script editor Matt Fitton says: “We knew straightaway we could bring the wider Noble family into it by having Donna and Sylvia together, so we gave James that brief. It meant it had to be set on Donna’s contemporary Earth, since her mum isn’t aware of her space and time travel yet.”

Former Doctor Who showrunner Russell T Davies, creator of Donna, Sylvia and Wilf, tells Vortex: “I’m so excited about the return of the Noble family. I put in a request to Big Finish never thinking they’d actually pull it off. But, I might have known, they’re unstoppable! Marvellously, I haven’t heard the adventure myself yet, so I’m like any fan, dying to hear what the Nobles, Wilf and the Doctor get up to. What a dream cast!”

Jacqueline King was delighted to be back as Sylvia.

She says: “Since we finished on TV I’ve seen David a couple of times, and I keep in touch with Bernard because he’s so gorgeous! He and I did the quiz show Pointless. And Catherine was in a play which Bernard and I went to see together, so that was lovely. We’ve just not been all together so there was so much to catch up on. I felt desperately maternal towards Catherine, wanting to know how she was!

“I was very jealous that David and Catherine were going on to do more stories over the next couple of days without Bernard and myself. Bernard and I were joking, asking, How can you do that? That’s just disloyal!

“It was lovely, and if we could have carried on I would have but it was just one day. It would be heaven if we could do more!”

Matt continues: “James came back with this ‘haunted makeovers’ idea which was great, and as it was being developed we asked James to keep in mind a role for Wilf in case we were able to get Bernard Cribbins – perhaps just a cameo role. As it turned out we learned fairly early on that we could have Bernard for the whole day, so it all worked out perfectly and Wilf was fully included in the episode at the storyline stage.”

In a similar vein to what the TV show did at the time, No Place taps into the zeitgeist of what is currently popular on TV, which in this case brings in the feed of ghost and home makeover reality TV shows.

“If you’re a fan of either Buzzfeed Unsolved or Homes Under The Hammer you’ll find lots to love in this.”

– James Goss

James explains: “Honestly, when you think about it most horror films are home makeover shows! Family moves into house on haunted graveyard. Tries to do it up. Ends up running away screaming/being dead/finds out they were always dead so probably shouldn’t have bothered wallpapering the downstairs bathroom. This was inspired by that. Imagining a horror film but with Kirsty Allsop following our screaming family about. And making the screaming family the Doctor, Donna, Sylvia and Wilf.

“If you’re a fan of either Buzzfeed Unsolved or Homes Under the Hammer you’ll find lots to love in this. We’ve got a ghostbox, we’ve got replacement light fittings, we’ve mysterious voices, we’ve endless discussions about plumbing. The one thing we couldn’t do was Hammer’s endless, appalling punning music track. (Presenter: ‘They really do love this hopeless place.’ Music: ‘We Found Love in a Hopeless Place’)!”

Producer David Richardson adds: “I’m struck by how creepy it all sounds. Some of the sequences in the old house are really unsettling even without any effects or music, which is a sure sign of how great the writing, performances and direction are.”

[Above Cover for “One Mile Down” by Jenny T Colgan, featuring (l-r) David Tennant, a Judoon, and Catherine Tate.]

One Mile Down by Jenny T Colgan continues the Doctor and Donna’s adventures when they find themselves in an underwater city and encounter the Judoon.

Matt continues: “In terms of using new series monsters, the Judoon are one of the most recognisable and the Tenth Doctor has some history with them, meeting them several times during his era.

“Because of what’s been established on screen there are certain monsters he’s meeting for the first time, but with the Judoon he knows what they’re about and how they work. They are not power-crazed evil monsters, they are mercenaries working for other people, and their agenda isn’t always immediately clear. It’s nice to have that bit of potential uncertainty – are they an ally? Are they a threat? We get to play with that in this story.”

“We have individuals in the Judoon ranks which we’ve touched on before. There’s the trainee, Klo, who starts to side with the Doctor and Donna, realising they can do some good during the story, which is a fun thing to play with.” The story’s setting lends itself to a good soundscape, with a city beneath the waves.

Matt explains: “In the TV episode Smith and Jones, the first thing we see the Judoon do is control the rain and send it upwards with their H2O scoop.

“That means we can make use of their technology which lends itself perfectly to an audio story.”

Of course, Donna has also encountered the Judoon on TV, and Matt adds: “Watching Donna in The Stolen Earth, we get a reaction from her to the Judoon, but when we checked with Russell he watched it back and felt there was no reason why Donna couldn’t have met them before.

“What’s clearly a surprise to her is the Doctor speaking Judoon, so we were very careful not to have him doing that in front of her.”

[Above Cover for “The Creeping Death” by Roy Gill, featuring (l-r) David Tennant, Catherine Tate, and Lauren Cornelius dressed in 1952 London period-costume, holding a torch.]

Concluding this series is The Creeping Death by Roy Gill.

David explains: “We asked the writers for short pitches – I think they might have sent in three ideas each. I’ve actually been keeping a list of things I want to see in a Doctor Who story, one of which was ‘The London Fog of 1952’, so it was a no-brainer when Roy pitched that one!”

Roy was delighted to be able to write for David Tennant, a fellow Scotsman, as well as Donna.

He admits it was: “Hugely exciting. They’re one of my Doctor Who dream teams, really. The Doctor and Donna are best friends, they’re fast and funny, they wind each other up but most importantly they make each other stronger and better. Their dialogue was a joy to write – and yes please, if the opportunity ever comes up, I absolutely want to do more!”

Roy travelled from his Edinburgh home to attend the recording at Moat Studios in London, and has plenty of happy memories from the sessions.

Roy adds: “Oh, loads! David asking, ‘Is that a Scottish accent?’ as soon as he met me – and then me kind of over-explaining where I’m from (sorry, David...). Catherine cracking up over her lines about ‘bad air’ and cheese and onion crisps… How quickly all the big, exciting scenes flew by in the recording booths.

“Stephen Critchlow talking over lunch about the classic Who he’d been watching with his daughter. Lauren Cornelius telling me she’d loved her character and the story so much that when she got the script she read it from cover to cover then immediately turned it over and read it again! Theo Stevenson saying he’d watched David Tennant’s Doctor when he was about 10 or 12. He was thrilled to be in a Doctor Who – making us all feel ancient!”

Producer David adds: “This story is brilliant! Just a character piece about a group of people lost in the fog and there’s something really nasty out there… David has some terrific speeches, Catherine gets to play out some lovely relationships with the guest characters, and the whole thing feels like it was on TV back in 2008.”

Director Ken Bentley was relieved when recording was complete after three successive days in studio – which Big Finish rarely do.

He explains: “It’s great to know we have a complete box set in the bag! These days availabilities are such that we’re squeezing in recordings as and when we can, sometimes over quite long periods of time. It’s rare to record three days straight and know you’ve got it all, but given the schedule we’re all on it’s a huge relief!”

“The whole thing feels like it was on TV back in 2008.”

– David Richardson

Responsible for music and sound design is Howard Carter, who says: “I’ll usually go through and work out if there are any background or atmosphere tracks that reappear throughout the play, or any individual recurring effects (specific vehicles or weapons, for example). If so I will create these in advance and add them to the project library so they are ready to drag and drop in when I’m working. I’ll record the foley sound as I go and layer up all the relevant backgrounds and effects scene by scene. Once the full play is assembled I’ll send a draft off to the director and move on to the score.

“I will usually spend a couple of days scoring a play although if there’s more time I will always spend longer (I’m a composer by trade!). At this point I know the play well so will have a sense of the mood, style and pacing.

“If I’m working on a completely new play I’ll create a template and start adding instruments and sounds as I see fit in order to start with a completely fresh palette. Every play is different so I don’t have one fixed approach. There are scene breaks which usually need a cue, and there are sometimes musical directions in the script, but otherwise a lot of the process is instinctive. A play may need a lot of music to keep energy levels up and maintain a sense of pace, or it may need the music to really take a background role and just glue certain elements together. Each one is unique.”

– VORTEX Magazine, Issue 122, Pages 4-8

THE TENTH DOCTOR ADVENTURES VOLUME THREE IS OUT IN MAY ON CD AND DOWNLOAD.

The Tenth Doctor Adventures Volume Three is out in May on CD and Download.

The special edition release comes complete with exclusive production notes, storyboards from Mike Tucker and costume designs from June Hudson.

For full details visit www.bigfinish.com .

(Edited to include Lauren Cornelius’ name in the image description of “The Creeping Death” cover.)

#vortex magazine #big finish #doctor who #the tenth doctor adventures #david tennant #catherine tate #bernard cribbins #jacqueline king #the tenth doctor adventures: volume iii #no place #james goss #one mile down #jenny t colgan #the creeping death #roy gill #becca posts #article #issue 122

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jelliclesong · 5 years

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So... Cats, right?

I’ve been asked to share thoughts about the Cats trailer that just dropped, because I’ve been slightly invested in the show since forever. (no, really. I’ve been roleplaying Rumpleteazer online since like 2008.) So. In only sort of a particular order, after having watched the trailer several times (under a cut, because this is going to get longish. Sorry mobile.)

-”Memory” is not the only song in Cats, people. I swear it’s not.

-Really though. How am I supposed to properly pre-judge this if I don’t get to hear anyone else sing? It’s a perfectly decent cover of Memory, I’ll grant you, but that’s really not one of the songs I was worried about...

-Yes, it’s very Uncanny Valley. It’s not reading as too creepily so for me, at least, but it’s definitely Something.

-That being said, costumes+dramatic makeup definitely work better for me.

-Not least because the makeup in particular goes a long way toward the suspension of disbelief. Cats that are clearly people dressed as cats parse as less Off than the weird blend of person-face and animated Everything Else that they’ve got going here.

-And on that note. The ears and tails don’t move correctly, and that seems like a fairly big oversight to me? It’s definitely not helping with the sense of something being Wrong, too.

-So, a fun fact about me. I’ve watched enough versions, and watched the filmed one in particular enough times, that I can on-the-fly identify each individual cat by both name and role based solely on colouring and pattern. That said, I have No Idea who’s supposed to be who in this trailer. I had to look up the cast list to figure out most of them, and I’m not sure I /believe/ the cast list on all of them.

-Part of the problem I’m having is that all of them appear to have had their colours desaturated/blurred, and in a couple instances changed from the source entirely.

-Judi Dench’s Old Deuteronomy, for example, very much reads as Grizabella to me. (this is, to be fair, partially down to casting. But also, I think, because of the giant fur coat she’s got.)

-Taylor Swift as Bombalurina is... a choice. Not remotely the choice I’d have made, but a choice nonetheless. This is nothing against Ms Swift (I have exactly no feelings about her, good or bad), but Bombalurina as a character is definitely written to be a smoky jazz sort of sexpot, and that is... not how she’s coming across here. Doesn’t help that she got the worst of the “Blending into obscurity” treatment vis-a-vis colouring.)

-Ian McKellen is adorable and I’m into it.

-I appreciate that they cast an attractive person as Rum Tum Tugger. Anyone know if he can sing?

-Rebel Wilson is the worst thing about all of this and I’m standing by that. Jennyanydots is a lot of things, but I would argue she’s not the “Ha ha look at the fat woman�� caricature that this particular casting is inevitably going to make of her.

-I am, however, cautiously optimistic about Idris Elba as Macavity. The design looks like it could be fun, based on the three seconds we see of it.

-The sets are proportioned in a very /strange/ way.

-I think? They’re trying to pretend this has a plot? Which is /weird./ Cats doesn’t have a plot. This is both why I love it and why people feel the need to hate it.

-Along those lines, there is a Lot of implied Victoria/Mr Mistoffelees happening in this trailer. Setting aside that every fandom corner I’ve ever wandered into pretty heavily shipped Rum Tum Tugger/Mistoffelees, I’m slightly weirded out that they seem to be trying to make this whole thing about Victoria.

-Like. It’s not a Romance, it’s just a bunch of cats doing questionably cat things. It really doesn’t require an ingenue, I promise.

-Speaking of. It seems, based on this, that they’ve dropped Quaxo entirely and just left Mistoffelees as the magical cat full time? In a top hat, for whatever reason.

-Most of these people sure aren’t dancers, huh? A lot of what’s skeeving me out about this thing is that no one is moving correctly, I think...

-Correct me if I’m wrong, but they just flat out gave Teazer’s necklace to Victoria, yes? Excuse me while I am full of salt about that forever.

-Based on the IMDB cast list, they’re including Growltiger and Griddlebone in this. I’m down for it, really I am, but that song is Super Racist y’all. That’s why we ended up with the Pekes and the Pollicles in the original film version, and frankly I’d have loved to know what the CGI would have made of the Great Rumpus Cat.

So like. I’m still gonna see it, because this is one of those things that I’ll take Content for regardless of that content’s quality. Most of the concerns I’ve got right now can arguably be chalked up to personal preference/having had a decade to build up my own lore and characterization from what was essentially Nothing. In summary: not super optimistic, but not as horrified as I expected to be? So that’s something.

#Cats.#I had some Thoughts about that trailer.

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reflektormag · 6 years

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Our top 10 albums of the year so far

Brian Rhatigan

Here at Reflektor, we listen to a lot of music, I mean a lot. So, we decided to compile a list of our favorite albums from the year thus far. Please take your time and listen to each of these albums, they are our favorites for a reason!

Note: The ranking of these albums are in no particular order.

God’s Favorite Customer - Father John Misty

God’s Favorite Customer, Josh Tillman’s fourth studio album under the name ‘Father John Misty’ is arguably the most emotional album by Tillman. FJM’s other albums have been received with great praise, and so has God’s Favorite Customer.

“God’s Favorite Customer is Father John Misty’s 4th studio album. As with all of his previous releases, it’s his lyrics that always stand out to me. This time around Tillman’s lyrics are more vulnerable and sincere than they’ve ever been although he never seems to loose his wit and humor. Aside from the lyrics the album just sounds really good, there’s some nice soft rock/70s vibes. God’s Favorite Customer is a record about heartbreak, and is a comedown from his previous 2 records.” - Carla Huysmans

Tell Me How You Really Feel - Courtney Barnett

Aussie rocker Courtney Barnett comes in swinging with her second full length studio album. ‘Tell me how you Really Feel’ is filled to the brim with emotional and meaningful lyrics like in “Nameless, Faceless”, when Barnett sings about the troubles she has had with internet trolls.

“She really manages to fully cement her style, both musically and through her lyrics, which I find very vulnerable, but also uniquely original, with always an expected twist. I also recently went to a concert of hers and she is one of those rare artists who sounds better live, on a musical level.” - Leila Ricca

Lush - Snail Mail

Maryland native Lindsey Jordan started writing her first EP ‘Habit’ when she was 15. After graduating high school, Jordan released her debut LP “Lush” on Matador records. Songs like “Pristine” and “Heatwave” stand out because of the simplicity in the chords and the meaning in the lyrics.

“Lush is easily my favorite album of the year. Each song brings something lyrically new to the table that anyone can connect with. And Lindsey Jordan is just so damn gorgeous.” - Brian Rhatigan

KOD - J Cole

KOD is North Carolina rapper J Cole’s fifth studio album. The 12 song album is a beautiful blend of soul, jazz, rap, and rock. There are three different interpretations behind KOD; Kids on Drugs, Kids Overdosed, or Kill our Demons, all fitting labels for the atmosphere of the album.

“It was the best album of the year where all the songs fit together as one piece of work, rather than individual songs put together. It also told a meaningful story, had great lyricism, and combined different genres of music.” - Bryce Murphy

Blank Panther, The Album - Various Artists

“Black Panther: The Album is a perfect contender for this list. It showcases each TDE member’s talent, and blends the themes of the film with African culture seamlessly. The transitions are flawless, the lyrics are thoughtful, and the fact that it was made while some artists were on the road is incredible. It provides a modern soundtrack to a movie that blends tradition with the future of what will hopefully be a Hollywood that is more diverse and groundbreaking than ever before.” - Sarah Beckford

Tranquility Base Hotel and Casino - Arctic Monkeys

“After five years of silence, the Arctic Monkeys make their much-awaited return with surprising and hypnotic ‘Tranquillity Base Hotel and Casino’. Perfectly managing to avoid self-parody or stylistic repetitions, this new album appears as a startling reinvention, a meandering and puzzling journey beyond known territories. Just like mankind first set foot on the moon on the ‘Tranquillity base’ site, the Arctic Monkeys disembark in an unknown universe in which they reveal a new, unexpected aspect of themselves.” - Freda Looker

Little Dark Age - MGMT

“This new album draws heavily from 80’s synth pop/brit pop, and yet still holds true to that psychedelic charm that has peppered their career. They kick things off with ‘She Works Out Too Much,’ a spoof on exercise music. The driving beat, and pounding bass line keep the listener mentally jogging in place for four minutes and 38 seconds (the instructor voice-overs really sell it). Title track, ‘Little Dark Age’ is a darker turn into goth pop, previously unexplored by the duo until now. That’s not to say it’s not catchy, as it does bare a similar song structure and groove to one of their “big three,” ‘Electric Feel.’ It has, undoubtedly, the crispest production on the album; sharp vocals, a tight snare, and a most notable synth bass that doesn’t let up. The third track and second single, ‘When You Die,’ is gloomy and aggressive. The stringy acoustic guitar is perfectly present, weaving in and out of a frustrated Vanwyngarden, who isn’t hesitant in telling the audience, “Go fuck yourself”. ‘Me and Michael’ is a straight trip to the 80s: cheesy lyrics; copious synth; dozens of “woahs;” and some guy named Michael. It’s familiar, charming, and it’s a foot down on the grounds that they can still write a hook. ‘Tslamp’ (Time Spent Looking at my Phone) is what the tape machine spit out after being fed an utter disregard for the technology that we have literally become addicted to. ‘James’ is another ode to the 80s and a “Goonies” type camaraderie. ‘One Thing Left to Try’ is in the same vein as ‘She Works Out Too Much,’ in its annoying, overdrawn out glory. An unnecessary, synth pop battle cry.” - Kendall Wright

Freedoms Goblin - Ty Segall

“This 19 song album is one hell of an adventure, composed of ballads and fuzz ridden tunes guaranteed to leave the listener asking for more. But if 19 songs are not enough for you, don’t worry. Segall averages one album each year, just like fellow Bay Area rocker John Dwyer of Thee Oh Sees, who happened to help produce Segall’s debut album. “Freedom’s Goblin” consists of hard rocking songs like “Fanny Dog”, and straight covers like “Every 1’s a Winner”. Regardless, Segall continues to push out hard rocking tunes that even the faintest rock fans can enjoy.” - Joe Terry

Isolation - Kali Uchis

“The album opens on the Bossa Nova masterpiece ‘Body Language.’ During a Reddit Q&A, when asked what the overarching theme of the album was, she replied ‘finishing your dry martini, enjoying views of the water as a beautiful woman dives in,’ and this track invokes exactly that image with the first beat drop. After that, the album flutters between genres through the hard-and-fast R&B track ‘Miami,’ the beat-driven collaboration with Steve Lacy ‘Just A Stranger,’ and the dreamy ballad ‘Flight 22.’ She flows through each medium with ease, rejuvenating it and making it her own as she goes. Pop hits like ‘Tyrant’ brush shoulders with the funk triumph ‘After the Storm’ and the Winehouse-esque closers ‘feel like a fool’ and ‘killer.’ There’s something for everyone on this album, yet at the end of it all, no matter your tastes in music, there will be only one name on your lips; ‘Kali Uchis.’” - Thomas Nell

Virtue - The Voidz (Formerly Julian Casablancas + The Voidz)

“Arriving three and a half years later, Virtue, the sophomore effort of the group (now just wearing the moniker The Voidz, as if to dismiss claims that it is a ‘side project’ in the traditional sense) is the anti-Tyranny. All that unbridled experimentation and exploration has been distilled into something that is much more recognizable and palatable. Although artistically, it’s coming from the same place fundamentally, Casablancas and his new group, have purposefully tamed the unwieldy beast of creativity, presenting the results of their exploration in a much more neatly presented package so that their audience can enjoy what they discovered as much as they did.” - Dylan Harkin

#lists #brianrhatigan

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johnboothus · 4 years

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11 Years of Untappd: How One App Gamified the Relentless Pursuit of Novelty

On Jan. 20, Gregory Avola announced he was stepping down as chief creative officer of Untappd, the online beer platform he helped found and then actively ran for a decade. This, Avola writes, is driven by a lifestyle change, and he will remain at Untappd’s parent company, Next Glass, as executive advisor. As when software developer Next Glass purchased Untappd in 2016, and then joined it with newer purchase Beer Advocate in 2020, this update is stirring up conversation and reflection on Untappd’s impact on beer culture.

Such reflection yields a mixed bag. In the 11 years since it launched, Untappd has facilitated a wider-reaching community in beer. It’s helped users find beers they otherwise wouldn’t, and, therefore, has helped breweries reach new customers. Some, however, feel that Untappd has fueled “ticker culture,” and that its rating system is a breeding ground for biased, baseless ratings that only favor hype beers and often hurt breweries. Beer’s relationship with Untappd might be complicated, but Untappd’s role has proven undeniably significant.

Foursquare for Beer

Avola created Untappd with Tim Mather in 2010. Perhaps surprisingly, he wasn’t all that into beer when he started working on the app.

“My main interest was in communities and building social platforms to connect people in different ways,” he tells me in a recent call. Avola and Mather used Foursquare as a model — which the press ran with — but, as Avola puts it, with more focus on what those check-ins could do. “No one cares if you’re checking in at a grocery store,” he says. “But people checking in at bars, saying what they’re drinking, that starts connecting people across the globe.”

Avola wanted to take the inherent social aspect of craft beer and grow it online. At the time, there were only BeerAdvocate and RateBeer, both representing an older generation in beer. Untappd arrived at the party hot on the heels of IPAs becoming a thing people traveled and waited in hours-long lines for, a ready and willing platform for drinkers to discover, share, swap info, and, by checking in that they were at those hype breweries drinking those hype beers, brag. In a way, and as was Avola’s intention, Untappd became a wide-scale, virtual tasting room where beer geeks could talk shop but, coming from different cities and even countries instead of different barstools, they could introduce each other to new brews. Avola says that at the time he was living in New York City and learned what Fat Tire was when Mather, living on the West Coast, checked it in.

The Next Generation of Beer Raters

Whereas BeerAdvocate’s pages were filled with long, thoughtful beer reviews, Untappd catered to a generation of beer drinkers that was always on to the next and wanting an app to keep up. This is why Untappd is credited with — or blamed for — “ticker culture.” After all, while Untappd was still in its infancy, The Alchemist was able to survive closing its brewpub after Hurricane Irene by pumping Heady Topper out of its production brewery. There’s no telling if this could have happened had Untappd been in its prime, fueling beer seekers to move on in search of a hot IPA they hadn’t already tried. Indeed, within a few years, the script had flipped. How to be a beer nerd went from having a discerning dedication to select brews to relentlessly trying every new beer released. The proof of your beer cred was in your Untappd portfolio, where millions of fellow users could marvel at the sheer breadth of hype beers you’d checked in.

“Ticker culture represents an emphasis on breadth of experience over depth,” says Alex Kidd, of Don’t Drink Beer. “The pour sizes seem to diminish, the style ratings seem to be heavily skewed as a result, and the check-ins seem to be a system of accomplishments predicated on consumption over contemplation.”

At best, it could be argued, ticker culture catalyzes beer sales by keeping drinkers motivated with the thrill of the hunt. At worst, it can be an arrow through the heart of brewers’ ability to create and diversify their offerings, since the haziest IPAs, slushiest sours, and most candy-packed pastry stouts are going to win ticks every time over a loving homage to an English mild. This can also hurt beer sales for breweries on an individual basis, if they decide to commit the cardinal sin of making the same beers and therefore lose luster in the eyes of tick-seekers.

“I don’t want to be an old crank who decries ticker culture, but I really can’t imagine what positive impact it could have on anything,” says beer writer Will Gordon. “The most obvious downside,” Gordon continues, is too many people “stumbling around juggling flights and phones in their mad dash to overrate beers that are either too sweet or too sour.”

“Ticker culture is negative, full stop,” says Gage Siegel, founder of Brooklyn’s Non Sequitur Beer Project, citing people buying cases of beer just to flip and festival-goers trying to cram in 100 different beer pours in three-hour time slots as less-than-ideal results. “Ticker culture certainly doesn’t start or end with Untappd, but I’d say they did a lot to normalize it [and] make it easier to participate in.”

An Inevitable Evolution in How Drinkers Engage With Craft Beer

The ticker-culture discussion never happens without mentioning Untappd, but it’s important to clarify: The app did not create ticker culture. It has aided what could be considered human nature in an industry exponentially exploding with new options every year. One could get bogged down in a chicken-or-egg quandary: Do breweries continuously push the envelope to meet the demand of tick-hungry Untappd users, or are tick-hungry Untappd users tripping over themselves to keep up with the constant deluge of hop innovations and wacky adjuncts? It’s a two-way street, and Untappd provides the platform for everyone to talk about it.

“Untappd serviced ticker culture, but I feel comfortable saying it would have happened anyway,” says beer and spirits journalist and author Tara Nurin. “Across any number of industries … younger generations are more peripatetic. … It’s about what’s next, what’s new, and that plays out very profoundly in beer.” Nurin has mixed feelings about the way Untappd has arguably “gamified” beer. On one hand, it’s a great push for people to try new things. On the other, it could disincentivize people revisiting brews.

“I do think the novelty effect can be harmful to breweries,” says beer writer Carla Jean Lauter. “The pressures of ‘newness’ have led to some of the proliferation of extremely similar beers (e.g., having eight IPAs on tap at once) to try to give something new, rather than to just provide the best.”

Subjective and Unqualified: How Ratings Affect Breweries

Whichever side of the fence one falls in the ticker culture debate, one specific aspect of Untappd’s rating system that helps propel it is especially murky: the subjectivity. Even the industry insiders we spoke with who generally like the app acknowledged that the ratings are far from uniformly trustworthy. Many users skip actually commenting on their beers in favor of punching a number of “caps,” from zero to five. These ratings are obviously completely personal and often offer no explanation, yet, as Siegel points out, they’re considered by beer buyers at stores and bars as well as consumers weighing their beer options. The problem is, what a “3” or a “4.5” means can vary wildly from one person to the next. There’s no agreed-upon metric.

“I’ve just never put faith in numeric ratings of beer,” Lauter says. “In Untappd’s case, there’s also the twist that many people for a long time treated the reviews as their own personal tastes. ‘If I don’t like pineapple on pizza, and I order a pineapple pizza, I give it one star just to remind myself: Yep, still don’t like that.’”

The range of expertise among Untappd’s millions of users may range from from zero to cicerone, but on average, these ratings aren’t coming from people with beer-judging criteria. In some cases, this can be great, as it levels the playing field for anyone who’s enthusiastic about beer. It can be not so great but harmless if you remember to take rankings with a grain of salt. Or, it can do a bit of damage to some breweries.

“Some people develop an over-inflated sense of self because of their amount of check-ins, and they think this makes them some sort of expert despite the fact that they have no formal beer education,” says Paulina Olivares, Sacramento Pink Boots Society chapter leader, who notes that this issue isn’t exclusive to Untappd. Olivares says she’s stopped rating beers on Untappd unless it’s a “5.”

Of course, subjectivity as a concept also isn’t something Untappd created, but for all of its positive features, the app has become such an authority, and the microphone it therefore gives to biased, careless, and/or ungrounded opinions can now in some cases actually affect whether a brewery’s beer makes it onto shelves. A beer might not get a high rating from the Untappd masses because it isn’t hazy or dank enough, even if that wasn’t the brewer’s intention, and many retail outlets take those ratings into consideration. They could therefore decide against selling what could be a perfectly great beer. And this can create pressure on breweries to stick to what lights up the ratings board on Untappd.

As Avola points out in our call, this is rating culture. It happens with everything from restaurants to dry cleaners on Yelp. And yes, it even happens to Untappd itself in the form of one-star, “this-app-sucks” reviews in app stores based on one-off experiences with little context. Avola says he understands that it’s frustrating for breweries to see their beers rated poorly, beers they put a lot of effort into. These subjective rankings, though, are a by-product of Untappd’s main goal to help people share what they’re finding and drinking. The downsides of this are something Avola says really can’t be policed, but that he hopes can be mended as Untappd continues to evolve.

A Platform for Visibility, Discovery, and Nostalgia

On the flip side of the biased ratings are some of Untappd’s key tenets. There is community on a global scale, more relevant now than ever as most beer drinking is done at home, and poised to only become more crucial as beer culture and even beer retail grow online. There is increased visibility, discovery, and access between users and breweries.

Plus, as many users report, Untappd is a helpful tool for tracking one’s own beers: It’s less about a rating for others to see, and more about actually being able to organize and remember brews you loved and brews you didn’t love. This becomes increasingly helpful as the number of options in craft beer only grows and styles bloom into sub-styles and hybrids year after year.

“I do feel like more and more people are using it just to keep track of what they’ve drank versus tracking ratings,” says beer Instagrammer Valerie Delligatti, who appreciates being able to remember what she’s sampled from breweries to (pre-pandemic) bottle shares.

This is even a helpful professional tool, as beer writers can track and sort brews they try and report on, something beer writer and “former semi-professional blackjack player” Mike Pomranz values, noting that even if it weren’t free, he’d pay Untappd for this feature. Checking in beers creates your own library to refer back to whenever needed. “When I check in beers … I am thinking about what I’ll want to know later,” Pomranz says. “So, someone asks me for a good IPA in Arizona. Well, I haven’t been there in a while, but I can filter IPAs produced in Arizona and then sort those by rating, and then read my notes and boom, I have the perfect beer ready to go.”

This also creates a sort of scrapbook for craft beer lovers. “I personally love the nostalgia of looking back and remembering where [I was] when I had a certain beer,” says craft beer drinker and wellness coach Amanda Steele. “That’s kind of my favorite thing about Untappd.”

Beyond this core tracking function, Nurin notes that by the same token as Untappd possibly deterring users from returning to beers in favor of trying new finds, it can just as easily be a conduit for users to remember beers they love. While we spoke, she scrolled through her feed and found promos poised to remind users that a beer they loved once is on sale, or a bar they forgot about is doing a great happy hour. Speak with enough users and it becomes clear: Untappd has definitely, if inadvertently, provided a stage for ticker culture and its disadvantages for breweries. But it’s also achieved its goal of creating a virtual community for beer drinkers, and it’s proven itself quite the handy tool for tracking a whole wide world of beers.

The Future of Untappd

All that remains is to see how Untappd continues to evolve, especially in this new, increasingly online chapter, and how beer culture will evolve alongside it. One safe bet is on Untappd increasing its attention to international markets: In 2020, the app saw growth in European cities where it saw declines in the U.S.

In December, Next Glass also acquired digital beer magazine and event producer Hop Culture; according to Hop Culture founder and now creative director at Next Glass Kenny Gould, we’ll be seeing further integration of Next Glass acquisitions Untappd, Hop Culture, Oznr, and Beer Advocate, playing to the unique contributions each of these has made to beer culture. “I think we’ll continue to see the development of a digital craft beer community,” Gould says, “with more content, sales, and connections happening online.”

The article 11 Years of Untappd: How One App Gamified the Relentless Pursuit of Novelty appeared first on VinePair.

Via https://vinepair.com/articles/untapped-impact-craft-beer/

source https://vinology1.weebly.com/blog/11-years-of-untappd-how-one-app-gamified-the-relentless-pursuit-of-novelty

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wineanddinosaur · 4 years

Text

11 Years of Untappd: How One App Gamified the Relentless Pursuit of Novelty

Foursquare for Beer

Avola created Untappd with Tim Mather in 2010. Perhaps surprisingly, he wasn’t all that into beer when he started working on the app.

The Next Generation of Beer Raters

An Inevitable Evolution in How Drinkers Engage With Craft Beer

Subjective and Unqualified: How Ratings Affect Breweries

A Platform for Visibility, Discovery, and Nostalgia

The Future of Untappd

The article 11 Years of Untappd: How One App Gamified the Relentless Pursuit of Novelty appeared first on VinePair.

source https://vinepair.com/articles/untapped-impact-craft-beer/

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alwaysrunning-never-lookingback · 7 years

Text

6-3-17 RACE REPORT--> Everything was beautiful and nothing hurt.

Yes, you read that right! I don’t know what my deal was earlier this week, but my race today went very well. Here’s a play-by-play of the Logan Urban Trails 10-Miler, as well as I can recollect:

At 4:37am, I’m awake. The windows are open, and instantly my sweat-drenched skin is cooled by the box fan. I tell myself that no sane person actually runs a race if he’s waist deep in peanut butter and dreams are not real, which calms me. I use the bathroom and I’m paranoid about my hydration levels, but it’s dark and I gather no information on the subject. Shortly thereafter, I drift back to sleep. Before my eyes have time to shut completely, it is bright outside, the birds are calling, and I am upset. I look at my watch, 6:13am. I’ve slept roughly 90 minutes since the cold sweat, but ‘restful’ is not the adjective I have in mind. I do a triple check to make sure I’ve got everything I need for race day, and then I make breakfast. Over a bowl of oatmeal, yogurt, and fruit, I listen to Brand New’s album Deja Entendu and Angels & Airwaves’ LOVE, start to finish. It’s a ritual I began in high school and to this day I still do it the morning of races when I’m chasing a particular result. After breakfast, I make my way to the park, nearly 2 hours before start time. The first several minutes are spent reading, another ritual of mine. It’s a singular chapter in arguably the most influential running book of all time. Parker Jr.’s ‘Once A Runner’. The chapter is titled The Interval Workout. Reading this before races makes me both motivated and nervous. One chapter, and I only read it on race day. Following a short reading, I start with a walk, then a jog. As I begin my jog, I cross paths with a snail of considerable size.

Ought I to worry? I want to shrug it off, but as I’ve just documented, races make me particularly superstitious. Before long, the race is about to begin and I prepare myself as best I can. To everyone’s dismay, they tried to get us going early! Official race time was listed as 9:10am, and a little after 9:00 they said “Get ready, we’re going to start the race with a 30 second countdown!” After a lamenting groan from the crowd, the race director says “We listed start time as 9:10, does everyone want to wait for that?” After a unanimous decision in the affirmative from the runners, they gave us a little more time. For the next 8 minutes or so, I tried to skillfully control my breathing and get my heart rate back down to manageable levels. The race hasn’t even begun and already things are feeling a little out of control! Now, call me a sell-out (or perhaps an even more colorful and creative name than that), but I just entered this race to win. I gave no thought to time or pace or effort, I simply wanted to take first. When the gun went off, I let the pack naturally sort itself out for the first few minutes, and found myself right behind two guys, the three of us leading the crowd. We quickly were separated from everyone else within the first mile, and gained more distance with every step. The pace was a little slower than I anticipated, but instead of taking on a Prefontaine-style attitude so early, I let these guys lead and just followed right behind. At 2 miles, we dropped one guy. It was pretty obvious he hadn’t had much hill training, and I felt bad for him. He was bent at the waist, almost doubled over on the uphill, and I just wanted to straighten him out and carry him up the hill with us. Perhaps I sympathized with him because I’d been there before, and I was acutely aware of the detriment it would cause for the remainder of his race. I know it had done so for me many times. But I had my own race to run; I had to look out for me, you know? Now here we are, a little over 2 miles into this race and it’s just me and this other guy. He’s taller by several inches, with much broader shoulders than myself, so I drafted off him for a while. I don’t know if we were even moving fast enough or the headwind was strong enough for my drafting to make a difference, but mentally it was a huge confidence boost. Somewhere between miles 2 and 3, I decided I’d stay with this guy until we hit mile 5, and then with any luck I could break away and get some distance between us. I’ve learned the hard way that when it comes down to a neck-&-neck sprint between me and just about anyone else, I will take the loss 90% of the time. He was looking pretty strong. After winding through some neighborhood streets, we start coming up on an aid station around 3.7 miles. We both ask for water, and then he takes me by surprise- two little kids run out to our assistance, and when the wax Powerade cups hit our palms with just a little too much force, he stops!! I had half a mind to keep my prior goal and stay behind him until the halfway mark, but something wouldn’t let me. Still moving, I take a few sips and spill some water down my chin like a child dribbling soup and I am off. Not too fast, but enough that I never saw the guy again. I gave him until I arrived at the next aid station, right before mile 5, before I really opened up and put some distance between us. As I run past the volunteers and drink table, I decline water and they quickly ask to see my name & race number then radio something in to the people at the finish line; what they said I didn’t hear nor did it concern me. My legs felt great and I wanted to see what I could do today. Running with the other guys, we were never faster than ~7:10 pace for the first five, and our average hovered around 7:33. I cross the point in the gravel that marks 5 mi and tried to put on some speed, with my next five miles averaging 6:01 pace. As luck would have it, my breakaway was perfectly synced with my headphones, which begin playing one of my favorite songs for racing, “Throw Down” by Follow Your Hero. So that’s exactly what I did. For the remainder of the race, I focused on flying through the downhills and strong, powerful knee lifts on the inclines. I specifically remember finishing a particularly long downhill section right before 7 miles, and my feet were on fire! I thought I had tied my shoes tight enough to keep them from sliding, but the friction of the downhill pounding didn’t just create hotspots in my shoes, the entire interior was a furnace. From here, with roughly a 5k to go, I was really feeling good. This is where I kicked out my two fastest miles, 5:50’s back-to-back (5:50.42 and 5:50.25, if we’re splitting hairs). It helped that I was listening to Imagine Dragon’s “On Top Of The World” and Set Your Goals’ “Mutiny!” by this time. For 7 minutes I felt unstoppable, and that’s just what I needed. The song “Mutiny!” is so, so perfect for any competition, in my opinion. Road races aside, I try to avoid listening to music during any kind of running or hard workouts, but sometimes that cannot be avoided. There is one part of the song in particular that helps power me through the worst workouts and low points in races, and I save this song only for times I know I will be in considerable distress, which is why it appeared in my playlist during the final miles of my race. Near the end of the song, the line goes: “We have come to pillage. We have come to burn. We have come to incite the riot. We have come to take it over.” Now, say what you will about music and its place in running, nay, in life. Have your opinions on what is ‘good’ music and what is not. Hold true to your beliefs and morals on the subject. I will both respect and honor them. But every single time I hear this line in this song, I feel like I could take on the world and outrace anybody. Delusions of grandeur aside, at the very least this song pulls me out of the darkest abyss and keeps me moving fast for a few minutes more. I run past a local restaurant, Herm’s Inn. I can smell the roast coffee, the maple syrup, and the famous cinnamon-swirl pancakes with their cream cheese frosting. The haunting aroma causes my mind to wander. I think of the friends and family sharing meals there. I think of a comfortable booth, someone waiting on my every need, food that satisfies without fail. I even consider the ease with which each of those lucky individuals arrived at their destination, and I’m briefly filled with jealousy. They rightly and smartly chose to treat themselves instead of pay real money to be subjected to a 10-mile run in the heat. What am I, an idiot? The gradual fade of savory smells returns me to a sense of reality and duty. Notwithstanding a final aid station just before the final climb I didn’t see a single person, bystander or otherwise, again until I approached the finish line. For a split second, I regret not breaking away earlier and seeing what I could really do with a full 10 miles at my disposal, but then I remember that not only is this a small stepping stone for later-season events, it wouldn’t be smart to risk everything on such an early-season race. I am the first to cross the finish line in a time of 1:06:34 unofficial, 6:39 average pace. A cool, metal bench under a tent offers some solace from the heat, and I take it. I can feel the cold on my thighs and palms. It would be startling if it wasn’t so refreshing. The race director snaps an unflattering picture of me removing my hat and running my hands through my sweaty hair, and I remove my shoes, afraid to know if I burned a hole through my socks. My socks are fine, thank goodness, and I feel well, all things considered. A few minutes to catch my breath & regain composure, and I’m shotgunning glasses of complimentary chocolate milk to quench my thirst. Everything was beautiful and nothing hurt. I get in a few easy miles as a cool down, make some phone calls to friends & family to give a short race report, and then cheer the rest of the runners in while I wait for the post-race awards and raffle. As the winner, I am guaranteed free entry into next year’s race to “defend my title”, and I was awarded a very high-quality hiking stick as well as a Bath Bomb (???). I didn’t know what a bath bomb was until I called my mother and told her that’s what I’d won. Her immediate reaction was laughter. Probably just going to re-gift that one to my sister because blue fizzy bath water isn’t really my scene. Additionally, the raffle granted me a nice pair of SmartWool PhD socks, so I’m pretty stoked about that!

All in all, today was good. I’m sore, but nothing worrisome like I was feeling earlier this week. Tomorrow will be a much anticipated day off, and then some more looking ahead as training days and race days approach.

#running #run #runblr #runblog #runner #racing #training #halfmarathon #marathon #race report #wwmd

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hellsbellschime · 8 years

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have you ever done a meta on steroline? how this ship regressed caroline's character and how she lost her agency bc of this ship ^-^

Well I have written a few metas about Steroline’s issues, but given that the ship seems to be reaching it’s climax in tonight’s episode and given that Caroline’s character regression and lack of agency coincidentally seem to be hitting a low point I think that it’s a pretty relevant time to be having this discussion. And I think it’s exceptionally unfortunate that this has gone on for so long and Caroline specifically has suffered so much as a character because of it because, if the recent batch of spoilers are to be believed, it was quite literally just to waste time anyway.

I know that a lot of people really enjoyed Steroline as a friendship, but I have vacillated on that and I think that when the entire story concludes I’m going to have an overall negative view of it because I don’t think it did anything for Caroline or Stefan as characters and I ultimately just don’t think that it was very interesting. But one of the major pitfalls for their relationship in my eyes is that there has been a pretty consistent theme throughout the entire series of Stefan’s focal point never actually being about Caroline for their entire relationship. I mean, when he first meets her he allows Damon to use and abuse her because it makes Damon easier to control and keeps him away from Elena. When Katherine turns Caroline Stefan tries to save her life because it’s what Elena wants. He gives Caroline a chance in a relationship because everyone around him tells him he should, and seeing how flighty he’s been when it comes to their actual commitment together it seems like he mostly sticks with her because she’s someone he can count on and because she’s just there. Caroline’s characterization rarely gets to grow with Stefan because she only exists as a prop in most of Stefan’s story lines, and in fact if she were actually acknowledged as a character instead of a prop it would be really hard for the writers to pull a lot of these story lines off because they don’t make sense and look ABSOLUTELY FUCKING GOD AWFUL if you see Caroline as an actual person.

But, what I think is also interesting about their relationship is that it seems like whatever aspects of their relationship aren’t about someone else still aren’t about Caroline, they’re about Stefan. And this even goes back to the beginning of their “friendship”. I mean, Stefan puts Caroline on his blood addict superdiet because it’s what works for HIM, even though it’s a level of strictness that is really difficult for any vampire to maintain and even though Caroline is perfectly capable of maintaining a blood bag diet. He relies on her to be HIS sober sponsor even though he’s had over a century of experience and she’s a baby vamp, which seems like an absurd amount of pressure to put on a newbie when we’ve seen characters like Vicki who can’t even control themselves, let alone help someone else. When she flips her humanity switch he tries to force her to flip it back even though she doesn’t appear to be a threat to anyone, presumably because HE can’t control himself. And of course, he ups and ditches her without a word because it’s what he thinks is best, and apparently her opinion doesn’t matter. And now they’re getting married to draw out Stefan’s bunny boiler ex. Stefan really doesn’t seem to see Caroline as a person with her own individual wants and needs and seems to project all of his insecurities and fears about himself on to her, and then spends a massive amount of time and sheds a significant amount of blood trying to “fix” her problems that really aren’t her problems at all. It’s kind of the definition of lost agency, because Caroline isn’t treated like her own person, she’s treated as Stefan’s reflection, and the writing tells us that this is romantic and that we should really enjoy it.

And, now that we’re at the last fucking gasp of the series, it appears that that’s how Steroline and Caroline’s character arc on TVD are going to end. Caroline is marrying Stefan in the hopes that Katherine will be drawn out one last time, and if the spoiler rumors are correct it would appear that Caroline is going to “give Stefan up” for his own good and let him live a human life that he always wanted. Which is certainly noble in theory, but in reality is quite a sad undercutting of Caroline’s feelings and desires. I mean she always has a tendency of ignoring what she wants or needs for Stefan’s sake, but if she erases his memories she’s giving him a clean slate without giving herself one. She’ll still remember all of the feelings she had, good or bad, and if the rumors of her wearing her wedding ring to the very end are true then she’ll still be holding on to that relationship for the rest of her arc in the entire series, and she will have to cope with that completely alone. Stefan gets a free pass while Caroline essentially has to not only deal with everything on her own, but has to pretend that all of those thoughts and feelings that she erased for Stefan no longer exist for her either (at least that’s what she’d have to pretend outwardly, since she and Stefan aren’t even supposed to know each other). Aside from being just yucky, it’s an exceptionally shitty send off for Caroline because it means that no matter what, on some level she will never be able to completely move on, she will never be able to have the kind of closure that Stefan has and it will be because of a relationship that will ultimately only exist in her mind for the rest of eternity. Which is fucking terrible.

Obviously there is a week left and we can’t say for sure what will happen, and I certainly hope that Caroline’s entire conclusion with TVD won’t be focused entirely on Stefan. But regardless of what happens in the next two episodes, it will always be true that a huge portion of Caroline’s character development and story lines have been cut off at the knees for the sake of Stefan just having something to do. It’s obviously not unusual for Thirstday to treat it’s female characters like props, but given that Caroline is one of the few female characters who have ever had development and purpose outside of being a prop and given that she is arguably the best developed female character they have it’s extra depressing to realize that nearly half of her character’s existence has been sidelined for the sake of some ship drama and for Stefan. And if the show ends the way we think it might end I think that’s quite sad for Caroline. I know there isn’t much that can be done about the direction of her character at the very end, but it sounds like the main three will come full circle in some way while Caroline... will not. She’ll just prop up her shittiest story lines for one last time and the show will be over. And that sucks.

#anti steroline #caroline forbes #anti stefan salvatore #anti steroline meta #tvd #tvd meta #meta #Anonymous

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kingsofchaos · 8 years

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So i had an Idea but I can't think of anything past the concept (+ yr writing for this kinda thing is like 200% better than mine) but what if the Lads founded the Fake AH crew and recruited the gents?

Oohthat’s fun – i’ve seen versions where they were two little gangswho combined into the FAHC but the idea of the actual Fake’s startingas the Lads is definitely interesting.Therewere a lot of names tossed around at the start; it’s the part offorming a crew no one really talks about, the vaguely embarrassingperiod of building an image, choosing a name, defining yourselves.Like band names there is a lot of bad before the good. Like bandnames ‘good’ is wildly subjective, particularly when determined by apack of teenage boys. The humour behind ‘Fake Crew’ isn’tparticularly high brow and not a single soul outside the originalfour Lads, including and especially their future members, have anyidea at all what the AH could possibly stand for. Most think itsmysterious, assume something clever or at least meaningful, but theshifty looks the boys shoot each other when pressed tell a differentstory.Still,they’ve made something of a name for themselves in Los Santos – theFAHC, who pull off unbelievable stunts, who lack any semblance ofrespect, dangerous in the way of feral animals, of wildfire. In thefoolhardy way of children, who care far more about making sure youhurt than they do about protecting themselves. It’s enough to keepother gangs wary, to buy themselves a little breathing room withreckless gestures and bared teeth, but not exactly the glory they arelooking for. Not quite the trembling respect they’ve dreamed of.Forthat, it seems, they’re going to have to think bigger, smarter. Beclever not just in the tricks they play and jobs they pull but in theway they twist their image, they way they recruit, build their crew.Just being more won’t do it, added thugs for the sake of numbers; itwould take an astonishing amount to really match the size of some oftheir rivals and the Lads don’t exactly play nice with strangers. No,they have to be strategic, have to select a few choice additions whocan help them rise, and after much discussion they settle on threenames they’d like to pull in; Ramsey, Patillo and the Vagabond. Loftygoals to be sure, but then, delusions of grandeur or not, the Fake’shave always considered themselves to be rather magnificent.Everyonewho’s anyone knows about the Vagabond; none of them will admit it(Ray will admit it, Ray doesn’t give a fuck) but the Lads all havehearts in their eyes every time the Vagabond slinks around, allfollow every rumour, gossip over every job. Something between heroworship and healthy respect, without any of the fear normalself-respecting individuals feel, is the perfect cocktail to have thefour of them plotting outlandish ways to pull in the mercenary.Patillo has an incredibly solid reputation for someone with no realties, invariably thought to be smart, dependable, one of the bestdrivers in the country and definitely not a woman to be trifled with.That she and Ramsey seem to have some kind of relationship, workedtogether back in the day and while going their separate ways don’tappear to have had any kind of blow up, will hopefully work in theLads favour. Last, but certainly not least, there’s Geoff Ramsey; therouge Rooster who’s been traversing the country, constantly on themove and pulling all kinds of jobs from hilariously wacky to darklyperverse. Maybe the Lads are looking a bit outside their paid gradebut with Ramsey reportedly looking to build his own crew they can’tnot try, not after realising that their crew is unfortunately in needof a proper leader.Becausenone of the Lads are leaders, not really, especially not back then.They aren’t incapable, are clearly wildly talented and loyal enoughto one another to defer a certain kind of leadership to whomever hasthe best idea or the most experience with whatever task they’refacing, but no one individual is capable of being the permanent boss.No one individual actually wants that role, not really, they’re alltoo young, too impulsive, too eager to abandon necessary goals at thedrop of a hat. Ray,who has arguably the least interest in being the boss of all, is lessleader than lone wolf; when he’s taking point a lot of his orderstend to involve stealth, hanging back while he picks off targets,only charging in when long-distance is no longer an option. Necessaryfor particular jobs, and it’s certainly not an easy task keeping theother three in line until it’s their turn to burst into action, butit’s not a method that works for every task.Michaelmakes a magnificent leader, fierce and fearless and unwaveringlyloyal, protective of his crew until the bitter end. He is,unfortunately, utterly devoid of tact, of the patience to put up withany kind of shenanigans from anyone he doesn’t personally like, theability to create and maintain necessary relations with anyoneoutside his crew. Michael himself knows he makes a far betterLieutenant, busy with duties he actually cares about, walking theline between following orders with absolute obedience andunapologetically calling out anything he disagrees with, reliable andrelentless in equal measure.Jeremyis meticulous, when he’s in charge he plots and plans and doublechecks, the very image of the perfect boss except for one flaw; moreoften than not he’s easily swayed. Will put together the perfectstealth plan only to agree when Michael makes a convincing argumentfor the importance of rocket launchers, conduct an ideal heist untilGavin begs to go after something shiny or Ray inquires aboutabandoning the sensible get away car for hilarious motorisedscooters.WhenGavin is on his game he is fucking glorious, a flashbang of recklesslaughter and terrible ideas none of them can resist, the promise thatcome hell or hand-grenades they will all be going home with a story.When Gavin plays leader he needs a lot of faith, needs the others totrust in things that don’t seem remotely feasible, but the payoff isalways worth it. Except for the days when his words are too sharp,his eyes too cold, when he wants nothing more than to pick a fightwith the most dangerous crook in the room, to swagger around theLSPD’s station unmasked, jump from a plane without checking hisparachute; dancing with death just to see if he can. Ifthey’re not careful on those days, if they missed the clues, the restof the Lads would follow him down, unable discern between Gavin’susual absurd genius and those streaks of genuinely aimless apathyuntil they’re all careening towards destruction.So,as grating as it seems, there is an undeniable argument for apermanent leader, someone to keep them all on course, to take theresponsibilities they don’t want, someone who can captain their shipwithout trying to push them all overboard. Still, you can’t just walkup to one of these infamous criminals and hand them an invitation;selling yourself – your dream, your crew, your city – takes time,takes planning, so in the end the FAHC’s first recruitment isn’t evenone of those big three.It’spure luck when Michael meets Lindsay; finds her twirling anail-studded bat in the wreckage of a bar, sipping a cocktail likeshe hadn’t just caved a man’s head in, and really nothing on earthcould have stopped Michael from offering her a place in the crew.From talking them up in a way he’d never really bother with normally,because honestly how could he not. It doesn’t take much to get theother three onboard, Lindsay was a perfect fit, a seamless addition,and with her the FAHC is unquestionably more efficient.Strangelythe Vagabond is actually far easier to get on board than any hadanticipated. After they start actively seeking his attention Ryancan’t help but watch the Lads. Not because their jobs are impressive(they are, actually, but Ryan’s in high demand, so very many crewsout there are impressive enough) but because they are endearingeager; nothing like the pathetic begging of so many others, noattempt to convince Ryan he should be desperate to work withthem, just genuine enthusiasm to prove themselves worthy ofhis time. They’re funny, something akin to a pack of recklesspuppies; certainly capable of outrageous damage but equally likely totrip over their own oversized paws in their excitement, and in thisbusiness Ryan really shouldn’t find it as charming as he does. Theytake to leaving him all kinds of gifts; generally intriguing , oftenamusing and near always utterly gruesome, and after a month or so ofhanging around the city toying with them they manage to get a formerRooster onside to run the show and Ryan’s run out of reasons tosay no.Gavin’sthe one they sent after Geoff, when the Lads decide they’re ready totry to bring the notoriously creative, fortuitouslycrew-seeking man into the FAHC. Gavin’s first approach, full ofdeferential respect playing to Ramsey’s ego, is a complete bust; Geoffthought he was sweet, called him kid, laughed in his face andsent him out the door with a crack about coming back when he was oldenough to drive. The second approach involves pulling a full blownjob on Ramsey, one that starts with the man unknowingly buying Gavina supercar and ends with the priceless tailored suit he’s wearingbeing pinned to the wall with a nail gun, Gavin grinning away like aparticularly bloodthirsty shark, and all of a sudden Geoff can’t sayhe isn’t tempted. Deigns to finally listen to the recruitment spiel,as though he’s got any other choice right now, and despite himself isquickly sold on the whole crew.Jeremygoes out one day and comes back with a handful of people, some they’dbeen discussing as a group, some the others hadn’t heard of, but allperfectly capable of holding their own agains the Lad’s disgruntleddissent. Steffie, who takes a look at their set up, rolls her eyes,then pulls out her phone and starts making a list, talking dealersand bases and possible new hires. Trevor who immediately sets tosoothing ruffled feathers, sidling up to Gavin and gushing about someridiculous theft, questioning Michael about his preference in heavyweaponry, ignoring the way Ray is skulking around behind him. Mattthey’d all agreed on, welcoming the chance to push off allcomputering nonsense onto someone else, and Mica assures them allthat she’s got no interest in sticking around, will work contracts asrequested but isn’t about the stationary crew life. In the end noblood is spilt, no tempers flare too badly, and Jeremy is reasonablysure he isn’t going to wake up with a gun to his temple, so all inall it goes pretty well.The last missing piece, Jack, is actually tracked down by Ray in the end; he wanders off one day andcomes back with a very amused woman in tow, decked out in a hideousHawaiian shirt and driving an obscenely nice Lamborghini. Apparentlyafter finding her, not particularly difficult considering she wasn’ttrying to hide, Ray simply told Jack all about Geoff’s fumblingattempts to simultaneously familiarise himself with the mess that isLos Santos, integrate himself into, and begin to take control of, analready close-knit, functioning crew, and do it all while pretendinghe’s not at all rattled by the Lad’s unwavering fascination with thehorrifically notorious assassin who insists on sticking a strawthrough his mask to pound down a truly irresponsible number of dietcokes. It took a while for her utterly joyous, completelyuncontrollable laughter to die down, but when she finally calmed Jackimmediately started packing.

#FAHC #bluebelladon #why does everything end up stupidly long #my next response is going to be like 2 sentences #I say full well knowing my own intentions mean nothing #working out how to have Geoff still be leader was interesting #Hope this worked for you!#Also don't be so down on yourself!#You should write whatever you like #and it will be killer #Loaded Guns and Sharp Teeth #Ain't Never Had A Friend Like Me #Legal And Illegal Have Nothing To Do With Right Or Wrong

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prideofagarbage · 8 years

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Ed, Roy, and the Military

I’ve come across some analyses suggesting Roy can be seen as a “grown-up version of Ed”, and referencing their shared disregard for authority and tendency towards immature reactions (at least when it’s useful for comic relief). I’m not sure I agree, though. I actually think Ed and Roy are very different personalities at their core, and I’m going to try to explain this in part using their attitudes towards their identities as State Alchemists. Because it’s very interesting to contrast Ed and Roy's relationships with the military. Yes, they both use the military for their own ends, but that's about where the similarity ends.

The Military, guest-starring Roy’s Coat:

A Couple of Sad Shots of Ed

Ed doesn't actually want anything to do with the military, and he's only in it for the benefits. It's also clear he knows and feels the burden of being employed by the State (and subject to their whims / control), with all the times he has been referred to or has referred to himself as a dog of the military - something which he realizes much earlier than Roy or Maes or even Riza, who arguably had this awakening only in the Ishvallan war. Those three chose to enlist, and believed themselves part of something noble. Ed, on the other hand, never had any such illusions, partly due to his village background, maybe, and growing up as a part of the more grassroot people with their disillusions about the military. It probably didn’t help that he’d grown up knowing Winry’s parents had died in the military’s service, albeit by their free will.

Al, Winry, and Ed, probably on hearing the bad news:

One of my all time favourite FMA quotes is this (from the 03 anime), where Ed is talking to Al after Nina died and Al saves Ed from Barry the Chopper:

When I thought he was going to kill me, I didn't have any hope left. Then you showed up, Al. And I realized if we don't look out for each other, no one will. So I'll do anything in my power to get our bodies back, even if it means becoming the military's lapdog.

"We couldn’t even save a little girl.”

And that is the essence of what drives Ed, and by extension why he is in the military: for love of his brother, for guilt of his mistakes, and for the chance to put those mistakes to rights.

Plus, Ed is a ferociously independent person - in thought and action and character, and it fits that he would hate any kind of hierarchy in his life. It's not that he doesn't respect anyone (he does, when he thinks they're worth his respect - see Izumi, or Riza, or even Hughes), but he would be the type to hate having to respect someone just because they outrank him (see Roy lol).

An Unimpressed Roy

Roy, on the other hand, chose the military.

Roy Mustang, Private, and His Coat:

He has a much more idealistic view of the military and even of alchemy than Ed does, believing that alchemists worked for the good of the people, and that joining the military would allow him to serve his country. It’s not until Ishval that some of those ideals are torn (blasted) to pieces, and even then, he chooses to stay. His ambition is not quenched but fueled by this disillusionment, and it's worth noting that while he is using the military to further his own ambition, that ambition ultimately ends with him still IN the military. He sees the flaw in the system, but he still believes in the system; he just wants to end up at the top so he can change it.

Contrast Ed, who doesn’t care about the system and doesn't want anything to do with it. Ed’a not against the system necessarily, he just doesn’t give a crap. I’m aware of the prevailing view of Ed as a rather anti-authority character, but I would argue he’s not so much anti-authority as simply doesn’t-give-a-crap (yes, there’s a difference). He’ll blast the system inside out if it’s in his way, but otherwise, he couldn’t care less. He certainly isn’t going to organize a revolution - ain’t nobody got time for that, homeboy’s got a body (and a couple limbs) to find.

(I don’t know if I understand these terms well enough to use them correctly, but perhaps I could say that Ed is "neutral good", compared to Roy's "lawful good"?)

Roy is also much more subtle than Ed - craftier, if you will. He plays the long game, recruiting allies, going underground, and preserving his image as a playboy and obedient soldier, because he knows he needs to first gain power within the military before he can change it.

Roy the Playboy:

(Arguably, Roy's image is part of why Ed clashes with Roy so much in the beginning - Ed bought into the image too, and couldn't respect someone who cared more about his own reputation than other people. Roy seemed shallow to Ed, and it wasn't until the Maria Ross plot line that Ed started to see that there was more to the Colonel than met the eye. It's easy for us as readers to forget how effectively Roy plays his Colonel Bastard persona to anyone outside his own squad because we always see him with them or others he trusts.)

A Small Conclusion

Don’t get me wrong - Roy and Ed ARE similar in many ways, not the least of which being that they both hold strong beliefs or goals, and would fight to the death to uphold them. It’s just that those beliefs and goals themselves are very different, and reflect the inate differences of their characters.

Ed is, at heart, an academic. He’s a brilliant alchemist, a prodigy of unbelievable talent, but he would have been perfectly happy living a hermit life out in the country with his family, conducting alchemical research for the rest of his life. Heck, his entire story arc is driven by his desire to return to that life.

Roy, on the other hand, is a leader. He came into the military, he saw its flaws, and he decided the solution was to conquer it (slowly). Roy has vision. And he will become Fuhrer, or die trying, and frankly all these homunculi are just speed bumps on his road to success. (He’s also well-suited to his ambition - he’s a caring, charismatic leader, he’s one of the most powerful alchemists in the nation, and he certainly has the intelligence to play the game.)

And I love this about FMA. I love the diversity of its characters, and the respect given to each individual’s life choices. We have the ambitious young general who wants to change the world. And we have the disillusioned prodigy who just wants to go home and live a normal life, for God’s sake.

And those are both goals well worth pursuing.

Photos taken from the Fullmetal Alchemist manga and anime series. All credit to Hiromu Arakawa.

#fma #fullmetal alchemist #fma meta #edward elric #roy mustang #analysis #original #original meta

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topfygad · 5 years

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Insider Tips to Conquering Peru’s Classic Inca Trail to Machu Picchu Hike

I’m not gonna lie—I used to be scared after agreeing to do Peru’s standard Inca Path to Machu Picchu hike. Extra like terrified. I’ve undoubtedly been identified to spend a pair hours mountain climbing some trails for the afternoon, although by no means for 4-days straight or as much as elevations that may trigger altitude illness. However, the 26-mile trek might be probably the most iconic (or shall I say, bucket record worthy) factor to do in Peru, if not all of South America. Which implies, I didn’t need to miss it.

Machu Picchu is undoubtedly a panoramic vacation spot (it didn’t get the title as one of many new Seven Wonders of the World for nothing!), however including the fantastic thing about the Traditional Inca Path is just like the suspenseful buildup to the grand finale attraction. Its Andean mountain passes are iconic, its steep terrain is brutally difficult, and it was one of the memorable experiences of my life. And if this out-of-shape, middle-aged chick can do it, so are you able to.

From coaching tricks to getting ready for altitude problem to discovering the very best mountain climbing poles, this insider information will let you understand what to anticipate alongside the route and provide help to to overcome the Inca Path.

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WHAT IS THE CLASSIC INCA TRAIL HIKE?

Manner again within the 15th century, the Inca folks created in depth highway networks to make it simpler to journey throughout the area (when you’re , you’ll be able to learn extra in regards to the Inca historical past right here). This Inca path system stretches over 25,000 miles—from Peru to Ecuador to Chile and a few areas of Argentina and Colombia. The Traditional Inca Path is arguably probably the most well-known a part of this community, and for good purpose.

The Traditional Inca Path is a Four day/Three night time hike that has you trekking for 26 miles as much as altitudes of just about 14,000 ft. Don’t let the seemingly quick variety of miles idiot you—there are over 10,000 stairs alongside the path and most of them are uphill (or least it felt prefer it!). The reasonably tough journey begins at Piskacucho, extra generally referred to as KM 82, and travels via the Peruvian mountains ending on the iconic Machu Picchu.

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The concern of the issue of this hike is what makes most individuals select the simpler prepare choice to get to Machu Picchu (it’s what virtually precipitated me to do this!), however then you’ll then be lacking out on the treasure trove of pure magnificence, a rewarding journey of perseverance, a bonding expertise like no different and perfectly-leveled artifical terraces that butt as much as desolate historic ruins.

Machu Picchu will likely be a jaw-dropping sight irrespective of the way you get there, however I can assure that it’s going to imply a lot extra to you after spending just a few days beforehand studying in regards to the historical past, difficult your physique, being rejuvenated with the facility of nature and strolling the trail of the Incans.

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BOOKING AN INCA TRAIL TOUR

You possibly can solely do the Traditional Inca Path by reserving via a good tour firm or non-public licensed information. Choosing the proper one is extraordinarily essential not solely to make sure that you might have a good time, but in addition that you’re comfy and protected within the unknown terrain. We went with Alpaca Expeditions and couldn’t have been happier with their service.

About Alpaca Expeditions

From the extremely educated guides to the yummy a number of course meals excessive up within the mountains to the comfy sleeping preparations, my alternative of partnering up with the extremely caring staff at Alpaca Expeditions was a clever one. Listed below are another the reason why:

Alpaca Expeditions is a sustainable firm that’s devoted to leaving no hint. They’ve correct techniques in place to make sure that every thing is disposed of correctly with out leaving even a slip of paper behind!

I don’t know the way the chef managed to make such scrumptious meals within the mountains with no electrical energy, however he did. We had every thing from beef stir fry to guacamole (I’m nonetheless dreaming about it!) to tomato and cheese pizza.

Their gear is top-notch and in good working order. The sleeping baggage have been clear and freed from tears. The mountain climbing poles have been up-to-date and the tents stood completely erect with zippers that labored.

They deal with their staff nicely. After you see how laborious the employees works (particularly the porters!), you’ll want to ensure you guide a tour firm that’s honest. Alpaca Expeditions’ staff are paid an inexpensive wage, have medical health insurance and twice a yr they invite the porters and their households to Machu Picchu for his or her first go to ever!

They’ve a ardour for responsible tourism, and work laborious to present again to the group and the land.

Apart from being geek-level educated, their guides have been affected person. They knew when to push us and once we have been at our limits. Even after I lagged behind they by no means made me really feel embarrassed or rushed.

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BOOKING TIPS

Guide in Advance

This trek is standard, and as a result of limitations of permits it’s essential guide your journey nicely prematurely—we booked about Four months beforehand. The Inca Path limits permits to simply 500 per day, and that features vacationers, guides and porters. On account of this limitation, you’ll want to plan nicely prematurely in an effort to safe your spot.

Are you able to Hike Solo?

The reply isn’t any. With a purpose to protect the wonder and purity of the Inca Path, you should be on a tour group or with a private information. For me, a big a part of the very best reminiscences was from sharing the expertise with others within the group, getting their assist and conquering it collectively.

When is the Finest Time to Go?

The Dry Season in Peru is from Could – October, and the Moist Season from November – April. Selecting between the 2 depends upon if climate or much less vacationers is extra essential to you. July and August will see probably the most vacationers, whereas February and March see probably the most rain (and the Inca Path is closed for the month of February). Could and October are the 2 greatest instances to go as a result of they miss the height season, however nonetheless supply first rate climate. With that stated, our hike was to start with of September and we couldn’t have requested for higher climate. The nights have been slightly chilly, however through the day was mid-high 60s which made for good mountain climbing climate. It solely rained for just a few of the mountain climbing hours in your entire 4-days.

What Does the Inca Path Value?

The Traditional Inca Path trek can vary from round $500 to $800, Alpaca Expeditions was $690 which incorporates Three meals (plus snacks!), a tent, transportation, two guides and a porter. Take into account that a less expensive value isn’t higher—it may imply that the gear is less than par or that the porters are usually not being paid honest wages.

Different Trails to Machu Picchu

There are different hikes you are able to do to get to Machu Picchu, some shorter and a few longer (just like the Salcantay Route), however the 4-day/Three night time Traditional is the preferred. You possibly can see all of the choices right here

PACKING

The important thing phrase to packing for the Inca Path is ‘gentle‘. Although we every had a porter for the trek, they solely may carry 7kg of our gadgets (that’s about 15lbs)—that needed to embody our sleeping baggage and air mattress which was about 3kg. That left me with about Eight lbs for the porters to hold and the remaining must be carried by me in my daypack. Only for reference, my husbands tennis sneakers weighed about 2 kilos. Yikes! So packing correctly was important, deliver completely no extras until you don’t thoughts your daypack being heavier.

Most, if not all, resorts in Cusco will hold your bigger suitcases of their baggage storage room if you are mountain climbing the path. Simply just remember to take your valuables with you, or on the very least use a baggage lock.

The night time earlier than your trek you’ll be given a big inexperienced duffel bag to pack for the porters. Both deliver a baggage scale with you or weigh your gadgets beforehand at residence. When you get to the start line of the hike, they may weigh your duffel bag and if it’s even 1 / 4 pound over the restrict you’ll be shuffling gadgets into your daypack as a result of there isn’t any place to depart the gadgets (FYI: I introduced a Camebak fourteener daypack and my husband carried the Osprey Stratos 24—each of us have been tremendous pleased with our selections).

I discovered Alpaca Expeditions packing record (mine coming quickly!) fairly darn correct.

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WHAT TO EXPECT FROM HIKING THE INCA TRAIL: MAP & ROUTE

Briefing

The night time earlier than the trek we met up with the Alpaca Expedition staff to debate necessities and meet the opposite hikers in our group. There have been 15 of us in whole, and the ages ranged from mid 20s – mid 60s (we fell someplace in between). We have been every given a duffel bag for our belongings that the porters would carry. As talked about earlier than, the full weight may solely be 15 kilos, and our sleeping bag and air mattress could be 7 kilos of that. So we may solely have the porters carry Eight kilos of our different stuff, the remaining could be in our daypacks.

All people was given a pickup time, primarily based on the situation of their resort—ours was 4:20am (Yikes!).

Day One: Cusco to Piskacucho Km 82 to Llactapata to Ayapata

Distance: 14 km/approx. 8.5 miles Beginning Altitude: 2720 meters / 8923 ft Most Altitude: 3300 meters / 10829 ft Elevation Achieve: 580 meters / 1906 ft Approximate Mountaineering Time: 5 half of hours Issue: Reasonable—begins pretty flat, however after lunch has a gentle climb to campsite

Insider Notes: After pickup from the resort we drove for about 1 half of hours to one of many Porter’s home for breakfast (when you get carsick, take Dramamine beforehand—the roads are windy). There was fairly a ramification of breads, fruits and even pancakes! So, don’t be nervous about being fueled earlier than you start day one.

After breakfast we headed to Km 82, the beginning of the path. That is the place we picked up our permits and our duffel baggage have been weighed—mine was over weight by 1 entire pound! There was no place to depart this additional pound till we have been achieved, so it needed to be taken with us. After shuffling stuff from my duffel to my my husband’s daypack we have been on our manner.

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The breathtaking views begin inside 2 minutes of the trek. A river was gushing on one facet, because the scenic snow-covered peaks laid within the distance.

Throughout the first 5 minutes there was a tiny hill to climb and my coronary heart pumped, which added to the concern. However after that, the path was pretty flat for the primary few hours. Nevertheless, after breaking for lunch, we realized that the altitude was more and more progressively, and the easy hike was turning right into a reasonably difficult journey (foreshadowing the issue that was in retailer for day 2!).

Ideas for Day One:

Ask to get a pure tattoo from the purple cochineal pigment that may be discovered on cactus.

At the present time is shorter than the following, so take your time and cease for photograph alternatives!

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Day Two: Lifeless Lady´s Cross to Runcuraccay Cross to Chaquiccocha

Distance: 16 km/approx. 10 miles Beginning Altitude: 3300 meters / 10829 ft Most Altitude: 4200 meters / 13779 ft Elevation Achieve (Lifeless Lady’s Cross): 900 meters / 2950 ft Elevation Achieve (Cross 2): 420 meters / 1423 ft Approximate Mountaineering Time: 11 hours Issue: Troublesome—the uphills are steep and the downhill is simply as steep. There are two passes, the primary is steep and lengthy, the second is steeper and shorter.

Insider Notes: For months I used to be calling day two Dreaded Lifeless Lady’s Cross. It’s the day everybody talks about. It’s the day everybody fears. And for good purpose. It’ll push you to your restrict, however it additionally very nicely could be the most rewarding day of the trek.

There are two mountains to climb on this present day, and the primary is an elevation achieve of just about 3,000 ft. The hike up this primary go in itself was tough for me, mix that may the altitude and the problem was no joke. There was one different man on our tour scuffling with the elevation and we created (and examined) a half dozen completely different methods for making it up Lifeless Lady’s Cross:

Breath in deep via the nostril and out via the mouth

Stroll for 15 seconds, then relaxation for 15

Hold the identical sluggish mountain climbing tempo not matter if the terrain is steep, flat or downhill

Take Three steps, then cease and take Three breaths

All labored, or no less than stored our minds occupied, however the final two have been the very best for me. The estimated time to the highest of the primary go is about 4 hours, it took me shut to 6. And I cried on the high out of pleasure, pleasure and disbelief. It was a second that was definitely worth the wrestle to get there.

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Don’t get too comfy on the high of Lifeless Lady’s Cross, as a result of it’ll take about 1 half of hours of trekking down steep stairs to get to the underside. However, it’s not over but, as a result of there’s another go earlier than reaching the campsite. Yeah, the second is slightly shorter (2 hours up and a couple of hours down), however it was steeper. And midway in was after I needed to cry out of exhaustion.

In whole it was virtually 12 hours earlier than reaching our campsite and it was the toughest bodily day I’ve ever had in my life, to the purpose of feeling nauseous by the top. However, after that dissipated, I had by no means been so pleased with myself for not giving up.

Ideas for Day Two:

At the present time will likely be as a lot psychological as bodily, so be mentally ready.

You may be excited, and you’ll be nervous. Use that adrenaline to your benefit.

Deliver slightly bottle of liquor in your daypack to have a good time! There will likely be none on the campsite.

Don’t fear in case you are slower than the remainder of the group, go at your individual tempo. Everybody in our group was so supportive irrespective of how lengthy it took.

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Day Three: Chaquiccocha to Wiñaywayna

Distance: 10 km/approx. 6 miles Beginning Altitude: 3600 meters / 11800 ft Most Altitude: 3680 meters / 12073 ft Elevation Achieve: 80 meters / 273 ft Elevation Loss: 920 meters / 3008 ft Approximate Mountaineering Time: 5 hours Issue: Straightforward to Reasonable—there’s no actual elevation achieve however numerous downhill stairs!

Insider Notes: After efficiently finishing Lifeless Lady’s Cross on Day 2, I wakened feeling fairly invincible, however I additionally wakened with sore wobbly legs. It’s a reasonably simple day, however nonetheless with over two hours of downhill, so in case your legs are challenged it is going to be slightly tough (mountain climbing poles will assist tremendously!).

Alongside your entire Inca path trek, day three was my absolute favourite, due to the pure magnificence we encountered (and we weren’t even at Machu Picchu but!). The day was crammed with jaw-dropping websites and ruins.

Cloud Forest Path:

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Phuyupatamarka Ruins:

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Intipata Ruins:

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Wiñay Wayna Ruins (aka: mini Machu Picchu):

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Tip for Day Three:

Get to sleep early, you’ll be up within the wee hours of the morning (3:20am for us) in an effort to make it to Machu Picchu early.

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Day 4: Solar Gate to Machu Picchu (The Misplaced Metropolis of The Incas)

Distance: 5 km/approx. 2.5 miles Beginning Altitude: 2680 meters / 8792 ft Most Altitude: 2730 meters / 8956 ft Elevation Achieve: 50 meters / 164 ft Approximate Mountaineering Time: 2 hours Issue: Straightforward—simple, apart from the spider stairs which are a brief set of just about vertical steps!

Insider Notes: We wakened at 3:20 am in an effort to be one of many first folks on the Machu Picchu checkpoint (which didn’t open till 5:00 am), then we waited for the doorways to open. Although waking up that early was not my favourite, we have been one of many first teams according to dozens of hikers behind us. The final in line most likely wouldn’t get via the checkpoint till about 7:00, whereas we have been via by 5:30.

It was a reasonably simple two-hour hike alternating between slim walkways with sheer drops to 1 facet and extra stairs. The one tough half was one flight of stairs which are nicknamed the monkey stairs, and for good purpose—they’re almost vertical with some trekker needing to climb it utilizing each their arms and ft.

After two hours we reached the top of this hike, Machu Picchu. It was coated in clouds once we arrived and I couldn’t assist however suppose, “what the heck did I simply hike 26 miles for?” However, we simply waited a couple of minutes and the clouds modified, permitting the Misplaced Metropolis of the Incas to peek via.

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Ideas for Day 4:

Don’t fear about dashing to Machu Picchu, you’ll not be the primary ones there. Vacationers who take the prepare to the town of Aguas Calientes, after which spend the night time, will simply be capable to enter earlier than you attain the doorway.

If it’s cloudy, be affected person. Many instances the cloud formations will change inside a couple of minutes.

Deliver your passport so you will get the Machu Picchu stamp. There’s a stamping station proper earlier than the doorway (you do the stamping your self).

As soon as in Machu Picchu you’ll observe a path that goes in a single path (to keep away from congestion), so ensure you get your photograph the primary time via!

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FACILITIES, MEALS & CAMPSITES

Naturally a 4 day journey into the wild can have you worrying in regards to the high quality of meals and lodging you’ll to endure, significantly the bogs. Right here’s what it’s essential know.

Campsite

The campsites every night time have been all barely completely different, although the similarity was that all of them had a pair rows of sleeping tents and a eating tent. The porters carried and arrange these tents previous to our arrival, and packed them up within the morning (yay to them!). The interiors have been fairly roomy, becoming two sleeping baggage with no less than a foot or two of room on either side for our private gadgets.

Every morning our wakeup name was achieved by a porter (or two) providing a cup of coca tea and a small tub of sizzling water for bathing.

Campsite Ideas:

Deliver a pair of flip flops that may be worn with socks for strolling round camp.

You possibly can deliver your individual sleeping bag, however it’s simple sufficient to lease one from Alpaca Expeditions for $20. They’re mummy model sleeping baggage which are usable in -15° C / 5° F. Freshly washed liners are supplied to everybody, however we nonetheless introduced our personal Vumos silk-like liners.

A foam mat is included, however think about renting an air mattress for $15. We rented them and it was actually comfortable!

Nights could be chilly, so put your garments for the following day in your sleeping bag. They are going to be heat within the morning if you put them on.

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Restrooms/Bogs & Showers

The restrooms on the path will likely be something from barely mediocre gasoline station high quality to porta potty to a much less fascinating squat rest room. In all honesty, generally you’ll simply desire to pee within the woods. Some campsites have been geared up with an onsite restroom facility with flushing bogs (a luxurious on the path!) whereas others required Alpaca Expeditions to arrange their very own non-public rest room tents that they positioned in a discreet location.

There was just one alternative to bathe on the path, on day three, although most trekkers (myself included) opted to not as a result of the water was freezing chilly!

Rest room & Bathe Ideas:

Carry a bottle of sanitizer with you, most bogs should not have cleaning soap or operating water.

Deliver your individual rest room tissues. These small Kleenex packs labored nice for me.

For those who’re not a chilly bathe sort of individual, deliver bathe wipes with you. My husband purchased them on the final minute and I’m so grateful he did!

Meals

Three full meals, plus snacks for the path, are included in the price of the tour. From fluffy pancakes to mushroom ceviche with candy potatoes to baked beef with a vegetable stir-fry, you’ll be stunned what the chef can do! And I promise you that you’ll not be hungry. There was at all times loads of meals and all kinds for these choosy eaters. The kitchen staff additionally took additional care to cater to any particular requests, allergy symptoms, and preferences. Our Alpaca Expeditions chef even made one in all our staff members a birthday cake as a result of it was her 40th (what a bucket record worthy strategy to spend your birthday!).

There was a contented hour each night, minus the alcohol (until you introduced your individual). The hour consisted of sizzling tea, espresso, juice and snacks. It was a good time to speak to the group in regards to the experiences of the day, however everybody actually liked this joyful hour largely due to the freshly made popcorn that was served!

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Protected Ingesting Water

Apart from the primary morning, when it’s important to fill your individual hydration bladder earlier than hitting the path, the Alpaca staff supplied protected consuming water with each meal and for carrying on the hike. If you wish to be additional cautious, you possibly can get water purification tablets, although nobody in our group had any issues with consuming the water supplied.

Web

The Inca Path is the proper alternative to completely disconnect from know-how and join with nature, as a result of there isn’t any web. I obtained faint cell service for the primary few hours and at two of the ruins on day three. However, undoubtedly don’t plan on it. In case of emergency, the tour firm carries a satellite tv for pc cellphone always.

HOW HARD IS THE CLASSIC INCA TRAIL?

I can’t inform you what number of weblog posts I learn in regards to the problem of this trek—Three would terrify me, then one would give me a glimmer of hope after which again to being terrified once more. You understand how if you’re sick and also you need to google your signs and everyone tells you “don’t do this!”. That’s sort of how I really feel about looking out “how laborious is the Inca path”. However after really finishing the path, right here’s what I’ve discovered.

How match do I’ve to be?

The Inca Path is described as a reasonably difficult path, and it’s extremely advisable for individuals who have expertise with some lengthy distance hikes with substantial elevation beneficial properties.

You should not have to be a seasoned backpacker or an knowledgeable hiker to efficiently end and benefit from the Inca Path, nevertheless, you will need to be bodily match. The best problem {that a} non-fit particular person would face is the continual strolling, steep inclines and manipulating the 10,000+ stairs. With that stated, even the fittest hikers may very well be effected by the altitude. So, your coaching ought to embody stairs and a few form of cardio.

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How did I Prepare & Was it Sufficient?

Let me be sincere, I don’t prefer to work out—no less than not within the conventional sense of going to the health club. I’m not in nice form. I really stop my health club membership two months earlier than this hike (why did I would like it after I by no means went!). I don’t work out, as a substitute I journey. I do know, not the identical factor. However, it does require being energetic and many strolling, however undoubtedly not climbing uphill for 5 hours straight. That’s why this hike scared the bejesus out of me. I used to be touring more often than not for just a few months earlier than heading to Peru, so tried to stroll as a lot as potential (about 15,000 steps per day) and take the steps as a substitute of elevators or escalators.

With two and a half weeks again residence earlier than heading to Peru, I went on a 4-day per week binge train program. Right here’s what I did:

As a substitute of utilizing a cart, I walked the golf course whereas enjoying 9-holes (it’s tremendous hilly).

I walked up and down the steps of my home, two at a time, a couple of dozen instances per day.

My girlfriend and I made it a aim to hike each path at our native state park (and did it!).

I walked to and from the restaurant my husband and I personal (about 1.5 miles every manner).

That’s it. I used to be nowhere close to as ready as I needed to be. I want I had began coaching the advisable 2-Three months prematurely. However, was it sufficient? Effectively, I accomplished it. So, in the end sure.

Mountaineering Poles: Sure or No?

Sure. That could be a robust affirmative sure! I don’t suppose I might have completed the path with out them. They take slightly of the the stress off your legs and knees, particularly when going downhill. On day three, when my legs have been so extremely sore after finishing Lifeless Lady’s Cross, they have been a necessity!

There have been a few very match males who did your entire factor with out them, so it’s potential, however I wouldn’t take the possibility. You possibly can lease them from the corporate for $15, however I purchased these Foxelli Trekking Poles beforehand and am joyful to have them for future mountain climbing.

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Stopping Altitude Illness

The most effective issues you are able to do earlier than mountain climbing the Inca Path to Machu Picchu is to attempt to acclimate in Cusco beforehand. Cusco has an elevation of 11,152, whereas Machu Picchu sits at 7,972 and the best level of the path is 13,779 (that’s manner the heck up there!). We arrived in Cusco the advisable two days early in an effort to attempt to acclimate to the altitude, however I truthfully felt like one or two extra days would have been higher. That is most likely as a result of we got here from an space in northern California which is at sea stage. For those who’re from someplace with some altitude already, like Colorado, then the 2 days could also be sufficient.

It is usually essential to equip your self with the mandatory medical provides, herbs, and treatments. Although I didn’t use it, many have been taking the altitude illness drugs Diamox, which is extraordinarily standard amongst hikers. Along with that, the locals imagine in a time-tested pure treatment that has been helpful for the Inca folks for over 100 years. It requires you to chew on some Coca leaves or brew them in a cup of tea, which you’ll both purchase in Cusco or alongside the path at some stops. Simply bear in mind that coca leaves are the uncooked supplies used for making cocaine. Although it doesn’t provide the cocaine excessive, you might take a look at constructive for cocaine. I drank no less than a cup of tea day-after-day, however it didn’t appear to have any impact on me in anyway.

Indicators of Altitude Illness

Many individuals undergo altitude illness of some kind, however most instances are delicate. The most typical are dizziness, complications and getting winded extra shortly. Some extra extreme signs could be vomiting and diarrhea. For me, it was shortness of breath and a speedy coronary heart fee whereas trekking uphill. I simply needed to regulate my tempo, taking my time and never worrying about how sluggish I used to be going.

Your guides will likely be nicely skilled in coping with altitude illness, so simply hold them posted alongside the best way. With that stated, we had 15 folks in our group and never one skilled something too extreme.

Coaching Ideas:

Cardio, cardio, cardio. This was one space that I didn’t give attention to throughout my pseudo-training and it was probably the most difficult for me.

Finishing the path is simply as a lot a bodily problem as it’s a psychological one, so be mentally ready to inspire your self.

Begin 2-Three months earlier than your trek.

For those who’re actually nervous they make altitude coaching masks to maximise your exercises.

Take note, that you’re not the one one struggling, others within the group will likely be too. Even in case you are lagging behind everybody else, the group and the guides will likely be rooting you on and the bond you’ll type with these folks will likely be unimaginable.

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Additional Important Tricks to Mountaineering the Inca Path to Machu Picchu

How A lot Cash to Deliver: I used to be in Peru for a complete of seven days. I introduced 1500 Peruvian soles ($450 USD) and an additional $250 USD with me, along with a bank card that I used solely in Cusco. On the Inca Path you’ll solely want cash for the drink/snack distributors on the primary few days and for tipping.

Tipping Porters, Guides & Chef: Along with the price of the tour, tipping is one thing else to contemplate budgeting for. It’s on a voluntary foundation, however when you see the backpacks the porters are carrying and the way nicely all of the employees treats you, you’ll want to ensure that they’re taken care of. Right here’s what Alpaca Expeditions says about tipping:

“Tipping is after all 100% voluntary and will solely be achieved when you really feel like your information, porters and chef have achieved an incredible job for you. After all we hope each journey we lead is outstanding, so when you do select to present a tip, now we have some normal tips on how a lot to present. Usually teams give collective ideas which are shared between the cook dinner and all porters together with the top porter and is often given on the final night time of the trek. If the group swimming pools collectively cash and on the finish every porter receives 60 soles and your cook dinner receives double that, 120 soles, they may finish with an amazing tip. Usually, the tip on your information is completed personally and is usually 50 soles per traveller.”

My husband and I tipped as a pair. We put 220 soles ($66 USD) within the group pool for the porters (there have been 15 of us and 21 of them, so every porter would obtain about 78 soles), 120 soles ($36 USD ) for the group pool for the chef, our information $80 USD and the assistant information $60 USD. For a complete of $242 in ideas for the 2 of us.

Tipping the guides in USD was effective, however we have been informed that for the porters and cooks it was higher in soles.

Extra Ideas:

Deliver your individual alcohol: Although it isn’t advisable to drink alcohol at excessive altitudes, simply an FYI that when you’d prefer to have a good time with some alcohol, deliver alcohol. The primary couple days of the hike you should buy a beer (or two) from distributors alongside the path, however the subsequent couple of days there are not any distributors in sight.

Break in your footwear: The path isn’t any place to be breaking in your mountain climbing boots. Make certain to put on them for 4-6 weeks beforehand to restrict blisters. Simply in case, deliver some blister tape with you. I introduced just a few strips of Rocktape and had to make use of it!

Additional batteries: There are not any charging stations alongside the path, so be sure that to deliver sufficient battery backups. I used the Apple Good Battery Case for my Iphone together with two Anker Battery Backups, and for my Canon 6d I introduced two charged batteries. It was loads.

The 4-day Traditional Inca Path hike to Machu Picchu was actually not simple to say the least, however that was your entire level: to problem myself by pushing my consolation zone. It was laborious, however it was additionally one of the rewarding and memorable experiences of my life.

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source http://cheaprtravels.com/insider-tips-to-conquering-perus-classic-inca-trail-to-machu-picchu-hike/

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