#jacob busch

[rosetonfm]

MWM and MWF over 25 please?!

sure   thing  ,  buttercup  !  for   men : rege-jean   page   ,   luke   newton   ,   logan   lerman   ,   mason   gooding   ,    oscar   isaac   ,   adam   brody ,    pedro   pascal   ,   idris   elba   ,   charles   melton   ,   jonathan   daviss   ,    rudy   pankow   ,   drew   starkey   ,   manny   jacinto   ,    cody   christian   ,   josh   hutcherson   ,   glen   powell   ,   chris   evans   ,   kiowa   gordon   ,   taylor   zakhar   -   perez   ,   nicholas   galitzine   ,   jacob   elordi   ,   keith   powers   ,   kofi   siriboe   ,   john   boyega   ,   lucien   laviscount   ,   theo   james   ,   paul   mescal   ,   &   lakeith   stanfield . for   women  :  madison     bailey     ,     jessica     alexander     ,      dina     denoire     ,     halle     bailey     ,     sandra     oh     ,     angela     basset     ,     kristen     bell     ,     leighton     meester     ,    minka     kelly     ,     alisha     boe     ,     madelyn     cline     ,     cindy   kimberly    ,     madison     beer     ,     kyle     verzosa     ,     daisy     edgar-jones     ,     camila     mendes     ,     jennie     kim     ,     anna     sawai     ,     ashton     wood     ,     amberly     yang     ,     helena     busch     ,     jasmine     tookes     ,     samantha     logan     ,     sabrina     carpenter     ,     ariana     grande     ,     khadijha     red     thunder     ,     christina     nadin     ,     margot     robbie     ,     laura     harrier     ,     lucy     liu     ,     priscilla   quintana   ,   greta   onieogou   ,   davika   hoorne   ,   nailea   devora   ,   hande   ercel   ,   ana   de   armas   ,   carlacia   grant   ,   sarah   shahi   ,   &   emeraude   toubia 

[byneddiedingo]

Lana Turner and John Garfield in The Postman Always Rings Twice (Tay Garnett, 1946)

Cast: Lana Turner, John Garfield, Cecil Kellaway, Hume Cronyn, Leon Ames, Audrey Totter, Alan Reed, Jeff York. Screenplay: Harry Ruskin, Niven Busch, based on a novel by James M. Cain. Cinematography: Sidney Wagner. Art direction: Randall Duell, Cedric Gibbons. Film editing: George White. Music: George Bassman.

It's one of the most memorable entrances in movies. Actually, her lipstick enters first, rolling across the floor toward him. She is Cora Smith and he is Frank Chambers, the man her husband has just hired to work in their roadside café/filling station. But more important, she is Lana Turner, one of the last of the products of the resources of the studio star factories: lighting, hair, makeup, wardrobe, and especially public relations. And he is John Garfield, one of the first of a new generation of Hollywood leading men, trained on the stage, and with an urban ethnicity about him: His vaguely presidential nom de théâtre thinly disguises his birth name, Jacob Julius Garfinkle. The pairing shouldn't work: She's a goddess, not an actress, whom the publicists had turned into "the Sweater Girl" while claiming that she had been discovered at a drugstore soda fountain. He was the child of Ukrainian-born Jews and grew up on the Lower East Side, trained as a boxer and studied acting with various disciples of Stanislavsky. But the chemistry is there from the moment Frank picks up Cora's lipstick and the camera surveys her from toe to head: white shoes, tan legs, white shorts, tan midriff, white halter top, blond hair, white turban. She reaches out her hand for the lipstick, but he doesn't move, so she comes over and gets it. It's one of the many power plays that will take place between them. The rest is one of the great film noirs, from a studio that didn't usually make them, MGM. In fact, the studio head, Louis B. Mayer, hated it, which is always a good recommendation: He hated Sunset Blvd. (Billy Wilder, 1950), too. (Mayer's tastes ran to Jeanette MacDonald-Nelson Eddy operettas and the Andy Hardy series.) It's the only really memorable movie directed by Tay Garnett, so I suspect a lot of credit goes to the screenwriters, Niven Busch and Harry Ruskin, and to their source, James M. Cain's overheated novel. Cain also wrote the novels that were the basis of two other famous noirs: Double Indemnity (Billy Wilder, 1944) and Mildred Pierce (Michael Curtiz, 1945), so the screenwriters and the director had some powerful examples to follow.

[brookstonalmanac]

Beer Events 2.19

Events

Adolphus Busch became a U.S. citizen (1869)

Kansas became 1st state to prohibit alcohol (1881)

Benjamin Jacobs patented a Hop-Shovel (1889)

Joseph Wright patented a Faucet and Attachments Therefor (1895)

Anchor Brewery all but destroyed by fire (San Francisco; 1934)

Edwin Dittrich patented Lauter Tubs (1957)

James Hough and Robert Ricketts patented Continuous Brewing (1963)

Eastenders debuted (1985)

Larry Bell sold his 1st beer (1985)

A Bud Light beer truck ran into a train (Decatur, Alabama; 1996)

Celis Brewery released Clint Eastwood's Pale Rider beer (1998)

Sapporo Breweries patented Barley Kernel Husk Evaluation (2008)

Pliny the Elder trademark registered (2008)

Pittsburgh Hofbrauhaus brewed their 1st batch of beer (Pennsylvania; 2009)

Breweries Opened

Action Beer Brewery (Germany; 1872)

Tsingtao (China; 1897)

Hofbrau Steaks Brewery (Texas; 1995)

McMenamins Crystal Ballroom Brewery (Oregon; 1997)

Rock Bottom San Jose (California; 1997)

Lavery Brewing (Pennsylvania; 2010)

East Cliff Brewing (California; 2016)

[whitepolaris]

Broadway and Grand

The unluckiest intersection in all of Oklahoma lies in the center of downtown Enid, two hours west of Tulsa. It has nothing to do with faulty traffic lights, traffic congestion, or unsuccessful business venture, mind you, but the fact that, over the span of forty-years, a total of five men, four of them law officers, were killed at this very spot.

The first was in 1895 when Marshal E. C. Williams was shot to death trying to break up a fight. R. W. Patterson, a government official, was scuffling at Broadway and Grand with J. L. Isenberg, publisher of the Enid Daily Wave, over a series of venomous articles that had appeared in the newspaper. Patterson, who was a registrar with the U.S. Land Office, published his legal notices in a competing paper. In retaliation, Isenberg began publishing scurrilous opinions and accusations concerning Patterson. After Isenberg accused him of infidelity, Patterson decided he had enough and punched Isenberg in the face.

About the time Marshal Williams arrived to break up the fight, Patterson pulled out a gun and starting shooting at Isenberg, who quickly ran into a nearby store. Williams pistol-whipped Patterson; Patterson shot the marshal just above his heart. Before the marshal collapsed, however, he took a shot at Patterson, striking him in the temple. Both Williams and Patterson died. Isenberg escaped and later moved to California.

Ten years later, in 1905, another Enid officer was killed at the same intersection. According to a newspaper report at the time, Deputy Sheriff Robert O. Beers received a message one evening alleged to be from the city attorney, which asked for a meeting in the Anheuser-Busch building at the corner of Broadway and Grand. When Beers arrived, he was met instead by two angry men, J. W. Walton and Jacob Erickson. When an argument ensued, Beers pulled his gun but was shot in the head by Erickson before he had a chance to fire. Few details regarding the argument were released, but the confrontation reportedly had something to do with Beers's involvement in an illicit relationship. (Did you get the irony of a man named Beers dying in the Anheuser-Busch building?)

In 1906, less than a year later, yet another lawman was fatally shot in the same building. Marshal Thomas Radford had been in office for only eight months, and just weeks before he had been declared by the chairman of the police committee to be the best marshal Enid ever had. Unfortunately, not everyone agreed, especially John Cannon, who ran a rooming house on East Broadway known for its pleasure of the flash. Redford, determined to close down the rooming house, forced the business's tenants to move, then thwarted Cannon's attempt to set up shop across the street by warning the new building's owner not to rent to Cannon.

Furious, Cannon confronted Redford at the Tony Faust Saloon in the Anheuser-Busch building. Cannon walked up to the marshal, placed his gun to the officer's chest, and fired. As Redford tried to run, Cannon fired back and stuck the lawman a second time, in the torso. Redford continued staggering out the front door, where Cannon shot him again, this time in the head. The marshal fell to the street and died shortly thereafter.

Radford's funeral procession, which consisted of 115 carriages, measured nearly a mile long. John Cannon served twenty-five years in prison.

At the end of a hot July day in 1936, patrons were filling up the German Village Saloon to refresh themselves with a few mugs of beer. Owner Jim O'Neal, however, couldn't relax that evening, as he had been tipped off earlier in the day that someone was going to try to rob him.

O'Neal had been keeping an eye on one particular patron for some time, who seemed oddly familiar. When he realized he may have seen the man in some notorious photographs, he called Enid police officer Cal Palmer to come check the man out. Palmer, along with Officer Ralph Knarr, asked the man to come with them, who replied, "I think I know what you want me for," but kindly asked if he could first finish his beer. The officers agreed.

When the man set down his empty mug, however, he pulled out a revolver and shot Palmer three times. Knarr four times, and another man in the leg once. He then took off out the side door and up an alley, quickly pursued by five other officers. When the killer reached the street, he jumped into the backseat of a car occupied by two men and commanded them to drive.

After the driver hit the gas, he noticed the officers in pursuit, and both he and his passenger jumped out, leaving their hijacker behind. The driver directed the officers to the vehicle, who began firing. The fleeing man jumped out and hid behind the car, but was fatally struck in the head by one of the officers' bullets.

The man was later identified as Lawrence DeVol, a member of the infamous Karpis-Barker gang, which had recently broken up. As for the two officers shot in the saloon, Knarr recovered from his wounds, but Palmer died instantly when one of the bullets struck his heart.

Thankfully, Broadway and Grand, save for a few ghostly encounters reported in the in the surrounding buildings, has been quiet ever since. Probably the worst you'll encounter today is a few red-light runners and the resultant blasts of car horns. But, of course, history is still being written.

[movienized-com]

Der Greif

Der Greif (Serie 2023) #JeremiasMeyer #ZoranPingel #LeaDrinda #SabineTimoteo #FloraLiThiemann #YuriVolsch Mehr auf:

Serie / The Gryphon Jahr: 2023- (April) Genre: Abenteuer / Fantasy Hauptrollen: Jeremias Meyer, Zoran Pingel, Lea Drinda, Sabine Timoteo, Flora Li Thiemann, Yuri Völsch, Samirah Breuer, Thorsten Merten, Golo Euler, Sebastian Jäger, Theo Trebs, Armin Rohde, Michel Hoppe, Jacob Fliess, Fabian Busch, Özgür Karadeniz … Serienbeschreibung: Die Kleinstadt Krefelden im Jahr 1994: der 15-jährige Mark…

[wahwealth]

The Astral Factor (1978) | Stephanie Powers | Sue Lyon | Robert Foxworth...

The Astral Factor, also known as The Astral Fiend, was made in 1976. The film was originally released in 1978 as The Astral Factor aka The Astral Fiend. It was later re-edited and made into a new, shorter version which was named The Invisible Strangler and released on video in 1984.   Cast Robert Foxworth as Lt. Charles Barrett Stefanie Powers as Candy Barrett Sue Lyon as Darlene DeLong Mark Slade as Detective Holt Leslie Parrish as Colleen Hudson Marianna Hill as Bambi Greer Elke Sommer as Chris Hartman Percy Rodrigues as Captain Wells Alex Dreier as Dr. Ulmer Rayford Barnes as Sgt. Archer Frederick Tully as Detective Sloan Frank Ashmore as Roger Sands Larry Golden as Detective Rouseau Renata Vaselle as Roxane Raymond Cesare Danova as Mario Eddie Firestone as Jacobs Bill Overton as Kingsley Carol Blalock as Sgt. Davis Jennifer Burton as Policewoman George Cheung as Jim, Medical Examiner Albert Cole as Cop in Alley John Hart as Harbormaster Robert F. Hoy as Harris Harry Lewis as Stage Manager Walter O. Miles as Fingerprint Man Queenie Smith as Darlene's Landlady Al Tipay as Miller Frank DeSal as Prison guard Troy Melton as Prison guard George Robotham as Cemetery Guard Jerry Wills as Cop Budd Bryan as Lead Dancer Bea Marie Busch as Dancer Bonnie Evans as Dancer Kathy Gale as Dancer Marcia Hewitt as Dancer Nancy Martin as Dancer Judy Van Wormer as Dancer You are invited to join the channel so that Mr. P can notify you when new videos are uploaded, https://www.youtube.com/@nrpsmovieclassics

[minim]

Document Dust 96 (JACOB W. BUSCH BUFFALO N.Y.): Bottle 218

[hollywoodbiz]

⭐ Actors

Alexa Demie

Anna Kendrick

AnnaSophia Robb

Billie Lourd

Chris Evans

Daniel Ezra

Emilia Clarke

Emily Axford

Emily Bett Rickards

Florence Pugh

Gemma Chan

Hunter Schafer

Jacob Elordi

Josh Hutcherson

Kat Graham

Laura Harrier

Lauren Cohan

Matthew Daddario

Margot Robbie

Mazz Murray

Meryl Streep

Natalia Dyer

Nicholas Galitzine

Robbie Amell

Taylor Zakhar Perez

Zendaya

⭐ Musicians

Ariana Grande

Cari Fletcher

Hailee Steinfeld

Harry Styles

Kelsea Ballerini

Louis Tomlinson

Niall Horan

Samantha Gibb

Taylor Swift

⭐ Athletes

Aaron Judge

Becky Lynch

Christen Press

Dak Prescott

Emily Sonnett

Harry Kane

Jalen Hurts

Jason Kelce

Joe Burrow

Kelley O'Hara

Maki Itoh

Maria Kanellis

Olivia Dunne

Paige VanZant

Pamela Martinez (Bayley)

Patrick Mahomes

Rob Gronkowski

Stefon Diggs

Tobin Heath

Travis Kelce

⭐ Models & Misc

Camille Kostek

Eleanor Calder

Jackie Redmond

Kylie Kelce

Lottie Tomlinson

Natalie Buffet

Samantha Busch

[tabloidtoc]

Star, October 19

You can buy a copy of this issue for your very own at my eBay store: https://www.ebay.com/str/bradentonbooks

Cover: Denise Richards: Lies, fights and seducing Brandi Glanville 

Page 1: Rebel Wilson’s Prince Charming -- funny lady Rebel gets a taste of romance courtesy of her handsome new boyfriend Jacob Busch 

Page 2: Contents, Matt Damon and Jodie Comer on the set of The Last Duel

Page 4: Mariah Carey’s memoir shockers -- haunted by a violent childhood and a controlling marriage Mariah reveals all in a powerful new book 

Page 5: Country greats Reba McEntire and Dolly Parton recently got together to commiserate and celebrate what it means to be a woman in the music business, for more than a decade Britney Spears has been subject to a legal conservatorship headed by her father Jamie Spears that dictates virtually every aspect of her life but now she seems to be inching back into control of her own life as pending a judge’s approval Bessemer Trust Company is expected to take over for her estate from her dad 

Page 10: Star Shots -- Puppy Love -- Jon Hamm and his new rescue dog Splash, Venus Williams and her dog Harold, Gavin Rossdale brought his dog Chewy for a tennis game, PLEASE ADOPT, DON’T SHOP 

Page 12: Eva Herzigova was ready to walk the runway for Milan Fashion Week, Stephen “tWitch” Boss and Allison Holker and Derek Hough and Addison Rae cut a rug recreating a TikTok dance on Ellen

Page 13: Danny Trejo teamed up with the Everest Foundation to hand out Trejo’s Tacos to homeless veterans, Olivia Jade and boyfriend Jackson Guthy during a dinner date, Megan Fox and Machine Gun Kelly at the release of his new album 

Page 14: Gwen Stefani at a shoot for her new line of eyewear, Ariel Winter shows up at a party at a pal’s house, Kit Harington spread the good vibes after wife Rose Leslie announced they’re expecting their first child 

Page 15: Serena Williams had a difficult start at the French Open, Chris Rock kicked back while having lunch at a SoHo park in NYC 

Page 16: Naomi Watts during a kayaking trip in Canada, Nev Schulman doffed his motorcycle helmet before heading into rehearsal for Dancing With the Stars, Josie Canseco flashed some leg modeling wedding gowns during a photoshoot 

Page 18: Normal or Not? Ireland Baldwin during a trip to the salon -- normal, a layered up Helena Bonham Carter shopping in London -- not normal, Florence Pugh encouraged fans to register to vote by promising to prepare a tasty dish on social media -- not normal, Jon Bon Jovi devoured New York City pizza old-school style while filming a segment for Barstool Sports -- normal 

Page 20: Fashion -- stars sparkle in rich jewel tones -- Gugu Mbatha-Raw, Kate Beckinsale, Hailee Steinfeld 

Page 21: Angela Bassett, Charlize Theron, Florence Pugh 

Page 24: Jessica Biel and Justin Timberlake’s new troubles -- is Justin choosing his career over his family? 

Page 25: Newly single Demi Lovato seemed to send a message to her ex-fiance Max Ehrich with a new song called Still Have Me -- Max has been begging Demi for another chance but Demi is listening to her gut, Kanye West is desperate to save his rocky relationship with Kim Kardashian going so far as to make an eyebrow-raising proposition because Kanye knows Kim’s been frustrated about their lack of intimacy so he offered her the chance to be with other guys if that helps them stay together but Kim has already been planning her exit from their union and Kanye’s suggestion didn’t help, nobody was more surprised by Lana Del Rey calling things off with Sean Larkin after six months together than the Live PD star himself -- Lana gave him the it’s not you it’s me excuse and promised to explain but still hasn’t and the two were discussing marriage and babies before she abruptly called it quits 

Page 26: Cover Story -- Denise Richards craziest Housewife ever? What really led to Denise’s dramatic exit from The Real Housewives of Beverly Hills 

Page 30: In a revealing interview Jennifer Aniston admits that she’s ready to turn her back on Hollywood 

Page 32: Perez Hilton tells all -- the blog master gives the scoop 

Page 34: They Lost Millions -- just because you’ve made a bundle doesn’t mean you get to keep it; these celebs frittered away their dough -- Nicolas Cage, Johnny Depp 

Page 35: Natasha Lyonne, Teresa Giudice, Stephen Baldwin, Kim Basinger 

Page 36: Style -- Vote 2020 -- JoJo 

Page 38: Health -- fitness fix -- Venus Williams 

Page 40: Entertainment 

Page 48: Parting Shot -- Lea Michele and husband Zandy Reich and their newborn son Ever out for a walk in Santa Monica 

[validwords]

Net Worth of Anheuser-Busch Incorporated

Net Worth of Anheuser-Busch Incorporated

Anheuser-Busch was purchased by the American brewing company Anheuser-Busch in 2008 for $51 million. Although the busch family is no longer in the business of making beer, they still own the Budweiser company. They are famous for their MTV reality series “Billy and Sons.” The show features Billy and Junior Busch, their wives Christy and their seven children. Historical Background of…

[badfauxmance]

So another badfauxmance has bit the dust. Goodbye Rebel Wilson and whateverhisnameis. I was surprised some people believed it was real considering she looked like she was being held hostage in most of the pap photos! 😂

None of us particularly follow her, but yeah when we saw the pictures we were baffled with why she doesn’t look particularly happy with that guy. I think with the continuing pandemic, lots of the fake relationships die off after about a year. Many people don’t really care. Also sometimes people want to see what they want to see. They see a couple going public, they want to believe it’s real because there’s no reason to doubt it. The pandemic has made us here at Badfauxmance notice the fakery of so many relationships and we’re likely to side eye celebrity relationships going forward because of it.

[brookstonalmanac]

Beer Events 12.12

Events

Don Alfonso de Herrera granted permission to build the 1st brewery in the Americas (Mexico; 1543)

Jacob Seeger and John Boyd patented an Improvement in Preserving and Using Hops in Brewing (1871)

Fredrick Lemp died (1901)

Samuel Bennett patented a beer keg Valve (1911)

California Brewing Association 1st released their beer in cans (1935)

Hamm's Brewing 1st released their beer in cans (1935)

Gerald Peet patented a Keg (1939)

Glen Cole and Wayne Miller patented a Beer Can Holder (1967)

Anheuser-Busch broke ground on their Jacksonville, Florida facility (1967)

Ballantine & Sons patented a Beer Keg Fitting (1967)

Schell Brewing bottled their one-millionth case (Minnesota; 2007)

孙尤海, 王培忠 and 卜堃, 费义常 patented a Blueberry Beer and Brewing Method Thereof (2007)

Stone 12.12.12 Vertical Epic Ale was released (2012)

Thomas Stein patented an End Table with Concealed Built-In Refrigerator (2013)

Breweries Opened

Gambrinus Brewing (Ohio; 1993)

Hereford & Hops Brewpub (Michigan; 1994)

Four Peaks Brewing (Georgia; 1996)

Bierbrier Brewing (Quebec, Canada; 2005)

[ommisworld]

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[sinceileftyoublog]

Sam Rae Interview: Green Turns to Dust

Photo by Sophia Lou

BY JORDAN MAINZER

“It’s their experimental record,” you say about so many classic artists, the common tale that they tone their traditional chops before venturing out into the realms of improvisation and loops. For Sam Rae, her upcoming record Ten Thousand Years (August 7th) represents the opposite journey. Her first two, 2014′s instrumental, improvised Stories From the Marrow and 2017′s heady Bring Us to New Islands, are drastically different than Years, a bonafide, lyrics-forward folk record born out of Rae’s experience as part of Brandi Carlile’s touring band. Carlile’s tour bus and band members provided Rae with an atmosphere to reflect and write, and as it turns out, she had a lot to say.

Ten Thousand Years is an album about all things Rae, from where she grew up (Iowa City) and where she moved (Santa Cruz, before relocating to Charleston, South Carolina a year ago), to her family and past and present loves, and growing up queer in the Midwest. Throughout, Rae remembers past events and hearing certain stories but is also baffled by the seeming unending nature of time and the world. Her interplay between feelings concrete and abstract is impressively balanced, especially for a first time writer-in-advance. (Ten Thousand Years is the first album on which Rae wrote the lyrics before recording the songs.) The involved personnel and sound, too, has expanded, perhaps to match the scope of Rae’s themes: Not only are we treated to Rae’s voice, guitar, and cello playing, but producer Jacob Hoffman’s french horn, piano, and 12-string Rickenbacker, Kendl Winter’s banjo, Dustin Busch’s hand-crafted lap steel, drummer Sean T. Lane’s homemade rhythm and atmosphere instrument, The Bike. Overall, though, Ten Thousand Years finds a way to hang on to bits and pieces of Rae’s experimentation. It’s two most ambitious tracks bookend it: “Intro”, initially improvised on organ while Rae’s father and fiancee played a game of pool, and “Dying Here”, the longest track on the album with tape and live delay.

I spoke to Rae over the phone last month, the day the album was announced and reverby lead single “Head Rush” premiered on Country Queer, and today, she’ll be doing her first streamed performance of the album’s material, at 6 PM CST on her Instagram. “It’s such a relief to hear it finally entering the world and coming out of my head...so much space is opening up!” she laughed. Of course, Rae is pining to do a real live show but is limited by COVID-19 (“What if I played on a dock and people could ride up on canoes?” she speculated), so for now, that open space will have to be limited to the mental realm. Ultimately, Rae doesn’t seem to be worried about what she can’t control, and to an extent, even the things she can. Life is large, and as she sings on “Colors of the Highway”, “I’m sure I’ll have the choice between remembered or forgotten / Either is fine by me.” 

Read our conversation about the record below, edited for length and clarity.

Since I Left You: Do you feel like Ten Thousand Years represented a big step for you from Bring Us to New Islands?

Sam Rae: Huge. I almost considered taking off my last two records completely. Just making them disappear. I didn’t want to get rid of them, per se, but just having this be my debut because it’s so different from my last two. I ultimately decided against it, because I basically wanted to leave a trail of breadcrumbs to how I got to where I am, which is not necessarily traditional. My first record was an improvised, looped cello concert. I recorded it live and released it. My second one is this ethereal, cello-looping, kind of synth-based record where I started to explore singing a little bit, but it was mostly focused around synth sounds and reverse cello loops. Lots of experimental stuff. This one is pretty much straight up folk. We recorded it to tape. The songs generally have structure. It’s kind of just landing in this more specific genre that just feels better. I was exploring all of this ethereal improvisational stuff for so long just because it was my comfort zone. Improvisational performance is always where I’ve been most comfortable. Writing these songs that are so lyrically exposed is this whole other can of worms. It’s less comfortable for me. But of course, I’m always drawn to the discomfort, so this is where I am. And it feels very right. I’ve finally found my...what’s the word...crevice, or...

SILY: Your niche?

SR: My niche! Or my identity in music that I’ll stick with from here on out, which feels really nice.

SILY: How long had you been writing lyrics or writing in general?

SR: I was already really into stream of consciousness journaling, but I always felt too vulnerable to have those lyrics be front and center. So in my second album, Bring Us To New Islands, I decided to include my lyrics a little bit, but I still definitely hid them behind these sonic textures and cello loops and what not. When I was writing that record, I was literally writing the lyrics to those songs as I was recording them. I would go in, and my producer would be like, “That sounds good,” or, “That sucks,” and I would go home and rewrite something. I was doing it on the fly. I was exploring that discomfort, I guess. That was another big step in the direction of where I am today. Really, to answer your question, the last three years, and especially the last two, particularly in 2018 when I was out with Brandi, I was using the adrenaline and the momentum I felt after shows with her, and I’d run straight to the bus after the show, lock the door, and get out my guitar. I wrote 60 percent of these songs on the back of that bus. She’s really dialed it in--just the level of writing and the music quality and her presence. I was just absorbing it all like a sponge, and I wanted to utilize that freshness of what I was seeing in front of me every night. It was fun to throw these songs together on the back of the bus. I finally had enough songs--6 or so--and thought to myself, “I should just write a record here!”

Writing to this extent is fairly fresh for me. The last two years, I’d say, writing in the form this record represents. Less ethereal.

SILY: You still find ways where you can use your voice instrumentally, but the lyrics are more front and center.

SR: Absolutely.

SILY: You mentioned Brandi and [Carlile’s twin-brother bandmates Phil and Tim Hanseroth] in your liner notes as providing an atmosphere where you could write. Was that just on tour?

SR: Definitely touring. Trading songs with Tim on the bus or the green room. He’d teach me a few little chords, and I’d go and do a song. Getting a few tips from Brandi here and there about my voice, and definitely taking that to heart. I was highly influenced by their writing on this record. I guess it just challenged me to rise to this level of writing I knew I could achieve. That’s cool just to have them as an example, as a bar.

SILY: You mentioned that you made “a folk record” with this one, though it still contains some of your more experimental tendencies. But in a sense, there are a couple aspects on here associated with traditional folk but maybe not “folk” as we think of it today: homemade instruments and field recordings. Both appear on "Intro”--even though it’s not a “field” and just a basement.

SR: Yeah, the “Intro” on my phone in my dad’s girlfriend’s basement. [laughs] Then, we threw some cello and vocals on top of it.

SILY: It almost lays the groundwork for the spirit of the record, with The Bike, the homemade instrument. It’s got a sense of time and place...is that your dad saying, “Turn it down, it hurts my ears!”

SR: Yeah. [laughs] He’s got hearing aids, so he’s a little more sensitive to sound now. I thought it was just very well-suiting that his voice pops in at the very beginning, like when you’re a kid: “Turn it down! Stop messing around, we’re playing pool. We’re trying to do this thing!” And I’m over there just cranking the organ. Then I keep playing, and you can kind of hear him pipe in one more time: “Turn it down!” I just keep going because I was recording on my phone. I was like, “Ooh, this is cool! I don’t know what I’ll do with it, but I don’t want to stop just because of my dad.” [laughs]

SILY: The record is called Ten Thousand Years, and on the title track, you individually go through each set of thousand years. What stuck out to me is you almost present the idea that time is more than what we perceive, when usually, people say the opposite, like, “It goes by so fast!” What’s the idea behind the record title and that track and how it relates to the whole album?

SR: Yeah, that’s a great question. I remember writing that song when I lived in Santa Cruz. I was just thinking about being in a partnership with somebody and how it just felt like every week or every day we were learning another aspect about one another. There’s a high possibility or likelihood we were never gonna learn fully everything. I was pondering that concept and definitely wrote that song in almost one go. Usually, I let it sit and go back and edit and change some lyrics to make it flow, but this one, it just kind of came out. In that song, I’m trying to address these tangible, nostalgic feelings I have for each portion in my life I can divide up into sections I’ve exposed. It gets to this point where it just becomes less tangible. Ten thousand years, and there’s more. There’s that bridge part where I’m just trying to be that ten thousand and one. It’s just based off of the concept that as humans, we’re a lot more complex that we can understand some days, and we can be hard on ourselves to that extent. Not being able to understand or be in control of certain aspects that are just human. Those are going to be there regardless of whether we have control or not. That’s kind of a long-winded version of it. 

That theme threads itself through almost every song on the album, especially songs like “Waukee” and “Strangest Thing” and kind of delving into concepts of being present and losing family members and that life is just this kind of sometimes misunderstood thing, I guess. At least from my perspective, I catch myself trying to fully understand it and be completely in control. I have these glimpses of moments where I tell myself to let go of that aspect and realize it’s a lot bigger than myself.

SILY: You’re certainly wrestling with the tangible versus the non-tangible. “Strangest Thing” gets its title from the line, “It’s the strangest thing how the wind can blow but can’t be seen.” That line definitely stuck out to me. Another one is on “Colors of the Highway”, when you sing, “Taste the colors of the highway.” It’s like a certain form of synesthesia. You’re messing with the senses.

SR: Definitely. There’s this sort of ghost-like element to a lot of these songs that touch on things I can’t control or fully understand.

SILY: At the same time, are there any stories on the song that are inspired by or reference hyper-specific events? Like, on “Waukee”, did you really light the family car on fire with a cigarette? [“Oh, you lit the family car on fire with your dead end cigarette.”]

SR: [laughs] That’s a good point. It goes from that extreme of being a little ethereal to these super finite specific moments like that one, referring to my mom when she was a teenager lighting her family car on fire with cigarettes. She was in the car with her other siblings and one parent. I’m constantly fascinated by their stories and how they survived. That’s one of their stories, where she lights the car on fire and my grandpa walks out and just tells her to go inside and go to bed. That song, specifically, is very focused around my family and my mom’s side, specifically.

SILY: On the same song, you talk about “Something in our blood that we find so comforting.” Is that family for you in general?

SR: On my mom’s side, we’re really tight-knit, and we get together on a regular basis. At this point, it’s about 50 of us. She has lots of siblings, and they all have kids, and then they all have kids, and I value the fact that we get together on a regular basis. I value that. I was an only child, and my cousins were kind of my siblings.

SILY: Same here, actually!

SR: Yeah, nice! It’s cool. I always craved that connection to a sibling based off what I saw around me, but I definitely got some of that from my mom’s side of the family. The choruses of that song touch on watching my aunts and uncles pass away one by one. It’s a strange feeling. Every time that happens, there’s a shift in the whole family. It’s kind of rattling, and a large letting go. There’s lots of cancer on that side of the family, so it’s this inevitable shadow, almost. That song’s definitely very family-oriented.

SILY: This might be a stretch, or unintentional, but it reminds me of the saying, “My family is my rock,” and you used literal rocks on the percussion of that track.

SR: I didn’t ever think of that! I found a few unintentional things on this album that I didn’t necessarily mean to do but are cool. That’s one of them. I guess the draw to that rock sound is that textural feeling. Rather than only being a sound, it creates this texture like if you were crumpling sand in your hands. That definitely relates to my feelings around community and family. There’s almost this texture or nostalgia to it that I hold on to.

SILY: Can you tell me about the song “Delaine”?

SR: That tune, I wrote in Astoria, Oregon at the end of a solo run down the coast. I had had the name Delaine floating around my head for a few weeks, and I don’t know why or how it popped into my head. It was just kind of floating around and had no purpose other than to be a name. Then, I decided one day I would write a song about the state of Iowa and name her “Delaine” so I could almost sing to her as if she were a human, which might be kind of weird. [laughs] But it opened up the possibilities of me singing to a place--I could sing to it as if it were alive. 

“Delaine” is a placeholder for Iowa, and it touches on my upbringing in Iowa, and coming out as gay in Iowa, and exploring my gender, doing drag, and it just felt so nice against the backdrop of what I felt at the time to be this mundane feeling that I was just becoming bored with the place to the point where I was like, “Get me out of here!” Of course, after I leave, I find myself laughing now about how much I missed it. But I was young and needing to get out and explore things and be in different communities. So it touched on a lot of that and just exploring my identity and a place that wasn’t necessarily surrounded my like-minded people, although Iowa City is pretty rad. 

The chorus, I was thinking about just the other day, and I was thinking kind of related to this feeling of screaming into an empty field--my mom used to take me out to an empty cornfield to just scream into the top of my lungs. I would do that, and it was this great release and always felt like the cornfields were there to hold it, hold the scream, or just be simple and calm. So I wrote those choruses, and in a sense, to kind of relate to that feeling of this spacious calm and the ability to release in the midst of that.

SILY: “The prairie fields of rural love.”

SR: Uh huh. This super expansive chorus gives me that same sense of relief as when I would go out and scream into a field. Overall, it offers a lot of space, but it’s pretty angsty. There’s a lot of built-up angst around what it was like to grow up in the Midwest.

SILY: This is probably a hard question to answer, but to what extent do certain songs address a little bit more head-on your experiences growing up queer in Iowa?

SR: Ooh...on this album?

SILY: Yes.

SR: Definitely “Delaine”. There’s a line in “Ten Thousand Years”, one of those segments I go through is, “My TV screen blew up, and I learned how to run.” That’s definitely referencing coming out and just ostracizing myself. I thought everyone was gonna disown me, and they didn’t. I was creating this thing in my head that if I came out, everyone would just stop talking to me because I was definitely abnormal and there weren’t a lot of gay people around me. It turns out I was just scooting around the issue with even my friends after almost a year, and finally, one of them brought it up and was like, “It’s okay, you know.” Because I had been coming to hang out with them with a girlfriend of mine but not saying who she was. It was just this suppressed thing I was creating for myself. “My TV screen blew up, and I learned how to run” refers to the fact that I was suppressing it pretty hard, to the point where I just decided to move away. In retrospect, kind of realizing that a lot of that was in my own head and my family has fully accepted me...although there’s still this kind of passive, “Oh, maybe some day she’ll date a man again. Maybe this is a phase.” My family is getting over that aspect, because it’s been a long time now. [laughs] It’s clearly not a phase.

SILY: And you’re married, right?

SR: Yeah. Well, I’m engaged to be married in October. But my parents and relatives still call her my friend. So there’s a passive underlying, they don’t want to acknowledge it. Not to say that they’re not supportive. So that line, “My TV screen blowing up,” I was creating this explosion in my own head, but it was outwardly existing in a passive way.

SILY: What about the song “Love Is Love”? The title of it is the most common expression for support for marriage equality, and there’s the phrase, “time’s a changin’” in that song, which is one of the oldest political statement tropes. Would you say that song is political in a way?

SR: It definitely is. To be honest, it wasn’t inspired by that. My being gay or queer is a different topic. But it of course applies to that and it’s perfect for the listener to find their own meaning in. I wrote that more around feeling privilege around me in the industry--especially white male privilege--and feeling its effects. It’s obviously a different topic, and I didn’t pinpoint that because I did want the song to be applicable to however the listener wants it to be.

SILY: The last song on the record is intriguing, and one of the things that stood out to me was how you ended it and therefore the album. I thought to myself, “How often do you hear the phrase, 'For example,' in a song, let alone to close the record?” It seemed to be a radical acceptance of things not being tied together entirely. What were you going for with that ending?

SR: I guess it felt like it did tie the whole record together. I sing, “For example, take the green / It turns to dust eventually,” which is basically the summary of the entire album. Everything evolves and changes and dissipates and starts over again. Trying to deny that just feels like you’re running against a current. It’s easier said than done--it’s definitely a process, realizing something like that. And then the following line, “The fire’s not in the rich / It’s in the fire that lights the ditch,” so it definitely ends on a pretty political note, and something I feel very strongly about, which is that in order for change to happen, we have to be a little more than forceful and less passive.

SILY: Maybe more from a prose perspective, it’s almost a very cool rejection of what you’re taught: “End something with a concluding thought.” You’re showing, not telling.

SR: For sure. It doesn’t end in a conclusive, “Here is the answer,” manner.

SILY: Many of the people you worked with--Jacob Hoffman, Trina Shoemaker, Joe Gastwirt--they’ve got pretty big resumes. What’s something you think you learned from working with them, and what might they have learned from working with you?

SR: Good question. Starting with Jacob, he just has this way of making me feel supported. He admires my songs. It’s really refreshing, because he sees me as a human. We have a lot of mutual respect for each other. Building this record off that mutual respect that was already established via touring with Brandi for almost a year on the bus was really crucial.  [Hoffman plays piano in Carlile’s band]. He was one of those people I played my songs to after I wrote them on the back of the bus. I would be like, “Hey, come back here, I have a song to play you! What do you think?” I was definitely bouncing these songs off him. It just felt absolutely appropriate to invite him to be the producer. 

He’s also this one-take wonder. He absolutely lights up when he picks up an instrument. Whenever he had a part on the song, he’d just go and get these crucial parts. In “Waukee”, that strumming. In “Love Is Love”, those very strong chords. He just nailed those parts on the first take and then he was just done. He was a very positive element in recording this. Him, and my drummer Sean T. Lane, and Mike Davis, the engineer, the three of them just offered these unique sensibilities and experiences. They always looked me straight in the eye when they had anything to say. From day one, they were like, “I’m following your vision.” I was like, “We’re gonna record this to tape and get live takes.” Whether they were hesitant or not, they didn’t show it. That’s not their way of going about it. They had to believe I could get these songs in full takes. I definitely felt that. I think you can get a sense for how comfortable I felt based on how the songs turned out. Jacob was one of the people to spearhead that feeling. 

I started working with a different mixer at first. I can be pretty stubborn and like to do everything by myself, so I was like, “I’m gonna find my own mixer!” It just wasn’t working out. I was kind of not willing to admit it at first and ended up learning a pretty big lesson on that because I spent quite a bit of money on the first round of mixes and decided to trash them all--or set them aside, really. I was feeling a little vulnerable to call Trina. Initially, I was thinking I would just call her and have her mix one to two or three songs, and my partner Cat, who has been kind of my strong voice that’s whispering in my hear the whole way through this album process, was like, “Don’t cut corners.” I was running errands one day, and she called me, being like, “What are you gonna do? Are you gonna call Trina?” I was like, “Aw, man, I don’t know if she’s gonna have time, she has work for Sheryl Crow and Wood Brothers.” I was just feeling vulnerable about that. And she was like, “No. You’re gonna call Trina, and you’re gonna ask her to mix your whole record.” I was like, “I don’t know if we can afford it,” and she was like, “We’ll figure it out. Just do it!” It was just this reinforcement that I needed. I immediately called [Trina], and she immediately agreed to do it. It was so easy. I had built up this preconceived notion in my head that just wasn’t true. I called her, and she was super awesome. She actually thought I was a telemarketer, because my number’s from Iowa. She answered, “Who is this?!?” I was like, “Oh, dear!” [laughs] “I’m Sam, I play cello for Brandi.” “Oh, I’m sorry!” Working with her just blew my mind. She told me from the beginning that I’d have to wait for her to finish some projects and be patient, and I was like, “Absolutely, I’m willing to do that. It’s worth it to me.” And so we figured out how to make it work. She nailed a lot of them on the first mix. She really nailed that feeling of aliveness and spaciousness, and she brought out these little treasures I didn’t even know were there, which I thought was really crucial. 

I don’t know. She’s an absolute genius and an artist, and working with her was definitely an honor. At some point we were talking on the phone--we ended up kind of becoming friends through this process--and she was telling me how she still studies string recordings and how they’re mixed. Even in her professional years, after so long, she still wants to grow and study these things. It definitely translates into her mixes because she’s not trying to put a thumbprint on them, just trying to make them what they should be. That’s the key, really.

Joe was also super awesome to work with, although mastering is a different experience and a little less involved. He was recommended to me by Trina, so I absolutely trusted that right off the bat. Trina thought he would be a great person to finish this project out, knowing that he, too, is not one to put a huge thumbprint on something. He doesn’t want to leave a mark. He just wants to maintain its integrity and slightly lift it up. That’s what Trina told me, and that’s exactly what he did. So it was a pleasure working with him, too.

Photo by Pete Souza

SILY: What’s the story behind the cover art?

SR: Pete Souza took that photo in Mexico at the second Girls Just Wanna Weekend with Brandi Carlile. I met him years ago through Brandi, because he’d come to shows now and then and take pictures during the show. We started to become friends during that. I asked him one day whether he’d be able to take my album cover. It kind of didn’t work out a few times. He was gonna come to New York for the Madison Square Garden show and ended up not being able to because he was traveling a lot previously. There were a few times we were trying to get together and it didn’t work out. It came down to perfect timing because I still hadn’t found my mixes with Trina, and we hadn’t settled on an album cover yet, and we were in Mexico, and I was like, “Hey, wanna just go have a fun photo shoot?” It was so much fun. I was really nervous because I get super dorky in front of cameras. [laughs] My face just doesn’t look natural. He had this way of making me feel super comfortable. We were just having fun playing with sunlight and different colors of walls. It was just fun! It felt like two artists just working together and collaborating without any intent on what we were gonna achieve. He captured that shot, and then, yeah, the rest is history!

SILY: How have you been holding up during quarantine?

SR: At first it was kind of fun, and I had a lot of time to myself and to work on this release. But honestly, it’s just been hard. The range of emotions is something I’ve never felt quite before. The diversity of them. I’ve never experienced that many in such a small period of time. Usually, they’re stretched out into multiple experiences over a longer period of time. But I’ve gotten to this point where I’m super stir crazy. Cat and I have been really strict, and we have literally just been sheltering in place. We’ve left the house to go see the sun set, but we don’t get out of the car. We go to the grocery store like once a month and wear masks and gloves and are really conscious, so we’re just staying home most of the time. 

It’s definitely getting to a place where, for me, I’ve just been completely diving into promotional stuff and album stuff and have been constantly been working on the computer. So it’s been a way for me to cope with my anxiety, but also, maybe not so healthy, because I don’t really have a firm boundary between when I’m doing it and when I’m not. But I’m learning a lot about myself. I think my biggest takeaway is I’m really glad to see how much support has been offered by friends and community members. It’s easy to get down on the world and the state of our government, but it’s been a little uplifting to see people rising up through that and offering their support. Even the smallest little posts, like, “Hey, let me know if I need to buy you a bag of groceries and put it on your doorstep.” Humanity is still good. That reminder is definitely driving me through this. My hope is very high, and my anxiety levels are very high.

SILY: I think a lot of people would agree with that statement...I know you’ve been busy with this record, but have you been consuming any other media, like music, books, movies, or shows?

SR: I’ve definitely been listening to some new records that just came out, including Laura Marling and Fiona Apple. I’ve really, really been diving into the Laura Marling album.

SILY: It’s incredible.

SR: It’s so good. I miss that feeling of putting on an album and immediately feeling relieved about how good it is. It’s more rare these days, me listening to something and want to obsessively listen to it after that. So I’ve been listening to that and definitely watching some shows and sitting on my back porch throwing a ball for my dog. [laughs] My three main activities.

SILY: Is there anything I didn’t ask about, the record or otherwise, that you want to say?

SR: Hmm...I guess the only thing that comes to mind is that, overarchingly, with this record, I really wanted to have a live feeling as if you were in the room. My intention around trying to catch these live takes, with guitar, main vocals, and drums, is that the drums and I could kind of create that vibe and then we’d build off of that. Sean and I were just working off of each other with those initial takes. At first it was an experiment, those initial takes, but we ended up being really proud of it.

[fandomshatelgbtqpeople]

So the Sydney Morning Herald decided to Out Rebel Wilson during Pride month and then complained about being called out for it.

They gave her two days notice and then complained that she came out before they could put her.

“In a perfect world, “outing” same-sex celebrity relationships should be a redundant concept in 2022. Love is love, right?

“As Rebel Wilson knows, we do not live in a perfect world.

“So, it was with an abundance of caution and respect that this media outlet emailed Rebel Wilson’s representatives on Thursday morning, giving her two days to comment on her new relationship with LA leisure wear designer Ramona Agruma, before publishing a single word.

“Big mistake. Wilson opted to gazump the story, posting about her new “Disney Princess” on Instagram early Friday morning, the same platform she had previously used to brag about her handsome ex-boyfriend, wealthy American beer baron Jacob Busch.

“She even had her “bestie”, the actor Hugh Sheridan, doing radio interviews on breakfast FM on Friday morning, during which he gloated about introducing the women to each other six months ago. Apparently, they had hit it off pretty much immediately but had kept the relationship under wraps.

“Considering how bitterly Wilson had complained about poor journalism standards when she successfully sued Woman’s Day for defamation, her choice to ignore our discreet, genuine and honest queries was, in our view, underwhelming.

“Of course, who anyone dates is their business, but Wilson happily fed such prurient interest when she had a hunky boyfriend on her arm.

“This is understood to be Wilson’s first same-sex relationship, at age 42 and in an era when same-sex marriage is legal in many parts of the world and – thanks to decades of battling for equality – sexual orientation is no longer something to be hidden, even in Hollywood.

“Up to now, Wilson had identified publicly as a heterosexual woman. It is unlikely she would have experienced the sort of discrimination let alone homophobia – subconscious or overt – that sadly still affects so many gay, lesbian and non-hetero people.

“She and Agruma have grown very close in a short time. Wilson’s mother Sue Bownds, who lives in Sydney, recently flew to LA to meet Agruma, while the couple have openly discussed having a family and getting married.”

The Sydney Morning Herald literally just tried to claim that it’s okay that they outed her because it’s 2022 and that who people date is their own business but after making it everyone’s business. Fuck the Sydney Morning Herald

[ramenpriest83]

THE MAN WHO COULD NOT FIND BIGFOOT - Chapter 1: The Incident (on Wattpad) https://www.wattpad.com/1291765315-the-man-who-could-not-find-bigfoot-chapter-1-the?utm_source=web&utm_medium=tumblr&utm_content=share_reading&wp_uname=RamenPriest&wp_originator=3P4Xsh34rhVLKujF0but7h0KrpUQDGXN2SgEO0OmMZNOx8DjhAyDH5zRLusrOV5zpArlgnn9IeeOkJuqDolcrUiig509G95pAgNOmDwiylVYfCfV%2FJAGrMZCJuxTzWwH Jacob Wheeler and his two closest friends are professional paranormal investigators and cryptozoologist enthusiasts. The son of legendary media personality and Sasquatch hunter Richard Wheeler, Jacob has been around the weird and otherworldly his entire life. This is the first chapter of the novel I hope to publish. Thank you for reading. -- D. Busch