Stage Crew Quotes

The stage crew usually had the job of approaching fans. Putting himself in close proximity to a hoard of screaming women wasn’t his brightest idea. He knew from experience that the first appendage they grabbed for was not your arm, and they didn’t grasp lightly.

In this symphony that is my life, God is not content to be a member of the audience or stage crew. He is not even content to be the conductor. He wants to be the composer.

Ava darling, I am willing to admit that these stage crew freaks you hang out with are not entirely made of evil. But please, for the love of Han Solo, don't make me eat fish and chips with them. I just ate two pancakes and a quite disgusting sausage, and If I don't get some salad soon I honestly might die.

This is the world of pretend. We are artists and we are servants of the stage, and I take both jobs very seriously. As artists, we work as a collective—all for one and one for all. As servants, we work for thos who venture out alone, otherwise known as performers.

I didn't see anybody I knew and I began to feel lonely, but pleasantly so. I was at that stage of the evening where you fantasize that everyone is looking at you, the romantic stranger, out of the corners of their eyes.

Going on stage was like being at a butchers’ convention. And, of course, the animal rights people were going nuts. The American Society for the Prevention of Cruelty to Animals sent people to ‘monitor’ our gigs. The crew would f**k with them all the time. They’d say, ‘Oh, Ozzy’s going to throw eighteen puppies into the audience tonight, and he won’t sing a note until they’ve all been slaughtered.’ The ASPCA believed every word of it.

He made sure to miss Josephina’s lips by a wide mark. A moment later, the lights extinguished and Tabitha cal ed for a ten-minute break while the stage crew refil ed the rain machine. That night, James had the dream one more time, although this time he felt that it was a true dream and not a direct vision into someone else’s reality. It began as always with the flash and whicker of blades and the rattle of old wood. The figure in the dream walked toward the rippling pool and looked in. As always, two faces swam up out of the depths, a young man and a young woman. This time, however, they looked different. He recognized them vaguely as his own long dead grandparents, his dad’s mum and dad. They didn’t seem to be looking at the girl with the long dark hair. Instead, they seemed to be looking directly at James, where he floated in the darkness next to her. Their faces seemed grave and worried, and although they couldn’t speak, they communicated with their eyes : Beware, grandson; watch closely and step lightly. Beware…

A teenage Charlie Parker thinks he is tearing it up on stage, right in the pocket with the rest of the crew, until Jo Jones throws a cymbal at him and chases him away in humiliation.

In the days of the Alan Freed package shows he had so resented being forced to go on before Chuck Berry in Berry’s home city of St. Louis that he played thirty minutes of viciously hard Rock ’n’Roll, then took out a can of lighter fuel, poured it on the piano, and put a match to it, telling the stage crew as he stomped off, “I’d like to see any son-of-a-bitch follow that.

Aside from the encounter with the Sphinx, there is little in Oedipus to connect him to the common run of Greek heroic figures. He strikes us today as a modern tragic hero and political animal; it is hard to picture him shaking hands with Heracles or joining the crew of the Argo. many scholars and thinkers, most notably Friedrich Nietzsche in his book The Birth of Tragedy, have seen in Oedipus a character who works out on stage the tension in Athenians (and all of us) between the reasoning, mathematically literate citizen and the transgressive blood criminal; between the thinking and the instinctual being; between the superego and the id; between the Apollonian and the Dionysian impulses that contend within us. Oedipus is a detective who employs all the fields of enquiry of which the Athenians were so proud -- logic, numbers, rhetoric, order and discovery -- only to reveal a truth that is disordered, shameful, transgressive and bestial.

There were early mornings–“zero dark thirty,” as they were called–when a special operations helicopter would appear, 300 feet from his quarters. These were UH-60 Blackhawks, which staged on the taxiway far from the rest of the camp. The crews waited in the middle of the night, engines and rotors engaged, until they were called in for a raid as part of a task force so secretive that even its designation was classified.

This novel was in a sense developed in stages. First published as a series in St. Nicholas Magazine in 1887 as Sara Crewe, or What Happened at Miss Minchin’s, it proved extremely popular and Burnett followed this with an equally popular dramatisation of the serial, re-named The Little Princess. Burnett was then persuaded to re-write the fictional version under the new name, whilst including the numerous amendments she had made to the story in the play.

the less successful product is often arguably superior. Not content to slink off the stage without some revenge, this sullen and resentful crew casts about among themselves to find a scapegoat, and whom do they light upon? With unfailing consistency and unerring accuracy, all fingers point to—the vice president of marketing. It is marketing’s fault! Salesforce outmarketed RightNow, LinkedIn outmarketed Plaxo, Akamai outmarketed Internap, Rackspace outmarketed Terremark.

Slung on a stage over the gunwale of an old felucca, the Peri. A storm had just passed, rushing away toward the land in a great slope of clouds; already turning yellowish from the desert. The sea there is the color of Damascus plums; and how quiet. Sun was going down; not a beautiful sunset, more a gradual darkening of the air and that storm’s mountainside. The Peri had been damaged, we hove to alongside and hailed her master. No reply. Only the sailor—I never saw his face—one of your fellahin who abandon the land like a restless husband and then grumble for the rest of their term afloat. It’s the strongest marriage in the world. This one wore a kind of loincloth and a rag round his head for the sun which was almost gone. After we’d shouted in every dialect we had among us, he replied in Tuareg: ‘The master is gone, the crew is gone, I am here and I am painting the ship.’ It was true: he was painting the ship. She’d been damaged, not a load line in sight, and a bad list. ‘Come aboard,’ we told him, ‘night is nearly on us and you cannot swim to land.’ He never answered, merely continued dipping the brush in his earthen jar and slapping it smoothly on the Peri’s creaking sides. What color? It looked gray but the air was dark. This felucca would never again see the sun. Finally I told the helmsman to swing our ship round and continue on course. I watched the fellah until it was too dark: becoming smaller, inching closer to the sea with every swell but never slackening his pace. A peasant with all his uptorn roots showing, alone on the sea at nightfall, painting the side of a sinking ship.

Drama and activities of that sort have nothing to do with your academic work, you find your own time to do them. As a result, such pursuits flower, fruit and flourish as nowhere else. If I had had to submit to some drama teacher casting me in plays, directing me or telling me how it was done I should have withered on the vine. The beauty of our way was that everyone was learning as they went along. The actors and directors were all students, as were the lighting, sound, set construction, costume, stage management, production crew, front of house and administration. All were undergraduates saying, ‘Oh, this looks like fun.

POLLARD had known better, but instead of pulling rank and insisting that his officers carry out his proposal to sail for the Society Islands, he embraced a more democratic style of command. Modern survival psychologists have determined that this “social”—as opposed to “authoritarian”—form of leadership is ill suited to the early stages of a disaster, when decisions must be made quickly and firmly. Only later, as the ordeal drags on and it is necessary to maintain morale, do social leadership skills become important. Whalemen in the nineteenth century had a clear understanding of these two approaches. The captain was expected to be the authoritarian, what Nantucketers called a fishy man. A fishy man loved to kill whales and lacked the tendency toward self-doubt and self-examination that could get in the way of making a quick decision. To be called “fishy to the backbone” was the ultimate compliment a Nantucketer could receive and meant that he was destined to become, if he wasn’t already, a captain. Mates, however, were expected to temper their fishiness with a more personal, even outgoing, approach. After breaking in the green hands at the onset of the voyage—when they gained their well-deserved reputations as “spit-fires”—mates worked to instill a sense of cooperation among the men. This required them to remain sensitive to the crew’s changeable moods and to keep the lines of communication open. Nantucketers recognized that the positions of captain and first mate required contrasting personalities. Not all mates had the necessary edge to become captains, and there were many future captains who did not have the patience to be successful mates. There was a saying on the island: “[I]t is a pity to spoil a good mate by making him a master.” Pollard’s behavior, after both the knockdown and the whale attack, indicates that he lacked the resolve to overrule his two younger and less experienced officers. In his deference to others, Pollard was conducting himself less like a captain and more like the veteran mate described by the Nantucketer William H. Macy: “[H]e had no lungs to blow his own trumpet, and sometimes distrusted his own powers, though generally found equal to any emergency after it arose. This want of confidence sometimes led him to hesitate, where a more impulsive or less thoughtful man would act at once. In the course of his career he had seen many ‘fishy’ young men lifted over his head.” Shipowners hoped to combine a fishy, hard-driving captain with an approachable and steady mate. But in the labor-starved frenzy of Nantucket in 1819, the Essex had ended up with a captain who had the instincts and soul of a mate, and a mate who had the ambition and fire of a captain. Instead of giving an order and sticking with it, Pollard indulged his matelike tendency to listen to others. This provided Chase—who had no qualms about speaking up—with the opportunity to impose his own will. For better or worse, the men of the Essex were sailing toward a destiny that would be determined, in large part, not by their unassertive captain but by their forceful and fishy mate.

Come for a walk, dear. The air will do you good." Raoul thought that she would propose a stroll in the country, far from that building which he detested as a prison whose jailer he could feel walking within the walls... the jailer Erik... But she took him to the stage and made him sit on the wooden curb of a well, in the doubtful peace and coolness of a first scene set for the evening's performance. On another day, she wandered with him, hand in hand, along the deserted paths of a garden whose creepers had been cut out by a decorator's skillful hands. It was as though the real sky, the real flowers, the real earth were forbidden her for all time and she condemned to breathe no other air than that of the theatre. An occasional fireman passed, watching over their melancholy idyll from afar. And she would drag him up above the clouds, in the magnificent disorder of the grid, where she loved to make him giddy by running in front of him along the frail bridges, among the thousands of ropes fastened to the pulleys, the windlasses, the rollers, in the midst of a regular forest of yards and masts. If he hesitated, she said, with an adorable pout of her lips: "You, a sailor!" And then they returned to terra firma, that is to say, to some passage that led them to the little girls' dancing-school, where brats between six and ten were practicing their steps, in the hope of becoming great dancers one day, "covered with diamonds..." Meanwhile, Christine gave them sweets instead. She took him to the wardrobe and property-rooms, took him all over her empire, which was artificial, but immense, covering seventeen stories from the ground-floor to the roof and inhabited by an army of subjects. She moved among them like a popular queen, encouraging them in their labors, sitting down in the workshops, giving words of advice to the workmen whose hands hesitated to cut into the rich stuffs that were to clothe heroes. There were inhabitants of that country who practiced every trade. There were cobblers, there were goldsmiths. All had learned to know her and to love her, for she always interested herself in all their troubles and all their little hobbies. She knew unsuspected corners that were secretly occupied by little old couples. She knocked at their door and introduced Raoul to them as a Prince Charming who had asked for her hand; and the two of them, sitting on some worm-eaten "property," would listen to the legends of the Opera, even as, in their childhood, they had listened to the old Breton tales.

Family is everything to him. When he was a young boy, he lost his mother and four sisters to scarlet fever, and was sent away to boarding school. He grew up very much alone. So he would do anything to protect or help the people he cares about." She hefted the album into Keir's lap, and watched as he began to leaf through it dutifully. Keir's gaze fell to a photograph of the Challons relaxing on the beach. There was Phoebe at a young age, sprawling in the lap of a slender, laughing mother with curly hair. Two blond boys sat beside her, holding small shovels with the ruins of a sandcastle between them. A grinning fair-haired toddler was sitting squarely on top of the sandcastle, having just squashed it. They'd all dressed up in matching bathing costumes, like a crew of little sailors. Coming to perch on the arm of the chair, Phoebe reached down to turn the pages and point out photographs of her siblings at various stages of their childhood. Gabriel, the responsible oldest son... followed by Raphael, carefree and rebellious... Seraphina, the sweet and imaginative younger sister... and the baby of the family, Ivo, a red-haired boy who'd come as a surprise after the duchess had assumed childbearing years were past her. Phoebe paused at a tintype likeness of the duke and duchess seated together. Below it, the words "Lord and Lady St. Vincent" had been written. "This was taken before my father inherited the dukedom," she said. Kingston- Lord St. Vincent back then- sat with an arm draped along the back of the sofa, his face turned toward his wife. She was a lovely woman, with an endearing spray of freckles across her face and a smile as vulnerable as the heartbeat in an exposed wrist.

three levels of possession, all of which have their own “cures.” The first level is an infestation. It’s the lowest level and occurs when a demonic entity has made a nest in a building, but has not yet chosen a human body to reside in. Sometimes the demon intends to reside there without disturbing the humans it comes across and sometimes its intent is much more dastardly. The middle level is oppression. This is when a demon has chosen a human host and is trying to destroy its intellect and will. This is sometimes referred to as a transient stage when the demon is not fully in control of the human, but is trying to achieve it. To banish this level of demon, a priest like Bishop Long can perform a minor rite of exorcism. The highest level is full possession. At this point the demonic entity has full control of the human host and requires a solemn rite of exorcism to banish it. A demon can and will bring about death to its human host if it is not banished.

This was the point in the Fire Swamp sequence where Buttercup’s dress briefly catches on fire before the flame is extinguished by Westley. It’s merely a line in the stage directions and consumes only a few seconds of film, but before we could shoot the scene, several steps had to be taken. First, a fire marshal had to be brought to the set. He would then meet with the stunt coordinator, Peter Diamond, Nick Allder, our FX supervisor, and his special effects crew. This was followed by what is known as a general “safety meeting” with the rest of the crew. Anytime there are firearms, fire, or even a dangerous or semidangerous stunt involved, there is always a safety meeting of this kind. The whole crew gathers around, and usually the first AD explains what the meeting is about. He then introduces everyone to the person in charge of special effects/stunts/firearms, etc., and that person walks everyone through the sequence, detailing both process and all potential safety concerns.

Hey—we have a problem. You have some unexpected guests down at the gate. You should go check it out.” Guests? Who would come here to see me? I hop in the golf cart and drive down to the main gate. Just in time to hear Franny Barrister, the Countess of Ellington, tearing into a poor, clueless Matched security guard. “Don’t you tell me we can’t come in, you horse’s arse. Where’s Henry—what have you done with him?” Simon, my brother’s best friend, sees me approach, his sparkling blue eyes shining. “There he is.” I nod to security and open the gate. “Simon, Franny, what are you doing here?” “Nicholas said you didn’t sound right the last time he spoke to you. He asked us to peek in on you,” Simon explains. Franny’s shrewd gaze rakes me over. “He doesn’t look drunk. And he obviously hasn’t hung himself from the rafters—that’s better than I was expecting.” “Thanks for the vote of confidence.” Simon peers around the grounds, at the smattering of crew members and staging tents. “What the hell is going on, Henry?” I clear my throat. “So . . . the thing is . . . I’m sort of . . . filming a reality dating television show here at the castle and we started with twenty women and now we’re down to four, and when it’s over one of them will get the diamond tiara and become my betrothed. At least in theory.” It sounded so much better in my head. “Don’t tell Nicholas.” Simon scrubs his hand down his face. “Now I’m going to have to avoid his calls—I’m terrible with secrets.” And Franny lets loose a peal of tinkling laughter. “This is fabulous! You never disappoint, you naughty boy.” She pats my arm. “And don’t worry, when the Queen boots you out of the palace, Simon and I will adopt you. Won’t we, darling?” Simon nods. “Yes, like a rescue dog.” “Good to know.” Then I gesture back to their car. “Well . . . it was nice of you to stop by.” Simon shakes his head. “You’re not getting rid of us that easily, mate.” “Yes, we’re definitely staying.” Franny claps her hands. “I have to see this!” Fantastic.

I read Dickens and Shakespear without shame or stint; but their pregnant observations and demonstrations of life are not co-ordinated into any philosophy or religion: on the contrary, Dickens's sentimental assumptions are violently contradicted by his observations; and Shakespear's pessimism is only his wounded humanity. Both have the specific genius of the fictionist and the common sympathies of human feeling and thought in pre-eminent degree. They are often saner and shrewder than the philosophers just as Sancho-Panza was often saner and shrewder than Don Quixote. They clear away vast masses of oppressive gravity by their sense of the ridiculous, which is at bottom a combination of sound moral judgment with lighthearted good humor. But they are concerned with the diversities of the world instead of with its unities: they are so irreligious that they exploit popular religion for professional purposes without delicacy or scruple (for example, Sydney Carton and the ghost in Hamlet!): they are anarchical, and cannot balance their exposures of Angelo and Dogberry, Sir Leicester Dedlock and Mr Tite Barnacle, with any portrait of a prophet or a worthy leader: they have no constructive ideas: they regard those who have them as dangerous fanatics: in all their fictions there is no leading thought or inspiration for which any man could conceivably risk the spoiling of his hat in a shower, much less his life. Both are alike forced to borrow motives for the more strenuous actions of their personages from the common stockpot of melodramatic plots; so that Hamlet has to be stimulated by the prejudices of a policeman and Macbeth by the cupidities of a bushranger. Dickens, without the excuse of having to manufacture motives for Hamlets and Macbeths, superfluously punt his crew down the stream of his monthly parts by mechanical devices which I leave you to describe, my own memory being quite baffled by the simplest question as to Monks in Oliver Twist, or the long lost parentage of Smike, or the relations between the Dorrit and Clennam families so inopportunely discovered by Monsieur Rigaud Blandois. The truth is, the world was to Shakespear a great "stage of fools" on which he was utterly bewildered. He could see no sort of sense in living at all; and Dickens saved himself from the despair of the dream in The Chimes by taking the world for granted and busying himself with its details. Neither of them could do anything with a serious positive character: they could place a human figure before you with perfect verisimilitude; but when the moment came for making it live and move, they found, unless it made them laugh, that they had a puppet on their hands, and had to invent some artificial external stimulus to make it work.

The universal survey of life as a whole, an advantage which man has over the animal through his faculty of reason, is also comparable to a geometrical, colourless, abstract, reduced plan of his way of life. He is therefore related to the animal as the navigator, who by means of chart, compass, and quadrant knows accurately at any moment his course and position on the sea, is related to the uneducated crew who see only the waves and skies. It is therefore worth noting, and indeed wonderful to see, how man, besides his life in the concrete, always lives a second life in the abstract. In the former he is abandoned to all the storms of reality and to the influence of the present; he must struggle, suffer, and die like the animal. But his life in the abstract, as it stands before his rational consciousness, is the calm reflection of his life in the concrete, and of the world in which he lives; it is precisely that reduced chart or plan previously mentioned. Here in the sphere of calm deliberation, what previously possessed him completely and moved him intensely appears to him cold, colourless, and, for the moment, foreign and strange; he is a mere spectator and observer. In respect of this withdrawal into reflection, he is like an actor who has played his part in one scene, and takes his place in the audience until he must appear again. In the audience he quietly looks on at whatever may happen, even though it be the preparation of his own death (in the play); but then he again goes on the stage, and acts and suffers as he must. From this double life proceeds that composure in man, so very different from the thoughtlessness of the animal. According to previous reflection, to a mind made up, or to a recognized necessity, a man with such composure suffers or carries out in cold blood what is of the greatest, and often most terrible, importance to him, such as suicide, execution, duels, hazardous enterprises of every kind fraught with danger to life, and generally things against which his whole animal nature rebels. We then see to what extent reason is master of the animal nature, and we exclaim to the strong: ferreum certe tibi cor! (Truly hast thou a heart of iron!) [Iliad, xxiv, 521.] Here it can really be said that the faculty of reason manifests itself practically, and thus practical reason shows itself, wherever action is guided by reason, where motives are abstract concepts, wherever the determining factors are not individual representations of perception, or the impression of the moment which guides the animal.

Sky's The Limit" [Intro] Good evening ladies and gentlemen How's everybody doing tonight I'd like to welcome to the stage, the lyrically acclaimed I like this young man because when he came out He came out with the phrase, he went from ashy to classy I like that So everybody in the house, give a warm round of applause For the Notorious B.I.G The Notorious B.I.G., ladies and gentlemen give it up for him y'all [Verse 1] A nigga never been as broke as me - I like that When I was young I had two pair of Lees, besides that The pin stripes and the gray The one I wore on Mondays and Wednesdays While niggas flirt I'm sewing tigers on my shirts, and alligators You want to see the inside, I see you later Here comes the drama, oh, that's that nigga with the fake, blaow Why you punch me in my face, stay in your place Play your position, here come my intuition Go in this nigga pocket, rob him while his friends watching And hoes clocking, here comes respect His crew's your crew or they might be next Look at they man eye, big man, they never try So we rolled with them, stole with them I mean loyalty, niggas bought me milks at lunch The milks was chocolate, the cookies, butter crunch 88 Oshkosh and blue and white dunks, pass the blunts [Hook: 112] Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want, have what you want, be what you want [Verse 2] I was a shame, my crew was lame I had enough heart for most of them Long as I got stuff from most of them It's on, even when I was wrong I got my point across They depicted me the boss, of course My orange box-cutter make the world go round Plus I'm fucking bitches ain't my homegirls now Start stacking, dabbled in crack, gun packing Nickname Medina make the seniors tote my Niñas From gym class, to English pass off a global The only nigga with a mobile can't you see like Total Getting larger in waists and tastes Ain't no telling where this felon is heading, just in case Keep a shell at the tip of your melon, clear the space Your brain was a terrible thing to waste 88 on gates, snatch initial name plates Smoking spliffs with niggas, real-life beginner killers Praying God forgive us for being sinners, help us out [Hook] [Verse 3] After realizing, to master enterprising I ain't have to be in school by ten, I then Began to encounter with my counterparts On how to burn the block apart, break it down into sections Drugs by the selections Some use pipes, others use injections Syringe sold separately Frank the Deputy Quick to grab my Smith & Wesson like my dick was missing To protect my position, my corner, my lair While we out here, say the Hustlers Prayer If the game shakes me or breaks me I hope it makes me a better man Take a better stand Put money in my mom's hand Get my daughter this college grant so she don't need no man Stay far from timid Only make moves when your heart's in it And live the phrase sky's the limit Motherfuckers See you chumps on top [Hook]

When Robinson and Davis take over at orientation, they bark at the new recruits to stand up, then issue their first command: “Smile.” Students will learn a lot of things in Strive, but the first lesson is how to smile. The first few days are devoted to it. The new class members are always confused, and then they start to smile—except for about 20 percent of the room, who stand stone-faced. Robinson calls out those who don’t smile, pulls them up to the front of the room, and says, “This is my smile crew.” He tells the rest of the room to cheer until they can get these men and women, mostly men, to finally crack a smile. The claps and hoots and whistles rise in a crescendo heard throughout the building. Meanwhile, Davis and Robinson walk up and down the line, yelling, “Smile,” and pantomiming it, using their fingers to pull the corners of their own mouths back. The reluctant recruits roll their eyes. Some get tense, their faces get stuck in passive displays of aggression, as Robinson goes up and down the line and mocks: “Is it painful? Is there a medical condition? Smile!” He and Davis continue their full-on assault of well-wishing and joking and silliness until one by one, the students fold. A smile is the Strive game face, they explain. “I’m not asking you to smile on North Monroe Street at two in the morning,” Davis says. “I’m asking you to smile in here.” It’s usually the youngest men who bow out at this stage—the 19- and 20-year-olds who are too cool to tolerate the corniness, the guys who’ve been strongly encouraged to try Strive by some parole officer or social worker attempting to keep them from spending their twenties in prison. It’s the older guys who are eager to cooperate. They’re hungry.

The US military had this huge generator they needed to get to an airfield site they were planning in the south. This was a remote area, and aside from a few pockets of US troops, it was completely under bandit control. There was no fuel available for miles around the landing spot, and none of the outfits we approached would touch it with a bargepole. They all kept saying, “We’ll never get out again, how can we take off from an unprepared airfield with no fuel?” ‘The job was priced at between sixty thousand and seventy thousand dollars, but one day there’s a phone call from these Russian guys. They said, “We’ll do it, but it’ll cost you two million dollars, in advance.” The Americans didn’t really have a choice by this stage, so they paid. And sure enough, right on time, this ex-Soviet air force crew flew in, with the generator, in this battered old Il-76, unloaded the generator, then sat down for a leisurely smoke. ‘Just as all the Americans were wondering how on earth they were going to fly out again, there’s a cloud of dust and up clatters this old minibus driven by some Afghan bloke – and these airmen just get in and drive off. The Yanks were all going, “Hey, how will you get the plane back?” And the crew just said, “We won’t. It’s an old one – we only bought it for this job, and we’re ditching it here.” Half a million dollars it cost them, and they held it together with string just long enough to land, then cleared off one and a half million dollars in profit and left it to rust. It’s still there.

focus—keep the memory of the kiss we shared before I met Cooper in the forefront of my mind. It was nice. Passionate even. There was a spark, I know there was. I just need to get back to that place. Yet I tense up when he moves in closer. “Is it the cameras?” he whispers in my ear. I have no idea how to answer, so I tell him the truth. Well, mostly the truth. It was difficult for me to forget the cameras even before I met Cooper. “Maybe a little.” A member of the Throb crew comes out from nowhere. “Sorry to interrupt, guys. But can you speak a little louder? We can’t pick up your voices out here too easily.” Flynn sighs loudly. “Yeah. No problem.

Of course, many of the fans who came to wait for us were women. You could count on that. There were certain women who would follow the group from city to city. Others would be local girls who liked Styx, or who liked the rock scene in general. In the beginning, the number of women (or girls, it was sometimes hard to tell their age) who turned out for our performances surprised me. In time, though, you just expected it. The faces began to blur together from city to city, and for all I knew, it could have been the same group of fifty or so scantily clad women who were transported and plopped down in front of the stage door in each different city. Most of them never made it beyond the back door. The lucky ones found a way to get backstage passes. But even the ones allowed backstage rarely got attention from any of the guys in the band. After a certain point, it just gets a little monotonous—even if you’re straight and single. If you’re married, or worse yet, gay, it gets old very quickly. This meant that our road crew got very lucky, very often. If the girls couldn’t get to anyone in the band, the roadies were the next best thing. And the roadies were never too busy or too tired to take one for the team. In exchange, the girls got access to hang out backstage while Styx performed. Everyone seemed happy enough with the system. While

It looked like a mess deliberately created by the stage crew for a murder scene in a television show. Except I knew better. This murder scene was

It looked like a mess deliberately created by the stage crew for a murder scene in a television show. Except I knew better. This murder scene was real. Ryan

The original Romeo, Coby Reid, had driven his car into a tree only a few hours earlier, though no one was sure if it was on purpose or not, and no one seemed interested in knowing for certain. Since Coby was not dead but merely in the hospital with a broken collarbone and a collapsed lung and spectacular damage to his wonderful smile, the cast and crew decided that the show need not be canceled but rather recast. That Buster, the stage manager, had memorized every line of the entire play seemed to make the decision fairly obvious. That his sister, two years his senior and in her final performance as a high school student, would be playing the role of Juliet was seen as only a minor inconvenience.

The label finally decided I needed media training after I did an interview with the CBS Early Show at the Arthur Ashe Kids’ Day, a concert that kicks off the U.S. Open every year in August. I have to admit that I did not know who Arthur Ashe was. Now I know he was one of the greatest tennis players in the world and the first African American man to win Wimbledon. When he came out as HIV positive in 1992, he created an impact that lasted long beyond his death a year later. But back then, I just showed up and sang where people told me to. 98 Degrees was going to perform, so I was excited to sing with Nick again. I barely knew who any of the tennis players were, even Pete Sampras and Andre Agassi. During the interview before the concert, the tennis players and us singers stood off-stage, and we were each asked what it meant to be there to celebrate Arthur Ashe’s impact. “I’m just so proud to be here and to give back,” I said, and then turned to Andre Agassi. “This is such a great event you put on.” Andre’s eyes widened in a look of “I don’t know what you’re talking about.” Everyone, including the news crew, realized I thought Andre was Arthur Ashe. The late Arthur Ashe.

scheduled to begin Monday. The next morning, the crew rode to look at Slaughter’s cows and calves. They saw most of them and told Chet he made a very good buy. The cattle were great. Chet and Jesus took the late stage back from Tombstone. Fred and Spencer took a room, stabled the horses, and were to join them Saturday night in Tucson.

If it comes to it, don’t miss, guys, he said under his breath. When the president appeared, he was boxed in on all sides by the A-team protection detail that formed a wall of Kevlar and flesh around him. Alex knew these agents; they were a rock-solid crew. The president stepped onto the stage and shook some important hands while his wife, the governor, the chief of staff and Gray took their seats behind the podium. Brennan joined them

What else did Network drop on us?" There was a too-long silence that meant she was going to hate what Dmitri said next. "Network wants us to provide a 'native guide' for a crew filming on Elfhome…" "You want me to play babysitter?" "No, they asked for a guide, they're getting you as a producer, and you're going to keep them out of trouble even if you need to hogtie them, which I know you're fully capable of." "I don't do babysitting!" "It's not babysitting, and you're very good at it, otherwise Hal wouldn't be alive now." Chesty went to point on a strangle vine staging a surprise rear attack. Jane sighed. When was Hal ever going to learn that these things were more like octopuses than snakes? "That is debatable," she said as Hal went down with a yelp.

Nigel Havers One of Britain’s leading stage and television actors, Nigel Havers has also appeared in many outstanding film productions, including Chariots of Fire, A Passage to India, Empire of the Sun, The Whistle Blower, Farewell to the King, Quiet Days in Clichy, and The Private War of Lucinda Smith. He has recently completed his autobiography, Playing with Fire, published by Headline. One afternoon, when I was filming a series called The Good Guys and Polly was away in Spain, all the crew were all a bit beady-eyed with me. “What on earth is going on, guys?” I asked. But they kept looking at me in a strange way. It transpired that on the front of the Evening Standard was the first transcript of the Diana tapes--the Squidgy tapes--and no one knew who the man calling Diana Squidgy was and the headline on the front page said it was me! As everyone was hiding the paper from me, I went and grabbed it. “My God, it’s not me. It’s not me, I know,” I said. It wasn’t me, of course. But when you read something and your name is in banner headlines, there is a split second where you almost believe it. I called Diana at once (she had given me her private mobile number), and she laughed like a drain when I told her how panicked I was. She literally couldn’t stop laughing. I was a bit jumpy around her because I fancied her so much, but I really just felt sad for her. When she came to tea with me, she would be wearing jeans and a T-shirt. She just walked out of Kensington Palace and up Kensington High Street to my flat. She told me that no one would turn around, and as they weren’t expecting to see her strolling down the street, she was never recognized.

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While there, I was somewhat surprised to learn that our next foray into space would include an orbiter with wings and with wheels that could land on a runway, as well as a booster, also with wings and wheels to land on a runway. The program had generated great interest. At the meeting, at least seven aerospace manufacturers touted their rockets and boosters on which they were already working. They had models built in 1970 regarding the seven configurations and stages of the program to follow Apollo. Today, we would be delighted to have a fully reusable orbiter to take the crew only, a booster to get them there, and then a return to Earth for both of them. We’d love to have that. Why don’t we have that? Because of a grave design flaw. When I studied the models, I observed that the boosters in the models had windows. That was a surprise to me. After all, why would you want windows in a booster with nobody in it? I was informed that a crew of two astronauts would travel inside the booster to the space station, and then return in the booster to land back on Earth. I worried about the crew in the booster during launch and said so. I thought it was unwise because of the expense, but even more so because of the danger to the astronauts.

We're like a pair of bad trapeze artists, reaching for each other's hands and missing every time. Meanwhile the stage crew has gathered below us and begun to roll up the safety net.

She looked out the taxi window at the picturesque Creole cottages and brick Spanish Colonial houses on the way back to the bakery. Piper could understand why New Orleans was an attractive location for filming. The culturally rich neighborhoods and diverse locations, from bayou to big city, provided vivid backdrops. There were willing extras of all shapes, sizes, and ethnicities available, as well as state-of-the-art sound stages and plenty of skilled crew members. Piper also knew that Louisiana offered attractive tax incentives to the film industry to bring in business to New Orleans. The city was working hard to earn the moniker "Hollywood of the South.

Lerner had never been happy with the 1951 stage show, his and Loewe’s entry between Brigadoon and My Fair Lady. He revised it a bit for the national tour, and now decided to give it a completely different storyline and some new numbers to match. The results might, at least, have been a bargain, as the whole thing takes place in and around a single spot, a gold-rush town in more or less everyday (if period) clothes. As opposed to the castles in Spain where Camelot did much of its filming, not to mention the gargoyles and falconry. However, anticipating the disaster-film cycle, Lerner wanted Paint Your Wagon’s mining town (“No-Name City. Population: Male”) to sink into the earth in a catastrophe finale. Worse, production built the place from scratch in the wilds of Oregon, with no nearby living quarters for cast and crew; they had to be trucked and helicoptered in and out each day in a long and pricey commute, greatly protracting the shooting schedule. Back as director again after Camelot, Joshua Logan fretted about all this, but Lerner didn’t care how much of Paramount’s money he spent. He even hired Camelot’s spendthrift designer, John Truscott. In the end, it would appear that no one knows exactly how much Paint Your Wagon cost, but there is no doubt that it lost a vast fortune. It deserved to. Cynically, Lerner took note of changing times and filled the film with a “youth now!” attitude and sexual freedom—refreshing if they didn’t feel so commercially opportunistic. But after all, Hair (1967) had happened. Was Broadway urging Hollywood to go hippie, too, or would Lerner have done this anyway?

Students lined up on the stage, reading sheets of paper that probably had the schedule for the morning. The stage that Gavin had fixed looked awesome and solid as a rock. In fact, if I didn’t know the corner was busted earlier in the week, I’d never be able to tell. Overnight, a crew had set up a few hundred foldout chairs, lining them in rows for the audience. The cafeteria lights had been switched off, and the talent show stage lights were being tested, making the room look like some sort of dance club. The only students in the cafeteria were those who had acts in the show. Everyone was standing around, laughing and having a good time. It actually felt relieving to see others enjoying themselves. The missing penguin had been in everyone’s thoughts all week, but nobody knew that Hotcakes might’ve been just the tip of the iceberg. The rest of the sixth graders at Buchanan would arrive when homeroom dismissed, which was still about twenty minutes away. The first half of the school day had been dedicated to Zoe’s talent show, which was killer because it meant all those classes would be put on hold. It also meant

You see, that bridge is my gateway to the world. If you stay on this island for too long, you'll know what I mean. This weekend when I go to Alor Setar, I'll have to cross that bridge. It's getai season and there's extra cash to be made everywhere here in the north, as long as there are spirit-believing Taoists. I help the crew set up stage, do the wiring and man the lighting. The girl singer comes on, wearing knee-high boots and a spaceship suit. Sometimes I get a picture with her backstage, but sometimes the girls are so ugly I bet only ghosts are willing to look at them.

We convinced EarthLink to pay us $125,000 to become “the official Internet Service Provider of the Parks Department.” We used that money to pay to build a new website to help New Yorkers take advantage of everything offered at their parks. We owed EarthLink attention and media coverage in return. So we built a forty-foot-by-forty-foot giant spiderweb of rope in Times Square. We dressed Henry in a sequined silver suit and top hat, put him on a riser obscured by dry ice, and blasted the theme song to 2001: A Space Odyssey out of the giant speaker they use for New Year’s Eve as he ascended the web to launch the new Parks Department website, paid for by EarthLink. The same approach worked for policy initiatives. We staged elaborate funerals for trees murdered by people (cut down illegally by construction crews or poisoned by people who thought their views were obstructed by trees). One time, Henry chained himself to a tree in Union Square Park to try to prevent its demise. This all helped fuel legislation through the city council making arborcide a crime.

Of the 403,272 tank soldiers (including a small number of women) who were trained by the Red Army in the war, 310,000 would die. Even the most optimistic troops knew what would happen when a tank was shelled. The white-hot flash of the explosion would almost certainly ignite the tank crew’s fuel and ammunition. At best, the crew—or those at least who had not been decapitated or dismembered by the shell itself—would have no more than ninety seconds to climb out of their cabin. Much of that time would be swallowed up as they struggled to open the heavy, sometimes red-hot, hatch, which might have jammed after the impact anyway. The battlefield was no haven, but it was safer than the armored coffin that would now begin to blaze, its metal components to melt. This was not simply “boiling up.” The tank would also torch the atmosphere around it. By then, there could be no hope for the men inside. Not unusually, their bodies were so badly burned that the remains were inseparable. “Have you burned yet?” was a question tank men often asked each other when they met for the first time. A dark joke from this stage in the war has a politruk informing a young man that almost every tank man in his group has died that day. “I’m sorry,” the young man replies. “I’ll make sure that I burn tomorrow.

By late January 2014, Tesla had completed the construction of a cross-country Supercharger corridor that would allow Model S drivers to get from Los Angeles to New York without having to spend a penny on energy. The electric highway took a northern route through Colorado, Wyoming, South Dakota, Minnesota, and Illinois, before approaching New York from Delaware. The path it cut was similar to a trip taken by Musk and his brother, Kimbal, in a beat-up 1970s BMW 320i in 1994. Within days of the route’s completion, Tesla staged a cross-country rally to show that the Model S could easily handle long-distance driving, even in the dead of winter. Two hot-pepper-red Model S’s, driven by members of the Supercharging team, left Tesla’s Los Angeles–based design studio just after midnight on Thursday, January 30. Tesla planned to finish the trip at New York’s City Hall on the night of February 1, the day before Super Bowl XLVIII, which would take place at MetLife Stadium in East Rutherford, New Jersey, just across the state line. Along the way, the cars would drive through some of the snowiest and most frigid places in the country, in one of the coldest weeks of the year. The trip took a little longer than expected. The rally encountered a wild snowstorm in the Rocky Mountains that temporarily closed the road over Vail Pass and then provided an icy entrance to Wyoming. Somewhere in South Dakota, one of the rally’s diesel support vans broke down, forcing its occupants to catch a flight from Sioux Falls to rejoin the rest of the crew in Chicago. And in Ohio, the cars powered through torrential rains as the fatigued crew pressed on for the final stretch. It was 7:30 A.M. on Sunday, February 2, when the Teslas rolled up to New York’s City Hall on a bright, mild morning. The 3,427-mile journey had taken 76 hours and 5 minutes—just over three days. The cars had spent a total of 15 hours and 57 seconds charging along the way,

In the early years of the show, I had earned a reputation as the prankster who planted stink bombs under the audience seats, greased doorknobs and hid crew members’ cars in bushes. I initiated practical jokes, laughter, ribbing and the sarcastic comments that flew around stage like the evil monkeys on The Wizard of Oz. My fellow cast members affectionately named me “Devil Boy.

He took the trophy and the mic and said, ‘Uhm,’ and then laughed, almost as if he were at a loss for words. When the presenters insisted though, he looked to the audience and thanked his crew again, Danny Boyle especially, the people of Mumbai and the optimism that he believed was the essence of the film. ‘All my life,’ he said, finally looking like he was starting to choke up, ‘I had a choice of hate and love. I chose love. And I’m here. God bless.’ Truer words he could not have spoken. At every point in his life he had faced this crucial choice. When his father died. When he had to start working before he was even a teenager. When he had to drop out of school. When he had to grow up faster than any child could have reasonably been expected to; when he had to become the man of the house at eleven, had to take care of his family. When he felt creatively stifled during his days as a sessions player and wondered if this was all his life was going to be about. When he felt his music wasn’t being appreciated widely or truly enough before Roja. When it seemed he was all alone, with no one to turn to. When he became famous. He could have chosen to be bitter, prideful or sad at every stage. But he didn’t. If not for his music, then simply for his capacity to choose light over dark, A.R. Rahman deserves every bit of adulation he got that day and ever since. His speech done, AR lowered his mic, as if not trusting himself to keep his composure for much longer, and walked off the stage.

NASA had convened a conference to explore the benefit of a new kind of training: Crew Resource Management. The primary focus was on communication. First officers were taught assertiveness procedures. The mnemonic that has been used to improve the assertiveness of junior members of the crew in aviation is called P.A.C.E. (Probe, Alert, Challenge, Emergency).* Captains, who for years had been regarded as big chiefs, were taught to listen, acknowledge instructions, and clarify ambiguity. The time perception problem was tackled through a more structured division of responsibilities. Checklists, already in operation, were expanded and improved. The checklists have been established as a means of preventing oversights in the face of complexity. But they also flatten the hierarchy. When pilots and co-pilots talk to each other, introduce themselves, and go over the checklist, they open channels of communication. It makes it more likely the junior partner will speak up in an emergency. This solves the so-called activation problem. Various versions of the new training methods were immediately trialed in simulators. At each stage, the new ideas were challenged, rigorously tested, and examined at their limits. The most effective proposals were then rapidly integrated into airlines around the world. After a terrible set of accidents in the 1970s, the rate of crashes began to decline.

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Why do the deaths of more than 1,500 people retain such a hold on us, more than a century later? Walter Lord, who did more than anyone to chronicle the disaster in his book A Night to Remember, put it so well, saying that we can see ourselves going through the same emotional stages with Titanic passengers and crew members, from disbelief that anything is wrong, through gradual recognition of the danger, and finally to realization that there is no escape. Watching them go through this, Lord wrote, “We wonder what we would do.