Jason Avant: It was just one of those days … that game was like if God could choose sides, he was with the Eagles that day … Everything went right. Busted plays went for touchdowns, fumbles on the sideline stayed in. There were just a whole bunch of crazy things that went our way that day.
DJ Sliink Jersey Club is an everyday lifestyle for a lot of people in the area. It’s always easy to get in trouble putting your energy into something negative. Jersey Club culture actually inspires the kids to be great at something. New Jersey isn’t the greatest area to live in but with all the help of people we made something positive out of our state.
Niles: It happened so fast. People started getting excited about it really, really fast. That was maybe the first time in my life that I got the sense that I might be able to write for a living. And, after having worked for McFarlane where you write what he tells you to write — and it’s fine, those are his properties — but having the freedom to do the vampires I wanted to and have the language I wanted to … There were a lot of people at the time who thought the art was insane.
Andy Townsend: ”It was definitely the pinnacle of my career. To lead the team out at the Giants Stadium, especially against Italy in that first game, was a fantastic moment and one that I’ll remember for an awful long time.”
Agoos: I suddenly found myself sharing a room with Alexi Lalas. He was like the messy one in “The Odd Couple.” His room was all guitars, clothes on the floor and broken mirrors. I was Mr. Clean in comparison.
EISNER: And then we quickly negotiated the deal, and there was an owners meeting in Florida which I had to go to called in a very short period of time. And the night before I got on the plane, we talked about what were we going to call it. And I said, “Well, why don’t we call it the Mighty Ducks?” And not enough people disagreed with me. So I had our costume department make a Mighty Ducks logo, which I think at that time was very similar to The Mighty Ducks movie logos, although we changed the logo and made it, you know — upgraded somewhat for hockey. And I showed up at the owners meeting with a sweatshirt on saying the Mighty Ducks. And they all said, “Fine.”
Frankie Bones: It was totally an epic moment when they did "Da Funk." I remember that totally. People were just going bananas.
Travitron, a.k.a. Travis Lee, DJ: I came here from Brooklyn in '81 to go to college, and I wasn't really a fan of Prince and the Time. But everybody else was. They'd had a taste of "Rapper's Delight," but I couldn't find anyone who knew what scratching was. I'd been DJing since high school, and when I started throwing little parties up here, people actually thought I was damaging the record. Like, "What the hell are you doing?"
CAMERON The Terminator themes had been important to me since high school. Those apocalyptic visions, ideas about our love/hate relationship with technology, our tendency as a species to move in a direction that might ultimately destroy us, and a central faith in the resourcefulness of humanity. And those are motifs that have gone through all my films—Titanic has a lot in common with Terminator for those reasons.
Lucinda Williams: “The main reason to go was that you never knew who you were going to see. It was such a scene. The exciting thing at that time was the ‘Barndance.’ They’d have the house band and then guest musicians who’d come up and play three or four songs. That’s how I first played there. I remember meeting Mary Chapin Carpenter when she started out. Dwight Yoakam would perform there, and Dave Alvin. I miss there not being a place like that now. It was great to have somewhere to go to meet people of like mind. It was a supportive group of musicians and friends. Another great thing is that you’d see people on the way up, like Dwight, hanging out with people who were just starting out.”
McKay: Our prop guy, Scott Maginnis, kept coming to me with weapons. I basically wanted a highlight reel of the most horrible weapons you could have, a mixture of the Middle Age weapons with modern-day gang weapons.
Mickey Hart, drummer of the Grateful Dead: My wife found this place in a brochure of homes in Sonoma County, but it was an out-of-date brochure... And so we just looked at each other and we said, “Hey, you only live once!” We shortened the name because we didn’t want to talk about it with people. The Grateful Dead ranch used to be called Mickey’s Ranch, or the Grateful Dead Ranch, or something like that. I didn’t want any of that. So we immediately named it YOLO.
ROTHENBERG: Early on, we had a small group of executives at a retreat and we came up with a mission statement and it was pretty bold, because we said we want to put on the greatest World Cup in history. We added to the mission statement that we would leave a legacy for soccer in the United States and so at all times, we were trying to put on a phenomenal event that would be well received, but also use that to really create a lasting interest in soccer and to grow the sport.
Hart: Me and Chris were joking about how Dave was just so much better than us—the thought process behind his jokes. How he makes it look effortless. We were all doing the same thing—running material we were working on. We were pretty much all in the gym—basketball players getting our jump shots. And Dave's way of doing it was just levels above. He's in a different realm. He's out of this world, man. Ridiculous.
Finesse: Biggie and L went on tour together. L had [the Debarge "Stay With Me" sample] first on his record "MVP." L's version was first. B.I.G.'s "One More Chance" was second. Big and them heard L's version before they did their version. That's a documented fact. [After that] L wanted to do a remix and he liked the mix so much they shot the "MVP" video with that.
TRACY NEWMAN: Phil Hartman was pretty quickly recognized as the best one there. Everyone wanted to be onstage with him because he was a generous improviser. He was not scared. There are not many people who have no fear [onstage], but he was really remarkable in that way. If you were onstage with Phil, he would recognize your fear, and he would turn you into something. And suddenly you could perform onstage when you were with Phil.
NICOLA L.: Anything could happen in the elevator. It was either Janis Joplin or the big woman from the Mamas and the Papas who tried to kiss me in the elevator. I can’t remember which. It was a crazy time.
CURB: I said, "Mr. President, you used to love calling auto races when you were in Iowa. What about going down to Daytona?" He said, "I love NASCAR." By then, it had been on TV for a few years. We talked about the '79 Allison-Yarborough fight. He said, "Who are those two guys who got in the fight?" I could tell from talking to him that he knew about the race. He didn't mention them by name, but he remembered the incident. So he had been watching NASCAR to some degree.
Graham Nash: "We actually had a guy that was employed just to provide us with cocaine. We needed an incredible amount of energy to pull off that tour and I'm sure it helped in a way, but it is a very subtly destructive drug and there was a lot of it around. We were rock and roll stars at the height of our power and the height of our commerciality and the height of our ability to put asses on seats. We had it all. And sometimes you need to break that tension. Drugs and women were a part of that entire process."
KRIST NOVOSELIC: I don't even know if Kurt knew what he was doing. It was just like, "Let's have a band," and we always stuck with it through whatever obstacles came up. Even when we were both working with jobs, we kept the band alive, because the music was always there, and things started to happen. We drove up to Olympia from Aberdeen in this Volkswagen beetle. We took the backseat out and just stuffed everything in there and Kurt and a gallon of wine in there. Then we started playing in Tacoma and then Seattle.
Hawthorne James: When I read the script I said, "This is kind of corny. I don't know if I want to do this or not." And they didn't have a lot of money to shoot this movie because nobody believed in it. It had been turned down by every other studio, every actor. We didn't have a villain until we were a week or two into shooting. I think they had gone to, like, Christopher Walken and all kinds of people before Dennis Hopper said yes. So we were shooting a movie and there was no villain. Nobody believed in it.
Read more at http://www.hitfix.com/in-contention/speed-20th-anniversary-meet-the-passengers-of-bus-2525#9BYSfGOFSw7cvi0h.99
Brian Hopkins: I was smiling ear to ear when we got him in the 23rd round, because I didn’t think he would last that long. And that was a fun phone call to make, for sure. One of the things that hasn’t been talked about, is how he just worked so hard to get better and better. It’s our responsibility to get to know players as much was we can. I got to know Jeff Messer, the Slippery Rock coach, and I talked to Jeff about Matt and what he might do, down the road.
Barbara Earl Thomas: When you look back at [the so-called "Bumber Wars"], it looks like the growing pains of the festival. Once it got to a certain size, people started to see that this could possibly be a lucrative venture. There was a thought that it wasn't necessarily a One Reel festivalanyone with the skills and experience could put it together. But Bumbershoot did have its own particular Seattle personality. That's what the line in the sand was about.
Alan Ball (series creator and writer-director of “Everyone’s Waiting”): The writers convened for season five to start working on story, knowing the show was going to end. I had always had an instinct that Nate [Peter Krause] would have to die, since his whole journey was coming to terms with his own mortality. But we didn’t want to end the final episode of the series like that. Once we figured out how to have him die three episodes from the end, suddenly it all started to fall into place. Somebody said, “We should just kill everybody” — I wish I could remember which other writer it was who pitched this, because it wasn’t me — and everybody laughed. And then whoever it was said, “No, I’m serious. We should jump ahead in time and see everybody at the moment of their death.” At which point I went, “Of course.” I mean, that’s the perfect way to end this show. How else could you do it?
Holden McNeely: God appears and she’s a woman and she absolutely slaughters him over the course of like 20 minutes. As he’s threatening God to fight him, he screams, “You will taste my Murderfist!” We thought it captured the general feel of the group pretty perfectly.
York: We didn't have a drummer, so one of the guys who was working on the stage crew came up to us minutes before we were about to play and said, "Do you guys need a drummer?" and we said, "Oh man, that would be cool." He had no idea who we were; he just recognized that we were four guys on stage with guitars and a bass but no drummer. We said, "Yeah, you can play, do you have any sticks?" "No." "Well, why don't you go back to the dressing rooms and see if someone will loan you some sticks?" There were no drummers in the dressing room so he cut the legs off a coffee table and played with these huge sticks. He didn't know the songs. He just listened to the music and played. And no one was upset with what he sounded like.
Read more: http://www.rollingstone.com/music/news/the-untold-and-deeply-stoned-story-of-the-first-u-s-rock-festival-20140617#ixzz356yef8Pl
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NICK KROLL (The League): There are people you have crushes on because they’re physically attractive, and there are people you just have comedy crushes on, and they’re constantly intersecting. I had comedy crushes on men and women at that theater. And I think it’s fair to say that everyone who meets Amy has a crush on her.
It should be easy to write off Boy Meets World as a blip on the lengthy timeline of family-friendly sitcoms.
Cahill, referee: Fortunately technology has gotten so good that we were able to have them do it frame-by-frame and blow it up a little bit. I could just see that the ball was still touching the fingertips of Devendorf as the 0.00 showed up on the clock.
Kevin Cole:We went from this really successful mainstream disco to a club that had to do male strippers and women's mud wrestling on Tuesday and Thursday nights just to pay the bills. We would do crazy things. One summer we installed a pool in the middle of the dance floor. If you wore a bathing suit you got in free. There was a period when the music alone wasn't enough. And we felt like the music should be enough.