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God is Power. By Maglera Doe Boy and @ondelive__ Featuring @burningforestboy Produced by @fiji_mageba Official Music Video out now. Shot in the city of Matlosana where I came up and the township in of Kanana where I was raised. Special shout out to the Mayor Fikile Mahlope for letting... show more
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![David Lynch on using Roy Orbison's "In Dreams" in Blue Velvet (1986), and Roy Orbison's reaction to the film: Chris Rodley: "I’ve always assumed that ‘In Dreams’ was conceived as an integral part of the movie from the beginning. It seems conceptually essential to the story’s intentions and mood. Is that true?" Lynch: "‘In Dreams’ came about while we were in production for Blue Velvet. Kyle MacLachlan and I were on our way down to Wilmington, North Carolina, from New York City. We were going through Central Park on our way to the airport when over the cab’s radio came ‘Crying’ by Roy Orbison, and I’m listening to this song and I said, ‘That! I’ve got to get that for Blue Velvet. When I got to Wilmington I sent somebody out to get Roy Orbison’s greatest hits. I played ‘Crying’ and then I played ‘In Dreams’, and as soon as I did, I forgot ‘Crying’. ‘In Dreams’ explained to me so much of what the film was all about. I immediately called Dennis Hopper and told him about the scene I had in mind and that he had to memorize this song. Dennis and Dean Stockwell are old friends. Dean got together with Dennis to help him work out the song and memorize the lyrics. I wonder why! [Laughs.] So we finally got to the day we were going to shoot the scene in Ben’s apartment where Dennis was going to sing the song. We were rehearsing and Dean said, ‘I’ll stand here and kind of help Dennis if he needs it.’ So we started playing the music and both Dennis and Dean began to sing ‘In Dreams’. All of a sudden Dennis stops singing and looks at Dean — who’s continuing to sing. Dennis is solidly in character and he is moved by Dean’s (Ben’s) singing. There was the scene in front of me. It was so perfect. Once it was decided Dean would be singing ‘In Dreams’, another strange thing happened. I was going to use a small candle-style table lamp as the microphone. Dean knew the microphone was going to be a lamp of some sort and when he went over to the area of Ben’s apartment where we were going to set the song, thinking he saw the prop light, he picked up a work light that was hanging on a nail on the wall. He turned it on and flipped the long cord like a microphone cord and obviously it couldn’t have been more perfect. The strange thing is no one on the crew put that work light there. No one knew where it came from. Who can say how it happens?" Rodley: "The use of ‘In Dreams’ in that scene revived Roy Orbison’s career, but what did he think of the movie and the use of his music in it?" Lynch: "When Roy first saw the movie he didn’t like it. His song ‘In Dreams’ meant another whole thing to him, and it was, like, a precious thing. I think some people he respected must have gotten him to see the movie again and reconsider his feelings. Roy told me that when he saw the movie the second time, he got past what the song was for him and then could appreciate the fact that it was working in another way." — "Lynch on Lynch" (1997), edited by Chris Rodley](https://image.24vids.com/tw-2017709819717627913/ext_tw_video_thumb/2017709721981988864/pu/img/ZcGhR1Tq4i4KV9XN.jpg)
![CBS’s Weijia Jiang Jiang at the #WHCD on her upbringing in rural WV: “I’ve been thinking a lot about my own journey to this podium tonight. I grew up in rural West Virginia, in a town at the foothills of the Allegheny Mountains, a town called Buchanan, Population 5,500. Those images of the devastating floods that you’ve been seeing are from my hometown. My heart, thoughts, and prayers are with everybody there. After my dad finished grad school at WVU, where he properly learned how to say let’s go Mountaineers, my parents decided to stay in the state to open a restaurant. It was such a treat when hunters came in and left deer meat as a tip. On Sundays after church, families packed into the dining room, all dressed up. My mom learned every customer’s name, their favorite dishes. I worked the cash register, topped off glasses of sweet tea and did my homework in the corner booth. A day like that seemed ordinary at the time. Looking back to think that days like that could be considered ordinary. It’s the most powerful reminder of how extraordinary America is. My dad came to the U.S. as a student with just 67 bucks, or as Frankie might say, 6-7. My mom holding a small suitcase on one hand and a toddler me with the other, yet they built a new life, a successful business, and a real future.” “Our Chinese restaurant was the first in my town. Of those 5,500 residents, the Chinese American population of Buchanan was 3. My mom, my dad, and me. Growing up there was not always easy. Most folks had never laid eyes on people who looked like my family, but far more often than not, the community was welcoming and generous. Turns out deer meat is great in a stir fry. In Mandarin, the word for America is Měiguó. It literally means beautiful country, and I love that. America the Beautiful was never only about her landscapes or landmarks. It has always been about the promise that, no matter where you come from, you get a shot at chasing your dreams. My dreams began right there in that family restaurant, a small TV in the back was often turned to the news, my dad’s go-to for learning more English. In the middle of dinner service, it was the CBS Evening News anchored by Dan Rather and Connie Chung. I was hooked. In middle school, I won a contest to be a student reporter for a national news show called Channel One. And when a local news crew came to cover it, they learned just how big my dreams really were.” [Middle school Weijia: I hope to be the next Connie Chang and better, that’s kind of hard, but that’s my goal. And so, I’m going to work very hard at trying to be a broadcast journalist.] “30 years later, it’s surreal to say that I’ve sat in Connie Chung’s old chair to fill in on the evening news, and Connie and I have talked about how the White House beat and the White House Correspondents’ Association used to be a little boy, bit of a boys club. For decades, women could be members, but they were not invited to sit at this dinner until 1962 when a woman who would become dean of the press corps insisted. Thank you, Mrs. Helen Thomas. So, tonight, it means everything to stand here is the first woman of color ever elected president of this association in its 112-year history. I’m here because of the tenacious women who came before me, Melissa, Susan, and support from my family who are with us tonight. My husband Luther, not from West Virginia, but Arkansas, similar enough. My amazing daughter Frankie. little brother Jack, who’s should be sleeping by now. I love you more than anything in the world. I love you the most. My parents came to a country with almost nothing to give their daughter everything, and now I have that because they could be with me in this moment. Mama baba shisha. And sitting with them, my middle school video production teacher, Mrs. Diane Williams, who spent countless hours on my submission for that contest. that changed my life. Like public school teachers across the United States, Mrs. Williams looked at a 13-year-old kid and said, you can be whatever you want when you grow up, and she meant it. My story is like that of so many in this room and in this country, only in America. Only in America could a little girl born in China and raised in Appalachian coal country make her way to the Oval Office to ask questions of the President of the United States.”](https://image.24vids.com/tw-2080835696453963952/amplify_video_thumb/2080835499954999296/img/EqECtfiErqV54uo2.jpg)
![Paul Schrader's 'Blue Collar' (1978) was a very tense shoot, because Richard Pryor, Yaphet Kotto, and Harvey Keitel argued constantly. There were fights, verbal abuse, walk-offs, and Mexican stand-offs. According to Paul Schrader, Pryor hit Kotto with a chair on camera during filming. Here is Schrader explaining the tense atmosphere & the reason why he cried during the filming of 'Blue Collar' (1978): "Schrader: [Richard Pryor was never meant to be the star of the movie]. A lot of the difficulties on the film came out of the fact that | had approached Richard and Harvey Keitel and Yaphet Kotto separately and led each of them to believe that they were the star of the movie, because that’s what it took to get them involved. You were basically introducing three bulls into a china shop and asking them to get along, and you can’t really blame the bulls when things start getting wrecked. Very early on, by the second or third day of production, Richard became convinced that he was playing the black sidekick to Harvey’s Terry Molloy, and Harvey became convinced that he was playing Ed McMann to Richard’s Johnny Carson, and Yaphet was convinced that they were both trying to ace him out, and things got very heavy. We were shooting in auto plants in Detroit and Kalamazoo in middle of a heatwave and pretty much what was happening on-screen started happening off-screen. Not a day went by without some sort of confrontation. Right after you said ‘Cut’, a fight would start. After about three weeks in, I was in the middle of the set and all of a sudden I started crying and I just couldn’t stop, something I'd never done before. The AD grabbed me and took me outside and walked me around the block and I said, ‘This is not working. The movie is never going to get finished and I'm never going to work again.” But he calmed me down and walked me back in and I guess everyone realized I wasn’t as much the iron man as | had been appearing. Richard looked at me and said, ‘You pu**y —are you gonna be a man or not on this movie?’, and I said, ‘OK, Richard, I’m sorry. It won’t happen again.’ Interviewer: Did things improve from that point on? Schrader: Part of the problem was to do with Richard’s style of acting. Being primarily versed in stand-up comedy he had a creative life of between three and four takes. The first one would be good, the second would be real good, the third would be terrific and the fourth would probably start to fall off. Whereas Harvey, with his theatrical training, very self-analytical, would work on the meaning of the scene in the early takes and then after ten takes he’d be terrific. Well, there’s virtually no way you can film those two men together, so you’d have to rehearse Harvey with a stand-in and then bring Richard in without any rehearsal. The other thing that Richard would do when he felt his performance going flat was to improvise and change the dialogue just like he would have done in front of a live audience, and he would never tell me or anyone what he was going to do. In one case I had a two-shot of Richard and Harvey where Richard just started flying, and of course Harvey tried to top him, and as soon as that happened Richard just sort of took off and became brilliant. Harvey broke a take once because he felt himself being knocked out of shot. I had to grab Harvey and get him down on the floor and yell at him, ‘Don’t you ever break shot!’, because Richard was right behind me trying to get at him. So the shooting strategy became very limited: ‘I know I may only have one take with these actors, so what’s the best one?’, and you’d work out the minimum coverage you needed and that’s all you got. Sometimes if they were in a good mood you could actually try something a little different, but by the time we shot the last scene, the one with all three of them on the sofa after the party, they hadn’t been talking to each other for a long time, and I had fallen into a prolonged pattern of script negotiations which usually began the night before and went on into the morning of shooting, talking to each of them until they were all happy with the others’ improvisations. Now the day before the sofa scene Richard had hit Yaphet with a chair on-camera, so I knew it was going to be tough. We lit the scene with extras, put their names on the sofa with pieces of tape, and the crew were all warned. The three of them came into the room in silence, there was no discussion, I said ‘Action’ and we did the first take, which ran to about four or five minutes — much too long. So I said, ‘OK, that’s very good, but it’s too long for us. We’re going to go right again. No one move, no one talk, let’s just do it a little faster. Action.’ We did that take on the same reel of film and that was two and a half minutes. I said, ‘Cut’, and Richard got up, went downstairs, got in his car and drove home. End of movie. Interviewer: All this must have given you a completely different perspective on the job of being a director than the one you’d envisaged when you were a critic. Schrader: It did. I said afterwards that if this was what movie-making was like I didn’t want to do this any more. On that film, I very quickly learned to confine myself to talent management, to making sure the actors stayed in character and the storyline remained coherent. I handed over shot selection and lighting and blocking essentially to my crew. I didn’t have time to explore those areas." ('Schrader on Schrader & other writings', edited by Kevin Jackson, 1990) [P.S: On this day, 48 years ago, 'Blue Collar' was released in the USA]](https://image.24vids.com/tw-2021297692551545243/amplify_video_thumb/2021297597466742784/img/dP53fVp__XvD14Pk.jpg)
