First update: Something good

So, I read the first two issues of the Serenity comic, courtesy of (Many, many thanks).

As expected, they’re great.

What really rubbed my geek-gland, however, was a full-page ad in the second issue, for the forthcoming novelization of the film. Included in the ad was the following blurb:

“…and look for all-new, original novels about the Serenity crew, coming soon from Pocket Books!”

Just recently, I had being saying to a few folks that I hoped that Joss was bright enough to realize that the Browncoats are loyal enough to merit a line of paperbacks, ala Star Trek. Looks like my hopes were realized.

Trust In Joss.

Second Update: Something REALLY Bad.

Still fuming about last night’s All Call.

As I said to Laura, I think it’s because we haven’t been involved since May, so all of this stuff hit us at once, instead of slowly creeping in.

It’s hard not to feel like the Festival is fucked. I know it probably isn’t, that alot of the bad stuff will only make up about 1/3 of what the patrons even notice (if that). I know that eventually, another Entertainment staff will come in (and, given the repeated statements of burn-out on the part of the E.D., I wonder how far away that’s going to be) and things will change again, as they have in the past. But still.

In no particular order:

1) If you realize that your idea of a musical isn’t working, because your cast can’t be heard, the answer is to realize that’s because you’re performing outdoors with no backing to reflect sound, and CUT THE MUSICAL ELEMENTS. Not here, though. Apparently, the answer is to use TAPED MUSIC. Disneyland here we come.

2) I can understand doing a Halloween event. It makes sense, and falls in nicely with the plan to start using the site year-round. However, having it bleed over (no pun intended) into the last weekend of the Festival is a very, very, very VERY BAD idea, for the following reasons:

  • Having the cast gradually turning into vampires on the last days does NOT belong at a Renaissance Festival, which is what your patrons have paid to come see.
  • You do not lessen the experience of 25-30 thousand people who have come to see the last weekend, by using it as a promotional opportunity to plug a show that by your own admission will only seat 100 people, and only run for a handful of performances.
  • Whatever happened to “drawing away from the performance?” The E.D. threw a hissy-fit last year about the Marriage Proposal at Closing Gate, saying that it drew focus away from the performance, despite the fact that the crowd went nuts, and it was probably the best closing we ever did. Now, though, he wants to have the entire last weekend be nothing more than an extended ad for another event entirely? WHAT THE FUCK?
  • It’s obvious that the E.D. is burnt out on the whole thing….he flat-out said so, when he was talking about how much he was looking forward to the “Feast of Blood” Halloween event. The problem is that the remaining cast (mostly die-hards and a fresh new crop of gothy teenagers) seem more interested in the Halloween event, too. Most of the questions were about it, rather than the 7-week long event that is supposed to be the entire point why we were there.
  • Running rehearsals for the Halloween show DURING the period when the performers are going to be working 14-hour days doing the Festival is going to harm BOTH shows, and I can’t believe that you’re even considering it.
  • The Merchants who are going to want to off-load their stuff on the last day are going to be fairly irritated by an event occuring on the site….but I’d almost guarantee that nobody has considered this.

3) When you’ve lost so many performers that you’re down to a little over 100 cast members and you’re having to parcel out who can do Chess Match, who can be away from their areas, one at a time, and you’re begging to fill several dozen positions in the next month……it might be time to realize that you’re losing people largely because you’re turning the Festival into something in which your most experienced performers do not want to participate. Turn it around while you still can.

4) You’re willing to do a scenario based on HUNCHBACK (which has no place at a Renaissance Festival, and the announcement of which at the first meeting might have SOMETHING to do with why you’re having such a hard time filling the cast…), you’re going to turn the cast in to Vampires on the last weekend, but you’re going to issue edicts that printed-fabric tights are not Kosher, because they’re not “period?” That’s a lot of nerve.

As I said in a comment on someone’s Livejournal post about this…..I am considering it the duty of our stage show to do what we can to make up for this stuff, and to try, as hard as we can, to give the patrons what they’ve come to see….a Renaissance Festival. Not a “Disney Show”, which is what the E.D. actually said to the assembled crowd last night. Not a promotion for another event.

A Renaissance Festival.

The KCRF used to be one, and if enough of us throw our efforts behind it, it can be again.

There. I feel better now.

Friday Music

Here we go again….and it’s a big ‘un this time around:

To kick things off, here’s the biggest reason why I prefer the originally filmed musical version of the Willy Wonka story: “Veruca Salt” (Julie Dawn Cole) – “I Want it Now/Oompa Loompa” My favorite song from the film, although for the past few years, all I can think of when I hear it is a skit done on “Saturday Night Live” where they did a “Where are they now” sort of thing, and Molly Shannon appeared as a tramped-out Veruca, smoking a cigarette and still wearing the little red mini and Mary Janes, saying: “Now, I get paid lots of money to go to hotel rooms and tell men “I want it NOW, Daddy!”

In keeping with the music-from-models theme that I began last week with the Carla Bruni song, I’d like to show you some music from Milla Jovovich (she of Fifth Element fame). Milla started modeling at 11, but was signed as a musician when she was 12, because she was a bit of a prodigy it seems. (Yeah, she’s one of those. Beautiful, intelligent, creative….as would say, “Your basic nightmare.”) The record label wanted to turn her into a bubblegum pop princess, but she refused to record the songs, choosing instead to record her own. The label didn’t release them. So, when she turned 18 (1994), and the contract expired, she released them herself, in an album called The Divine Comedy. These are songs written when she was 13-15, recorded when she was 16, and released two years later. The album is GREAT, although it went largely unnoticed. She had a small splash with the single (which I’m sure some of you will recognize when you hear the refrain): Milla Jovovich – “The Gentleman Who Fell.” It got some radio play, she perfomed it on Conan O’Brian, and it was featured on the soundtrack to Rules of Attraction..

Now, that was going to be the only track from Ms. Jovovich that I was going to post, until I hear the last song on the album, which blew me away. It’s a traditional Ukrainian folk song, which she sings in her native language (the rest of the album is English), and I find it absolutely beautiful: Milla Jovovich – “In A Glade.”

As a complete change of gears, here’s Rammstein – “Heirate Mich”, because sometimes, you just need to hear a German techno/industrial song about a guy digging up the body of his dead love.

Confession time: I actually liked the Spice Girls. Yes, they were camp. Yes, the songs were bubblegum fluff. But as I used to say at the time, they were Very Well Constructed Bubblegum Fluff. The debut album had some amazing production behind it. This was my favorite song from the debut, which didn’t get a lot of play, since it wasn’t one of the singles here in the US. For me, this will always be part of my internal “I’m about to kick ass and take names” soundtrack, because it was included on a mix tape that a friend of mine made for a road trip we took to our first publishers’ trade show (GAMA Trade Show in Reno in 97, for those who care), and it was a very successful show for us. The lyrics turned out to be appropriate: “Swing it, shake it, move it, make it, who do you think you are? Trust it, use it, prove it, groove it, show me how good you are.” Spice Girls – “Who Do You Think You Are.”

My first experience with Rufus Wainwright was seeing him on some late-night talk show, (I can’t remember which one it was, now) performing his cover of The Beatles’ “Across the Universe.” I was hooked. This will show you why: Rufus Wainwright – “Across The Universe.”

Anyone who has seen the brilliant zom-rom-com (Zombie Romantic Comedy, as described by the filmmakers) “Shaun of the Dead” will get a chuckle out of this: Queen – “Don’t Stop Me Now.” I liked the song before, but now I get added smiles, due to memories of Shaun & Co. wacking a zombie will pool cues, choreographed to this song on the jukebox. “You–Kill the Queen.” “WHAT??” “The Jukebox! Turn off the bloody jukebox!”

Briefly: Best Instrumental EVAR. Booker T and MGs – “Green Onions.” Play that, and try not to feel cool. I dare ya.

One of my favorite “alternative” songs from the 80s, when the word actually meant something. Alternative was strange, and got no airplay except on college stations. I remember hearing this on KJHK, and pretty much nowhere else. Adrian Belew – “Big Electric Cat.”

….and, sticking with the 80s alternative for the moment, I give you one of the better-known songs from Norman (Fatboy Slim) Cook’s first band: The Housemartins – “Caravan of Love” You’ve gotta love acapella covers of Isley Brothers tunes.

There you are folks, a whopping 10 tracks this week. Enjoy.