All concerts 2009 - 2010

Securing kills since 2010.

2015.10.13 08:47 Morgana81 Securing kills since 2010.

League of Legends forum dedicated to all Support mains.

2008.01.25 18:38 Art

This is a subreddit about art, where we are serious about art and artists, and discussing art in a mature, substantive way. *Read the rules* and observe other submissions before posting. Be on your best behavior and do not comment unless you have something meaningful and mature to say. We are strictly moderated and do not give out warnings.

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2009.07.30 23:14 TalibanHQ The Classic Rock Subreddit

Rock and Roll from the 50s to the 80s

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2024.05.29 10:42 Nebberlantis Letterboxd Oscars for Best Picture

This list is made by showing the highest-rated American/part American film of each year on Letterboxd.
This excludes documentaries, shorts, concert films and limited series.
1927: Sunrise: A Song of Two Humans
1929: Lucky Star
1930: All Quiet on the Western Front
1931: City Lights
1932: Trouble in Paradise
1933: Duck Soup
1934: It Happened One Night
1935: Bride of Frankenstein
1936: Modern Times
1937: Make Way for Tomorrow
1938: Bringing Up Baby
1939: Mr. Smith Goes to Washington
1940: The Great Dictator
1941: Citizen Kane
1942: To Be or Not to Be
1943: The Ox-Bow Incident
1944: Double Indemnity
1945: Mildred Pierce
1946: It's a Wonderful Life
1947: Out of the Past
1948: The Treasure of the Sierra Madre
1949: The Heiress
1950: Sunset Boulevard
1951: Ace in the Hole
1952: Singin' in the Rain
1953: Roman Holiday
1954: Rear Window
1955: The Night of the Hunter
1956: Tea and Sympathy
1957: 12 Angry Men
1958: Vertigo
1959: Some Like It Hot
1960: The Apartment
1961: Judgment at Nuremburg
1962: Lawrence of Arabia
1963: The Great Escape
1964: Dr. Strangelove
1965: The Sound of Music
1966: Who's Afraid of Virginia Woolf?
1967: Cool Hand Luke
1968: Once Upon a Time in the West
1969: They Shoot Horses, Don't They?
1970: Five Easy Pieces
1971: The Devils
1972: The Godfather
1973: Paper Moon
1974: The Godfather Part II
1975: Barry Lyndon
1976: Network
1977: A Special Day
1978: The Deer Hunter
1979: Apocalypse Now
1980: Star Wars: Episode V - The Empire Strikes Back
1981: Raiders of the Lost Ark
1982: The Thing
1983: Scarface
1984: Amadeus
1985: Back to the Future
1986: Aliens
1987: Full Metal Jacket
1988: Die Hard
1989: Do the Right Thing
1990: GoodFellas
1991: The Silence of the Lambs
1992: Malcolm X
1993: Schindler's List
1994: The Shawshank Redemption
1995: Before Sunrise
1996: Fargo
1997: Good Will Hunting
1998: Saving Private Ryan
1999: Fight Club
2000: Dancer in the Dark
2001: The Lord of the Rings: Fellowship of the Ring
2002: The Lord of the Rings: The Two Towers
2003: The Lord of the Rings: Return of the King
2004: Before Sunset
2005: Brokeback Mountain
2006: The Departed
2007: There Will Be Blood
2008: The Dark Knight
2009: Inglourious Basterds
2010: Inception
2011: Warrior
2012: Django Unchained
2013: Prisoners
2014: Whiplash
2015: Spotlight
2016: Moonlight
2017: Get Out
2018: Spider-Man: Into the Spider-Verse
2019: Sound of Metal
2020: Little Fish
2021: Mass
2022: Everything Everywhere All at Once
2023: Spider-Man: Across the Spider-Verse
Thoughts on this list?
Does this make a good canon?

submitted by Nebberlantis to Letterboxd [link] [comments]

2024.05.29 10:41 Nebberlantis If Letterboxed chose Best Picture

submitted by Nebberlantis to Oscars [link] [comments]

2024.05.20 22:29 Phouza Song of the Week #573: Won't Back Down

Welcome everybody to the third SotW of May! This week, we'll be listening to a song that was often used as a powerful opening track for Em's concerts in the Recovery era. Most of you probably know what song I'm talking about. This week's track is 'Won't Back Down', featured as the fourth track on Em's seventh studio album, 'Recovery'.
Upon the release of Recovery, the song received generally positive reviews from music critics, who praised its aggressive nature and production. Although not released as a single, 'Won't Back Down' appeared on four national charts. It was used in the game Call of Duty: Black Ops and its trailer as well as the trailers for the films Mission: Impossible - Ghost Protocol and Hitman: Agent 47.
Along with most of the songs from Recovery, 'Won't Back Down' was recorded at 54 Sound and Effigy Studios in Ferndale, Michigan, with recording carried out by Mike Strange. The song is one of the only Eminem songs not in a 4:4 time signature, along with Untitled (also from Recovery) and Underground (from Relapse).
Originally, the song was set to be a solo record, with Eminem singing the chorus himself. Later, Liz Rodriguez, who is also featured on Recovery's '25 to Life' and 'Almost Famous', recorded the song's chorus. Eminem however, explained in an interview that after recording his vocals for the song, he decided to include Pink on the song as he "felt like she would really smash this record.".
Although 'Won't Back Down' was not released as a single, it charted on four national charts worldwide due to digital sales on the release of Recovery. The song reached its highest position on the US Billboard Hot 100, where it peaked at number 62 on the chart for the week ending of July 10, 2010, although it fell off the chart the following week. The song also charted in Australia, Canada and the United Kingdom, peaking at number eighty-seven, sixty-five and eighty-two on their respective national charts, although on all three the song again only appeared for one week.
As stated before, upon its release, 'Won't Back Down' received generally positive reviews from most music critics. David Jeffries of Allmusic wrote positively of the song, describing the song as a "lurching heavy metal monster" that "could be used as the lead-in to 'Lose Yourself' on any ego-boosting mixtape", but wrote more critically of the lyrics, denouncing the pop culture jokes featured throughout the song, particularly ones aimed at Michael J. Fox, calling the line "Make like Michael J. Fox in your drawers, playin' with an Etch-A-Sketch" "less effective" than other jokes aimed at him. Steve Jones of USA Today described it as "rock-tinged" and stated that Pink's appearance provides "outside star power".
A remixed version of the ESPN trailer of the game Call of Duty: Black Ops featuring 'Won't Back Down' was released on June 14, prior to the E3 Activision conference for which he also performed. The song was also featured in the game's credits and zombie mode map 'Five' as an easter egg.
Em has performed the song on live sketch comedy show Saturday Night Live accompanied by Lil Wayne and Mr. Porter. Idolator reacted positively to Eminem's performance, stating that he proved "once again what a dynamic and energetic live performer he is on this exceptionally angry tune (even by Slim Shady standards)." He also performed the song on Late Night with Jimmy Fallon.
Every week there will be a new song that gets featured at the top of the subreddit. Users can leave a comment and the song that gets the most votes might be the new Song of the Week. Suggestions for improving the next post are encouraged.
This week's Nominator: PokemonBwLowHealth
The Song: Won't Back Down - iTunes
In-App link(s): spotify:track:5KzRfDOUpMVaB4eYugEVjE
Featuring Artist(s): P!nk
Length: 4:25
Recorded: 2009 - 2010
Release: June 18, 2010
Album(s): Recovery - iTunes
In-App link(s): spotify:album:3PogVmhNucYNfyywZvTd7F
Sample(s): None
Media: Album: Cover / Alternative - Back
Label(s): Shady Records, Aftermath, Interscope
Format: Digital, Disc, Vinyl
Producer(s): DJ Khalil
Extra: Lyrics Video: Fan-made Music Video - Lyric Video Full header image
Live Performances: Comerica Park 2010 (From Unreleased Recovery Documentary), Live on SNL, Jimmy Fallon 2011, Pukkelpop 2013, E3 2010
This is an open thread for you to share your thoughts on the current SotW or to nominate a new song. Avoid vague statements of praise or criticism. This is your chance to practice being a critic.

submitted by Phouza to Eminem [link] [comments]

2024.05.19 13:18 pillowcase-of-eels [Music] Emilie Autumn's Asylum, pt. 6 – High-concept musician responds to online criticism by waging successful attrition war against her own fanbase

🪞
Welcome back to the Asylum write-up, where we explore the decade-long slow-motion car crash that is the Emilie Autumn fandom.
Sorry this installment took so long to upload! Just a heads-up, I may take some time to deliver the last one too – these posts take forever to format on Reddit's finicky-ass editor, and my dumb real life is currently keeping me from precious Internet time. Thank you for your patience! You have my word that everyone who pre-ordered the final installment will receive a PERSONAL, HANDWRITTEN letter autographed and illustrated by me, a list of the snacks I consumed while composing this write-up, some exclusive behind-the-scenes secrets, and a pony.
Part 1 Part 2 Part 3 Part 4.1 – Part 4.2 Part 5

Places, everyone This is a test Throw your stones Do your damage Your worst, and your best (...) And if I had a dollar For every time I repented the sin And commit the same crime I'd be sitting on top of the world today (“God Help Me”, 2006🎵)

Quick recap of where we left off. First, there were five to ten halcyon years of pleasant and meaningful interactions between EA and her blossoming fanbase, prominently by way of her official forum. Then, circa 2009-2010, EA's online presence shifted towards sudden anger outbursts, ban-hammering, and an increasingly top-down communication style.
This created a sort of primordial rift within the fanbase, between those who supported EA's right to speak her mind and regulate her own fan spaces however she pleased – and those who thought that her reactions were rude and inappropriate (at best), and that even fan spaces should allow for reasonable, non-abusive criticism of the artist.
Between a poorly-handled book release (see Part 3), the controversial (Part 2) or dubiously true (Part 4) contents of said book, and serious shade from various former collaborators (Part 5), more and more fans had pressing thoughts about EA's work ethic and choices. EA attempted damage control through drastic forum rules that made it virtually impossible to voice any “serious” critical opinion. It didn't work, of course: instead of squashing the mutiny, she created a schism.
Critical fans and active haters started congregating on unofficial platforms.

“WITH MUFFINS LIKE THIS, WHO NEEDS ENEMIES?”: TROLL LIKE A GIRL

So here we were, the early 2010s. The official forum (which had about 700 members in 2006, if you recall) was now thousands-strong, reaching just over 12,000 registered users in 2012 – not all of them active, but still. In terms of sheer numbers and content creation, the party was POPPIN'... but increasingly in parts of the Asylum that escaped EA's jurisdiction, such as Tumblr, where they could speak their mind freely.

You play the victim very well You've built your self-indulgent hell You wanted someone to understand you Well, be careful what you wish for, because I do (“I Know Where You Sleep”, 2006🎵)

In one wing of Asylum Tumblr, a smattering of call-out blogs emerged, which laid out EA's various lies, faux pas, shitty takes, and general deep-seated terribleness in detailed timelines and screenshots (or, short of that, long-winded bullet points). While many such blogs framed it as “serious” whistleblowing and did their best to remain as fact-based and neutral as they could, there was some genuine disgust, animosity and creepiness towards EA on that side of Tumblr; for some ex-fans, “exposing the truth” was mostly justify obsessive hatred, prying and verbal abuse. Some, for instance, felt the bizarre need to side with EA's mother in their estrangement. (One user, with the URL “emilyautumnfischkopf”, argued in a serious and down-to-earth tone - but with zero sources - that EA's upbringing had been nothing but peaceful and supportive until she ungratefully kicked her loving family to the curb for no reason at all. They were later revealed 🔍 to have an alternate handle as “eaisalyingcunt”.)
Either way, through these blogs, a number of potential drama bombs that had mostly flown under the radar were dredged up from over the years – some of which were hard to ignore, even for supportive fans. Where to begin?
There was that nonsense in-joke song, captured twice on camera during the 2009 tour (to very little outrage, at the time), crassly called “Manatee Retard”📺. Or EA's scathing response, in print, to a wheelchair user who found it insensitive that she used a bedazzled wheelchair as a prop to do sexy acrobatics on stage. (“Your offence taken at my hard-won self-acceptance proves that I indeed have something to fight against”, she wrote). Spoken word tracks where she made trivializing knock-knock jokes about serious mental illnesses she didn't have, like schizophrenia and OCD. Multiple instances of calling Britney Spears a “bimbo” and a “Hollywood fucked-up”, resentfully claiming that she only shaved her head because she was “hopped up on drugs” and certainly not because she was “bipolar”, a word the press liked to wield as an insult anyway. (“That's almost like calling someone a retard!” Yeah, heaven forbid.) The meanest, most distasteful paragraphs in the book. Basically everything problematic EA had ever said or written.📝 In retrospect, it had been a long time coming, but it was a lot to take in – and certainly more off-putting, even to less emotionally invested fans, than silly lies about her age and last name.
In another wing of Asylum Tumblr, some fans had had it up to here and just wanted to have fun. 🎵 If Plague Rats had learned one valuable lesson from EA, it was how to crack a joke in the face of absurd tragedy – and the general state of the EA fandom certainly warranted a few.
In 2012, Fight Like a Girl was released. After six long years, three of which had been peaceful, the Opheliac era was officially over. The new album and ensuing tour confirmed that the Asylum had entered a process of glamorous Broadway-style militarization. 🎵📺
The mood board was “Roman general meets Vegas showgirl meets Victorian street urchin”.🪞 The color palette was, to naysayers, “musty pink and rotten, stale piss yellow”. 🐀 The keyword was “REVENGE” (through the power of... self-expression! sorority! brutal assault with rusty medical implements!). The chorus of the title song had an intriguing run-on line about getting “revenge on the world, or at least 49% of the people in it” 🎵 – which seemed like an awful lot, and was widely interpreted (to cheers, boos, or uncomfortable sighs) as a misandrist jab at literally all men on Earth.
The show was essentially a demo version of the musical, in that the setlist vaguely reflected the order of events in the story – but prior reading was essential in order to get what the hell was going on on stage. This one Broadway reviewer had not perused the literature before seeing the show 🔍, and hated: the set, the choreography, the skits, the plot, the lyrics, the music, the concept. (Seriously, you should read the review. It's not even my show and I feel like quitting show business.)
Pre-show VIP encounters, now violin-free, were lorded over by EA's new manager🐀, whose official title was “Asylum Headmistress”. (Interesting choice – she sounds fun!) The swag bags were less substantial than before, and the “greet” part of the meet-and-greet was rarely more than a quick hug and photo op.
On Twitter, EA continued to embrace her “I am very badass” fronting attitude...

Often wonder if cyberbullies r aware they’re fucking w/ a girl who’s BFs w/ maker of the SAW films & is marrying a knife-throwing scorpion. (🐀📝)

...and her taste for needlessly inflammatory statements. About an aisle sign in a supermarket:

If this does not infuriate you, then you're a fucking potato.

(Again with the confounding crypto-ableism, EA! 🔍) She also went through a phase of raging against Lady Gaga 📝, who had stolen her idea of using a wheelchair on stage as an able-bodied woman. 🔍 That failed to convince anyone that she wasn't the histrionic diva that haters made her out to be.
Spurred on by EA's rallying cries and “us vs them” mentality, loyalists turned the white-knighting up to 11. On Twitter, some Plague Rats got into cat fights with Lady Gaga's Little Monsters (what a time to be alive). Others tried to balance out the Tumblr negativity with initiatives like “Spreading a Plague of Love” – a “positive-only” confession blog, whose extreme fangirling, comically drastic rules and hyper-defensive tone📝 did not debunk the increasingly popular notion that “true Plague Rats” were a bunch of authoritarian and hopelessly brainwashed fanatics.
EA truthers and other anti-fans started lashing out at anyone who dared express any positive opinion of EA, solidifying claims that the backlash against EA was just a conspiracy of bitter, hysterical bullies.
All this to say: every passing day brought new reasons for fans to get mad at EA and each other, and everyone in the Asylum was in need of a laugh. It's not easy having a good time.🦠
Leading up to Fight Like a Girl and in the years that followed, user-submission-based meme blogs took off, most notably “Spreading a Plague of Lulz / Troll Like a Girl”. A lot of the early submissions were absurdist humor and toothless, cheezburger-Impact memes (a style that was, oddly, already dated at the time). Those often originated in good fun, and from loyal fans, on the official forum. But there was also true snark, satirizing EA's questionable ethics, outrageous claims, and easily spoofed artistic gimmicks. A new slang of Asylumspeak emerged: Glittertits (slight NSFW), GAGA!!, EA Gusta and all its memeface variants, Get outta mah house!, Are You Suffering?, Fight Like A Goat, [Random celebrity] copied EA (a subgenre in its own right), ...
Most of the “trolling” was directed at unrepentant bootlickers and, to a lesser extent, red-in-the-face haters and creeps. Meme blogs would post joke comments under “serious” or gushing submissions on Wayward Victorian Confessions, and taunt loyalist accounts by tagging them in their posts. When a few people complained on WVC that almost all of the Bloody Crumpets to date had been thin white able-bodied women, and a few fans responded by sharing their dream-casts for a more diverse line-up, the blog was flooded for days with confessions that “X should be a Crumpet” (candidates included RuPaul, Mitt Romney, Nicki Minaj, EA's therapist, and the WVC admins). Farcical shenanigans like that.
Ah, but some people will always cross the line, won't they. EA threads popped up on merciless, bully-friendly snark platforms like Lolcow, Pretty Ugly Little Liar, and Encyclopedia Dramatica. Snarkers with a mean streak and obsessive haters mingled in some of the more aggressive, 4-chan-spirited retaliation against EA – which would be called “brigading” in modern parlance. This included flooding EA's Goodreads page with one-star reviews (see part 4), repeatedly editing her Wikipedia page to include her legal name and birth year, and ensuring that Googling said name would bring up current pictures of her.
All of this compounded agitation fragmented the once-united fandom beyond recognition.🦠 Through substantial disagreements among fans, personal bickerings, layers upon layers of inscrutable in-jokes, and cross-platform telephone games, the Asylum morphed into a booby-trapped Escher room.
Satire blogs were taken in earnest. Earnest fan blogs scanned as satire. Memes would get called out as abuse. Appreciation without attached criticism would get mocked as bootlicking. Obvious jokes made by EA would be taken at face value. One divisive confession could trigger days and days of debate, to the point that WVC eventually banned confessions in response to other confessions. New waves of infighting created a confusing web of rival sub-factions🐀, each accusing the others of being toxic, cliquish, and delusional.
The shared fantasy was broken, the collective vision had crumbled, no onez was speaking the same language anymore. Fans would jump down the throat of other fans who held almost identical views about EA, except for that one thing she said or did that one time. Everyone had differing thoughts on what should or shouldn't acceptable to discuss, question, excuse, make fun of.
War is hell.

SCORCHED EARTH SHENANIGANS: HONEY, I SHRUNK THE ASYLUM

Would you tear my castle down Stone by stone And let the wind run through my windows Till there was nothing left But a battered rose? (“Castle Down”, 2003🎵)

Haters vs sycophants is not really the kind of conflict where one side can come out on top (if you're participating, you've already lost). But in the long tug-of-war between “grassroots” and “EA-sponsored” fan spaces, the ultimate winner is obvious – in that the former is gasping in agony, a shriveled husk of its former glory, while the latter... is non-existent. This is due in no small part to EA's tendency, like the Czars of old, to settle conflicts by setting Moscow on fire.🔍)
That's not entirely fair: unlike EA, the czar only did it that once.
By early 2013, as EA was gearing up for her third Fight Like a Girl tour at the end of the year, the official forum was... not as lively as it once had been. Not just because of the stifling rules and disgruntlement towards EA, or because EA herself hadn't really posted anything on there in years; the Internet was also changing, and forums in general were fast becoming passé.
This made it difficult for EA to create a safe space where she could talk to fans, and fans could talk to and about her, in a way she deemed suitable (ie, a space she could gate-keep and regulate enough to keep it completely free from negative criticism). Social media was a minefield; she still posted regularly, but didn't interact very much. So EA and the Headmistress came up with a way to filter out the unbelievers: an official fan club📝, aptly called the “Asylum Army”, with a $100 entry price.
Joining the AA came with a dog tag, a sew-on patch, and a lifetime membership certificate signed by EA and – for some reason – the Headmistress. (Unlike EA's best friend and sound engineer back in the forum's heyday, I don't think fans ever really embraced the FLAG-era manager as part of the Asylum in-group. She came across more as a coordinator / businessperson / adult chaperone, at best.🐀) So, slightly better goodies than you'd get by joining the other AA 🔍 ... but not by much. The main appeal was that members would have access to exclusive content, special merch, giveaways, early bird tickets for future shows, and regular video chats with EA.
The concept itself drew a fair amount of criticism, as you can imagine. Between the name🐀, the price, and the inherent gatekeeping of a pay-to-join fanclub, many balked at the monetizing of a concept that had once (like, three years back) been significantly more DIY, grassroots, and inclusive. 📝🐀
Then again, many also longed for a positive, drama-free space where fans could just be fans. And while the creation of the AA was generally recognized as a quick cashgrab, a lot of people were surprisingly cool with it. EA was trying to finance her dream musical, after all – although a number of fans wished she had gone about raising funds in a less sketchy way.
So around 400 fans shelled out (which, according to the Headmistress📝, “basically cover[ed] the cost of running the fanclub itself – keeping the database up, website, etc.”). Enough for a close-knit, but sizable community. But already, there was a conflict of interest: a high fanclub entry fee essentially demands that you pledge loyalty to the artist over loyalty to your fellow fans, who wish to join but can't afford to. Sharing, caring, and ensuring no one felt left out were some of the more positive values cultivated in the fandom... but leaking exclusive content would surely piss off other paying members🐀, and make EA feel betrayed all over again. (And she had barely just started to mellow out on social media!)
...But then again, this is the internet. After the first month of secret AA drops (lyric sheets, some photoshoot outtakes – nothing too juicy, really), there were, yes, some leaks. EA was predictably miffed, and retaliated by... ghosting the fanclub for weeks at a time in its first few months of existence (great look!). She eventually found the “solution” to her problem, by providing something you couldn't right-click-save (and which had been part of the promised perks to begin with): live interaction.
Over webcam, she was her usual in-person bubbly, charming, funny self. Everyone seemingly had a good time during the fanclub video chat, and this gave people faith and hope.
There were a few more events, giveaways, etc. As promised, ahead of the fall 2013 tour (the last one to date, it would turn out), AA members got priority access to show tickets and VIP bundles. The latter were much pricier than before, and only included soundcheck, a photo-op, and three goodies: a tin of loose-leaf tea, a signed printer-paper setlist, and a small flag that said “F.L.A.G.”.🔍 Some stuff continued to leak – but, as some of the outlaws pointed out (scroll down to the Disqus comments), they were mostly relaying information that was relevant to the entire fanbase, such as updates about ongoing projects (the dragged-out recording of the audiobook, for one).
In early 2014, lifetime memberships were closed, and replaced with monthly, quarterly and yearly subscription tiers. Bizarrely, you ended up paying $3 more per month if you bought a $99 yearly subscription📝 – but it did include the patch, dog tag, and piece of paper!

Sometimes I kind of want to be part of the cool kids and register to the Asylum Army. Then I remember how it came about, what you could get for the same price a couple years ago, how the whole thing was and is handled, and that I won’t support any of this bullshit. (And then I roll around naked in all the money I’m saving.) (🐀)

Still, a number of fans rejoiced at the affordable monthly option, and joined – if not for the exclusive content and merch (which were... okay, but not much to write home about), then for the friendly, drama-free exchanges with an artist they actually did love, in spite of all the frustration.
For the still-too-poor or still-undecided, there was always the forum! It wasn't as active as it used to be, but a few die-hards still managed to keep the lights on... until, inevitably, Someone Did Something and Ruined Everything. (Once again: EA's wrath is spectacular, but rarely completely unprovoked.) The incident features one notable figure in the Asylum community. Let's call him the Collector.
OK, so maybe you remember the meme I linked to in Part 4, with Christian Grey and the ginormous EA hoard. Well, that's the Collector's collection. The “Violin” promo that I called the "Holy Grail of the fandom" in the same paragraph? Also his. The handwritten lyrics that went for $940? Guess who won that auction. Over the years, the Collector had probably spent five figures on EA merch and shows, and although that fact was a little unsettling, he was a very active, easy-going, and generally well-liked fixture of the fandom.
One day in 2012, shortly after the Headmistress had replaced EA's old Chicago BFF as main forum admin, the Collector's account got banned or restricted over something dumb. When the ban wasn't lifted as quickly as he hoped, he took it... the way one takes things when one is unhealthily invested: he started spamming Headmistress and the mod team with increasingly rambling and abusive emails (lost to time, probably for the best). When that didn't work quickly enough, he tried a different route.
One of the many auctions that the Collector had won, some years prior, was EA's old iPod Touch📝 – which contained all of her favorite tunes and, buried somewhere in the data cache... a phone number. Which the Collector tried calling. And wouldn't you know it: EA picked up. She congratulated him on his sleuthing skills, listened patiently as he made his case, apologized for any distress caused by the unfair account restriction, and then they got married.
Kidding! She freaked the fuck out, hung up, and banned him for life from the forum and all EA shows and events.
After his ban, the Collector allegedly still tried to attend at least one VIP pre-show (one source in the comments says he was allowed to buy some merch, refunded for his ticket, and escorted out). He joined the Reform forum to bitch about EA and try to rally people to his cause, possibly made revenge posts about her on darker snark forums, and continued to hound the Asylum mod team. So in June 2014, EA came up with a radical and unexpected fix to the Collector problem.

The official Asylum Fan Forum has been shut down permanently. I have personally paid thousands of dollars each year to keep the forum safe and secure for you ... Unfortunately, the forum has not been kept safe and secure for me, a truth which disappoints me greatly, instead becoming a place where people who have physically threatened myself and my staff prey upon forum members, pressuring them to contact me and my staff on their behalf. If the gullible wish to humor my stalkers (who live in their parent’s basement at age 30 something) and thus put me in danger, they may do it on their own dime. They may also fuck off, because stupidity can kill, and I won’t be your victim. To those who enjoyed the forum, you know who to thank for its closure. (“On the closing of the Asylum Forum”)

Voilà! This is how a decade-long archive of shared history ends: not with a bang, but with a dirty delete and a sod-off communiqué.
The obliteration of the forum took everyone by surprise...

I was actually on the forum when it was taken down. I was navigating between posts and when I went to click on a different board, an error message came up. I honestly cried a little, I'm not ashamed to say. (WVC admin on Reddit, 2024)

...and I do mean everyone:

Chicago BFF / ex-admin, the next morning: Whoa, EA forum shut down? Ex-mod: It turns out that if someone spends enough years actively “waging war” to destroy what they can’t have, eventually they’ll be successful. * eye roll * Not even mods got prior warning. Just all the sudden, poof, gone. BFF: Really? She did not let the moderators know?! This is sounding worse and worse. Uggh. I’m so sorry. Such a loss. (...) Ok, threats are serious, but why not just put it in archive mode so no one can post? (...) Sad. I shall light a candle in the forum's honor. (Facebook posts; scroll down for screenshots)

It was a gut punch, especially for people who had poured countless hours into the community, or could have used some prior warning to save years of their own writing from the role-playing threads. One last chance to take a look around the place that had meant so much to so many.

From the wording of the announcement of closing the forum and a number of other things, it sometimes seems like EA doesn't like her fans much. :/ (🐀)

Three months after the forum was nuked, Battered Rose (a venerable EA fansite, which had been around since the Enchant era and had one of the most complete EA galleries online) announced that it was shutting down too.📝 The admin, who had also been a long-time forum mod, cited a lack of “time, energy, passion, or money” to keep the website going... and being upset at the sudden disappearance of the forum. It was, truly, the end of an era for the Asylum.
...Well, no point in living in the past. For those who could afford it, and still wanted to talk to/about EA after that (not everyone did 🐀), there was always the Asylum Army fanclub!
Over the summer of 2014, EA held regular live chats and Q&A's, and... many attendees really enjoyed them, and thought the AA was well worth the money after all. She also quietly parted ways with the much poo-pooed Headmistress around that time.

Just spent over 4 hours giggling, drinking tea and playing guessing games in chat with EA and other Asylum Army members ... No griping, no downers, just lots of fun. I think I like the way the ‘new fandom’ is going and now I’m really glad I finally decided to join the Army. (September 4, 2014🐀; Battered Rose had closed the day before)

The forum was lost forever, but perhaps that was a chance for a fresh start. Could this fanclub thing really be the Asylum Renaissance that fans had been longing for?

...I have come today to a very difficult but necessary decision, and that is to discontinue the Emilie Autumn Official Fanclub. The site itself, and the community chatroom, will remain open to you indefinitely, but I will no longer be making updates to the site. (Newsletter, September 8, 2014📝)

...Never mind, then.
Turns out the fanclub had been the Headmistress' idea all along. EA had been reluctant from the start, and although she really enjoyed the live chats with a safe community of people “who are there for the right reasons”, she couldn't overcome her fundamental discomfort with the concept. Lifetime and regular members would receive a bunch of digital downloads and a -35% coupon on the Asylum Emporium for their troubles. EA said she would definitely pop back once in a while for live chats, for free, just for fun, but to my knowledge, she never did.
And so the most devoted fans were left standing in the rain...

She is happy, she made it. She is fulfilling her dreams, found love and happiness after all the pain. I understand that she now doesn’t need “us” anymore ... That doesn’t change the fact she broke my heart with taking the Asylum Army and the forum from me. Yet, I am happy for her. (🐀)

...while naysayers pointed and laughed, Nelson-style.🦠

I don’t feel sorry at all for the people that paid for the Asylum Army fan club. Most of them knew that EA is an atrocious business woman and has broken many promises before. In fact, I laugh at them. They seriously thought that EA would actually stay consistent with this? (🐀)

EVERYTHING MUST GO: THE ASYLUM WHOLESALE

EA fans were left without an “official” home for about three years. This gave them plenty of time to be annoyed at EA for: not releasing the audiobook on time, not materializing any new project for a while... and the new sin of peddling random, ridiculously marked-up AliBaba jewelry as “merch” on her official store. Think faux-antique cameo pendants and $30 Big Ben rings (...because the Asylum story is set in London, get it?).

The whole accessories section looks like a tacky overpriced English souvenir shop. (🐀)

The fanbase lost a lost of steam in those in-between years, because there wasn't much to stick around for. As evidenced by the positive reception of the AA live chats, even in the midst of unresolved drama, out-loud interactions in a friendly environment have always been EA's saving grace. Considering the amount of online hate, there are shockingly few accounts of bad IRL encounters with EA: most people say that in live conversation, she comes across as a fun, warm, and genuinely sweet person. Some report that their negative opinion shifted after meeting her.
But there were no chats or live shows anymore. There was only social media, where she ignored questions and vague-posted about overdue projects – and the newsletter📝, which was all saccharine love-bombing to promote bland dropshipped trinkets. For fans who remembered the handcrafted merch (and two-way communication) of the early years, it was a bitter pill to swallow.

CONTINUED IN COMMENTS

submitted by pillowcase-of-eels to HobbyDrama [link] [comments]

2024.05.14 05:44 courtingdisaster Presenting the evidence: 17 May 2024

Come one, come all, we're clooowning again! 🤡
Thanks to u/1DMod for posting the Jimmy Fallon video that led to me to start to connect the dots that other creators have noticed. Long story short, we're clowning for Stockholm N1 (maybe even night ✌️ as well), buckle up clowns!

✌️

First things first, May 17 is ✌️ fortnights after the release of TTPD on April 19. We know that Taylor is still throwing up peace signs which seems unnecessary if it only ever meant that there was a second part of TTPD. I think it's an indication that we haven't completely cracked that egg yet.
This photo was necessary for the post, ok

National/International Day Of

While these days aren't necessarily solid proof of anything, Taylor did release TTPD on Poetry & The Creative Mind Day and also released the ME! music video (ME! Out now!) on Lesbian Visibility Day so I think it's definitely worth investigating.
After publishing this post I was reading through the comments in this thread about easter eggs and was reminded by u/-periwinkle that some people predicted the Toe breakup date based on something Taylor mentioned in her NYU speech ("Part of growing up and moving into new chapters of your life is about catch and release"). 11 months later, the Toe breakup news came out on, you guessed it, National Catch and Release Day. More on the NYU speech later.
First, let's have a look at the holidays for May 17 that could be relevant:

Endangered Species Day - Does anyone remember the ✌️ trips to the zoo while in Sydney...? We also have the big cat imagery on her new 1989 outfit to consider. If you haven't read this incredible post by u/Funny-Barnacle1291, I'd urge you to stop clowning with me (just for a moment) and go and read it. Taylor's TikTok bio still reads, "this is pretty much just a cat account" which could be a surface level meaning of her posting videos of her cats, but we know miss Feline Enthusiast herself loves a layered meaning. She also compared herself to feeling, "a lot like being a tiger in a wildlife enclosure" in the Lover diaries she released (pictured below).

TNT at Sydney Zoo Paris N4 TikTok bio Lover diaries comparing herself to a tiger Sydney Zoo

National Pizza Party Day - I know I am personally still haunted by her Stephen Colbert interview on 13 April 2021. The interview starts with Colbert talking about Taylor's Versions and also talking about how he believes the song "Hey Stephen" is about him. What surprise song did we get on guitar Paris N3..? Important to note that this interview also talks about him "waiting tables on the lunch shift at Scoozi, an Italian restaurant in the River North area of Chicago, that, by the way, serves a really incredible slice of pizza." Taylor also goes on to say that the song is actually about Stephen King and Taylor then says "The Dark Tower series changed my life, plus The Shining, The Stand and don't even get me started on his short stories... Absolutely luminescent." This interview is obviously very strange and likely filled with easter eggs. We know that her mention of the River North area of Chicago was also the location of one of the TTPD murals that went up ahead of its release.
I've just seen this tweet which has beautifully tied in the new Red shirt that was premiered Paris N1 ("This is not Taylor's Version") with a quote from the Stephen Colbert interview, "This isn't about you, it's about pizza... See?" We can clearly see the mood board is about Stephen however she keeps only talking about the pizza. It feels like a Cassandra moment where we (Gaylors but Stephen in the interview) are recoginising all the Stephen pictures and the general public (Swifties) are only focused on the pizza because that's what Taylor is showing them (the public narrative featuring Travis Kelce). There was also this excellent post connecting the new Red shirt to a painting by René Magritte's titled, "The Treachery of Images". We then get "Treacherous" as a surprise song on Paris N4.
u/naked_blanket pointed out that there is a scene in the Lavender Haze music video "where a bunch of people are gathered around a pizza box."
I can't remember where I saw it now but I was reminded of the below photo of Taylor and Keleigh Teller. Keleigh posted this to her Instagram on 30 May 2023 along with 8 emojis. The importance of the 8s will be explained further down the post under the Stockholm heading but for now, pizza.

No... This is pizza
https://preview.redd.it/4ikx6teucd0d1.jpg?width=443&format=pjpg&auto=webp&s=6aec634e52a1083cccbcaefcb78227f2fe8db793

International Day Against Homophobia Transphobia and Biphobia - I honestly don't think I need to say anything else to the Gaylor Swift subreddit as to why this day might be a day of importance to Taylor...

ME! Out soon 😉

National Graduation Tassel Day - Taylor was awarded with an honorary doctorate at NYU in 2022. We know that her speech at this event was filled with “Midnights” easter eggs including lyrics to “Labyrinth” and “You're On Your Own, Kid”. I wonder what other easter eggs are hidden in this speech...? Here's a link to the video and you can also read the full transcript here. I'm not going to do any further digging into this one right now, just presenting it as evidence but please feel free to note anything of importance in the comments. I do want to note here though that I recently saw a video where Taylor was leaving TTPD easter eggs while doing promo for Red TV (maybe an ATW10MV short film interview?) so I don't think it's out of the question that this speech contains TTPD (and beyond) easter eggs. I'll link the video if I can find it again.

Dr Taylor Alison Swift

Pinot Grigio Day - A day celebrating u/getmeapinotgris! That's it, end of the easter egg! I'll touch on just a couple of pieces of evidence here as I think it's pretty common knowledge that Taylor likes her white wine. We now even have a direct white wine reference on TTPD, "these chemicals hit me like whiiiite wiiiiine" which was then used by Taylor as a caption in a tweet recently when she reposted a review of TTPD. I think the most interesting potential easter egg to me is her drinking a huge glass of white wine leaving her last performance of the LA shows and she was obviously still performing. It looks to me like it's the same Midnights dress she wore Paris N1 ^{Chiefs colours, obviously!} which could be an interesting connection. When looking for the video footage of her leaving LA, I noticed that the account that posted it is verified and she appears to be an Entertainment Journalist with the Hollywood Reporter who received a 1989TV PR package with the cardigan around the release of 1989TV. What an interesting, fun and not at all related coincidence that the Entertainment Journalist happened to have seats to the show in the obstructed view section where you see Taylor leaving the stage...
Credit to u/intheafterglow23 for commenting on this post to remind us all of this incredibly special scene in Schitt's Creek where David says, "I like the wine and not the label" which is a metaphor for his sexuality. u/intheafterglow23 goes on to note that while the season the clip is from debuted in 2015, it really took off in the US around 2018/2019 - Taylor's response that I have screenshot below was posted on 25 May 2019, right in the middle of her sparkling summer where there were blind items she was going to come out as sexually fluid. I've tried looking for this blind without any luck, if anyone has a copy can they please post it in the comments! ^{Update: I've found this} ^{taytayblinditems Tumblr} ^{that has written out the blind item however the blind has been taken down from Crazy Days and Nights and I can't get the link to work in the Wayback Machine. The below screenshot will have to suffice!}

These chemicals hit me like whiiiiite wiiiiine
https://preview.redd.it/97pt3mzrdi0d1.jpg?width=529&format=pjpg&auto=webp&s=2c30a7fb9079ba73680babe83b44f756a48c0c9f

Shades Day - Why? Because shade never made anybody less gay! Jimmy Fallon is a long-time perpetuator of Taylor Swift's easter eggs and I don't think this video he posted on 1 May 2024 is any exception. The video shows Jimmy decked out in TTPD merch singing along to Who's Afraid Of Little Old ME! and he then dons a pair of orange shades and the camera pans down to show the orange Nike swoosh on his shoes. Credit to u/International_Ad4296 for posting on this thread that the shades Jimmy is wearing in the video are shutter shades that were worn by Kanye West in his 2007 music video "Stronger" and then went onto become known as "Kanye West glasses". Kanye has been a big player in the TSCU since he interrupted her while accepting an award for "Best Female Music Video" during the VMA awards in 2009. That's all the airtime I'll give that person.

Direct 17/5 easter eggs

Tokyo N3 - One of the surprise songs during Tokyo N3 was "The Outside". This excellent video by Kristen (underthepink7 - go follow her, she's amazing) goes into some additional easter eggs that I'm not going to go into here but definitely worth a watch (which also connects to "Down Bad"). What I do want to talk about though is what Taylor said when she introduced the song. Here's a video of the performance including her speech beforehand where she says, "this song is 175 years old." At the time most people thought that it was an egg for number of days leading us to 2 August 2024. It could still be referring to this however I'm starting to believe it's related to the date.
Date format - Before we go any further, it's important to note that the date format in Europe (where the Eras Tour currently is) goes DD/MM/YY. This is why I think the 175 could be a date as that equates to May 17 in Europe.
Tokyo N4 - On 10 February 2024, the surprise songs in Tokyo were "Come In With The Rain" (track 17) and "You're On Your Own, Kid" (track 5), another 175 and in this case it's specifically 17/5.
Anti-Hero music video - There's been some really interesting analysis that I've seen on Twitter where the timestamps in Taylor's recent music videos appear to be lining up with the date of things happening in real life. Underthepink7 and Kiturakk on Twitter have pointed out some interesting connections to the numbers 175 in the "Anti-Hero", "Bejeweled" and "Willow" music videos. I'll admit this could be considered a bit of a stretch but what if I told you none of it was accidental...

Is Taylor using timestamps in her self-directed music videos to refer to dates in real life?

Important days in history

These could be nothing, could be something, still worth noting:

Anne Boleyn and 4 lovers executed (could this be why she directly mentioned the number 4 in her Betty speech Paris N4?)
The diaries of Lord Byron are burnt by six of the poet's friends, described as "the greatest crime in literary history". u/thingwithfeathers38 has just pointed out that this stuck out to them as they've had this article saved in their notes app for a few weeks - Lord Byron had a half-sister named Augusta who was "sexually fluid".
"The Wonderful Wizard of Oz" was first published 17 May 1900
The first legal same-sex marriages in the US are performed in the state of Massachusetts in 2004

Important events in history that may be important to Taylor

Important events in the TSCU on this day

"Bad Blood" music video premiered at the Billboard Awards
Entertainment Weekly where Taylor is on the cover with a rainbow pin and gravestone that says "I tried" is published
City of Lover concert (i.e. Taylor's Lover concert performed in Paris) airs on ABC for the first time

I think we're about to recreate her sparkling summer

Stockholm

88th show - Taylor made a point to let everyone know that Paris N4 was the 87th show of the tour. Yes, 87 is Travis' number, but what if it was also to let everyone know that Stockholm will feature both her 88th and 89th shows? Obviously 89 is an important number to her as it's the year she was born, however last year we saw Taylor embracing double dates (5/5 Speak Now TV announcement, 7/7 Speak Now TV release - there's probably others, that's all I remember off the top of my head) so I don't think it's a stretch to say that the 88th show would hold significance to her. I saw this thread on Twitter yesterday regarding "portal dates" and while obviously this is referring to dates, I can see "portal shows" being potentially noteworthy. Following on from this, Kristen has highlighted some Taylor Nation tweets that include the words "17" or "May" with one of those tweets being posted on 8/8 (while quoting "Betty" of all songs...) which Kristen notes is the karmic number representing resurrection and regeneration (tweets pictured below).
I was reading through the comments in the Jimmy Fallon video thread and u/cookiechipchocolate reminded me that one of Kanye's albums is titled "808s & Heartbreak". Could be a sly reference to her 88th show however I'll admit this is a bit more of a stretch connection that I've made.
In the same thread, I saw this comment from u/taytopancakes noting that the day after is "said to be the most magical/lucky day of the year" which just so happens to also be Taylor's 89th show of the Eras Tour. I'd say the stars are certainly starting to align!
Following on from the Keleigh Teller pizza photo on 30 May 2023 that has 8 emojis that I shared above, the other big thing Keleigh contributed to the TSCU in 2023 is her quote of, "you're my Elizabeth Taylor" in the video she shared where she gave Taylor that opal and blue topaz ring for her 34th birthday. This quote always stuck out to me. I know that Elizabeth Taylor had many husbands so I looked it up and, you guessed it, she had 8 husbands (7 different men). It's also interesting to note that the first thing that comes up when you google "opal signficance" is "the opal has long been considered a lucky and protective talisman" which connects back to the TTPD announcement post that Taylor tweeted on 5 February 2024.
u/slugs_instead and u/chickadee323 also pointed out that we have been seeing a lot of infinity symbols lately; we've seen the infinity symbols everywhere from The Man wall, jewelry Taylor wears, the Karma music video and most recently in the stage visuals for "Down Bad". An infinity symbol turned on its side looks like an 8. I believe the infinity symbol represents Taylor's cycle of death and rebirth, "I rise up from the dead, I do it all the time" and "I'm getting tired even for a phoenix, always risin' from the ashes". What better way to signify the two sides of Taylor than two infinity symbols side-by-side, i.e. 88. Important thing I want to note - I just went and watched the footage of the "Down Bad" infinity symbol that I linked above and it stops just before completing - she's still on the journey, the cycle is not yet complete.

Deep portal, time travel
https://preview.redd.it/a28zn1akid0d1.jpg?width=1237&format=pjpg&auto=webp&s=e2b4751ac3530892d8a17d3c5ca1bbea8a1f5ee9

Beyoncé - The Renaissance World Tour kicked off on 10 May 2023 in Stockholm at the very same stadium that Taylor is performing in next weekend. To me it would make sense to start a tour named Renaissance in Italy, where the Renaissance originated not in Sweden... We've seen Taylor and Beyoncé supporting each other a lot in the last year and Beyoncé's producer recently said, "let's just say she's on the approach of shocking the world." We know she's on her own three-act journey at the moment (complete with queer-flagging in her shows and her own Biyoncé rumours) so I don't think this quote is directly related to Cowboy Carter but potentially regarding the culmination of her arc. Is it possible that her arc lines up with Taylor's creating a supernova that will change the industry forever?

Taylor & Bey supporting each other at their respective film premieres, a literal pride flag on the Renaissance Tour (it's actually just Chiefs colours, phew!)

Taylor recorded songs in Stockholm - Kristen notes that many of Taylor's important singles were recorded in Stockholm including "I Knew You Were Trouble", "Shake It Off", "Blank Space", "Bad Blood", "Ready For It" and "New Romantics". Perhaps this city holds a special place in her heart?
One Direction - paging u/1DMod to go into more detail here however noting that One Direction has a song called "Stockholm Syndrome" and the lyrics are very interesting indeed ("I used the light to guide me home"). Checkout this recent post by u/1DMod regarding the possible Larry connections to TTPD.
Friends Arena - The stadium in Stockholm is called the Friends Arena. Taylor had a Friends pin on her jacket on the Entertainment Weekly cover. Was this stadium always supposed to play an important role? Kristen also notes that the opening ceremony took place on 27 October 2012 (obviously 27 October is the day that 1989 was released, both times) and Elton John played there on 13 December 2010 (who had his own journey down the yellow brick road and people refused to see his queerness for years even though he was in screaming colour).

New Romantics

Kristen, who I have referenced in nearly every part in this post (again, she's amazing, go follow her), has a mass coming-out theory that she has dubbed the New Romantics. I highly recommend checking out her content on Twitter and TikTok and she's also recently launched a podcast that you can read more about here for more information on this theory. Essentially the theory is that a large number of artists in the entertainment industry are queer and are working together as a "safety in numbers" type approach to coming out of the closet and potentially changing the industry in a monumental way.
Let's have a look at some players that are relevant to either May 17 or Stockholm (or both in one person's case!):

Zayn - This is the person who is relevant to both May 17 and Stockholm! Obviously he was part of One Direction who I spoke about above as having a song titled "Stockholm Syndrome". Did you know his new album "~~The Closet"~~ "The Room Under The Stairs" is being released this Friday, May 17? Again, I'll leave this to u/1DMod to add any additional relevant information as this is not my area of expertise but from what I understand, all members have their own queer rumours.
Billie Eilish - Recently out as a girl kisser, Billie Eilish is also releasing an album on this day titled "Hit Me Hard and Soft" featuring a song called "Lunch" that would leave even the most homophobic Swiftie unable to defend her queerness if released by Taylor.
Madison Beer - Madison is out as bi. Her tour, The Spinnin Tour, began 24 February 2024 in Stockholm (a different venue though).

Theories as to what exactly is coming

TTPD: Part 3 - I recently made a post presenting the evidence on a potential third part to TTPD. In this post the majority of the evidence was just related to the "3s" that have been prevalent lately however there were also some "5s" which led us to believe something was happening 5/3. I've since had a couple of thoughts that maybe the "3/5" is related to her 35th birthday this year and that it's the third time she's trying to come out and five years from the last time. I strongly believe she'll be out by her birthday at the latest if not ON her birthday, but I digress.
Karma - After the fiery ^"Chiefs" colours we saw displayed in Paris, I'm not sure how you could be a Karma-denier at this point to be honest! If you haven't already, check out this amazing post from yesterday by Dr Bryanlicious2 homewrecker, u/clydelogan. Their post discuses the numerology surrounding the number 8 that I referred to earlier however could this all be pointing us to the 88th show instead of a particular date...? Also if you are unaware of what we mean when we're talking about Karma, I recommend reading this collaborative post that is constantly being added to.

Karma is REAL

Coming Out - I personally don't believe she would come out during a show in Stockholm, however it's worth at least noting as a possibility. It would mean that she was "out" before Pride Month 😉 She did just sing "Begin Again" as a surprise song in Paris N4 - is she beginning again as her authentic self at the very next show?
Music Video - I know we thought we were getting a second music video for TTPD a fortnight after the album was released, however maybe that's what all this easter egging is for. I personally think it's something much bigger than that however will be very excited to dissect another music video! u/allie_lacey noted in this comment that Florence has recently said that she has "just got done filming with Taylor". A Florida!!! music video is something that a lot of us have been clowning for recently but I'd love to point to this comment by u/-periwinkle in particular as I think they've made a really good point about the mirrorball jellyfish which makes me think we will get a music video for this song at some point.
Book - The creator of the video that u/1DMod initially posted believes that Taylor is announcing a book on 17 May 2024 with it to be released on 21 October 2024. I'm not going to go into this theory in detail however if you are interested in finding out more about what they have to say, here are a couple of videos of theirs (video 1, video 2, video 3).

Is this another easter egg that she laid 3 years ago?

In Summation

Something is happening in Stockholm. I don't know why exactly but it is THE ONE to watch.
I think it would be interesting to revisit the NYU speech, Karma music video, Stephen King, photos from the Uno parties and the Lover era in general for further hints as to what's coming. I think the key is going to be working together due to a comment that Questlove (yes, the one who throws the Uno parties) left on one of Kristen's videos. Here's a link to the video, the top comment is his.
Regardless, I'll be there talking smack in the megathread on Friday and keeping an eye out for any new "Chiefs" colours. See you there, clowns!
Who's clowning with me?! 🤡🤡🤡
Edit: I'll be making some additions to this post as people have been making incredible connections already, thank you! These will be noted as a new bulletpoint to try and keep it transparent as to what has been added. As I'm researching I'm also making new connections of my own that I will also add as separate bulletpoints.

submitted by courtingdisaster to GaylorSwift [link] [comments]

2024.05.01 21:05 songbirdskeepsinging r/Glee's Census Survey Results PART 1: Demographic and Characters!

Thank you to everyone who responded to the survey posted here two months ago! I got way more results than I expected so it did take a little time. I wanted to have some fun with the results and dissect them in different ways but that'll take some time so for now, here's the first part of the results. Starting with this sub's demographic.

Demographic

Age Group:

16 - 20 : 30.5%
21 - 25: 24.1%
26 - 30: 15.5%
11 - 15: 15.0%
31 - 35: 7.3%
36 - 40: 4.5%
46 - 50: 1.4%

Top 5 characters of each age group (in order)

Age Group	Top 5	Notes
11 - 15	Santana, Brittany, Kurt, Quinn, Blaine, Mercedes	Blaine and Mercedes are tied
16 - 20	Santana, Brittany, Kurt, Quinn, Mercedes
21 - 25	Santana, Quinn, Blaine, Finn, Kurt	Finn and Kurt are tied
26 - 30	Santana, Blaine, Kurt, Mercedes, Quinn	Mercedes and Quinn are tied
31 - 35	Santana, Rachel, Blaine, Brittany, Kurt	Blaine and Brittany are tied
36 - 40	Santana, Quinn, Blaine, Kitty, Puck, Rachel	Blaine, Kitty, Puck, Rachel are tied
46 - 50	Jane, Mercedes, Unique	All tied

Gender Identity

Female: 77.3%
Male: 15.9%
Prefer not to say: 2.7%
Non-binary: 1.4%

Sexual Orientation

Heterosexual: 35.5%
Bisexual: 18.2%
Lesbian: 17.7%
Questioning: 6.8%
Asexual: 6.4%
Gay: 5.9%
Pansexual: 5.0%
Prefer not to say: 4.5%

Sexual Orientation	Top 5	Notes
Heterosexual	Santana, Quinn, Blaine, Brittany, Sam	Sam and Brittany are tied
Bisexual	Santana, Blaine, Quinn, Kurt, Finn
Lesbian	Santana, Brittany, Quinn, Kurt, Blaine, Mercedes	Blaine and Mercedes are tied
Questioning	Santana, Kurt, Blaine, Brittany, Mercedes	Brittany and Mercedes are tied
Asexual	Blaine, Kurt, Brittany, Finn, Quinn, Rachel, Tina	Finn, Quinn, Rachel, Tina are tied
Gay	Santana, Kurt, Mercedes, Blaine Brittany	Blaine and Brittany are tied
Pansexual	Santana, Mercedes, Kurt, Blaine, Brittany	Kurt, Blaine, Brittany are tied

Where are you from?

North America: 62.7 %
Western Europe: 19.1%
Oceania: 8.6%
Central Europe: 3.6%
Eastern Europe: 1.8%
South East Asia: 0.9%
East Asia: 0.9%

Did you ever attend Glee Live! In Concert tour?

No :( : 94.5%
Don't know what that is :O : 2.8%
Yes! : 2.7%

Can the 6 people who did attend the tour please share your experience? I'm very interested in hearing about it!
Do you participate in the fandom in any other ways?

And That's What You Really Missed Podcast listeners: 45%
Fanfiction writers/readers: 43%
No: 28%
Edits: 26%
Fan art: 7%

I should've asked about people who do Glee rps because I know there's a few out there. If you read or write or create any fanfictions/fan art, please feel free to share them in the comments!
When did you first watch Glee?

2021 - 2024 (Glee Tiktok Revival): 25.9%
2009 (first premiere): 22.3%
2016 - 2018 (post-Glee): 17.7%
2019 - 2020 (Glee pandemic revival): 12.7%
2010 (season 2 premiere): 6.4%
2011 (season 3 premiere): 5.9%
2015 (season 6 premiere): 3.6%
2013 ( season 5 premiere): 2.7%
2012 (season 4 premiere): 2.7%

56.3% poll answers are from people who started the show after it ended. 43.7% watched the show when it was still airing. Here are the characters with the biggest difference in popularity between Post Glee viewers and During Glee viewers.
Favourite Difference

Brittany 46% of the Post Glee viewers vote Brittany as their favorite while only 23% During Glee viewers voted for her.
Kurt: 41% of Post Glee viewers and 30% of During Glee viewers like him
Mercedes: 35% of Post Glee viewers and 24% of During Glee viewers like her
Marley: 15% of Post Glee viewers and 6% of During Glee viewers like her
Tina: 25% of Post Glee viewers and 11% of During Glee viewers like her

Interestingly, Blaine, Rachel, and Santana are the only three characters who are more popular with During Glee viewers than Post Glee viewers even though the differences are only of 1-3%.
Least Favourite Differences

Marley Only 5% of Post Glee viewers voted Marley as their least favorite while 15% of During Glee viewers voted for her
Brittany 1% of Post Glee viewers and 8% of During Glee viewers dislike her
Unique 13% of Post Glee viewers and 5% of During Glee viewers dislike her
Kitty 19% of Post Glee viewers and 13% of During Glee viewers dislike her

Characters

Favorite New Direction members

Santana: 15%
Blaine: 10%
Kurt: 9%
Brittany: 8%
Quinn: 8%
Rachel: 5%
Sam: 5%
Finn: 5%
Mercedes: 4%
Tina: 3%

Important to note that both Ryder and Alistair are the only two characters with 0 like.
Favorite S4 New Direction newbies:

Kitty: 35%
Marley: 33%
Unique: 23%
Jake: 9%
Ryder: 0%

Favorite S6 New Direction newbies

Roderick: 30%
Jane: 22%
Madison: 19%
Mason: 19%
Spencer: 8%
Myron: 3%
Alistair: 0%

Least Favorite New Direction members:

Ryder: 11%
Rachel: 9%
Myron: 8%
Puck: 8%
Kitty: 6%

Most Controversial New Direction members: This is calculated by selecting members with more than 30 votes with the smallest difference between the percentage of their least favorite and favorite votes.

Lauren
Rachel
Unique
Marley
Kitty

And that concludes the first part of the poll results which are about the characters and you! The next part should be about the performances and the ships. I will try to get it out soon but enjoy this for now!

submitted by songbirdskeepsinging to glee [link] [comments]

2024.04.27 03:51 argcort Matt Roloff's Facebook Rant Q and A

(Mat just posted this on Facebook giving his take on quite alot of topics) Still haven't finished reading it, BUT I know others who don't have Facebook would be interested in what he has to say )

Matt's 5 most asked questions... since last Tuesday's episode.
This post won't be for everyone because it’s long & has lots of details. I'm sorry in advance to those that are Spelling/grammar purists. I write just like I talk.. lots or run on sentences-- with lots of extra dots….. and misplaced punctuation. If these juicy details aren't for you --- You are welcome to just move on. :)
Many of you I think will find some of this interesting--
Now that I’m officially not under a contract NDA, I can speak much more freely than I've been able to the past 20 years or so-- In fact, the first interesting tidbit to share is we (The Roloff family) signed our first contract with CBS (not Discovery/TLC) back in 2003-- It then transferred to Discovery around 2004/5 when we did the "pilot" Little People Big Dreams. It took a year longer to get the green light and finally air what is now considered the beginning of LPBW as you know it today.--- So Yes-- 20 years of being under TV contract(s).
Here are my 5 most asked Q's.. this past week.
1) Was last Tuesday's episode the 'Season' or 'Series' Finale? It's true that several family members have announced publicly that they are no longer interested in filming LPBW-- I think Amy, myself and producers have known this for quite some time-- We completed our contract obligations and wrapped filming last September 2024-- Season 25 was a very fun and fulfilling filming cycle and Caryn and I particularly enjoyed working together with Chris and Amy in so many productive ways- Of course we missed filming more with the other family members and were obviously disappointed not to do more things all together.
Here is my opinion on why TLC didn’t announce (at least not yet) this was the “Series” finale vs “Season” Finale. Clip look-back special shows in the works?? Maybe? Here is some more context-- Way back in early August of 2010 (14 years ago) the Roloff family had a family meeting and afterwards we contacted the TLC attorney and announced we were Done- We had come off a 40+ episode year (2009) and the filming process was a grind back then and disruptive to the kids schooling and discipline etc-- We thought we had completed our mission of educating the world on what it's like to be a Little Person in an average size world-- Enough TV filming already!! ....we wanted to go back to running the farm and our normal lives-- So We made it clear to TLC we were finished-- We had completed the last of a 5 year contract option and it was time to move on-- A few days later on August 26th 2010-- TLC PR department put out a press release that said... "Little People Big World Cancelled and season 6 would be the last."... (research Little People Big World on Wiki) The family got a bit of a chuckle out of that headline- but it was true enough to just go about our business-- Funny thing is... The show never was cancelled -- Wiki has that right! Many at the network still remember the announcement as jumping the gun so to speak-- A few short weeks later, the TLC attorneys contacted us and asked if we would consider doing a few 'specials'? We met again as a family... The production team was offering some interesting ideas. …mostly travel related that intrigued the family and offered Amy a chance to climb Mt St Helens among other ideas. --- They promised we would not have to grind out as many episodes (40+) but would just sign us up to a 1 single year "service term" No options to extend and produce 6-8 shows in a 12 month term -- Easy breezy- So by the Fall/Winter 2010 into 2011 we were somewhat reluctantly back to filming- By this point the core Roloff family had completed 6 seasons and several hundred episodes. A nice run by any television standard- We were most pleased that tens of millions of viewers on every content had a somewhat realistic view of life as a Little Person living on a farm in Oregon, USA.
After that season of 6 specials... It was pitched to us to do the Wedding Farm season-- Requiring (theoretically) much less disruption to our kids life’s and more focus on the Brides and Grooms we were hosting. That made sense for many reasons so we moved forward with The Wedding Farm season circa 2012.
This is WHY I THINK there is some hesitation to announce from TLC that the show is over-- Even though the family as a whole is enjoying being away from it all after 19-20 years-- Caryn and many other family members have publicly stated they are done with filming. - Remember our show is a relationship based program— As more and more family members drift away from the show it becomes more difficult to produce the same content— As much as many of you hate (and we see the comments) about the rifts and strifes between the family members, the better the ratings do— Nobody (they think they do but they don’t) wants to watch a show where everything is always happy go lucky and perfect— Viewers want relationship drama and then resolutions. The less relationship interactions that are filmed together on camera the harder it is to produce the show.
It's my opinion that you just never know what might happen in the future? I know I can't predict the future-- It's my guess that the network can't either... I do think that TLC did a nice job on the last Tuesday 'season finale' episode hedging their bets and putting a nice button on the show and where the family (members that still participate) stands--- so if LPBW never does come back (in whatever various other forms) I think consensus is they wrapped up the Roloff LPBW crazy train saga pretty good-- That’s why many of you felt it was a series finale.
So on this matter of whether last Tuesday was the Last LPBW Show forever?? Nobody really knows at this point-- I feel very content and satisfied with the Run of shows and the journey we shared with you all! The ratings continued to build and stand strong and consistent. We are super proud of that. More importantly then our ratings, I was at a public outdoor concert last night and the love I felt from so many fans was truly amazing-- I took many dozens of selfies with heartfelt fans.. So many stories of lives touched by LPBW. So many thank your for sharing our story. One of the concert's local police officers looked close to tears telling me how he and his late Mother would watch LPBW together in her final days. Wow--- I for one feel good about that.
You never know what the future may bring so if you are me-- (and apparently TLC too?) I hate saying goodbye-- Only See ya later ! ...and #lovelove
Hopefully this sheds a bit of light on where things stand in terms of the finale last Tuesday 4/23/24--- just my humble opinions. Not authorized to speak on behalf of any other individuals or companies.
2) Farm and family status - and What the Heck happened? As you all know both Jeremy and Zach expressed interest, at virtually the same time, several years ago (Nov 2021) in purchasing the Big house that sits on the North farm. As twins they have always been super competitive but this was one situation that I couldn't let one win over the other. As a father it was extraordinarily complex and I can't say I handled it without some mistakes and missteps. The State of Oregon has incredibly strict rules about dividing land up and splitting (the baby in half) property based on zoning laws. There is only one house on a single tax lot- There were 2 interested parties and one(1) house-- Think about that! Yes-- Money, retirement concerns, loan terms and maintenance responsibility all played a role-- But fairness to all four (4) of my kids and all grandkids played and weighted the heaviest- Keep in mind-- I shrunk the size of the North Farm with the big house for rent/sale and grew larger the land that stays in the trust- It's now 16 acres with the older Big House vs 90+/- acres with my new house and the DW and a dozen barns/sheds etc.-- That's NOW what we all consider The Farm.
I feel so blessed, proud and Love each and every one of my children and grandchildren- Jer and Zach each figured out (in their own timing) that the idea of breaking away from me and the farm (as you all know it over past many years) and individually establish their Own homesteads... build their own dreams ... bridges... barns ...shops and projects-- My heart is full to see that process in progress-- It hasn't been easy ... especially all while being filmed...and sometimes even very painful.. but in the end its all been productive and although in hindsight I would change several of my processes... I believe the results are better and I love watching ALL the kids find their independence and passions on their own terms.
While Jeremy, Zach and Molly manage their own individual homes, projects and farms... Our youngest who broke away from 'the crazy train' early to go see the world now in a poetic turn of events has returned with his family to an open canvas of opportunity. He's taking great advantage of many possibilities. The 90 + acre farm. He is living and working full time with his wife and son Mateo (named in my honor) on the farm. I understand if you've been watching LPBW 'since the beginning'... you are not as connected to the stories and lives of our 3 average height children-- But Please know they exist and Matter as All 4 of our kids do in the grand scheme of the farm--
So while the Big House / North Farm continues to be a popular tourist (Ha) AirBnB (itrip.net) destination …it sits right adjacent to the larger 90 acres that Me, Caryn and Jacob's family live and work on and run the Pumpkin Festival. Come see us in October-- You get to see all this first hand.
3) Do I see the grandkids? Let me start by saying... Yes it's true.. I (we) don't get to see Zach and his adorable kids nearly as often as any of us would like- We are always welcome to go see them in Battle ground but we don't see them around the farm very often-- I'm very proud of them and the way they raise their family and Zach battling thru illness and building out his own farm is what makes a father so proud to see.
I see Jeremy, Audrey and their 3 (soon to be 4) kids often as they live just a mile or 2 from the farm. As many of you that follow them know... he is renovating his house in a similar way that we gutted and remodeled the big house years ago on the LPBW show- The apple didn't fall far from the tree in terms of taking on Big exciting projects like his dad. It's super fun to see his kids pull up to my front door in their little battery powered jeeps asking for a juice box treat from grandpas pantry-- Jeremys and Audrey’s house remodel is a stunning example of the creativity and vision they are blessed with.— I
Molly loves her private life up in Spokane but we still see her often...Sometimes Caryn and I fly up to northern WA for a weekend visit and often her and Joel come stay either at the big house or at my new house. Molly and Joel were just here last week in AZ staying with us for 4 days enjoying the sun shine and taking in the local wildlife zoo- Always wonderful to Visit with the amazing Molly Jo and hubby Joel.
It's hard for me to not talk the most about Jacob. While you all see Zach and his family the most on TV.... I see and talk to Jacob, Izzy and Mateo the most. He has developed over the past 2 1/2 years a burning passion to run and generate his own projects on the farm-- He enjoys milling his own lumber, all things mechanical, setting up the annual pumpkin patch business while planting hundreds of new fruit trees and building gardens that grow their own organic foods and vegetables to feed his family (and me) -- Him and Izzy are passionate about the soil and the environment and they bring me fresh eggs from our chickens every other morning- They live on the farm and are always around working away with little Mateo collecting eggs and helping his dad pull the tools around in his wagon- Mateo and Liam (Caryn's grandson) are very best friends and play and adventure together on the farm frequently. I only wish you all were able to see how alive and vibrant the farm still is for the new generation--- OH Wait-- You can.... Come this October-- Those that came last Oct I'm sure you know what I mean?
4) Is my new house finished and when are we getting married
Yes I'm happy to report my dream home is finished-- I moved in just before Christmas in time to host the entire family (including Chris and Amy) for a holiday gathering. Caryn has now sold her home a few miles from the farm and is now living in the new house with me-- We Love it! The accessiblity features we had built into the design of this new home make my life unbelievably comfortable— From the perfect secondary (butlers) kitchen to the no step entry and lowered sinks and appliances .. it’s a fantastic home run build. We still love Arizona and plan to split our time 50/50 between the farm and down there. I tell all our friends in AZ ... You'll never see us here in October because we plan on hosting the Roloff Farm Pumpkin Festival for as long as possible.- I apologize i haven't shown more photos of our new house and i'll endeavor to do that soon-- We barely got moved in and settled and then bolted down south for our Spring sunshine trip to AZ-- Speaking of moving-- A quick update on my mother- In March she decided to relocate from AZ back up to Portland to be close to the farm and all the Grandkids-- Although Caryn and I miss seeing her down here in AZ we love seeing her more often in Oregon and all the grands take turns visiting her there as well-- We're currently planning a nice Mothers day event in Oregon. Still no news on a wedding date-- lol. We are loving life and the current status-- Between getting the house finished, wrapping up LPBW filming, moving my mother and all the other things that life throws at you we haven't had much time to really sit down and plan anything-- I imagine we will start working on that soon- But no date or location has been set yet— but actively gathering ideas.
5) Hows my health
I'm feeling healthier and happier than I have in years-- While everyone is busy as can be up North-- Caryn and I are enjoying some time in the Sun down at our Arizona get-away- We get up in the am-- She often goes over to see her folks a few blocks away- while I conference call with Jacob about farm business and then work on my computer a few hours--- Then we love to go float in the cool pool in the heat of the day before sitting on our back patio relishing in the dry warm desert climate-- Both Caryn and I are feeling very happy together enjoying our best life-- As far as the LPBW show goes... We think it had a wonderful record setting run-- educated tens of millions (maybe even hundreds of millions) of people across the globe… Normalizing to many, that people with differences are just like everyone else-- With varied opinions, personalities, goals, dreams and successes and failures -- We're just people like You and your families. The show may or may not be done in the current format for ever more... but either way I for one thoroughly enjoyed sharing a large part of my life journey with you and hope to meet you all in person one day along life's trail. Thanks to You all for sharing so much love and support to our family over so many years! Without You we would never have been able to change to Worlds perception of Little People— I feel like a Big Person in a Little World thanks to You.

submitted by argcort to LittlePeopleBigWorld [link] [comments]

2024.04.20 13:01 FelicitySmoak_ On This Day In Michael Jackson HIStory - April 20th

1972 - Michael was photographed by Michael Ochs at Hollywood Hills
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1973- The Jackson 5 arrive in Tokyo . While in Japan, they take time to visit Buddhist temples, art museums and the Oriental Gardens of the Takanawa Prince Hotel.
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1974 - The Jackson Family including Latoya, Randy and little Janet play the 11th of fifteen nights at the MGM Grand Hotel, Las Vegas, Nevada.
1975- The Jackson family play the 12th of fourteen nights at the MGM Grand Hotel in Las Vegas
1979- On their Destiny a world Tour, The Jacksons play the 2nd of four shows at the Valley Forge Music Fair in Devon, Pennsylvania
1988 - Michael's autobiography, Moonwalk, which had been edited by Jacqueline Onassis, was published by Doubleday.
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The book is a journey to his heart and soul. At the age of 29, Michael could look back on 24 years stage experience. In Moonwalk, Michael talks openly about his youth, his family, his first love, plastic surgery, and his wholly exceptional career and the often bizarre and unfair rumors that have surrounded it.
Within 2 weeks, Moonwalk was top of the Best Sellers List in Britain with the first 70,000 print run having sold out. A reprint of 12,500 was ordered, followed by a second reprint of 30,500 a week later.
In America, Moonwalk entered the Best Sellers' Lists of the Los Angeles Times at #1 and the New York Times at #2, moving up to the #1 position in its 2nd week on the chart. Within a few months, it was announced that Moonwalk had sold in excess of 450, 000 copies in 14 countries around the world.
Moonwalk is dedicated to one of Michael's all-time idols, the late, great Fred Astaire.
1988- On his Bad World Tour, Michael plays the 2nd of three sold out nights at The Rosemont Horizon (now the Allstate Arena) in Chicago, Illinois.
1992 - Michael is in Chicago to film the video for "Jam" featuring Michael Jordan, Kriss Kross and rapper Heavy D. Jimmy Safechuck, Brett Barnes, Macaulay Culkin & Wade Robson visit him on the set.
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While in Chicago, Michael visits Macaulay Culkin on the set of Home Alone 2
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1995 - Michael attends a meeting in L.A with the top executives from Epic/Sony to prepare the marketing plan of HIStory
1996 - "They Don't Care About Us" debuted at #4 in the UK
2002 - Michael taped a performance of his song “Dangerous” at the Pasadena Civic Auditorium, for Dick Clark’s 50th Anniversary of American Bandstand. He then performed the song a second time, because he was not pleased with his first performance.
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He made his first appearance on American Bandstand with host Dick Clark as an eleven-year-old member of the Jackson 5. The anniversary special would air on 5/3/02
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2005 - Trial Day 36
Michael goes to court with Katherine. Testimony of Brian Barron.
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Brian Barron, a former security guard who moonlighted at Jackson's Ranch for three years, took the stand and told of a directive that was given stating not to let Gavin Arvizo and his siblings out of the property, without the permission of a house manager at the time.
2009 - Michael starts rehearsals for the This Is It concerts at Center Staging in Burbank, California with Kenny Ortega & Travis Payne
2010 - Cirque du Soleil announced that it was preparing two live touring shows featuring Michael's songs

submitted by FelicitySmoak_ to WhereWasMJToday [link] [comments]

2024.04.19 17:04 wiklr Quiet on Set Timeline

https://i.imgur.com/yy4GzHS.png

Quiet on Set: The Dark Side of Kids TV

Wikipedia IMDB
Youtube clips on Investigation Discovery
Streaming on Investigation Discovery • Max

References

Kate Taylor's Business Insider article on Dan Schneider
Brian Peck Case Unicourt Docket
Letters of Support Transcriptions

Reddit Research

young_menace: What We Know About Dan Schneider - Part 2
madmagazines: Brian Peck's Background (includes interviews)

Timeline

(Note: Some Film/TV show dates are when it was released or when a documentary related person appeared in an episode)
1981

November 9 - Last American Virgin: Brian Peck & Kimmy Robertson (released 1982)

1984

March - Hot Resort: Dan Schneider (released 1985)
November 5 - February 1985 Better Off Dead: Dan Schneider (released 1985)

1986 - 1991

Head of the Class (ABC): Dan Schneider & Brian Robbins

1987

June 21 - St. Lucie News Tribune news clipping: "I'm Daniel Schneider, I think you've heard of me"
August 23 - Chicago Tribunal news clipping: Dan Schneider in a teen exploitation film, not something proud to show the Academy (Hot Resort)

1988

Kid's Choice Awards (Nickelodeon): Dan Schneider & Brian Robbins befriended Albie Hecht
March 9 - Growing Pains Brian Peck credit (Season 3- 6) ; Cast: Joana Kerns, Alan Thicke; Steven Marshall (producer)

1990 * The Willies): Brian Peck (director & producer), Kimmy Robertson
1993

Home Free (ABC): Dan Schneider & Brian Peck

1994

Home Improvement (ABC): Drake Bell, also Rider Strong in 1992
All That(Nickelodeon): Created by Brian Robbins & Dan Schneider as writer; Katrina Johnson (Season 1-3)

1996

August 17 - Kenan & Kel (Nickelodeon): Brian Robbins, Dan Schneider, Virgil Fabian
October - All That: Amanda Bynes first appearance

1997

Kenan & Kel: Brian Peck as extra
June 3 - Tollin/Robbins Productions hires Michael Goldman
July 8 - Article on Dan Schneider finds success in All That
July 25 - Good Burger: Brian Peck as extra, produced by Dan Schneider & Brian Robbins

1998

Guys Like Us (UPN): Dan Schneider (actor), Brian Peck (Happy Pants the Clown) & Rich Correll (director)

1999

February 12 - Boy Meets World (ABC): Brian Peck (extra) ; Will Friedle & Rider Strong (cast) ; Rich Correll (director) & Beth Dempsey Correll (assistant director)
October 16 - Amanda Show (Nickelodeon) first episode date; created by Dan Schneider produced by Tollin/Robbins; Cast: Amanda Bynes, Raquel Lee, Drake Bell, Josh Peck; Virgil Fabian (director), Christy Stratton, Jenny Kilgen (writers); Brian Peck (extra)

2000

Jenny Kilgen files a gender discrimination lawsuit against Dan Schneider
Feb 29 - Snow Day: Josh Peck, Albie Hecht
May 5 - Boy Meets World last episode aired
July 2 - All That: Bryan Hearne (Season 7-8)
July 14 - X-Men: Brian Peck, James Marsden
September 2 - LA Times article on Amanda Bynes: Albie Hecht - She’s funny--and funny is money

2001

December 1 - Brian Peck Case Offense Date ; Year Crime Committed
- Ron Melendez letter citing living in Brian's house (1999, 2001-2002)
The Amanda Show: Brian Peck credited appearance

2002

February 2 - All That: Brian Peck credited appearance (Season 7)
March 16 - All That: Giovonnie Samuels (Season 7-9) & Kyle Sullivan (Season 7-10)
May - Drake & Josh Unaired pilot filmed
June 23 - LA Times article: "Groomed to be All That" Dan Schneider and Brian Peck held comedy boot camps ; Paper copies of the article
September 20 - What I Like About You (Warner Brothers) first episode date ; Amanda Bynes, Dan Schneider, Brian Robbins, Brian Peck
September 21 - Amanda Show last episode aired

2003

March 23 - Roman Polanski's wins Oscar for Best Direction, gets standing ovation
April 12 - Jason Handy arrested ; released after bail
April 16 - Jason Handy arrested again, no-bail felony warrant
April 17 - LAPD report on Jason Handy's arrest
May 2 - X2: Brian Peck, James Marsden
June 15 - Variety reports Amanda Bynes emancipation,
- parents fire agent at Endeavor, her manager at Tollin Robbins and her attorney at Myman, Abell, Fineman, Greenspan & Light
August 19 - Brian Peck arrested
August 20 - LAPD report on Brian Peck's arrest ; reported 2 weeks prior
September 8 - Brian Peck $400,000 Bond ~
Drake & Josh film dates: Season 1 (August 2003) ; Season 2 (December 2004-August 2005) ; Season 4 (November 2005 - July 2006)

2004

January 10 - The Sneeze interview with Dan Schneider (Better Off Dead Tribute)
January 11 - Drake & Josh first episode date, produced by Schneider's Bakery; Virgil Fabian (director); Kimmy Robertson, Taran Killam (guest episodes); Beth Dempsey Correll (2nd AD)
May 10 - Brian Peck pleads no contest to 2 charges
June 17 - Beth (Dempsey) Correll Letter #1
June 18 - Rich Correll Letter
June 20 - Will Friedle Letter
June 28 - August 2004 - Love Wrecked filming date; Brian Peck as extra
July 7 - Joana Kerns (2) Letter
July 15 - Alan Thicke Letter
August 30 - Pepperdine University on Zoey 101 filming in campus
September 2- Tom DeSanto Letter
October 5 - Beth (Dempsey) Correll Letter #2
October 7 - Brian Peck Probation & Sentence Hearing
- In attendance: Drake Bell, Robin & Roy Dodson, Drake's brother, Will Friedle & others
- 41 Letters in total; 15 named ; 14 publicized
- Undated: James Marsden (2), Taran Killam, Rider Strong (2),Ron Melendez, Kimmy Robertson, Lynne Murphy
November 10 - Michael Goldman (Power Entertainment) new client: Dan Schneider

2005

January 9 - Zoey 101 (Nickelodeon) released; Created by Dan Schneider
May 18 - Love Wrecked (filmed 2004) Brian Peck, Amanda Bynes

2006

January 4 - CBS reports Drake Bell suffered a car accident in 2005
July 28 - The Suite Life of Zack & Cody (Disney): Brian Peck, Rich Correll, Beth Correll

2007

September 7 - New York Times labels Dan Schneider as "Norman Lear" of children's television
September 8 - iCarly (Nickelodeon) first episode date

2009

September 29 - CNN reports film industry demanding Roman Polanski's release

2010

Gabe Hoffman & Mathew Valentinas approach Amy Berg to make the documentary: An Open Secret
March 17 - New York Post reports Growing Pains producer, Steven Marshall sentenced for CP
March 27 - Victorious (Nickelodeon) first episode date 2011
June 2 - Love Horror Brian Peck Interview; skips Amanda Show in list of film work
October 1 - People Magazine reports Amanda Bynes spending a lot of time with Dan Schneider & Lisa Lillien during emancipation attempt in 2003

2013

January 4 - Brian Peck Case Hearing
June 8 - Sam & Cat(Nickelodeon) first episode date

2014

March 30 - Kid's Choice Awards Honor Dan Schneider with Lifetime Achievement award
April 15 - Danwarp blog All That's 20th Anniversary ; Albie Hecht offer to develop for Nickelodeon, couldn't because under contract with WB & ABC
November 12 - An Open Secret release date (also June 5, 2015)
November 18 - Tweet to Drake Bell about Brian Peck

2015

June 8 - Daily Mail reports Brian Peck still working with underage kids
April 9 - People Magazine article on child stars suing their parents

2016

March 25 - Angelique Bates abuse story on All That
April 13 - Brian Peck Case Hearing
August 4 - Brian Peck spotted in Return of the Living dead event

2017

June 7 - Deadline reports Brian Robbins hired to oversee Paramount Players
June 18 - Drake Bell (deleted) tweet on not being invited to Josh Peck's wedding
June 22 - Seventeen reports Dan Schneider was invited in Josh Peck's wedding
July 7 - The Malibu Times interview Brian Peck as local fan of Planet of the Apes
July 8 - People magazine interview with Drake Bell on wedding snub
July 28 - Dan Schneider instagram post on Brian Peck signing All That S8 poster "Oh Dan you can dip my pickle in dill juice anytime! I owe you!"
August 8 - Zach Sang Show interview on Drake Bell
August 28 - Drake Bell & Josh Peck reunite in VMA vlog
August 31 - David Dobrik vlog surprised by Drake and Josh
October 5 - New York Times article on Harvey Weinstein ; paid off accusers
October 10 - New Yorker article on Harvey Weinstein accusers tell their stories
December 1 - Drake Bell case: Cleveland Concert
December 16 - Seventeen tweetJosh Peck missing in Drake Bell's birthday
December 23 - New York Times on Vice Media letting go 4 employees ; 2 executives on leave (January 2, 2018)

2018

All Your Screens Guest Column on Dan Schneider: "This is Me Screaming"
March 9 - Washington Post report Dan Schneider leaving Nickelodeon
March 27 - Liz Feldman (deleted) tweet: worked for Schneider, confirms inappropriate behavior
July 23 - Drake Bell talks about feud with Josh Peck
October 1 - Deadline reports Brian Robbins named President of Nickelodeon
October 8 - Tana Mongeau interviews Josh Peck, hating Drake & being a child star, asked about D&J reboot
October 10 - Dan Schneider deleted 14,000 tweets ; screenshots ; twitter thread
October - Drake Bell's victim made a report to local police (Canada) ; forwarded to Cleveland police
November 1 - Hollywood Reporter: Brian Robbins wants to reboot All That

2019 * March 14 - JustJared Drake Bell & Josh Peck spotted at a business meeting * March 15 - Drake Bell teases Drake & Josh reboot * March 18 - Seventeen interview of Drake Bell * November 16 - All That (Revival) Season 11 airs * December 16 - Deadline reports Turner & Hooch reboot (Disney+)
2020

February 10 - Hollywood Reporter: Josh Peck cast in Turner & Hooch reboot
March 4 - Reddit post video deleted, Drake said he doesnt want a reboot anymore
March 13 - Forbes interview on Drake Bell's album
August 12
- Melissa Lingafelt twitter thread alleging abuse by Drake Bell
- Variety reports Drake Bell denies abuse allegations from Melissa Lingafelt

2021

February 8 - Twitter thread naming Drake Bell as Brian Peck's victim
April 23 - Rick Ellis reflections on working on Schneider piece
May 23 - Rick Ellis article on the iCarly reboot
June 4
- Deadline reports Drake Bell arrested in Ohio
- Daily Beast exclusive: Melissa Lingafelt abuse allegations against Drake Bell
June 23 - Deadline reports Drake Bell plead guilty to 2 charges: attempted endangering of children & disseminating matte harmful to juveniles
June 30 - The New York Times Dan Schneider article
July 2
- Kayla Alpert tweet on Schneider as worst person to work with, said "women aren't funny"
- Christy Stratton tweet about Schneider being vindictive
July 4
- Rick Ellis article on The New York Times and Its Whitewash of Dan Schneider
July 12
- Law & Crime video on Drake Bell sentencing
- New York Times article mentioning Drake Bell "will have to register as a sex offender"

2022

March 17 - BFFs podcast with Josh Peck about Drake Bell; never close & confronting at VMAs
March 20 - Drake & Janet video where Drake Bell clarifies his feud with Josh Peck (clip)
May 2 - Medium article We (Don't) Need to Talk About Dan Schneider
June 13 - Sony Pictures TV deal with Maxine (Quiet on Set production company)
August 3 - New York Times article on Jennette McCurdy
August 9 - Release of Jennette McCurdy book "I'm Glad My Mom Died", published by Simon & Schuster
August 31 - Business Insider article by Kate Taylor: Dan Schneider Expose
September 1 - Christy Stratton tweet on Schneider having her agent and manager fire her
September 14 - Drake Bell (deleted) tweet: "You want the real truth about what went on behind the ORANGE curtain? You want the stories that will crush an entire network? Give me a call (a)simonschuster"
September 25 - All Good Things podcast interview with Josh Peck; mentions Amanda Show offered by Nickelodeon president
December 17 - CDAN post that Drake Bell will end up as the next Aaron Carter (Dead)

2023

Early 2023 - Drake Bell first approached by Quiet on Set film makers (as mentioned in this QoS panel)
April 10 - Good Guys podcast Josh Peck on Dan Schneider as "tough boss" ; blocked by Jennette McCurdy and scrapped episode, "owes us" comment
April 13 - USA Today reports Drake Bell found safe after going missing
April 21 - Entertainment Weekly reports Drake Bell's wife files for divorce
April 22 - Drake Bell tweet compliments Jennette McCurdy's book I'm Glad My Mom Died
April 27 - New York Post reports Drake Bell seen sucking on balloon
May 5 - Brian Peck Case Motion Hearing (Also June 7 & July 10)
July 17 - Drake Bell tweet writing a book called "I Found a Way"
October 4 - Variety reports iCarly reboot canceled by Paramount+ after 3 seasons
October 21 - Cancelled podcast Josh Peck on Dan Schneider "not a fan"
October 30 - Deadline reports Paramount $1.62B sale of Simon & Schuster to KKR Investment firm
November 22 - Good Burger 2 release

2024

January 19 - Vulture interview with Taram Killam, mentions Michael Goldman, same manager as Amanda Bynes
February 5 - Quiet on Set trailer drops
February 19 - Pod Meets World episode on Brian Peck
February 27 - Indiewire reports Zaslav is out of Paramount Business
March 5 - Business Insider reports Drake Bell as Brian Peck's victim
March 13 - Rick Ellis article on Quiet on Set
March 17
- Quiet on Set episode 1 & 2 airs
- Amy Berg tweet Dan Schneider as boss; he left Nickelodeon to work on Guys Like Us
March 18
- Quiet on Set episode 3 & 4 airs
- New York Times issues a retraction on Drake Bell article (removed sex offender claim)
March 19 - Business Insider interview with Drake Bell
March 20
- Nancy Sullivan on Drake Bell
- Hollywood Reporter exclusive: Dan Schneider Breaks Silence
- Youtube video: Dan Schneider talks about Quiet on Set
March 21
- Drake Bell Tiktok telling people to take it easy on Josh Peck, talked privately
- Angelique Bates on why she declined Quiet on Set
- Allie Dimeco story on underage girl / older man kiss on Naked Brothers Band
- Jack Salvatore on Dan Schneider as a boss
- Madisyn Shipman statement
March 22
- Michael Bower's story about Brian Peck
- Matt Bennett statement
- Josh Peck statement
- Abby Wilde statement
- Chris Massey & his mom's reaction
- Marc Summers tweet on Quiet on Set bait and switch
March 24 - Amber Frank story on porn in laptops
March 15 - Drake Bell Interview with Yordi Rosado
March 27
- Raquel Lee reaction on Quiet on Set
- Quinton Reviews video on Dan Schneider
March 29 - Matthew Underwood on child abuse & responses on reddit
March 31
- Quinton Reviews video on Timmy Turner movies (feat Drake Bell)
- Jenny Kilgen letter to SAG
April 2 - Drake Bell interview in Not Skinny but Not Fat podcast
April 4 - Deadline article on Marc Summers walking out
April 6 - Drake Bell tweet: about talking to Rider Strong privately and has forgiven him
April 7 - Quiet on Set episode 5 (Additional: Shane Lyons & Soledad O'Brien; Will Friedle soundbite from Pod Meets World podcast)
April 9 - Drake Bell interview on We Are Man Enough podcast
April 11
- Quiet on Set cast panel (Drake, Gio & Brian)
- Raquel Lee reaction on not being invited to panel
April 12 - Chelsea Fagan tiktok regarding Jennette McCurdy footage
April 16
- Entertainment Weekly article on Christy Calrson Romano callin QoS "Trauma Tourists" ; Romano is co-hosts with Will Friedle on another podcast
- Alexa Nikolas reaction on not being invited to panel & Christy Carlson Romano article
April 18 - Sony in Talks to Join a Bid to Buy Paramount
April 19 - Salon article on unethical filmmaking practices and deceiving interviewees

Let me know corrections / things to add. Organized references to follow.

submitted by wiklr to QuietOnSetDocumentary [link] [comments]

2024.04.19 00:32 Atoraxic MIREILLE TORJMAN CASE NO.: 10-1211 Previous litigation

IN THE UNITED STATES DISTRICT COURTS FOR THE DISTRICT OF COLUMBIA
MIREILLE TORJMAN CASE NO.: 10-1211
Plaintiff V. FEDERAL BUREAU OF INVESTIGATIONS, et al. 935 Pennsylvania Avenue Northwest Washington, DC 20535-0001;
CENTRAL INTELLIGENCE AGENCY Office of Public Affairs Washington, D.C. 20505;
NATIONAL SECURITY AGENCY 9800 Savage Road, Suite 6711 Fort Meade, MD 20755-6711;
DEPARTMENT OF JUSTICE 600 E Street, N.W. Washington, D.C. 20530;
DEPARTMENT OF DEFENSE 1400 Defense Pentagon Washington, DC 20301-1400;
DEPARTMENT OF ENERGY 1000 Independence Ave Washington, DC 20585;
UNITED STATES OF AMERICA Defendants
COMPLAINT

Plaintiff, Mireille Torjman hereby brings this action for injunction relief and damages based on personal knowledge and belief, as a victim and expert witness, to the information provided, as to all other matters, as to which allegations Plaintiff, without doubt or delusion, will provide proof, unrefuted evidence, overwhelming evidentiary support, witnesses, substantial facts, research, and investigation that exists as follows:

PRELIMINARY STATEMENT

This case is about the wiretapping, civil rights violations, privacy, communications technology, and crimes of humanity, in use by the Intelligence Community. With the advanced technology unknown to most, of shadow network of surveillance and spying under DARPA projects, defendants are, transmitting, intercepting, tampering, and blocking the content of a significant portion of the Plaintiff’s phone calls, emails, instant messaging, text messaging, www, Skype, electronic and wireless communications, and other communications, both internationally and domestic, including Plaintiff’s family and practically every American, for the past 4 years, beginning on or about January 2007.
Plaintiff’s records will show communications are intercepted, manipulated, tampered with, stored, (data mining), harassed, and impeded. Plaintiff will provide numerous emails hijacked, fabricated, UNREAD, manipulated, deleted, including facsimile, and internet manipulations, since 2007. Plaintiff’s numerous impeded electronic communications with all her service providers were debilitating to her work and she had no resolve available from providers who were not able to correct or detect the situations. This includes manufactured emails, phone calls, and government employee’s unwitting involvement. In 2008, Plaintiff was also accused legally of false communications during her service with Qwest, by using wiretapped calls and disconnects to create false records with her utilities company, including defamation to her character. (Kay Griggs, Military wife; whistle blow case on tampered communication CHAOS and automobile impediments not to testify).
Plaintiff is not delusional and has provided her records to DOJ in early 2009, with documents from many other credible sources and whistle blowers. Plaintiff requests that the Russell Tice case and Articles below § 35 is read with disclosures being made as to her allegations, Injunction relief, various separate counts, and tort damages throughout. Plaintiff has demonstrated courage, risked her reputation, risked her life, and family’s, and has been threatened, prior to receiving an anonymous email of the NSA article (below) in February 2009. Plaintiff tried to blow the whistle to the DA late 2007, and was not aware what NSA was or government corruption, but knew she had to report what was going on. As quoted by Mr. Tice and others; “Statement by NSA, “THE TIP OF THE ICEBERG and WIRETAPPING SURVEILLANCE LOOK LIKE SMALL POTATOES”. Most recently, Plaintiff was able to meet with the FBI in early 2010, and provided some information for investigation by various FBI analysts.
The President and other executive officials have described some activities of surveillance and spying which are conducted outside the procedures of the Foreign Intelligence Surveillance Act (“FISA”) and without authorization by the Foreign Intelligence Court, Communities, Committees, Senate, or Congress.
As with The Attorney General and the Director of National Intelligence having since publicly admitting that the TSP was only one particular aspect of the surveillance activities authorized by the

Programs, and are being abused. (Jewel v United States, United States v Yahoo)

In addition to eavesdropping on or reading specific communications, Defendants have intercepted the communications contents across the United States and overseas, and targeted the Plaintiff with intense sabotage and impediments, Electronic Stalking, Slander, including Internet Communications, and Google’s Access Portals. Plaintiff wrote to Google to let them know what was going on behind the scenes with all the tampering including remote viewing, password access, and covert data-mining in SG3 dating back prior to 911. (EFF v Google and Street View) DOD’s ELF transmitters were already in full scale by 1981 in Australia and Africa, followed by additional covert superior Projects as Combat Zones also under DARPA formerly ARPA) ..................... JURISDICTION AND VENUE
This court has subject matter jurisdiction over the federal claims pursuant to 28 U.S.C. § 1331, 18 U.S.C. § 2712, and 5 U.S.C. § 702.
Plaintiffs are informed, believe and thereon allege that Defendants have sufficient contacts with this

district generally and, in particular, with the events herein alleged, that Defendants are subject to the exercise
of jurisdiction of this court over the person of such Defendants and that venue is proper in this judicial district pursuant to 28 U.S.C. § 1391.

Plaintiff is informed, believe and thereon allege that a substantial part of the events giving rise to the claims herein alleged occurred in this district jurisdiction, and Defendants and/or agents of Defendants may be found in this district, nationally, and internationally.

PARTIES

Plaintiff, Mireille Torjman is an intelligent native French speaking refugee from Marrakesh, Morocco. Plaintiff is a divorced woman of 48 years of age and was an accountant for 25 years. Plaintiff comes from a religious background, disciplined and educated, has spent 25 years in the Philadelphia area, currently in South Florida with her Mother.
Defendant Federal Bureau of Investigations (FBI) is an agency under the direction and control of the Department of Justice and the Pentagon that investigates and protects the Nation with Programs of CointelPro joined by CIA operating on U.S. Soil.
Defendant Central Intelligence Agency (CIA) is an agency that protects the Country in first line of Defense and collects information that reveals the plans, intentions and capabilities of our adversaries and provides the basis for decision and action.
Defendant NSA Defendant National Security Agency (NSA) is an agency under the direction and control of the Department of Defense that collects, processes, and disseminates foreign signals intelligence. It is responsible for carrying out the Programs challenged herein.
Defendant United States is the United States of America, its departments, agencies, and entities. Including DOJ, and Congresswoman Ginny Browne-Waite as the current Florida Congress Representative of the United States, who Plaintiff attempted to warn on numerous occasions since early 2008 and Senator Bill Nelson, currently on Florida’s Intelligence Committee.

Background
The NSA has proprietary electronic equipment that analyzes electrical activity in humans from a distance. NSA computer-generated brain mapping can continuously monitor all the electrical activity in the brain continuously. The NSA records and decodes individual brain maps (of hundreds of thousands of persons) for national security purposes. EMF Brain Stimulation is also secretly used by the military for Brain-to-computer link. (In military fighter aircraft, for example.) For electronic surveillance purposes electrical activity in the speech center of the brain can be translated into the subject's verbal thoughts. RNM can send encoded signals to the brain's auditory cortex thus allowing audio communication direct to the brain (bypassing the ears). NSA operatives can use this to covertly debilitate subjects by simulating auditory hallucinations characteristic of paranoid schizophrenia. Without any contact with the subject, Remote Neural Monitoring can map out electrical activity from the visual cortex of a subject's brain and show images from the subject's brain on a video monitor. NSA operatives see what the surveillance subject's eyes are seeing. Visual memory can also be seen. RNM can send images direct to the visual cortex. bypassing the eyes and optic nerves. NSA operatives can use this to surreptitiously put images in a surveillance subject's brain while they are in R.E.M. sleep for brain-programming purposes. Individual citizens occasionally targeted for surveillance by independently operating NSA personnel
NSA personnel can control the lives of hundreds of thousands of individuals in the U.S. by using the NSA's domestic intelligence network and cover businesses. The operations independently run by them can sometimes go beyond the bounds of law. Long-term control and SABOTAGE OF TENS OF THOUSANDS OF UNWITTING CITIZENS by NSA operatives is likely to happen. NSA Domint has the ability to covertly assassinate U.S. citizens or run covert psychological control operations to cause subjects to be diagnosed with ill mental health. National Security Agency Signals Intelligence Electronic Brain Link Technology NSA SigInt can remotely detect, identify and monitor a person's bioelectric fields. The NSA's Signals Intelligence has the proprietary ability to remotely and non-invasively monitor information in the human brain by digitally decoding the evoked potentials in the 30-50 hz,.5 milliwatt electro-magnetic emissions from the brain. Neuronal activity in the brain creates a shifting electrical pattern that has a shifting magnetic flux. This magnetic flux puts out a constant 30-50 hz, .5 milliwatt electromagnetic (EMF) wave. Contained in the electromagnetic emission from the brain are spikes and patterns called "evoked potentials."
Every thought, reaction, motor command, auditory event, and visual image in the brain has a corresponding "evoked potential" or set of "evoked potentials." The EMF emission from the brain can be decoded into the current thoughts, images and sounds in the subject's brain.
NSA SigInt uses EMF-transmitted Brain Stimulation as a communications system to transmit information (as well as nervous system messages) to intelligence agents and also to transmit to the brains of covert operations subjects (on a non-perceptible level).
EMF Brain Stimulation works by sending a complexly coded and pulsed electromagnetic signal to trigger evoked potentials (events) in the brain, thereby forming sound and visual images in the brain's neural circuits. EMF Brain Stimulation can also change a person's brain-states and affect motor control. Two-way Electronic Brain-Link is done by remotely monitoring neural audio-visual information while transmitting sound to the auditory cortex (bypassing the ears) and transmitting faint images to the visual cortex (bypassing the optic nerves and eyes, the images appear as floating 2-D screens in the brain). Two-Way Electronic Brain Link has become the ultimate communications system for CIA/NSA personnel. Remote Neural Monitoring (RNM, remotely monitoring bioelectric information in the human brain) has become the ultimate surveillance system. It is used by a limited number of agents in the U.S. Intelligence Community. RNM requires decoding the resonance frequency of each specific brain area. That frequency is then modulated in order to impose information in that specific brain area. The frequency to which the various brain areas respond varies from 3 Hz to 50 Hz. Only NSA Signals Intelligence modulates signals in this frequency band.
An example of EMF Brain Stimulation: Brain Area Bioelectric Resonance Frequency Information Induced Through Modulation Motor Control Cortex 10 HZ Motor Impulse Co-ordination Auditory Cortex 15 HZ Sound which bypasses the ears Visual Cortex 25 HZ Images in the brain, bypassing the eyes Somatosensory Cortex 09 HZ Phantom Touch Sense Thought Center 20 HZ Imposed Subconscious Thoughts
This modulated information can be put into the brain at varying intensities from subliminal to perceptible. Each person's brain has a unique set of bioelectric resonance/entrainment frequencies. Sending audio information to a person's brain at the frequency of another person's auditory cortex would result in that audio information not being perceived. Additionally, A 1994 congressional hearing reported that nearly half a million Americans were subjected to some kind of cold war era tests, often without being informed and without their consent. In addition, experimentation law is well grounded in constitutional and international law. It is an under-reported fact that two major reports on human rights and torture in the U.S. recently listed illegal radiation experiments. Many more facts are documented below. Therefore, human research subject protections should be a high priority and are just as significant as current issues of torture and illegal wiretapping. IT IS TIME FOR AMERICA TO WAKE UP. It is time for America to protect its Whistleblowers who are our last line of defense against dictatorship and despotism. It is time for America to take responsibility for oversight of its tax dollars and elect leaders who will assume such responsibility now. Yes, the war on terrorism is important. It is even more important and fearful if the terrorism is from within and unknowingly funded by hard working American citizens. There is no Special Access Program beyond the oversight of political leaders elected by the people and for the people. If these political leaders jeopardize national security then that shall be handled in a court of law. But to tell America, to tell the American people, to tell the political leaders elected by the American people that America does not deserve to know what happening in the NSA’s dark, black rooms, with billions of dollars, behind closed doors, when we know that privilege has already been abused; that is the true definition of TERRORISM. That is the true definition of Communism and a Police State, no oversight. So fellow Americans, you may hem and haw in the face of truth but know that one day you will realize that your country has been USURPED from the very principles upon which it was founded.

Titles 22, 142, 18, 18a, and 50 U.S.C. and International Conventional, provides a civil and criminal action against the United States and its agencies and departments for any person aggrieved by willful violation of 18 U.S.C and 50 U.S.C. Plaintiff seeks from each Counts below Defendants for the Plaintiff’s statutory damages or actual damages and such other and further relief as is proper.
Plaintiff, hereby has been aggrieved and violated as the aforementioned allegations under each count below of the US codes, during this process and as a victim of the Intelligence Communities of the United States of America as found below.

Plaintiff seeks relief as permitted by law for each count below separately:
(a) 18 U.S.C. § 793. Gathering, transmitting or losing defense information, (b) 18 U.S.C. § 241. Conspiracy against rights, (c) 18 U.S.C. § 373. Solicitation to commit a crime of violence, (d) 18 U.S.C. § 1091. Genocide, (e) 18 U.S.C. § 1341. Mail fraud, (f) 18 U.S.C. § 1512. Tampering with a witness, victim, or an informant, (g) 18 U.S.C. § 1513. Retaliating against a witness, victim, or an informant, (h) 18 U.S.C. § 1583 (2). Enticement into slavery, (i) 18 U.S.C. § 1692. Foreign mail as United States mail, (j) 18 U.S.C. § 1801. Video voyeurism, (k) 18 U.S.C. § 1812. Statement of exclusive means by which electronic surveillance and interception of certain communications may be conducted, (l) 18 U.S.C. § 2242. Sexual abuse, (m) 18 U.S.C. § 2332 (a) Terrorism, and (h). Use of weapons of mass destruction, (n) 18 U.S.C. § 2339. Harboring or concealing terrorists, (o) 18 U.S.C. § 2422. Coercion and enticement, or are currently doing so; (p) Defendants have subjected the public to electronic surveillance, spying, and mind and body transmissions, in violation of 50 U.S.C. § 1809 and 1810, or are currently doing so; (q) Defendants are intercepting communications in violation of 18 U.S.C. § 2511; (r) Defendants have transmitted Plaintiff and the public in violation of 18 U.S.C. § 2703, Required Disclosure of communications records, or are currently doing so; (s) Defendants have transmitted the public domestically and internationally, in violation of 18 U.S.C. § 2381. Treason, or are currently doing so; (t) Defendants have harassed and transmitted the Public in violation of 18 U.S.C. § 2261: US Code - 2261A: Stalking (u) Plaintiff was subjected to electronic surveillance, spying and harassment, violating 18a U.S.C. Rule 41. Search and Seizure (v) Defendants have violated the Administrative Procedures Act, 5 U.S.C. §§ 701 et seq., or are currently doing so; (w) Defendants have violated the constitutional principle of separation of powers, or are currently doing so; (x) Defendants have tortured, and violated, Plaintiff, and the public electronically in violation of 18 U.S.C. § 2340A, or are currently doing so: (y) Plaintiff are entitled to injunctive, declaratory, and other equitable relief against defendants and freedom from further harm, in violation of tort laws domestically and internationally. (z) Defendants have tortured Plaintiff, and the public electronically in violation of 18 U.S.C. § 2421, or currently doing so: (aa) Plaintiff is entitled to Civil Damages 18 U.S.C. § Rule 2520 in violations of her First, Third, Fifth, Thirteenth, and Fourteenth Amendments; (ab) Plaintiff is entitled to Grants and Health Care Assistance as a victim in accordance to 22 U.S.C. § 2152: US Code - Section 2152: Assistance for victims of torture. (ac) United Nations Convention against Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment, G.A. res. 39/46, annex, 39 U.N. GAOR Supp. (No. 51) at 197, U.N. Doc. A/39/51 (1984), entered into force June 26, 1987; Universal Declaration of Human Rights, G.A. res. 217A (III), U.N. Doc. A/810 at 71 (1948); International Convention on Civil and Political Rights, G.A. res. 2200A (XXI), 21 U.N. GAOR Supp. (No. 16) at 52, U.N. Doc. A/6316 (1966), 9.99 U.N.T.S. 171, entered into force Mar. 23, 1976. (ad) Defendants have intentionally and with malice premeditated the Tortured of the Plaintiff and is a violation under 142 U.S.C.§ 1985. Conspiracy to interfere with civil rights. (ae) Defendants have Tortured Plaintiff, is actionable under tort claims of damages found under civil procedures and criminal trials.
Violation of 18 U.S.C. and 50 U.S.C. Crimes and Criminal Procedures, AND War and National Defense Including Titles 22, 42, 142, 18, 18a, and 50 U.S.C. and International Conventional, DAMAGES AND TORT LAW claims-Intentional Infliction of Emotional Distress-DAMAGES
COUNT XXIII
Violation of the Administrative Procedure Act, 5 U.S.C. § 701 et seq. - Declaratory, Injunctive, and Other Equitable Relief 229. The Programs and all various programs violates the Administrative Procedures Act, 5 U.S.C. § 701 et seq., because Defendants’ actions under the Programs exceed statutory authority and limitations imposed by Congress through FISA, and through Chapters 119, 121 and 206 of Title 18 of the U.S. Code (the Wiretap Act, the Stored Communications Act, and the Pen Register Statute, respectively) and in violation of statutory rights under those laws ; are not otherwise in accordance with law; are contrary to constitutional rights, including the Fourth Amendment, First Amendment, and separation of powers principles; and are taken without observance of procedures required by law.

Plaintiff is aggrieved by these violations because, as described previously in this Complaint, Defendants’ actions under “The Program” and various other Programs has resulted in the interception, acquisition, disclosure, divulgence and/or use of the contents of their wire and electronic communications, communications records, and other information in violation of their constitutional and statutory rights.
Plaintiffs seek nonmonetary relief against the Count XXIII Defendants, including a declaration that Defendants have violated their rights and the rights of the class; an injunction enjoining the Count XXIII Defendants, their agents, successors, and assigns, and all those in active concert and participation with them from violating the Plaintiffs’ and class members’ rights; and such other and further nonmonetary relief as is proper.

COUNT XXIV
Violation of Separation of Powers - Declaratory, Injunctive, and Other Equitable Relief
(Plaintiff vs. Defendants) and parties, inclusive of all affiliations

Plaintiff repeats and incorporates herein by reference the allegations in the preceding paragraphs of this complaint, as if set forth fully herein; and all allegations under the law, as stated above.
The Programs violates the principles of separation of powers because it was authorized by the Executive in excess of the Executive’s authority under Article II of the United States Constitution, in excess of statutory authority granted the Executive under FISA and under Chapters 119, 121 and 206 of Title 18 of the U.S. Code (the Wiretap Act, the Stored Communications Act, and the Pen Register Statute, respectively) and exceeds the statutory limits imposed on the Executive by Congress.
Plaintiff is aggrieved by these violations because, as described previously in this Complaint, Defendants’ actions under the Programs has resulted in the interception, acquisition, disclosure, divulgence and/or use of the contents of their wire and electronic communications, communications records, and other information aforementioned in violation of their constitutional and statutory rights.
Plaintiffs seek nonmonetary relief against the Count XVIII Defendants, including a declaration that Defendants have violated their rights and the rights of the class; an injunction enjoining the Count XVIII Defendants, their agents, successors, and assigns, and all those in active concert and participation with them from violating the Plaintiff’s rights; and for such other and further nonmonetary relief as is proper.

COUNT XXV
Violation of the fifth and eighth amendment prohibitions Other Equitable Relief
(Plaintiff vs. Defendants) and parties, inclusive of all affiliations
ALLEGATIONS also included in Plaintiff’s NSA and/or Electronic Communications

Pursuant to Federal Rules of Civil Procedure, Title 5, 22, 42, 142, 18, 18a, and 50, Plaintiff Mireille Torjman brings this action on behalf of herself, and to attest to her family and the public’s victimization, unwittingly and/or unrealized:

(a) TITLE 18 PART I CHAPTER 37 § 793. Gathering
defense information,
(b) 18 U.S.C. § 241. Conspiracy against rights,
(c) 18 U.S.C. § 373. Solicitation to commit a crime of violence,
(d) 18 U.S.C. § 1091. Genocide,
(e) 18 U.S.C. § 1341. Mail fraud,
(f) 18 U.S.C. § 1512. Tampering with a witness, victim, or an informant,
(g) 18 U.S.C. § 1513. Retaliating against a witness, victim, or an informant,
(h) 18 U.S.C. § 1583 (2). Enticement into slavery,
(i) 18 U.S.C. § 1692. Foreign mail as United States mail,
(j) 18 U.S.C. § 1801. Video voyeurism,
(k) 18 U.S.C. § 1812. Statement of exclusive means by which electronic surveillance and interception of certain communications may be conducted,
(l) 18 U.S.C. § 2242. Sexual abuse,
(m) 18 U.S.C. § 2332 (a) Terrorism, and (h). Use of weapons of mass destruction,
(n) 18 U.S.C. § 2339. Harboring or concealing terrorists,
(o) 18 U.S.C. § 2422. Coercion and enticement, or are currently doing so;
(p) Defendants have subjected the public to electronic surveillance, in violation of 50 U.S.C. § 1809 and 1810, or are currently doing so;
(q) Defendants are intercepting communications in violation of 18 U.S.C. § 2510 and 18 U.S.C. § 2511;
(r) Defendants have transmitted Plaintiff and the public in violation of 18 U.S.C. § 2703, Required Disclosure of communications records, or are currently doing so;
(s) Defendants have transmitted civilians, and non civilians, in violation of 18 U.S.C. § 2381. Treason, or are currently doing so;
(t) Defendants have harassed and transmitted the public to stalk and harass the Plaintiff inclusive of electronically and tangibly, in violation of 18 U.S.C. § 2261: US Code - 2261A: Stalking
(u) Plaintiff was falsely detained and sabotaged with the use of mind control transmissions violating 18a U.S.C. Rule 41. Search and Seizure
(v) Defendants have violated the Administrative Procedures Act, 5 U.S.C. §§ 701 et seq., or are currently doing so;
(w) Defendants have violated the constitutional principle of separation of powers, or are currently doing so;
(x) Defendants have Tortured Plaintiff, her family, and the public electronically in violation of 18 U.S.C. § 2340A, or currently doing so:
(y) Plaintiff is entitled to injunctive, declaratory, and other equitable relief against defendants and freedom from further threats, family, accidents, psychological and physical harm, illnesses, sabotage, bribes, and blackmail;
(z) Defendants have Tortured Plaintiff, her family and the public electronically in violation of 18 U.S.C. § 2422, or currently doing so:
(aa) Plaintiff is entitled to Civil Damages 18 U.S.C. § Rule 2520 in violations of her First, Third, Fifth, and Thirteenth Amendments; 18 U.S.C. § 2510, 18 U.S.C. § 2511, and 18 U.S.C. § 2512.
(ab) Plaintiff is entitled to Grants and Health Care Assistance as a victim in accordance to 22 U.S.C. § 2152: US Code - Section 2152: Assistance for victims of torture.
(ac) United Nations Convention Against Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment, G.A. res. 39/46, annex, 39 U.N. GAOR Supp. (No. 51) at 197, U.N. Doc. A/39/51 (1984), entered into force June 26, 1987; Universal Declaration of Human Rights, G.A. res. 217A (III), U.N. Doc. A/810 at 71 (1948); International Convention on Civil and Political Rights, G.A. res. 2200A (XXI), 21 U.N. GAOR Supp. (No. 16) at 52, U.N. Doc. A/6316 (1966), 9.99 U.N.T.S. 171, entered into force Mar. 23, 1976.
(ad) Defendants have Tortured Plaintiff, her family and the public and the prohibitions against torture and other cruel, inhuman, or degrading treatment and the conspiracy to oppress, torture, rape, suppress, is a violation under 142 U.S.C.§ 1985. Conspiracy to interfere with United States Civil Rights.
(ae) Defendants have Tortured Plaintiff, her family and the public and the prohibitions against malicious intent to torture, rape privacy rights, brainwash, and enslave with severe psychological in-humane damages to one’s spirit, and libel is actionable under Tort Claims of damages found under civil and criminal trials.
(af) Plaintiff has made at least 2 requests to the FOIA and both dossiers were denied under the violation of 5 U.S.C. § 552; claims under and 18 U.S.C. § 2707 and 5 U.S.C. § 702

Adequacy: Plaintiff and family members are suffering great harm arising from Defendants’ violations of law, as alleged herein. Plaintiff intends to prosecute this action vigorously. Plaintiff hereby demands injunctive relief and damages.

COUNT I
Violation of 18 U.S.C. and 50 U.S.C. Crimes and Criminal Procedures AND War and National Defense Including Titles 5, 22, 42, 142, 18, 18a, and 50 U.S.C. and International Conventional
(Plaintiff vs. Defendants) and parties, inclusive of all affiliations

Plaintiff repeats and incorporates herein by reference the allegations in the preceding paragraphs of this complaint, as if set forth fully herein; and all allegations under the law, as stated above.
Plaintiff is seeking protection for her and for all family members under the law TITLE 18 U.S.C. § 3521. Witness relocation and protection.

COUNT II
Violation of First and Fourth Amendments, 42 U.S.C and 18 U.S.C. and 50 U.S.C. Crimes and Criminal Procedures AND War and National Defense Including Titles 22, 42, 142, 18, 18a, and 50 U.S.C. and International Conventional
(Plaintiff vs. Defendants) and parties, inclusive of all affiliations

Plaintiff repeats and incorporates herein by reference the allegations in the preceding paragraphs of this complaint, as if set forth fully herein; and all allegations under the law, as stated above.
Plaintiff motions the COURTS and Defendants to cease and desist and/or injunction for relief, immediately from grave dangerous damaging electronic harassments and that of a religious and personal nature, all other allegations of surveillance, spying, manipulations, torture, censorships, daily sabotage, and blocks electronically and otherwise, retaliations, death threats, thereby violating the constitution and privacy acts, (US code 22, 42, 142, 18, 18a, and 50) at the hands of, the direction of, or with the knowledge of, any and all government and affiliations. Plaintiff seeks declaratory relief against all allegations and all counts. Defendant’s actions described herein violated Plaintiff’s rights under the Free Exercise and Free Speech Clauses of the United States Constitution, the Religious Freedom Restoration Act of 1993, 42 U.S.C. § 2000bb et seq., the Privacy Act, 5 U.S.C. § 552a, and Air Force Instruction 37-132; and all other freedoms and rights under the Law.

COUNT III
Violation of 18 U.S.C. and 50 U.S.C. Crimes and Criminal Procedures AND War and National Defense Including Titles 5, 22, 42, 142, 18, 18a, and 50 U.S.C. and International Conventional
(Plaintiff vs. Defendants) and parties, inclusive of all affiliations

Plaintiff repeats and incorporates herein by reference the allegations in the preceding paragraphs of this complaint, as if set forth fully herein; and all allegations under the law, as stated above.
Plaintiff numerous attempts sabotaged, hereby requests to compel the court for Defendants to conduct proper and thorough investigations (not failing to include fundamental steps of interviews and psyops techniques on U.S. Soil) even when seemingly undetectable and/or prior to 2008, with all accusations and agencies with full cooperation, including Sports, Cloning, ENGINEERED Poverty-Bankruptcies with individuals with Cancer, also to sabotage economies, under the Law.

COUNT IV
Violation of First Amendment—Declaratory, Injunctive, and Other Equitable Relief
Violation of 18 U.S.C. and 50 U.S.C. Crimes and Criminal Procedures AND War and National Defense Including Titles 22, 42, 142, 18, 18a, and 50 U.S.C. and International Conventional
(Plaintiff vs. Defendants) and parties, inclusive of all affiliations

Plaintiff repeats and incorporates herein by reference the allegations in the preceding paragraphs of this complaint, as if set forth fully herein; and all allegations under the law, as stated above.
Plaintiff has been sabotaged with proper coverage to expose and warn the public. Plaintiff requests to compel the court for Defendants to provide the Constituents “WE THE PEOPLE” with un-tampered accurate news, APPROPRIATE WARNINGS with Main Stream Media: to heed caution, and be AWARE with knowledge, and choice of action or recourse, under the law of Constituents rights and United States Constitution.

COUNT V
Violation of Fourth Amendment—Declaratory, Injunctive, and Equitable Relief 108.
(Plaintiff vs. Defendants) and parties, inclusive of all affiliations

Plaintiff repeats and incorporates herein by reference the allegations in the preceding paragraphs of this complaint, as if set forth fully herein; and all allegations under the law and aforementioned Amendments of the Constitution, as stated above. COUNT IX

Violation of Foreign Intelligence Surveillance Act—Declaratory, Injunctive and Other Equitable Relief
(Plaintiff vs. Defendants) and parties, inclusive of all affiliations

Plaintiff repeats and incorporates herein by reference the allegations in the preceding paragraphs of this complaint, as if set forth fully herein; and all allegations under the law, as stated above.
In relevant part, 50 U.S.C. § 1809 provides that:

(a) Prohibited activities—A person is guilty of an offense if he intentionally—(1) engages in electronic surveillance under color of law except as authorized by this chapter, chapter 119, 121, or 206 of Title 18 or any express statutory authorization that is an additional exclusive means for conducting electronic surveillance under section 1812 of this title; or (2) discloses or uses information obtained under color of law by electronic surveillance, knowing or having reason to know that the information was obtained through electronic surveillance not authorized by this chapter, chapter 119, 121, or 206 of Title 18 or any express statutory authorization that is an additional exclusive means for conducting electronic surveillance under section 1812 of this title.

In relevant part 50 U.S.C. § 1801 provides that:

(f) “Electronic surveillance” means – (1) the acquisition by an electronic, mechanical, or other surveillance device of the contents of any wire or radio communication sent by or intended to be received by a particular, known United States person who is in the United States, if the contents are acquired by intentionally targeting that United States person, under circumstances in which a person has a reasonable expectation of privacy and a warrant would be required for law enforcement purposes; (2) the acquisition by an electronic, mechanical, or other surveillance device of the contents of any wire communication to or from a person in the United States, without the consent of any party thereto, if such acquisition occurs in the United States, but does not include the acquisition of those communications of computer trespassers that would be permissible under section 2511(2)(i) of Title 18; (3) the intentional acquisition by an electronic, mechanical, or other surveillance device of the contents of any radio communication, under circumstances in which a person has a reasonable expectation of privacy and a warrant would be required for law enforcement purposes, and if both the sender and all intended recipients are located within the United States; or (4) the installation or use of an electronic, mechanical, or other surveillance device in the United States for monitoring to acquire information, other than from a wire or radio communication, under circumstances in which a person has a reasonable expectation of privacy and a warrant would be required for law enforcement purposes.

18 U.S.C. § 2511(2)(f) further provides in relevant part that “procedures in this chapter or chapter 121 and the Foreign Intelligence Surveillance Act of 1978 shall be the exclusive means by which electronic surveillance, as defined in section 101 [50 U.S.C. § 1801] of such Act, and the interception of domestic wire, oral, and electronic communications may be conducted.” (Emphasis added.)
50 U.S.C. § 1812 further provides in relevant part that:

(a) Except as provided in subsection (b), the procedures of chapters 119, 121, and 206 of Title 18 and this chapter shall be the exclusive means by which electronic surveillance and the interception of domestic wire, oral, or electronic communications may be conducted.
(b) Only an express statutory authorization for electronic surveillance or the interception of domestic wire, oral, or electronic communications, other than as an amendment to this chapter or chapters 119, 121, or 206 of Title 18 shall constitute an additional exclusive means for the purpose of subsection (a) (Emphasis added.)

submitted by Atoraxic to v2khelp [link] [comments]

2024.04.06 22:41 Suede_Rabbit A very long, legal explanation as to why there is not a strict canon for vocaloid.

With the uproar about Rabbit Hole, I wanted to provide context as to why the crypton vocaloids do not have a canon depiction and why they legally can be used for maturely themed songs. Mind you, I am not a lawyer, just someone who wanted to find answers. For the purposes to simplicity, I will block quote the legal stuff.
I've been a fan of vocaloid for a long time - pretty much from the rise of Miku in 2009-2010. At that time, there wasn't a game like pjsekai to show what a vocaloid was. There was only the music, which had huge variety in how a vocaloid looked, acted like, etc. I thought it was odd that Miku in Rolling Girl was not the same Miku in Musunde Hiraite. As I used to roleplay, I wanted to be able to write the characters accurately, so I decided to do some searching.
The general answer I found back in the day was that the characterization of the vocaloid was entirely dependent on what the producer made of it. This was because the purpose of a 'vocaloid' is not to make a character, but to provide producers with an instrument to sing on demo tracks without needing to pay for the time and service of a singer. "Why not just pay the singer?" people would ask. Well, many producers that are huge now made music as a hobby or were dipping their toes into it. The thought was that this made music production with vocals more accessible to those who could not afford a recording studio or couldn't sing themselves. It also was beneficial for individuals who did sing and make music, but had to save their vocal chords from hours of trying out different riffs for a melody.
This made it impossible to impose any sort of rule on how to characterize the vocaloid. It would be incredibly limiting and restrictive to say "this character has these traits so you can only write lyrics that align with those traits." This would have been the exact opposite of what the program was made for - to increase the accessibility song production and to have a creative outlet for emotions. The vocaloid is an instrument more than it is a character. It is a tool.
Generally, there are some things to keep in mind when consuming vocaloid media:
A vocaloid is first and foremost a tool: Each voicebank has different recommended ranges, levels of flexibility, usability, uses, and more. For a producer, a vocaloid's tone may not fit the vibe that the producer wanted to convey. A producer simply might not like the vocal quality of a vocaloid. Similarly, one person could think Meiko's voice fits in situation A while another person thinks it fits in situation B. It is up to preference on what sounds good to the producer because a vocaloid is meant to be a voice bank for the free range creative usage of the person buying it.
Producers may not be writing a song with the intent of writing about Miku: The producers are expressing their internal emotions, thoughts, and feelings. Such thoughts, feelings, emotions, may have been private. Freedom of expression is not always welcomed or allowed. Producers are largely anonymous for this reason. Hiring a singer not only is extremely costly (amateurs being $150-$400 per song compared to a vocaloid where you only pay $200 USD one time), but also uncomfortable to do if you're song is about your personal feelings. These songs are never and have never been intended to be about the vocaloid singing it.
The vocaloid description, image, and 'identity' are prompts, not rules: Storytelling and song making in the vocaloid community is vast as the eye can see. It's used for comedy, it's used for sorrow, it's used for horror. Crypton envourages derivative works of their characters because characters have flexible backgrounds, designs, and identities. If a producer wants to write a custom story according to their own whims, they would be allowed to.
Rin and Len are fantastic examples of this. They come in the same package, so they are a good and affordable option to use for a song with two singers. That is why sometimes they are twins, sometimes they are mirror reflections of each other, and sometimes they are the same person. A song wasn't written for Rin and Len. It was just a song written with two singers in mind. Their designs are allowed to be used as the user or artist sees fit. What crypton provides is more so for if someone wants to produce a song and has nowhere to start from. Crypton's description of that vocaloid is a good launching point to get inspiration from.
With this all in mind, when it comes to actual characterization -
The ages, looks, designs, personalities, and anything relating to the vocaloid is legally allowed to change from what crypton provides. It's actually encouraged by Crypton to have creative freedom with the designs so long as you acknowledge that crypton has shared rights over voice bank and your design. They basically made a two-way ownership agreement the voice bank. You can draw a vocaloid, but when you post it or sell that drawing, you are immediately in agreement with Crypton. Similarly, if they make a vocaloid, you have permission to use that image for pretty much what you want so long as it isn't commercial use. A visual representation or mascot for a voice bank is not the same as a character from an anime designed, sold, and written by (typically) one person or a team. Crypton's two-way ownership system is incomparable to anime, games, manga, or any other trade marked/copyrighted piece of media or intellectual property where you are typically not allowed to make or distribute derivative works without permission from the company. (Fanfics, fan art, small scale selling of IP exists, but doesn't always mean it's allowed or legal btw).
This concept applies to Crypton themselves. I will use Project Sekai as an example here: PJ Sekai is not a "canon" to be applied to the voice banks as it is just Crypton using the voice banks they developed to create their own derivative artwork of the original. PJS is it's own entity that is entirely separate from the real-world distribution of the voice banks. The only overlap is the company that makes them and that in the world of PJS, vocaloids exist.
People can even use a voice bank and make a completely new character design, story, and background for it. Just because it uses Miku's voice bank doesn't mean the character singing and speaking has to be Miku. That's why Deco and Osean can use AVANNA and Cyber Diva's voice banks for their own character, Yameii.
Even if someone wanted to use a vocaloid's appearance for financial gain, they can. If they are non-profitting in a corporate sense or work within niches, the use of a crypton character design is still allowed as the visual design of a vocaloid is under creative commons. Crypton even states that derivative works are encouraged so long as the source material is stated and that the artists making the derivative works are respected/credited. A clear example: if I draw Luka with a new outfit, I can claim that design as my own an sell it as a print. Due to the two-way ownership guides Crypton puts, if one day crypton calls me and is like "hey we are going to make a model of this and use it in the concert" they have all the legal right to do so. They do make great effort to credit and compensate the artists, though.
Stipulation comes when you start using Miku as a commercial mascot (say, if I just randomly decide that Miku should be the poster-girl for home depot), you do need to apply to crypton to do that. However, so long as you aren't a huge, major for-profit company using Miku to distribute product, the use of Miku is fine so long as you abide by the guideline listed in their documents (I also included a translated quote). This is pretty specific to Japan though and in the translation of the legal guidelines, they request people not from Japan to contact them about the copyright of a vocaloid's exact image.

For non-profit purposes, you can engage in the paid distribution of works in electronic file format over the internet (referred to as "download sales") by applying for a Piapro link, without the need for a separate agreement with our company. Additionally, individuals or unincorporated groups (including circles) that have been separately approved by our company can engage in this activity without applying for a Piapro link.
When downloading, streaming, or selling music works or their music videos through methods such as downloading or subscription, use the name of our company's characters and/or use derivative works of our company's characters on cover jackets or within music videos. However, when downloading or selling music works using music sales consignment services that explicitly state the availability of our company's characters, such as "ROUTER.FM" or "TuneCore Japan," there is no need to apply for a Piapro link.
When using the name of our company's characters, always display your own artist name and include the name of our company's characters in conjunction with it.
Regarding the use of the monetization feature of the YouTube Partner Program: When posting videos using our characters on the web service "YouTube" operated by Google LLC, if you have completed the application to the Partner Program by meeting the eligibility requirements set by YouTube, you can use the monetization feature without any additional procedures.
However, you cannot use the monetization feature for videos that fall under "Prohibited Use by Our Company" for uses that our company has not granted permission for, as well as videos from channels operated by corporations.

Now onto how this all applies to Rabbit Hole:
I've seen the argument that Miku has a "canonical age" because there is an age listed on the website. This age is by no means canonical or applicable to all representations of Miku. The 16 year old Miku is crypton's version of Miku. Crypton allows for derivative version to exist for the reasons listed above. Crypton allows the ages, personalities, designs, etc, to be changed.
Legally speaking, crypton allows for other versions of characters to co-exist as stated in their character guidelines (translated from japanese):
Source

Our company has established the "Piapro Character License" (PCL) to allow creators to create and publish secondary works of these characters on the internet.
1) "Character" Refers to a creative work of art that is created to express an abstract concept that is distinguished from others by its name and characterized by its voice, appearance, personality, etc. (2) "Company Characters" Refers to the individual characters created for our products, "MEIKO," "KAITO," "Hatsune Miku," "Kagamine Rin/Len," and "Megurine Luka." (3) "Derivative Work" Refers to a creative work that is created by translating, arranging, transforming, adapting, or making a film adaptation of an original work. (4) "Modification" Refers to a work that is created by modifying, removing, or otherwise altering an original work and does not fall under the category of derivative work. (5) "Fan Work" Refers to a collective term for modification, derivative works, and other works created based on existing works. (6) "User" Refers to individuals who use all or part of our company characters or their derivative works."

From Article 3 of the same source:

Article 3 (License Grant and Conditions of Use)
We grant the user a non-exclusive license to engage in the following activities with respect to our characters, in accordance with the provisions and guidelines of this license: (1) Creating derivative works of our characters. (2) Reproducing, performing, screening, publicly transmitting, exhibiting, or otherwise distributing derivative works of our characters created by the user. (3) Using the full or partial name or nickname of our characters in the title, description, or other text of derivative works created by the user, or assigning a unique name to such derivative works that includes a part of the name of our characters.

As a reminder, this is just me trying to provide context for the recent controversy of Hatsune Miku singing about mature topics. The stance being that "Miku is canonically a teenager". I see how this view would develop and why people would be upset. The takeaway I am providing here is that Miku and every other vocaloid are flexible concepts. They are shells meant to be interpreted however the fanbase wishes them to be used. There is no consistent characterization. There never was. There was Crypton's version of Miku, but Crypton basically put into legal documentation that their Miku is not "the" Miku. It simply is "a" Miku out of the thousands of different versions that exist out in the universe.
Sources: One Two Three

submitted by Suede_Rabbit to Vocaloid [link] [comments]

2024.04.01 19:49 XietyTot Anyone else having a marathon leading up to release day?

Safe to say the majority of us on this sub do this most days anyway, but I plan on being more extra than normal this month and binging my way through all TS albums, music videos, tour films/documentaries, acting projects and as many live performances/interviews as I can find leading up to the new album. My partner has been forewarned that he either jumps down the TS rabbit hole with me this month or should prepare for me to be annoying until I recover from TTPD at an undetermined date. I’m aiming for some kind of organization for this mega binge by era. I probably should have started weeks ago because there’s no way I’ll be able to finish everything I want to do, but oh well, this is my rough plan so far (please let me know if you can think of anything else!):
💚 Today, 4/1 - Stream Debut (+ listen to Holiday Collection & Beautiful Eyes EPs if there’s time), watch Debut music videos, watch the GAC A Place in this World documentary, watch Debut era live performances/interviews, listen to the Swiftologist’s Evolution of a Snake Podcast 2006-2007 Episode
💛 4/2 - Stream Fearless TV (+ If This Was A Movie), watch Fearless music videos, watch the Journey to Fearless tour movie
💛 4/3 - Watch Fearless era live performances/interviews, listen to the Swiftologist’s Evolution of a Snake Podcast 2008-2009 Episodes, watch Taylor’s CSI episode, watch Taylor’s cameo in the Hannah Montana movie, watch Valentine’s Day
💜 4/4 - Stream Speak Now TV, watch Speak Now music videos, watch the Speak Now tour movie
💜 4/5 - Watch Speak Now era live performances/interviews and listen to the Swiftologist’s Evolution of a Snake Podcast 2010-2011 Episodes
❤️ 4/6 - Stream Red TV (+ Safe & Sound and Eyes Open), watch Red music videos, watch (unofficial) Red tour movie
❤️ 4/7 - Watch Red era live performances/interviews and listen to the Swiftologist’s Evolution of a Snake Podcast 2012-2013 Episodes, watch The Lorax, watch The Giver
🩵 4/8 - Stream 1989 TV, watch 1989 music videos, watch 1989 tour movie
🩵 4/9 - Watch 1989 era live performances/interviews, and listen to the Swiftologist’s Evolution of a Snake Podcast 2014-2015 Episodes
🖤 4/10 - Stream Reputation, watch Reputation music videos, (hopefully if I can find it somewhere) watch Reputation tour movie
🖤 4/11 - Watch Reputation era live performances/interviews and listen to the Swiftologist’s Evolution of a Snake 2016-2017 Episodes
🩷 4/12 - Stream Lover (+ All Of The Girls You Loved Before), watch Lover music videos, watch the City of Lover concert
🩷 4/13 - Watch Lover era live performances/interviews, watch the Miss Americana documentary, watch Cats, watch the Bluebird documentary
🩶 4/14 - Stream Folklore, watch Folklore music videos, watch Folklore Long Pond Studio Sessions documentary
🤎 4/15 - Stream Evermore, watch Evermore music videos, watch Folklore/Evermore era live performances/interviews
🩶🤎 4/16 - Extra day of streaming Folklore/Evermore (because they deserve it)
💙 4/17 - Stream Midnights (+ You’re Losing Me), watch Midnights music videos, watch Midnights era live performances/interviews, watch Taylor’s cameo in Amsterdam
💚💛💜❤️🩵🖤🩷🩶🤎💙 4/18 - Watch the Eras Tour movie
🤍 4/19 - TTPD release day 🎉

submitted by XietyTot to TaylorSwift [link] [comments]

2024.04.01 18:27 av3 San Antonio's Week In Movies [2024-04-01 thru 2024-04-08]

Hi everyone. I think I’ve finally settled on a format for the list below. We’ll start with any new independent movies, including any special/advance screenings for new movies. That’s why Civil War, while being a wide release with several stars in it, is listed up top, as the Palladium IMAX is doing a one-off screening of it next Monday at 8 PM before its wide release on Thursday. This will be followed by all of the standard one-off showings of classic movies that this list aims to promote, sorted by release year from newer to older. Then follows the Family/Kid section and the Foreign Language section. Note that the foreign language section may also include wide releases, in the form of Spanish Sub/Dub screenings and so forth. So please feel motivated to bring your abuela and assume the impossible task of explaining to her the unlikely alliance of a monkey and a lizard.
The list will finish up with any anime movies. Speaking of which, the main highlight of this week's list is The Boy and the Heron, which returns to theaters after winning an Oscar. The "bonus content" it mentions is an introduction by Joe Hisaishi, the Composer and long-time collaborator of Director Hiyao Miyazaki, and a pre-recorded animation session with Supervising Animator Takeshi Honda. The dubbed version will feature the voice talents of Christian Bale, Dave Bautista, Gemma Chan, Willem Dafoe, Karen Fukuhara, Mark Hamill, Robert Pattinson, and Florence Pugh.
I’ll also include any other movie-adjacent events around town. For instance, in the list below is the Tobin Center’s “Disney Princess” concert, which will feature music from various Disney films.
As always, please let me know if there are any events around town that I’ve missed and I’ll include their sites as part of my usual rotation.
Civil War – IMAX Early Access Screening
April 8
Santikos Palladium IMAX
A Cat’s Life
April 1 – 3
Regal Cielo Vista
Sasquatch Sunset Advance Screening
April 4
Drafthouse Park North
Twilight: Eclipse (2010)
April 6 – 7
Drafthouse
Twilight: New Moon (2009)
April 6
Flix Brewhouse
Star Trek (2009)
April 5
Drafthouse Park North
The Squid and the Whale (2005)
April 1 - 2
Slab Arthouse at Blue Star
Pitch Black (2000)
April 8
Drafthouse Park North
The Matrix (1999)
April 3, 4
Regal
Dumb and Dumber (1994)
April 1, 7, 9
Regal, Drafthouse
Clifford (1994)
April 1
Drafthouse Park North
Interview With The Vampire (1994)
April 6
Drafthouse (Brunch Event)
Forrest Gump (1994)
April 1, Sensory Friendly on April 2
Drafthouse Stone Oak
Alamo: The Price of Freedom (1988)
Forever
AMC Rivercenter
The Untouchables (1987)
April 2
Drafthouse Park North
Days of Heaven (1978)
April 2, 4
Drafthouse Park North
Two-Lane Blacktop (1971)
April 8
Slab Arthouse at Blue Star
Once Upon A Time In The West (1968)
April 3
Drafthouse Park North
The Good, The Bad, And The Ugly (1966)
April 4
Drafthouse Park North
Gone with the Wind (1939)
April 7, 8, 10
Santikos, Regal, Flix Brewhouse
Family/Kid Movies
Disney Princess – The Concert
April 2
Tobin Center
The Little Mermaid (Version Unknown)
April 13
Slab Cinema @ Tower of the Americas
Luca (2021, Pixar Special Theatrical Engagement)
Ongoing
Santikos, AMC, Regal
Dora and the Lost City of Gold
April 6, 13
Regal
Foreign Language Films
Godzilla x Kong (Spanish Sub)
Ongoing
Santikos Mayan Palace, AMC Rivercenter
A Fragile Flower (Vietnamese)
April 1 – 4
Regal Alamo Quarry
Crew (Hindi)
April 1 – 4
Regal
Aadujeevitham (Telugu)
April 1 – 4
Regal Huebner Oaks
Tillu Square (Telugu)
April 1 – 4
Regal
Anime Section
The Boy and the Heron w/ Bonus Content
April 1 – 4
Regal Live Oak Subbed, Regal Live Oak Dubbed

submitted by av3 to sanantonio [link] [comments]

2024.03.25 19:42 FelicitySmoak_ On This Day In Michael Jackson HIStory - March 25th

1980- Michael is on the cover of Blues and Soul (UK) magazine
https://preview.redd.it/dpjtwnsjwiqc1.jpg?width=193&format=pjpg&auto=webp&s=5af98e52b1ad8118f8a5936d6c66c580fb0771dd
1981- Motown releases the album & the single “One Day In Your Life”. It consists of both solo and Jackson 5 tracks recorded with Motown. It was the first Jackson album released in the 1980s. Most of the tracks are from his 4th studio album, Forever, Michael (1975). The other songs were taken from Jackson 5 releases to pad the album's running time. Motown later admitted that the album was just a quick cash grab generated from the success of Off the Wall (1979). Michael does not promote the album in any way
https://preview.redd.it/zy8fuzcmwiqc1.jpg?width=1080&format=pjpg&auto=webp&s=48dbb9a63d9b696818c513bb3f4b7ba3e410caa6
1983- Michael debuted the Moonwalk at the recording of Motown 25:Yesterday,Today, Forever at the Pasadena Civic Auditorium. This night also, symbolically, was the night he finally and definitively separated himself from the Jackson 5.
https://reddit.com/link/1bnlax9/video/4ersmzadxiqc1/player
The brothers reunited for the Motown 25 event on this day in 1983 to perform together, as Jermaine had left the group and Michael was already the biggest pop star in the world. Despite his meteoric rise, however, Michael still had one foot back in the Jackson 5
When you watch the performance of the Jackson 5 at the event, you can see Michael having to hold himself back as to only overshadow his brothers by about 10,000% and not 100,000%. He handles pretty much all of the singing and the camera almost never leaves him.
And then, after the Jackson 5 performance is done and Michael gets the solo spotlight to perform Billie Jean, he moonwalks for the first time.
https://preview.redd.it/ril3r8lixiqc1.jpg?width=610&format=pjpg&auto=webp&s=ee0b12cab481cafa6b7a899ea0ba7f08e9285593
https://preview.redd.it/gftmu0hkxiqc1.jpg?width=597&format=pjpg&auto=webp&s=34f53e41a9a037171df20b4b2e98d4a068f52cee
The crowd erupts. The symbolism of him gliding away backwards . . . across the stage and, really, away from his original family band . . . was unmistakable.
This wasn’t the last time the Jackson 5 would ever perform together, but it was clear they were done. They’d have one more album and tour together, mixing their songs and Michael’s solo stuff . . . really, it was a Michael Jackson tour with the Jackson 5 along for the ride.
After that, Michael left the group for good. The show aired two months later on May 16th
https://preview.redd.it/3xka4w3nxiqc1.jpg?width=1140&format=pjpg&auto=webp&s=f31ef115171cbb364a88ba45bf7655d2f2365b4c
1985- Michael attends the futuristic musical by Andrew Lloyd Webber, Starlight Express in London and meets the cast backstage
https://preview.redd.it/gs7f102pxiqc1.jpg?width=941&format=pjpg&auto=webp&s=122f584ab5072a5613b257faecb8c1a81085f44b
https://preview.redd.it/sfof1jbrxiqc1.jpg?width=372&format=pjpg&auto=webp&s=3c0607d7c20bd61da3ebe9285587889637b84111
https://preview.redd.it/y3xy60ctxiqc1.jpg?width=479&format=pjpg&auto=webp&s=9cbf4f8b2afa148bf6bfb759da63a8016fdb10fa
https://preview.redd.it/0p7r02ivxiqc1.jpg?width=480&format=pjpg&auto=webp&s=064f71246406ae19b5163e9f4608a2c2d2af0dcd
https://preview.redd.it/i0mhka9xxiqc1.jpg?width=1046&format=pjpg&auto=webp&s=7653dfc29ce259922fd743f0bd180af0280d61af
1988- Michael performs the 2nd of three Bad Tour concerts at McNichols Sports Arena (closed-1999) in Denver, Colorado
1991- Michael escorts Madonna to the 63rd Annual Academy Awards ceremony at the Shrine Auditorium, Los Angeles, California, where she performs "Sooner Or Later (I Always Get My Man)" by Stephen Sondheim from the film Dick Tracy. Afterwards, they attend the after party at Spago
https://reddit.com/link/1bnlax9/video/n4c3zic0yiqc1/player
Speaking about the date later on, Madonna explained how it all came about.

“Michael was like, ‘Well who are you gonna go with?’ I looked at him and said, ‘I don’t know. You wanna go?’ And he said, ‘Yeah, that’d be great.’”
She added: “And then, yes, he took me home. You wanna know what happened after that? I’m not gonna tell you.”

"I mean, baby, I’ve been around,” she joked, saying that a glass of chardonnay helped the King of Pop to “loosen up,” transforming him into a “willing accomplice” and leading to “tongue and mouth kissing.”
Writing on Instagram, Madonna also looked back on the night, describing it as the “Best Date Ever"
https://preview.redd.it/2l6nk7rhyiqc1.jpg?width=550&format=pjpg&auto=webp&s=935270ee8c8df587ebb9c9201082baf84fbebd36
https://preview.redd.it/hr992ucjyiqc1.jpg?width=281&format=pjpg&auto=webp&s=15114469192156b31a29270542799ebc53d85e43
1991 - The title of Michael’s new album is revealed to be Dangerous
1997-British magazine OK! gets a world exclusive by publishing the first ever official pictures of Michael & Debbie with their son Prince (at Neverland) accompanied by a candid interview of the couple
https://preview.redd.it/besmq0y3yiqc1.jpg?width=583&format=pjpg&auto=webp&s=eca2cdcccbaec1e8defba88bff5fe4d6280b2a3f
2001- Michael goes to Newark, New Jersey, with Frank Cascio & Rabbi Schmuley to distribute books to children for a Heal The Kids event to promote literacy. The event launched the Michael Jackson International Book Club, which aims to promote childhood reading and parental reading to kids
https://preview.redd.it/gnyhmbd6yiqc1.jpg?width=329&format=pjpg&auto=webp&s=d63c57f367f50e7ff03066441f67c9e621b0b914
2004 - Grand Jury selection begins in Santa Barbara
2005 - Trial day 20
Michael goes to court with Katherine & Joe. It proved to be a difficult day for jurors in the trial as prosecutors pored over relatively uninteresting fingerprint evidence.
https://preview.redd.it/9t0l3d98yiqc1.jpg?width=430&format=pjpg&auto=webp&s=78cdb2051c2f9fc38175f7048d2b380f14b6c625
https://preview.redd.it/hekgp9f9yiqc1.jpg?width=433&format=pjpg&auto=webp&s=424688acd686bb3e9d1e26d61d4714a2ea240682
2009 - Concert Promoter Leonard Rowe says that Michael had him prepare a letter (dated March 25, 2009) addressed to Randy Phillips, in which Michael advised that effective this day, "Leonard Rowe is my authorized representative" and Rowe also says that Michael wrote on the letter that he wanted Rowe to oversee all his finances. Rowe concludes that Phillips resented that he couldn't control Rowe, so Phillips brought back DiLeo and forces him on Michael and that if hedidn't accept it, that he would pull the plug on everything.
https://preview.redd.it/fng1uu2cyiqc1.jpg?width=594&format=pjpg&auto=webp&s=7c19de4b57ee1575b1268f986c922a281266c028
Three months to the day before Michael died - Randy Phillips, CEO of AEG Live, wrote an email to another company executive, Paul Gongaware, saying:

"We need to pull the plug now. I will explain."

Gongaware denied that the email was a reference to calling off Jackson's This Is It concerts in London but instead was pointed at "pulling the plug on Karen Faye," Michael's hairstylist, makeup artist and longtime friend who had expressed fears about his poor health.
The email raises questions about how early people began sending out warnings about Michael's health.
2010 - A lawyer for Michael's father, Joe, said that he intends to file a wrongful death lawsuit against Conrad Murray within 90 days, claiming that the physician’s actions amounted to murder.
Brian Oxman, who represents Joe Jackson, said the amount of the powerful anesthetic propofol given to Jackson by Dr. Conrad Murray before his death “was reckless, and it amounts to second-degree murde"

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2024.03.15 16:04 sticky_chihuahua Hit a little milestone + looked up my lifetime earnings on the SSA website

Real quick here is my two-sentence back story:
I went to college but I got an art degree. So I started out post-college adult life at age 21 with a degree and no student loan debt thanks to my mom, but also no actual skills and no idea what I really wanted to do in life.
My little milestone is hitting 100% vesting in my 401a and 60% vesting in my retirement health savings that my employer contributes to (different than an HSA for a HDHP). So a gain of 14k overnight between the two accounts. I also just found out about the SSA website that has records of all of your earnings when you make an account, so that was kinda cool to look up.
2007 - $3,595 -These first 5 years are all my summer jobs before/between college semesters
2008 - $3,720
2009 - $802
2010 - $2,912
2011 - $2,799
2012 - $11,780 -First job out of college, shelving books at a library part time for $7.50 an hour. Picked up second job in retail at the end of the year
2013 - $14,712
2014 - $8,264 -Quit jobs halfway through the year to travel across the country in a van and work on a pot farm
2015 - $8,701 -Came back to civilization and started working a retail job, $9 an hour
2016 - $17,426
2017 - $26,280 -First full time job, receptionist at $10 an hour
2018 - $34,863 -First actually kinda good job, clerical position in local government at $15 an hour
2019 - $35,298
2020 - $41,271 -Promoted to financial clerical job, $18 an hour
2021 - $47,399
2022 - $46,650
2023 - $56,254
2024 - projected $60,000 -Still at the same job as a financial clerk, making $29 an hour. I’m close to the maximum pay for this position which is 62,000 but have no plans to leave any time soon because the job is stress-free, my boss is wonderful, and the benefits are really, really good. I might go back to school for an accounting degree since my job has tuition reimbursement.
Total lifetime earnings: $362,726
Current NW: $270,000 -Primarily made up of house equity (155k) and retirement accounts (110k)
This net worth feels a little disingenuous because 50k of it is just from my house appreciating and another decent sized chunk is from the market being up right now. But I guess this is where I’m at right now. I’m able to save a little more than half my income because I still live like I make $10 an hour. I have a little anxiety about spending too much money, but I swear I do still have a life while saving this much. I usually go to a couple concerts a year and a small vacation every summer, but I don’t buy tons of ‘stuff’ because I feel like I have enough stuff and I’m really averse to clutter.
Shoutout to all my fellow frugal savers out there, we’ll get there eventually! I don’t have a set retirement age or fire number I’m working towards, I’m really just saving as much as I can right now and then seeing what happens. (No kids are happening though, so that’s one less thing to worry about)

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2024.03.12 06:15 wsppan Today In Phishstory - March 12th

# Today In Phishstory - March 12th Brought to you by tiph-bot. Beep.
All data extracted via The Phishnet API.

Phish

Phish, Friday 03/12/1993 (31 years ago) Dobson Arena, Vail, CO, USA
Gap Chart, Tour: 1993 WinteSpring Tour
Set 1 : Buried Alive > Poor Heart > Cavern > Possum , Guelah Papyrus ¹ , Rift , Stash , Fluffhead ² > The Horse ³ > Silent in the Morning > David Bowie ⁴
Set 2 : AC/DC Bag , My Friend, My Friend ⁵ , Sparkle , You Enjoy Myself ⁶ , Mound , Big Ball Jam , Chalk Dust Torture , Hold Your Head Up > Lengthwise > Hold Your Head Up , Harry Hood , Golgi Apparatus
Encore : Sweet Adeline , Carolina , Rocky Top
1 Simpsons signal. 2 Ending featured Trey on acoustic guitar. 3 Trey on acoustic guitar. 4 Random Note signal in intro. 5 Beginning featured Trey on acoustic guitar. [6] Beehive reference from Trey.
Jamchart Notes:
David Bowie - Vicious, mean-spirited, dissonant, ripping guitar work, "outside-the-box" deviations, and teases taboot. All the ingredients are here for a classic '93 "Bowie."
Show Notes:
Guelah contained a Simpsons signal and a Lively Up Yourself tease from Mike. Trey dedicated Stash to "Mary." The ending of Fluffhead, all of The Horse, and the beginning of My Friend featured Trey on acoustic guitar. Bowie contained a Random Note signal in the intro, a Sailor's Hornpipe tease from Trey, and Dueling Banjos and Jeopardy! theme teases from Page. In an attempt to request AC/DC Bag at the start of the second set, roughly twenty people in front donned shopping bags on their heads with the word AC/DC written on them. My Friend contained Careful with That Axe, Eugene (Pink Floyd) quotes. YEM contained a beehive (from the alternate "Water Your Team In A Beehive I'm A-sent You" lyrics) reference from Trey and a Low Rider tease from Page. Mike quoted You Sexy Thing in the YEM vocal jam. The HYHU outro contained Lengthwise teases from Mike. Danny Boy was quoted before Carolina.
Listen now at Phish.in!
Phish, Thursday 03/12/1992 (32 years ago) The Flynn Theatre, Burlington, VT, USA
Gap Chart, Tour: 1992 Spring Tour
Set 1 : Runaway Jim , Foam , Sparkle , Stash , I Didn't Know ¹ , Reba , Buried Alive > Rift , Magilla , Llama , You Enjoy Myself
Set 2 : Golgi Apparatus , Tweezer , Eliza > It's Ice > Bouncing Around the Room , The Squirming Coil > Uncle Pen , David Bowie , Cold as Ice > Cracklin' Rosie > Cold as Ice , My Sweet One > Cavern
Encore : Sweet Adeline ² , Weigh > Tweezer Reprise
1 Fish on Bag-Vac. 2 Without microphones.
Jamchart Notes:
Reba - A fantastic version which finds Trey exiting the composed section and bending a series of strange notes, a means to either augment - or create - a wonderfully strange and demented tone. This section yields to dizzying, relentless playing, which runs though a powerful build up to the "note."
Llama - Anything but "Lazy," this inventive version finds Trey taking a bluesy sort of solo, coloring his play with Deep Purple teasing, before entering customary blistering play.
It's Ice - Another great organ focused jam from the Flynn in Burlington.
Show Notes:
Trey teased Buried Alive in Stash. I Didn't Know featured Fish on Bag-Vac and was dedicated to Nectar, who was in attendance. Trey teased Lazy in Llama, Long Tall Glasses in Tweezer, and Long Train Runnin' in It's Ice. Bowie's intro contained teases of the last eight songs played in the show in reverse order: Uncle Pen, Squirming Coil, Bouncing Around The Room, It's Ice, Eliza, Tweezer, Golgi, and YEM. Sweet Adeline was performed without microphones.
Listen now at Phish.in!
Phish, Sunday 03/12/1989 (35 years ago) Nectar's, Burlington, VT, USA
Gap Chart, Tour: 1989 Tour
Set 1 : Mike's Song > I Am Hydrogen > Weekapaug Groove , If I Only Had a Brain ¹ , Alumni Blues ² > Letter to Jimmy Page ³ > Alumni Blues , Golgi Apparatus , Bold As Love , Foam
1 Phish debut; Fish on trombone. 2 Additional lyrics. 3 Eyeburn (a local band) traded off punk rock jams during the pause in LTJP.
Show Notes:
This show featured the Phish debut of If I Only Had a Brain, which featured Fish on trombone. Alumni contained additional lyrics. During the pause in Letter to Jimmy Page, a local band, Eyeburn, traded off punk rock jams. This setlist is incomplete.
Listen now at Phish.in!
Phish, Saturday 03/12/1988 (36 years ago) Nectar's, Burlington, VT, USA
Gap Chart, Tour: 1988 Tour
Set 1 : Jump Monk ¹ , McGrupp and the Watchful Hosemasters > The Lizards > Tela ² > Wilson > AC/DC Bag > Colonel Forbin's Ascent ² > Fly Famous Mockingbird > The Sloth > Possum , Run Like an Antelope
1 First known Phish performance. 2 First known performance.
Show Notes:
This was John Paluska's first Phish show and also the first known live Gamehendge, complete with narration between songs from McGrupp through Possum. This show contained the first known Phish version of Jump Monk and the first known versions of Tela and Forbin's (although on 5/21/88, Trey called Tela a debut). Antelope contained Dixie teases from Trey. The members of Phish were, by accounts, at the Frank Zappa concert up the street at the Burlington Memorial Auditorium before this Nectar's gig. This setlist is incomplete.
Listen now at Phish.in!

Mike Gordon

Mike Gordon, 2019-03-12 Charleston Music Hall, Charleston, SC, USA
Setlist: https://phish.net/setlists/mike-gordon-march-12-2019-charleston-music-hall-charleston-sc-usa.html
Tour: Not Part of a Tour
Show Notes:
Mike Gordon, 2014-03-12 Liberty Hall, Lawrence, KS, USA
Setlist: https://phish.net/setlists/mike-gordon-march-12-2014-liberty-hall-lawrence-ks-usa.html
Tour: Mike Gordon - Spring 2014 Overstep Tour
Show Notes: This show marked the debut of Normal Phoebe. Time in a Bottle was teased before Voices.
Mike Gordon, 2011-03-12 Sheridan Opera House, Telluride, CO, USA
Setlist: https://phish.net/setlists/mike-gordon-march-12-2011-sheridan-opera-house-telluride-co-usa.html
Tour: Mike Gordon - Winter 2011 Tour
Show Notes: An incomplete Mound ended the first set, was completed to begin the second set, and appeared later in the second set before and after the Mike Gordon debut of Got My Mojo Working. Susskind Hotel contained Rock On quotes.
Mike Gordon, 2010-03-12 Theatre of the Living Arts, Philadelphia, PA, USA
Setlist: https://phish.net/setlists/mike-gordon-march-12-2010-theatre-of-the-living-arts-philadelphia-pa-usa.html
Tour: Mike Gordon - Winter 2010 Tour
Show Notes:

Other

The Allman Brothers Band, 2009-03-12 Beacon Theatre, New York, NY, USA
Setlist: https://phish.net/setlists/guest-appearance-march-12-2009-beacon-theatre-new-york-ny-usa.html
Tour: Not Part of a Tour
Show Notes: This shiw was part of The Allman Brothers Band's 40th anniversary celebration run at The Beacon Theatre. "Southbound" featured Trey on guitar and vocals, Page on keyboards, Buddy Guy on guitar and vocals, and James van de Bogert on drums. I Know You Rider featured Trey on guitar and vocals and Page on keyboards. In Memory of Elizabeth Reed featured Trey on guitar and Page on keyboards.

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2024.03.11 15:46 Worth-Fox-2351 Happy Birthday Letoya Luckett, singer, songwriter & actress, March 11, 1981

Happy 43rd Birthday to Letoya Luckett!
LeToya Nicole Luckett (born March 11, 1981), known professionally as LeToya, is an American R&B singer-songwriter and actress. She was a founding member of the R&B female group Destiny's Child, with whom she won two Grammy Awards and released many successful commercial recordings. After signing a record deal with Capitol Records, she pursued a successful solo career. Her solo debut album, LeToya (2006), topped the US Billboard 200 albums chart in July 2006 and was certified platinum by the RIAA in December 2006. The single, "Torn", achieved records on BET's top ten countdown show 106 & Park. She was also named "One of the Best New Artists of 2006" by AOL and the "Top Songwriter of 2006" by ASCAP. Luckett released a second solo album Lady Love on August 25th, 2009 which debuted at #12 on the U.S. Billboard 200 chart and #1 on the U.S. Top R&B/Hip-Hop Albums chart. Letoya Luckett was born in Houston, Texas to parents of African American and Indigenous American descent and grew up singing in her local Brentwood Baptist Church. She also had vocal lessons to become an opera singer. Her father, who was also a singer, was very proud of his daughter's vocal talents and tried to promote her in the music business. Luckett is the eldest of two children; she has a younger brother Gavin. Luckett was given the opportunity to sing her first church solo at the age of five. "The lady just gave me the mic one Sunday and I sang", she recalled. Shortly thereafter, she joined the children's choir and began performing in plays at her elementary school. One day, she walked to her desk in class to find a girl sitting in her seat. Luckett asked her teacher to remove the girl from her assigned seat, who turned out to be Beyoncé Knowles. They later became friends, and she was invited to join Latavia's and Beyoncé's singing group. In 1993, LeToya Luckett joined Beyoncé Knowles, LaTavia Roberson, and Kelly Rowland to complete the Houston-based R&B group, Destiny's Child. After being signed and later dropped by Elektra Records, the group eventually signed with Columbia Records in 1997, but not before signing with Mathew Knowles as their official manager. According to the E! Television Special, Boulevard of Broken Dreams, Knowles forced the girls to sign with him before they could sign with the label. LeToya's mother requested the contracts be reviewed by an attorney, but Knowles denied the request. However, Luckett eventually signed with him and joined the group. After graduating from the Houston club scene, the group began opening for acts such as Dru Hill, SWV, and Immature, and released their 1998 self-titled debut album Destiny's Child. The album spawned two singles: the platinum "No, No, No Part II" (featuring Wyclef Jean) and "With Me". The group was featured on the Why Do Fools Fall in Love soundtrack with the song "Get on the Bus" (featuring Timbaland), and later toured as an opening act on TLC's "Fanmail Tour" and Christina Aguilera's debut tour. In 1999, the group released their second album, The Writing's on the Wall. The album became one of the biggest selling albums released by a female group, and was certified eight times platinum in the USA. The album spawned four hit singles: "Bills, Bills, Bills", "Bug a Boo", "Say My Name" and "Jumpin' Jumpin'". In late 1999, in the midst of the group's rising success, Luckett and Roberson sent a letter to their management stating they wanted their own manager because of the increasing lack of communication from the group's manager Mathew Knowles (who is also Beyoncé Knowles' father). The pair said they never wanted to fire Knowles, but they did want to secure outside management to represent them fairly. Soon after, Luckett and Roberson found themselves on the outs with Knowles family and the group they helped create. When the "Say My Name" music video debuted in February 2000, they were shocked to find themselves replaced by two new members, Michelle Williams and Farrah Franklin. Luckett and Roberson filed a lawsuit against Matthew Knowles, Beyoncé Knowles and Kelly Rowland, charging them with breach of partnership and fiduciary duties, and sought unspecified damages. Luckett and Roberson withdrew the case against Beyoncé and Kelly, but continued to sue Matthew Knowles. The case was eventually settled, with Luckett and Roberson continuing to receive royalties from their contributions as founding members of the group. When it seemed as if the drama had subsided, shortly following the release of Destiny's Child's Survivor, Luckett and Roberson filed another lawsuit against the group in March 2002. They claimed that the album's lead single, "Survivor", violated their previous settlement due to its lyrics, which they believed to reference the ugly split. After several months of media speculation, it was announced via the MTV News website that Luckett and Roberson had created a new group called Anjel. After several auditions, Naty Quinones and Tiffany Beaudoin were selected as members. The group recorded a twenty-two-song demo in Atlanta, Georgia, with the help of R&B group Jagged Edge. Their production company (581 Entertainment) which handled the group fell through, and all the members of Anjel went on to pursue solo projects. However, the recorded tracks were leaked onto the internet.
After the Anjel project fell through, Luckett joined with Noontime, an Atlanta-based management/production company. Along with Noontime, she recorded a five song demo and eventually signed with Capitol Records in 2003. Soon after, she began working on her debut solo album. The first promotional single, "You Got What I Need", was released in 2004, followed next year by "All Eyes on Me". She featured on "My Promise" with her label mate Houston on his debut album It's Already Written, "What Love Can Do" on the Coach Carter soundtrack, and on "This Is My Life" with former boyfriend and rapper Slim Thug on his album Already Platinum. LeToya's self-titled debut album, was released on July 2006 and debuted at number one on the U.S. Billboard 200 and Top R&B/Hip-Hop Albums charts, outselling the compilation Now That's What I Call Music! and Pharrell Williams's debut album. The album was certified gold after one month and as of December 2006, the album had been certified platinum. Luckett and Beyoncé Knowles are the only members of Destiny's Child to have an album debut at number one on the Billboard 200 and achieve platinum status in the U.S. With LeToya being marketed as "The H-Town Chick", the album featured hip-hop inspired R&B production. Producers on the album included Jermaine Dupri, Scott Storch, Teddy Bishop, B. Cox, and musical guests Slim Thug, Mike Jones, Paul Wall, and Bun B. "All Eyes on Me" was originally chosen as LeToya's debut single, but she selected "Torn" instead. She stated she "had to go against the grain" to get that single released, but it proved to be a good move. The ballad (produced by Teddy Bishop and a personal favorite of LeToya's) was released March 2006 and became an R&B hit. The ballad has been compared to Natalie Imbruglia and Mary J. Blige's past hit singles. The song climbed the Billboard charts, peaking at number two on the Hot R&B/Hip-Hop Songs and became the number one song on urban radio. "Torn" (2006) LeToya's most successful single to date. "She Don't" (2006) Although Torn was still receiving major airplay, her second single, "She Don't", was released to radio and the video premiered on BET's Access Granted in July 2006 featuring LeToya's ex-boyfriend, Slim Thug. The single received moderate success, reaching number seventeen on the Hot R&B/Hip-Hop chart. In November 2006, "Obvious" was selected as the third single. According to Billboard, the song had a 94% chance of becoming a hit, but due to the merger of Capitol Records and Virgin Records, all promotion and money was frozen, therefore the single was never officially released. Luckett was also named "One of the Best New Artists of 2006" by AOL Music, number two on Rap-Up magazines' Top 5 Breakthrough Artists of 2006, and had received multiple nominations from the NAACP, the Soul Train Music Awards, and the Teen Choice Awards. BET promoted LeToya heavily not only on 106 & Park, The Center, and The Black Carpet, but with a three-part reality series special called The H-Town Chick, which aired from May to July 2006. The series chronicled LeToya's experiences during her summer promotional tour and insight on her life since Destiny's Child. BET also hosted a contest that gave fans the opportunity to decide the final outcome of the "Torn" video. Cingular hosted a Lip-Sync contest that awarded those who best performed "Torn" best in an online submitted video. In addition to a nationwide radio tour, club performances, a brief European and Asian tour, LeToya was asked to participate in the 2006 Pantene Total You Tour, the Cingular Live in Concert series, and was personally invited by Mary J. Blige to join her summer tour, The Breakthrough Experience Tour, as her opening act. Lady Love On July 13, she said in an interview that her album will have a 1980's influence on her songs and during the event, LeToya announced that the album would officially going to be named Lady Love, then she introduced and performed two new songs "Lady Love" and "Don't Let Me Get Away". On December 10, a buzz track, Swagger, that features rappers such as Slim Thug, Killa Kyleon and Bun B leaked onto internet through Luckett's official fansite, surprisingly the song makes a reference of Beyoncé's song, Upgrade U. In 2008 she was featured on Webbie's single "I Miss You" which was a moderate success. She didn't appear in the video due to the fact that she was acting in the nationwide play "Rumors" and as a result wasn't able to make it to the shoot. LeToya's second solo album was released on August 25, 2009. and debuted at #1 on the Billboard R&B Hip Hop chart. The first single, "Not Anymore", was written by Ne-Yo and was produced by Bei Maejor. It was released on February 3. The music video was released on March 10. The uptempo song "She Ain't Got…" was leaked onto the internet end of March 2009 on several sites including YouTube. Luckett ran a contest online giving fans the chance to choose the follow-up single to “Not Anymore.” Called “The Final Showdown,” the contest gave the option of voting for one of two songs off her sophomore album, Lady Love. “We want the fans to choose between ‘Regret’ and ‘She Ain’t Got Shit On Me,’” LeToya reveals. “So whichever one wins between those two. They’ll both be singles though". "She Ain't Got…" won. "Regret" was released soon after and became a urban hit reaching #3 on Urban Mediabase. A video was released in November and is currently on 106 And Park. The song peaked at #78 on the U.S. Billboard Hot 100 chart (becoming the first single from Lady Love to peak within this chart) and #8 on the Billboard Hot R&B/Hip-Hop Songs chart. LeToya revealed via Twitter that she was filming a video for Good To Me - thus confirming it to be the next single. The viral video premiered on the internet on February 12th. Luckett's first role on television was on the WB show "Smart Guy" in 1998 with Destiny's Child. She also had an appearance in the movie "Beverly Hood" in 1999. Since 2008, LeToya has been acting in plays and movies. LeToya was part of the cast of JD Lawrence's stage play Rumors as the character Michelle. She hit the road from January 31, 2008 to March 2, 2008. Luckett is starring in the movie Preacher's Kid, which was released in January 2010. She is also part of the movie Killers, scheduled for release June 4th, 2010 along with Ashton Kutcher, Katherine Heigl and Tom Selleck.
(Credit: last.fm.com)

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2024.03.04 13:02 FelicitySmoak_ On This Day In Michael Jackson HIStory - March 4th

1973- The Jackson 5 play the Astrodome in Houston,Texas. It will be their last concert stateside before traveling to Japan in late April
1980- Michael's brother, Randy Jackson (the youngest of the brothers) was seriously injured in a car crash in Hollywood, California. He was removed from his mutilated car with the ‘jaws of life’. His legs and feet were completely crushed. He endured 7 surgeries. Doctors told him he would never walk again, let alone dance... a verdict Randy firmly refused to accept. In June 1980, Jackson appeared on the cover of the weekly news magazine JET. The cover headline read: "Randy Jackson Walks Again: Talks About His Future." By 1981, true to character, with unwavering perseverance and determination, Randy was able to participate fully & even dance in the Jacksons' Triumph Tour
https://reddit.com/link/1b699ax/video/oaxuypc7u5mc1/player
1988- Michael is in New York for his three sold out nights at Madison Square Garden
https://reddit.com/link/1b699ax/video/nda9y9kbx5mc1/player
1998- Michael's History On Film Volume II was named 'Best International Video' at the 12th annual RIAJ (Recording Industry of Japan) Gold Disc Awards.
https://preview.redd.it/e0b76sbeu5mc1.jpg?width=1200&format=pjpg&auto=webp&s=eb8018c98a9cc742aef88056c4e5335e59da5492
2001 - Michael arrives in London on crutches to Give his Heal The Kids lecture on child welfare at Oxford University on March 6th, When asked by reporters about his injury, Michael stated:

"It's painful, I've broken two bones in my foot and it hurts!"

https://preview.redd.it/kfg78nq5v5mc1.jpg?width=717&format=pjpg&auto=webp&s=85c286998b43b0cbe3ab864db628ee5cec5dafe2
https://preview.redd.it/2zm2jp59v5mc1.jpg?width=181&format=pjpg&auto=webp&s=9ade1ab0241f44822e6e7844580000f4dcf08c6a
https://preview.redd.it/z3ccq9bav5mc1.jpg?width=186&format=pjpg&auto=webp&s=3b3e2c11c382fa1376423dbec177f79fefab2f82
2003 - La Toya Jackson found the strength to talk about her abusive relationship with Jack Gordon to Larry King, her first interview in 6 years. She also spoke about her brother's innocence. She later wrote in her book “Larry made me feel like home, I admire his ability to dig beneath the surface"
https://reddit.com/link/1b699ax/video/9xcq1islx5mc1/player
2003- Michael is on the cover of tabloid magazine, Globe
https://preview.redd.it/y14141qbv5mc1.jpg?width=333&format=pjpg&auto=webp&s=9867f7f8c408ffd45fc0aa923539004c244c284e
2005- Trial Day 5
Michael goes to court with Katherine, La Toya & Jermaine.
https://preview.redd.it/djfg3colv5mc1.jpg?width=612&format=pjpg&auto=webp&s=693a3ab91661888ddb911d3aba735a19890c98e9
https://preview.redd.it/mg26qav5w5mc1.jpg?width=406&format=pjpg&auto=webp&s=f17b96a37a6bcbdb55d99efb2ec0a7d85dd68cbf
Video footage of the Arvizos praising Michael and insisting there was nothing untoward about their relationship is shown. The jury watches the video, broadcast by Fox, which the prosecution says was an attempt by Jackson's camp to neutralize the negative publicity generated by the Bashir film.
https://reddit.com/link/1b699ax/video/yye6qn97y5mc1/player
https://reddit.com/link/1b699ax/video/6dlvwnutx5mc1/player
2007- Michael arrives in Japan for his 2nd trip in less than a year to attend functions including an extravagant gala held in his honor on March 8th in Tokyo
https://preview.redd.it/crgnofm2w5mc1.jpg?width=612&format=pjpg&auto=webp&s=81882f0e9360057dd2c85c3ffc4dd83ad20c8e7e
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2009- MJJ Productions, files a lawsuit in Los Angeles Superior Court against Julien's Auction House.
It claimed "MJJ Productions authorized the auction house to remove the items from Jackson's Neverland Ranch, but not to sell them without Jackson's permission."The Judge ruled in Julien's favor because Dr. Tohme Tohme who officially represented MJJ Productions at that time, did sign a contract authorizing the sale and Julien's had over 2 Million invested into moving, storing, cleaning and cataloging all the items.
There was another hearing scheduled for MJJ Production's to bring in motions before the final judgment, but a day before that hearing they settle the case favorable to both parties. Julien's Auction cancelled the sale, returned the items and recouped their investment by displaying the items to the public and selling the Inventory catalogs. Any other agreements between the part
2009- Attorney Peter Lopez signed a confidential agreement & "Confidential Estate Planning Data' for Michael was drawn up
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2010 - Michael is inducted into the ECHO Awards Hall of fame (Germany)
2019- Part 2 of Leaving Neverland airs on HBO in the US

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2024.03.02 22:17 Jprhino84 An ongoing list of upcoming library titles to ITVX

It occurred to me recently that while most people are aware of the major ITVX exclusives (as ITV quite understandably promotes them very heavily), most of the classic and contemporary library titles are simply mentioned in a press release (often 6 weeks in advance of arrival) and everything moves on. I do post these press releases and try to spotlight the big arrivals but it’s only natural that these only reach a fraction of the 200+ members here and thus many end up oblivious.
So this will be a central post telling everyone when library titles (both classic and modern) have been confirmed for arrival. If a specific date has been given, I’ll include it. If not, it’ll simply be listed under its month of arrival.

March 2024
The following films will come to ITVX as part of the James Bond collection. Each will be available for 30 days once added to the service:

Goldfinger (1964) - March 4th
On Her Majesty’s Secret Service (1969) - March 5th
The Spy Who Loved Me (1977) - March 6th
License to Kill (1989) - March 7th
Goldeneye (1995) - March 8th
Skyfall (2012) - March 10th

The following is confirmed for arrival via BritBox:

Marie Antoinette (2022) - March 7th via BritBox
House of Eliott (1991-1994) - March 14th via BritBox
The Two Ronnies (1971-1987) - March 21st via BritBox

April 2024
The following films are listed for April 1st though actual arrival dates may vary somewhat:

Dirty Grandpa (2016)
Zoolander 2 (2016
Billy Elliot (2000)
Grease 2 (1982)
The Crow (1994)
The Birds (1963)
The Gangster, The Cop, The Devil (2019)
The Hunger Games (2012)
The Hunger Games: Catching Fire (2013)
The Hunger Games: Mocking Jay - Part 1 (2014)
The Hunger Games: Mocking Jay - Part 2 (2015)
The Truman Show (1998)

The following library content was also confirmed for April 2024:

Charmed (1998-2006) - April 4th, 2024

A content sharing agreement will begin with AMC Stories on April 8th, 2024, bringing the following shows to the service:

Finding Joy Series 1-2 (2018-2020)
Brockmire Series 1-4 (2017-2020)
The Son Series 1-2 (2017 - 2019)
Portlandia Series 1-8 (2011-2018)
Lodge 49 Series 1-2 (2018-2019)
Documentary Now! Series 1-4 (2015-2022)
Creep Show Series 1-4 (2019-2023)
The Spoils of Babylon (2014)
The Spoils Before Dying (2015)
Cold Blooded: The Clutter Family Murders (2017)
Dietland (2018)

The following library titles are confirmed for April 14th, 2024 (Gerry Anderson Day):

Century 21, Slough (2018)
Fireball XL5 (1962) (all episodes)
Stand By For Action! Gerry Anderson in Concert (2022)

The following library titles are confirmed for April 2024 via BritBox but with no concrete dates given:

Sorry! (1981-1988)
Terry and June (1979-1987)
Space Patrol (1962)
Monty Python’s Flying Circus Series 3 (1972-1973)

May 2024
The following films are listed for May 1st but actual arrival dates may vary:

12 Angry Men (1997)
A Hologram for the King (2016)
The Breakfast Club (1985)
Teen Wolf (1985)
Grease (1978)
City Slickers (1991)
Crank (2006)
Fruitvale Station (2013)
Getting Even with Dad (1994)
Jackie Brown (1997)
Joe (2013)
Let Me In (2010)
Serendipity (2001)
The Football Factory (2004)
The Passion of the Christ (2004)

Orphan Black: Echoes (2023) will receive its UK premiere on May 20th.
Colony (2016-2018) is confirmed for May 23rd.
The AMC content sharing agreement continues with the following reality shows arriving on May 30th:

Love After Lock Up
Growing Up Hip Hop
LA Hair
My Fair Wedding
Amazing Wedding Cakes
Platinum Weddings
Million Dollar Matchmaker
Match Made in Heaven
Wedding Central
Dave Tutera’s Unveiled

And more…

The following has been confirmed for arrival via BritBox in May 2024 but without confirmed dates:

Monty Python’s Flying Circus Series 4 (1974)
This is Going to Hurt (2022)
In the Club (2014-2016)
May to December (1989-1994)

June 2024
The following films are listed for June 1st but actual arrival dates may vary:

Asterix: The Mansion of the Gods (2014)
Fatal Attraction (1987)
Villain (2002)
Gosford Park (2001)
Happy Gilmore (1996)
Wimbledon (2004)
Man on Wire (2008)
Project Nim (2011)
Is There Anybody Out There? (2023)
Knowing (2009)
Pulp Fiction (1994)

June 13th
The Flash (Seasons 1-7, 2014-2021) Seasons 8 and 9 can most likely be expected to arrive as they leave Sky.
In regards to BritBox UK, we have a (somewhat exciting) mystery on-hand for June as a new slate of retro kids programming has been confirmed as the only known highlight for the month. The following 2 programmes are mentioned by name:

Button Moon (1980)
Willo the Wisp (Series 1-2, 1981 & 2005)

However, they are very specifically mentioned as part of numerous incoming classics. Previous updates to the “Retro Kids” section of BritBox have seen 6 to 12 new arrivals, suggesting a potential significant amount of surprises.

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2024.03.01 13:02 FelicitySmoak_ On This Day In Michael Jackson HIstory - March 1st

Disclaimer: Some of these events have unknown March dates. They are identified with a '*'
1968*- The Jackson 5 make their first ever commercial photoshoot for Steeltown Records. Steeltown Records sells thousands of copies of “Big Boy” nationally through a distribution deal with Atlantic Records, but it was neither a critical nor commercial success.?
1972- The Jackson 5 perform "Sugar Daddy", "Got To Be There" & "Brand New Thing" (with Randy) on the US TV comedy special Hellzapoppin'
1979- On their Destiny Tour, The Jacksons perform at The Apollo (closed-1985) in Glasgow, Scotland
1987\*-Michael shoots a new Pepsi commercial, "Looking For Me", with a special version of the song “Bad”. During the filming he meets 9 years old actor Jimmy Safechuck. Later Michael invites Jimmy and his family at have dinner at Hayvenhurst and they all become friends
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1988- Michael attends a Pepsi-Cola Press Conference at Club 1018 New York City, held by his sponsor Pepsi.
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Pepsi broadcasts the conference via satellite across the world. Pepsi premieres Michael's new commercial and Michael donates to the United Negro College Fund a check for $600,000, which was the entire gross from his private sold-out benefit concert held at Madison Square Garden,making him one of UNCF's most significant donators. The event featured children reading their anti-drug messages to Michael. They were the winners of a Be Against Drugs (BAD) anti-drug contest who won the chance to meet Michael and win tickets to his concert.
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1996- Michael gives a three hour long videotaped deposition at the Four Seasons Hotel in New York City as part of a lawsuit filed by five Neverland employees against Michael for wrongful dismissal.
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The jury rejected this wrongful termination lawsuit (Kassim Abdool v Michael Jackson). The lawyer suing him was ultimately fined $28,350 for hiding evidence, and Michael was awarded $60,000 in damages in a countersuit, where he was able to prove that the employees had stolen his property, sold documents and drawings of his to tabloids, among other things.
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2003- The Arvizo family’s appartment is emptied at the mother’s request and their belongings are put into storage (paid by Michael)
2004- Michael Jackson unveiled a new website, Mjjsource, that merged the celebration of his music career with news and background on his criminal trial. Mjjsource was Michaels official site back then. It was run by Randy Jackson, Karen Faye and Taunya Zilkie (Randys ex-girlfriend). It has been defunct since 2009, after some questionable conduct from Karen & Randy
2005- Trial Day 2
Michael goes to court with Katherine & Jackie. Thomas Mesereau completes his opening statement. Martin Bashir takes the stand. The jury watches his documentary, Living With Michael Jackson
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2009- In an interview with hollywood.tv, Christian Audigier reveals that Michael is about to go to London to give a press conference on March 5th in order to announce a new tour next summer
https://reddit.com/link/1b3snq1/video/r9ee6y436klc1/player
2009*- Michael hired chef Kai Chase, to eat healthy
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2009\*- Conrad Murray called (on Michael's behalf) Applied Pharmacy in Las Vegas, inquiring about Benoquin (cream to treat Vitiligo)
2010- Press preview of the rock & roll music memorabilia auction at the Gotta Have It! in New York City
Handwritten note to fans on a napkin
Custom made Victory Tour jumpsuit
Handwritten & signed \"We Are The World\" lyrics

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2024.02.24 23:22 SanderSo47 Directors at the Box Office: Joel & Ethan Coen

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Here's a new edition of "Directors at the Box Office", which seeks to explore the directors' trajectory at the box office and analyze their hits and bombs. I already talked about a few, and as I promised, it's Joel and Ethan Coen's turn.
The Coens developed an early interest in cinema through television. They grew up watching Italian films aired on a Minneapolis station, the Tarzan films, and comedies. With a camera, they remade movies they saw on television. Joel started in the industry by becoming an assistant editor, while Ethan was finishing an undergraduate degree in philosophy. Eventually, their attention turned to directing.
From a box office perspective, how reliable were they to deliver a box office hit?
That's the point of this post. To analyze their career.

Blood Simple (1984)

"Passion led to adultery. Adultery led to murder. It all seemed so simple."
Their directorial debut. It stars John Getz, Frances McDormand, Dan Hedaya, and M. Emmet Walsh. Its plot follows a Texas bartender who finds himself in the midst of a murder plot when his boss discovers that he is having a love affair with his wife and he hires a private investigator to kill the couple but the investigator has his own agenda.
The Coens were ready to become directors, but they lacked experience and money. So they shot a preemptive dummy theatrical trailer for the film, which showed "a man dragging a shovel alongside a car stopped in the middle of the road, back towards another man he was going to kill" and "a shot of backlit gun holes in a wall." The trailer featured actor Bruce Campbell, playing the Julian Marty role, and was shot by recent film school graduate Barry Sonnenfeld.
An investor decided to finance the film, helping them in finding contacts in the industry and raising the needed $1.5 million budget. While they directed the film, only Joel was credited as the director, and Ethan is credited as the sole producer. This is due to the DGA rules that disallowed multiple director credits to prevent dilution of the position's significance. The only exception to this rule is if the co-directors are an "established duo", and they were still unknowns back here.
The film didn't perform well at the box office, although a subsequent re-release in 2000 allowed it to finally recoup its budget. Critics raved over the film, indicating a promising career for the Coens.

Budget: $1,500,000.
Domestic gross: $3,851,855.
Worldwide gross: $4,229,114.

Raising Arizona (1987)

"Their lawless years are behind them. Their child-rearing years lay ahead..."
Their second film. It stars Nicolas Cage, Holly Hunter, Trey Wilson, William Forsythe, John Goodman, Frances McDormand, Sam McMurray, and Randall "Tex" Cobb. The film follows Herbert 'Hi' and Edwina 'Ed' McDunnough, an ex-con and ex-cop, a childless marriage who cannot adopt because of Hi's criminal past. Their yearning for a child leads them to kidnap one of the quintuplets of a rich businessman.
The Coens wanted to deviate from their previous film by making something more optimistic and upbeat. They wrote the characters to be very sympathetic, and focusing on Hi's desire to live a regular life within the boundaries of the law. As Circle Films, the distributor of Blood Simple, gave them a $5 million budget, the Coens extensively prepared to not waste any money. Through Circle Films, they got a major distributor, 20th Century Fox, involved.
The relationship between Nicolas Cage and the Coens was respectful, but turbulent. When he arrived on-set, and at various other points during production, Cage offered suggestions to the Coen brothers, which they ignored. Cage said that "Joel and Ethan have a very strong vision and I've learned how difficult it is to accept another artist's vision. They have an autocratic nature."
Helped by Fox's distribution, the film easily recouped its budget, earning $29 million in its initial run. Critical reception was very favorable, and has appeared in many lists as one of the funniest comedies. The film has also become popular through cable reruns.

Budget: $5,000,000.
Domestic gross: $22,847,564.
Worldwide gross: $29,180,280.

Miller's Crossing (1990)

"What's the rumpus?"
Their third film. It stars Gabriel Byrne, Marcia Gay Harden, John Turturro, Jon Polito, J. E. Freeman, and Albert Finney. The plot concerns a power struggle between two rival gangs and how the protagonist, Tom Reagan, plays both sides against each other.
As they developed the film, they already had a first image set in stone. It was that of a black hat coming to rest in a forest clearing; then, a gust of wind lifts it into the air, sending it flying down an avenue of trees. This image closes the film's opening credit sequence. As they wrote the script, they developed writer's block due to the film's contrived storylines. After watching Baby Boom one night, they felt inspired in writing another screenplay in just three weeks, and then resumed work in Miller's Crossing.
The film fared very poorly, earning only $5 million, barely half of its budget. But it continued the Coens' critical acclaim run.

Budget: $10,000,000.
Domestic gross: $5,080,409.
Worldwide gross: $5,080,409.

Barton Fink (1991)

"There's only one thing stranger than what's going on inside his head. What's going on outside."
Their fourth film. It stars John Turturro, John Goodman, Judy Davis, Michael Lerner, John Mahoney, and Jon Polito. Set in 1941, it follows Barton Fink, a young New York City playwright who is hired to write scripts for a film studio in Hollywood, and his friendship with Charlie Meadows, the insurance salesman who lives next door at the run-down Hotel Earle.
As mentioned, the Coens developed writer's block while writing Miller's Crossing, although Joel states that it was more their interest in deviating from the film. They left for New York, where they wrote a different film in just 3 weeks, wanting John Turturro and John Goodman to star. They also felt satisfied with the overall shape of the story, which helped them move quickly through the composition. The Coens began looking for a new cinematographer, since their associate Barry Sonnenfeld was making his directorial debut with The Addams Family, and this marked their first collaboration with Roger Deakins.
The film premiered at the Cannes Film Festival, where it won three awards: Best Actor, Best Director and the Palme d'Or. It received acclaim for its script and characters, and was hailed as one of the Coens' best films. But that didn't translate to a good box office run; it made just $6 million, failing to recoup its budget.

Budget: $9,000,000.
Domestic gross: $6,153,939.
Worldwide gross: $6,153,939.

The Hudsucker Proxy (1994)

"They took him for a fall guy. But he threw them for a hoop."
Their fifth film. It stars Tim Robbins, Jennifer Jason Leigh, and Paul Newman, and follows a naïve but ambitious business school graduate who is installed as president of a manufacturing company, unaware that the director hires him as part of a stock scam.
The Coens were friends with Sam Raimi, having collaborated in some of his films. They decided to make a script, inspired by the films of Preston Sturges, Frank Capra and Howard Hawks. The first image the Coens and Raimi conceived was of Norville Barnes about to jump from the window of a skyscraper and then they had to figure out how he got there and how to save him. The script was finished by 1985, but it sat on the shelves as the Coens were still unknowns in the industry. After Barton Fink, they decided to make a more mainstream film and did a brief rewrite with Raimi. Joel Silver got Warner Bros. involved and gave the Coens complete creative control.
WB held test screenings, which received mixed reactions. They suggested re-shoots, but the Coens, who held final cut privilege, refused because they were very nervous working with their biggest budget to date and were eager for mainstream success. The producers eventually added footage that had been cut and also shot minor pick-ups for the ending.
While the Coens received acclaim for their previous works, that wasn't the case here. It received mixed reviews, with critics feeling the film did not live up to its ambitions and that the film's jarring tone made it difficult to fully connect with the story and characters. And despite their attempt in making a more mainstream project, it bombed with just $14 million worldwide. In subsequent years, the film has earned a cult following.

Budget: $25,000,000.
Domestic gross: $2,816,518.
Worldwide gross: $14,938,149.

Fargo (1996)

"A homespun murder story."
Their sixth film. It stars Frances McDormand, William H. Macy, Steve Buscemi, Harve Presnell, and Peter Stormare. It follows Marge Gunderson, a pregnant Minnesota police chief investigating a triple homicide that takes place after a desperate car salesman hires two criminals to kidnap his wife in order to extort a hefty ransom from her wealthy father.
The film opens with the following text:

"This is a true story. The events depicted in this film took place in Minnesota in 1987. At the request of the survivors, the names have been changed. Out of respect for the dead, the rest has been told exactly as it occurred."

But obviously, everything on the film is ficticious. Regarding this apparent discrepancy, the Coen brothers said that they based their script on an actual criminal event, but wrote a fictional story around it. Joel said "If an audience believes that something's based on a real event, it gives you permission to do things they might otherwise not accept."
While their past three films were box office duds, the Coens finally had some luck here. It had a slow start, but the film eventually found an audience. It earned $60 million worldwide, becoming their highest grossing film. It received acclaim from critics and audiences, and is widely considered as one of the best films, not just from the Coens but of the 90s as well. The film received 7 Oscar nominations, including Best Picture and Best Director. The Coens won their first Oscar for Best Original Screenplay, while Frances McDormand won Best Actress.
In 1997, a pilot based on the film was filmed with Edie Falco playing Gunderson. It didn't involve the Coens in any way, and it never moved forward. In 2014, FX aired another series based on the film, now helmed by Noah Hawley and connected to the film. The anthology series has received acclaim, won multiple awards and has just finished its fifth season. While the Coens are credited as executive producers, they have pretty much no involvement in the series. Back in 2016, Joel had this to say:

“We’re just not very interested. I mean, we’re perfectly happy with it. We have no problem with it. It just feels divorced from our film somehow. We work short. Our longest movie [No Country For Old Men] is 2 hours, 2 minutes. It’s just not how we think about stories. I mean, after two hours with a character we feel we’re pretty much done with them.”

Budget: $7,000,000.
Domestic gross: $24,611,975.
Worldwide gross: $60,611,975.

The Big Lebowski (1998)

"Times like these call for a Big Lebowski."
Their seventh film. It stars Jeff Bridges, John Goodman, Sam Elliott, Julianne Moore, Steve Buscemi, John Turturro, Philip Seymour Hoffman, Tara Reid, David Thewlis, Peter Stormare, Jon Polito, and Ben Gazzara. It follows Jeffrey "The Dude" Lebowski, a Los Angeles slacker and avid bowler. He is assaulted as a result of mistaken identity, then learns that a millionaire, also named Jeffrey Lebowski, was the intended victim. The millionaire Lebowski's trophy wife is supposedly kidnapped, and millionaire Lebowski commissions The Dude to deliver the ransom to secure her release. The plan goes awry when the Dude's friend, Walter Sobchak, schemes to keep the ransom money for the Dude and himself.
The film was inspired by Jeff Dowd, an American film producer and political activist the Coen brothers met while they were trying to find distribution for Blood Simple. The Dude was modeled after him and another friend of the Coens, Peter Exline, a Vietnam War veteran who reportedly lived in a dump of an apartment and was proud of a little rug that "tied the room together". The Coens wanted to make something similar to the works of Raymond Chandler, particularly his adaptation of The Long Goodbye.
Contrary to popular belief, it wasn't a flop. In fact, it even tripled its budget, and that's before we even get to its big performance on DVD and cable reruns. Initial reactions were mixed, but the film quickly earned a cult following, and it's now one of their most iconic films. Many of its characters and quotes have become part of pop culture.

Budget: $15,000,000.
Domestic gross: $19,301,403.
Worldwide gross: $48,057,425.

O Brother, Where Art Thou? (2000)

"They have a plan, but not a clue."
Their eighth film. Loosely based on Homer's The Odyssey, it stars George Clooney, John Turturro, Tim Blake Nelson, Chris Thomas King, John Goodman, Holly Hunter, and Charles Durning. The film is set in rural Mississippi in 1937, and it follows three escaped convicts searching for hidden treasure while a sheriff relentlessly pursues them.
The Coens decided to make a different version of the Odyssey, as they considered it "one of their favorite storyline schemes". But despite that, the Coens actually never read the epic, and they were only familiar with its content through adaptations and numerous references in popular culture. According to the brothers, Tim Blake Nelson (who has a degree in classics from Brown University) was the only person on the set who had read the Odyssey.
The Coens used digital color correction to give the film a sepia-tinted look. Initially the crew tried to perform the color correction using a physical process, but after several tries with various chemical processes proved unsatisfactory the process was performed digitally. Roger Deakins spent 11 weeks fine-tuning the look, mainly targeting the greens, making them a burnt yellow and desaturating the overall image in the digital files. This made it the first feature film to be entirely color corrected by digital means.
The film enjoyed some pretty good reviews, and it managed to find an audience in theaters, earning $71 million and becoming their new highest grossing film. But the crazy thing is that the soundtrack overshadowed the film in success. By early 2001, it had sold 5 million copies, spawned a documentary film, three follow-up albums, two concert tours, and won Country Music Awards for Album of the Year and Single of the Year (for "Man of Constant Sorrow"). It also won five Grammys, including Album of the Year, and hit #1 on the Billboard album charts the week of March 15, 2002, 63 weeks after its release and over a year after the release of the film.

Budget: $26,000,000.
Domestic gross: $45,512,588.
Worldwide gross: $71,870,729.

The Man Who Wasn't There (2001)

"The last thing on his mind is murder."
Their ninth film. It stars Billy Bob Thornton, Frances McDormand, Michael Badalucco, Richard Jenkins, Scarlett Johansson, Jon Polito, Tony Shalhoub, and James Gandolfini. The film is set in 1949 and tells the story of Ed Crane, a withdrawn barber who leads an ordinary life in a small California town with his wife, who he suspects is having an affair with her boss. Crane's situation changes when a stranger comes to the barbershop and offers him the opportunity to join him as a partner in a promising new business, in exchange for an investment of ten thousand dollars. Drawn to the idea, Crane plans to blackmail his wife's lover for the money.
While filming a barbershop scene in The Hudsucker Proxy, the Coens were attracted to a poster on the wall showing all the different 1940s-style haircuts. They were inspired by the work of writer James M. Cain, in particular, the novels Double Indemnity, The Postman Always Rings Twice, and Mildred Pierce. Despite being a neo-noir story, The Coens replaced the underworld setting with a typical American town with ordinary people.
The film was well received by critics, but failed to recoup its $20 million budget.

Budget: $20,000,000.
Domestic gross: $7,504,257.
Worldwide gross: $18,916,623.

Intolerable Cruelty (2003)

"Engage the enemy."
Their tenth film. The film stars George Clooney, Catherine Zeta-Jones, Geoffrey Rush, Cedric the Entertainer, Edward Herrmann, Paul Adelstein, Richard Jenkins and Billy Bob Thornton, and follows Miles Massey, a high-profile divorce lawyer, who wins a case for his rich but adulterous client Rex Rexroth. But Rex's ex-wife, Marylin, who is no saint and is a gold-digger, plots to take revenge on Miles.
This project actually wasn't started by the Coens. It originated from writers John Romano, Robert Ramsey and Matthew Stone. This was constantly scripted through the 90s, with Carrie Fisher even serving as script doctor. Ron Howard backed out and Jonathan Demme signed, and the plan was for Julia Roberts and Hugh Grant to star. After they exited, the Coens were hired for a rewrite and they subsequently directed the project. They were given a $60 million budget, their most expensive film back then.
The film failed to impress domestically, although it was much stronger overseas, managing to double its budget and becoming their first film to hit $100 million. Reviews were positive, although many noted that the film was solely a job-for-hire for the Coens.

Budget: $60,000,000.
Domestic gross: $35,327,628.
Worldwide gross: $120,801,243.

The Ladykillers (2004)

"The greatest criminal minds of all time have finally met their match."
Their 11th film. A remake of the 1955 British comedy film, it stars Tom Hanks, Irma P. Hall, Marlon Wayans, J. K. Simmons, Tzi Ma and Ryan Hurst. It follows an eccentric, if not charming Southern professor and his crew as they pose as a classical ensemble in order to rob a casino, all under the nose of his unsuspecting but sharp old landlady.
Originally, Barry Sonnenfeld was scheduled to direct and the Coens were hired as writers. When he left the project, the Coens decided to direct it themselves while Sonnenfeld remained as a producer. Notably, after 20 years of fighting with the DGA, this was the first film where Ethan was co-credited as director and where Joel was co-credited as producer.
The film was not well received by critics, who compared it unfavorably to the original film. Nevertheless, with a reliable star as Hanks, the film earned more than twice its budget. To date, it's deemed as one of the Coens' weakest films.

Budget: $35,000,000.
Domestic gross: $39,799,191.
Worldwide gross: $76,665,191.

No Country for Old Men (2007)

"There are no clean getaways."
Their 12th film. Based on Cormac McCarthy's novel, it stars Tommy Lee Jones, Javier Bardem, Josh Brolin, Kelly Macdonald and Woody Harrelson. The film is set in the desert landscape of 1980 West Texas, and follows three main characters: Llewelyn Moss, a Vietnam War veteran and welder who stumbles upon a large sum of money in the desert; Anton Chigurh, a hitman who is sent to recover the money; and Ed Tom Bell, a sheriff investigating the crime.
After failing to get an adaptation of To the White Sea, the Coens agreed to write and direct the film when Scott Rudin approached them, having identified with how it provided a sense of place and also how it played with genre conventions. The script was mostly faithful to the source material. On their writing process, Ethan said, "One of us types into the computer while the other holds the spine of the book open flat." The Coens minimized the score used in the film, leaving large sections devoid of music. The concept was Ethan's, who persuaded a skeptical Joel to go with the idea.
Coincidentally, Paul Thomas Anderson’s film There Will Be Blood was being shot in Marfa simultaneously. The Coen brothers were actually forced to scrap an entire day of filming for their film when preparations for the oil derrick scene in There Will Be Blood nearby produced enough smoke to ruin all potential scenes.
The film had a strong debut in limited release, earning $1,226,333 from just 28 theaters. It slowly expanded and had strong holds. Domestically, it finished with $74 million, and it was even bigger overseas, hitting $171 million worldwide, becoming their highest grossing film. Reception was unanimously acclaimed, and some have pointed that the film might be their best film, as well as one of the best films ever made. At the 80th Academy Awards, the film received 8 nominations and won four: Best Supporting Actor for Javier Bardem, and Best Adapted Screenplay, Best Director and Best Picture for the Coens.

Budget: $25,000,000.
Domestic gross: $74,283,625.
Worldwide gross: $171,627,740.

Burn After Reading (2008)

"Intelligence is relative."
Their 13th film. It stars George Clooney, Frances McDormand, John Malkovich, Tilda Swinton, Richard Jenkins, and Brad Pitt. It follows a recently jobless CIA analyst, Osbourne Cox, whose misplaced memoirs are found by a pair of dimwitted gym employees. When they mistake the memoirs for classified government documents, they undergo a series of misadventures in an attempt to profit from their find.
The Coens compared the film to the Allen Drury political novel Advise and Consent and called it "our version of a Tony Scott/Jason Bourne kind of movie, without the explosions." Joel said that they intended to create a spy film because "we hadn't done one before", but feels that the final result was more of a character-driven film than a spy story.
The film received a positive response for its humor. The big surprise was at the box office, however; it debuted with $19 million, becoming their highest grossing opening weekend and their first film to open at #1. It closed with $60 million domestically and $163 million worldwide, a damn great result.

Budget: $37,000,000.
Domestic gross: $60,355,347.
Worldwide gross: $163,728,902.

A Serious Man (2009)

"...Seriously!"
Their 14th film. Set in 1967, the film stars Michael Stuhlbarg as a Minnesotan Jewish man whose life crumbles both professionally and personally, leading him to questions about his faith.
The Coens themselves stated that the "germ" of the story was a rabbi from their adolescence: a "mysterious figure" who had a private conversation with each student at the conclusion of their religious education. Ethan said that it seemed appropriate to open the film with a Yiddish folk tale, but as the brothers did not know any suitable ones, they wrote their own.
The film received critical acclaim, and some commented on the link between the film and the Biblical Book of Job. It also recouped its budget at the box office. It received two Oscar nominations for Best Original Screenplay and Best Picture.

Budget: $7,000,000.
Domestic gross: $9,228,768.
Worldwide gross: $31,430,334.

True Grit (2010)

"Punishment comes one way or another."
Their 15th film. Based on Charles Portis' novel, it stars Jeff Bridges, Hailee Steinfeld, Matt Damon, Josh Brolin, and Barry Pepper. The film follows 14-year-old farm girl Mattie Ross, who hires Deputy U.S. Marshal Reuben J. "Rooster" Cogburn, a boozy, trigger-happy lawman to go after an outlaw named Tom Chaney who has murdered her father. The bickering duo are accompanied on their quest by a Texas Ranger named LaBoeuf who has been tracking Chaney for killing a Texas state senator. As the three embark on a dangerous adventure, they each have their "grit" tested in various ways.
The book was previously adapted into a 1969 film starring John Wayne (who won his first and only Oscar for it). The Coens said they wanted to make a more faithful adaptation, as the original film heavily deviated from the book. In particular, they wanted to explore more of Mattie, making it a priority at the moment of writing. Steinfeld, then age 13, was selected for the role from a pool of 15,000 applicants. Ethan said, "It was, as you can probably imagine, the source of a lot of anxiety. We were aware if the kid doesn't work, there's no movie".
The film received critical acclaim, widely considered superior to the original film. At the box office, it benefitted from the holidays and earned $252 million worldwide, becoming their highest grossing film ever. It received 10 Oscar nominations, including Best Picture, but it failed to win a single award.

Budget: $35,000,000.
Domestic gross: $171,243,005.
Worldwide gross: $252,276,927.

Inside Llewyn Davis (2013)

Their 16th film. It stars Oscar Isaac, Carey Mulligan, John Goodman, Garrett Hedlund, F. Murray Abraham, Justin Timberlake and Adam Driver. Set in 1961, the film follows one week in the life of Llewyn Davis, a folk singer struggling to achieve musical success while keeping his life in order.
Well before writing the script, the Coens began with a single idea, of Dave Van Ronk being beaten up outside of Gerde's Folk City in the Village. The filmmakers employed the image in the opening scenes, then periodically returned to the project over the next couple of years to expand the story using a fictional character. Joel felt there wasn't much of a plot, so they decided to add the cat for help.
Like their previous films, it received universal acclaim and has been ranked among their greatest works. It also earned $33 million, becoming another box office success for the Coens.

Budget: $11,000,000.
Domestic gross: $13,235,319.
Worldwide gross: $32,960,249.

Hail, Caesar! (2016)

"Lights. Camera. Abduction."
Their 17th film. It stars Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Frances McDormand, Tilda Swinton, Channing Tatum, and Michael Gambon. It is a fictional story that follows the real-life studio fixer Eddie Mannix, working in the Hollywood film industry in the 1950s, trying to discover what happened to a star actor during the filming of a biblical epic.
In 1999, the Coens approached Clooney over a new project. The film was originally going to follow "a troupe of actors in the 1920s putting on a play about ancient Rome", with the focus on a matinée idol. Clooney was to play the main character, "a hammy actor with a pencil mustache". But the project was just an idea, and the script didn't start until the 2010s.
The film received a positive response from critics, but a more negative response from audiences. Nevertheless, the film earned $63 million, recouping its budget.

Budget: $22,000,000.
Domestic gross: $30,498,085.
Worldwide gross: $63,945,241.

The Ballad of Buster Scruggs (2018)

"Stories live forever. People don't."
Their 18th film. It stars Tim Blake Nelson, Tyne Daly, James Franco, Brendan Gleeson, Bill Heck, Grainger Hines, Zoe Kazan, Harry Melling, Liam Neeson, Jonjo O'Neill, Chelcie Ross, Saul Rubinek, and Tom Waits, and features six vignettes set on the American frontier.
Originally starting as a TV show, it was based on Western-themed short stories, some of which were written by the Coens over a period of 20 to 25 years that vary in mood and subject. As they developed it, they decided to turn it into an anthology film.
As the film was released on Netflix, there are no box office numbers available. It received positive reviews, and the song "When a Cowboy Trades His Spurs for Wings" was nominated for Best Original Song at the Oscars.

The Tragedy of Macbeth (2021)

Joel's 19th film. Based on the play by William Shakespeare, it stars Denzel Washington, Frances McDormand, Bertie Carvel, Alex Hassell, Corey Hawkins, Harry Melling, Kathryn Hunter, and Brendan Gleeson.
It's notable for being the first project directed solely by one brother. You'll point out their earliest films, but remember that Ethan was simply uncredited due to DGA rules. Carter Burwell said that it was because Ethan was not interested in films, but Joel explained that it was solely because Ethan was more focused on theater.
As it had a very limited release by A24, it went to stream on Apple TV+ after a few weeks, so there are no box office numbers. It received critical acclaim, and Washington was nominated for Best Actor at the Oscars.

The Future

Ethan had just recently released his first film without his brother, Drive-Away Dolls. As it's only two days old, we won't discuss this here for now. He's also currently working on a new film, Honey Don't!, which will star Margaret Qualley, Aubrey Plaza and Chris Evans.
But despite making separate films, the Coens are reuniting with a new film, only described as a horror film.

Other Projects

While known as a director-writer duo, they've also made scripts for films they never directed. Some include Crimewave, Bad Santa, A Simple Noodle Story, Gambit, Unbroken, Bridge of Spies and Suburbicon. It should be noted, however, that most of these were rewritten after the Coens left the projects.

MOVIES (FROM HIGHEST GROSSING TO LEAST GROSSING)

No.	Movie	Year	Studio	Domestic Total	Overseas Total	Worldwide Total	Budget
1	True Grit	2010	Paramount	$171,243,005	$81,033,922	$252,276,927	$35M
2	No Country for Old Men	2007	Miramax / Paramount	$74,283,625	$97,344,115	$171,627,740	$25M
3	Burn After Reading	2008	Focus Features	$60,355,347	$103,373,555	$163,728,902	$37M
4	Intolerable Cruelty	2003	Universal	$35,327,628	$85,473,615	$120,801,243	$60M
5	The Ladykillers	2004	Disney	$39,799,191	$36,866,000	$76,665,191	$35M
6	O Brother, Where Art Thou?	2000	Disney / Universal	$45,512,588	$26,358,141	$71,870,729	$26M
7	Hail, Caesar!	2016	Universal	$30,498,085	$33,447,156	$63,945,241	$22M
8	Fargo	1996	Gramercy	$24,611,975	$36,000,000	$60,611,975	$7M
9	The Big Lebowski	1998	Gramercy	$19,301,403	$28,756,022	$48,057,425	$15M
10	Inside Llewyn Davis	2013	CBS Films	$13,235,319	$19,724,930	$32,960,249	$11M
11	A Serious Man	2009	Focus Features	$9,228,768	$22,201,566	$31,430,334	$7M
12	Raising Arizona	1987	Fox	$22,847,564	$6,332,716	$29,180,280	$5M
13	The Man Who Wasn't There	2001	USA Films	$7,504,257	$11,412,366	$18,916,623	$20M
14	The Hudsucker Proxy	1994	Warner Bros. / Universal	$2,816,518	$12,121,631	$14,938,149	$25M
15	Barton Fink	1991	Fox	$6,153,939	$0	$6,153,939	$9M
16	Miller's Crossing	1990	Fox	$5,080,409	$0	$5,080,409	$10M
17	Blood Simple	1984	Circle Films	$3,851,855	$377,259	$4,229,114	$1.5M

They made 19 films, but only 17 went to theaters. Across those 17 films, they have made $1,172,474,470 worldwide. That's $68,969,086 per movie.

The Verdict

Surprisingly reliable.
Very few of their films lost money, and the ones that didn't weren't completely catastrophic. Hell, their films even grow in subsequent years (like The Big Lebowski for example). Particularly impressive considering they don't sacrifice their vision (people will point out Intolerable Cruelty but that film still has its charms). They managed to create masterpieces and some of cinema's most iconic characters and catchphrases. And for those who say otherwise... yeah, well, you know, that's just like uh... your opinion, man.
Hope you liked this edition. You can find this and more in the wiki for this section.
The next director will be Bryan Singer. This is gonna be tough to write; how can I write about his achievements when there's the elephant in the room?
I asked you to choose who else should be in the run and the comment with the most upvotes would be chosen. Well, we'll later talk about... Spike Lee. Hell yeah.
This is the schedule for the following four:

Week	Director	Reasoning
February 26-March 3	Bryan Singer	A tough one to write.
March 4-10	Kathryn Bigelow	Any Strange Days fan here? Hello?
March 11-17	M. Night Shyamalan	There's no adaptation in Ba Sing Se.
March 18-24	Spike Lee	Is he really to blame for the lame Oldboy remake?

Who should be next after Lee? That's up to you.

submitted by SanderSo47 to boxoffice [link] [comments]

2024.02.16 12:15 CP4-Throwaway Musical Decades (1980s-2010s)

The 1980s Musical era

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Complete Timeframe: 1977 - 1995
Bookends:
Start = 1977 - The rise of New Wave
End = 1995 - Remotely '80s sounding songs were completely out of the limelight
First roots: 1977 - 1978
This was pretty much when new wave as a genre was building up in the UK after breaking away from original punk music during that time. Not much else to say for this period in my honest opinion as I admittedly have very limited knowledge about this.
Prelude: 1979 - 1981
The death of Sid Vicious essentially killed the original punk movement and the genre would go through a change. New Wave and synthpop had really exploded as a genre in the UK and even made its way to the US with hits like "My Sharona", "Cars", "Pop Muzik", "Video Killed The Radio Star", "Working for the Weekend", etc. Disco Demolition Night led to the beginning of the end for disco music and post-disco would sort of rise in its place. Michael Jackson officially made his solo debut away from the Jackson 5 identity with Off The Wall. This was a big moment in his career.
Golden age: 1982 - 1985
This was not only considered to be the best period for '80s music but it's also considered to be the greatest period for music of all time. New wave was still around but now diluted into other genres like synthpop, power pop, alternative dance, etc., but it still sounded fresh, and this period served to have some of the most timeless hits imaginable that is still remembered today. Generation X praise this period the most as their formative years with the best music in the same way that Millennials praise the Y2K era and Zoomers at this moment praise the Electropop era (although I feel like they will soon praise the latter half of the 10's in a similar way). Michael Jackson would officially become the 'King of Pop' that we know him as in this period with his most iconic album Thriller breaking chart records, and that is considered to be the greatest album of all time. You also had acts like Prince, Cyndi Lauper, Madonna, Lionel Richie, Tina Turner, Hall & Oates, etc. either rise to prominence, dominate, or make a comeback in this era. This was also the peak of "one-hit wonders".
Experimental period: 1986 - 1988
Music started to go through a change as genres like new jack swing, power ballads, and hair metal would take prominence over the established synthpop and new wave (which had at this point been completely meshed with other genres that it's not even really what it is anymore) genres. You saw acts like Whitney Houston, U2, Bon Jovi, Guns N' Roses, Rick Astley, Kylie Minogue, etc. rise to prominence. You also had Michael Jackson, Prince, Madonna, and George Michael still dominate in this period as well. IMO, this was probably the worst period for music when it comes to the '80s specifically but it still had its many positives.
Decline: 1989 - 1991
This was the peak of teen pop and new jack swing as well as hair metal still dominating the charts. Music still sounded very '80s for the most part but you could tell that the decade was quickly going away. You had acts like Bobby Brown, Paula Abdul, New Kids on the Block, Roxette, Color Me Badd, Milli Vanilli, MC Hammer, Vanilla Ice, etc. all share their time in the spotlight during this period.
Washing-out period: 1992 - 1995
As grunge, gangsta rap, and other '90s-defining genres took center-stage, the remaining '80s genres like hair metal and power ballads would quickly fall into irrelevancy. New jack swing sounded a lot different than what it once was and quickly evolved into something else. '80s sounding hits were still fairly common in 1992 but it rapidly die out in the following years.
My overall musical '90s bookends
Start: Late 1981 - The launch of MTV, the releases of Olivia Newton-John's hit single "Physical" and The Human League's hit single "Don't You Want Me", and "Physical" hitting #1 on the Billboard charts.
End: Mid 1991 - Bryan Adams' hit single "(Everything I Do) I Do It for You" peaks at #1 on the Billboard charts, one of the last genuinely '80s-sounding songs to do so.
First wave: Late 1981 - Mid 1985
Late 1985 - Mid 1986 is transitional
Second wave: Late 1986 - Mid 1991
When I think music overall started to sound more '80s: sometime around Late 1981/Early 1982

The 1990s Musical era

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Complete Timeframe: 1986 - 2006
Bookends:
Start = 1986 - Run DMC's Raising Hell album and Beastie Boys Licensed to III album
End = 2005 - Last time Backstreet Boys were in the mainstream with their Never Gone album and arguably Green Day and Mariah Carey's returned popularity in mainstream music (although these may be a stretch as they were just as popular in the '00s as they were in the '90s, despite that being their peak decades)
First roots: 1986 - 1988
The first stages of '90s music with new jack swing starting to get popular as well as rap rock. Those genres were very '80s at the time but they were to some extent a precursor of the type of music you would see in the '90s, especially in the underground movements with grunge starting to form as well. One of the more defining albums of this period that was sort of "proto-'90s" was NWA's Straight Outta Compton album.
Prelude: 1989 - 1991
Music was mostly still stuck in its late '80s phase with new jack swing and glam metal being the two dominant genres but you also had golden age hip-hop being prominent with acts like NWA, Ice-T, Public Enemy, etc. (acts who are arguably more '80s than '90s overall but still paved the way for the '90s hip-hop movements). Plus, grunge was starting to break mainstream with Nirvana's Bleach album. House music would also start to take off in this period and you had acts like MC Hammer and Vanilla Ice who would truly break hip-hop into the mainstream (although they were distinctly 1990 acts and only fit into this late '80sish environment). You also saw some major debuts for '90s-defining artists like Mariah Carey and Boyz II Men.
Coming of age: 1992 - 1994
The '90s era of music was in motion now as grunge had truly broke into the mainstream. This is the grunge era of music as acts like Alice In Chains, Nirvana, Pearl Jam, Stone Temple Pilots, Soundgarden, etc. would be the most prominent rock bands of the day, completely overtaking what was left of glam metal. Similar to their white counterparts, you also saw a shift in black culture as new jack swing was getting overtaken by R&B, hip-hop soul, and more importantly gangsta rap thanks to the ascent of guys like Dr. Dre and Snoop Dogg. Not only that, but you also saw the explosion of eurodance.
Apex: 1995 - 1997
After the death of Kurt Cobain and ascent of the Notorious B.I.G., there was a noticeable change in music at this point as grunge was still around but would get overtaken by or blended in with post-grunge, East Coast hip-hop started to rival that of G-Funk, and genres roots, britpop, pop-punk, ska, and alternative rock would take the forefront of popular music along with eurodance. This was the peak of acts like TLC, 2Pac, Green Day, Oasis, Bone Thugs n' Harmony, Hootie and the Blowfish, Alanis Morissette, etc. In Europe, teen pop was already starting with acts like Robyn, Spice Girls, Backstreet Boys, and NSYNC.
Reboot: 1998 - 2001
This was the era of bubblegum teenybopper pop music taking the forefront with acts like Backstreet Boys, NSYNC, Britney Spears, Christina Aguilera, etc., but you also had post-grunge take over rock music along with nu-metal as grunge music was completely dead. The East Coast v. West Coast feud was a bygone era after the deaths of 2Pac and Biggie as the East Coast scene is now at the forefront of hip-hop. Country pop also rose to prominence in this time as well as Latin pop. This was a golden age for pop music.
Washing-out period: 2002-2006
This was the last remnants of '90s music still being around. Teen pop was pretty much dead, nu-metal was on its last legs, pop-punk started to get emo-ish, urban and "bling bling" music was at the forefront of popular music along with crunk. There were still some '90s sounding hits in mainstream music until around 2004, maybe 2005 at the latest. I mark 2005 or 2006 as the official end of the '90s musical era completely because you saw the return of some '90s acts like Backstreet Boys, Green Day, and Mariah Carey back into the mainstream, which would be the last time this was so. And you still had a sort of "gangsta rap" feel in hip-hop to some extent as well as some obscure Y2K songs in other countries.
My overall musical '90s bookends
Start: Late 1991 - The release of Nirvana's Nevermind album and Michael Jackson's Dangerous album, and Freddie Mercury's death.
End: Early 2002 - NSYNC's last concert and eventual hiatus, pretty much ending the teen pop movement of the late '90s.
First wave: Late 1991 - Mid 1996
Second wave: Late 1996 - Early 2002
When I think music overall started to sound more '90s: sometime around Late 1991/Early 1992

The 2000s Musical era

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Complete Timeframe: 1996 - 2015
Bookends:
Start = 1996 - The release of Aaliyah's One in a Million album, Blackstreet's "No Diggity", and Ginuwine's "Pony" hits
End = 2015 - The last time there was probably any form of electropop music still somewhat popular
First roots: 1996 - 1998
You started hearing songs that were a lot more modern-sounding and more cleanly produced over songs from years prior. Some examples would be the aforementioned hits along with "You Make Me Wanna" and "Back Dat Azz Up". Southern hip-hop was starting to rise in popularity with Outkast, and "bling" music was born in this period thanks to guys like Puff Daddy & Mase. A lot of things that happened in this period paved the way for the new millennium.
Prelude: 1999 - 2002
You saw the rise of acts like Eminem, Britney Spears, Ja Rule, Jennifer Lopez, Christina Aguilera, 3 Doors Down, etc., who would dominate during the 2000s decade. Glam rap was beginning to get popular around this time and post-grunge was also starting to get a bit less "grungy" and sound more of what we know of today as "butt rock". Pop-punk would really start to rise in this period and nu-metal was at its peak thanks to acts like Korn, Limp Bizkit, Slipknot, and Linkin Park to name a few. You also saw garage rock begin to get popular around this time with acts like The Strokes and The White Stripes.
Explosion: 2003 - 2005
This was the era where crunk and "bling bling" rap (or hip-hop in general) was at the forefront of popular music, along with pop rock, Crunk&B, garage rock, and eventually emo and reggae. Acts like 50 Cent, Lil Jon, Usher, Good Charlotte, Avril Lavigne, Kanye West, Beyoncé, etc., either broke out or were in their peak of their careers during this time.
Overhaul: 2006 - 2008
This was a transitional period in a way where pop music started to incorporate more electronic synths and EDM to sound more futuristic. Timbaland was the most prominent producer during this time. Hip-hop started to fade away during this time as the genre was essentially bastardized as autotune was used in rap songs (i.e. T-Pain) and ringtone rap was the most popular during this time along with crunk still being somewhat relevant. This was the peak of emo right before it would quickly evolve into scene as the genre would quickly fall out of favor. The most prominent acts of this time were Chris Brown, Rihanna, Justin Timberlake, Nelly Furtado, Fergie, Natasha Bedingfield, etc.
Echo: 2009 - 2012
This was the club boom era where the most prominent genre of music was electronic dance pop which was generally a lot brighter than the typical genres of the 2000s, but it was a sort of distraction to what was really going in the world as we were dealing with a major recession. You would see the death of traditional rock music like post-grunge and pop-punk in this period, country music would get somewhat popular again, and other genres like EDM and dubstep would rise into popularity during this time. The most prominent acts were Katy Perry, Lady Gaga, Ke$ha, Bruno Mars, Drake, Nicki Minaj, Lil Wayne, Flo Rida, Pitbull, Usher, Ne-Yo, David Guetta, etc.
Death: 2013 - 2015
This was the last time you saw songs that either remotely sounded '00s or reflected that of the club boom, which was quickly losing relevance in favor of a teen pop renaissance, EDM, hipster music, and trap.
My overall musical '00s bookends
Start: Late 2002 or Early 2003 - The releases of Christina Aguilera's Stripped, Justin Timberlake's Justified album (which were clear breakaways from teen pop), Eminem's 8 Mile soundtrack, Lil Jon & the East Side Boyz's Kings of Crunk album, and 50 Cent's Get Rich or Die Tryin' album.
End: Mid 2010 - The release of Katy Perry's Teenage Dream album.
First wave: Late 2002/Early 2003 - Mid 2006
Second wave: Late 2006 - Mid 2010
When I think music overall started to sound more '00s: probably sometime around Mid-Late 2001

The 2010s Musical era

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Complete Timeframe: 2006 - present (will probably die within the next 1-2 years or maybe even this year)
Bookends:
Start = 2006 - The release of Justin Timberlake's "SexyBack", paving the way for the electropop sound.
End = To be determined
First roots: 2006-2007
Electropop music had its roots in this period, mainly with Timbaland and acts like Justin Timberlake, Keri Hilson, Nelly Furtado, Kanye West, Rihanna, and Britney Spears. A lot of their songs sounded close to something that you'd hear in the electropop era, especially with the latter half of the aforementioned musicians.
Prelude: 2008-2011
This was where the club boom rose to prominence but '10s music in general hadn't really taken over yet. Many '00s-defining genres were being knocked off but electropop music was mostly still too electronic for the '10s. You had acts like Justin Bieber, Drake, Nicki Minaj, Katy Perry, Lady Gaga, Bruno Mars, Ke$ha, Adele, etc. begin their mainstream careers in this period.
Explosion: 2012-2015
Not only did you have the club boom but you also had indie/folk (a.k.a. hipster) music rise to prominence, and this was the golden age of EDM with acts like Calvin Harris, DJ Snake, Swedish House Mafia, Avicii, Zedd, etc. Teen pop had a resurgence with acts like Carly Rae Jepsen, The Wanted, One Direction, Selena Gomez, Demi Lovato, Becky G, Tinashe, Little Mix, Fifth Harmony, etc. Trap rose to prominence as well as mumble rap.
Continuation: 2016-2018
EDM continued to dominate but now it merged with pop music so the genre became very "long in the tooth" and watered down. This was the peak of trap and Soundcloud music as well as mumble rap. Acts like Drake, Migos, Lil Uzi Vert, Lil Yachty, Kodak Black, 21 Savage, Post Malone, XXXTentacion, etc. were very prominent in this period. Tropical House had a little bit of mainstream success thanks to Justin Bieber's Purpose album. Pop music was still pretty popular with the likes of Ed Sheeran, Shawn Mendes, and Ariana Grande.
Decline: 2019-2021
'10s music was starting to decline as TikTok-sounding music started to take over. You had acts like Da Baby, Lizzo, Megan Thee Stallion, Lil Nas X, Doja Cat, etc., rise to prominence. Trap was still a dominant genre and this was arguably the prime of drill music in the mainstream, this time mainly surrounding the NYC scene (some would call this "fake drill" as it sounded less like the real version from the UK and Chicago scenes), and Soundcloud rap was in rapid decline after the deaths of XXXTentacion and Juice WRLD. Retro-themed music started to make a comeback thanks to The Weeknd and Dua Lipa.
Death: 2022-present
The last signs of 2010s music in this period. It doesn't seem like it's going away right now but it actually is. Trap, one of the most noticeable mainstays of 2010s music in this decade, is truly dying out now. Some other genres from that decade are also fading away. But everything about this period is tentative.
My overall musical '10s bookends
Start: Late 2010 - The popularity of Katy Perry's Teenage Dream album and when popular music overall started to sound more '10s.
End: Tentative but I would guess either Mid/Late 2019 when TikTok music started to rise to prominence or Early/Mid 2021 when music seemed to noticeably shift a little bit with the pop punk comeback.
First wave: Late 2010 - Mid 2015
Second wave: Late 2015 - Mid/Late 2019 or Early/Mid 2021
When I think music overall started to sound more '10s: approximately Late 2010/Early 2011

Here's an alternative way of defining these musical eras:
Main Overall musical eras, based on transitional/core decades
I can't definitively speak on previous eras of music but once I cover it, I'll potentially revise this list.

Core '80s (or Power Pop era): roughly 1983/1984 through 1988
Neon era (or the 'Neighties'): roughly 1989 through 1992
Core '90s (or Alternative era): roughly 1993 through 1997
Y2K era (or Millennium era): roughly 1998 through 2002
Core '00s era (or McBling era): roughly 2003 through 2008
Electropop era (or Recession era): roughly 2009 through 2012
Core '10s era (or EDM era): roughly 2013 through 2018
CovidTok era (or Retropop era): roughly 2019 through 2022

Transitional/core eras of music

Live 81 era (transition from the Post-Disco era to the Power Pop era of music): roughly Fall 1981 through Spring 1984 (give/take a season)
- The synopsis for this transitional period
Core Power Pop era: roughly Summer 1984 through Spring 1987 (give/take a season)
Live 87 era (transition from the Power Pop era to the Neon era of music): roughly Summer 1987 through Spring 1990 (give/take a season)
- The synopsis for this transitional period
Core Neon era: roughly Summer 1990 through Summer 1991 (give/take a season)
Live 91 era (transition from the Neon era to the R&B era of music, a.k.a. the Grunge era): roughly Fall 1991 through Spring 1994 (give/take a season)
- The synopsis for this transitional period
Core Alternative era: roughly Summer 1994 through Summer 1996 (give/take a season)
Live 97 era (transition from the Alternative era to the Y2K era of music): roughly Fall 1996 through Spring 1999 (give/take a season)
- The synopsis for this transitional period
Core Y2K era: roughly Summer 1999 through Spring 2001 (give/take a season)
2K1 era (transition from the Y2K era to the McBling era of music): roughly Summer 2001 through Spring 2004 (give/take a season)
- The synopsis for this transitional period
Core McBling era (a.k.a. the Emo era): roughly Summer 2004 through Spring 2007 (give/take a season)
2K7 era (transition from the McBling era to the Electropop era of music): roughly Summer 2007 through Spring 2010 (give/take a season)
- The synopsis for this transitional period
Core Electropop era: roughly Summer 2010 through Summer 2011 (give/take a season)
2K12 era (transition from the Electropop era to the EDM era of music, a.k.a. the Dubstep/indie folk era): roughly Fall 2011 to Summer 2014 (give/take a season)
- The synopsis for this transitional period
Core EDM era: roughly Fall 2014 through Spring 2017 (give/take a season)
2K18 era (transition from the EDM era to CovidTok era of music, a.k.a. the Trap era): roughly Summer 2017 to Spring 2020 (give/take a season)
- The synopsis for this transitional period
Core CovidTok era: roughly Summer 2020 through Summer 2021 (give/take a season)
2K22 era (transition from CovidTok era to the emerging Core '20s era of music, not sure what to call that): Fall 2021 to now (don't know when it will end, but probably within the next few months; will do a post later on the 2021-2024 era of music, once this year comes closer to ending)

Full musical eras

Full Core '80s era: approximately Fall 1981 through Spring 1990 (give/take a season)
Full Neon era: approximately Summer 1987 through Spring 1994 (give/take a season)
Full Core '90s era: roughly Fall 1991 through Spring 1999 (give/take a season)
Full Y2K era: roughly Fall 1996 through Spring 2004 (give/take a season)
Full Core '00s era: roughly Summer 2001 through Spring 2010 (give/take a season)
Full Electropop era: roughly Summer 2007 through Spring 2014 (give/take a season)
Full Core '10s era: roughly Fall 2011 through Spring 2020 (give/take a season)
Full CovidTok era: roughly Summer 2017 through sometime in 2024 (give/take a season)

Quintessential years of each musical era:

Live 81 era: 1983
Core '80s/Power Pop era: 1986
Live 87 era: 1988
Neon era: 1991
Live 91 era: 1993
Core '90s/Alternative era: 1995
Live 97 era: 1998
Y2K/Millennium era: 2000
2K1 era: 2003
Core '00s/McBling era: 2006
2K7 era: 2008
Electropop/Recession era: 2011
2K12 era: 2013
Core '10s/EDM era: 2016
2K18 era: 2019
CovidTok era: 2021

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