Okay so hockey is like, rife with superstitions and
Each player has their own pre-game rituals, which are
honestly on par with religious sacraments.
You do not fuck with a man’s
pre-game ritual. Also, the inability to
practice one’s pre-game ritual is deeply emotionally destabilizing. Like, we’re talking serious repercussions
here. If a player is unable to complete their
sacred ritual, there will be hell to pay.
Just as famous as Crosby’s famous pre-game plate of spaghetti,
or Jack Zimmerman’s pre-game PB&J, is Snowy’s pre-game application of eyeliner. It is not only essential to his game play; it
is essential to the current alignment of our space-time continuum.
Which brings us to Snowy, currently in the throes of an
emotional breakdown, in seat 15C on the Falc’s bus, clutching desperately to
his last remaining tube of La Nuit, Nior
de Nior eyeliner as though it were the cooling body of his only son.
[…] How did you know [Dear Evan Hansen] was the project for you?
The first song he played for me was “Waving Through a Window,” and all I know is I heard that and was like, “Sign me up.” Many of the songs he played for me actually are in the show to this day. On the strength of the music, I knew I wanted to work on it. There came a point when we had a meeting after a reading and were discussing the timeline of Dear Evan Hansen, and I had to raise my hand, saying, “Hamilton is coming at just around that time!” Fortunately, they were very cool about making the space for me. When the show started out in D.C., I was able to bring a friend of mine in to help them get the show up and running while I had Hamilton; he kind of held the chair for me so I could revisit that after Hamilton.
After Hamilton, the music for Dear Evan Hansen must almost feel like chamber music – it’s a fairly small pit, with lots of guitar, piano and strings.
It’s funny, I actually did look at Hamilton like a chamber piece. It was a little more electronic in its chamber-ness. But Dear Evan Hansen is much more chamber-like, in that it’s mostly acoustic piano, not a lot of synth, the strings do carry a lot of the emotion – which, actually, is also a lot like Hamilton. I was told by one of the string players in Dear Evan Hansen who played in both pits that the string parts for Dear Evan Hansen are actually harder! I just love how expressive strings are; they can be very sweet and romantic, but also very aggressive and crispy and staccato when you need. When Justin and Benj write their songs, they actually write a lot on acoustic guitar. That feel was very present in the song variety. It became very much the background for a lot of the songs.
For a long time you led and played in the pit for Hamilton – why did you choose not to for Dear Evan Hansen?
The main decision just had to do with having the chair at Hamilton and wanting to stay there. Before Hamilton, I hadn’t held a Broadway chair since 2009, about six years, and between that I supervised a lot. Supervising gives you a lot more freedom in having a global picture of the show; you’re not tied to the pit, you have the audience perspective, and when you make changes you have a little more time because you’re not also worried about playing the piano part correctly. [Laughs] When Hamilton came along, that was the show I was waiting for to get back into the saddle to conduct full-time. I did that about a year and a half, and my choice to not conduct Dear Evan Hansen was mostly to finish my term there, and also to have that global picture. To have that bird’s eye view. And a little more objectivity. You’re not the lobster inside the pot, where you can’t really tell what’s going on because you’re so in it. […]
We put Broadway’s Hamilton creator to the test, asking him to sing a song from the classic 1989 animated musical [The Little Mermaid]. Miranda broke right into his own version of Kiss the Girl.
We had to stop him after a while.
“Sometimes I would quote a section of The Little Mermaid’s score and (the directors of Moana) were like, ‘How do you know our movie?’ Because I’ve seen it a ba-jillion times,“ he says.
Miranda is slated to work on a live-action version of Little Mermaid with iconic songwriter Alan Menken. But don’t hold your breath, the deal is still being worked out.
“So I don’t know what my role is on that,” says Miranda. “I don’t know whether it’s working on music or being kind of a music supervisor, I just kind of have the biggest fanboy hat on right now.”
USA Today 11/25/16 (the singing is in a video at the link)
Any information on civilian Lindsey Way, spouse of former civilian-turned-terrorist, the late Gerard Way?
Lindsey Ann Way, formerly Lindsey Ann Ballato, is a civilian residing in Battery City (along with her daughter Bandit Lee Way) under heavy BLI surveillance, due to her former connections to terrorist Gerard Way and his associates. She worked previously as an audio and music supervisor and briefly began working as one of these artists before being taken into custody by Better Living Industries after Gerard Way’s terrorist affiliations became known by Better Living Industries. After Gerard Way was neutralized by BLI, she was released from custody and allowed to return to her former occupation, albeit under close supervision from BLI officials.
Thank you for your question, and have a better day!
“When we started working on Girls six years ago, Lena Dunham, being a huge fan of Tracy Chapman, asked about using [the song] ‘Fast Car.’ We had to break the news to her that it was 100% off limits – because Chapman hadn’t allowed the song to be licensed in the past. Fast forward to the series finale, we all agreed that, if ever there was a moment to ask Chapman for her song, this would be the right time. We got Lena on the phone with her, and an hour later we had Tracy Chapman’s permission to use the song.” – Manish Raval, GIRLS Music Supervisor
Alex Lacamoire (Hamilton, Wicked) is Hamilton’s music supervisor, orchestrator and arranger. “Anything that has to do with the way the music sounds in the show and the way it’s performed, that all goes through me,” he explains. Until recently, he conducted the show and played piano in the orchestra pit, too. Did he have a piano in front of him during this interview? Yes, yes he did. Get excited, Hamilheads and music nerds: this one goes deep. [x]
Dreamgirls Original London Cast Recording to be released in May
The Original London Cast Recording of ‘Dreamgirls’ is set to be released in May.
Following two wins at the Olivier Awards for Amber Riley (Effie White) and Adam J Bernard (Jimmy Early) in the Best Actress in a Musical and Best Actor in a Supporting Role in a Musical categories respectively, Sonia Friedman Productions has confirmed the hotly-anticipated tracks will be released by Sony Masterworks Broadway on Friday, May 12, 2017.
Those who pre-order the album digitally will be able to get their hands on an exclusive early digital download of the iconic song 'And I Am Telling You I’m Not Going’, performed by Riley, when it is released on Friday, April 21.
Producer Henry Krieger said: “It is my great pleasure to share this 'alive’ live recording of the West End production of Dreamgirls.
"Producing this recording and working with our brilliant Musical Supervisor Nick Finlow and studio pros Andy Bradfield and Tris Penna has been a dream come true. I am thrilled to share the Dreamgirls Original London Cast Recording with those who have loved the production for 35 years as well as with those who are just discovering it now.”
A stunning performance of 'Listen’ - by Amber Riley and Liisi LaFontaine and taken from the Original London Cast Recording album - is also set to be released as a single on Friday, April 28.
The LP release also features performances of all the best-loved tracks from the hit musical including 'I Am Changing’, 'Dreamgirls’, 'Move’ and 'Steppin To The Bad Side’.
It was recorded during four performances in February 2017, capturing the on-stage exhilaration of the Dreamgirls original London cast, the 14 piece band and the excitement of the audience packed into the Savoy Theatre.
The album is produced by Krieger and mixed by Andy Bradfield, and features performances from Amber Riley (Effie White), Liisi LaFontaine (Deena Jones), Ibinabo Jack (Lorrell Robinson), Joe Aaron Reid (Curtis Taylor Jr.) and Adam J. Bernard (Jimmy Early).
SKAM observations from a person straight up only watching S3:
WhO IS THIS BIOLOGY TEACHER WHO NEVER WEARS A BRA I’M FUCKIN CRYING
Please explain to me why Even is so pretty.
Sana is my best friend
You know how u see a bunch of gifsets about something and you feel like you know what a character is going to be like? And then you watch the show and you’re like oh wtf i was so wrong? That’s me re: Isak.
ISAK STRAIGHT UP SAYIN NWA IS HIS FAVE. THIS LIL WHITE NORWEGIAN.
EVAN SAYING NAS IS HIS FAVE. see above sentiments
When Isak said “Whatever” in English, it shook me to my core. Every time they say something in English for no reason it SHAKES me idk why.
This show really made me go into an existential “what is it like to not be a native English speaker in this English dominated world???”
That little boy was googling shit straight uP in English, do you think I ever google things in Spanish? Like if I’m not getting the right answers about being gay in English I’m not like “hola google, ¿cómo puedo saber que soy gay??”
Literally can someone explain why this braless Bio teacher and her nipples are on this screen but her face never shows up.
Why did that nurse have a dildo just sittING IN HER OFFICE I’M STILL YELLLING ISAK DIDN’T EVEN BLINK A DAMN EYE HE WAS JUST LIKE ANYWAY I CAN’T SLEEP YOU PROBABLY CAN’T SLEEP CUZ ALL YOU CAN THINK ABOUT IS DICKS AND NOW THIS LADY HAS A DILDO SITTING IN PLAIN SIGHT
how come that teacher doesn’t get told to put on a sweater like i see her entire boob through her shirt. both boobs, even.
how can this show afford to use so many popular hip hop songs like i just wanna talk to their music supervisor
Since Girls launched, the song has “always been floated in and out of scripts,” explains music supervisor Manish Raval. “Lena has a soft spot for this song—she loves to dance to it.”
Dunham jokes that she dances to “Get Low” every morning—but it wasn’t her first thought for the scene. “Initially, I had wanted a sexy dance song,” she says. “I had written in Drake’s ‘Hold On, We’re Going Home,’ but I quickly realized that while it’s an incredible song, it was too slow to get the grimy kind of thing going that I wanted.” A light bulb went off in Dunham’s head when she realized that “Get Low” is a song “that makes me act disgusting and dance like a lunatic.”
So if there’s one nerdy shameful trash habit I have, it’s making fanmixes. I recently got back into them after not doing them for a while, and I thought I’d share some advice about fanmixes, how to make a good one and why they’re cool and good!
is a fanmix??
So you’re HARDCORE into some crazy fandom.
Let’s call it The Amazing Antics of Stupid-Kun. You hang out on tumblr, you
reblog the fanart, you browse ao3 at night for smutty fanfiction. You may or
may not be serious when you say you’re trash and should be thrown into the
garbage. THAT’S how much you love this fandom. And the one day you’re in the
car and a song comes on the radio
“My god!” you say “This is the PERECT song
Fanmixes’ are taking that part to the
extreme. It wasn’t enough that you started to find songs to fit this
show/character/pairing. You found multiples. Enough to make a mix-tape. And you
decided to subject this list of music to
anyone else who loves good music and The Amazing Antics of Stupid-Kun.
It sounds a little silly, (and it is), but
there is a job similar to it in the entertainment industry called a Music
Supervisor, so it’s not that bad.
Much like that rhyme about the Little Girl
with the Little Golden Curl, fanmixes can be great, or they can be awful. Your
millage might vary with personal music taste, but they’re a fun way to
participate in fandom and also to share some sweet ass music with the rest of
the internet nerds. I’ve been making fanmixes for over ten years now, and I
thought I’d give a write up for what works for me, how to get the best out of
WHERE I FIND GOOD MUSIC???
Obviously your millage may vary, but I find
fanmixes themselves to be a GREAT way to get into new music. I’d say I owe a
lot of my developed music tastes to other fanmixes I heard back when I was
getting into this. I’ll be blunt here. It’s 2015, there is NO reason your
fanmix needs to be composed of top 40 hits played on your clear channel radio
station. “But I’m not some hipster living in Silverlake going to Spaceland
every night!” you say. “ I have no clue about music!! where do I start??” Well,
a few suggestions. One like I said, is just to listen to other fanmixes. Back
in my day they were around on livejournal, but in this day and age, the
majority tend to be on 8tracks. It’s easy to upload and the music streams. (You
kids have it good. In MY day, we had to download each song one by one!). If you
find a song you like, check out the artist. There’s a good chance they’re on Spotify.
Check out the other songs they’ve done. Also Pandora is a good place to find music
similar to the artist. Just don’t be afraid to step outside your comfort zone.
One of the best parts I’ve found about fanmixes is that people are MUCH more inclined
to listen to them and check out new music when they’re about a character/show/pairing
they enjoy, as opposed to when you’re being THAT person and insisting to them “oh
my god you need to check out THIS band they’re SOOO good”
Yeh! I found a bunch of music it’s super good how do I choose???
Ok, so now you got some music that Ryan
Seacreast has never heard of, you’re good to go! My best advice would be this.
Mood is more important than literalness. I say this because when I FIRST
started making fanmixes, I thought if I did them for a show, I needed to have a
song for EVERY single character. This lead to a LOOOOT of stretching and really
bloated mixes (I mean REALLY bloated. I once did one for Naruto), and also ment
that I had chosen a hard-rock song next to a Bjork song, next to a Mo-Town and
so on. Don’t worry so much about if you can’t find a song that works perfectly
for a specific character, or a scene. It needs to be more about the mood or
what the song is implying. Also, make sure you know what the songs about. Back
in the day, Tori Amos songs ran rampant and songs about miscarriage or sexual
abuse ended up on what were suppose to be mixes for cutsy-poo pairings all the
me more about being cohesive!!!
Say no more my friend, it’s what I’m here
for. Your music for your fanmix should be cohesive Remember what I said
earlier about how my earlier fanmixes were not very good because I didn’t have
a cohesiveness? Yep. Don’t do this. In theory your entire mix should be able to
be on the same Pandora radio station. (maybe
a very heavily tailored Pandora radio station, but still). What helps me in
being cohesive is figuring out what music is gonna work best. Is this a cute
upbeat character? A scary monster of a villain? A tragic doomed pairing? If you
can start to find music that works for these things, you’re off to a good
a bunch of songs, they all work great and they all kinda fit together!!!!
Hooray! Now you got 8
or more songs that are cool and good and you wanna upload them! Now what? For
me, I like to think of fanmixes like a color wheel. Blue doesn’t go RIGHT after
red, you need to put some purple in there first. Make sure your mix flows to
avoid a lack of cohesiveness. Also think of your mix a bit like a musical. Have
an ‘opening’ song. Make it a strong one that grabs the audience and makes them
certain that they’re gonna want to listen to your entire mix. I also like to
think of the final songs like an ending credit song. (so if you have a song you’re
worried is gonna turn off people for being too on the nose, this is a good
place to put it.)
That’s my best advice for fanmixes! As I
said, that’s simply what I enjoy and what works for me. But if you have any
questions, or wanna add your own experiences and imput, feel free to add on!
My own fanmixes (and a few regular old mixes) can be found here if you wanna have a laugh at my own cockiness.
On this day in music history: September 12, 1970 - The animated cartoon series “Josie And The Pussycats” makes its network broadcast debut on CBS. Produced by Hanna-Barbera, the series based on the Archies comic characters (created by Dan DeCarlo) about an all girl pop music band and their misadventures features Cheryl Ladd (billed as Cherie Moor), Patrice Holloway (sister of Motown vocalist Brenda Holloway) and Cathy Dougher as the singing voices of Melody, Valerie and Josie. The series is the first to feature an African American character on a Saturday morning cartoon show. Initially, Hanna-Barbera had revamped the character of Valerie to make her white. When music supervisor Danny Janssen refuses to replace Patrice Holloway and threatens to quit the project, there is a three week stand off between Janssen and the shows producers. They eventually relent and allow Valerie to remain as she was originally conceived. The series is an immediate hit, and the original sixteen episodes run in syndication for many years after its network run, also spinning off a second series titled “Josie and the Pussycats in Outer Space” in September of 1972. Janssen also produces an album and several singles released under the Josie And The Pussycats name (released by Capitol Records) late 1970 and 1971. The records sell poorly, but later become heavily sought after by fans of the show. In 2001, Rhino Handmade issues a CD consisting the groups lone album plus singles (two commercially released and four available as mail order items through Kellogg’s) and alternate mixes of tracks. The set is limited to only 5,000 copies and sells out almost immediately. The complete original series is released on DVD in 2007 by Warner Home Video.
Girls music supervisor Manish Raval loves the Frankie Valli track that closes the season finale. “This song is magical and so iconic,” he says. “We usually end with a cool new artist or an original song, but this is the complete opposite. The fact that it still works so great is what’s exciting about the music in the show.”—Diana Band
If you haven’t already please go see LA LA LAND! I did Emma Stone’s demo vocals for this song AND the movie was made by the same musical team as STRANGE MAGIC. Musical director Marius de Vries and musical supervisor Steve Gizicki- both two of my favorite people on earth.
If you have seen it, what did you think???? Love you guys!!
“This season, we’ve been venturing outside of our comfortable rock and pop genres,” says music supervisor Manish Raval, recalling the Patsy Cline and Charles Mingus tracks that made appearances in earlier episodes.
“We try to find some gems from the past that we feel add a fresh flavor to the show,” Raval explains. “We thought this track did just that. With its very simple vocal intro, we thought it felt really cool and intimate.” In other words, a perfect soundtrack for Hannah’s lonely walk home.
On this day in music history: November 21, 1970 - “I Think I Love You” by The Partridge Family hits #1 on the Billboard Hot 100 for 3 weeks. Written by Tony Romeo, it is the debut single and biggest hit for the fictional family band fronted by singer and actor David Cassidy. The television sitcom “The Partridge Family” is originally conceived and developed as a vehicle for the real life family band The Cowsills. The group end up passing on the series when the producers make it known that they want to replace their mother Barbara Cowsill with actress Shirley Jones. The producers also cast Jones’ stepson Cassidy in the role of eldest son Keith Partridge. Producer Wes Ferrell (the series music supervisor) finds the song “I Think I Love You” from songwriter Tony Romeo (a staff writer at Ferrell’s publishing company) who had previously written the hit “Indian Lake” for The Cowsills. Initially, Ferrell intended to use only professional studio singers on the records, but changes his mind when he discovers that Cassidy can sing. Recorded at United/Western Recorders in Hollywood in the Spring of 1970, “Love You” features members of the famed studio collective The Wrecking Crew including Hal Blaine (drums), Joe Osborn (bass), Larry Knechtel, Mike Melvoin (keyboards), Louie Shelton, and Tommy Tesdesco (guitars) playing on the track. Cassidy sings lead vocals with Jones on background vocals (with John and Tom Bahler, Ron Hicklin and Jackie Ward). Released in mid-September of 1970, prior to the shows’ network debut, it is an instant smash. Entering the Hot 100 at #75 on October 10, 1970, it streaks to the top of the chart six weeks later. “I Think I Love You” is the biggest selling single of 1970, selling over three million copies in the US alone. The song also forms the basis of rap duo Nice & Smooth’s hit single “Hip Hop Junkies” in 1991. “I Love You” is also prominently featured in the comedy “Trainwreck” in 2015, when actress and comedian Amy Schumer performs it at the films’ end. “I Think I Love You” is certified Gold in the US by the RIAA.