How does John Corbett’s “Vinyl Freak” explore the world of record collecting. What insights does the book offer on music culture and appreciation. Why has this book resonated with both vinyl enthusiasts and casual music fans.
The Essence of “Vinyl Freak”: More Than Just Record Collecting
John Corbett’s “Vinyl Freak” presents a unique exploration of music appreciation through the lens of vinyl record collecting. Far from being a mere nostalgic journey, the book offers a philosophical examination of how music traverses different listening mediums and what this means for listeners. This approach has garnered praise from critics and readers alike, making it appealing to both dedicated vinyl enthusiasts and casual music fans.
A Philosophical Approach to Music Consumption
Corbett’s work stands out for its thoughtful analysis of how music consumption has evolved over time. He delves into the ways different formats shape our listening experiences and how this impacts our relationship with music. This perspective elevates the book beyond a simple catalog of rare records, offering readers a deeper understanding of music’s role in our lives.
Exploring Musical Diversity: Jazz and Beyond
While “Vinyl Freak” has a strong focus on jazz, it doesn’t limit itself to this genre alone. Corbett’s eclectic taste shines through as he introduces readers to a wide array of musical styles and obscure recordings. This diversity serves to broaden readers’ musical horizons and encourages exploration beyond familiar territories.
Unearthing Hidden Gems
One of the book’s strengths lies in its ability to highlight lesser-known artists and recordings. Corbett’s extensive knowledge and passion for music discovery make “Vinyl Freak” a valuable resource for those looking to expand their musical palate. Each featured record comes with Corbett’s highest recommendation, enticing readers to seek out these hidden gems.
The Visual Appeal: Album Art as Cultural Artifact
An often-overlooked aspect of vinyl records is their visual component. “Vinyl Freak” pays homage to this by including illustrations of the record covers under review. These images not only enhance the reading experience but also serve as a testament to the artistry and cultural significance of album artwork.
The Role of Album Art in Music Appreciation
Album covers are more than just packaging; they’re an integral part of the musical experience. Corbett’s inclusion of these visual elements in “Vinyl Freak” highlights the multisensory nature of vinyl collecting and appreciation. It reminds readers of the tactile and visual pleasures that come with physical music formats.
Beyond Nostalgia: A Fresh Perspective on Vinyl Culture
While “Vinyl Freak” celebrates the enduring appeal of vinyl records, it avoids falling into the trap of pure nostalgia. Instead, Corbett offers a contemporary look at vinyl culture, exploring its relevance in today’s digital age and its impact on modern music consumption.
Vinyl in the Digital Era
How has vinyl managed to survive and thrive in an era dominated by digital streaming? Corbett addresses this question by examining the unique qualities that vinyl offers to listeners. He explores the ritual of playing a record, the warmth of analog sound, and the sense of connection to music history that vinyl provides.
The Art of Music Discovery: Corbett as Guide
Throughout “Vinyl Freak,” John Corbett positions himself as more than just a collector; he becomes a guide for readers on a journey of musical discovery. His enthusiasm for sharing his knowledge and experiences makes the book an engaging read, even for those who may not consider themselves vinyl enthusiasts.
Cultivating Musical Curiosity
Corbett’s approach encourages readers to cultivate their own musical curiosity. By sharing his personal discoveries and recommendations, he inspires readers to seek out new sounds and artists. This aspect of the book transforms it from a mere collection of reviews into a catalyst for musical exploration.
The Cultural Impact of Record Collecting
“Vinyl Freak” delves into the subculture of hardcore record collectors, offering insights into this passionate community. Corbett examines the motivations behind collecting, the thrill of the hunt for rare recordings, and the sense of community that exists among vinyl enthusiasts.
Collecting as Cultural Preservation
Record collecting is often seen as more than just a hobby; it’s a form of cultural preservation. Corbett explores how collectors play a crucial role in maintaining musical heritage, preserving obscure recordings that might otherwise be lost to time. This perspective adds depth to the discussion of vinyl culture and its importance in the broader context of music history.
The Readability Factor: Making Music Writing Accessible
One of the most praised aspects of “Vinyl Freak” is its readability. Corbett’s writing style manages to convey complex musical concepts and historical context in an engaging and accessible manner. This approach has made the book appealing to a wide range of readers, from casual music fans to seasoned audiophiles.
Balancing Expertise and Accessibility
How does Corbett strike a balance between sharing his extensive knowledge and maintaining reader engagement? His writing demonstrates a keen ability to explain technical aspects of music and recording without overwhelming the reader. This skill makes “Vinyl Freak” an educational yet enjoyable read for music lovers of all levels of expertise.
The Future of Music Appreciation in a Digital World
While celebrating vinyl, “Vinyl Freak” also looks to the future of music appreciation. Corbett acknowledges the changing landscape of music consumption and considers how the lessons learned from vinyl culture can be applied to appreciating music in all its forms.
Bridging Analog and Digital
Rather than pitting vinyl against digital formats, Corbett explores how different mediums can coexist and complement each other. He considers how the tactile experience of vinyl can inform and enhance our appreciation of digital music, encouraging readers to engage more deeply with the music they love, regardless of format.
In conclusion, “Vinyl Freak” by John Corbett offers a multifaceted exploration of music appreciation through the lens of vinyl collecting. It combines historical insight, personal anecdotes, and cultural analysis to create a compelling narrative that resonates with music lovers of all stripes. By delving into the world of rare recordings and obscure artists, Corbett not only celebrates the enduring appeal of vinyl but also encourages readers to expand their musical horizons and engage more deeply with the art form they love.
The book’s success lies in its ability to transcend the niche audience of vinyl collectors, offering valuable insights and recommendations to anyone passionate about music. Through Corbett’s engaging prose and thoughtful analysis, readers are invited to consider their own relationship with music and how different formats shape their listening experiences.
As the music industry continues to evolve, “Vinyl Freak” serves as a reminder of the enduring power of physical media and the joy of musical discovery. It challenges readers to look beyond mainstream offerings and explore the vast, often overlooked corners of musical history. In doing so, Corbett not only preserves the legacy of vinyl but also paves the way for a richer, more diverse musical landscape in the future.
Whether you’re a dedicated vinyl enthusiast or simply curious about the world of music collecting, “Vinyl Freak” offers a compelling journey through the grooves of musical history. It’s a testament to the enduring power of music to connect, inspire, and transform, regardless of the medium through which it’s experienced.
Hoodrich Pablo Juan – I Like Freaks Lyrics
[Intro]
Trenchwerk
Nard & B
[Chorus]
I like me a freaky ho, she bend over, touch her toes
It’s still money over hoes, throwin’ money, I overdosed
All this ice make ’em froze, Chanel coat cold
Ain’t lovin’ no ho, traphouse never closed
That ass look fatter when she come up out them clothes
Ooh, whip it like it’s pancake batter on the stove
Damn, fucked her too good, now she tryna be my ho
I gave her a couple racks and dropped her right off at the store
[Verse 1]
I got me a freaky ho and she work at Blue Flame
I turn her ’round and fuck her from the back, that my boo thang
She just love to fuck somethin’, I love when she give me brain
When I stick it in her deep, it look like she in pain
She can get what she wanna get, I’m buyin’ everything
I don’t care that she a ho, she still gettin’ claimed
Hoodrich, I make it rain, when I fuck, she wear my chain
Ass, titties, both the same, I go down like a crane
[Chorus]
I like me a freaky ho, she bend over, touch her toes
It’s still money over hoes, throwin’ money, I overdosed
All this ice make ’em froze, Chanel coat cold
Ain’t lovin’ no ho, traphouse never closed
That ass look fatter when she come up out them clothes
Ooh, whip it like it’s pancake batter on the stove
Damn, fucked her too good, now she tryna be my ho
I gave her a couple racks and dropped her right off at the store
[Verse 2]
That my freak, that my ho
TTG, she trained to go
Two bitches, that’s my goal
She know how to work that pole
Burn down four, she want some more
Yeah, I just want that throat
Pull up in the foreign and I drive it like it’s stolen
Shawty work at Magic City, I know she a pro
Fuck it up, ain’t nothin’ but some money, here you go
She swallow when she suck it, baby, tell me, do you love it?
That ass lookin’ right, damn, girl, I might just cuff it
[Chorus]
I like me a freaky ho, she bend over, touch her toes
It’s still money over hoes, throwin’ money, I overdosed
All this ice make ’em froze, Chanel coat cold
Ain’t lovin’ no ho, traphouse never closed
That ass look fatter when she come up out them clothes
Ooh, whip it like it’s pancake batter on the stove
Damn, fucked her too good, now she tryna be my ho
I gave her a couple racks and dropped her right off at the store
[Outro]
Trenchwerk
Duke University Press – Vinyl Freak
“Vinyl Freak could have easily been a stale trip down memory lane by a record collector.
Yet Corbett takes an almost philosophical look at how music passes through listening mediums and what that means for listeners. As a result, the text will appeal to both vinyl freaks and non-freaks as it speaks to the transience of pop culture and its intersection with everyday lives.” — Amanda McCorquodale, Foreword Reviews
“… since the discussion is at least as much about the music being collected as the vinyl package, there is also a lot of intriguing music in the book. Much (but not all) of it jazz, and all of it worth seeking out: it comes with Corbett’s highest recommendation.”
— Mark Sullivan, All About Jazz
“[A] fascinating look at a subculture og hard-core collectors and a gold mine of information about various kinds of music and recording esoterica…. The illustrations of the record covers under review are fascinating and the author’s musical savvy is daunting. This lively book could appeal to a wide range of readers.” — David Keymer, Library Journal
“.
.. one of the most readable books about the arcane magic of hunting down and listening to rare and unusual albums, or even rediscovering them from your own collection.” — Jon Newey, Jazzwise
“As a person who is not quite an over-the-top Sun Ra aficionado but is certainly more than a casual fan, I am forever grateful for Corbett’s obsession. As a person who is always interested in discovering new and obscure music, I am also forever grateful for Corbett and his publisher compiling this collection of reviews. Although I read several of them in their original incarnation in Downbeat, this little book is now my reference guide for music I need to check out. Thanks again, John Corbett.” — Ron Jacobs, Counterpunch
“[Corbett’s] new book digs deep into the culture of the vinyl lover and digs even deeper into his personal record collection. In the process, he exposes a beautiful and dusty world largely forgotten but kept alive by that dead medium known as the vinyl record.
” — Christopher Laird, PopMatters
“Corbett really is an ‘equal opportunity ear filler’ and is willing to acquire the music he really enjoys in any format. With Vinyl Freak John Corbett invites us to join him in the pleasure of discovering new sounds to indulge our ears. So what are you waiting for? You’ve been invited. Highly Recommended!” — Chris De Chiara, Avant Music News
“Corbett still has an obscene record collection, but he’s realized that his greatest mission is to share and educate—to arrange things so that others can experience the joy that he does. As much as anything I’ve read by him, Vinyl Freak does precisely that.” — Peter Margasak, Chicago Reader
“John Corbett is one of my favourite music writers. This book gathers up his elegaic and highly informative columns for Vinyl Freak magazine along with a series of mediations or essays on his love of music, an engaging mix of autobiography, reflection and storytelling.
There are lots of colour pictures of record sleeves too.” — Rupert Loydell, International Times
“Corbett unspools his jazz history impressively, and his ear and pen are acutely attuned to each other…. For audiophiles in general with an appreciation of the anomalous, Vinyl Freak will point to singular performances by musicians perhaps unfamiliar to most of us – Staffan Harde, Tristan Meinecke, The Three Souls, Johnny Shacklett, Klaus Doldinger, Paul Smoke Trio, Ernie and Emilio Cacares, Baikida Carroll – and on and on.” — Ron Slate, On the Seawall blog
“Corbett’s deep knowledge in his chosen fields yields many valuable insights about records you may never have even heard of, let alone heard. Sure, he appreciates the classics, but he favours outliers. Admirably, he wants to broaden the canon (it would behoove readers to keep a notebook handy to tabulate all the records for which they should search)…. And that is the motor of Vinyl Freak: an insatiable desire for the next revelatory recording, offering a thrilling portal to discover a hidden facet of your identity through a work of art.
And if it impresses your mates or seduces a potential lover, so much the better.” — Dave Segal, The Wire
“John Corbett revels in the knowledge he’s gained from a life spent rooting round shops and chats with like-minded souls. It’s the final section that will resonate with most, detailing his experience unearthing an entire house-worth of Sun Ra memorabilia, it is so vividly written that you can almost sense his pulse racing as he ecstatically rifles through priceless artefacts.” — Record Collector
“Corbett’s encyclopedic knowledge puts his own kind of vinyl freak/discaholism in a historic context. . . . He adds a list of 113 rare LP’s from his own collection that were never reissued, all gems of experimental music and sound poetry. This spectacular list may convince even the most sane ones to sell all their belongings and begin to hunt these rarities.” — Eyal Hareuveni, Free Jazz blog
“Corbett writes with both enthusiasm and a keen ear, the upshot of which is that high-dollar rarities and cheapies that shred get near-equal attention.
” — Clifford Allen, New York City Jazz Record
“John Corbett shows how vinyl collecting serves archival and perhaps even societal purposes. By actively reanimating obscure and hard to find vinyl, he demonstrates that ‘vinyl freaks’ make worlds available that otherwise might be lost. Vinyl Freak opens up a world of vinyl, revealing recordings, musicians, as well as cultural history, that remain written in the grooves of decades-old records.” — Janet Borgerson & Jonathan Schroeder, Popular Music and Society
“Vinyl Freak is a good read, a well-written collection that helps with the fun and overwhelming project of trying to come to grips with the huge amount of music preserved in the LP era. I cannot imagine even casual collectors making it through Vinyl Freak without adding several items to their wants lists.” — Carlos Peña, ARSC Journal
“Corbett’s graceful writing in confessional mode reminds us that the psychological drives underlying vinyl freakiness must be considered in tandem with more ‘rationalist’ perspectives that focus on the curating of archives and the production of knowledge about music.
”
— Nabeel Zuberi, Journal of the International Association for the Study of Popular Music
“Thoroughly researched and clear passion, Vinyl Freak is a must for the jazz lover in your life.” — Lisa Jade Bentley, Lisa Talks About … blog
“The book stands out for its individuality, quirkiness, and authority. . . . A literary version of an audio earworm—and a worthy read. . . . An unashamedly esoteric, engaging, and quite authoritative book that is capable of serving several audiences well.” — Darren Ingram, Notes
“The spirit of this book, it’s generosity and enthusiasm all work to support John’s preferred status as a ‘Freak’ not a ‘Snob.’ I love records. I love books. A beautiful book about crazy rare and out-of-print records?! Heaven.” — Jeff Tweedy, Amazon Book Review
“John Corbett has the too-rare ability to combine academic rigor with very readable prose, and he tells good stories. As an avid record collector and close listener to a broad array of music, Corbett really knows his subject.
You can practically smell the musty cardboard.” — Kevin Whitehead, jazz critic for NPR’s Fresh Air
“People who are just getting into vinyl—or who are returning to it after a long time away—will value John Corbett’s enthusiasm, personal approach, and vast knowledge. Even the most diehard jazz enthusiasts, collectors, and crate diggers can learn from Corbett’s insights.” — Mac McCaughan, member of Superchunk and cofounder of Merge Records
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Linda Cardellini on ‘Freaks and Geeks,’ and Her Love of Game Shows
Linda Cardellini, the co-star and a producer of Netflix’s Dead to Me talks about dating your friends, her lifelong love of game shows, and the likelihood of a Freaks and Geeks reboot.
Men’s Journal: Dead
to Me is about grief, friendship, and what we’re willing to forgive. Your character hits it off right away with Christina Applegate’s, and they become inseparable.
Do you find friendship to be that intense in real life?
Linda Cardellini: I think it’s representational of female friendship. Female friendship is messy. That best friend is the first to tell you you’re messy, but also, if somebody else calls you crazy or messy, they’re the first to defend you. I think female friendships are like family. We’re pretty open about crying, we’re pretty open about anger, and that open communication is what any relationship relies on.
Do you feel the same way about friendships with men?
With a male/female relationship, there can be some guarding going on. I do love my male friends, though, because I can run anything by them and get a different perspective. They’re good at looking at all angles of the situation. I still have the friends I’ve had since kindergarten. Even my significant other—I’ve known him since I was 10.
How did it go from friends to romance?
I don’t really dabble with my male friends because you’ve got to be careful—it will get serious real fast.
This seemed like something worth crossing that line for. So we did, and I thought, Well, this is good. This is serious. This is it.
You’ve had an unusual career arc: You’re in your 40s but are just now starting to be cast in leading roles. What’s that been like?
This is the golden era of TV and streaming content, so there are roles that weren’t explored before. When I first started, people would say, “Once you’re a certain age, over 30 or over 40, there’s nothing there.” That’s terrifying. But the business has changed—because there is more content, there’s more room for underrepresented voices and roles that aren’t just for the bright, new, shiny object.
I LOVE WHAT I DO AND CONSTANTLY WORK HARDER TO BE BETTER AT IT—IT’S AS IF IT WERE A SPORT.
Your big break was on Judd Apatow’s cult favorite
Freaks and Geeks more than 20 years ago. What do you think has kept you working, versus struggling the way many other child performers have?
I love what I do and constantly work harder to be better at it—it’s as if it were a sport. A lot of it has to do with resilience and perseverance, which is an interesting mix for a creative person. You have to be vulnerable in so many ways, but you also have to have a thick skin, and those two things are in contrast to each other.
Where do you fall on that vulnerable-versus-thick skin continuum?
As a child, I was always told that I was overly sensitive. But the thing that I thought was wrong with me actually became the thing that made me capable of doing what I love. I have learned that sometimes your weakness can actually be a strength.
Reboots and reunions are so popular right now. Could you see reuniting for a Freaks and Geeks where-are-they-now?
Never say never, but it would be a hard one to revisit because so much of that show was about the bittersweet discomfort of being in high school. Once you’re beyond that moment, you realize all those things that you thought were so important aren’t that important, and that the world is so much bigger than your small school.
But if everybody signed on, I would love to get back together.
I can’t let you go without asking about this: You once won a fireplace on
The Price Is Right?
The first thing I did when I got to Los Angeles was to wait outside all morning to be on The Price Is Right. I was so nervous, but I won a gas fireplace mantle. I was in college living in a dorm, and I didn’t need it at all, but I chose that over the cash value. I had it for years and years, but the funny thing is, I actually lost it in a fire at my storage facility. So yeah, I lost my fireplace in a fire. But I love The Price Is Right—I still watch it. I also watch Wheel of Fortune and Jeopardy! I like a good gamble.
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Trey Songz – Love Freak Lyrics
Love Freak by Trey Songz
Songz is my name, let me hold that beat, let me hold that beat
Come here, let go
{Verse 1}
Aye girl, it’s Trigga Trey girl, that’s what they say girl
I’m the one and they just livin’ in my world
Aye girl say where your girls at, I got some girls that be likin’ girls back
So bring your girls back, don’t you doubt it, think about it before you say no
‘Cause we about to leave and I want for you to go
They call me Mr./cdn.vox-cdn.com/uploads/chorus_image/image/66496586/tyga.0.png)
Minajay, I do this time and time again
Throw some bait and bring them in, bring a friend
{Chorus}
Who fuckin’ with me, ain’t nobody fuckin’ with me (nah)
Gon’ get your girl baby, bet she fuckin’ with me (yeah)
If you fuckin’ with me, really fuckin’ with me
Then put your face in her waist, get a taste then
Be my love freak, my love freak
My love freak, be my love freak
My love freak, my love freak
Be my love freak
{Verse 2}
Only one me and I only wanna please, you know I gotta finish what I started up
There’s a lot of us, Patron and Hennessey and she lickin’ on me in the party bus
Every time I get a beat, I gotta pick another body up, shorty got a lot of butt
Get it up, got it up told her in the first verse what it gon’ be
Now let the kitty cat purr on me, her, her, her, she soft as fur on me
I do this time and time again, throw some bait and bring ’em in
{Chorus}
Who fuckin’ with me, ain’t nobody fuckin’ with me (nah)
Gon’ get your girl baby, bet she fuckin’ with me (yeah)
If you fuckin’ with me, really fuckin’ with me
Then put your face in her waist, get a taste then
Be my love freak, my love freak
My love freak, be my love freak
My love freak, my love freak
Be my love freak
{Verse 3}
Now first off first shot to Nicki and her bid old tig o’ bittys
You can ride me like a Harley give a fuck if you a Barbie
When we walk up in the party, everybody know who are we
Got some Vixens with me send ’em take your bitches then I’m sorry
Now we got game somethin’ like Atari, Nintendo, Genesis, PS3 wait
My new girl like my Xbox and that got welt marks like a choker
Pushin’ on her butt there’s no controller, then I get lost like I’m on controller
Listen flow, solar system, out of this world ’cause I’m into your girl
Out of this world, fly like a comet, make you want to hurl
I’m sick vomit, throw up know what I’m troublesome
Got two girls I double ’em Trey more fresh than Double Mint
Straight sex we no cuddlin’, four hours no flowers
Let you honey suckle ’em
{Chorus}
Who fuckin’ with me, ain’t nobody fuckin’ with me
Gon’ get your girl baby, bet she fuckin’ with me
If you fuckin’ with me, really fuckin’ with me
Then put your face in her waist, get a taste then
Be my love freak, my love freak
My love freak, be my love freak
My love freak, my love freak
‘Cause I’m a big freak
It’s the return, it’s the instrumental killa, instrumental Trigga
Why We Love the Little-Known Series “Freaks and Geeks” So Much? – NSF
1.
Realism of the characters
In Freaks and Geeks you can see bad boys cry and good girls lying. The fact that they all struggle with the realities of life in their own right, being of all colors of the rainbow, not black and white, really makes you adopt the characters like your friends.
Each character grows deeper over the course of the episodes, and they all have realistic motivations in all their behavior. Yes, they also do stupid things, but they are not meaningless, they are stupid from the youth mind.
2. Wonderful Players
Although the characters were written wonderfully, they put out a perfect picture with great actors. James Franco’s charisma strikes from the very first minute, while Jason Segel, whom we know as Marshall of How I Met your Mother, is before us quite young. The success of Busy Philipps in portraying the crazy character is beyond words to Linda Cardellini’s sympathy.
3. We Passed Those Ways
Did we say youth troubles, which of us wouldn’t have a series in our lives? First loves, first pains, struggling with lessons, friends-looking enemies, difficult choices, questions about who we are, disagreements with family… Need to count more? There are some people who understand us in this life, they even shot the TV series, and without exaggerating, with a scenario from us.
4. Strength of Subtexts
Away from soap opera loves and intrigues; Freaks and Geeks deals with apologizing, forgiveness, self-knowledge, and even awareness of politics. There are references to Led Zeppelin, Star Wars, Dallas and many more icons in the show, which shows you how finely crafted the work you watch is.
5. Their soundtrack
Imagine a TV show with a Pink Floyd song in each episode. Moreover, the generic music is Bad Reputation! I don’t know about you, but I think no matter how you look at it, being young is a progressive rock issue, and Freaks and Geeks know that very well.
NSF Music Magazine Ads
Freaks Ball XX – Charity, Love, and Music (Natch!) – In the Attics of My Mind
2020/2/15 Freaks Ball @ Bell House (Karina Rykman & Friends x 3; Showdown Kids; Hawaii; Garcia Peoples)
What a testament to the magic of the Freaks list and the incredible humans among us that a bona fide mini-festival is only my second best memory of FBXX.
Last night was about love and joy, camaraderie and friendship, and, of course, in classic Freaks tradition, charity and music. From the hugs, the squeezes and the ear-splitting smiles to the the posters, the food drive and, oh yeah, the fucking Klondike bars, this was a night of love and unrequited joy. And music, cuz it’s the fucking NYC Freaks, so, um, yeah, music.
So six hundred hugs, 13,055 steps and a Klondike bar later, you blink and six hours have elapsed and, although the music is still playing, the night is over cause you’re too tired to stand or move. It’s time to go. And on the singular night when I never gave a second’s thought to who was playing cause it never really seemed to matter, the music just fuckingcrushed. Of course it did. Curated by the best. Never a question there. Okay, my love note to the Freaks is over. I love you and hope to give back in some small measure all the goodness you all have shared with me. The rest is about the music (and sharing it with you!).
FBXX
When I was little, (okay, as recently as last week) I dreamt of being an ice cream clerk. Happy people, all the ice cream I could eat, no baggage to bring home. Well, that dream job has officially been supplanted by selling merch at Freaks Ball while Karina Rykman & Friends (Part I) officially gets the Ball underway. Great set, fun energy, typical Karina; me, dancing on the job – woot! Interestingly, last night was my first time seeing her with her own band though I’ve caught several sets with either Marco Benevento or Everyone Orchestra or the like. I’m all in.
I had the pleasure or seeing the record release for Showdown Kids at City Winery in late 2018 (?) and last night’s set was a completely different animal. Gypsy jazz with a classical twist, the set ran the gamut from the Stash which is on their eponymous record to a song reminiscent of Flight of the Bumblebee later in the set.
The GA room made a big difference as far as crowd energy goes. So, too, did the fact that they were far removed from “release day” and seemed much looser and had fun with both the Freaks and the setlist. So a Terrapin tease here and a Shakedown tease there and, just like that, there’s only time for one more so why not invite Erik Deutsch out to play Modica on fucking Lawn Boy. In retrospect, that was so obvious ?
Hung out to talk a little after the set so missed about half of Karina (part deux) but thankfully made it in time for the face-melting, ass-shaking cover of Ween (couldn’t see, was there a GP guitarist sit in?). I’m not too familiar with Ween’s catalog but the vibe was unmistakable and I noticed on Karina’s IG that she went to see them the night before and that no doubt informed her set. On the basis of that song alone, I think I’ll see Ween next time they’re around and maybe even ask Karina to join me lol.
Hawaii’s debut was great, though perhaps better suited for another time and place. I was in high-energy party mode and parts of the set didn’t match my mood. I love to be the type of music fan that supports musicians when they take chances and risks and am happy to have been on board for this one, though it didn’t perfectly fit the bill for me yesterday. I’d be more than happy to give it another shot at, say, Nublu. I’d actually really relish that. Notice also that I said parts of the set didn’t match my mood. The middle third, however, checked all my boxes, as Joe Russo created a ground swell of sound and energy that Jon Shaw sewed a nice pocket around while Erik Deutsch layered on the ambience, all this culminating with Joe standing beside his stool and going apeshit on the toms. I reallyfuckingloved that part. More of that, please.
The mood changed a little after that so I hit the front room to get a nice spot for Karina (Part III), a move that was, musically speaking, without question my best choice of the evening, especially as I noticed that “and Friends” would now include Scott Metzger and Katie Jacoby. Yes, please. That first song, which somehow Hollander knew (that’s some whackass encyclopedic shit right there), was, without question, my song of the night. I now know that it was Aqui Como Alla, from the first Marc Ribot y Los Cubanos Postizos album. Last night I just knew that it rocked my fucking world. Holy, wow! That’s Freaks List magic, my friends. Come on, how many of you knew who Marc Ribot was before you were a Freak??? I didn’t. As if it wasn’t already the set of the night and Karina hadn’t already won the Freaks Ball (it was and she did), here comes Neddy and Sasha with armloads of Klondike bars and choco-fucking-tacos. Good lord – just…wow! A cover of Radiohead and some more general badassery from both Karina and her friends, Adam November and Chris Corsico and, shit, I’m going on Karina tour for fucking real. My main goal is almost always just to dance and have fun and Karina just embodies that whole party spirit. To my new favorite blond female bassist, I’m all in.
I’ve seen Garcia Peoples once before, almost a year earlier when they opened for Grateful Shred at the Bowl. Super fun set but if I remember correctly, it had like six or eight distinct songs in a 50 minute set. This band has evolved and broadened their game. From the variety of their records, a single 32 minute track comprising a whole LP or their more traditional 9 songs times four minutes LPs, it seems they can do it all. For the record, I was smitten with this iteration. Interlocking double guitar shredding blissfully in the deepest pocket I can remember since, well, Karina twenty minutes earlier. No disrespect meant to GP’s bassist, who was quite good, but this was a drum driven pocket. {I gotta learn these guy’s names, starting with the drummer.} This kid could really hit ‘em which is pretty high praise on a night with Joe Russo on the mind. {Googled that shit just now – it’s worth knowing.} Cesar Arakaki on drums with brother Danny and Tom Malach on guitar, Derek Spaldo (bass) and Pat Gubler (keys). Danced hard until I hit the wall about an hour in. Nothing left to give, either physically or emotionally, except $20 for a record on the way out. (Cool related side story: though I took the record last night I paid this morning on Venmo as there was a note on their merch table saying, “Here are our prices. Please venmo @Garcia Peoples if we’re not here.” Love that and it speaks a lot to the quality of the folks in attendance.)
PS. Huge shoutout to Macrodose for the the sick lighting that really took this night to another level. Just another perfect detail. Bravo!
My heart is full. My cup runneth over. I love you all.
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90,000 – How I do not like freaks! .. I love it when everything is beautiful ▷ Socratify.Net
SIMILAR QUOTES
SIMILAR QUOTES
I don’t like to fight, I like to win.
George Bernard Shaw (100+)
I love you not for who you are, but for who I am when I am with you.
Gabriel García Márquez (50+)
I do not like to talk about my personal life.When we talk about her, she ceases to be personal.
George Clooney (10+)
I do not like it when an aluminum basin makes a crystal vase look like it.
Unknown author (1000+)
Always say to people dear to you, “I love you.” After all, who if not you? When, if not now?
Letter from a lover for the first time (Sergey Rudenko) (20+)
The phrase – “I love you” – is like a theorem, it must not only be pronounced, but also proved.
Unknown author (1000+)
Night. How I love this time of day. The time when no one touches you. Nobody needs you. Just you and your thoughts.
Unknown author (1000+)
I love autumn, although I do not like the cold. But it is at this time that nature reminds me how important it is to appreciate warmth.
Unknown author (1000+)
Personally, I like strawberries with cream, but for some reason fish prefers worms.That’s why when I go fishing, I don’t think about what I love, but what the fish love.
Dale Carnegie (50+)
When you scream “I hate” in your hearts, it means that inside you scream “I love” even louder.
If you knew … (Elchin Safarli) (100+)
ZINC OF MIRACLES (RUSSIANZINC) – Love (Cash) Lyrics
[Verse Papa Bocha]
What do we need brother?
We need dough
What smoked there
We smoked firewood
If I want it
I won’t be broken off
If I was in a round-up
Or take over
This type threw
– Fuck fuck
We were not caught
Cops in these yards
A pair of glasses –
Joint and trauma
Gas Pepper
Pioneer and Hurricane
What a release is this
On your feet
All the bonheads with us
They love to fuck
Your mother –
This style fuck
I can do the style
Fuck my dick in the head
Fuck my dick, there will be four – lighthouse
Old men are nonsense
This nonsense and I conjure
I am Zinkuyu, fighter
Tsu tsu, tsunami
My smoke is on Panama
Thugs from gopota
Gad Dem Dem Dem…
I watch from the antennas
I took ten, so that it would be later
This is my fucking totem
ATC MVD FBS DPS
These are the ones who are here
They put you weight
[Verse FFATSOVSKY]
DO HEAD, BUT I DON’T KNOW THAT AFTER
WEEK PAROVOZA, LIKE A HEDGEHOMAN GOING HOME
YOU DROP YOUR SOAP I GO TO YOU IN YOUR YARD
LIFTING UP LIFTING MY SOUL SOMETHING
BURNERS OF THE SOUTH WEST WAITS WILL BURN YOUR HEAD
MOHUY MUKHYA MUKHYA STICK, MEPHEDRON’S TRACKS
THE BEST FRIEND IS ONLY THE ONE WHO FUCKS YOUR GIRLFRIEND MEN
PAY ME BETTER WITH A BALANCE
BECAUSE I AM ENEMY NUMBER 1, AT NIGHT I’m Caught With Your Nivat Megawan
I’m Caught With Your Nivat Megawan
WAS….
BUT NOW EVERYTHING DIFFERENTLY
WE GIVE ALL HIP-HOP INTO THE MOUTH
THIS IS DIRT AND CRIMINAL, THIS IS THE SOUND OF A DUSK DAUGHTER GOING ON
YOUR EGGS GOING FROM YOUR 9000 I love you and beautiful prostitutes
And you drag your dumpling on my webcam in PM
I pour it into zinc – nothing personal
There is a lot of foolishness in zips (yes! A lot of foolishness!)
But, we don’t smoke it (no! we don’t smoke it!)
You brought shawls to us, guy (just a fool!)
102s are whistling into the radio, and we are trading
My dick tastes like cotton candy
Girls eat it and look like a pussy that is not enough
But, after the first time, I already feel pale
Hey, bitch, wipe your fucking lipstick off him
I explode their hearts – I’m young Bin Laden
Oh, come on, come on,
Charlie is in her anus, he cool 90,008 90,000 7 movies that made people run away from the cinema – What to see
The Lumière brothers said that their short film about the arrival of the train in La Ciotat at the Paris premiere in 1896 caused a stir among the audience.People who have never seen it on the big screen before
moving frames, it seemed that the oncoming train was accelerating directly at them.
The impressionable public then experienced a real panic attack, and many
of the spectators, fleeing the train, left their seats in the hall. Many years later,
the story became a legend, saying that the escape from the cinema was massive, and there was not a single person left in the hall. Over the decades that have passed since those
glorious times, filmmakers managed to make a lot of progress in trying
spur the public to flee from their seats.
The Exorcist, 1973
The Exorcist, 1973
The plot of the film is based on the bestselling book by William Peter Blatty and tells the story of a young woman who is possessed by demons. The creators of the picture opened
formula for success and showed the public all sorts of thrills that
you can live with the characters on the screen. Particularly impressionable spectators when
viewing the picture, they really left their seats in the auditorium in fear,
and one woman fainted.People said they found the movie so much
horrible that they could no longer endure viewing. It is for this reason that ambulances were on duty outside the cinema at the London premiere of the film.
The Blair Witch Project, 1998
The Blair Witch Project, 1998
This film is still one of the most profitable
from an economic point of view of projects.And we can say that the picture has become
the discoverer of the now popular format – cinema filmed for amateur
camera. However, then, on the threshold of millennia, people were not ready to follow documentary footage of heroes fleeing from a ghost, falling with a camera in their hands.
and eerie scenes of violence. Eyewitnesses to the Atlanta premiere testify that many
when watching in the hall, people experienced a gag reflex – it was so intolerable
voltage. Therefore, at the Cambridge, Masachusetts premiere, the administrator
the hall was forced to make a statement that in the event of an attack of nausea, people
left the hall and went to the lavatory.
127 Hours / 127 Hours, 2010
127 Hours / 127 Hours, 2010
Painting by the famous British director Danny Boyle,
who attended one of the premieres, is based on real events and tells how the climber Aaron Ralston got stuck in the crevice of the canyon and,
to save himself, he had to amputate his forearm. On the big screen
the scene, played by actor James Franco, caused a real shock.Close up observation of hand amputation with blunt penknife forced
many people faint, some vomited in the auditorium, and one
the man was even carried out of the hall and taken by ambulance to the hospital.
However, this citizen later returned to the cinema to personally thank
director for an excellent film.
Reservoir Dogs, 1992
Reservoir Dogs, 1992
Everyone is used to the fact that the films of the cult director Quentin Tarantino necessarily contain scenes
violence.Known fact: when Michael Madsen’s character started the amputation
ear hostage, Wes Craven, creator of A Nightmare on Elm Street,
who was present at the viewing of the picture, could not stand the viewing of the eerie scene and was forced to leave the cinema.
Freaks, 1932
Freaks, 1932
This painting is one of a kind in the entire history.
cinema, and immediately after the premiere it was sent to the shelf and banned from showing
in the country.Freaks was not exactly a horror film, but a depiction of a circus
life behind the scenes, but the audience was not ready for the numerous demonstrations
deformities of midgets. One woman claimed that she was so shocked
what she experienced while viewing the picture of a miscarriage. The film, which involved actors with real physical deformities in the work, was considered a bad example
to follow.
Irreversible / Irréversible, 2002
Irreversible / Irréversible, 2002
The tape by French director Gaspard Noé contains scenes
violence, but they were not at all forced the audience to leave their seats in the hall.The director admitted that when working on the film he used infrasound, a special
bass frequency of 27 hertz, which cannot be discerned by the human ear during the first 30 minutes of viewing. However, this technique causes unreasonable
panic and vibration similar to that of earthquakes. That’s why almost
half of the viewers were forced to leave the movie during the premiere.
The Lion King, 1994
The Lion King, 1994
Who hasn’t cried over the famous Disney cartoon at the moment when little Simba realizes that his dad is dead? Well, many viewers
at the premiere of this cartoon, they were so shocked that they could not calm down
sobbing.To calm down and continue watching the movie, they ran out of the hall,
took a breath and returned a few minutes later when the heartbreaking
the moment was over.
Touch, 1992
Touch, 1992
Horror films filmed in our country at the end of perestroika had
unique style, but, unfortunately, many of these works now
forgotten. At first glance, the plot of “Touch” is nothing special – creepy
the kind of old man whom the viewer sees exclusively in the portrait is trying
to kill their own daughters and grandchildren, and the plot is based on the idea that
dead in the next world are lonely without loved ones.However, the film is capable of truly
frighten even an experienced viewer, let alone the inexperienced Soviet
citizens. From a tense scene in which the protagonist talks to a portrait
old man, the audience left in dozens.
Ghost / Bhoot, 2003
Ghost / Bhoot, 2003
Indian colleagues of our
directors. A mysterious thriller full of naturalistic scenes about a demon-possessed housewife from Bombay is somewhat inconsistent with our
the usual perception of Bollywood creations.The film gathered full houses in cinemas throughout India, but the audience did not see any dancing or songs in it – an exceptionally suffocating suspense and gloomy urban
Scenery. The tension reached such a height that the faint of heart
left without waiting for the denouement. All but one impressionable
old man. The elderly man became so scared during the session that he experienced a heart
attack and died.
Castle Freak, 1995
Castle Freak, 1995
It’s hard to judge the artistic merit of this painting,
filmed based on the work of Lovecraft, but she made an impression on the public at one time – the audience spat and ran out of the hall, forgetting to demand
money back.The plot was pretty commonplace: wealthy, but carefree
the family buys an old castle for themselves and, with joy, immediately moves in, not suspecting that they are already living aggressively in the dungeons of the ancient structure
tuned humanoid monster. By themselves, neither the acting, nor the scenery have a special effect, but in the scene of the attack of a freak on a woman
it becomes clear why: the director Gordon used all his imagination to
to compose the most naturalistic depiction of devouring
human flesh.We do not attach a frame with this moment for reasons of humanism.
Found a mistake? Select the fragment and press Ctrl + Enter.
Freak freak show – Sasha Krugosvetov – LiveJournal
Every morning, waking up, I find myself in my freak freak show.
Oh, this is a wonderful freak show of beautiful freaks. It is arranged ideally, its organization is excellent, the selection of exhibits is magnificent, their variety is endless!
No other museum in the world can find such a huge number of such flawless and delightful freaks.
Here you will not find a single ugly creature similar to another, they are all different and all ugly. But they can be classified. The system for displaying exhibits is brilliantly conceived and executed with great imagination.
The freak is the highest value here. The servants of the museum, who are recruited from its own exhibits, love these monsters more than themselves and are ready to give their lives for a bunch of monsters. Each of the monsters, to a greater or lesser extent, is imparted with this quality.
Freaks are not killed.The creators and organizers of the freak show rightly decided that freaks are better preserved in life than in alcohol. There comes a time when they still leave life, but at the same time they leave offspring of not the worst quality.
Freaks are shown in their everyday life. They live in a world of freaks, tightly fenced off from other worlds. Therefore, they love themselves very much and do not know that they are ugly. They know the word “freak”. With this word, they designate a person who accidentally got here, who is not like them.
I was born and raised in a small freak show.Therefore, I got used to them, I learned their habits, and they got used to me, although they consider me a “freak”. As a child, I thought so too, but I considered freaks to be normal people. My parents never thought of freaks other than people, and of themselves as freaks. “We are ugly” is an excuse and a call to inaction in all the misfortunes that fall on us.
I leave the room – I meet communal freaks, then I go out into the street – pedestrian freaks and freaks – drivers, as well as freaks – leaders of pedestrians and drivers, I come to work – freaks with higher education.
I have few acquaintances whom I love, few acquaintances – not freaks. They live far away, it is difficult for me to communicate with them, and therefore most of my friends are ugly.
In general, freaks are people too, you won’t get bored with them. They are so different …
In the morning I get up, leave the room and find myself in my freak show.
Children’s
Near the crossroads I saw a guy. He was lying face down on the side of the road. At first, I didn’t think to help him. Got drunk on Friday.It happens to everyone. But he looked a little like a drunk. An ordinary guy in a tracksuit. The rain was getting worse.
I tried to lift it up. It really smelled like fumes from him. Turning him over on his back, I realized that this was not a guy at all, but a man of about forty with deep wrinkles on his forehead. His lip was cut.
– Brother, save me, – he drawled, – bring it here, not far away.
He could hardly move his legs. I had to take it on myself. So we trudged towards the crossroads.
– Metallurgists, house sixteenth – he mumbled.
I was already getting pretty wet to think about how he managed to remember the address. We wandered towards the old brezhnevka.
– Floor, sixteenth floor, but we are going to the fifteenth. On the fifteenth, I say, ”he commanded.
Well, on the fifteenth, maybe we’ll go straight to the end? – I looked at this brown high-rise building. Somehow I didn’t want to drag the peasant up the stairs.
Yes, I live there, on the sixteenth. The elevator, he is. Doesn’t drive. The elevator does not go there. This is the fifteenth we need.Floor. I live on the sixteenth. Near the attic. There I have a playground, a mattress. That’s where I live it. I live upstairs.
We were already climbing the staircase when my phone rang. The man finally passed out after his fiery speech and hung on me. I barely took my Nokia out of my pocket and shouted: “Hello”.
It was Dima. He rushed to Rybinsk on a crumbling minibus. The connection was lost.
– Misha, can you hear me? You’re here? Tanya called me, she said that she wants to return to you.Hello, can you hear?
The call was disconnected. But Dimka called back immediately.
– Hello, do you love her? She asks, do you love her? He yelled.
And suddenly, standing on these steps, dragging a drunken homeless person up the stairs, feeling the drops of rain and sweat on my cheeks, neck and chin, I shouted so loudly and piercingly: “I love, I love her! Dimka, I love her! ”
Communication was lost. Something hissed and croaked in the pipe until it slipped out of my palm and fell onto the steps.I hugged a bum on the stairs on Metallurgov Street, looking at my phone lying in the mud. I stood and hugged this poor fellow and his fumes and everyone in the world, clutching “Children’s” soap in the pocket of my wet windbreaker. I squeezed his paper wrapper. And it gave in.
Read “Family of freaks” – Lipskerov Dmitry Mikhailovich – Page 1
Lipskerov Dmitry
Family of freaks
Dmitry Lipskerov
Family of freaks
A play in two acts
Characters Hutdam
Alexandro.
Sonya.
Fool.
Fox.
Natasha.
ACTION ONE
The action takes place in the central room of a large house, the windows of which overlook the outskirts of the village. In the distance, you can guess the dome of a chapel or church. Its outlines are blurred, because the glass of the windows is greasy, and
are smoked. In the middle of the room is a self-chiselled table, heavy and awkward, with square legs made from solid square tree trunks.In some places, peeling bark remained. There is dirty dishes on the table with an uneven pyramid: simple plates, enamel mugs, aluminum and wooden spoons, a saucepan with a peeling side, a crumpled samovar … Mother’s mother is embedded in the wall of unpainted gray timber. It is devoid of grace and is a square niche covered with a thick layer of soot, in which, among the coals and unburned firewood, lie metal rods with the remains of fish strung on them …
Another wall is the reverse side of the Russian stove, the main part of which is in another room.There are illustrations on it, warped from the constant heat. One depicts Quasimodo dying on Esmeralda’s chest, and the other depicts either Richard III, or Toulouse Lautrec, or maybe someone else … There is a huge armchair near the fireplace, on which two adults could easily fit. Perhaps the chair would even look beautiful if it were not so old and cracked .. A simple cabinet near the wall is almost empty … A washstand with a basin underneath … A large mirror … The room is empty… Evening … Flashes of sunset on the samovar … Faint bell ringing … Door creak … Hatdam enters the room. This is a huge hunchback. Its hump is heavy and sloping like a hill. Tenacious Asian eyes look out from under thick fused eyebrows. The hunchback is dressed in a dirty robe. In his mighty palms, almost black from the eaten-in earth, there is a sheathed shovel. On the shoulder is a small backpack. Khatdam, limping heavily on his left leg, walks into the room, looks around the dirty table, growls dully, puts a shovel near the fireplace, throws off his backpack.Glancing at herself in the mirror, she takes off the upper part of her robe, remaining in her underwear shirt. He goes to the washstand, washes for a long time and thoroughly, spraying water around him. After moistening the hair that has thinned on the skull, she puts it in her hair with her fingers. Sighing heavily, he goes to the closet, but halfway there suddenly stops, looks at the floor, jumps, bounces on the boards. He limps back to the fireplace, unties his backpack, takes a hammer and nails out of it, drives a few nails into a suspicious place.Again she springs on the boards and, satisfied, goes to the closet. He takes out a black shirt with a large white collar that looks like a frill. Puts it on. He takes off his boots and dirty pants, puts on clean linens instead, and puts his feet in sturdy shoes with shiny buckles. He rummages in his pants pockets and fishes out a ring with a green stone. Turns on the light, admires the stone for a while. Puts the ring on the middle finger. He closes his eyes and, standing with his back to the door, mutters something …
The door creaks… Alexandro appears.
Alexandro, in a tight-fitting sweater with a small chest. Alexandro’s legs are covered with trousers that look like leggings. The male tubercle is clearly visible. The hair at the back of the head is pulled back into a bun and tied with a red ribbon. In the hands of a fishing rod and a small bucket. Alexandro seeing Hatdam. freezes in the doorway.
Hatdam (ceasing to mutter). Who?
Alexandro? You? ..
Pause.
(Turning around.) Alexandro …
Alexandro.And Sonya and the Fool catch fish … All day long …
Hatdam. What dirt around …
Alexandro. Today they catch from the pier … A wonderful sunset … They bite …
Hatdam. Is Sonya on duty?
Alexandro. I’ll do everything … But I didn’t bite today … So, one trifle … I all admired the sunset and dreamed, dreamed … Bleak, a crucian with a little finger …
Hatdam. Do we have a bandage? Or what clean cloth?
Alexandro. Bandage? Is something hurting you?
Khatdam.I remember, somewhere there must be …
Alexandro. Of course have. Without a bandage in the house, you can’t.
Khatdam. What are you standing in the doorway? Alexandro (putting the bucket on the floor). And we were expecting you tomorrow. I wanted to make a good dinner. Something tasty … (puts the fishing rod down). Sonya and the Fool are being caught for tomorrow’s dinner. They still bite … But for some reason they won’t let me in my place, and all the fish left the reeds. Something was poured there … Today is the fifteenth, and we were waiting for you on the sixteenth …
Hatdam.I pulled the nail off my finger …
Alexandro (perking up). So you need a bandage … (Goes to the closet, takes out a bandage.) Give me a finger, darling.
Khatdam. Probably not necessary. It heals better outdoors.
Alexandro (shrugging his shoulders). And rightly so. Fresh air heals everything. In the fresh air, I straightened out. Each cell feels fresh.
Hatdam (sitting on a chair). How much did it burn for electricity?
Alexandro. Three rubles with kopecks.
Khatdam. Go pay tomorrow.
Alexandro. Sonechka is on duty tomorrow.
Khatdam. Tell her.
Alexandro. I will definitely pass it on.
Khatdam. Soon the water from the basin will spill over the edge …
Alexandro. So I took it out … I took it out … You must have washed, so you got it all over again. And here it rains all day, rains … Just now I washed my little things, but nothing dries.
(Laughs) The humidity, apparently, is high …
Hatdam.Autumn …
Alexandro. Soon it will get very cold …
We will often heat the stove … I love it when the stove hums … And Sonechka is already preparing a fishing rod for winter …
Yesterday she melted a jig in the fireplace … I tried so hard, worked so hard … But the Fool still did not sleep and did not sleep, interfered with her, and the mormyshka turned out to be useless … Sonya was so worried … And then I agreed about the pork bristles. They promised me a little … Here they will cut and give …
Pause.
Khatdam. I brought you ribbons.
Alexandro (smiling). Truth?
Khatdam. In a backpack.
Alexandro opens the backpack. Did you stroke my collar?
Alexandro. Sonya.
Khatdam. A whole skein.
Alexandro. What are you saying?
Khatdam. A roll of tape … It has three meters …
Alexandro (taking out the tape and winding the piece around his hand). Thank you Hatdam. You are very kind.
Tapes are very good … (Pause.) And Sonya?
Khatdam.And what about Sonya?
Alexandro. Did you bring Sonya a present?
Khatdam. Jigs.
Alexandro. And she yesterday … Poor … Sonya will be glad. I love when Sonya is happy.
Khatdam. And he brought her bottle to my brother. Let her rejoice.
Alexandro. I saw … And Sonechka is sick when the Fool drinks.
Khatdam. I’ll have a drink too.
Pause,
Alexandro. I will make bows out of half of the ribbon, and save the other half in reserve. Extra tape never hurts.There is no ribbon in our store. (He winds up the tape, puts it in his pocket.) Curtains can be trimmed and whatnot. (Pause.) Was it hard work this time?
Khatdam. Regular.
Alexandro. Are the graves old?
Khatdam. Various …
Alexandro. Were you interesting? Maybe some activist is buried there? Or a famous writer? Hatdam. The skeleton of a dog was pulled out of one coffin. And on the tombstone it was written that a man.
Alexandro. After all, an animal cannot be in a cemetery…
Khatdam. It is forbidden.
Alexandro. Probably someone loved their dog so much. And he looked after the grave until he died. And what will be built on that site?
Khatdam. They did not say … There is a church at the cemetery … It was closed, and the priest retired.
Alexandro. And we also have a new pop.
Young … He won’t let Sonya and the Fool go to church.
Khatdam. And you?
Alexandro. You know I don’t go …
(Pause.) You seem very tired.And you look sick. All became thin, like a tree. And bags under the eyes. Autumn rains pour … And we are afraid at night without you … Next time, ask the foreman for mittens.
“Circus of freaks”. Krapivina announced a break with Svetlana Loboda because of MUZ-TV and offended Kirkorov
There was a big scandal. Tonight, Natella Krapivina, producer of Svetlana Loboda, suddenly wrote on her instagram about the breakup with her ward, the popular singer Svetlana Loboda.Their business and human relations are 12 years old!
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“Everything endlessly gets its end … From now on I am no longer the producer of Svetlana Loboda and I do not want to have the slightest relation to show business,” Natella wrote sternly.
But even on June 1, she reported on her Facebook: “Sveta and I are like two prisoners who spent 12 years in the prison, but when they were released continued the conversation.We are never bored together. We can argue until we turn blue, but we always know where we are going. And we know that we are going there together. “And suddenly – the end of the joint path.
What caused this?
Definitely, just passed the Russian MUZ-TV award.
In FB, Natella recently wrote: “MUZ TV Award – come and watch a world-class show where our great friend Oleg Bodnarchuk works”. Bodnarchuk is a famous Ukrainian director.
But the action itself resembled a bunch of freaks and caused a completely different assessment of Krapivina.And she is not alone: this show caused the same ambiguous reaction on the Web: Morgenstern in a wheelchair, the rapper’s showdown with Arthur Pirozhkov, who is actually the “Best Performer”, etc. Someone refused to sing their composition on stage, because they were tired, Loboda appeared under the ceiling inside some kind of bubble. The commentators were short: “This is hell.” Or more genuinely: “What a terrible prize. Just a Spanish shame. The toilet on the stage was very symbolic, this prize should be washed away and forgotten.” About the toilet – not a joke: in one of the rooms on the stage there was a huge gilded toilet.
And soon there was a post on Natella Krapivina’s Facebook, where she sharply changed her opinion that the “MUZ TV is a world class” award. Rather, she became in solidarity with the critics of the award. Krapivina writes: “Brief results of the Muz TV award: the fur business is more and more like a circus of freaks.” This is the main conclusion! Further details: “The exception is a few artists who have preserved their inner culture and respect for the profession.”
Krapivina praised Loboda after all: “I have the coolest ARTIST, who made a number, to which the whole show business is still like Roskosmos before Elon Musk.”
And the conclusion: “I don’t want to go to the awards anymore. I don’t like it when I’m ashamed of others.”
Under one of the photos with Philip Kirkorov from this award, Natella’s commentary appeared: “Pure Panopticon”.
