Tuesday, March 12, 2024

Gracie Gold Gets Real with Page-Turning Autobiography "Outofshapeworthlessloser"

There's a dose of ominous foreshadowing in the table of contents to Gracie Gold's new autobiography "Outofshapeworthlessloser: A Memoir of Figure Skating, F*cking Up, and Figuring It Out."

Arranged in four parts, the 329-page bestseller includes chapters ranging from "Perfect Obsession" and "Four Is the Loneliest Number" to "Failed Anorexic" and a nod to another dark page-turning literary work (and soundtrack to a skating performance), "East of Eden." 

As reported by initial critical reviews for the book titled after one of Gold's self-disparaging nicknames or personas, her work includes vivid and frank details of life experiences the 28-year-old endured and from which she continues to heal. Anorexia, OCD, pill popping and alcohol abuse populate the club flush of crud and wild Jokers on the table for readers to ponder.  

Gold's mostly no-holds-barred perspectives about U.S. Figure Skating and the unglamorous (often ugly) behind-the-scenes realities of international figure skating competitions also are in full view. Her take on recent doping revelations is aptly stern. She also alleges a rape at the hands of a fellow competitor, references her bisexuality, and delves into nearly three decades of family secrets including her parents and fellow athlete twin sister. 

Impressed (or distressed) the morning after a full read, I described to friends that "Outofshapeworthlessloser" is akin to "watching a slow-motion train wreck or seemingly avoidable car crash" for the narrative's "ability to inspire both gasps and cringes amid an irresistible desire to keep watching, err, reading" with "reader remorse at an inability to take the wheel, inspiring one to holler out, as in a horror movie screening, 'Stop, girl, don't go near there!' or similar when the protagonist in danger is about to make a terrible decision."  

The book also inspired some rabbit hole searches of social media archives to view past posts, images or videos and competition footage referenced by Gold. 

While she did not specifically reference the 2014 Team USA Media Summit at which I reported on her ascent to the Sochi Olympics, Gold did describe her experiences at the 2015 U.S. Figure Skating Championships from which this blogger posted interviews. Some of her harshest on-ice self-flogging is revealed in a chapter describing the 2016 World Figure Skating Championships in Boston. 

There are some light moments, too, that brought a smile or chuckle to this reader. Gold's wry sense of humor shines through some of her interactions with coaches or media. In an early chapter, while detailing work with a youth skating coach nicknamed Cruella, Gold punctuates several paragraphs of verbal abuse with this gem:

"When Cruella lashed out at me, I lashed back louder. Anger was my protection. It got back to me years later that Cruella told people she had always known I'd become a star. I call bullshit! She was doing her best to humiliate me. Or maybe she didn't like me because I stood up to her."

On a more serious note, Gold continues while aptly taking to task the notion of coaching as a bully.

"The years I spent with Cruella normalized the kind of controlling behavior that even if it produces positive results on the ice, can be ruinous to a child's personal development."

Readers may find joy through the Olympian's interactions with Taylor Swift (they baked cookies together) or descriptions of collaboration with sponsors including cosmetics brand CoverGirl. 

In the realm of funny-not funny, Gold describes some of the name-punctuated headlines published to preview Sochi 2014. 

"I remember someone tweeting out to me, 'If I hear one more Gracie Gold headline, I'm going to scream.' And I was like, 'Me too, bud.' It was enough to make me start wishing for a new name. Stacy Silver or Bonnie Bronze, anyone?"

Gold's dry wit also shines in the Chapter 23, in which "chest size and its impact on exercise is absolutely a conversation worth starting." While several notes echoed remarks of female friends who, like Gold, opted for breast reduction surgery, I found the author's self-deprecating comparisons to Charles Schulz drawings -- and her inventive use of (one-time PR client'o'mine) KT Tape -- both original and funny (back in the day, we never had Gold's method in KT press materials). 

The only letdown from "Outofshapeworthlessloser" was Gold's restraint from sharing more than a few sentences about another professional mental health diagnosis: attention-deficit hyperactivity disorder (ADHD), buried on page 246. 

Like Gold, my attention-deficit diagnosis arrived in my mid-20s, and upon reading her disclosure I was eager to learn the treatment options or behavior modifications she chose, only to find a succinct reference that she is "on medication for it" without specifics (for moi, decidedly drug-free and it worked/works when you work it, though it's compelling to admit it took me over two weeks sidelined by countless Instagram scrolls to find focus and complete this book review post).

Juxtaposed with comparative oversharing around other wellness challenges, Gold's omission of ADHD details inspired a wave of questions, starting with the extent to which her physicians or therapists place ADHD as the deepest roots of the battery of her other mental health diagnoses. In my case, the hypochondriac on my shoulder labeled, or mislabeled, a lot of "stuff" that more recent therapists consistently trace back to ADD of youth. 

As her childhood memories fill the early pages of "Outofshapeworthlessloser," Gold describes persistent restlessness. If ice hockey was among her parents' attempted remedies for channeling her boundless energy, can Gold relate to other kids' ADD-ness enlightened by her adult experiences? Guess we'll have to find out in her mid-life or later life follow-up books after planting her ADHD "sea legs" on thick ice. 

Since interview requests for Gold went unanswered by her publicity team, I turned to another source for insights: Karen Crouse, Gold's seldom-cited "Outofshapeworthlessloser" ghost writer. 

As of this March 12 post, only two other book reviewers mentioned Crouse by name. 

Via email, Crouse affirmed my hunch that only Gold could speak more about her ADHD management and the reasons for sparsely addressing the topic. It's perhaps too recent a diagnosis or it's simply not as page-turning urgent as other mental health challenges, from my view.

Crouse also was generous in explaining how she tackled the "Outofshapeworthlessloser" project and when she started the writing on Gold's initiative.

"I signed (gladly) a contract that stated I would ghostwrite Gracie's book and that my name would not appear on the cover or title page," wrote Crouse in a Feb. 26 email response. "I had no issue with that arrangement ... it was plenty good enough for me."

Crouse continued that, "My satisfaction was wholly and richly derived from the collaborative process. I loved the work. From the time I spent talking with Gracie for a 2019 New York Times profile, I suspected that this project would be interesting and profound, with great potential to help many readers who recognize themselves in the challenges [Gold] has faced."

According to Crouse, once a proposal and contract got formalized, the collaboration hastened in early 2022 with "at least three" in person visits as well as phone conversations "at least twice a month ... recorded and that I transcribed myself so I could get a feel for Gracie's vocabulary and speech patterns." 

Rounds of drafts later, the lion's share of work concluded last July. Crouse also volunteered background on the foundation for the text.

"It was Gracie's choice to lay bare her soul in the pages," wrote Crouse. "She told me before I signed on ... that she didn't want 'another fluffy sports memoir' and that was all I needed to hear as I had no interest in hagiography.

"From the start I simply asked the necessary questions to develop and deepen the narrative," Crouse added. "[Gold] provided the compelling stories that I, in concert with our editor, crafted into a coherent - hopefully - structure." 

Gold closes the book's acknowledgements "To Matt Inman for the edits" shortly after a dedication "To Karen Crouse for going on this journey ... and helping me write a better memoir than I could have ever dreamed possible." 

For anyone who can't get enough of Gold's perspectives, Crouse also helped the skater with a thoughtful and timely Olympic figure skating commentary published in The Cut during the Beijing 2022 Winter Games. 

"Outofshapeworthlessloser" is an absorbing read that inspires questions, sheds light in dark corners of international skating, and leaves readers with optimism for Gold's future on or off the ice. No matter the degree to which readers manage ADD, they may find themselves hyper-focused on learning the Olympian's lifetime of hard work. 

As of this post, there are no publicized book signing events in the weeks ahead, but Gold may appear at November's 8th edition of "Scott Hamilton & Friends" in Nashville (where she performed in 2022 and 2023) -- details are posted at this link during summer months.  

Book cover provided by Crown Publishing with book design by Caroline Cunningham. All other images -- except of Karen Crouse's Instagram profile image -- are photos copyright Nicholas Wolaver and may not be published nor reposted without written advance permission. 

Saturday, February 3, 2024

They Just Felt Like Running; Notes from Orlando, Hosts to U.S. Olympic Team Trials for Marathon

Feb. 29 marks four years since Atlanta hosted what may be called the "Pandemic Eve" Olympic trials for marathon on Team USA's road to Tokyo. 

This week in Orlando, U.S. Track & Field's entourage set up shop for the Paris 2024 edition, with elite runners taking to the streets of the city's Thornton Park, Lake Eola Heights and Milk Districts, a few blocks east of downtown. 

With a three-lap, eight-mile loop course, the qualifying standards for Paris varied for women and men. In simple terms, the top three women with times of 2 hours, 29.5 minutes or faster (Nov. 1, 2022, to today) will represent Team USA this summer, while the men at 2:18 faster punch their ticket to the City of Lights. There were 165 female entrants to 215 men, ranging from age 22 to 47 for both genders. Also noteworthy were the four men and two women for whom the 2024 race marked their fifth consecutive marathon Olympic Trials. 

I shudder to think about finishing a single marathon let alone five or more spanning 20 years/five Olympiads!

As a member of the working media who touched down at MCO yesterday, from my perspective USATF and the Orlando organizers killed it on organizing. 

The positive vibe with fellow reporters, hundreds of volunteers (including a couple of friends from Atlanta) and spectators was high energy, and the weather cooperated with mostly sunny skies yet moderate temps. 

During the races, thousands of spectators lined the route including a mix of locals and out-of-towners. In a live interview with NBC Sports, Orlando's longtime Mayor Buddy Dyer stated his glee to add an Olympic trials and more guests atop the 70+ million annual visitors to the city. 

At a Friday press conference, 2004 Olympic bronze medalist Deena Kastor and 1984 Olympic marathon champion Join Benoit Samuelson were on hand to commemorate the 40th anniversary of Benoit's gold in the first five-ringed marathon. 

"Patience is going to be the name of the game," said Benoit Samuelson, referring to a runners' strategy for tackling the marathon course. She also offered that, in observing many of this year's entrants in the lobby of the host hotel, many runners are distracted now more than in the 1980s. "Everybody's online constantly, and I think that needs to change," she said.

By the marathons' conclusion, the Paris-bound runners included race favorites and Utah neighbors Conner Mantz of Provo and Clayton Young of Springville, as well as Leonard Korir of Colorado Springs, finishing in 2:09:05, 2:09:06 and 2:09:57, respectively.

In her marathon and Olympic trials debut, Fiona O'Keeffe of Chapel Hill, N.C., finished first for the women in 2:22:10, with one of the race favorites -- 2020 Olympian in 10,000m Emily Sisson of Flagstaff, Ariz. -- at 2:22:42, then Hopkins, Minn., runner Dakotah Lindwurm in 2:25:31.

O'Keeffe also became the first first-time marathoner to win the Olympic trials at this distance, setting an Olympic trials record in the process. During the post-race press conference, she said her marathon naivite was a factor in the race.

"Not knowing what I was getting myself into was a good thing," O'Keeffe said. Part of the main pack for the first laps of the race, once she pulled ahead several reporters noted O'Keeffe "never looked back" as she gained an ever-increasing lead to the finish.

Via NBC's finish line camera work, when Mantz and Young came into view, they were visibly sharing words of encouragement for several hundred meters, following a mid-stride high five.

"I just wanted to take every step of the way with Conner over the last couple miles,” Young said. “Conner is the guy who has pulled me this entire build, day-in and day-out in practice. He works hard and he deserves this just as much as I do.”

Young's daughters donned custom T-shirts proclaming "My Daddy Just Made the Olympic Team" (see photo below).

Meanwhile, Korir dedicated his race to his U.S. Army commander and unit, who encouraged him since his fourth place finish in 2020.

"For me to make the team ... this is for everybody who is serving in the Army," he said in a finish line interview with NBC Sports.

Korir will have to patiently await official word of his Paris travel status, with an additional qualifying stage The Athletic explains in the penultimate paragraph of this article. This blogger sure hopes he makes it, and that "The Three Musketeers" of both Team USA's marathon women and men find a way "one for all and all for one" when they race on Aug. 10 and 11 in the Olympic city.

Image credit: Nicholas Wolaver in Orlando. Race footage on big screens via USATF and NBC Sports.

Wednesday, January 10, 2024

Shallow Writing Sinks "The Boys In The Boat"

Following a recent press screening for "The Boys In The Boat," the host asked my thoughts of the five-ring-related film. 

With thanks to Allied Global Marketing for the pre-Christmas media ticket, my response to their rep was that I really wanted to love this movie -- based on a great book by Daniel James Brown -- but didn't as there were too many issues, starting with writing as shallow as the eight-man sculls on screen.

In the weeks since the Dec. 18 screening in Atlanta, an online search yielded that at least one film critic deemed the George Clooney 2023 picture comparable to the 1981 Oscar-winning best picture directed by Hugh Hudson with a screenplay by Colin Welland (who also earned an Academy Award, among four wins from seven nominations for the outstanding earlier film).  

"'The Boys In The Boat' is like 'Chariots of Fire' on the water," wrote James Verniere of the Boston Herald.  

With all due respect to Mr. Verniere, it's not. 

Not even close. 

Looking for the good, the costume team led by veteran designer Jenny Eagan nailed it. 

It's impressive on the big screen that "The Boys in the Boat" Olympic attire -- from Team USA's uniforms to the athlete and official Berlin Olympic pins -- all pops with authenticity, right down to the colored ribbons that served as the era's Olympian accreditation. 

In a publicity video, Eagan describes some of her team's creative process:

While drafting this post, I sent a LinkedIn message to Eagan requesting an interview as her press clip above did not answer my key questions on her team's research of the Berlin uniforms, pins and other 1936 attire (when she responds, a follow up post or update in this one may follow).

Paraphrasing the night-of-screening remarks by my guest for the viewing event, the film's production design team also deserves a shout-out for what seemed to be a mostly accurate depiction of the 1936 Games on the waters of Berlin's Langer See, the river-filled lake which served as the rowing venue. From the credits, it's my understanding a Canadian reservoir was the crew's home and set for many takes. 

But back to the issues that sunk the film for this blogger. 

As noted, strike one was the writing as I found Mark L. Smith's screenplay flat, predictable and, more than once, annoying for its missed opportunities. 

Too many times I felt like turning to my seatmates and stating, "and now [insert character name] is going to state [fill in the blank with aptly anticipated often monosyllabic retort]." Did the head coach reject his wife's late-night flirtations because he was tired or because they were written so silly? Tough call. But worse, who cared? As evidenced with a mid-film popcorn and pee break, I stopped paying attention an hour earlier! 

In another example, viewers meet the wise old longboat craftsman who spouts wisdom and the lore of rowing from a lifetime of experience, but the writing is so dumbed down, my thoughts drifted to fresh lyrics for the popular nursery rhyme, "Row, row, row your boat, gently on the screen, wearily, wearily, wearily, wearily, weaker than a meme!"

The second strike was shallow character development. While Brown sank the oars deep into history and his Olympian (and coaching) characters on the pages of his book, Smith's screenplay only skimmed the surface floating too many stories with no depth while failing to tie up numerous loose ends by the final scenes. 

The audience meets, for instance, the main protagonist and his love interest, who clearly supports his athletic interests across two continents and an ocean. But by the time the closing credits roll, the audience exits wondering what happened to her once a flashback device lifted directly from "Saving Private Ryan" returns viewers from Berlin '36 to modern times. Did the main character marry her? Who knows? Who cares? Not Smith, and the screenplay instead called for rolling the credits. 

Squandering Joel Edgerton's talent -- on the heels of his memorable lead role in "Master Gardener" -- also left me scratching and shaking my head. The scenes of the coach he portrayed, and his wife, were just weird, or too PG, and their relationship status proved another unresolved cliffhanger by the film's conclusion. Worse still, he's never given the words nor actions to equal coach Sam Mussabini as portrayed by Sir Ian Holm

Strike three: Non sequitur micro-dramas also abound, such as the awkward introduction of a dining car social class showdown aboard the New England-bound train to the Olympic trials, or a square-pegged moment with Jesse Owens that omits mention of Team USA's other Black athletes in Berlin. Then, after this nod to history, the screenplay has the audacity to suggest the Führer himself became more exasperated by Team USA rowers than Owens' track and field feats. Nein.

Auch Nein for portraying the international rowing judge in Nazi attire. But thanks to Eagan's team, at least the uniform looked right. 

Mega NEIN the protagonist's love interest could find a radio broadcast of Olympic rowing ... live ... from Berlin ... with a nine-hour time difference that assumes the race on a lake half-way across the globe had an afternoon start time. Even if you were in love, as a 1936 Seattle resident, would you be awake before dawn rapturously tuned-in to rowing commentary live from Germany? Would you be tuned in from the East Coast, or anywhere? 

The most nervig, er, annoying scene of all arrived when a key character finds himself kicked off the team only to have his Olympian status restored thanks to poor man's version of Richard Gere's "I got nowhere else to go!" speech to Louis Gossett Jr. in "An Officer and a Gentleman." Sadly, the rowing version is not at all quotable. 

Also missing from "The Boys in the Boat" is a memorable soundtrack. For all of Alexandre Desplat's strengths and skills as a composer, it was disappointing that even the film's score seemed to be trying too hard. The only time it worked was in support of the final race. No Vangelis here. 

For a comparison, you can hear the Greek composer's Oscar-winning score just by its mention here, yes? No one's gonna by humming nor jogging, nor rowing, to "The Boys in the Boat" soundtrack. 

I'm not pulling solo, single skull-style with some of my perspectives, according to the AP's review by Jocelyn Noveck. Though she's a bit kinder and more professional in her remarks, her notes on the screenplay are apt. Silver Screen Capture's writer also catches my drift. 

To his credit, Clooney mentioned one point of the film was to bring people together to cheer a common cause. He must be onto something because, curiously, there were a lot of cheers when Team USA won gold in the Dec. 18 screening auditorium. A crowd pleaser? Perhaps. (Our screening was packed with high school and college rowers.)

Only time will tell whether ticket sales leave MGM cheering as well (as of this Jan. 11 post, the film is still $4.9 million shy of recouping its $40 million budget). According to online sources, "Chariots of Fire" banked $59 million atop a $5.5 million budget. 

Someday when I'm afforded an opportunity to speak with Herr Director George, just like Sister Nancy Usselman (see photo), my first question will be the extent to which the final Olympic race and its clunky camera angles took inspiration from SCTV 3-D Theatre. In the early 1980s, was Clooney tuned in to John Candy, too (at the :45 and 1:20 marks in this clip)?

The bottom line is that too often it felt "The Boys in the Boat" tried too hard (und scheiterte) to accomplish too much, and audiences can do themselves a favor by instead watching "Chariots of Fire" for inspiration.

Image credits: Penguin Random House book cover, Calum Turner image via the X account @CTurnerUpdates on which no photo credit was shared, stills by Laurie Sparham/MGM, Clooney red carpet premiere photo via the Pauline Center for Media Studies blog on which no photo credit was given to Sister Usselman's camera operator. 

Friday, December 22, 2023

Post Pan Am Depression

The Pan American Games eluded me until 2023. And I've been in a funk since their conclusion last month. 

Happily, the recent "19th Edition" of the event hosted at Santiago, Chile, added this international athletic festival to my sports CV. 

Too young to travel to the '87 edition of Indianapolis, too American (as in being a U.S. passport bearer) for Havana '91, and too oblivious for most Pan Ams since (save Rio 2007 and Toronto '15), on a whim I applied for Santiago media credentials after learning about the Games' feathered mascot, Fiu, in a pin trade at the World Athletics Championships in Hungary. 

The serendipity of that exchange proved a great memory. What fantastic hosts the Chileans proved to be for the athletes and attendees from Oct. 18 to Nov. 5. 

While client work in Atlanta kept me grounded at home for week one of the Pan Ams, I booked passage from Oct. 28 to Nov. 2 with stopovers in Miami. Thanks to an unruly passenger who disrupted our overnight flight to Chile -- through which fellow passengers and I enjoyed and impromptu and surreal 18-hour layover in Panama City -- it was fun to finally touch down in Santiago in time to attend the first four days of track and field competition at Parque Estadio Nacional, which also hosted aquatics, field hockey and gymnastics venues near the Main Press Center, which was a well-oiled operational machine for over 1,800 accredited journalists. 

Through an organizing committee led by Pan-Am Sports Organization (PASO) President and International Olympic Committee Member Neven Ilic, I learned the 2023 Pan American Games were a first for Chile with over 6,900 competitors. 

My focus turned to track and field entrants from Team USA, which afforded access and introduction to several emerging stars of Team Chile. Highlights from the experience include:

  • Witnessing Team USA's two-time Olympian Deanna Price win gold in hammer, followed by her
    medal ceremony (see photo)
  • Learning about fellow American Ryan Talbot who won bronze in decathlon with a score of 1,086 (see photo at base of post)
  • Capturing on video the last 300 meters of the women's 400m run, during which Team Chile's Martina Weil achieved hometown legendary status on a rain-soaked track (not since Usain Bolt's 100m victory in Rio have a heard such an elated crowd)
  • Meeting Isidora "Isi" Jimenez, also of Team Chile, following her silver medal performance in the 4 x 100m relay.
The biggest win of the Santiago experience, however, was finally meeting in person a one-time PR client, fellow Georgian and Team USA's Jordan Gray, who in 2021 launched the Let Women Decathlon campaign for which a half-page New York Times article was a feat for us both (f you have not done so already, please sign the petition). 

In Santiago, Gray competed in heptathlon to earn bronze with a score of 5,494, with Team USA's Erin Marsh earning gold with 5,882 (visiting with her father during day one of heptathlon, I learned Marsh is also from Georgia). 

Off the track I found time to take in a women's water polo match, some field hockey and rhythmic gymnastics and some pin trading, ultimately returning stateside with about 50 new designs. 

The trip also afforded time to visit three great museums including La Chascona, Pablo Neruda's home shared with his mistress, as well as the modern art collection of Museo Ralli steps from the city's fantastic public trails, and the top of South America's tallest building with spectacular views of the surrounding Andes. 

Is a return to the Pan American Games in works? Yes, please count me in for the XXth edition of '27 in Barranquilla, Columbia. 

And a return to Santiago? Absolutely, as soon as possible!

Photos by Nicholas Wolaver

Monday, July 31, 2023

Reflections From Thrice Meeting Sinead O'Connor


About 10 years ago I started compilation of a most-loved "Big Song List." 

Of the 2,850 tunes saved to date, few artists enjoyed as many or more noted works as Sinead O'Connor, who sadly died earlier this month.

Reflecting on her passing and my personal journey with her catalog brought to mind three introductory encounters with the Irish singer. 

Like tens of millions of fellow fans, my first brush with O'Connor's powerful voice and iconic gaze arrived in early 1990. The new decade had just opened, and on a mid-winter weekend to attend a Rotary Teen Leadership Retreat held near the Marland Mansion in Ponca City, Okla. (hometown of 1960 Olympic gold medal wrestler Shelby Wilson), Sinead first appeared.

In my shared room for the weekend, MTV was the only decent channel for a 17-year-old, and on the night of our arrival "Nothing Compares 2 U" was in heavy rotation. And, oh, my God, it was captivating! (In those days we did not abbreviate OMG!)

Memorable was the visual alternation from pensive garden strolls to tight, tearful closeups of O'Connor's hypnotic eyes, which climactically spill over as the song crescendos, a scene later replicated twice my Margot Robbie, first in the title role of "I, TONYA" (reviewed here) then again as the lead "Barbie" -- but I think directors of Sinead's video took their cue from Glenn Close's final scene in 1988's "Dangerous Liaisons." 

The video inspired discussion among the impressionable teen attendees before and after the event's keynote speaker, prominent Oklahoma businessman Vince Orza, presented his remarks.  

The 1990s and early 2000s provided further opportunities to get acquainted with Sinead's work. I purchased a cassette of "I Do Not Want What I Haven't Got" and received "Universal Mother" at Christmas 1994. 

Between the acquisitions, the famous "Saturday Night Live" incident occurred, which I missed in real-time, later citing SNL skits of preceding and following weeks among my favorites. Not surprisingly, NBC.com is experiencing "technical issues" preventing clip access. 

By the early 2000s, my career started to gel in Atlanta, with The Tabernacle -- an historic downtown church restored as a concert hall in time for the 1996 Olympics -- emerging as a media relations client. When O'Connor performed for a packed house there in 2007, attending was a no-brainer, and she put on a fantastic show for which apparently few recall the exact setlist

After the intimate concert, dozens of fans including myself lined up in the parking lot, cautiously optimistic for an autograph or photo. 

When she eventually obliged, signing my concert ticket, I asked her to verify whether she once resided in Atlanta as heard around town

She had indeed, replying in her friendly and softspoken voice that she lived here with "her boy" (her youngest?) for a spell. In retrospect, it's possible her "boy" in this context was an agent who, years later, she referenced in her autobiography as a frequent guest of Atlanta's thriving strip club scene. 

Now, nearly 16 years later, I don't recall much more from the conversation except that she not only made, but also sustained for more than a minute, sincere and smiling eye contact for our entire chat, which was very powerful. She also had a firm handshake as she thanked me and moved on to the next fan with her black Sharpie pen on the ready.

I also came to respect what came next. Excited by the surroundings and eager to pose another question (and to attempt a second autograph, this time with my Sinead cassette liner notes), I stood in line again while she spoke with others, eventually asking what became my standard query of other celebrities: What's been your experience related to the Olympics?

Sinead politely paused with another fan, turned my direction and softly admonished me, "Now, please, I was able to answer your question earlier and now it is another person's turn (implying so let's not spoil it for them, while motioning to my already-signed ticket, as though to state, "sorry, only one to a customer"). 

Message received, I smiled back and sincerely thanked her again while making space for others to interact. And then she turned to board a bus and exited the scene. 

Over the years of sharing this story, it's set a high bar for other A-list conversations, also shaping how I respect other fans in those moments. 

Flash forward to October 2019, when a pair of Sinead concerts went on sale scheduled for March 22 and 23 at City Winery Atlanta the following year. Lucky me, I snapped up one front section seat for each evening ... at a bargain price of $105 each! Would this pair of events provide an option for long-awaited follow-up questions? 

Sadly, by March 12, 2020, the world shut down due to COVID-19, and both shows got rescheduled for June 2021 only to be indefinitely postponed again. Reading her autobiography "Rememberings" was small consolation -- on the last page she wrote, "I've decided to start school in autumn 2020 and go out on tour again (I hope) in the summer of 2021." Regretably, that never happened. 

Through the arc of these 1990-to-present experiences, O'Connor's religion shapeshifting resonated with me. Here's another person who grew up with questions about organized religion and tested the waters with several. 

Her book and archived interviews delve into her personal journeys with Catholicism, Judaism, Christianity and Islam, which she Tweeted, "This is the natural conclusion of any intelligent theologian's journey" according to news reports.

And in 2019, upon viewing Natalie Portman's role as a pop star with serious issues in "Vox Lux" I could not help wondering the extent to which O'Connor's roller coaster career impacted the writers and performers

Some did compare Portman's and Sinead's shaved heads back in the day and more recently. The former's fictional media interviews in the film definitely are reminiscent of the latter's real life media convos. When given the chance to one day speak with Portman, I'll be sure to ask. 

During summer of 2017, while traveling in New Jersey, reports of O'Connor's post from a Hackensack Travelodge gave pause. Which brings us to the now. 

My third time "meeting" O'Connor arrived these last few days since the BBC and other international news organizations announced her death. With each tribute post or report, such as NPR's summary of O'Connor's career, I started learning about fantastic recordings by Sinead that proved new to my ears or not heard in years. 

Here's are a few notes from by "Big Song List" favorites and/or the recent discoveries marked with an asterisk:

Troy, with perhaps my favorite of her lyrics:

"Oh, I love you. God, I love you. I'd kill a dragon for you. I'll die, but I will rise. And I will return: The Phoenix from the flame! I have learned, I will rise, and you'll see me return, being what I am. There is no other Troy for me to burn."

Heroine, with The Edge, for the film "The Messenger." Bring me into your arms again. 

Sacrifice, the Elton John classic reimagined.

Harbour, a personal favorite discovered in 2002 via Moby's "18" release. The saddest songs are played on the strings of my heart. 

*Never Get Old, with Enya reading Psalm 91:13. Sources state O'Connor wrote this at age 16. Thanks, Neda Ulaby.

You Made Me the Thief of Your Heart, her second collaboration with U2 members, this time with Bono, in the name of cinema. 

*Mother, with Roger Waters in Berlin. OMG!

Blood of Eden, with Peter Gabriel. 

Feel So Different, ... taught me the "Serenity Prayer" and a few other things. Started off with many friends and we spent a long time talking. I thought they meant every word they said, but like everyone else, they were stalling.

*Irish Ways and Irish Laws -- A fantastic discovery via "The Arsenio Hall Show" archive (her 15+ minute conversation with the host is one of the best celebrity interviews out there in TV Land)

Drink Before the War, with these contemplative lyrics ... admonishing an unnamed someone at the top of her lungs:

"And your parents paid you through, You got a nice big car - nothing bothers you. Somebody cut out our eyes, you refuse to see, ah, Somebody cut out your heart, you refuse to feel. And you live in a shell, you create your own hell. You live in the past and talk about war. And you dig your own grave, yeah, but its a life you can save, oh, So stop getting fussed, it's not gonna happen. And you'll cry, but you'll never fall, no, no, no. You're building a wall. Gotta break it down, start again."

The Emperor's New Clothes, which O'Connor referenced in the April 5, 2020, epilogue to her autobiography. Of Donald Trump she wrote, aptly frustrated, "None of the reporters ever ask him, 'Sir, what is wrong with you?' Negligence ... and it goes on and on. No matter what he does."

Last Day of Our Acquaintance, which, if the mood is right, I quote to fellow passengers after boarding and fastening my seatbelt on flights: "I know you don't love me anymore." At least once, the person next to me replied with the rest of that lyrical sentence, "You used to hold my hand when the plane took off." Then we laughed, until deplaning with, "I'll meet you later in someone's office." 

Scorn Not His Simplicity, by fellow Irish songwriter Phil Coulter. 

Tiny Grief Song, ... my grief, my grief, my grief, my grief, my grief. 

*Dagger Through the Heart, performed as requested by Dolly Parton.

I Do Not Want What I Haven't Got, ... for the bread of life is mine. 

You Do Something to Me, the Cole Porter standard she recorded for charity.

*V.I.P., one of her last songs, through which Sinead rhetorically asked fellow celebrities (specifically, Miley Cyrus and her peers, perhaps):

"To whom exactly are we giving hope, when we stand behind the velvet rope, or get our pictures taken with the pope, like some sick April fool's kind of joke?" 

On the day of Sinead's passing, one of my close friends quipped that he knew of no obvious O'Connor Olympic connection for a tribute by this five-ringed blogger. Inspired and challenged by his comment, I searched for and found two, the first of which tops this post. It's an image taken in the late 1980s at Dublin's popular Olympic Ballroom. 

The other regards Sinead's starstruck notes in her "Rememberings" chapter titled "The Greatest Love of All." This is my favorite section for the apex of joy it seemed to deliver, and it tethers to various memorial posts logged on this site in 2016

"The most incredible experience I ever had, apart from having children, was meeting Muhammad Ali," wrote O'Connor. "Not only did I meet him, but myself and my eldest son, Jake, escorted him to the Special Olympics in Dublin in 2003."

In her description of that Rome Olympian encounter she later wrote, "That guy is my biggest hero ever" (her quote to Jon Bon Jovi, who set up the Ali introduction and, indirectly, inspired the moment of conception of O'Connor's fourth son, Shane, whose full name includes the Olympic champion's nom du guerre). Through this chapter, O'Connor at once poignantly and accidentally sets the joyful antithesis of her son's later suicide. It's a happy chapter, though tough to read with that later context. Another cheerful and insightful version of her Ali encounter appears in this Equire article from that time in their lives. 

To wrap up this tribute post of appreciation, scroll down for an Irish all-star assemblage courtesy of "The Late Show with David Letterman" archive. 

Only Sinead could get away with laughing in Van Morrison's face. Brilliant!

Top photo from Dublin's Olympic Ballroom via The New York Times and Independent Newspapers Ireland/Getty Images. Jan Hooks/SNL photo via NBC. Ali photo via AP/Esquire/Getty Images. Ticket photo by Nicholas Wolaver. Tabernacle photo by Robb D. Cohen via AJC.com. "Rememberings" jacket designed by Mark Robinson w/photo by Herb Ritts via Houghton Mifflin Harcourt. "Vox Lux" image via IMDB. 

Tuesday, July 25, 2023

Paris 2024 Unveils Nouveau Olympic Torch Design


Building upon last month's announcement of the torch relay route for next summer, Paris today revealed its 2024 Olympic torch design, with blended themes of equality, fluidity and tranquility. 

Or to be more precise, the new torch is "inspired by equality, water and peacefulness" according to press materials shared under embargo until today's unveiling in the French capital. 

On a press preview call last week, Paris 2024 officials shared numerous details in anticipation of the announcement du jour, the penultimate date for tomorrow's "one year to go" milestone for next year's opening ceremony.

When the design competition opened, each of the 10 entrants enjoyed near carte blanche options to dazzle the selectors. From a finalist field of three, French designer Mathieu Lehanneur earned the assignment "chosen for his poetic and highly symbolic approach, along with his ability to grasp the values and expectations of Paris 2024," according to this announcement

On the press call, Lehanneur also shared that organizers encouraged his team to submit multiple design proposals, but in spite of this option, they went all-in and did not deviate from the final, reflective concept that was at once elegant in its simplicity and complex in its operational features to withstand intense wind, rain or other forces of nature. 

"We wanted to be sure it achieved balance with a message," said Lehanneur. "We [later] discovered in the process that it is a super complex design to keep the flame beautiful and visible."

The Paris 2024 torch is sleek and original, for the first time equal in shape and curves from the center to its top and its base handle. The "perfect symmetry" features an "equator" of gold. 

Perhaps a figurative "toast" to the torchbearers, my take is each of the halves resemble stylized bottles of wine fused at their bases. 

While the top half of the torch is smooth with a Champagne-colored matte finish -- showcased in the press kit as "bead-blasted" -- the lower half is fluid and mirrors light like waves of, and reflections from, surf or a running stream, symbolic of the Paris 2024 Olympic Torch Relay's planned journey across the Mediterranean Sea and four oceans. 

When I asked if this torch was designed for use beneath the surface -- like the flame sticks of Sydney 2000 and Sochi 2014 held by scuba divers -- officials confirmed there are "no plans" for this torch to be submerged, but that "new surprises" will be revealed during upcoming months, including the cauldron from the same firm.

The design's hollow, round top enables the fire within to burn up and out, but also a "flame slip" cut into the steel will encourage fire to wave outward "like a flag" as the torchbearer walks or jogs forward. 

Other facts about the new torch:

  • Fabricated from 100% recycled scrap steel with equipment typical of auto manufacturing lines
  • Finished with a high-tech coating that "cleans easy" while encouraging patina from flame ignition
  • Weight is 3.3 lbs (1.5 kg)
  • Measures just over 27.5 inches (70 cm) long
  • Widths = 1.38 inches (3.5 cm) to 3.94 inches (10 cm) 
  • The smooth, groovy "waves" enable even nerveuse/nerveux torchbearers to get a grip
  • While the torch exterior and assembly is tous Français, the inner workings rely in-part upon engineering used for the Tokyo 2020 torch design as well as fabrication in partnership with Luxembourg-based ArcelorMittal, which built the public art/attraction "Orbit Tower" at London 2012's Queen Elizabeth Olympic Park and will install the cauldron as well as monumental Olympic rings of steel at iconic Parisian sites.

One surprisingly petit number for the Paris 2024 torches is the quantity produced: Only 2,000, which was a conscientious decision by organizers in the name of sustainability. 

I personally wondered, but stopped short of asking, whether they realize this vast reduction from over 10,000 may make the collector's market go fou furieux (berserk), but then, their mission had nothing to do with the relay's likely aftermarket. 

When more than one reporter pressed about the quantity, organizers explained that "some" (dozens? hundreds?) replica torches of the original size will be made, but not carried in the relay, for sponsor, educational/museum or ceremonial purposes. Miniature replica torches also will be produced, presumably for retail sale. 

Now that LVMH signed on as a Paris 2024 sponsor, maybe the torchbearer uniforms will be touched by Dior or Louis Vuitton.

Back to the inspiration behind Lehanneur & Co.'s bold work: In terms of equality, the parity of female:male entrants at Paris 2024 led to the reflective, symmetrical design from the center of the torch outward. 

In addition to the seas and oceans the flame will cross, Paris' "backbone" the Seine and "waves, reliefs and vibrations" influenced the fluid forms that resemble the "Ocean Memories" series of surreal furnishings in his New York studio's portfolio

Finally, the soft curves, rounded edges and gold touches via the 2024 Games' blended Olympic/Paralympic logo are intended to convey generosity and peace to those who witness the relay.

"Our intention was to break away from past designs" which Lehanneur described as "vaselike" or typically featuring a larger diameter at the flame end in the last several Olympiads. 

Videos posted to the design firm's Instagram account show some of the wind tests and other engineering feats -- such as slicing one of the "flame slips" with a steel cutting device -- are impressive. 

"Form is the substance which rises to the surface," said one of the greatest French writers of all time. Of the Paris 2024 torch design, I think Victor Hugo would, and all of France should, be proud. 

Most photos via Paris 2024 press preview documents; Eiffel Tower reflection image by Piotr Jacqewski/Getty Images. 



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