#magazine transcripts

[blowflyfag]

hey cuties. so. i got quiet a few magazines as we know. and i have some lined up to transcribe. but after those which would you wanna see?

[fuckyeahgoodomens]

The Good Omens Article From the TotalFilm Magazine, Issue August 2023 :)

POST APOCALYPSE GOOD OMENS The heavenly and hellish creations of Gaiman and Pratchett ride again…

Having averted Armageddon, angel Aziraphale (Michael Sheen) and demon Crowley (David Tennant) have settled down to the quiet life in London – but the arrival of a familiar face shakes things up for everyone.

Season 1 covered events in the novel you wrote with Terry Pratchett – what was the inspiration this time?

Neil Gaiman (showrunner): Terry and I were sharing a room at Seattle’s World Fantasy Con in 1989 and, by the end of one night chatting, we had a huge, apocalyptic sequel to Good Omens. Season 2 is all the stuff we had to put in place before we could get to that sequel, and it starts with the archangel Gabriel [Jon Hamm] wandering through Soho, with no memory – a mystery that doesn’t have giant consequences for the universe, even if it does for Aziraphale and Crowley.

What has changed between Crowley and Aziraphale?

David Tennant (Crowley): Aziraphale is a much more enthusiastic detective in this mystery and, as with most things, Crowley is reluctant to get involved or to exhibit any kind of energy or enthusiasm, so he’s dragged into it. They no longer have to report to head offices, so they’re in this slightly grey area – neither supernatural, nor of the Earth.

Michael Sheen (Aziraphale): They’ve always been the only two beings who could understand each other’s position, but now they’re slightly freer agents so they’re pushed even closer together. It’s an interesting dynamic.

Maggie and Nina, you’re back too – although not as satanic nuns this time…

Nina Sosanya (Nina): No – we’re two human women! Nina is slightly cynical, churlish and owns a coffee shop, Maggie runs the record shop and she’s rather sweet and hopeful. It’s an ‘opposites attract’ thing and Neil kindly gave the characters our names so we couldn’t say no.

Maggie Service (Maggie): Aziraphale is still running his bookshop, but he’s also Maggie’s landlord. She thinks he’s the best because he lets her stay on and doesn’t really mind if she doesn’t make too much money. Maggie and Nina act as catalysts in a way, when Crowley and Aziraphale get involved in their relationship.

Neil, you’ve had some writing help this year…

NG: That’s right. We have three 25-minute ‘minisodes’ within episodes. You learn Aziraphale and Crowley’s part in the story of Job, written by John Finnemore. Cat Clarke takes us to 1820s Edinburgh for a tale of bodysnatching. Finally, Jeremy Dyson and Andy Nyman reunite the League of Gentlemen, because I fell in love with Season 1’s Nazi spies and kept wondering what would happen if they came back as zombies on a mission from hell to investigate whether Crowley and Aziraphale were fraternising. That story involves the Windmill Theatre, black market whisky, and a bullet catch…

[innerslumber]

(Please click on the images for full size and ease of reading)

Click here for the magazine transcript and an "After Interview " fic!

Title: Sharper Knives

Ship: Steve Rogers x Bucky Barnes

Rating: Mature

Square: N4 "Friendly Competition" August adoptable. @allcapsbingo

Tags: AU Modern - No Power, Mutual Pining, Friends to Lovers, Secret Relationship.

Summary: Steve and Bucky have been best friends since childhood and are seasoned actors. After many years, they finally got to make a movie together. Much thirsting ensues.

[sophaeros]

arctic monkeys at the shockwaves nme awards, 2008 (x)

transcript:

interview: and finally, if you could punch or snog anyone here tonight, who would it be?

nick: (crosstalk) same time?

alex: (crosstalk) i’d do both.

matt: (crosstalk) i’d go- yeah yeah yeah.

interviewer: at the same time, if you’d like.

matt: (crosstalk) yeah no, it’d look like- yeah, no that’s what i mean, i get excited by that. snog ‘em and then punch ‘em.

alex: (mimes pouncing)

nick: any one, ‘cause that’s gonna finish the night for a long time, bruv.

matt: don’t know who, though. eh… (blows raspberry) not [inaudible]...

matt and alex: (look at each other, then look away and lick their lips)

matt: i don’t know, i don’t wanna punch anyone.

interviewer: (crosstalk) anyone you'd like to snog?

matt: unless absolutely necessary. heh, no, i don’t wanna punch anybody. um, or kiss anyone tonight, actually. ‘s just one of them days. just woke up and thought, “i'm not gonna kiss anyone today. or punch anyone.”

interviewer: [inaudible, cut off]

alex: which is lucky because normally the days- that’s your waking thought.

matt: yeah. i’m not gonna kiss anyone or punch- it’s never one or the other, it’s always both.

/end transcript

[are-we-really-doing-this]

Pro Wrestling Illustrated, May 2006

The Wrestling Forecaster: C.M. Punk

(@selamat-linting here you go broski)

WHAT’S AHEAD FOR THE REMAINDER OF 2006?

Punk started 2006 with one strike against him. In the summer of 2005, Punk signed a WWE contract and was brought up for a dark match, where he was managed by Alexis (Mickie James) Laree. The promoters had high expectations for Punk, especially since he was coming into WWE after a spectacular run in Ring of Honor. For whatever reason, the WWE front office wasn’t impressed with Punk’s match. Punk was sent down to OVW, cooling him off after the hottest period in his career. That means Punk still has an awful lot to prove in 2006. He has conquered the indy world and won over the legions of Internet fans and tape-traders who constitute the core ROH audience. But that just means he’s a big fish in a small pond. Succeeding in WWE is an entirely different prospect. Punk is leaner and less chiseled than most WWE competitors, and the fans may not know what to make of him at first. That’s why Punk needs to make an immediate impact if he hopes to make it there. After continuing to earn rave reviews in OVW, Punk will be called up to WWE right after WrestleMania. He will have a diva in his corner (either Maria or Candice Michelle) and will sneak-attack Randy Orton. “Everything you have was handed to you on a silver platter,” Punk will scream at the fallen Orton. “I worked my way up from nothing. I fought for every little scrap I have, and that makes me better than you.” Punk will be Orton’s biggest test since The Undertaker. While the feud will be one of the best feuds of the year, Orton will emerge victorious. 

WHERE WILL HE BE IN 2011?

As much as we would love to see Punk win the World title and usher in a new era, we just don’t see it happening. We don’t think Punk is a team player or a big corporate guy. He won’t play politics or suffer in silence when a ridiculous storyline is forced upon him. He’ll be gone from WWE by 2008 and will spend the next few years as ROH’s elder statesman. 

WHERE WILL HE BE IN 2016?

Thoroughly disillusioned with the wrestling scene, Punk will announce a semi-retirement in 2013. He will still wrestle on occasional cards around Philadelphia, but will spend most of his time fronting a new spoken word/hardcore straight-edge band. He’ll develop a hearty audience and will tour with Henry Rollins on speaking engagements and poetry slams.

[appendixsaucy]

SOMEBODYFIND IT !!!!

EMERGENCY WEEOOOWEEOO

[notsoprettynow]

Rip It Up [December 1999]

[casual-video-transcripts]

"Garrett Hedlund on Brad Pitt in Troy and Friday Night Lights | Screen Tests | W Magazine"

Original Transcript by W Magazine

Edited Video Transcript by @/casual-video-transcripts is under the cut

[0:00] [Text on screen reads "W SCREEN TESTS WITH LYNN HIRSCHBERG"]

[0:02] [Text on screen reads "GARRETT HEDLUND"]

[0:03] Garrett Hedlund: I was raised on a farm, so...

[0:05] We only had like three television channels.

[0:07] I don't really remember the first movie I saw.

[0:11] I loved what films did.

[0:13] I would constantly,

[0:14] you know, go to the back of the VHS's

[0:16] and the address for Universal Pictures

[0:19] or MGM would be on there,

[0:21] and I'd just start writing to the studios,

[0:23] asking if I could be in their, you know, in a movie.

[0:27] And then...That's more of a what I remember, yeah.

[0:31] I don't remember my first audition really well.

[0:33] I just remember that I didn't do very well.

[0:36] You know, I think the phrase was after, "you sucked pond water".

[0:39] And that's a ridiculous phrase, but.

[0:41] [Garrett sputters.]

[0:43] I moved to Arizona when I was 14 to live with my mother,

[0:46] and I always wanted to be an actor,

[0:48] but being in Arizona, I was only a state away.

[0:51] I'd been flying from Arizona to Los Angeles

[0:55] for two or three years for auditions.

[0:58] Yeah, by myself.

[0:59] I'd get out of school and I'd fly into Burbank Airport,

[1:02] I'd get in a taxicab, I'd go to the audition.

[1:04] I'd taxi back, I found out I didn't get it,

[1:07] and then the whole while I'm back on Southwest, you know,

[1:10] flying back to Arizona, go to school the next day.

[1:14] Hee...

[1:15] I was 18 or 17-18, and I'd skipped

[1:18] my junior year prom

[1:19] to be this...to be this extra,

[1:25] and then by my senior year when prom was to go on,

[1:27] I was out in Malta, filming Troy.

[1:29] You know, it was funny, because, you know,

[1:32] the character Patroclus was,

[1:34] you know, [I'd] see little things, you know,

[1:37] references to him being a poet,

[1:39] and so I'd go up to Wolfgang and Brad the next day

[1:41] and I'd be like, "well maybe instead of this shot,

[1:43] maybe you could just have me on that hilltop over there

[1:45] just kind of writing a little bit."

[1:47] And... they were just, "yeah...

[1:50] yeah, that's a good idea."

[1:51] [Garrett pats the air like a one-hand shoulder pat and then chuckles.]

[1:53] Then after, you know, Troy, I went on to...

[1:56] go do Friday Night Lights, the football film.

[1:58] I played football for just a year in Minnesota

[2:01] and then a year in Arizona.

[2:03] But...

[2:05] I don't think was ever a -

[2:08] I think I, I was never really, I don't think I was ever the starter.

[2:10] Heh.

[2:11] I played like defensive end.

[2:13] I was always on defense, so

[2:14] I wasn't the glorious position.

[2:18] I wasn't the ball carrier, I wasn't the quarterback.

[2:20] I wasn't, you know, the one making the touchdowns,

[2:23] so I think that's where, you know.

[2:26] What draws me to certain different roles

[2:28] are the extremities.

[2:29] I mean, doing something completely different.

[2:31] I don't feel during the day that I'm the same person,

[2:34] you know, on Wednesday as I am on Monday,

[2:37] and our minds change, our ideas change,

[2:39] our opinions change constantly.

[2:42] I've been signed on to On the Road since 2007 or so,

[2:46] and I just,

[2:47] I remember reading the book in high school.

[2:50] I mean, I went online and looked,

[2:52] and it said Francis Ford Coppola's directing this,

[2:54] and I was like, "man, I'll never get a chance at this".

[2:57] [And] I still, I mean, we're halfway through filming

[3:00] and I still can't believe I'm a part of it.

[3:02] I auditioned in like March of '07,

[3:05] [and then] I found out on my birthday

[3:07] in September that I'd gotten it.

[3:09] I'd had to land in Chicago for a layover,

[3:11] and when I got to Chicago, my dad called me,

[3:13] sang me all of Happy Birthday,

[3:16] and then I land in L.A.

[3:17] and I get another call from

[3:21] home in Minnesota,

[3:22] and [it was]

[3:24] you know, it was news telling me that my father

[3:27] had dropped of a heart attack

[3:29] [Gasps from behind the camera]

[3:29] Garrett: after he got off the phone with me.

[3:31] So I was just like, I called him up in the hospital

[3:33] and I said, "you know, you can't do this, you know, it's my birthday."

[3:37] And he goes, "I know, son."

[3:39] And I said, I just got On the Road"

[3:40] [Garrett laughs softly.]

[3:42] He's like, "that's great, son."

[3:43] [Garrett sharply inhales.]

[3:44] So it was, you know, a weird balance

[3:47] of... you know...you know, when there's a great amount of good

[3:53] it can also be evened out by

[3:55] a great amount of sort of bad in a way.

[3:58] I sat down with lunch with Jeff Bridges.

[4:01] [Phone chimes.]

[4:02] Garrett: Sorry about this.

[4:03] [Garrett pulls his phone out of his pant pocket and then throws it away. You can hear the phone thunk against the floor.]

[4:06] [Multiple staff members behind the camera laugh and giggle.]

[4:07] Garrett: Hehe, sorry.

[4:08] If it was a car, it'd be out the window.

[4:10] [Someone behind the camera laughs.]

[4:11] Garrett: Just phones and gadgets and stuff,

[4:12] I'm not good with them.

[4:13] I don't appreciate them the way others do.

[4:16] It's like for me, you know when somebody gets a new car

[4:19] and they're so worried that scratch, you know,

[4:22] that first scratch, but after that everything's fine.

[4:24] I'm just saying, you know, everything to me in life

[4:26] is like the second scratch.

[4:30] [Text on screen reads "W"]

[4:31] [Text on screen reads

"director GREG BRUNKALLA

editor LYNN HIRSCHBERG

cinematographer SCOTT SANS

sound ROB CORSO

gaffer CHRIS FISHER

production assistant KALVIN LAZARTE

film editor BRUNX

production company LEGS"]

End of transcript

Video Channel: W Magazine

Video Description:

In this Screen Tests interview, actor Garrett Hedlund (Tron: Legacy, Troy, On the Road) explains how he blew his first audition (the reaction, "you sucked pond water") and how he blew off his senior prom to shoot a movie with Brad Pitt.

Transcript I was raised on a farm, so. We only had like three television channels. I don't really remember the first movie I saw. I loved what films did. I would constantly, you know, go to the back of the VHS's and the address for Universal Pictures or MGM would be on there, and I'd just start writing to the studios, asking if I could be in their, you know, in a movie. That's more of a what I remember, yeah. I don't remember my first audition really well. I just remember that I didn't do very well. I think the phrase was after, you sucked pond water. That's a ridiculous phrase, but. I moved to Arizona when I was to live with my mother, and I always wanted to be an actor, but being in Arizona, I was only a state away. I'd been flying from Arizona to Los Angeles for two or three years for auditions. Yeah, by myself. I'd get out of school and I'd fly into Burbank Airport, I'd get in a taxicab, I'd go to the audition. I'd taxi back, I found out I didn't get it, and then the whole while I'm back on Southwest, flying back to Arizona, go to school the next day. I was , or , , and I'd skipped my junior year prom to be this extra, and then by my senior year when prom was to go on, I was out in Malta, filming Troy. You know, it was funny, because, you know, the character Patrick was, you know, I'd see little things. References to him being a poet, so I'd go up to Wolfgang and Brad the next day and I'd be like, well maybe instead of this shot, maybe you could just have me on that hilltop over there just kind of writing a little bit. And, they were just, yeah, yeah, that's a good idea. Then after Troy, I went on to go do Friday Night Lights, the football film. I played football for just a year in Minnesota and then a year in Arizona. But, I think I, I was never really, I don't think I was ever the starter. I played like defensive end. I was always on defense, so I wasn't the glorious position. I wasn't the ball carrier, I wasn't the quarterback. I wasn't the one making the touchdowns, so I think that's where, you know. What draws me to certain different roles are the extremities. I mean, doing something completely different. I don't feel during the day that I'm the same person on Wednesday as I am on Monday, and our minds change, our ideas change, our opinions change constantly. I've been signed on to On the Road since or so, and I just, I remember reading the book in high school. I went online and looked, and it said Francis Ford Coppola's directing this, and I was like, man, I'll never get a chance at this. And I still, I mean, we're halfway through filming and I still can't believe I'm a part of it. I auditioned in like March of ', and then I found out on my birthday in September that I'd gotten it. I'd had to land in Chicago for a layover, and when I got to Chicago, my dad called me, sang me all of Happy Birthday, and then I land in L.A. and I get another call from home in Minnesota, and it was you know, it was news telling me that my father had dropped of a heart attack after he got off the phone with me. So I was just like, I called him up in the hospital and I said, you know, you can't do this, it's my birthday. And he goes, I know, son. And I said, I just got On the Road (laughs). He's like, that's great, son. So it was a weird balance of you know, when there's a great amount of good it can also be evened out by a great amount of sort of bad in a way. I sat down with lunch with Jeff Bridges. Sorry about this. If it was a car, it'd be out the window. Just phones and gadgets and stuff, I'm not good with them. I don't appreciate it them the way others do. It's like for me, you know when somebody gets a new car and they're so worried that scratch, that first scratch, but after that everything's fine. You know, everything to me in life is like the second scratch.

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Garrett Hedlund on Brad Pitt in Troy and Friday Night Lights | Screen Tests | W Magazine

CVT Disclaimer: None of the videos I transcribe belong to me. They belong to the content creators and the crew behind the videos. Please keep in mind that my transcripts may not be 100% as I am not a professional. I'm just someone who wants to provide video transcripts for people to understand and enjoy these videos. For this video, I focused on the speaker.

If there are any corrections you would like me to make, let me know in the comment section of the post or through my ask box (if my ask box works).

If you like this video or any other videos from W Magazine, please support it by watching the YouTube channel and/or through other means by them.

Casual Video Transcripts' Personal Notes: Hello everyone again, apologies for not posting the mera video transcript. The mera video transcript will happen eventually... I've been focusing my energy and time on other projects. It's been nice. I want to take my time and not rush it. In the meantime, I hope you all are okay with these other posts. There may or may not be a lot of movie-related video transcripts already in the works.

[sounwise]

“Inner Beatle Secrets: From Paul” (interview with Alan Freeman in Rave Magazine, April 1966 issue)

[Full transcript beneath the cut:]

-

No doubt, pop-pickers, millions of you would flip at an opportunity to entertain Paul McCartney in your home for a few hours. Well, if you ever do, take my tip . . . move the piano out first. Because Paul makes straight for it the way other people head for a good-looking chick.

“You eat, sleep and dream on it, don’t you?” I said. Paul grinned and rippled out another string of tuneful thoughts, the melody just growing from his fingers. Then he tried it over again, this time adding a jumping bass pattern that suddenly brought the whole thing to life. He stopped halfway through.

“That’s all I’ve got so far,” he said. “I must work on that a bit more.”

It took me half-an-hour to get Paul away from the keyboard and sit down and relax. I could see why the Beatles rarely run short of great new numbers. If someone invented a way of composing in your sleep, McCartney would be on to it like a shot.

It was nearly a year since I’d had a Heart-to-Heart with Paul, here in the same room at my London apartment. We’d met often since then, of course, on shows and in TV studios. But now, with a rare day free just to laze around and sip a long drink and chat about whatever came into his mind, you could see a big change in him.

In the old days Paul, like a lot of genuinely sensitive and creative people, used to cover up a little under a dry, wise-cracking front. Today he’s fizzing like a firework with all sorts of thoughts and theories about music, films, books and art.

People used to ask, “What happens when the time comes that the Beatles break up and go their own ways?” I don’t think we need to worry. I reckon their individual talents are possibly even greater than their achievements as a group. Even if the Beatles had never made a single disc, the Lennon-McCartney songs would have been a glowing milestone in pop anyhow.

So, if you don’t mind, Beatle-diggers, this is Paul the person talking of his ideas, his discoveries as his mind matures and the mad, hurtling pace of the world’s idols steadies down to a saner rhythm.

The phone rang outside, but I wasn’t letting anybody cut in on this revealing session with Paul. “No calls for the next hour, no matter what,” I said to Carolina, my secretary.

And Paul began to talk.

“It’s hard to know whether the Beatles have changed much in the past year as the public sees them,” he said. “But I know we have. I know I have, as a personal, internal change. I don’t mean things like getting the M.B.E. I think after the first couple of weeks we forgot about that.

“I’d say the really big change is in our tastes, in finding out about things we didn’t know before. For instance, George spends all his time now, listening to Indian music. He’s joined the Asian Music Circle. He’s really serious about it, too. It started when he got a cithar [sic]—the Indian instrument we used on ‘Norwegian Wood’.

“It’s the same with all of us. We’ve all got interested in things that just never used to occur to us. I’ve got thousands, millions, of new ideas myself. What I really want to do now is to see whether I could write all the music for a film. Not just to write tunes, but the music of the film itself.

“I want to read a lot more than I do. It annoys me that so many million books came out last year and I only read twenty of them. It’s a drag.

“What I’m reading at the moment is everything I can get on the assassination of President Kennedy . . . all the evidence, all the reports. I’m convinced that the real truth about that hasn’t come out. And I’m reading a French writer—Jarry. He’s great, weird.

“I’m reading plays like mad, too, I don’t know if I’ll ever want to write one. But there are so many things I’d like to have a try at.

“Painting. I’ve done quite a bit and I enjoy it. I’d like to do a lot more, find out if I might have a talent for that.”

Caroline brought in tea and passed the cups. “Paul,” I said, “how would you say all these new interests of yours might affect the Beatles’ music?”

He grinned, stirring his tea. “Well, if you mean are people frightened that we might suddenly go all sober or play stuff like Mantovani, they needn’t worry about that. We’ve got no intention of trying to rehash old things. The whole point is that we’re learning about new things all the time.

“Like doing ‘Yesterday’ with the string quartet instead of the big sweeping orchestra, which was the old way. But it would be a pity if we change the way which we think is better but everybody else doesn’t. It’d be a pity—but that’s the only way we’ve ever worked.

“We’ve only made the records which we think are good, and that’s the only standard we’ve ever gone by. Eventually we may get a bit too way-out. I hope not, but I don’t know.”

I pointed to the stack of newly released discs standing by the record player and said, “But if you go through those, for example, everyone can see that pop music is getting more and more way-out. People are going for it, all the same.”

Paul nodded. “Yes, to some extent it is. But there are still too many groups who are trying just to keep up. That’s no good. That’s what makes the whole pop thing dull in the end. You ought to be able to move on a bit further with every record, like The Who.

“And what’s more, they’ve got every chance. The equipment in most British recording studios is much better than it is in the States. But there’s some extra bit they get to the sound over there that we haven’t quite got. I don’t know what it is yet, but you get the sensation of that little bit more. The Stones always tell us we’d be better if we recorded in the States, but we never have. We probably will eventually.

“You put a record of ours with an American record and don’t alter the volume, and you’ll find the American record is always that fraction louder. And it has a lucid something I can’t explain. Funny, because as I say, I believe we’re technically better in Britain.”

Paul shrugged. But he had the contented look of a young man who has just come up with something else to investigate and find out about.

There must be many a group starting out now who are spurred along by visions of what life at the top must be like when you finally get up there in the Beatles class. But Paul said that although you obviously pick up the luxuries, you also discover that you’re going short of a lot of things that less successful people have more time to enjoy.

“I suddenly realised that because of the Beatles, as far as my own life was concerned, I’d got in a very severe sort of rut. And we all had, because we all just seemed to be working only towards trying to get pop things done. And we saw that obviously we must have missed out on quite a few things.”

He grinned and nodded towards the piano in the corner. “Only the other day I was working out a number and I stopped and thought, ‘What a drag. I’m twenty-three and I’ve never learned to read music.’ And I found I was thinking to myself as if I was finished. So I said, ‘Why don’t I?’ And now I’m doing it.

“Sooner or later it hits you that the average span of the British male is seventy-five years and you’ve had more than twenty of them, so you better make the most of what’s left. Then the brain starts working, and John and I rush out and buy loads of books.

“I’m lazy, but I don’t like myself being lazy. So the only way out is to do something about it. Like I made myself listen to classical records, though nobody in our house ever liked them. When one came on they’d just turn it off. But I thought, ‘I’d better sort this out for myself and see whether I like it or not.’

“And in fact I don’t like a lot of it. It’s too fruity and sentimental. But from that you get on to what the modern composers are doing. And it’s suddenly great, because you discover that there are all these things going on.

“Then I play them to John and he says, ‘What a drag—all these millions of records coming out all the time and we’ve not been getting on to them.’ Then we rush out and buy loads of modern compositions.

“The only thing to do is to listen to everything and then make up your mind about it.”

And that’s the best advice you’ll ever get on this planet, friends. Because it works, not just in the world of music, but in every profession they ever invented. I know people with no special gifts who’ve made fortunes just by listening. Not eavesdropping . . . listening. And when you know, then you can really start moving.

Paul shares with Pete Townshend of The Who a taste for the music of Stockhausen, one of the modern German composers. “His ideas are fantastic. It’s the farthest-out music yet. He uses electronic stuff that nobody else has got round to. And his records are listed under the classical section in the catalogues. So if you’ve got it in your head that you don’t dig classical music, look what you’re shutting out.”

He shook his head. “You can’t go putting music into little categories like serious and Merseybeat and so on. The great thing is that it’s music, whatever label they try to stick on it.”

Paul said with quiet intensity, “You see, you’re going to have trouble getting but unless you have fairly solid opinions on things. You live in a muddle. as soon as I noticed myself saying ‘I don’t know’ I thought, ‘Well, you’ll have to try. Why don’t I know?’ Unless you get at it, by the time you do find out you’ll be ready to die.”

The Beatles have obviously been the single influence on pop for decades. But Paul admitted that this influence would never have come about if he, John, George and Ringo hadn’t been excited and stimulated by other people’s thoughts and ideas.

“The whole thing is about trying to contact people all the time. And with everything . . . plays, books, music. Even cooking. Anything that breaks down any kind of barrier and lets you get through to another human being . . . that’s it, that’s what valuable, that’s what matters.

“I think that’s why the whole being-English explosion has been such a success in America and everywhere else. It’s a genuine effort, and it’s working. Everybody in England has suddenly got just a little bit more interested in everything and everyone else. Britain has just climbed up on to another level, and it’s a wonderful thing.

“You ought to hear the people who come over here, the ones we talk to. They’re knocked out, because the idea they had of England before was just ridiculous. They believe the whole bowler-hat thing, thought the English were very reserved and very cold. When they go to a few parties and see what we’re really like, they’re amazed.

“Oh, sure, there’s been a change in us, all of us. But there’s a lot of people who’re still apathetic, who’ve got one fixed opinion. You know, the kind who say ‘I just like pop music or rhythm-and-blues or Edmundo Ros and don’t ever tell me about anything else because I don’t want to know’. They’re still scared to lay themselves open to any new influence. And they stay in the don’t-know rut for ever.

“As far as the Beatles are concerned, we can’t just stop where we are or there’s nothing left to do. We can go on trying to make popular records and it can get dead dull if we’re not trying to expand at all and move on into other things. Unless you’re careful you can be successful and unsuccessful at the same time.”

The next the Beatles do a television film, Paul said, they want to use many more of their own ideas instead of leaving it to the network’s camera crews. “The one they did while we were in America could have been so much better. It needed just that little extra bit of imagination.

“Instead of getting someone in to do the music and the sounds, we’d like to do it ourselves. Spend a long time on it and really work at it.

“We’re getting something that’ll really give us some experience with mixing up sound and film in that sort of way. It’s a gift Capitol Records gave us in the States, and it’s the greatest little present event.

“It’s a television recorder. You just plug it into your set and you record the programme straight off, just like on to a tape. You can record the BBC while you’re watching ITV and show the film on your telly at one o’clock in the morning if you want to. They said we’ll be the first people in England to have them.

“So what we’re going to do when they come is go out and shoot film, weird shapes and patterns and light, and record special weird music to go with it and then come back and play it at home on the television. And we’ll be able to find out what works and what doesn’t, so that when we do a proper full-scale film we’ll know exactly what to put in it.”

The telephone shrilled in the other room. I looked at my watch. Our quiet hour had ended. “It’s Brian Epstein’s office for Paul,” said Caroline.

If you’re a Beatle, the world doesn’t leave you alone for long. While Paul was on the phone, the chauffeur arrived to pick him up for another business meeting. And for another while at least, all the schemes would have to wait while Paul the person made way for Paul the star.

As we shook hands on his way out, I wondered how far he would have carried his plans, what new excitements would be gripping him, the next time we have the chance of a Heart-to-Heart. More than likely, he would have come in from the bachelor cold by then and followed the other Beatles into marriage.

One thing for sure, I thought. No kid of Paul McCartney’s will turn out to be a don’t-know.

I looked at the piano guiltily as the lift hummed down to the ground floor. After all this time, I should be able to play that machine with the best of them. Why can’t I? I sat down and got a little chord shape going.

“Alan,” said Caroline around the door. “Fred Thing wants to know if you can come over.”

One note out in the bass somewhere—that’s got it.

“Tell him I’d love to,” I said. “But I can’t now. I’m working on an idea.”

Till next month—stay bright!

[leolaroot]

Scorpius Delecti by Rhonda Krafchin. Wayne Pygram adds a taste of evil to the Farscape experience.

Wayne Pygram deliciously etches Farscape's master villain, Scorpius.

Wayne Pygram likes to tell a story from his first day on set of Farscape playing resident baddie Scorpius. After hours in the makeup chair, the Australian actor emerged onto the soundstage decked out in full costume--a slinky, black, reptilian getup, bombardier-style helmet and full facial prosthetics that turned Pygram's face into a grotesque, grimacing, skeletal head with bad dental work and deep-set eyes. The five-minute camera test was the first glimpse anyone had had of the new character.

"The whole set literally stopped," Pygram recalls. "Everyone put down tools and was looking at me: 'What the hell is that?'" Pygram pauses, relishing the memory. "I felt the power. I had walked into a room and everyone stopped. I automatically felt the seduction. Then I walked up to a friend and started talking to her about her son. How was he? How was it going at school? She had no idea it was me. And the look in her eyes, the fear in her eyes, having this skull talking to her in detail about her son. From that day on, I knew I didn't have to do much. All I have to do is stand there and speak, and people are going to listen because the image is so potent. He's spooky."

Though Scorpius was originally intended only for a four-episode story arc on Farscape, the character just proved too

[blowflyfag]

WORLD WRESTLING ENTERTAINMENT/FEDERATION MAGAZINE: OCTOBER 2011

FLASHBACK PHOTO

Meet The Rockers

As far as we can tell, this is the earliest known shot of Shawn Michaels as a WWE Superstar, taken backstage at a TV taping in Buffalo, NY, in 1987. The future HBK was 22 years old, and still a year away from his debut in July of ‘88. Looking at this young up-and-comer, who could have predicted he’d one day grow into The Showstopper?

[fuckyeahgoodomens]

The Radio Times magazine from the 22-28 July 2023 :)

Good Omens

The first series of Good Omens gamely, if sometimes patchily, adapted Terry Pratchett and Neil Gaiman’s 1990 novel of the same name, featuring a gang of wacky characters trying to stop the apocalypse. It was a decent success — but the real triumph of the series was the casting of Michael Sheen and David Tennant as Aziraphale and Crowley, an odd couple angel and demon secretly working together over centuries.

The onscreen partnership was such a success that Sheen and Tennant have become a veritable double act, mining their friendship for three series of lockdown sitcom Staged. And this second run of Good Omens wisely drops most of the side characters to focus on their dynamic, as the unlikely pair face another Armageddon, this time involving an amnesiac angel Gabriel (Jon Hamm). With Tennant and Sheen centre stage it’s sharper, tighter and funnier than series one, and just as imaginative. HUW FULLERTON

MEET THE ANGELS AND DEMONS

Gabriel - JON HAMM - The leader of the angels has lost his memory, and is wandering around — naked — on Earth. Only Aziraphale and Crowley can help.

Shax - MIRANDA RICHARDSON - After playing a human psychic in series one, the Blackadder legend returns as a new character — Hell’s new London agent.

Michael - DOON MACKICHAN - The Two Doors Down star returns as an ambitious archangel looking to take Gabriel’s place — and punish anyone hiding him.

Beelzebub - SHELLEY CONN - The Bridgerton actor plays the leader of Hell’s forces (replacing Anna Maxwell Martin, who had scheduling conflicts).

[regionbetween]

excerpt from harlan ellison's "the region between", published in GALAXY march 1970

The universe moves toward godhood. It started there and it wishes to return there. It is driven around in the greatest circle toward there. Godness lies dormant yet remembered in every thing, every smallest thing, in every puniest creature. Every living thing must, of needs, play at godness. It is built in. In the basic fiber, in the racial memory, in the pulse of blood or thought they remember all the way back to when there was nothing. Yet none of them are God. Thus it becomes a universe of things struggling ineptly toward a destiny they cannot even fathom, struggling impossibly to be God: a universe of manipulators, of users, of petty handlers who push and shove lesser, less god-driven races around in alien patterns, forcing them to dance to tunes they never knew, can barely comprehend, in pain and hopelessness, deprived of light or joy. From the sleaziest legislators of ethic and fashion and morality to the greatest pawn-movers of entire cosmic races, everything, everyone, scrabbles blindly toward the memory of when it was once god-blooded. All things try to govern the lives of all other things. And in turn, those Gods are used by other Gods. And those Gods are manipulated by greater Gods. And on and on. Domino ranks of puppet masters, to infinity and beyond. It is a universe of mad deities, one more selfish and corrupt than the one that went before. For none of them are God, they are merely circular pieces of the all-memory of what was godness at the beginning. Latent in the "soul" of what had been "Bailey" was the force that had first created everything. It had always been there, waiting its time, waiting to emerge and finish what it had started. Buried, sleeping, handed down through the unimaginable eons in plant, stone, fish, cloud, vehicle, Bailey. First cause? Perhaps. God? Perhaps. Any name will suffice. For if that force be God, then the bitter cynicism of the atheist is valid, for the God that was Bailey was insane, completely and eternally deranged, who but a madman would create all of everything then bury itself dormant and slumbering; a madman buried in an eternal "soul" passed down through decaying time. Buried here and there and everywhere yet struggling to be reborn by a pressure of equalization, a necessity for balance in something even as a lunatic as the mad world created by a mad God. But now, freed, like an evil genie from a bottle, the force that was God awoke...

[demoralizedreprobate]

January 1992 WWF magazine article. Is there anything wrong with the Rockers?

transcript below the cut

(1)

If you've noticed something different about Rockers Shawn Michaels and Marty Jannetty lately, there's a reason. WWF Magazine has discovered that friction and possibly even anger have developed between the two young athletes known as the "Masters of Motion." Personal differences have disrupted the tag team that has had perhaps the smoothest coordination in the WWF, and the dissension between the two men may have repercussions on their performance in the ring.

As of this writing, the impact has been subtle. But our investigative reporter- who, for reasons of confidentiality goes unidentified- has been observed carefully. The lightning tag that made the Rockers famous have slowed ever so slightly, but enough at times to lessen their effectiveness. On an increasing number occasion, one or another Rocker has been left in the ring to weather a storm that could have been avoided by a swift tag out of trouble. Tags have been missed, something that never happened before. It is difficult to say for certain, but it appears that the partner who is out of the ring sometimes seems distracted and thus misses the opportunity to receive the tag. It seems that the timing of the duo's moves has been slightly off, but given their great athleticism, it has not had the adverse impact that it might have Nevertheless, a sharp eye ca detect a change.

Most obvious to our reporter has been the effect upon a Rockers' trademark- legal double-teaming. After a tag, the ember of a team who has bowed out has five seconds to vacate the ring or be in violation of the rules. Swift as lightning, the Rockers have made the most of those precious seconds, hitting opponents with a legal double whammy-

(2)

-so speedy that some critics have thought it a foul. That has not been the case. It's just that the Rocker are so fast that together they can do in a flash what takes several minutes for most teams to accomplish.

We have tried to determine the source of the friction between Jannetty and Michaels who, as we went to press, deny it exists.

Both Michaels and Jannetty are aggressive, active, high-spirited young men with a zest for life, quick tempers and great pride in themselves. Each has an ego. Each strives for accomplishment. Each wants recognition. Therein could lie in the seeds of the problem. Have they been too close? Do they feel they feel they need separate identities?

Marty Jannetty and Shawn Michaels of the Rockers may be headed for a breakup. Although on the surface they still seem to be working smoothly as a tag team, expert eyes have picked up slight miscues when Michaels and Jannetty are in the ring, highly uncharacteristic of the Rockers.

(3)

Perhaps each is losing his identity to the other . That's understandable. In many ways, they are like twins. Their style in and out of the ring is identical.

Given each man's spirit of competition, is it not fate that they will compete with one another?

They have competed bot in and out of the ring. We have found out that Jannetty and Michaels have argued heatedly about the contributions of each to the team's success- and about their failure to achieve the pinnacle of greatness- the WWF Tag Team Title. Heard behind closed doors: "You're holding us back. I'm doing it all." The speaker- either Jannetty or Michaels- could not be identified.

This kind of discord does happen in even the most successful WWF tag teams. It's a rough road, wearing and often brutal. WWF wrestlers are proud and aggressive individuals. They must be to survive. Being a member of a team demands that some of these qualities subverted for the betterment of the duo. The great teams smooth it over. Just listen to Hawk and Animal of the Legion of Doom.

"Sometimes after a tough match we're so wired up and have been so banged around that we get testy with each other," says Hawk. "But in the end, this goes by the boards. We survive because we put differences aside and work together."

"As any tag team knows, I live by him and he lives by me," says the Animal. "We stick together or go down together. It's the law of the ring. Outside the ring we're close but we still go our own ways."

Jealousy and competition with one another may spell the end of Shawn Michaels and Marty Jannetty as a tag team.

It appears that Jannetty and Michaels have also had trouble outside the ring. It's no secret that many young women idolize them. They both have many female friends. So why do the Rockers argue over which of them is most appealing to the opposite sex? It makes no sense. But they do, sometimes to the boiling point. Possibly it could have to do with their competitiveness and aggressiveness.

Without a doubt, you can attribute some of the Rockers' problems to youth. But we feel there is more to it. Someone is rocking the Rockers' boat. And if you rock the boat too much it sinks. If the boat loses control, it hits the beach, smashes into the rocks and then splinters into pieces. Are the days of smooth sailing over for the Rockers?

[are-we-really-doing-this]

Pro Wrestling Illustrated, May 2006

The Wrestling Forecaster: Melina

(@blowflyfag for you my man)

WHAT’S AHEAD FOR THE REMAINDER OF 2006?

Melina Perez came into 2006 on a low note. She had attempted to use her “feminine wiles” to persuade Batista to refuse to take a match against M-N-M, only to have Batista succumb to her advances and then go on to take her team’s title. Melina threatened a sexual harassment lawsuit against Batista, but then went one step further and brought in Mark Henry to physically punish Batista for “having his cake and eating it too.” So far, it looks like Melina’s plan has paid off as Henry has put Batista on the shelf and M-N-M has their belts back. But there’s one other goal that Melina still desperately wants to achieve, and that’s to beat Trish Stratus for the women’s championship. She may not be as good a wrestler as Trish, but with M-N-M (and possibly even Henry or Kid Kash) running interference for her, we think she’ll manage to win that title soon. While her powerful friends might help her win the belt, they won’t be able to help her keep it for long. One of her first challenges will come from Mickie James, who will be determined to win the title to show up Trish. Melina will lose the belt at Backlash, and then will go back to her true passion–managing Nitro and Mercury to another great year as WWE’s premier tag team.

WHERE WILL SHE BE IN 2011?

M-N-M will run out of gas after a year or two and–like most rule-breaking tag teams–will probably end up at each other’s throats. Melina will stick with Johnny Nitro and help him develop into a U.S. title contender. She will also sign hot prospect Ken Doane, who will become a top contender for the World championship. Melina will continue to draw heat, despite her extremely popular ring entrances. In 2011, she and Doane will be the hottest couple on Smackdown.

WHERE WILL SHE BE IN 2016?

After giving his nod of approval to the relationship between Melina and Doane, Nitro will be furious because he feels Melina is spending more time promoting Doane than him. Nitro will slap Melina and spark a bitter feud with Doane and Melina, which will miraculously turn Doane and Melina into fan favorites. After the feud ends in 2013, Doane and Melina will be two of the most beloved figures on the Smackdown brand. In 2016, Melina will be WWE’s top manager. She will win the 2016 Woman of the Year award with a landslide vote.

[xo8ball]

what if we were best friends with unresolved homoerotic tension and also played in the same band

id: art of two of my original characters, Phoenix (they/he) and Tundra (any pronouns). Tundra, on the right, is in a profile view biting Phoenix's cheek with a smile, she is a shark person with grayish tones, sharp teeth, blue eyes and short messy black hair with long sideburns. Phoenic, on the left, is looking at the viewer smiling with a frown and a small tear forming on a single eye, while squinting, they are a white skinned person with vitiligo, sharp teeth, a black animalistic nose, lip bites and nose bridge piercings, he has red straight hair and a mullet. it is a close shot picture with yellow undertones.

tfw you forget about scarring

id: doodle of the same characters. phoenix on the left is portrayed as a stick man laughing very hard, one paw on his chest, bunny ears, a single bang on the side and the bite mark tundra left on the corresponding cheek. aside, tundra is laughing yet concerned, portrayed as a stick man with pointy ears, gesturing his hand towards phoenix.