Daily Archives: August 10, 2022

Elsie is a young actress who played the lead role in the Doll & Em television series from 2013 to 2015 and also made an appearance in the television short Di Bibl. She is the child of the actors Mischa Richter and Dolly Wells.

When the Stranger Things star posted a fuzzy close-up shot of himself smiling with Elsie Richter on his Instagram in June 2021, it garnered attention.

Despite the photo being removed, the couple has since seemed to keep their relationship a secret. When the two were seen sitting courtside together at an NBA game in April 2021 at the State Farm Arena, dating suspicions about them started to circulate.

Finn said that he was coerced into admitting his relationship with his girlfriend in a November 2021 interview with The Washington Post. If he didnt publicly announce that they were dating, his obsessive admirers threatened to reveal the address of his purported girlfriend. So he gave in.

They express their regret and say, Oh, OK. He said, We love her. Once you say, Hey, calm down, it all literally fades away. I like it. I truly am a human. It resembles something like a trance. It can be a power issue.

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Since Elsie and Finn havent been talking about each other on social media or been seen together in public for a while, many fans have hypothesized that they split up.

She also didnt appear for the season 4 premiere of Stranger Things, which many of the cast members significant others did.

Nevertheless, Finn is quite private and has been candid about his issues with social media. He said that hes terrified of it to Interview throughout their talk.

Instagram, according to him, is distracting and anxiety-inducing. The performer clarified that he just makes use of the platforms to advertise his work. He might not want to post his girlfriend because of this.

We can now respond to the question that has been asked about Finn Wolfhard and Elsie Richter the most. Since there are rumors to the effect that they may no longer be in a relationship, this is relevant to their relationship.

Elsie and Finns romance gains widespread attention. There is a tonne of questions about what happened between them on their social media profile. The existing relationship between them?

Read More: Who is Chloe Bennets Boyfriend 2022? Is She Dating anyone?

Elsie Richter and Finn Wolfhard are no longer together, the documents state. They are no longer an item. Others believe that Elsie cheated on him as well, which is how Finn decided to call it quits on their relationship.

Because they were so madly in love with each other, everyone thought that their romance would last a lifetime. Some pairings, though, are simply unsuitable. They also dont need to find their forever homes yet because they are both still quite young.

In an interview with the Washington Post, the actor admitted that while most of his fans are wonderful, some complete strangers are a little bit intrusive in their desire to learn about his personal life.

When he didnt publicly acknowledge their relationship, one of these people allegedly threatened to divulge Elsies address online, which prompted him to share a social media photo of the two of them. He claimed that these strangers regularly threaten to reveal his personal information.

They express their regret and say, Oh, okay. We love her, he said, according to the outlet. Once you say, Hey, calm down, it all literally fades away. I like it. I truly am a human. It resembles something like to a trance. It can be a power issue.

Read More: Are Jenna Fischer and John Krasinski Dating?John Krasinski Clarifies that He Was Not Really in Love with Jenna Fischer

Despite not being verified, she has an impressive 162,000 followers on Instagram under the handle @elsiepearls and frequently shares pictures of herself and other things/moments in her life.

She does not, however, appear to upload pictures of Finn. She appeared to be posing in front of a pool table in one of her most recent photos, which you can see above. She captioned the image with an emoji for a slot machine.

The young artist frequently publishes pictures of her friends, both male, and female, and occasionally tags them in posts. Since shes quite discreet about her life, its unknown if some of the individuals are actually family members, but she always seems to be having a great time with them wherever they go.

Her life seems to be filled with helpful people and wonderful, unforgettable experiences, whether theyre hanging out and reading in an apartment or going to a truck show.

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Elsie Richter Dating Finn Wolfhard: Heres Everything You Need To Know About Their Relationship! - Landscape Insight

By Nathan Kamal| Published 14 hours ago

The 1980s were an enormously transformative time for comedy in film. The wild, anarchic comedy mavericks of Saturday Night Live like Bill Murray and Dan Akroyd were settling into increasingly nostalgic projects like Spies Like Us and Scrooged. In their place, a new group of stars that straddled the line between goofy comedy and drama was taking hold of Hollywood. They would retroactively be called the Brat Pack (a name many of them despised) and more than a few of them owed their early success to the films of John Hughes. The joke writer turned ad man turned screenwriter turned filmmaker ushered in a whole new kind of teen-oriented comedy in the 1980s, and eventually peaked with the single best comedic film of the entire decade. That movie is the 1986 classic Ferris Buellers Day Off and it is now streaming on Netflix.

Ferris Buellers Day Off stars Matthew Broderick as the title character, a high school senior a month from graduation who fakes being ill in order to take a day off and hang out with his best friend Cameron (Alan Ruck, who was 29 at the time of filming) and girlfriend Sloane (Mia Sara). Over the course of the day, he is pursued by both his overzealous high school dean of students Ed Rooney (Jeffrey Jones) and his suspicious, resentful sister Jeannie (Jennifer Grey). Hijinks ensue.

However, summing up Ferris Buellers Day Off by its plot is like describing Star Wars as a story about a father and son without issues. The movie was a star-making turn for Matthew Broderick, who had previously starred in WarGames and Ladyhawke but had not yet truly broken out. The role was apparently first offered to Anthony Michael Hall, who had previously worked with John Hughes in 16 Candles, The Breakfast Club, and Weird Science. After Hall had scheduling conflicts, Tom Cruise, Michael J. Fox, and most intriguingly, Jim Carrey were all up for the role. Ultimately, John Hughes revealed he had written Ferris Buellers Day Off with Matthew Broderick in mind. It became not just his signature role, but a character that he would actively work against in future films by increasingly choosing roles as a frazzled nebbish like Election, The Cable Guy, and The Producers.

Ferris Buellers Day Off is not so much a high school comedy as a weird, almost magic-realism journey through an idealized Chicago. Ferris, Cameron, and Sloane all go to Shermer High School, the same as the characters from The Breakfast Club and 16 Candles, though there does not seem to be any other overlap. Ferris himself is a near-mythical figure in his own time, but also does not conform to any particular high school stereotype. He is not a jock. He is not a nerd. He is popular and beloved not only by other students but apparently by the world at large (a running joke in the film is the various campaigns in the background to Save Ferris and even a 911 operator takes a moment to ask about his health). In the world of Ferris Buellers Day Off, Matthew Broderick is an eternally blessed and successful teen, but he also is not a jerk or in need of a comeuppance in order to bring him back down to earth. There truly may not be another character exactly like him in film. Hes a holy fool without being foolish, a con man without an ounce of malice in him, and even at the end of the day, a good friend.

Of course, it helps that Ferris Buellers Day Off breaks out an astonishing series of techniques to keep the movie constantly moving. Most famously, Matthew Broderick consistently breaks the fourth wall throughout the film to talk directly to the audience. While there is a lot of precedent for this in comedy films (the Marx Brothers and Jerry Lewis both frequently deployed the technique), Ferris Buellers Day Off does not use it for simple punchlines or eye-rolls. Instead, it becomes a source of deep emotion and empathy for the characters, revealing the fears and doubts of even the most confident character in film history.

Similarly, John Hughes zeitgeist-changing mastery over music curation helps turn a simple comedic story about teens into something greater. The famous use of the Dream Academys cover of the Smiths Please Please Please Let Me Get What I Want to underscore the deep melancholy of Alan Rucks Cameron is as effective as Yellos goofy Oh Yeah to introduce the pivotal 1961 Ferrari 250 GT California Spyder they borrow from his father for the day. It is one of the stranger things of film history that a politically conservative, fame-averse middle-aged man from Illinois would be so in touch with the alternative music scene of the 1980s that he could make songs instantly iconic for generations.

Reportedly, John Hughes wrote Ferris Buellers Day Off in a single week, typing it out in a trance-like state to beat a deadline before a Writers Guild of America strike. He packed the movie with beloved Chicago landmarks like Wrigley Field, the Art Institute of Chicago, and the Sears Tower, yet the movie feels universal. It also helps that it is stuffed with jokes, goofy voices, rapid-fire sight gags, and a plot that owes as much to Wile E. Coyote and the Roadrunner as it does The Breakfast Club. Against all odds, all of this came together to form the apex of 1980s comedy, and it is available for you to watch on Netflix right now.

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The Greatest Comedy Of The 1980s Is Now On Netflix - Giant Freakin Robot

SAN FRANCISCO, CA - MAY 23: Drummer Bill Kreutzmann, Guitarists John Mayer, Bob Weir and Drummer ... [+] Mickey Hart of Dead and Company perform during the 'Pay it Forward' concert at The Fillmore on May 23, 2016 in San Francisco, California. (Photo by Jeff Kravitz/FilmMagic)

As part of the legendary Grateful Dead, drummer Mickey Hart has built his more than 50-year career on uplifting others through music. And now, at a time when there has never been a greater need for healing, Hart is as busy as ever, knowing his music is necessary.

Having just wrapped up a tour with Dead & Company, where he got to witness tens of thousands of fans joined together on a nightly basis, he has immediately turned his attention to rhythmic unity through a new Planet Drum album.

In The Groove finds Hart uniting with Zakir Hussain, Giovanni Hidalgo and Sikiru Adepoju to showcase the power of the rhythm. The album leads off with the single "King Clave," which Planet Drum shared in a special video with charity organization Playing For Change.

I spoke with Hart about how Tito Puente changed his life, the recent Dead & Company tour, the power of music and much more.

Steve Baltin: When you listen to "King Clave," it's one of those things where there is such a feeling of unity in it. And at this point in time when we are so screwed as a society did that make a record focused on unity more important?.

Mickey Hart: Steve, we're out of rhythm, we've lost the groove and that's what this is all about. It's an example of how you can come together in unity, different cultures, playing together. Because music and rhythm has its own language. It brings people together in the groove, in rhythm. And we live in a real big universe. So everything vibrates in some shape or form. And we're just another multi-dimensional rhythm machine embedded in a universe of rhythm. So rhythm brings people together in life and that's really what music's primary focus is, bring people together in life. So, this was a 6,000-person Drum Circle that I directed little north of here, many years ago. It was a world record at the time. And so I use that as the basis because when I call it "King Clave," the Clave is the key. Clave means key. In many music's around the world, the clave is what we revolve around. It tells us where we are in the song, in the measures. And it's a constant thing, normally. And we depend on it as sort of a guide and a signpost. So, having 6000 drummers play the clave, which many people call "Bo Diddley Beat" Bo Diddley didn't invent it, but he made it popular is the spine of that particular song. There was somebody filming in an airplane overhead, and he said he could feel the sound waves rising and it moved his airplane, his wings, and so forth. And he was bobbing above the crowd as he went over and shot it. So it was an enormous sound wave. So, that became the basis of the "King Clave." And that's the story on the drum circle.

Baltin: When you get together with everybody and you do these drum circles, and then on the smaller level, when you play with your friends and when you're doing Dead & Company on the road, does it personally give you hope?

Hart: Of course, the main purpose of the whole thing is to bring people together and raise consciousness. It's about grouping, whether it be music, musicians grouping, or the fans grouping and interacting with the musicians. At night, when I play, I give it to them and then they give it back to me. Then I give it back to them. So there's this dance all night with energy moving and rippling through the crowd, onto the stage and back to them. So yeah, it's a gross rhythmic entertainment moment. And that makes you personally and group powerful. That's where the power comes from. When you play in a groove and rhythm with someone else, it raises the stakes as far as the healing factor of it, the grouping factor of it, the raising of consciousness part of it, the dance, which goes with all the rhythms. Yeah, they all come into play and that's what I do in life. I'm a musician, the main goal is consciousness raising. Like, sometimes people ask me "What's your business?" I say transportation. And that's how I look at it, because you transport people. Drumming and music is all about what we call auditory driving. You're driving the neurons in your brain and your brain is the master clock. Everything that the brain says, you do. And music goes through the ears and through the pores, I might add, directly to the brain. Then the brain distributes it in different parts of your body, whether it be your legs, your back, consciousness in general. So I do that for a living, and I also do that as that's what I do. I play every day, Saturdays and Sundays [laughter]. I never let it go. Sometimes longer than others, of course, but I'm always with the groove somehow, shape or form. So it's very powerful and it's an elixir, in a way, of life. The good life, good rhythm, good life. Bad rhythm, war, good rhythm, peace.

Baltin: How does this apply in your everyday life?

Hart: At home and with your family, it's a rhythmic thing with your spouse, your partner, your kids. You have an argument, you say, "We're not at rhythm here. Let's get a grip of this, let's reform and let's get back in the groove. Let's talk about this or let's put our feelings back into a place that we could deal with them." That means understanding what you're talking about or what you're feeling. There's no culture without its own music. And there is no culture on the whole planet that doesn't have a music, and most of it is rhythm driven. And it's all part of this spectacular thing we call the universe, because the universe was born 13.8 billion years ago, with a big bang we call the singularity, and that has been rippling through time and space, and it's affected us. We are made of the collisions and the supernovas and the inflation of the universe. That's who we are. And that's how I see the universe, in rhythmic terms. And making records, albums, is one thing, and performing is another thing. But they have a lot in common. Like you said, there's weird s**t on the right, and there's really weird s**t on the left. And people can come together in the center. And this is so bad for our country. And seeing all these cultures playing together, if it was me and I was looking up at the stage at us, I'd say, "Wow, there is Nigeria, there's India, there's Puerto Rico, there's America," there's all these different cultures playing in rhythm and being able to share a common goal, to come together as one throbbing, pulsing, throbbing vehicle. So, that's how I see it. That's the short of the long of it.

Baltin: Are you feeling a response from people that they are taking the lesson of unity to heart? And also, with the drum circle, it goes back to such a primal thing where it allows people to feel a little more.

Hart: Correct, all the things you said were absolutely correct. It's more about feeling than about critiquing of music. It's how you feel. Music is music if the ear hears it and likes it. If it disturbs the ear, the ear calls it noise, and it brings it to another level. But it's very individual, and this record was made to dance to. It wasn't a bunch of virtuosos playing virtuoso music. It's a rhythmic dance band. And that's why this one was different than the other two Planet Drums. I wanted people to dance. I wanted to get young people into it. And that's why immediately as soon as Playing For Change went up, there was 500,000 people taking a peak at it. The young people that dance and like to move and they love rhythm. This is all about rhythmic entertainment, playing together and forming something that's in sync and very powerful. And it's powerful spiritual material as well, I might add. That's where you get that jolt, and that's what keeps you going after a show. Dead & Company are playing three hours and 20, 30 minutes a night. And after I'm done lighting them up, they go home and they take that feeling with them and hopefully do some good with it. And it's not so much what they do at the concert, it's what they do after the concert that interests me. And taking that spiritual material and taking it to the next level. Go home, kiss your kids, do something happy because that's how you felt at the concert. The music exalts consciousness when it's right, and you come away with that shine, the smile, and you're moving. And if you take it into your daily life, that is really the big payoff. Besides them showing up and enjoying the music themselves, it's what they do with this spiritual uplifting feeling at the concert. I want to see what they do with it in the real world, in life. When they leave the concert, what do they leave with and what do they do with what they leave with? And that's of primary interest to me.

Baltin: Do you remember the first show you saw that gave you that spiritual uplifting?

Hart: Yep. I definitely remember the first band I heard that gave me that lift off was Tito Puente. He was a great Latin percussionist. I worked at a country club when I was very young, high school, and he played upstairs in the dining room. And so at night when he started, I would go in the kitchen area and watch. I got a garbage can, went in the kitchen, and I made two holes in it so I could see and I enjoyed my music inside the can, but that was the first memorable moment. It was the Tito Puente orchestra and everybody was dancing, different cultures there, white cultures, all kinds of different cultures were dancing. So that was good. I was really young. I was like 14 or 13, also the first marching band I heard. I loved him. I finally got to play with him at the very end of his life. One of the last shows he ever played, and we played together on the steps of the Library of Congress, actually. And that was it for me. Meeting my hero, again, and playing with him was woo. And he was playing my song. That was it for me. Once I heard Tito that was it.

Baltin: As you look back and reminisce on these things, do you still feel that Tito Puente influence in you and especially in Planet Drum?

Hart: Yeah, of course. Why do you think I call him King Clave because I first heard the Clave and it embedded in me with Tito Puente? So you're absolutely right. It's followed me my whole life in one form or another. And that's also what kind of made the world's music interesting for me. And I studied it and recorded it all over the years and just loved it. And it led me from one culture to another culture, but honoring our own American rock and roll, which is in me as well. So I love both sides of the fence.

Baltin: What was the last thing you saw where you felt that same visceral response?

Hart: It was the last night of the tour of Dead & Company. When you see 45 to 50 thousands of people in the stadium moving as one, you know that you've created unity, you know you've created powerful rhythms that people are reacting to. So that changes people, changes me. So when I see a whole stadium moving up and down to my groove, I go, "You are here, mission accomplished." Doesn't matter how good I play or anything like that. It's the feeling that I give the audience. I make mistakes all the time and I never dwell on them at all. I don't dwell on if I want something to happen and I can't execute it or I execute it not the way it should be. I move on immediately. It's like speed reading, you gotta keep moving and not dwelling at all, not for a split second. And that's the only way you can stay on trance. And that's what I do. That's everything, the trance. So yeah, that's the goal of my life besides my kids and my wife and my own health, and it also makes me healthy. Remember, I'm 78 years old and I'm driving stadiums 'cause I don't feel I'm straining, I'm in shape physically and mentally for it. But I don't take it for granted because many people can't play when they get to this age the hands hurt. Enough is enough and they quit. There's no retirement for me, man. The R word is not even in the dictionary. So that's how I feel about what I do. I'm very happy in who I am. I'm a happy person. I'm happy in my own skin and people I play with, as you know, are the best of the best. And that's how I like it. So playing with these guys its exciting as could be. And it's a challenge too.

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Sunday Conversation: Mickey Hart On Dead & Company, Tito Puente And Why Hell Never Retire - Forbes

A new nightclub will soon open in the former Cactus Jacks location downtown, with the owners of the Blue Grotto reinventing a classic downtown nightlife destination.

Grotto owners David "Pup" Johnston and Sherri King are behind the venture at Lansdowne Street and Fifth Avenue.

King said she wants to create a safe and fun environment.

"We have such a diverse community and I'd like to expand on that," she said.

The new club, called Nightshift on Fifth, will be a bit different from CJs, turning to the Top 40 charts for nightly music and holding special culture-inspired events like Desi and Latino nights, appealing to international students attending Thompson Rivers University.

King said the club will have an industrial steampunk theme.

Johnston said the venture came about quickly, with the couple taking over the lease of the building and opening in a matter of months. The hope is to open at the end of August. With a liquor licence and the lease signed, all that's left to do is some remodelling including a new sign and a revamped interior.

"Kamloops is a little bit of an industrial town, so it's going to be kind of industrial, or steam punk, inside," Johnston said.

Johnston said he was approached a few times to take over the lease, but wasn't interested until recently, with nightlife returning and venues open without interruption.

"Not to sound altruistic, but I don't know if we're really doing this for us. I think we're doing this for Kamloops, he said. Not trying to pump my own tires, but there's a larger population moving into the downtown core and there's a lack of diverse nightlife here.

The Blue Grotto, just two blocks away at 319 Victoria St., is an age 21-plus club that focuses on live music mostly rock 'n' roll. The new club will cater to a slightly younger crowd, down to B.C.'s legal drinking age of 19.

Trying not to focus on hip-hop, rap and trance, Johnston said the club will rely on a house DJ playing pop music. He said other clubs, such as the Commodore at 369 Victoria St., may cater to other types of music.

Johnston said he's not trying to step on anyone's toes with the move.

"We've had a great working relationship for, well ... the Grotto has been here for 17 years and I've had it for almost five," Johnston said, adding that he and his wife have a combined 55 years in the nightlife industry.

"Losing the previous owner, that was a major blow for that name, for that Cactus Jacks brand. You can't recapture the lightning in a bottle that was Rob Medves," Johnston told KTW.

Medves owned the club until his death in 2015. The club continued to operate until 2018, when it was set to close before Jordan Landry stepped in.

The attempt to revive Cactus Jacks proved to be too much once the pandemic arrived.

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Blue Grotto owners to open nightclub in former Cactus Jack's location - Kamloops This Week