Publicado el 28 jun. 2017
He just returned from a cruise and is preparing for a cross-country move, but thankfully neither stopped New Kids On The Block star Joey McIntyre from calling in to my radio show this week.
For those who don’t know, I’m running this weekend’s TCS New York City Marathon with #TeamULTRA, and this week I’ve been gathering advice on what to expect as a first-time marathoner both privately and publicly. When I thought of music artists that ran a marathon, McIntyre was the first person who came to mind; he completed the 2013 Boston Marathon about five minutes before the terrorist attack. The singer/songwriter returned with bandmate Danny Wood to then complete the marathon again in 2014.
So I was very pleased when McIntyre agreed to an interview, candidly sharing experiences, advice and a few mantras that helped him along the way.
“’What can I do to make my situation better?’” was the first phrase he told me about. “Meaning like, ‘Focus on my feet, am I working on my feet?’ or ‘Focus on how my shoulders are.’”
The idea is to make yourself feel more comfortable and also preoccupy your mind “for chunks at a time.”
And that was the vibe I caught from McIntyre; this will be just as much mentally challenging as it will be physical.
“But it’s thrilling man,” he assured me. “There’s such a high. You go through the tough times but there are moments when you’re like, ‘Wow, I’m really doing this.’”
McIntyre didn’t completely rule out doing it himself next year; the NKOTB artist just launched a new podcast called “The Move” which is inspired by his family’s pending move back east to New York City.
“My wife is from the city; I put in a solid 10 years in my 20’s so it’s been bubbling up,” he revealed. “We’re ready for a move and we’re going back to New York.”
McIntyre plans on using his new podcast to tell stories from his move while also inviting others to share their experiences of relocating.
“Moving, no matter where you’re going, brings up a lot of feelings and thoughts and history,” he noted. “I think it cuts through a bunch of levels on an interview basis.”
Despite the move to the Big Apple, don’t expect McIntyre to abandon his routing interests. We talked just days after his Patriots traded backup quarterback Jimmy Garoppolo and like any true New Englander, the singer had a thought or two on the matter.
“People are sort of dumb-founded, a little shaking-their-head,” he mused before adding, “It’s hard to argue with Bill Belichick.
“We’ve been so lucky with the Patriots man. At this point, we don’t even get worked up.”
To celebrate the incredibly prolific, influential and diverse body of work left behind by Prince, we will be exploring a different song of his each day for an entire year with the series 365 Prince Songs in a Year.
“I Could Never Take the Place of Your Man” was issued as a single on Nov. 3, 1987. It was the fourth and final commercial single to be culled from Prince’s critically acclaimed opus Sign o’ the Times, which arrived in stores the previous spring.
This power-pop gem became Prince’s 12th Top 10 hit on the Billboard Hot 100, peaking at No. 10 in early 1988. “I Could Never Take the Place of Your Man” also became the first Prince single to chart pop but miss the R&B listing entirely. The song’s b-side, “Hot Thing” (remixed by Shep Pettibone and marking the first time Prince allowed an outside producer to touch his work), was promoted to urban radio stations and placed at No. 14 on the R&B chart, while reaching No. 63 pop independently from its a-side.
“I Could Never Take the Place of Your Man” comprises one of Prince’s most compelling lyrical narratives and also provides a sober contrast to the song’s peppy instrumental background. The song tells the story of a woman who encounters Prince in a bar. After Prince asks her to dance, the woman asks if he’s qualified to take on a more substantial role in her life. Her partner recently left her alone, with a baby (and another one on the way). Prince, to his credit, states that he’s not interested in fulfilling that particular spot, singing “I may be qualified for a one-night stand,” which changes in the second verse to “You wouldn’t be satisfied with a one-night stand.” “I Could Never Take the Place of Your Man” reflects a maturity that Prince had yet to explore regularly in his lyrics, which is even more surprising when it’s noted that the song was originally conceived of and recorded in 1982, five years before it was released.
In 1986, Prince reworked it, lengthening the song with an instrumental passage containing some of his finest guitar work. That instrumental coda is excised from the song’s radio edit, but the full-length LP version gained rave reviews, with Spin writer Bart Bull gushing “[the guitar solo] starts building, it starts cooking, it starts rising and lifting and raising…and then he takes it all off the stove and sets it aside. The only sound that’s left is that of lesser mortals everywhere smiting their foreheads.” In Rolling Stone, Kurt Loder called “I Could Never Take the Place of Your Man” “the most irresistible guitar-rocker Prince has done since 1980’s ‘When You Were Mine.’”
Prince was clearly fond of the song, as it featured in the track listings for Dream Factory and Crystal Ball, two albums Prince and the Revolution conceptualized and sequenced before the band disbanded and those projects were morphed into what ultimately became Sign ‘o the Times (which is credited to Prince solo). “I Could Never Take the Place of Your Man” quickly became a live favorite and allowed Prince to flex his guitar skills as he and his new band traipsed through Europe on the Sign o’ the Times tour. The live arrangement was notable because it added horns into the mix, with Eric Leeds and Matt “Atlanta Bliss” Blistan adding embellishments to the chorus melody and including a bit of the cut “Rock Hard in a Funky Place” (later added to the Black Album) in the outro.
That tour never made it to the U.S., but a concert film was shot (and then reshot on the Paisley Park sound stage after the European footage was deemed unusable). The video for “I Could Never Take the Place of Your Man” was culled from that film, which arrived in theaters just three weeks after the single’s release. Unfortunately, the movie was not a huge hit at the box office, despite solid reviews.
Just a few years after “I Could Never Take the Place of Your Man”’s release, other artists began covering it. The Goo Goo Dolls delivered their version of it in the early ‘90s, and they were followed a couple of years later by Eels. The most commercially successful remake of the song, however, came from Jordan Knight. The former New Kid on the Block turned Prince’s pop/rock gem and turned it into an R&B beat ballad (with the help of co-producer Robin Thicke). The song became a minor airplay and MTV hit in 1999. Prince himself reconfigured the song as a slower, sludgier blues jam. Recorded live with his all-female troupe 3rdEyeGirl, he briefly posted the new version on YouTube in 2013.
Each episode of Blue Bloods usually includes a Sunday Dinner scene, with the Reagan family coming together to discuss their own issues and concerns. These moments are highlights for the show’s loyal fans, as we see the human side of characters dedicated to serving others.
The series stars Tom Selleck as Commissioner Frank Reagan, with his children played by Donnie Wahlberg, Bridget Moynahan and Will Estes. Frank sits at the head of the table with his father, Henry (Len Cariou) at the other end.
Acting in the dinner scenes can be surprisingly tough. There’s a lot of dialogue for the actors to get through and each of them have their own techniques. Selleck told The Huffington Post in 2013 that he actually eats during the scenes.
“Everybody has their own style,” the longtime TV veteran said. “It is a style we should all be aware of so we don’t get into a rhythm that’s predictable. One thing that’s really tempting is to take a bite of food to punctuate the end of a line. I think you need to be aware of that stuff. I don’t butter bread all the time, contrary [to what Donnie said] but I always make sure the butter is down at my end. So I can if I choose to.”
With the show now in its eighth season, there are plenty of great dinner scenesto chose from. Here are some of the best.
During the season four finale, “Exiles,” the family say for dinner in their uniforms after Frank spoke at the Police Academy graduation. Even Henry wore his uniform.
Every member of the Reagan family serves the public in some way. Jamie (Estes) is a young police officer, working his way up the ranks. Danny (Wahlberg) is an experienced, no-nonsense detective. Erin (Moynahan) is an assistant district attorney. Even Danny’s wife, Linda (Amy Carlson) served the public as a nurse. Sadly, she died before season eight began.
The youngest members of the Reagan family also join in. That includes Erin’s daughter Nicky (Sami Gayle) and Danny’s sons, Jack (Tony Terraciano) and Sean (Andrew Terraciano).
Dinner with the Reagans is not always civil. Usually, there’s arguments and this scene from season six shows that. Here, Erin says she had to be on the defensive because she’s a Reagan. It turns out that police weren’t exactly well-liked at City Hall at the time.
In 2015, Blue Bloods property master Jim Lillis told the Virginian-Pilot that some of the actors do actually eat during the scenes, while some are good at faking it.
“All the actors eat to varying degrees,” Lillis explained. “Some are good at faking it. They are very good at making it look like they’re really enjoying a hearty dinner.”
Some actors even butter their bread during filming to make it look like they are doing something with their food, while others move their utensils around their plates. Moynihan will mash up her food without actually eating anything.
During the first season, the Reagan family searched for the killer of Frank’s middle son, Joe. He was working with the FBI to investigate corrupt NYPD cops who were part of a group called the “Blue Templar.” The group was responsible for Joe’s murder and in the season one finale, Danny and Jamie caught the officer directly responsible for their brother’s death. In the end, the family still gathered for their Sunday dinner and later went to Joe’s grave to remember him.
The first season of Blue Bloods aired back in 2010 and 2011. Even then, it was on Fridays, when shows don’t typically get big ratings. But audiences immediately fell in love with the show and the Reagan family. In a 2010 interview, Wahlberg said the big ratings did add some pressure to the production.
“The reality is that [we have] a couple million more viewers than anybody thought we would get and that’s good news,” Wahlberg told BlogCritics. “What we do on set and what we talk about is really how to control what we can control and finding the right mix about what works for our audience and identifying who they are, and servicing what they want and also servicing our characters as best we can.”
During a season four episode, the dinner was particularly tense. But Nicky figured out how to break the tension by announcing her own big news: she got a tattoo!
Sami Gayle, who plays Nicky, has been an important part of the series since day one. The 21-year-old actress was also seen in Vampire Academy and Noah. In a recent interview with CBS Philadelphia, Gayle said she loves Philly cuisine. She was only 14 years old when she started on the show.
“It’s very therapeutic — my character, for me,” Gayle told CBS News in 2015, when the show reached 100 episodes. “I feel like I’ve gone through some of the stuff she’s gone through…so I sort of have another medium to play with as I grow up. It’s also been super cool to have things that I didn’t have in real life like a super big Sweet 16, which I didn’t want in real life but I had the most awesome one on set.”
Another storyline from season one included Linda’s kidnapping. The Reagan family had to work on their own to find her, which they thankfully did. In the end, there was an emotional reunion at the dinner table and everyone was happy to have Linda back.
Linda is no longer on the show, as Amy Carlson left after seven seasons. Her character was killed off in a helicopter crash.
“My heart is full of gratitude to each of you for your generous support of me and my character for the last seven years of Blue Bloods – Linda Reagan,” Carlson wrote in an Instagram post. “I have been touched by your compassion and enthusiasm. I loved playing Linda: wife to Danny, mother to Jack and Sean, nurse and working mom. I’m proud of my contribution to building this series. I’m so grateful to CBS and the Blue Bloods cast and crew. Mostly, I am grateful to the fans who have supported me and the show. Peace, blessings and many ‘love you mores’ to all of you.”
Blue Bloods airs at 10:00 p.m. ET on Fridays on CBS.
Ludicrously funny while wielding an enviable talent to keep a long string of sad songs energizing, Tegan and Sara put on easily one of Edmonton’s best few shows of the year Tuesday night at the Jube.
The Calgary-forged twins celebrated a decade since the beautiful indie-pop horror of The Con was released by playing it all the way through — an approach done to spectacular effect by the Hip a couple years back, and in the same soft-seater a few months ago when k.d. lang re-animated Ingénue into a slow-whirling diamond. While The Con as a sad pop album with its biting lyrics and dripping wounds is an entirely different beast, the 37-year-old Quin sisters’ choice to play it acoustic took the album about various life tragedies to an almost impossibly more intimate realm.
That it was Halloween added black sorcery to the night, as the crowd of 1,700 was peppered with flappers, devils, reapers and deer amid an already highly individualistic and youthful audience. But one costume stopped the show: an imposing and wavy-haired Joker sitting up front.
After the jagged opening songs I Was Married and Relief Next to Me, Sara admitted first, “I’m not that into Halloween,” and, second, that the Joker was actually freaking her the hell out. “You weren’t clapping and everyone else was clapping — well, we’re f—ing dead,” she joked, as eight-minutes elder twin Tegan explained of his white face reflecting back all the light. “You’re just popping the f— out.”
“I need to connect to you,” Sara chirped, moving to the edge of the stage and taking his hand. “OK, I’m less scared now.” While serious, this was all deadpan and funny, the twins’ specialty.
The first two songs Sara wrote and sang, and before they got into Tegan’s The Con, she noted, “This whole concept of people doing their whole albums for anniversaries is f—ing ridiculous.” Tegan promised it would go by quickly as they wrote short, undeveloped songs back then. “We were anti-establishment back in 2007,” she noted.
The Con was sharp and notably acoustic, the two up on a central platform flanked by Gabrial McNair on keys and Tim Mislock on guitar, the creepy-woodsy images from the album, including three stumps and a flaming bed, on long banners behind them. Harmonizing, the two would switch back and forth taking the lead singer role, which Sara did for Knife Going In as the Spartan lightshow switched to smoky red. Tegan’s insanely great Are You Ten Years Ago was backed by a droning, unnerving keyboard sequence — secretly the album’s best.
Being back in Alberta exhumed childhood memories, and two went into a long and hilarious discussion about crushing on New Kids on the Block when they were little, Sara having a poster of a scantily clad Joey McIntyre. “Just imagine how mental I would’ve gone if I hadn’t have been gay,” she mused, noting no one questioned the little girls having imagery of highly sexualized men around them. Sara called it the “heterosexual agenda,” and laughed, “They should have just had us in a baby-making hospital.
“You can still leave,” she smiled, “but we are pushing a homosexual agenda tonight.”
This took us to the album’s other hit, Back in Your Head, Tegan with a shaker, Sara singing over the lovely piano, it all feeling delightfully “unplugged.” They stood close for Hop on a Plane, and Soil, Soil had a warm community theatre vibe which Tegan ruled over with her jangly guitar. She was in a pea coat, Sara a biker jacket.
During the next round of awesome conversation, the two TED talked about coming to the Waterpark and mall with their dad as kids, to them, Tegan noted, “Disneyland when we were growing up.”
They were allowed to roam free and unsupervised as their father ran errands. “We’re not likeable, so no one really approached us,” Sara noted, lamenting the fact for several minutes that she never got to stay in the truck room at Fantasyland hotel.
“So gay,” Tegan said. “It’s not gay!” Sara shot back. “That’s not fair!”
Nineteen was soaring and luminous, red beams of light shooting out into the big room, and next was Floorplan with its devastating lyrics, “I want your lungs to stop working without me.” Like O, Like H also also tragic and wrenching. But, you know, wonderful.
They joked back and forth with the rowdies in the crowd who kept yelling out audience nonsense. “You guys all sound like you’re trapped in a basement,” laughed Tegan. “Play your favourite! Go on a date with me!”
Then, the amazing Dark Come Soon, piercing almost-folk with Tegan belting out that bittersweet, stretched out line, “I lied to me too.” And at Call it Off we were done the Con X part of the show.
Sara went off on a tangent after a quiet response when the crowd was asked if any were suffering heartbreak. “Oh — you guys are the dumpers! Sometimes it’s easier to be the one who has all the deficits.” She play-acted a relationship-slayer: “The harder you work and the better you are, the less I would like to be with you.” Amazing.
While there was no opening act, no encore, this final stretch of the show was its own ecosystem, the eight songs so very sad, starting with the new Now I’m All Messed Up, then The Ocean under shifting turquoise light, Sara’s voice echoing during White Knuckles.
The younger twin took a break and suggested a life hack to make your cat go crazy: “They love OB tampons. Shoot them on with the plastic wrap still on it.”
Tegan pitched their foundation in aid of LGBTQ girls and women, which Sara hysterically kept riffing off later, inventing a series of petty new foundations on the spot to raise money for Tegan’s topical cream for her guitar-sore hands, for their overworked jaws because they talk too much and, after Tegan showed how she had to curl her hands in when she slept, Sara said, mimicking her, “Guys. We started a new foundation — it’s for people who turn their hands in like little wings.”
“Shut the f— up!” Tegan laughed.
Living Room, Bad Ones, Red Belt, and Where Does the Good Go brought us to the end of this supremely entertaining night, and Closer was the closer.
I’ll say it again, one of the best shows of 2017 — and it’s only November!
On the train ride home through the snow, his Heath Ledger makeup a little smeared, the Joker noted he was truly blown away by the show. This, notably, even though his buzz was starting to wind down.