#Mike Baez

[redlettermediathings]

[opheliaintherushes]

Look, I am grieving the new Dylan biopic trailer, can everyone stop being antisemitic on this website for five minutes?

[sgt-celestial]

EVERYONE SAY GOODBYE TO MY OLD PERSON WALL

[krispyweiss]

Book Review: “Drums & Demons: The Tragic Journey of Jim Gordon” by Joel Selvin

Tortured by his own brain and barely functioning, Jim Gordon still found comfort in music and by 1983 was playing in dingy clubs with a band called the Blue Monkeys.

The gigs were Gordon’s only normalcy in his world of deepening mental illness.

This moment before things fell apart serves as author Joel Selvin’s introduction to the drummer, who had once been the go-to session man in Los Angeles and was a former member of Derek & the Dominos and Traffic.

“Everybody knows how this story ends,” Selvin writes in the first chapter of “Drums & Demons: The Tragic Journey of Jim Gordon.” It ends, of course, with the drummer murdering his mother, Osa Gordon, in 1983 after a career that established Jim Gordon as one of the most revered drummers in rock ‘n’ roll history.

Gordon’s tale is that of a gut-wrenching struggle with mental illness and stuff-of-dreams musical triumphs that veteran music journalist Selvin tells from an omniscient point of view, in the way Bob Woodward writes his political tomes, with citation saved for the notes and bibliography of the 302-page book.

With cooperation from surviving family members and former colleagues like Jim Keltner, Eric Clapton, Mike Post and others, Selvin paints a sympathetic picture of the Wrecking Crew drummer who struggled against the voices in his head as he recorded and toured with the Everly Brothers, the Beach Boys, Gordon Lightfoot, Joan Baez, George Harrison, Frank Zappa and others between stints in the aforementioned bands with Clapton and Steve Winwood. But while Gordon tamped down his emerging schizophrenia enough to engage in musical success, he also decked his then-girlfriend Rita Coolidge while the pair were on the Mad Dogs & Englishmen tour, committed other troubling acts of violence against women and engaged in behavior, such as speaking to people who were not present during recording sessions, that concerned his friends and family even as it left them at a loss of what to do.

Gordon’s career slowly dissolved as the 1970s turned to the 1980s and his grasp of reality grew more and more tenuous. Hospital stays and stints in rehab were unsuccessful at muting the voices that ultimately directed Gordon to kill his mother.

When they did, he listened. Gordon went to Osa Gordon’s house and murdered her with a hammer and butcher knife before heading out for a night of drinking. Police arrested a distraught Gordon, who confessed, the next morning.

He was sentenced to life in prison. Selvin ends the story in 1993 when Gordon and his fellow inmates are watching Clapton pick up a Grammy for his unplugged version of “Layla,” which Gordon was credited with co-writing.

“I’ll be darned,” Gordon said.

A more-complete book would’ve at least touched on the intervening 30 years, Gordon’s life behind bars and his 2023 death at 77. That said, “Demons & Drums” is the most-complete book on Gordon the world is likely to get and is worth the read. For despite its mildly sycophantic tone, and Gordon’s oft-horrendous behavior, Selvin has served up not only Gordon’s story but a fascinating history of the evolution of drumming and the 1970s music scene.

Grade card: “Drums & Demons: The Tragic Journey of Jim Gordon” by Joel Selvin - B+

4/3/24

[mixtapemag]

NEWPORT FOLK FESTIVAL 2024 - SATURDAY.

Photos by Christopher Hall.

The Newport Folk Festival, the most important and enduring music festival in the United States, continued its 65th festival with a chill Saturday lineup.

Killer Mike played the festival for the first time, sharing songs from his latest Grammy winning album Michael.

Orville Peck was great on the Quad. This was the most surprising set of the weekend for me and the response was tremendous.

Joan Baez brought a huge crowd to the smallest stage at the festival - reading poems on the Bike Stage.

Katie Gavin previewed songs from her upcoming solo record with her MUNA bandmate Naomi McPherson on harmonies (which sounded heavenly).

Rhiannon Giddens played a lovely set midday at the Fort Stage.

Check out everything about Newport Folk Festival over here.

Christopher Hall posts over here. Warmer.

[got-ticket-to-ride]

hi sorry but do you have any soft mclennon moments to share too :') the post you made about 22 seconds of longing hurt oh my god

Sorry for the delay in reply anon. I'm actually just a corporate collar acting my way as a temporary secretary every hard day's night, jobbing like a dog, 8 days a week in an English garden to afford a tan in the rain.

Hope this finds you well! Here are 22 McLennon moments as compensation for Johnny's 22 agonizing seconds in the pining video.

1.) "I'm Happy Just to Dance with You" scene when they both looked at each other at the same time. And the director had to pan out the scene because it would've been too straight. I know dilated pupils when I see it.

2.) Inviting your favorite boy to a solo trip to Spain but you stayed in Paris because it was so romantic, sharing a bed, picking out clothes for each other, slurping all the banana shakes, you know normal roommate things according to historians.

3.) Getting a solo invitation from a hot photographer and bringing along your best boy because you are attached to the hip and can't be separated.

4.) Their need to constantly touch each other

5.) Scene in Help (1965), where John is using all his strength to carry George and Ringo's weight and not crush Paul (because boyfriend things)

6.) Holding hands for mental support during a recording. (John is needy, please forgive him)

7.) Walking Martha like a couple in 1967 - outfits coordinated and all

8.) Impressions by people who met them:

"[John and Paul] sort of had their own way of communicating. Hardly anything was spoken, they just knew what the other wanted or was getting at and they had the most amazing talent."

"He was like a different animal with Lennon. When they were together they became something else, more than just the two of them together. That communication was incredible. It was like two high-speed computers just fizzing between each other."

9.) John is hiding his cigarette behind him, because he doesn't want to bother Paul with the smoke. (You know, boyfriend things).

10.) A portrait, king and princess up front. John's thigh just casually resting on Paul's (yet again).

11.) The spider fingers during a press conference, because they are actually both 12

12.) That very flirty jam session in Austria in 1965 that was cut short, but they probably continued after anyway

13.) The way they talk about the day they met sounds like "how I met the love of my life" Happy Honeymoon <3

14.) Quote from Emerick

The lights in the studio were turned off to set the mood; the sole source of illumination was a table lamp next to the wall. The two beatles, lifelong friends and collaborators, sat on high stools, facing each other, studying each other’s lips intently for phrasing.

15.) When they answer each other's songs

Paul in Can't Buy Me Love: "If it makes you feel alright?"

John: "I Feel Fine"

17.) “I could even hear what they were saying off-mike; ‘Oh Paul, you’re so cute tonight’ was met with the reply, ‘Sod off, Lennon.’” — Joan Baez on accompanying the Beatles to their concert in Red Rocks Amphitheatre, Denver. 26 August 1964

18.) Paul looking at John like he wants to eat him later after finishing with "I'm a Loser"

19.) Giving instructions on how John's hair needs to "look"

20.) Paul acting as John's walking stick

21.) Paul's heart eyes during this 1966 conference (also that lip bite... eat you later?):

22.) John the worried boyfriend who checks on Paul in the middle of an interview and doesn't believe him when he just says : "oh, yeah..."

John internally: "come on now, why aren't you laughing at my joke babe? You're unwell!!!"

The Bottles over and out.

Thank you for this ask. This was quite fun! Would love to hear your thoughts too <3

[brucequeensteen]

dash simulator

mutual 1: [monkees spotify link] let's kill ourselves

mutual 2: [monkees spotify link] yaayyyy 😁 peace and love on planet earth ❤️

mutual 3: [monkees spotify link] peteeerrrrrr😭😭😭

mutual 4: that's not joan baez

mutual 5: [monkees spotify link] Mike when i fucking get you

mutual 6: [reblogging mutual 3's spotify link] #i think i huave covid

[kvetchlandia]

I Spent...

some time today looking at a few preview clips from James Mangold's "A Complete Unknown," his film about the young Bob Dylan. I have mixed feelings about Mangold as a director, but the few released clips look decent, so maybe the film, which is due out in December, will be OK (or even better than that, I hope). Anyway, Timothée Chalamet plays Dylan. Chalamet is a fine actor and the costume designers certainly got the look and style of the young Dylan down...although, imho, Chalamet isn't anywhere near as stunning looking as the young Dylan was. Dakota Fanning, who's also a fine actor, plays a fictitious character named Sylvie Russo. I guess the estate of Suze Rotolo wouldn't allow her name to be used in the film, but the Russo character seems to be a thinly disguised version of Rotolo. It'll be interesting to see how Mangold, not a very political director, handles the persona of a character based on Suze, a very political red-diaper baby, and a young woman whose politics were extremely influential on the young Dylan. Edward Norton as Pete Seeger seems like a stretch to me, but again, Norton's a good actor, so maybe he can pull it off? I don't know the actor who plays Joan Baez (Monica Barbaro). It's kinda weird that the film seems to have Al Kooper in it, but not Mike Bloomfield. Since Bloomfield was central to Dylan's going electric, that seems an odd decision, but I guess we shall see. I was happy to see that Mangold and Jay Cocks (his co-screenwriter) included Dave Van Ronk in the film. I mean, what's the Village folk scene of the early 60s without Dave? Just for fun, Mangold and Cocks also bring us Maria Muldaur, Bobby Neuwirth, Mavis Staples and (this oughtta be good) another fictitious character, Gena Rotolo, I'm assuming based upon Suze Rotolo's older sister, Carla, who Dylan hated and wrote quite scathingly about in his song "Ballad in Plain D." I guess all this is my way of saying that I now have something to keep on living for until December. I hope it's good.

[aquarianshift]

5, 30 and 48 for the fic writing asks please!

hi jav!

5. How many wips do you have? What fandoms/pairings are they for? if by wips you mean ones i'll never finish? i have a reader insert for it's always sunny (dead end), an audrey/dorothy bdsm fic for all creatures great and small (going nowhere), and a third part in my bob dylan/john/reader series (no legs). plus a j/p scifi-fantasy fic where john loses his dick. my only active wip is for the monkees, where mike nesmith and davy jones get beat up for being long haired weirdos.

30. How much do you edit your fics? Do you edit as you write, or wait until you finish the first draft? this is not a good thing, but what you see is mostly what you get. i do the bulk of editing in my head before i write. i get sort of married to certain turns of phrase and reluctant to change them. don't be like me.

48. Who is your favorite character to write for? Has this changed since you've started writing for that fandom? bob dylan all day. bd was my first venture into rpf and hes been the most fun to write since. there was a period where i liked writing john pov the most, because his inner monologue came easily to me, but as a yankee bob's dialect is the closest to my own. actually in that respect maybe i most prefer writing joan baez

[petoskeystones]

Favourite folk musician?

first off is the queen herself, joan baez, quaker icon and the real star of "dont look back" (TO ME).

and these guys! carrie fisher's ex husband and the actor who played nately in mike nichol's catch-22 (1970).

[theanticool]

Angelo Leo vs Mike Plania - 1-31-2024

Former super bantamweight champion Angelo Leo (23-1, 11 KOs) has been rebuilding his momentum after losing in his title fight against Steph Fulton back in 2021. He's won 3 straight since. He appears to want to be more of a finisher as he's gone up in weight to featherweight.

Leo will be on Pro Box over on YouTube this Wednesday (April 10) as he is set to face off with Eduardo Baez (23-5-2).

[tootern2345]

A gag drawing of Beavis & Butt-Head/MTV Animation producer, John Andrews as a pope by veteran NY Animator, Mike Baez and some tidbits of information

[briamichellewrites]

1

1998. Bria Michelle Johnson was the adopted daughter of investor, Chris Johnson and makeup designer, Rita Johnson. Together, their net worth was in the multi-billions. They spoiled their daughter with whatever she wanted growing up. She went to a boarding school in Switzerland where she was able to participate in their theatre program. They also paid for voice lessons, acting classes, piano and guitar lessons; and dance lessons. She learned ballet, jazz, and hip-hop.

With only three hundred students, the school was quite small. They knew that if given a chance, she would be on stage performing. Whether it was dancing during talent shows or performing in one of their plays or musicals. She often had the lead role because of her talents. Her parents tried to see her performances whenever they could.

At eighteen years old, she learned that her parents were killed in a car accident. A driver under the influence of drugs and alcohol crashed into their car at over a hundred miles an hour. They both died on impact. Because of their deaths, she was given everything. That included their house in Los Angeles, their apartment in Waldorf-Astoria, their car collection, a private plane, a house in the Hamptons, and a house in Middletown, New Jersey.

After graduating, she returned home to LA. She had nothing, as everything had to go through the probate court before it legally became hers. Her family’s attorney allowed her to live in the house until everything was settled. She could then sell or keep whatever she wanted. The house was her childhood home, so she wanted to keep it.

She was introduced to Brad Delson and Mike Shinoda by Jeff Blue, an A&R guy for Warner Music. He heard her demo and he had her come in for an audition. Once she was signed, he had her meet them. They introduced themselves to her. It’s nice to meet you. What kind of music was she looking to play? Indie folk or country. She wanted to tell stories like Bruce Springsteen. Even though she had grown up in Switzerland and LA.

Jeff had her play something for them, so she got a guitar that was lying around and picked it up. When she sang, they heard her voice. It sounded like nineteen-sixties folk rock. Maybe a little Johnny Cash or Joan Baez. When she was done, they clapped for her. Where did she learn how to sing? She had voice lessons in school. What school did she go to? She went to Saint George’s Boarding School in Switzerland. They had a performing arts program.

Boarding school? What was that like? It was an interesting experience. She guessed it was like college, except with more adult supervision. They laughed. What else did she learn? Did she take any music lessons or classes? She took piano lessons, dance classes, and acting classes. For dance, she took jazz, hip-hop, and ballet. It was a great way to work out.

She had to be on stage performing, even when she fell on her ass. They laughed. That happened once during a ballet recital. She got up, bowed, and then went back to the choreography. They wanted to help her with her album, so they invited her to join them. At the moment, they were using Mike’s in-home studio to make demos. They thought she would get along well with their band members. She thought it sounded like a cool idea, so she accepted their invitation.

Mike lived in a rented house with his college roommate, Joe Hahn. Together, they formed a band with Brad, Rob Bourdon, and Dave ‘Phoenix’ Farrell. They were currently looking for a lead singer after firing Mark Wakefield. He and Brad introduced her when she came over. The guys thought she was beautiful! Joe offered her a coke.

Yeah, thanks. They found she fit in perfectly with them. She could tolerate their sense of humor and she wasn’t afraid of being the only girl. Her long brown hair had been dyed black and cut short to her chin. It was hidden underneath a beanie. She had tights underneath shorts with an oversized Bon Jovi t-shirt and a plaid long-sleeve top. Dave asked if she was going grunge. She was feeling a little Seattle rock at the moment.

She was thinking of piercing the cartilage in her nose and getting a tattoo to honor her parents. What happened to them? They were killed by a driver under the influence of drugs and alcohol. I’m sorry. Thank you. She also wanted to adopt a kitten.

“Decisions. Decisions. What will you decide to do”, Rob joked.

“I don’t know. I’m indecisive. I’ve always wanted a cat but I’ve never been able to. It wouldn’t have been fair because I was at school.”

“Bria, get the cat”, Joe said.

“I might have to give into peer pressure.”

They laughed. Did she get the cat? She did! Woody was an eight-week-old brown and white domestic shorthair kitten. Everything about him was adorable! He meowed at her and pawed at her leg, making her crouch down to him. Hi, human! She said hello to him and scratched his little head. He got excited when he saw he was getting adopted. I’m going home! Meow. Meow.

They went to Petsmart to get everything he needed. He had a collar and a leash, which were required in the store. As they walked around, he looked at everything while in the cart. He was curious about everything! There was so much to see and smell and hear! There were humans everywhere! He wanted to say hello to them. Meow. Meow. Some of the workers stopped to say hello to him. Hi, human! I’m Woody! I got adopted today!

He wanted to play on the belt at the register, but Bria picked him up. She didn’t want his little paws getting smashed. When they got to the car, she put him back into his carrier before putting the purchases in the backseat. Yes, she had an assistant who usually did the shopping for her, but she wanted to do this herself. Nicole was hired by her mother to take over the day-to-day responsibilities.

She was a woman in her twenties who had recently moved to LA from New York. They also had a long-time housekeeper named, Rosita. She and her husband, Miguel immigrated from Mexico in 1990. They both loved Bria and her parents because they were so kind to them. Her parents gave them money when they needed help paying bills or expensive gifts. They were considered family to them. Bria was not a spoiled brat, despite her immense wealth.

She was taught to never look down on anyone and to always be thankful for what she had. Everything could be taken away from her at any moment. Woody had zero knowledge of that. He was involved in watching his human put everything together for him. His water and food bowls went into the kitchen. She filled up the bowl with water before setting it down. His litter box went into the laundry room.

His toys, bed, and cat tree went into the living room. He had everything a kitten could need and want. For the moment, he wanted to play. Bria went into the kitchen and found the takeout menus. She looked through them as she thought about where she wanted to order from. As she made up her mind, the phone rang. It was Dave. She invited him over and gave him her address. After hanging up, she ordered pizza to be delivered. She then went to the living room to play with Woody.

@zoeykaytesmom @feelingsofaithless @alina-dixon @fiickle-nia

[dollarbin]

Dollar Bin #1:

Joan Baez's Come from the Shadows

Joan Baez had a lot of options of where to go next in 1971.

She could elbow her way into the new female singer-songwriter space alongside Joni Mitchell, Sandy Denny and Carole King and kick some privileged male ass (Blue, The Northstar Grassman and the Ravens and Tapestry all came out in 71; Dylan and Young put out absolutely nothing).

She could shrug off that ridiculous challenge and compete with the blossoming Linda Ronstadt, turning songs by men into sexy, feminist anthems. Or she could play the dedicated wife to her jailed husband David. Finally, she could dump him and proudly sleep with strangers, all the while pining after Dylan.

Or she could just protest the damn war.

Come From The Shadows, which you can easily find in your local record store's dollar bin (that's what we will be doing in this blog: trolling through my hundreds of dollar bin records; thanks for reading!), has a cover which clearly announces that her priority is Protest.

Can you think of a less commercial and less self-promoting record cover? (I can: her husband David's painting of a funeral on her previous record, Blessed Are..., makes the cover of Self Portrait look like high art; the cover screams "don't buy me for kicks. I am an ugly bummer." Happily the double album is oddly full of light and joy.)

Come From The Shadows' cover photo of two elderly Vietnam protesters under arrest strikes a similarly confrontational tone, but this one isn't ugly. Instead, we know right off that we are either with Joan and her groovy octogenarian jailbirds, or we are pro-war. I'm obviously pro-Joan.

I wish I was in the room when this cover was discussed. Joe Salesperson must have choked on his pipe smoke while ordering a telegram that both begged and ordered Baez to put her pretty face on the cover instead. Somehow Baez had the chutzpah, clout and fierce determination to potentially doom her own record in the name of justice. And so we see these rain drenched hippies, who are matched on the reverse of the gatefold by a concise and angry essay from Joan herself, where she tells us, "in 1972 if you don't fight against a rotten thing you become a part of it." Sounds about right to me!

While we are at it, can you name one record cover by any other female artist before Court and Spark that does not focus on the woman's looks? (Damn, I just thought of one: Joni Mitchell's first record...). Anyway, Baez's cover (and the photo of her on the album's backside, in which she sports a reckless, can't be bothered haircut) manages to protest the war and female objectification at the same time.

But drop the needle on any battered, long-ignored, bargain bin copy of this record and everything gets way more complicated. Turns out that Baez had just about every goal possible in 1972, and all at the same time.

Prison Trilogy, the first track, is in keeping with her cover, as she protests the American prison system (not too surprising a topic given the fact that she'd married a guy, allegedly my mother's cousin's roommate at Stanford, who'd been in prison for refusing the draft). But Baez wrote it. Look out singer-songwriters, Joan's in the game! Songwriting wasn't entirely new for Baez; she'd written Song for David a few years before. But half the songs on this record are penned by Baez, by far her highest quota to date. None of her tracks here touch what Sandy, Joni or Carole had done in the preceding months, but they're all pretty good.

What's more, there's some weird stuff going on in her writing. She has a song about the crisis in Bangladesh and, as near as I can tell, she had nothing to do with George Harrison's male-centric benefit concert that had taken place at the end of 71. We know Stephen Stills was at that show, but was Joan? Stills, who doesn't belong as low down in Rock and Roll Hell as Mike Love but still shares the same zip code, spent the night of the Concert for Bangladesh backstage drunk and annoying everyone. He seems to have made that one of his specialties actually. Night of Hurricane found him demanding a whole room full of coke before he'd perform; and check him out in the bonus/rejected footage of The Last Waltz; it looks as though he is unaware of how one makes music. Anyway, was Baez riding the coattails of Harrison with her song about Bangladesh, or did she do this on her own and set the stage for the men to follow? Who knows!

Baez writes another song on this record that is straight-forwardly about sleeping around with some male stranger. There's nothing ambiguous about it; it's called Love Song to a Stranger and there's talk of him standing "nude by the mirror" while presenting her with a rose. A lovely image! I'll bet her husband would have loved hearing that one in the slammer. But he got out in 71, just before this came out, so I suppose she played it for him when he got home; hopefully the stranger had put on some pants by that point. I'm not passing any judgment here; it's a better approach than Clytemnestra took when Agamemnon walked in the door and I'm impressed with how bold and unapologetic Baez is here. We all know that non-males still get judged for being promiscuous while men still can get grinning props for the same thing. Happily, it turns out that Baez has been shouting at us from the dollar bin about this form of injustice for the past 51 years.

Growing up we had a copy of Diamonds and Rust, Baez huge hit record from a few years later. It was a relic of my mother's pre-motherhood life as a feminist who lived out the plot of 9 to 5 a full dozen years before that bizarro film was conceived. She also happened to have Kris Kristofferson as a cousin, which is endlessly cool. Anyway, the title track of Diamonds and Rust always struck me as a big deal because it's obviously written to and about Dylan, and it's intense. Well, it turns out Diamonds and Rust is the second (maybe there are more?) song Baez wrote directly to Dylan. Side 2 of Come From the Shadows keeps up her trend of obvious song naming; it's called To Bobby and it calls him out unambiguously for ditching The Movement to write songs about the man within himself whose ubiquitous brown coat appears on every cover instead of Joan's anti-war grandparents. Did Dylan listen to songs like this that are obviously about him? What was their conversation like when they next saw each other?

Bob: Hey Joanie, that's an intense song you wrote there. Who's it about?

Baez: You Bob. It's about you.

Bob: Gee wiz, Joanie. Just don't tell my wife, okay? I just wrote one called about you too. It's called Wigwam.

The songs on Come From The Shadows not written by Baez are an odd grab bag of moods. Baez out Ronstadts Linda by covering Imagine just an album after covering Let It Be. Both Baez covers are solid, with Baez sounding less strident than she can at times. But I'm guessing everyone on planet earth, including your great grandparents, had heard these tunes before Joan included them. We may scratch our heads at such obvious and seemingly redundant covers today, but keep in mind that for most of the listening public The Night They Drove Old Dixie Down was a song by Joan Baez.

Unlike Imagine and Let it Be, the album's very best track, Rainbow Road, didn't make its way into every progressive 70's summer camp songbook. My cool queer kids think it's a gay anthem - and it should be! Take a listen, and thanks for joining me in the Dollar Bin.

[ulkaralakbarova]

Slacker duo Beavis and Butt-Head wake to discover their TV has been stolen. Their search for a new one takes them on a clueless adventure across America, during which they manage to accidentally become America’s most wanted. Credits: TheMovieDb. Film Cast: Beavis / Butt-Head / Tom Anderson / Mr. Van Driessen / Principal McVicker (voice): Mike Judge Muddy Grimes (voice): Bruce Willis Dallas (voice): Demi Moore Old Woman On Plane And Bus (voice): Cloris Leachman Agent Flemming (voice): Robert Stack Agent Hurly (voice): Jacqueline Barba Flight Attendant / White House Tour Guide (voice): Pamela Blair Old Faithful Ranger / White House Press Secretary / Strategic Air Command Lieutenant (voice): Eric Bogosian Man on Plane / Man in Confession Booth / Old Guy / Jim (voice): Kristofor Brown Mötley Crüe Roadie #2 / Tourist Man (voice): Tony Darling Airplane Captain / White House Representative (voice): John Doman French Dignitary (voice): Francis Dumaurier Petrified Forest Recording (voice): Jim Flaherty TV Thief #2 / Concierge / Bellboy / Male TV Reporter (voice): Toby Huss Limo Driver / TV Thief / Man In Confession Booth / Forest Ranger: Sam Johnson Mötley Crüe Roadie (voice): David Letterman Tour Bus Driver (voice): Richard Linklater Flight Attendant #2 (voice): Rosemary McNamara Indian Dignitary (voice): Harsh Nayyar Announcer In Capital (voice): Karen Phillips President Clinton (voice): Dale Reeves Hoover Technician / General At Strategic Air Command (voice): Mike Ruschak Flight Attendant #3 / Female TV Reporter (voice): Gail Thomas ATF Agent Bork (voice): Greg Kinnear Additional Voices (voice): Tim Guinee Film Crew: Screenplay: Mike Judge Executive Producer: Van Toffler Author: Joe Stillman Animation Director: Yvette Kaplan Original Music Composer: John Frizzell Line Producer: Winnie Chaffee Executive Producer: David Gale Background Designer: Michael Rose Layout: Maurice Joyce Animation Manager: Mike Baez Art Department Manager: Bill Schwab Animation: Eun Sook Song Animation: Ilya Skorupsky Animation: Eugene Salandra Additional Writing: Brian Mulroney Layout: Dan Shefelman Visual Effects: Eric S. Calderon Art Department Manager: Brian Moyer Storyboard: John Rice Storyboard: Ray daSilva Animation: Yong Hwa Seo Background Designer: Edward Artinian Animation Director: Tony Kluck Layout: Meika Rouda Layout: Bill Moore Layout: Gloria De Ponte Animation Director: Chris Prynoski Art Department Manager: Jody Schaeffer Special Effects: Normand Rompré Layout: Siobhan Mullen Animation: Doug Crane Animation: Ben Price Editor: Dave Hughes Producer: Abby Terkuhle Producer: Michael Blakey Co-Producer: John Andrews 3D Supervisor: Claudia Katz 3D Animator: Scott Vanzo Sound: John Benson Sound Editor: John Bowen Supervising Sound Editor: Randle Akerson ADR Mixer: Bob Baron Sound Re-Recording Mixer: Anna Behlmer Sound Effects Editor: Ed Callahan Foley Editor: Linda Di Franco Foley Recordist: Neil Cedar ADR Editor: Joe Dorn Foley Artist: Ken Dufva Foley Artist: David Lee Fein Sound Recordist: Eric Friend Sound Editor: Scott G.G. Haller Sound: John Lunn Sound Effects Editor: Susan Kurtz Sound Effects Editor: Chuck Michael Sound Editor: Tony Pipitone Sound Recordist: Michael Ruschak Sound Recordist: Philip Rogers First Assistant Sound Editor: Paul O’Bryan Foley Artist: Sarah Monat Foley Artist: Robin Harlan Foley Recordist: David Jaunai Assistant Sound Editor: Dana LeBlanc Frankley Art Direction: Kye-Jeong Ahn Art Direction: Jeff Buckland Editor: Neil Lawrence Editor: Terry Kelley Editor: Gunter Glinka Director of Photography: David J. Miller Movie Reviews:

[albiclalepsza]

Btw here's top 10 songs ever (according to my dad):

10. Anna (Go To Him) - The Beatles

9. Streets of Philadelphia - Bruce Springsteen

8. She Is so Beautiful - Mike Scott

7. Every Grain Of Sand - Bob Dylan (specifically some version that he has saved on a CD in his car that I couldn't find on youtube when he asked me for it)

6. When We Were Young - Adele

5. Diamonds And Rust - Joan Baez

4. Oh! Darling - The Beatles

3. Streets of London - Ralph McTell

2. Señor (Tales of Yankee Power) - Bob Dylan

1. Walk of Life - Dire Straits