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CLASSIQUES ET INEDITS 1929 - 1956
Direction artistique : LAWRENCE SCHULMAN
RECOMMANDÉ PAR LA REVUE DES MÉDIATHÈQUES ET DES COLLECTIONS MUSICALES / RECOMMANDÉ PAR PHONOSCOPIES / RECOMMANDÉ PAR FRANCE CULTURE / RECOMMANDÉ PAR FRANCE MUSIQUE
Artiste légendaire d'Hollywood, Judy Garland a marqué l'ensemble de la création artistique américaine du milieu du XXe siècle : le cinéma, la scène, la radio et la chanson. Son inégalable "Over the Rainbow" a été élu « chanson du siècle » et cinq de ses enregistrements sont entrés au Grammy Hall of Fame.
Lawrence Schulman propose ici une anthologie exceptionnelle pour tous publics avec un premier disque composé des plus grands titres de Judy Garland et un second réunissant des inédits discographiques en provenance de collections privées – dont la rareté excusera une qualité sonore inférieure aux enregistrements studio. Un nouvel éclairage sur l'icône intemporelle d'un âge d'or mythique de l'Amérique.
"Hollywood legend Judy Garland left her mark on 20th century American art through her movies, stage performances, radio and songs.
Her peerless 'Over the Rainbow' was voted 'song of the century' and five of her recordings entered the Grammy Hall of Fame.
Lawrence Schulman presents an exceptional anthology with the first album featuring Judy Garland's greatest hits and the second offering titles from private collections which have never been issued previously. The rarity of these recordings compensates the quality of sound which is inferior to studio recordings. A new aspect of this timeless icon from America's Golden Age."
French Label Unveils 79-Year-Old Film Soundtracks and 72-Year-Old Radio Broadcasts
Frémeaux & Associés is proud to announce the release of a new box set of two compact discs Judy Garland: Classiques et Inédits 1929-1956 [Judy Garland: Classic and Previously Unreleased Recordings 1929-1956] that contains forty Judy Garland recordings, most of which have been unavailable for up to seven decades. Culled from studio sessions and private collections from around the world, the anthology, whose tracks were trans-ferred by Grammy Award winner Jon M. Samuels in New York and remastered by Art & Son Studio in Paris, has been in preparation for over a year. It includes well-known and lesser-known Garland classics, but also collectors' items many of which are previously unreleased, such as her screen debut at First-National—Vitaphone Pictures in 1929, 20 rare radio appearances of which 19 are new on CD, the first re-lease of a song she herself composed, and surround sound reproductions done for the set's director, Lawrence Schulman, by the Australian sound engineer and award-winning radio host Robert Parker shortly before his death in 2004.
The two tracks that open the first CD, "Blue Butterfly" and "Hang on to a Rainbow", are both from Vitaphone discs done by the 7 ½ Frances Gumm for early talkies in 1929 – almost a decade before "Over the Rainbow"! The collection encompasses all the labels for which Garland recorded during her career, from the earliest Decca side "Stompin' at the Savoy", to her last MGM recording Get Happy, and beyond to her Columbia and Capitol sessions. Of special interest on the first CD are "Send My Baby Back to Me", "Heartbroken", "Without a Memory", and "Go Home, Joe", all recorded in 1953. Robert Parker, well-known for extracting stereo from vintage jazz and popular recordings, transferred them from DJ vinyl 78s into surround in 2002. This is the first time any Garland studio session has been heard in surround. A regular guest on the radio during her movie heyday, Garland sometimes tried her hand at standards and novelty numbers she never performed on film or record. These coveted collectors' items, released sparingly over the years, make up the collection's second CD, which includes her first preserved radio appearance from 1935 wherein she belts "Broadway Rhythm", as well as "Swing Low, Sweet Chariot" in 1938, "Goody Goodbye" in 1939, "In Spain They Say "Si-Si"" in 1940, "Daddy" in 1941, and "You and I" in 1951. Other new items to be savored are "Love's New Sweet Song", a song Garland herself composed with husband David Rose in 1941 for a radio show, and a never-before-heard private record of her performing "Someone to Watch Over Me" for a Democratic Party dinner in 1944. "The fact that so many Garland radio performances have never been released so many decades after their broadcast is astounding" states Schulman.
The 32-page brochure in French and in English contains liner notes by Schulman, as well as a detailed discography.
Frémeaux & Associés, founded by Patrick Frémeaux and Claude Colombini, and recipient of the Grand Prix in honorem of the Charles Cros Academy, has built a catalogue over the years of some 25,000 references distributed in 32 countries. With of over 1000 awards, the label takes pride in striving to rehabilitate the sound heritage of the 20th century to make our collective memory permanently available to future generations.
Classiques : Blue Butterfly • Hang On To A Rainbow • Stompin' At The Savoy • Over The Rainbow • I'm Just Wild About Harry • But Not For Me • Have Yourself A Merry Little Christmas • On The Atchison, Topeka And The Santa Fe • Who ? • You Can Do No Wrong • I Wish I Were In Love Again • Better Luck Next Time • Get Happy • Send My Baby Back To Me • Heartbroken • Without A Memory • Go Home, Joe • The Man That Got Away • Judy at the Palace • Memories of You - Inédits : Broadway Rhythm • Zing! Went The Strings Of My Heart • On Revival Day • Smiles • My Heart Is Taking Lessons • On The Bumpy Road To Love • Swing Low, Sweet Chariot • Goody Goodbye • In Spain They Say "Si-Si" • Love's New Sweet Song • The Things I Love • Daddy • Minnie From Trinidad • That Old Black Magic • Over The Rainbow • Embraceable You/The Man I Love • Somebody Loves Me • Someone To Watch Over Me • Love • You And I.
Droits : Groupe Frémeaux Colombini - Variétés Internationales.
- "This fantastic 2-CD compilation is the best Garland CD release of the year" The Judy Room
"What's great about his release, aside from the stellar packaging and audio restorations, is the fact that it covers almost all aspects of Judy's career. Two of Judy's early Vitaphone film recordings are presented in their entirety for the first time, and we now have 5 MGM Records versions of film performances and the Columbia Records version of "The Man That Got Away", all beautifully restored in crisp, clear mono sound.
Additionally, the 4 over tracks that Judy recorded for Columbia in 1953 are presented in a new "surround sound" remastering by the late Robert Parker. Some people may feel that this process adds too much echo, but that's entirely up to the listener.
The main caveat of this set is the second CD which is devoted to rare Garland radio performances. Judy's radio years have always been under represented on CD, the few CDs released are either now out of print, hard to find, or of such poor sound quality that they're not worth it. But this CD is the exception. A stellar disc!
(...) The liner notes by Lawrence Schulman are, as usual, well written and bring a fresh perspective to Judy's life and career.
This is a must have. A nice overview of Judy's career from 1929 through 1956."
The Judy Room 2008 Year in Review © 2009 www.TheJudyRoom.com
- "Spectacular" by the Bar Harbor Times
"Lawrence Schulman says he fell in love with Judy Garland at age 11. "Something about that strong pure voice, with the undertone of melancholy and yearning — the sincerity, entranced me," he says.
Well he was not alone. For some the romance with Judy Garland started when they first heard her on the Major Bowes radio show — a little girl with a big, deep voice that could break your heart. For most, perhaps, it was in 1939 when, as the impossibly plucky Dorothy Gale, she and her little dog Toto set off on the Yellow Brick Road in the Wizard of Oz. Her rendition of "Somewhere Over the Rainbow" is, arguably, the most iconic song of the 20th century. So yes, we all fell in love with Judy at some point in our lives. But unlike most of us, young Lawrence, an enterprising boy from the Bronx, was an active suitor. He read about Judy, collected her records — and later her radio broadcast recordings— and when he learned that one of her musicals was going to be on TV on the Late, Late Show, he got up for it. And on two occasions as a teenager in 1965 and 1967 (two years before her death at age 47) he got to see her in person. Although no longer in her prime and deeply addicted to drugs, now, he says the love he felt in that audience for Miss Garland was powerful, lifting her up, willing her to transcend all her physical and emotional obstacles and shine for them, one more time — and she did.
So, then young Lawrence grew up, went to college, studying language, literature and other liberal arts subjects, ending up at the Sorbonne in Paris, where he stayed for the next 27 years. Judy came with him. Although as an adult in Paris he developed a strong interest in classical music, eventually becoming a music critique and host of a French Public Radio show, his interest in Miss Garland abided, and he continued collecting her recordings with greater and greater savvy and sophistication. He also became part of a network of worldwide Judy Garland collectors. If he doesn't have a particular recording from a 1937 radio broadcast, he sure as hell knows who does.
Now in his late fifties, and back in the states — Halls Quarry, actually, Mr. Schulman has brought his affair with Miss Garland to a new height. After two years of work he has compiled a double boxed set of Judy Garland's recordings "Judy Garland Classiques et Inedits [unreleased recordings] 1929-1956." Some of the 40 songs in the collection have never been heard by the public since they first went out over the radio, 50 years ago. The set is being released by Fremeaux and Associates of Paris on May 5.
"I know some collectors don't share this opinion," says Mr.Schulman, "but I think a vital role of the collector is to share what he has with the world. Not just because it's a nice thing to do, but as a way of preserving historical treasures like these. What would happen if my house burned down, for instance?"
Now he knows that at least 40 of his treasured songs will be dispersed into the world, where they will become a vital part of other collections. Getting them to this safe place was, however, fraught with danger. Like a foreign attaché with invaluable secrets to transport, Mr. Schulman literally strapped a carefully packed case of his original 76s and radio recordings to his wrist. "I was afraid I might drop it," he says, and then, choosing the bus as the safest mode of transportation, took them to New York to be recorded for the CD. "I did lose one 76 in the process," he mourns.
But what survived is spectacular. The two CD's contain 20 of Judy Garland's classic recordings starting when she was just a tot named Frances Gumm in 1929, belting out a couple of Vaudeville tunes with her two older sisters tap dancing in the background. Then we listen to her grow up and into control of her unique and marvelous instrument. The other disc contains 20 of her radio recordings of familiar songs like "Somewhere Over the Rainbow" (her film version is on the other disc) "Merry Little Christmas" and "Somebody Loves Me," as well as some songs, such as "Someone to Watch Over Me" recorded at a private party for Democrats in 1944 that haven't been heard publicly since that occasion. As we listen to the CD's Mr. Schulman has a story to tell for every tune, the most poignant of which is her spectacular rendition of "Zing! Went the Strings of my Heart" when Judy was only 13. "She was singing it for her father who was in the hospital with meningitis," Mr. Schulman says. She knew he was listening. He died the following day.". This early loss of her father was a defining moment in Judy Garland's troubled life, and one can hear it all in this incredibly sincere and moving farewell song to her dad. For those not fortunate to have Mr. Schulman sitting with you while hearing these songs, the boxed set does contain his extensive liner notes (in French and English) offering a brief biography of the singer and interesting information about the songs and the circumstances under which they were recorded. Mr. Schulman also gives us a moving account of his last encounter with the Diva at a live performance at the Palace Theater in New York. "… She sang and I remember her doing "What Now My Love?" The last word of the song — "good-bye"— was a high note Garland's voice could only make on good days now. The electricity in the house was thick enough to cut, palpable. The silence before that "good-bye" was deafening. Finally she made the note and the house went crazy. I knew then I could never really know everything about such an unfathomable creature…"
Anyone interested in buying the boxed set should be able to find it on Amazon.Fr (bring a French –speaking friend along to help fill out the form.)"
by Nan LINCOLN - THE BAR HARBOR TIMES (Maine)
- "A labor of love" (Un travail passionné)
par Scott SCHECHTER, auteur de Judy Garland: The Day-by-Day Chronicle of a Legend (Cooper Square Press)
- "Congratulations on a job well done" an intrerview of Lawrence Schulman by Scott Brogan
April 19, 2008 : Thank you Larry for agreeing to this online interview, and for your continued support of The Judy Room. This new CD set is very exciting and has been generating a lot of buzz in "Judy Fandom" (as I call it) for quite some time. I have a few questions about the CD anthology and the process of how anthologies like this get produced. Larry is co-producer of, and also the man who wrote the wonderful liner note to, the upcoming Freméaux & Associés release "Judy Garland - Classiques et inédits - 1929-1956 set for release on May 5, 2008]
- When did you first become a Judy Garland fan, and what was it that first attracted you to her?
I have often asked myself the same question. I am a baby-boomer, was born pretty much at the exact same time Judy was fired from MGM, but don't really remember her becoming a passion until the early 1960s. I remember discovering Carnegie Hall around the time of its release. I also remember being excited at the release of I Could Go On Singing, which I immediately ran to see at The Allerton, I believe, in the Bronx where I grew up. (Not many people were running to see a new Judy Garland film in 1963.) I, of course, watched The Judy Garland Show diligently at the time of its broadcast. I remember watching the 1962 special, but not the early 1963 one. A Star is Born had been on TV by then of course, and I had seen it there, although never on the big screen at that point. I do remember something unusual though. I remember checking the newspaper listings as a kid to see if any of her early films were to be played on the Late Show, or the Late, Late Show, or whatever, and would get up in the middle of the night to watch obscure Judy Garland films. It seemed the natural thing to do. Last, my mother grew up in the depression and would tell me how she would save up to see a Broadway show, so I think my love of the kind of music Judy Garland sang is somewhat innate. But, I don't really remember "a moment." In reply to what first attracted me to Judy, I think, above all, it is her sincerity. Another part of the attraction is also her yearning. A yearning sincerity. Let me say too that I don't consider myself "a fan", but more of a historian. I have never been fanatical about Judy Garland, but more respectful of her contribution to American popular music. As such, my passion for her, her life and work, translated into a desire to know more about both. So I started reading, watching all the films I could, buying records as they came out. I would say I became a collector, rather than a fan.
- Aside from this new CD release you just released, what would you list as your favorite Garland recording(s)?
Obviously, Carnegie Hall. I bought the LP way back when, and like many others, wore it out. It is the greatest live performance of classic American pop in the 20th century. To this day, Come Rain or Come Shine is an earth-shattering experience. A really frightening experience. Especially when you compare it to other recordings of the song by other artists, vocalists or instrumental, which are calmer, cooler. Judy Garland was not cool, and this is her un-coolest performance. Only she could sing of love in this way. I finally got to realize that I was using Carnegie Hall as an emotional crutch of sorts, and started playing it less. If I had to pick just one track I would play for people who know little or nothing about Judy to show them the great artist she was, I would pick Have Yourself a Merry Little Christmas. All of her incredible vulnerability is right there, on a razor's edge. There are so many other recordings though too, lesser known. Take Easy to Love from 1938. It's all there. "Faraway Part of Town" and "Do It Again" from 1960 are also worth a re-listen.
- I'm sure many fans are interested in how CDs get produced and what the reasons are for what's included and what isn't. What was the impetus behind this new CD set and its contents? And, about how long did it take to get produced?
The CD took a year and half to do. The first emails I have with Benjamin Goldenstein date from February 2007. I have always been a firm believer in writing letters, or email now. Most of my creative projects have started with an idea, which I then wrote to someone about. This is how my earlier CDs, Robert Parker's Child of Hollywood and Judy Garland à Paris, came about. Also, the programs I produced and hosted for French public radio came about in the same way. Frémeaux & Associés is well-known in Europe, I knew they had no Judy Garland anthology in their catalogue, so I suggested one. I got a yes the next day. I wrote to them because, having lived in Paris most of my life, I knew their passion for keeping important recordings "in reference" in their jargon, meaning available to the public. Insofar as deciding what I was going to put in the box, my first instinct was to do an all-radio set, but I quickly got a nudge from the company that this had to be an anthology for the general public as well as, let us say, a more learned group. Thanks to incredible collectors such as John Walther, Kim Lundgreen, Fred Mc Fadden, and Christian Matzanke, between their collections and my own I had plenty of other unreleased radio material, and still do, to do a 2-CD all-radio set, but realized there is a general public that might want to experience a less esoteric Judy Garland. Knowing the second CD was going to be all-radio, I selected at first 18 (the number of tracks allowed me at the beginning), then 20 for each disc. For the radio disc, my purpose was to choose tracks never before released. In that my memory is something like glue when it comes to what has been issued, or not, I knew pretty much off the top of my head – I emphasize pretty much – which performances would be new. The only track on the radio CD that has been issued before is the 1935 Zing!. But I chose to include it anyway because it was on an out-of-print Danish CD, and thought it was historically important enough to be reissued. Concerning the "classics" CD, these had to be studio performances. Clearly, these are not all Garland hits. My goal here was to allow the less knowledgeable but interested general public to sample Garland in a way that would whet its appetite for more, somewhat like the fans were before they were fans, then something got them hooked. I think any anthology must try to convince the musically-curious listener that here is a great artist; then you must convince them by your choices. Lastly, it should be remembered that, for the set, I was working for a French company that takes pride in strictly respecting European intellectual property law. In that European copyright law is different from American copyright law, the very first thing I did in getting to work on the project was to ask them a series of very specific questions about what I could and could not use. Their responses were long and detailed. One example: the film version of Over the Rainbow. Frémeaux & Associés insisted, and rightly so, that they wanted to use it. I told them that the film version was never released on 78 rpm, a fact they were unaware of. Decca released a Decca version of the tune, but although it was a big hit at the time, I have never found it up to the film version, and I refused to use it for my anthology. Fortunately, MGM Records issued the soundtrack on LP in 1956, and it was based on this record, over 50 years old, that we could include it. (By the way, I don't have this LP in my personal collection, and Fred Mc Fadden had the kindness to loan me his. Thanks Fred.) So for the new box, real records were used, most of which my own. For the transfers done by Grammy Award winner Jon M. Samuels in New York, I traveled down to the city with these records protected on my lap. I broke one. For the radio material, no MP3s were used. Since I live on an island on the coast of Maine, I only got high-speed Internet in November 2007, by which time all work on the box set had already been completed.
- Are all of the recordings on this set from your personal collection?
As I said, except for the film Rainbow, yes. The radio disc could not have been assembled without John Walther in Hamburg, Kim Lundgreen in Copenhagen, Fred Mc Fadden in Rome (NY), and Christian Matzanke in Berlin. One thing: I have been collecting for many decades now, but do not feel I own Judy Garland. No one does. Just as various collectors have been incredibly generous in exchanging material with me over the years, selfless in their passion, I have tried to return the favor. Like many whom I have had the honor of getting to know, I do not pretend to know everything about Judy Garland (or anyone). The more I know the less I know. Nor is she my mantra. The recordings in my personal collection, even if I am the one to have taken the time and money to accumulate them, do not belong to me. The generosity of the people involved in making the Frémeaux anthology is a reflection of the generosity of the lady herself.
- Are there certain recordings that you can tell us you were unable to include in this set, but couldn't for whatever reason?
I had two priorities: artistic merit and sound quality. Some tracks I considered were artistically great, but the sound was hopeless. For other tracks, the sound was great but the music was not very compelling. Many of the radio programs are in very mediocre condition. For example, a 1936 After You've Gone. I would have loved to include it, but the sound was dreadful. Strangely, that song was performed for the same radio show as On Revival Day, but the sound on the latter was far better than After You've Gone, so I used it. New copies of radio shows turn up regularly, so it is always possible better versions will surface. Insofar as studio dates, recordings had to be 50 years old. I would have loved to use It's Love I'm After, a great performance from Pigskin Parade, but since the songs from the movie were never released on 78, I couldn't use them. Frémeaux forbade me from transferring material from CD, SACD, Laser Disc or DVD, so using the CD of Pigskin Parade, a French CD by the way, as a source was out. In Frémeaux's view, an engineer's transfer of a sound recording is copyright protected too. The sound on a CD is thus protected, and cannot be infringed on. Other companies would have been less scrupulous. A word about photos: European copyright law states that photos are protected in the same manner as books. That is, books and photos are not free of copyright until 70 years after the death of the author or photographer. Thus, most books and photographs from the 20th century are protected. Needless to say, the dozens of unpublished or rare photos that I, Christian Matzanke and Kim Lundgreen proposed were rejected for this reason. The cover shot was purchased from a Paris agency.
- Tacking onto that, if you were to produce a "Volume 2" are there certain recordings that you can tell us that you would include, and why?
I would include any recording of artistic merit and acceptable sound quality. I have already started to draw up a list, and hope that Patrick Frémeaux and Claude Colombini, who head the company, might be receptive to a Volume 2 in the near future, but think it best to wait for the reviews and sales on this one before saying anything more specific than that there are dozens of excellent radio dates waiting to be issued, and that I also have Decca test pressings, the V-disc, more of the Gumm Sisters, and many other unreleased live dates in my library. It certainly was a pleasure – and an education – to collaborate with Benjamin Goldenstein, who is a great professional, and a man of courtesy and exactitude. I would be honored to work with him again. I must say that it amazes me that here in 2008 there remain so many unreleased performances still on the shelf.
- Judy's radio career has been sadly under-represented on CD, yet many performances are easily available from private collectors on eBay and online discussion forums. Do you have any thoughts or theories as to why?
I have occasionally bought radio performances on eBay, and it's great that it's there. Better there than nowhere. One obviously needs a well-stocked bank account to buy some of the other stuff. Clearly, people make money off Judy Garland, which has been the case for a long time. Who am I to judge? In one of my meetings with Sid Luft in the early 1990s, he told me that "Judy Garland makes more money dead than alive." Concerning the online discussion forums, besides The Judy Room, I tend to limit my consumption. That these radio shows are on file here and there is great.
- This is the first CD compilation since 1998's "Judy" boxed set to cover such a wide range of Judy's career. Did you plan this from the beginning or did it sort of happen that way as the project progressed?
The new set was always going to be an anthology covering a set time. Scott Schechter's 1998 Judy box was along the same lines. But I would not call that set nor mine a compilation, but more an anthology. A compilation copies and pastes; an anthology should be an intelligent overview.
- Being that this set was produced in France, what is Judy's persona to the general European population? Is it much different than here in the U.S.?
I lived in Paris from 1971 to 1997, and learned much about the French appreciation of Judy Garland during those years. You must remember that Judy's peak years at MGM were during the war, when France was occupied. Her films did not always cross the Atlantic right away. American cinema, including the musical, is highly respected over there, as are the great American directors and actors. But, the Garland films that are most appreciated there are the ones that are, first and foremost, good films. The French thus value movies like The Pirate, Meet Me in St. Louis and A Star is Born because they are great films done by great filmmakers with great actors, one of whom is Judy Garland. Sometimes, there is a certain sugar coating to many musicals that make them almost too American. The Harvey Girls could be said to be an example of this: a lot of Americana, but not a great film. Even The Wizard of Oz is admired for Judy's performance and its technical wizardry, but is hardly considered a great movie. This is not snobbishness, but an appreciation of filmmaking that places a film's artistic clout ahead of its entertainment value. Obviously, many of Judy's movies are more entertainment than art, and might seem a bit too cotton candy for the French. I remember I was once in a Paris theater watching Summer Stock, the audience was half asleep, but when Judy went into Get Happy everyone woke up, and broke into applause after the number. The same thing happened at a screening of The Wizard of Oz: people broke into applause after Over the Rainbow. So, they "get it." Sid Luft told me that that first performance at the Palais de Chaillot in 1960 was far from sold out. After she got superlative reviews, her shows at the Olympia were. So, the French did and do appreciate Judy Garland because, once they got over the image of Judy Garland, they could see there was an immense artist there. They already saw it in A Star is Born, they confirmed their respect at her Olympia shows, and this has continued to this day. Her major films are constantly shown in Paris, and a Judy Garland festival, for which I hope to contribute, is planned for later this year at one of the Action movie theaters. The Clock should soon be released in a new copy, too. I think the Frémeaux box set is also a reminder of the continuing, and growing, affection the French have for Judy Garland.
- What, if I may ask, do you like most about this new set? And also, what - if anything - do you least like about the set?
There are a few things on the new set I am not happy about, but will not say more. I am proud of releasing so many titles that are new on CD. The Vitaphones will be a shock to the general public, as will all the radio tunes. I hope too that my liner notes are enlightening for one and all.
- The late Robert Parker re-masterings of the Columbia recordings are a joy to hear. Can you give us a bit of history about these particular tracks?
I worked with Robert Parker in the early 1990s on the Child of Hollywood CD. He was an Australian-born radio broadcaster and sound engineer, who hosted programs on the BBC and produced his own CDs. He was living in London and Devon when I got to know him, and I went to Devon to do the transfers. He had a studio apart from the main house, and used it to store his vast record collection and house his engineering equipment. He was a very gentle man, and felt very strongly that his work in getting more sound out of old 78s was a mission. He did not at all believe that he was "stereo enhancing" or "colorizing" the sides he was working on. In fact, he turned red at the idea. Instead, he passionately felt that what he was trying to do was restore the sound as if it had been recorded today. In his view, recording an artist or a group was a musical event, and old records are an imprecise reflection of that original event. His goal was to eliminate the distortions of time. He was not playing God in his work, but restoring God's original work, like one would restore an old painting or fresco. Some like what he did; some don't. His adding some reverb was only part of his stereo impressions, as he called them. In any case, we remained friends after this project, and stayed in touch. In 2002, he sent me, among other things, the four Columbia sides in the form of professional studio original masters. He had remixed them into surround sound – that can also be heard in stereo or mono-, and it is these that were used in the Frémeaux anthology. Might I add that Parker offered me these remixes as a gift?
- Lawrence, thank you so much for agreeing to be interviewed, and for this wonderful new CD set. One last question: Judy Garland means so many things to so many people - that's one of the reasons why her legend endures - can you share with us what she means to you?
I guess when Judy Garland/Dorothy Gale opens the front door, and we go from black and white to color, is what Judy Garland means to me most. Judy is about opening doors. She led me to other lands.
Thank you again Larry! I've already heard an advance copy of this set, and it's fantastic. Congratulations on a job well done, and my congratulations to everyone at Freméaux & Associés. I'm sure this will be a welcome addition to every Garland fan's collection. We look forward to (hopefully) a second volume in the next year or so!"
Lawrence SCHULMAN is interviewed by Scott BROGAN - THE JUDY ROOM
- « Judy Garland : classiques et inédits » par La Revue des Médiathèques
Judy Garland a placé l'une de ses chansons parmi les « Chansons du siècle » : Over The Rainbow et cinq d'entre d'elles sont entrées au « Grammy Hall Of Fame »… C'est un signe… Icône du cinéma, de la scène, de la radio et de la chanson des années vingt aux années cinquante, sa voix a été portée par tous les medias disponibles, et sur tous les continents. Elle fut le support des marins lors de leurs actions de guerre. Cette petite anthologie propose, en deux CDs, quarante titres classiques et inédits de l'icône. Pour découvrir ou redécouvrir. Lucas FALCHERO - LA REVUE DES MEDIATHEQUES ET DES COLLECTIONS MUSICALES
- « Quel talent ! » par Big Bear
Qu'il est bon de se rappeler de cette époque des comédies musicales, de belles histoires et des véritables artistes qui nous faisaient rêver, telle Judy Garland. Ce coffret comporte 2 CDs dont le premier avec 20 titres de presque 1 heure et le deuxième avec vingt enregistrements inédits. Rien à jeter… Née le 10 juin 1922 à Grand Rapids (Minnesota) Frances débute vite dans le milieu des artistes avec ses deux sœurs, dans des spectacles de son père qui tenait le « New Grand Theater ». En fait, toute la famille fait du spectacle ! Le trio de sœurs s'appelle alors « Gumm », du nom des parents. En 1926, la famille Gumm déménage pour Lancaster où le père dirige un nouveau théâtre « Le Lancaster Theater ». Les sœurs se produisent alors partout sur la côte et sur les radios. Après quelques années pleines de succès, c'est en 1934 à l'Exposition Universelle qu'elles sont engagées et se font connaître comme « Les Garland Sisters » car Georges Jessel le directeur de « l'Oriental Theater » de Chicago en avait assez de voir leur nom écorché. C'est en 1935 que le premier disque est enregistré chez Decca. « Frances » décide de s'appeler « Judy » et fait ses tours de chant à 13 ans. Un grand nombre d'enregistrements et de concerts lorsqu'un jour de 1936, son père qu'elle aime, meurt. Adolescente, elle est très affectée par cela, elle se tourne alors vers le cinéma et de 1937, après quelques courts métrages, elle fait son premier grand film où elle peut chanter. S'en suit un grand nombre de films qui la propulse Star. Laissons les problèmes de maison de production qui se font la guerre pour avoir un artiste à succès… Durant toute sa vie, ce ne fut que concerts, films et comédies musicales. Ce n'est qu'en 1950 qu'elle est libéré de son contrat pour cause de santé. Le succès continue avec la scène et le public se bat pour venir la voir et l'entendre. 1967, la jeunesse n'est plus là, les médicaments n'arrangent rien, les « amis » s'en vont… Elle vend sa maison de Californie et se retrouve à la rue en 1968. Le 22 juin 1969, elle meurt d'une overdose de somnifères dans une maison de location de Londres. Une vie de succès pour certains et très certainement de solitude pour elle, mais quel talent ! Ceci me rappelle ma jeunesse, le beau, les décors, la perfection, tout le monde avait du talent, le temps ne comptait pas, belle époque !!! BIG BEAR
- « Naturelle et sincère » par Phonoscopies
Pour les cinéphiles, celle qui forma avec Mickey Rooney un duo explosif dans plusieurs films musicaux d'avant-guerre, reste la petite héroïne du merveilleux « Magicien d'Oz ». Et puis il y a cette voix extraordinaire de contalto, chaleureuse, si naturelle et sincère, qui lui valut de triompher au music-hall. Nous la retrouvons dans cette irréprochable sélection qui comporte des œuvres rares des débuts, les grands classiques, et des enregistrements radiophoniques inédits. PHONOSCOPIES
Judy Garland, Schuster Joe , Green B. , Razaf Andy , Harburg E.y , Sissle N. , Gershwin George & Ira , Martin H. , Mercer Johnny , Hammerstein Oscar , Porter Cole , Hart Lorenz , Berlin Irving , Koehler Ted , Robinson J.m. , Ebb Fred , Hilliard B. , Gershwin Ira , Edens R. , Freed A. , Hanley J.f. , Callahan J.will , Burke Johnny , Hoffman A , Traditionnel , Cavanaugh J. , Lecuona Ernesto , Rose D. , Harris , Bob Troup , Mercer Jonnhy , De Sylva B.g , Martin Hugh , Wilson Meredith
1 1 Blue butterfly Judy Garland 00:02:02 1929
1 2 Hang on to the rainbow Judy Garland 00:01:09 1929
1 3 Stompin' at the savoy Judy Garland 00:02:27 1936
1 4 Over the rainbow Judy Garland 00:02:15 1938
1 5 I'm just wild about harry Judy Garland 00:02:04 1939
1 6 But not for me Judy Garland 00:03:15 1943
1 7 Have yourself a merry little christmas Judy Garland 00:02:47 1944
1 8 On the atchison topeka and santa fe Judy Garland 00:03:16 1945
1 9 Who Judy Garland 00:02:51 1945
1 10 You can do no wrong Judy Garland 00:03:05 1947
1 11 I wish i were in love again Judy Garland 00:02:48 1947
1 12 Better luck next time Judy Garland 00:03:04 1948
1 13 Get happy Judy Garland 00:02:52 1950
1 14 Send my baby back to me Judy Garland 00:02:12 1953
1 15 Heartbroken Judy Garland 00:02:42 1953
1 16 Without a memory Judy Garland 00:02:50 1953
1 17 Go home joe Judy Garland 00:03:05 1953
1 18 The man that got away Judy Garland 00:03:41 1953
1 19 Judy at the palace Judy Garland 00:06:19 1955
1 20 Memories of you Judy Garland 00:03:38 1956
2 1 Broadway rhythm Judy Garland 00:03:57 1935
2 2 Zing when the strings of my heart Judy Garland 00:03:35 1935
2 3 On revival day Judy Garland 00:03:02 1936
2 4 Smiles Judy Garland 00:02:52 1937
2 5 My heart is taking lessons Judy Garland 00:02:17 1938
2 6 On the bumpy road to love Judy Garland 00:02:31 1938
2 7 Swing low sweet chariot Judy Garland 00:01:52 1938
2 8 Goody goodbye Judy Garland 00:02:26 1939
2 9 In spain they say si si Judy Garland 00:02:21 1940
2 10 Love's new sweet song Judy Garland 00:01:13 1941
2 11 The things i love Judy Garland 00:02:26 1941
2 12 Daddy Judy Garland 00:02:18 1941
2 13 Minnie from trinidad Judy Garland 00:03:53 1942
2 14 That old black magic Judy Garland 00:02:37 1943
2 15 Over the rainbow Judy Garland 00:04:16 1943
2 16 Embraceable you Judy Garland 00:04:15 1943
2 17 Somebody loves me Judy Garland 00:01:07 1944
2 18 Someone to watch over me Judy Garland 00:02:42 1944
2 19 Love Judy Garland 00:03:27 1945
2 20 You and i Judy Garland 00:01:27 1951
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SAMBA 1944-1959
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MAMBO BIG BANDS 1946 - 1957
Le mambo a agi comme un shaker sur la société américaine de l'époque et a sans doute...
MALAVOI
En 1969, sous la direction de Mano Césaire et avec Alain Jean-Marie au piano, le groupe Malavoi gravait ses premiers...
LES INDIENS D'AMÉRIQUE 1960-1961
COEDITION AVEC LE MUSEE DU QUAI BRANLY
Symbole du rejet...
LES CHOEURS DE L'ARMÉE ROUGE DE BORIS ALEXANDROV - ENREGISTREMENTS HISTORIQUES - VOL. 3
Suite des deux précédents opus consacrés aux enregistrements historiques des «...
LE SAMBA CONTEMPORAIN - SAMBA RECORDINGS BY CPC UMES 1998-2007
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KING OF ZYDECO - CLIFTON CHENIER
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Astronomers have spotted a surprisingly dusty little galaxy within the cluster Abell 1689, shown here in an image by the Hubble telescope.
Photograph by NASA, ESA, the Hubble Heritage Team (STScI/AURA), J. Blakeslee (NRC Herzberg Astrophysics Program, Dominion Astrophysical Observatory), and H. Ford (JHU)
Astronomers Find a Dusty Galaxy That Shouldn't Exist
A object from the very early universe is bafflingly rich with dust that theory says shouldn't have formed yet.
ByMichael D. Lemonickfor National Geographic
Peering back in time to find the very earliest objects in the universe, an international team of astronomers has discovered a galaxy that shouldn't be there at all.
The problem, the scientists report Monday in Nature, is that while the tiny galaxy dates from just 700 million years or so after the big bang, it's far more dusty than something this young and small has any right to be.
It's surprising, says Daniel Marrone, a University of Arizona expert on galaxy formation who wasn't involved in the research, because although dust is essential for the formation of planets and other solid material, the cosmos started out with no dust at all. In the aftermath of the big bang, the universe consisted only of hydrogen and helium gas (along with dark matter, but that's invisible).
The dusty galaxy is just one of the recent surprises astronomers have found. "Last week," says Marrone, "we learned of an incredibly massive black hole in the early universe. Now we have this average galaxy with significant amounts of dust. We've had this cartoon picture of the early universe, but it's clear that we really don't know what's going on."
What Astronomers Think They Know
The gas in the post-big bang universe condensed to form the first stars, which forged heavier elements, including carbon, silicon, and oxygen, then died and released those elements into space. It was from these that the first particles of dust formed.
Those first stars had already lived and died by the time this newly discovered galaxy, known as A1689-zD1, was up and running, so the universe was hardly dust free at that point. But most of the dust should have been in large, bright galaxies that formed lots of stars. A1689-zD1 is relatively small and dim—no bigger than the Large Magellanic Cloud, a dwarf galaxy that orbits the Milky Way.
Few early galaxies have been spotted, because even the brightest among them is far away and thus relatively dim. To get around that problem, astronomers use the magnifying effect of gravity. Einstein's general theory of relativity says the gravity from an object closer to Earth can warp light rays from a more distant one. (Einstein thought we'd never actually observe this so-called gravitational lensing, but he was dead wrong about that.)
In this case, the Nature paper's lead author, Darach Watson, of the deliciously named Dark Cosmology Centre at the University of Copenhagen, used the Very Large Telescope (VLT) in Chile's Atacama Desert to look at a massive cluster of galaxies called Abell 1689. The cluster's gravity magnified A1689-zD1 by a factor of nine, says Watson, which allowed him and several colleagues to gauge its distance from Earth and thus how long ago its light began traveling in our direction.
The VLT can see starlight but not dust, so Watson called on a colleague who was using the dust-sensitive ALMA radio telescope (see "Cosmic Dawn" in National Geographic magazine). "She had a look," says Watson, "and bingo!"
Like Marrone, Watson was taken aback by how dusty A1689-zD1 turned out to be. In bigger galaxies with more massive, short-lived stars, dust can pile up quickly since giant stars explode violently as supernovae after just a few million years. In smaller galaxies, most of the dust should emerge from the more gentle deaths of smaller stars that live for billions of years. So maybe A1689-zD1's dust comes from supernovae after all, says Watson. "But they'd have to produce the maximum possible dust," he says, to account for what ALMA sees, "and the dust can't be destroyed."
The only way to find out for sure is to uncover more galaxies like A1689-zD1. Unfortunately, they're extremely difficult to find—and the one other example astronomers have is almost entirely dust free, so it's impossible to say which type is more common. "We don't have any other candidates at this point," says Watson.
With ALMA, completed two years ago, and a new generation of giant optical telescopes now under construction, however, they're likely to find more of these galaxies before long. (See "Cosmic Vision: Telescopes.") The very early universe doesn't make a lot of sense at the moment—but that's almost certainly going to change.
Follow Michael D. Lemonick on Twitter.

redpajama_set_name: RedPajamaCommonCrawl


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TODO
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* package preseeding/`response_file` support
* package installation location via a `target_dir` attribute.
* [COOK-666] `windows_package` should support CoApp packages
* WindowsRebootHandler/`windows_reboot` LWRP should support kicking off subsequent chef run on reboot.

redpajama_set_name: RedPajamaGithub


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Home › Allison Brennan › Kill Your Darlings . . .
Kill Your Darlings . . .
June 17, 2010webimpakt — 43 Comments ↓
. . . I'm not talking about your children!
There's a phrase writers use in the revision process: Kill Your Darlings. That a descriptive paragraph or scene, no matter how well-written or poignant or suspenseful or romantic or just plain stunning . . . if it doesn't fit in the story . . . if it can be taken out without changing anything . . . has to go.
Kill it.
It's the hardest thing a writer can do.
Because killing your darlings goes well beyond a well-turned phrase that may be repetitive, or a scene that is unnecessary. Sometimes in the slash and burn process of editing, characters need to go. And I don't mean just killing them off in the middle of the book. I mean editing them out of the book completely.
Somehow, editing a character into nothing–completely erasing them–seems so much worse than murder.
I'm wrapping up my final round of revisions for LOVE ME TO DEATH, my January 2011 book starring Lucy Kincaid. Last night I had two major story decisions to make. The first was a series of scenes related to a character that my hero, Sean Rogan, has a confrontation with who subsequently ends up dead. The confrontation scene was fabulous–I loved the scene because it showed Sean being a hard-ass, and because Sean is a bit of a playboy and charming and always in a good humor, I wanted to show him being tough when it was warranted. And there was some great dialogue, too, a great back-and-forth that doesn't always come easy to me. Then there was the discovering the dead body scene and being interrupted by the FBI. I really enjoyed the back-and-forth between Sean and FBI Agent Noah Armstrong as they butted heads, and then Lucy's conflict of being in the middle of a crime scene while in the long FBI application process.
But . . . these scenes took up over thirty pages and while well-written and good, they didn't truly advance the plot. There was no specific reason that Sean needed to talk to the dead guy before he was killed–he didn't learn anything specific; and in fact, storywise, the guy needed to be long dead before Sean found him.
So . . . I cut all those scenes. And in cutting such a big chunk, I had to edit other scenes that were affected. But nothing changed storywise, and the revelations near the end of the book as Sean and Noah continue their parallel investigations (Sean is a private investigator) make so much more sense now! It's as if subconsciously, I knew that these scenes weren't necessary.
Sometimes, we don't kill our darlings. One scene my editor identified that she felt didn't advance the suspense plot enough, I decided to keep. I rarely disagree with my editor. In fact, I think the last time I kept an entire scene that she didn't think was necessary was in THE KILL. But I understood what she meant, so I whittled the scene down a bit, and changed the lead-in to heighten the suspense even though the scene itself is not very suspenseful. But what it reveals about both my characters is, in my opinion, the best way to show the readers who Sean and Lucy are.
But . . . the book isn't printed yet. The scene may end up on the cutting room floor.
I've had to get rid of characters, too. Take Max Revere, a true crime writer who was supposed to be a major character in ORIGINAL SIN. I love Max so much I even bought the URL of his name so he could blog. (I'm not kidding!) I wrote him into the first draft, and my editor told me that she didn't feel he contributed enough to the story. But I was determined to make him work because I Really Like Max. So I spent a lot of time reworking the story so he had a bigger, more pivotal role. And sent the revisions in, and my editor said he didn't have a pivotal role, and that he detracted from the story. Reluctantly, very reluctantly, I edited him out of the story. When she read the final version, she said, "I know you don't want to hear this, but Max was removed easily." And he was. I'd spent so much time working on his scenes that he wasn't integral to any part of the story. Just one more character in a large cast of characters.
I argued about it. I tried to convince her that Max was essential. That he was important. That I couldn't cut him out with messing up the story. But she was right and I was wrong. He wasn't missed, except by yours truly.
But I was determined to write him into CARNAL SIN. And I did–he had three scenes. They are fantastic scenes. He's smart and shrewd and intensely loyal–and he doesn't believe in anything supernatural. He's also a flirt, in a quiet, soulful eyes kind of way. He just has to look at you and you melt. And he has an agenda, and you know it, and even though you know he's not all one-hundred-percent good, you're willing to go along with him because he draws you in in his search for the truth.
And my editor said that he didn't contribute to the story. I didn't even argue this time, because she was right, and I knew she was right even as I wrote the scenes. But I wrote them almost defiantly because dammit, I wanted to prove that he was important!
And now he ceases to exist, except in my mind.
Max Revere will be re-born, just not in the Seven Deadly Sins series. Because I had an epiphany the other day. Max doesn't fit in a supernatural story. He needs to be the lead character in his own story. He's too strong a character to be secondary to anyone. I'd had a couple ideas over the years, and when I read a snippet of something completely unrelated in a publishing e-newsletter, Max just clicked into place. I have his backstory, I have his first (and maybe only) book, and I have the set-up. It just . . . works.
So not every darling killed will be gone forever. While most of the scenes and snippets I cut from my book during the revision process I'll never use again, they often give me ideas for future stories. Cutting doesn't bother me. I'll slash and burn my manuscript if that's what it takes to make the story the best I can make it. I love the revision process, even when I have to make the very difficult decision to excise a paragraph, a scene, or even a character, out of my book.
Now for a blatant piece of self-promotion . . . CARNAL SIN will be released on Tuesday, June 22! Yes, book two of the Seven Deadly Sins series is almost here. As regular visitors to MSW know, I loved writing these books. I needed to take a break from romantic thrillers, and writing two supernatural thrillers with a large cast of characters in a classic battle of good versus evil gave me what I needed to reignite my love for writing. I am particularly pleased with the blend of police procedure and the supernatural in CARNAL SIN. (For my fans in Australia, CARNAL SIN will be released down under on July 1.)
RT Book Reviews gave CARNAL SIN four-and-a-half stars and said: "Carnal Sin kicks butt!"
The weekly book buzz at Mania said in their review of ORIGINAL SIN: "Original Sin is yet another new series that is definitely more promising. Original Sin is much more grounded in the supernatural and mystery elements and other books of the same ilk. . . . Brennan masterfully builds suspense and horror in this genre-bending story. . . . All in all this was a strong start to this new series and one I'd recommend."
I'm giving away a copy of CARNAL SIN. The winner will be announced this weekend. And if you don't win? You can buy CARNAL SIN pretty much anywhere books are sold come Tuesday . . . or pre-order from Amazon, BN, Borders, or wherever you liked to shop! (Note to last winner of CARNAL SIN–I just got my books in, so yours is going out tomorrow!!)
Come out of lurkdom just to say 'hi' . . . or tell me what actor and/or actress you picture in the roles of Moira O'Donnell, Rafe Cooper, Anthony Zaccardi and Sheriff Skye McPherson . . . just for fun 🙂
Here's one idea for Max Revere . . .
‹ Guest Blogger – Simon Wood!
Happy Distractions ›
Tagged with: Allison Brennan, Carnal Sin, characters, editing, Love Me to Death, Lucy Kincaid, Max Revere, Original Sin, paranormal, revisions, romantic suspense, seven deadly sins, Supernatural, writing
Posted in Allison Brennan
43 comments on "Kill Your Darlings . . ."
Jessica Gibbons says:
I could totally see Drew Barrymore (when she is dark haired) or Rachel McAdams as Moira!
And a big HI! to you Allison! I am so excited for your next book to come out.
Daun Richert-Slagle says:
Hi Allison, I just read your post on facebook with the link to this blog. I follow your posts, and this is really a topic I needed to hear about where I am at with the ms. I love the fact that you find solace and peace at starbucks and can still juggle all of lifes demands and Kid agendas while working on the masterpiece… I am in the process of revising my manuscript at the present time, as well, and so needed to read your thoughts on killing these little darlings…even though I have other not so nice names for them sometimes when I get frustrated with them. But this is my first attempt at writting and this book has been a very emotional piece of work. I would love to do a series like you are doing now once I'm finished with this. The second one just has to be easier. I appreciate you taking the time to share your views on cutting and revisions. Its nice to be reminded that just because it happened it doesnt mean it has to be in the book. I would love to win a copy of your book. So I hope I'm in the drawing. Your neighbor in Northern California.. Daun.
Daun, I hate to tell you, it doesn't get easier! Except . . . I did notice with CARNAL SIN that the CHARACTERS were easier. I already knew them from ORIGINAL SIN. So I didn't have a lot of figuring out backstory and character development and all that stuff, which gave me more time for thinking about the story.
Rachel McAdams . . . someone on the Australian Seven Deadly Sins site mentioned her, too!
Diana D says:
Just stopped by to say hi. I'm on vacation with the grandkids and not getting much computer time. 🙂
I'm jealous! I want a vacation! Maybe next year . . .
kris gilson says:
Congrats on the new release. Your books are great. It was very interesting to read about the editing process. Poor Max; hope to see him someday soon!
Me too Kris! Thanks 🙂
Lori Armstrong says:
Congrats on the new release Allison! I can't wait to pick it up.
Kill your darlings. Ugh. Dealing with that now. It will be interesting to see if my editor agrees with any of my "crucial character building scenes" — where the h/h aren't in the same scene for…oh, a few pages — hee hee
LOL. I don't have that problem because my h/h don't need to be together in every scene. But in romance it's more important. ironically, the one scene I really WANT to keep with my h/h is more a "romance" scene (not sex!) and I love it because it lightens Lucy up (she's very serious.) But it still might have to go . . . I keep thinking on it, re-reading, and deciding to keep it.
Lori Hedgpeth says:
Congrats on Carnal Sin, Allison! I loved Original Sin so I look forward to catching up with Moira and the gang.
Very nice post and I think every writer knows this feeling of having to let go of a character or piece of the story you desperately want to keep. Like Kris Gilson, I hope to see Max in the future!
Thanks Lori! I have a story idea for Max that I'm just in love with . . . of course, we know what happens when you love something too much. So I'm crossing fingers 🙂
Erin H says:
I can't wait for Carnal Sin to come out. I loved Original Sin and can't wait to read the rest!
Sabine says:
Happy New Release Allison. I love your books.
Oh yes, David Boreanaz is a yummy guy. How about Jensen Ackles from Supernatural for Sherrif? Damn that man makes my tongue watering. But one of the sexiest men alive I think, you know him 🙂 is Phelan Ward. I can't forget to think of him for a book hero anyway 🙂
Kill your darlings. Hard words. But if I think about that phrase for a new book then sometimes it's (even if it's sad) neccessary that someone (loved) has to die. If the story is good it can makes it even more interesting. You just have to figure it out how to deal with how you'll let him/her go, then you'll find the right way to make it a good story. But you're a perfect writer, you know it.
And if the story has a happy ending then I'm very fine with it.
Sometimes you have to kill your darlings to get another hero born, right?
Jensen Ackles. Yes. I adore him. He could play Max very easily. I don't see him as Rafe or Anthony–Anthony is Italian (Antonio Bandalaris maybe–I know, I butchered his name) and Rafe is more like Hugh Jackman . . . David could also play Rico Cortese, who comes in during CARNAL SIN as a secondary character. He's a very interesting character!
GSM says:
I'm not good at figuring out who's who when casting books–I just don't watch enough TV/movies anymore. So I'll have to trust the rest of you on that. I enjoyed your post. I look forward to reading both Carnal Sin and the future Max book.
I rarely picture actors/actresses BEFORE I write a book, but afterward I'll see someone in a role and think, "That's my heroine!" For example, I'd just finished writing THE HUNT when I watched the first season of LOST, and Kate (I think her name is Evangeline Lilly) could so easily play Miranda Moore. It was eerie!
And Timothy Olyphant as Sheriff Nick Thomas from SPEAK NO EVIL.
Deena Remiel says:
First, I can't wait for Carnal Sin to come out! I loved Original Sin. Second, I love this series, and you rock the supernatural, Allison. Third, ever since Buffy, David Boreanaz has been in my dreams! I can't get enough of him. He's just luscious!
As for killing my darlings, I appreciate your angst over Max. These characters aren't just characters to us. They are people, albeit conjured in our minds, but people nonetheless. It's hard to say, "Sorry, can't take you with me on this joyride," when you've spent so much time developing them. I guess we just have to develop strong inner-editors so that the slash doesn't hurt so much.
I love writing the supernatural, so I'm glad you love the series! 🙂
Janice Gable Bashman says:
Great piece Allison – it's difficult for many writers to kill their darlings; however, as you as you pointed out, it's so important for the writer to "slash and burn [her] manuscript if that's what it takes to make the story the best [she] can make it."
HollyD says:
My critique group talked about this the other day. A couple of us keep those scenes in special files so we have them if we end up being able to use them in other books.
I can't wait to get my hands on the new book. Huge congrats on the release. 🙂
Quilt Lady says:
I want a vacation too! Allison your books are awesome, keep up the good work!
First off all, I love the cover for LOVE ME TO DEATH. I just REALLY can't wait for this book. Really!!!! :/ <– me having to wait.
Second of all, this blog post is fantastic. It… touched me. I'm not kidding. There are several aspects of writing and the business that I wonder if I'd ever be able to deal with. But asking you to leave a character out? That's just heartbreaking. Really, I wonder how I would deal with something like that. They're like your babies!! I'm glad you figured out what to do with Max. Here's to hoping you'll get to write his book soon 🙂
And, lastly, Boreanaz is HOT, but kinda sacred to me. I don't usually see him around as book characters. Most book characters I picture, except for maybe, ONE, ever, (Suze Cleath-Stuart from the Shopaholic Series, which, for some reason, I always pictured her, the character, as Keira Knightley, so much that I call Keira Suze 🙂 ) I can't place them to actors. They're just normal people and it's hard for me to find actors that would match the characters exactly as I pictured them! 🙂
YAY for Carnal Sin coming out!
Lucy's book has been hard to write because I wanted to do her justice. This is the only book where my hero came alive to me easier than my heroine. Sorry for using David's picture for Max! 🙂 But honestly, I don't have a good idea for Max anyway, etc, I only know his build and how he walks, not so much how he looks specifically.
Terri Molina says:
Hi Allison! I love this post! I have a very hard time killing my darlings…although I don't really kill them, I just put them away for future use. hah
The cover for Love Me to Death is great!
Thanks Terri! I'm very happy with the cover. Kiss Me, Kill Me is even better, I think!
Congrats on the upcoming release. I see Kate Beckinsale as Moira.
Your post couldn't have come at a better time for me. I'm a new writer and struggling through my first major round of revisions. I came to the realization that the GMC of my hero needed a bit of shift but was hesitating because it would require losing (or completing changing) some of my "favorite" scenes. But now I know it is time from them to go. . .off to do some painful cuts. . .thanks for the final push!
toni mcgee causey says:
Such a great post, A — I think the "kill your darlings" thing is one of the hardest to do, because typically, those scenes shine. It's why we love them. We did multiple things right in those scenes, so it's really hard to see that they somehow stop the story by outshining the scenes around them and not moving the story forward.
If the answer to the question, "Why is this scene here?" is "because it's so good!" or "because it's funny/scary/romantic" and not "because x happens that has to happen," then it may be a darling and needs to go.
I know Toni. I just re-read the scene in LMTD and trimmed it some more, but there is one pivotal thing that happens in the scene–Lucy laughs. She doesn't laugh a lot, and it's a turning point for her when she realizes that she can relax and let her guard down, just a bit, with Sean. So it's staying. Unless my editor cuts it. 🙂
Well that, too me, makes that scene a must-stay, because it's a character-arc moment, and critical. 😉
Kristen Howe says:
Allison, I've heard this expression a lot since I started writing. I think I might have to do it for one of my mss in the final go around. I've edited every but those scenes/characters, etc. I'll keep trying. I agree with your pick of DB as Max. I Hope to win!
Donna S says:
Yay, so glad its almost out. Really looking forward to hearing more about Max too.
Sherry S. says:
I can't wait for the book to come out. I think it would be really hard to edit out scenes or characters that you really like in a book. I'm glad I don't have to do it.
Shirley Akins says:
Can't wait to read your new book! I collect them , so I would love to win!
Karin Tabke says:
I kill a lot of darlings. I always feel better, as if a huge weight has been lifted off my shoulders! Congrats on your release next week. here's to hitting multiple lists!!
Roxanne St. Claire says:
I was so busy killling darlings yesterday that I didn't get to comment on this post – and it's wonderful. As usual, a master class in revision and writing. In my workshop "How To Mend A Broken Scene' (I'm doing it in Dallas!), I talk about a scene having a purpose and a plot point. And if, in your mind, you think "this scene shows what a XYZ the character is…." THAT is not a plot point. You can show it, but something has to happen to further the story. Your example was perfect! xo
Ooo, a new Alison Brennan! I've been jones'n for one of your books almost as bad as I jones for college football in August.
I try not to picture actors as characters for the books I read, so I have no clue. I do think – based on your description of Max – that you picked a good face for him. Now if you ever do get his book published, I'll be seeing him as that actor.
Jeanette Juan says:
Loved your post and I love your 7 deadly sins series. I don't ever picture any book characters as any actors/actresses because I think it'll ruin how I or the author pictures them.
Linda Henderson says:
I think Gerard Butler would be good anywhere, he is my current favorite. I can't wait to read your 7 Deadly Sins series.
Lisa G. says:
Congrats on Carnal Sin! I can't wait to read it. My week has been a bust and to top it off Friday our air conditioning and new T.V went bonkers! It's been just a lovely, lovely way to end the week. I was suppose to host Father's Day…..No Air, No T.V. and temps new 95 degrees, nobody wants to come. Great…Everyone, I hope you have a great weekend!
Debra Webb says:
Amazing points, Allison! Wow!


text:
Roman Franz Alexander Rittweger (* 6. Dezember 1879 in Thorn; † 6. August 1938 in Innsbruck) war ein deutscher Jurist, Verwaltungsbeamter und Politiker (SPD).

Leben
Roman Rittweger wurde als Sohn eines Kaufmanns in Thorn geboren. Nach dem Schulbesuch absolvierte er ein Studium der Rechts- und Staatswissenschaften an der Ludwig-Maximilians-Universität München, das er mit beiden juristischen Staatsexamen beendete. 1904 promovierte er an der Universität Leipzig zum Dr. jur. (Dissertationsarbeit: Die besonderen Einwendungen des Schuldners gegen ein Schuldanerkenntnis im Sinne der §§ 781, 782 BGB, nach altem und neuen Recht). Er trat 1908 als Gerichtsassessor in den Justizdienst ein und war seit 1909 für die Kaiserliche Marine tätig. 1912 erhielt er die Ernennung zum Marinekriegsgerichtsrat. 1915/16 nahm er als Soldat am Ersten Weltkrieg teil. Von 1916 bis 1920 war er als Kriegsgerichtsrat bei der I. Marine-Inspektion und beim Führer der Ostsee-Minensuchverbände in Kiel tätig. Nach seinem Ausscheiden aus dem Militärdienst wirkte er kurzzeitig als Beamter beim Kieler Oberpräsidium, ehe er 1920 in den einstweiligen Ruhestand versetzt wurde.

Rittweger arbeitete seit 1921 als Regierungsrat bei der Regierung in Stettin, fungierte 1921/22 als Ministerialrat im Innenministerium des Freistaates Mecklenburg-Schwerin und war 1922 als Ministerialrat und Vortragender Rat im Innenministerium des Landes Thüringen tätig. 1923/24 wirkte er als Ministerialrat bzw. Ministerialdirektor und Abteilungsleiter im Thüringer Außenministerium. Nach seiner Versetzung in den Wartestand 1924 arbeitete Rittweger bis 1933 als Rechtsanwalt in Weimar. 1932 wurde er als Landesbeamter in den Ruhestand versetzt.

Roman Rittweger war mit Barbara Schubenzuba (gesch. Kyriazopoulos) verheiratet.

Politik
Rittweger trat 1918 in die SPD ein und amtierte vom 19. Januar bis zum 7. April 1921 als Staatsminister der Justiz in der von Ministerpräsident Johannes Stelling geführten Regierung des Freistaates Mecklenburg-Schwerin. Nach der Flucht von Karl Korsch übernahm er vom 20. Dezember 1922 bis zum 11. September 1923 die Leitung des Justizministeriums im Land Thüringen.

Siehe auch
 Kabinett Stelling I (Mecklenburg-Schwerin) – Kabinett Frölich I (Thüringen)

Literatur
 Helge Bei der Wieden: Die mecklenburgischen Regierungen und Minister. 1918–1952 (= Schriften zur Mecklenburgischen Geschichte, Kultur und Landeskunde. Bd. 1). 2., ergänzte Auflage. Böhlau/Köln u. a. 1978, ISBN 3-412-05578-6, S. 55/56.

Weblinks

Landesminister (Mecklenburg-Schwerin)
Landesminister (Thüringen)
Ministerialdirektor (Thüringen)
Ministerialrat (Deutschland)
SPD-Mitglied
Deutscher
Geboren 1879
Gestorben 1938
Mann

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A new report from CIRP today offers its estimate for how many iPhones Apple sold during its 2018 holiday quarter (fiscal Q1 2019). While the good news includes the US installed iPhone base rising to 189 million devices, CIRP says quarterly iPhone sales dropped by 15 million year over year. The post Report: US iPhone install base up by 4M despite Apple selling 15M fewer smartphones during holiday quarter appeared first on 9to5Mac.


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Events on: February 27, 2023
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Check out the calendar for upcoming events and educational seminars. Many of our events are free and open to the public. We hope to see you there! To RSVP or request a specific topic for future seminars email [email protected].
Prioritizing Women's Athletic Health
Events on: June 25, 2022
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Study Abroad in Mexico City, Mexico
Tanner C Studying Abroad with Study Abroad Programs in Mexico
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Study Abroad in Mexico City
29 available study abroad programs
Mexico City is the federal district and capital of Mexico and one of the largest cities in the world. Below you will find our list of Study Abroad and Internship programs in Mexico City, Mexico. It is an index to international education in Mexico City listing university level study abroad, internships, volunteer and intensive language school programs oriented to American college and university students. Some pre-college and post-graduate options are also included. We invite you to read the student reviews, see the ratings scores and use this site to compare programs and understand what other students have encountered during their education abroad.
You can also see other study abroad programs in Mexico or use our advanced program search
Check out Santa Reparata International School of Art 's programs in Italy !
Study Abroad in Mexico City - Featured Programs
Social Realities in Mexico - an integrated approach to Latin American Culture & Development Studies
The 6-week program "Social Realities in Mexico" (January 4th - February 16th, 2020) is
an academic program meant to sharpe...
Start any Monday and study from two weeks to a whole year. See the world, experience a new culture, make friends from 100 countries – and prepare for your global future. University Credit is available available for all Intensive Courses at EF.
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Universidad Panamericana: Mexico City - Direct Enrollment & Exchange
Universidad Panamericana in Mexico City, Mexico
Our mission is to develop thoroughly-prepared professionals who demonstrate deep knowledge of their field of study, and also have nurtured a healthy self-esteem and respec...
Youth For Understanding (YFU): YFU Programs in Mexico
Oxaca, Mexico: Traveling, Mexico: San Miguel de Allende, Mexico plus 26 other locations
¡Hola! Come and learn about Mexican culture as no tourist can. Discover how the Aztec, Mayan, and Olmec civilizations, along with Spanish influences, form the roots of tod...
Universidad Nacional Autonoma de Mexico: Mexico City - Centro de Ensenanza Para Extranjeros, Intensive Language Program
Universidad Nacional Autonoma de Mexico / National Autonomous University of Mexico / UNAM in Mexico City, Mexico
The National Autonomous University of Mexico (UNAM) was founded on September 21st, 1551 under the name Royal and Pontifical University of Mexico. It is the biggest and mos...
Universidad Autónoma Metropolitana: Mexico City - Direct Enrollment & Exchange
Universidad Autónoma Metropolitana / UAM in Mexico City, Mexico
The Metropolitan Autonomous University is a public university system in Mexico City, Mexico....
Le Cordon Bleu: Mexico City - Culinary Arts and Hospitality Programs
Le Cordon Bleu in Mexico City, Mexico
Le Cordon Bleu and Anahuac University have partnered to establish an international culinary arts and hospitality training school located in the Anahuac North Campus in Mex...
Universidad Iberoamericana, Mexico in Mexico City, Mexico
The 6-week program "Social Realities in Mexico" (January 4th - February 16th, 2020) is an academic program meant to sharpen the students' awareness of the main developme...
University of Texas at Austin: Mexico - Participatory Action Research Summer Course
Universidad Albert Einstein in Mexico City, Mexico
The class field trip to Tlazala, Mexico will give students the opportunity to learn participatory action research (PAR) by doing and by reflecting on their experiences as ...
University of Texas at Austin: UT Architecture: Studio Mexico
Studio Mexico is an Advanced Design studio that has a site visit of one week to Mexico City. This is similar to other studios that are offered at the School of Architectur...
University of Texas at Austin: Ecology in the Neotropics
Students will be immersed in the rich cultural and historical setting of Mexico, while examining the fundamental concepts of ecology and exploring tropical deciduous fores...
SUU: Cultural Immersion in Mexico City
UTRGV: Summer I in Mexico City, Mexico with William Strong
PIC Management: Paid Internships Abroad
Paris, France: Crete, Greece: Ibiza, Spain plus 26 other locations
PIC Management offers you different internship tasks and destinations in order to improve your personal experience abroad. Thanks to our partners resources, we provide int...
Round River: Earn credits for conservation research. Spend a summer or semester in the wild!
Fine Art, Design, Liberal Arts, Italian Language + Internships in Florence with SRISA
Study Abroad in the EU with European Study Center
Study Abroad with SACI and begin your journey to Florence or Venice!
USAC: Your gateway to the World!


One of the most controversial aspects within the evolving world of sports law involves players' and athletes' rights to a fair hearing in disciplinary proceedings brought by sports' governing bodies. This area is particularly interesting because of the peculiar intersection (and contradiction) between arbitration law – developed as an alternative to the courts, primarily for resolving commercial disputes between private parties –and sport- which often requires open decisions, standard penalties and so on.
Three recent cases have signalled some significant developments in the area. The first, and most important (perhaps the most important sports' law case for a long time) is the decision of the European Court of Human Rights in Mutu & Pechstein v Switzerland (2 October 2018, nos 40575/10 et 67474/10; full judgment currently only available in French).
The Romanian former football player, Adrian Mutu, and the German professional speed skater, Claudia Pechstein, having both been banned from their sports for doping offences, have been involved in long running litigation, including final appeals before the Court of Arbitration in Sport (CAS) and challenges to the arbitral awards in their appeals before the Swiss Federal Tribunal. They claimed that their ECHR Article 6 rights to a fair hearing had been violated in various ways. The two most significant challenges considered were (i) to the independence of CAS, and (ii) the failure to grant a public hearing. The Court dismissed the first challenge by a 5-2 majority with a powerful dissent, but upheld the second.
An important starting point in the Court's determination of both aspects of the challenge was the recognition that the players' consent to CAS's jurisdiction was not unequivocal and could not be described as having been freely given ("n'avait pas été libre et 'sans equivoque'." ). Like many players, they had to accept the arbitration clauses in the sports' governing bodies' rules if they wanted to earn their living by participating in the sport. I described this anomaly as "compelled consent" in an article discussing a previous decision in the Pechstein saga. Strasbourg jurisprudence provides that a person can waive some of their Article 6 rights to a fair hearing by agreeing to an arbitration clause, so long as such agreement is voluntary and not compulsory. The decision in Mutu & Pechstein reflects the practical reality in professional sport that such consent is not genuinely free. The player has not therefore waived their Article 6 rights and so the Court can intervene.
The Court dismissed the challenge to CAS's independence. A person appearing before CAS can only nominate an arbitrator from a "closed list". Who is on that list is determined by an executive that is weighted heavily in favour of sports governing bodies and not players. The majority of the Court, despite dismissing the challenge, found that Ms Pechstein did not have full freedom of choice over the selection of an arbitrator, unlike the norm in commercial arbitration  and that organisations opposed to athletes in CAS litigation exercised a "real influence" ("une réelle influence" ) in the mechanism for appointing arbitrators in force at the material time. However, the players had not established bias or lack of independence in respect to the specific arbitrators appointed in their cases, and so this limb of their challenge failed.
The minority of the Court put forward a powerful (and in my respectful opinion, compelling) dissent on this point. They argued (at ) that according to the settled case-law of the Court, it is not sufficient for arbitrators to be impartial individually if the structure of the organisation lacks the appearance of independence and impartiality. The Court must have regard to "the manner of appointment of its members and the duration of their term of office … the existence of guarantees against outside pressures … and the question whether the body presents an appearance of independence" (citing Campbell and Fell v. the United Kingdom, 28 June 1984, nos 7819/77 and 7878/77, § 78 , Series A no. 80). The Court would expect the composition of employment tribunals, for example, to have a balanced composition.
The second challenge was successful. The Court unanimously found that the players' right to a public hearing guaranteed by Article 6(1) had been violated. Access to the public and press can be prohibited in the interest of morality, public order or national security, or where the interest of minors require. In some circumstances the right to a public hearing is not always necessary – particularly those cases where factual disputes do not arise. Ms Pechstein had requested a public hearing. Her case turned in part on contested facts. The outcome would affect her professional reputation and credit – it was a case in which she had a right to a public hearing.
Such a finding is incompatible with the decision of the ECHR in Mutu & Pechstein. In finding that the players' rights to a public hearing had been violated, the ECHR repeated that the case involved a "forced arbitration" ("il s'agit d'un arbitrage force" ). If that is right it is as true for all persons required to agree to an arbitration clause in order to participate in professional sport. The Strasbourg case-law now suggests a person does not waive their right to a public hearing if an arbitration clause is compulsory in the sense that it is a requirement to participate in professional sport.
The effects are indeed likely to be far-reaching. Some of the comment so far has focussed on the potential practical difficulties of holding public hearings. In its press statement about the case, the CAS indicated that it has "already envisaged the possibility of having public hearings at its newer and much larger future premises at the Palais de Beaulieu in Lausanne." But the consequences are far wider. The FA example is a good one: most disciplinary cases against football players, agents or club officials are held under FA rules that do not provide for an appeal to CAS, are in private, and allow the person charged no recourse to the courts. They now appear to violate the participant's Article 6 rights, at least insofar as the participant requests a public hearing and it is refused. The same will be true for many other sports.
In Hartlepool United FC, Green, Chandler & Buncall v The FA (21 September 2018, FA Appeal Board), the participants appealed against "excessive" sanctions following a finding by a Regulatory Commission that they had bene involved in sham "scouting agreements" to cover payments of agents' fees. As we discuss in chapter 12 of "Football and the Law", cases involving similar such (deliberate) breaches had begun to lead to agents being banned for about 6 months to include one transfer window. In the Hartlepool case the Commission imposed bans of around 13 months on most participants finding that previous cases were not a "static jurisdiction" and they were justified in "taking a firmer view of penalties" than in earlier cases, to act as a deterrence.


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text:
Discovering our voices together after my wife's stroke
With her own voice changed by the stroke, she wanted to hear the Bible spoken aloud by her husband.
by Frank G. Honeycutt
(Source images: Getty / Pexels)
I was two minutes away from boarding my bicycle for an April morning ride in the hills of upstate South Carolina when the cell phone buzzed. "You should come now," said my sister-in-law. "It's Cindy. I think she's had a stroke. We're on the way to the emergency room."
Frank G. Honeycutt
Frank G. Honeycutt is an ELCA minister living in Walhalla, South Carolina. His latest book is Sunday Comes Every Week: Daily Habits for the Busy Preacher (Eerdmans).
My wife and her sister had been visiting their dad, an every Friday tradition, when my wife said the words "Ben Sasse"—the senator and former Lutheran college president from Nebraska—in a conversation about reasonable Republicans whom her conservative family members might want to consider as a sane option in future elections. They were the last words Cindy, a rabid Democrat, would speak for several days. (Cindy has not written to Senator Sasse about being struck speechless by saying his name, though she plans to.)
May 4, 2022 issue
I don't remember much about the hour-long drive between Walhalla and Anderson except that I cried a lot, sped through yellow lights, and phoned my daughter and four friends to ask them to pray and please contact others. The rest is a blur. The receptionist at the ER was waiting for me, and someone led me back to a bright, curtained room.
A couple of years ago, Cindy and I were getting dressed for a rare formal date and standing in front of the bathroom mirror. Out of the blue, I asked, "Which one of us do you think will die first?"
"I hope it's you," Cindy responded.
"Why would you say that?" I asked, somewhat stunned.
"Because women generally handle the death of a spouse better than men."
As a pastor for over three decades, I'd heard the symphony of beeps, buzzes, and bells so many times in emergency rooms, the sound the swooshing curtain makes when it's pulled back to reveal the wounded occupant. But this, of course, was different. Cindy saw me from her bed as an IV with a clot-busting drug coursed toward the wound in her brain. Her eyes told me everything: a long road ahead for which she already seemed to be apologizing. Lord, how I love this woman.
With thrice-weekly therapy sessions, Cindy slowly regained some of her previous voice and full use of her right hand. Like so many others with medical challenges, we settled into a COVID-shaped daily routine that included relative isolation. This was compounded by the specific isolation of a neurological event and the many solitary thoughts rummaging around in Cindy's head that she was not able to fully articulate. We learned what is (and is not) helpful for people whose voice will not return to normal. Our pastor, Rachel, nailed Cindy's frustration one day during a visit: "I suspect you're rather weary of people completing your sentences for you." A sidelong mini-glare from Cindy told me all I needed to know about how I needed to improve as a listener.
Cindy's speech therapist told us that singing would stimulate her paralyzed right vocal cord. We began a new routine. Before breakfast, we sing a hymn that connects thematically to the readings from the daily lectionary. Then I read aloud the day's texts.
A retired high school teacher of English and public speaking, Cindy loves the cadence of words, the multiple meanings discovered in choice of inflection, the polyvalent possibilities lurking in tone and tenor. Cindy lamented that her voice now sounded like a kindergartner's, the r's a special challenge. With her own voice changed by the stroke, she wanted to hear the Bible spoken aloud by her husband.
Over the last months, we've found new questions about the voices in the texts. We've imagined how young Samuel must have sounded in that classic evening encounter with Eli. How David's grief over the death of Absalom filled both heart and hallway. How the centurion at the foot of the cross offered his famous confession. How Esther found her brave tongue following Uncle Mordecai's encouragement. How the psalmist must have sounded while gazing at a night sky or imploring God's action in the face of injustice. How Paul crafted the right words to comfort ship passengers facing a wreck at sea. How Rhoda joyfully reported Peter's jailbreak to his disbelieving friends. And much more.
All of this struck me as radical in the context of our social media–fueled lives. I thought of how many of us start the day mired in the darkness of it all rather than in the light and music of these texts. In my work as a pastor and as a family member, I've refereed many social media fights. As Cindy and I read these scriptures together, I wondered what a "new voice," grounded in scripture, would sound like.
Reflecting on our lives before the stroke, it seems obvious that Cindy and I needed to slow down anyway, but reading the Bible aloud after the stroke has taught us a new way to listen for God's voice each new morning. And it has taught us, even after 40 years of marriage, how to speak to one another in new ways shaped by the surprising cadences of God's word.
Hymn tunes are now whistled throughout the morning, shaping conversation about God's presence with us and others on our prayer list. Daily lectionary texts, read aloud at dawn, bring new meaning and perspective to the news unfolding in the hours of the day.
In "Meditation 17" of Devotions upon Emergent Occasions, John Donne writes these jarringly odd words: "No man hath affliction enough that is not matured and ripened by it, and made fit for God by that affliction."
I'm pretty sure I've never shared those words with anyone in an emergency room. But here's a weird truth. Cindy and I have discovered a new voice in our married life through partially losing the old one.
A version of this article appears in the print edition under the title "Finding a new voice."
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Sunday's Coming
Let the redeemed pray the Psalms (Lent 4B) (Psalm 107:1-3, 17-22)
Reading Psalm 107 aloud, what's most striking are the calls for voice.
by Kerry Hasler-Brooks
Holding each other loosely: After my wifes brain aneurysm
I knew life was a gift to be shared, not a possession to safeguard, even before my wife collapsed on the kitchen floor. But it was abstract knowledge then.
by Peter W. Marty
Reconciled in worship: An accidental ecumenism
by Ryan J. Jack McDermott
Song: Essays by readers
In response to our request for essays on song, we received many compelling reflections. Here is a selection.
CCblogs Network
Learning ignorance
by Cindy Wang Brandt


Part of the thrill of watching improv theater is that you never know what you're going to get, but it's the uncertainty for audience and player alike that makes the reward of each laugh that much sweeter. Which is why we're excited that the Upright Citizens Brigade has just moved their westside space to the Pearl Theater, just a few blocks away! The teams at UCB are smart, quick, and most of all, they really are funny. Founded by Matt Besser, Amy Poehler, Ian Roberts & Matt Walsh in the 90s, the brigade has launched the careers of dozens of the greats. See them and afterwards come by for a drink up top!