A male Karen was escorted out of Disney’s Hollywood Studios in Florida on Tuesday while misquoting lines from Pixar’s A Bug’s Life.
In a video of the incident, the man is being escorted from the park for not wearing a face mask by security while yelling at bystanders.
Toward the end of the video, he starts trying to quote the movie in an apparent attempt to unite other anti-maskers and ignite a maskless rebellion.
“What was the movie that came out at Walt Disney World? It was called A Bug’s Life! Remember Hopper? He said, ‘If one guy stands up, one ant stands up’!” the maskless man shouts.
Disney Pixar fans probably won’t remember this exact line since it’s not entirely correct.
In the film, the villain Hopper—played by Kevin Spacey, no less—says, “You let one ant stand up to us, then they all might stand up.” This happens at the end of the film when Hopper warns the rest of the group of the rebellious ants.
It is not clear whether the young man next to him throughout the video is his son.
The video, uploaded by @MichaelSheehyJr has over 46,700 thousand views so far on Twitter.
Currently, all guests aged 2 and up are required to wear face coverings at Walt Disney World.
Today’s top stories
*First Published: Sep 16, 2020, 6:27 pm
Edward Medeles is an editorial intern for the Daily Dot. He is a current student at the University of Texas at Arlington where he studies graphic design.
The Number Ones Bonus Tracks: Gerry Rafferty’s “Baker Street”
Welcome to the Number Ones Bonus Tracks, the addendum to our regular Number Ones column. We at Stereogum recently wrapped up our fundraising campaign, and we’d like to thank everyone who donated to support this site and keep it going. To those All Access donors who pledged $1,000, I promised that I’d write a Number Ones-style column on a song of their choosing, as long as that song charted on the Billboard Hot 100. We’ll publish those once a week for the next couple of months.
Gerry Rafferty – “Baker Street”
PEAKED: #2 on June 24, 1978
SONG AT #1 THAT WEEK: Andy Gibb – “Shadow Dancing”
This column is at the request of Stereogum donor and former music blogger Mathan Erhardt. (That’s how he asked to be identified.) Here’s what he wrote about his pick:
As far as my song, it was kind of hard to figure out what direction to go. At first I thought about Eddie Murphy’s “Party All The Time” or Don Johnson’s “Heartbeat” but felt it might be too cheesy. April Stevens’ “Teach Me Tiger” and Chuck Mangione’s “Feels So Good” were also in the running.
But then I remembered two of my all-time favorite jams: Gerry Rafferty’s “Baker Street” and Jefferson Starship’s “Miracles.” They’re both songs I can remember from my childhood that have really stuck with me. I ended up going with my gut, and “Baker Street” won out.
Yacht rock does not exist. That’s the first thing you need to know. “Yacht rock” is a half-condescending and half-appreciative term retroactively applied to a bunch of the soft rock hits from the late ’70s and early ’80s, the rich and pillowy white-soul cruise music that conjures a certain velvety rich-guy-with-a-beard sense of luxury. At the time, nobody called this stuff yacht rock. If they had, the people who made the music probably would’ve been pissed off. (Today, it’s a marketing hook, and most of them seem to be cool with it.)
But even if yacht rock did exist, then Gerry Rafferty’s “Baker Street” would not be yacht rock. “Baker Street” is something else. The musicians who have come to exemplify the yacht-rock tag — Michael McDonald, Kenny Loggins, Christopher Cross — made swaggering and contented and self-assured music. “Baker Street” isn’t that. “Baker Street” might sound smooth and rich and buttery, but it’s a dark-night-of-the-soul song, a song for feeling pissed off at a world that seems to have no use for you. I’m sure there are plenty of people who own yachts and dig “Baker Street,” but “Baker Street is not for them.
The main reason why people think of “Baker Street” as yacht rock is its big, volcanic, slightly ridiculous saxophone riff. That sax is crazy. It basically serves as the song’s chorus — the monster hook that everyone remembers. The sax scans as smooth jazz, but it’s not actually smooth at all. It’s hungry, desperate, wild-eyed. It screams at the sky.
Gerry Rafferty did not, as far as I can tell, spend a lot of time on yachts. Rafferty came from Scottish coal-miner stock. His father, an Irish miner and truck driver, taught Rafferty Scottish and Irish folk songs and then died when Rafferty was 16. After high school, Rafferty worked a series of menial jobs, but he was always trying to break into the folk world. For a while, he busked in London. He played in a series of cover bands. He was in the Humblebums, a folk-rock group that also featured Billy Connolly, who would go on to become a famous Scottish stand-up comic and a star of both Boondock Saints movies. The Humblebums broke up in 1971, and Rafferty released a solo album that didn’t go anywhere. And then he got together with an old friend named Joe Egan to form a duo called Stealers Wheel.
Today, we remember Stealers Wheel for “Stuck In The Middle With You,” the jaunty, dazed folk-rock jam that soundtracked the ear-slicing in Reservoir Dogs. (“Stuck In The Middle With You” peaked at #6; it’s an 8.) Jerry Leiber and Mike Stoller, the classic Brill Buiding songwriters who helped Elvis Presley break through in the ’50s, wrote and produced “Stuck In The Middle” and all of Stealers Wheel’s other songs. That wasn’t easy for Rafferty. Stealers Wheel never made another big hit after “Stuck In The Middle,” and the duo broke up in 1975. For years, though, Rafferty was stuck in legal hell, trying to get out of his contracts. For three years, he wasn’t legally allowed to release any solo music. “Baker Street” came out of that period.
When Rafferty wrote “Baker Street,” he was constantly taking the train from Glasgow to London to meet with his lawyers. Some nights, he’d go visit a friend who lived on Baker Street in London. They’d get shitfaced and play records together, and Rafferty would sleep over before jumping on the train back home. The “Baker Street” lyrics tell that story. Rafferty, fed up with his career and with the life that he’s got planned out, stares down his own alienation. He sings the whole song in the second person, to himself: “This city desert makes you feel so cold/ It’s got so many people, but it’s got no soul/ And it’s taking you so long to find out you were wrong, when you thought it held everything.”
On “Baker Street,” Rafferty’s friend seems just as lost as he is. That friend has vague plans to buy land out in the country, to give up on drinking and random sex. Rafferty is skeptical and fatalistic. But as the song comes to an end, a tiny bit of hope creeps into Rafferty’s voice: “When you wake up, it’s a new morning/ The sun is shining, it’s a new morning/ You’re going, you’re going home.” The idea of home begins to sound like redemption, even if it just means Rafferty will be back on Baker Street again before he knows it.
Rafferty finally got to record “Baker Street” with a group of London session musicians in 1977. The saxophonist who plays that molten-lava riff is a guy named Raphael Ravenscroft, and there’s long been debate over who’s responsible for it. Ravenscroft, who died in 2014, claimed that he came up with the idea to play an old blues riff in that break in the gaps of the song. (Ravenscroft also hated his work on the record; he said his sax was out of tune.) But Rafferty’s collaborators have pointed out that the song’s demo doesn’t have any saxophone. Instead, it’s got Rafferty playing that riff on guitar. In any case, Ravenscroft kept playing on Rafferty records for years afterwards, so the resentment presumably didn’t run that deep.
There’s another funny subplot to the story of the “Baker Street” sax riff. In 1968, the American saxophonist Steve Marcus released a jazz record called Tomorrow Never Knows. Marcus’ album track “Half A Heart” opens with a riff that sounds a whole hell of a lot like that “Baker Street” riff. The Marcus record was little-heard, and so it’s hard to say whether Rafferty just came up with the same riff coincidentally or whether someone was, intentionally or otherwise, ripping someone else off.
But that’s the kind of thing that songwriters and lawyers and internet obsessives can fight over. The important thing is that “Baker Street” fucking slaps. Rafferty sounds calm, almost sheepish, and the music ripples and undulates all around him. It all seems like an uneasy fit — the lush keyboards, the chattering congas, the operatic drama of that saxophone. It could’ve descended into kitsch so easily. Instead, it hangs together, everything flowing into everything else. The saxophone and the vaguely David Gilmour-ish guitar solo — from Hugh Burns, the same session guitarist who would later play on Wham! Featuring George Michael’s vaguely kindred sax anthem “Careless Whisper” — tie “Baker Street” to a particular moment in pop-music history. But the yearning and ennui are forever. Late in the song, when Baker gets to that line about going home, it’s a genuinely moving moment.
As a six-minute song without a big vocal or a clear singalong hook, “Baker Street” made for an unlikely pop success. But “Baker Street” was a smash, and it allegedly took some serious chart chicanery to keep it out of the #1 spot. “Baker Street” stalled out at #2 right as Andy Gibb’s “Shadow Dancing” was in the midst of its seven-week run at #1. For six of those weeks, “Baker Street” was at #2. According to legend, the chart tabulators at Billboard had actually figured out that “Baker Street” had finally ascended to the #1 spot in one of those weeks, and they’d called the new chart into the producers at Casey Kasem’s radio show America’s Top 40. But because of a last-minute correction, Kasem had to re-record the end of that week’s show, putting “Shadow Dancing” back on top.
According to rumor, Bill Wardlow, Billboard chart director, made the call to keep “Shadow Dancing” at #1. Wardlow had supposedly gone to dinner with Andy Gibb’s managers, and he’d mentioned that “Baker Street” had knocked “Shadow Dancing” out of the #1 spot. Gibb had been scheduled to perform at a Billboard-sponsored show in New York, and his label threatened to pull him from the bill if Billboard didn’t keep “Shadow Dancing” on top, so that’s why “Baker Street” never got to #1. This is all pure speculation and hearsay, but it’s a good story. Record labels have been doing everything in their power to game the Billboard charts ever since those charts began, and it certainly seems possible that “Baker Street” could’ve been a casualty of all that. (“Baker Street” did get to #1 on the chart put together by Cash Box, Billboard’s competitor.)
Rafferty never made another top-10 hit after “Baker Street,” though the follow-up single “Right Down The Line” made it as high as #12, and the City To City album hit #1 and went platinum. But Rafferty was uncomfortable with stardom and resentful of the music business, and he didn’t much like playing live. He kept making records, but they sold less and less. After 1980, none of Rafferty’s singles made the Hot 100 at all. Rafferty went on to work with people like Richard Thompson and the Proclaimers, and he was self-releasing his music online as early as 2000.
Throughout his life, Rafferty had problems with alcoholism and depression — two things that seem pretty obvious once you give “Baker Street” a good listen. He died of liver failure in 2011, when he was 63. There are no longer clowns to the left of him or jokers to the right. He’s gone home.
BONUS BEATS: Here’s the solid country version of “Baker Street” that Waylon Jennings released in 1987:
(Waylon Jennings’ highest-charting single, 1980’s “Theme From The Dukes Of Hazzard (Good Ol’ Boys),” peaked at #21.)
BONUS BONUS BEATS: The British dance group Undercover released a version of “Baker Street” that was a hit all around Europe in 1992. In the UK, where Rafferty’s original had peaked at #3, this new “Baker Street” made it to #2. Baker reportedly hated the Undercover version, but I think it’s pretty good. Here’s the video:
BONUS BONUS BONUS BEATS: Here’s “Baker Street” soundtracking the basketball-court brawl from 1997’s Good Will Hunting:
BONUS BONUS BONUS BONUS BEATS: Here’s the surprisingly emotionally intense scene from a 1997 Simpsons episode where Lisa plays “Baker Street” on her new saxophone:
BONUS BONUS BONUS BONUS BONUS BEATS: Here’s the “Baker Street” cover that the Foo Fighters released as a B-side in 1997:
(Foo Fighters’ highest-charting single is 2005’s “Best Of You,” which peaked at #18.)
It Doesn’t Look Like ‘Live Rescue’ Is Going Anywhere, Despite Controversy
If you’re a Live Rescue fan, we have good news: Live Rescue, which follows EMTs and fire fighters responding to emergencies across the country, seems to be back for good after a brief hiatus due to COVID-19. Although some viewers were concerned Live Rescue wouldn’t be returning, Season 3 of the show premiered on Aug. 21.
Many are relieved ‘Live Rescue’ came back.
In May, a Redditor posted a thread on Live Rescue and if it had been canceled (the original post has since been deleted). After Live PD got the axe (Live Rescue is a spin-off), some worried for the fate of Live Rescue.
Someone replied to the thread, saying, “No, it is NOT safe to say it has been cancelled. It is, however, safe to say that the show is on a filming hiatus for the time being. My belief is that the show will return, once the serious threat of covid-19 abates. How long will that be? Who knows?” Live Rescue is definitely back, though.
Still, people wondered why Live PD was still airing at the time when Live Rescue wasn’t. “If I had to guess it’s due to the amount of precautions & PPE EMT’s & Medic’s require for each call compared to the police,” someone wrote on Reddit.
Here’s why some people aren’t watching ‘Live Rescue’ anymore.
There are some Live Rescue fans that are upset with A&E for canceling Live PD and Cops. After the killing of George Floyd back in late May, A&E re-evaluated the ethics behind the cop shows and decided to pull the plug.
“I did not watch nor will i watch A&E until live pd is either reinstated or sold to another network. As much as i enjoyed live rescue it was wrong in so many ways to stop supporting LEOs when they needed it most. So I suggest you recheck your facts cause someone got it wrong!” one person tweeted.
I did not watch nor will i watch A&E until live pd is either reinstated or sold to another network. As much as i enjoyed live rescue it was wrong in so many ways to stop supporting LEOs when they needed it most. So I suggest you recheck your facts cause someone got it wrong!
— Ed Rosinski (@BC48708) September 19, 2020
Live Rescue also received some backlash after privacy concerns were brought up. Back in November 2019, Live Rescue filmed an intoxicated woman in Sacramento who fell and hit her face on the pavement just as firefighters and paramedics arrived.
The episode showed everything, although it did blur out the woman’s face. The Sacramento Bee was unhappy about A&E’s production in Sacramento, claiming the show takes advantage of impoverished communities and uses their lived experiences as entertainment — and that it’s more damaging than helpful.
“These shows are exploitive. Certainly when you call 9-1-1 in a moment of distress or have an emergency, you don’t expect a film crew to be coming to film you or your family member, child or loved one. It’s trauma porn,” Kate Chatfield, who works for the Justice Collaborative stated.
Regardless, people were psyched the show was back. And it sounds like Live Rescue will always have its fan base.
Season 3 aired Aug. 21, and the season finale of Live Rescue (Episode 16) is scheduled for Saturday, Oct. 10. So we still have seven episodes ahead of us.
Thunder Rosa On Which WWE Star Is A Dream Match Of Hers, The Origin Of Her Name
Thunder Rosa recently talked with Chris Van Vliet and discussed a number of topics, including where her name came from. She revealed that she was trying to come up with a name that appealed to both Americans and Latinos, and also mentioned how her facepaint comes into play.
“Thunder Rosa came out after we came from a show – and this is before we started wrestling,” Rosa said. “Donovan Troy was one of the guys that got me into wrestling, Indeed Wrestling. I used to work with him at Thunder Road, and him and my husband and I were in the car, and we’re like, ‘Okay, we got to come up with a name that appeals to Americans but also appeals to your Latino population.’ And we were going around and around, and we’re like, ‘How about Thunder Rosa?’ Thunder has the job and then we keep the R – Rosa, because Latinos, and then we started doing the whole chanting because it’s very important that makes sense, ‘Thunder Rosa!’ So, it just started like that.
“The backstory of the actual character and why I paint my face and everything came from – because everything is together, so, I went to Merced for a Lucha stream,” Rosa continued. “They wanted to bring more Latino fans in there but they didn’t have any luck, so, ‘Oh, you’re Latina! Let’s just paint your face because it seems like the Day of the Dead is really popular right now.’ Then, they painted my face.
“They really liked it, and then Manny Fernandez was like, ‘You’re too pretty. Just paint half of your face’. So, I just painted half of my face there, but I didn’t do that anywhere else because I didn’t want to be ‘The Luchadora’, ‘The Mexican Wrestler’, I want to be a wrestler. I want to be recognized as a wrestler, and I was like, ‘I don’t want to do that anywhere else’. I went to Japan. This didn’t work at all.”
Rosa then revealed how she was able to encompass her family history into her character as a professional wrestler.
“Then, I got a concussion and I felt like I was going to die,” Rosa added. “I was out of work for a whole month, and then my husband was like, ‘When you come back, you got to paint your face again because you got to do something different to get over, and I think the face paint is going to make a difference. And knowing you and telling a story later is going to make sense. So, I did the half-face paint and everybody loved it. They were like, ‘Oh my God! This is actually really cool,’ and then I told the story like it’s being almost dead, and coming alive, and just like a representation of that. And then, when I got signed for Lucha when Lucha saw me, my uncle came to see me on that show.
“My uncle used to watch wrestling, and he asked me the exact same question and I just give him the standard answer. And he told me that the reason why: ‘it all ties together,'” Rosa said. “The reason why I now paint my face is that when he was young, he loved wrestling. He used to go with my grandfather every week in Mexico in Tijuana. My grandfather died of a heart attack watching Lucha Libre, and he was on his lap. So, he told me, ‘I hated wrestling for so long and you brought me back to watch wrestling’.
“‘So, the reason is, it was in your destiny. It was in your future. You were going to become a professional wrestler because it was in your blood and you’re now representing what the real Day of the Dead is, representing those that have passed away in a better way. And every time you get into that ring, you’re fighting for them’. So, that’s pretty much what Thunder Rosa encompasses.”
Rosa went on to say that she was never a fan of WWE because it was “too fake” for her. She also said that she was never really into wrestling growing up and instead favored soap operas. She said it was only when she discovered TNA’s Knockout division that she fell in love with wrestling.
“I watched Soap Operas! I didn’t watch wrestling,” Rosa said. “I mean, it was there, literally, but it was Triple-A [Lucha Libre AAA Worldwide] and CMLL [Consejo Mundial de Lucha Libre]. I think the ones that I remember for sure were Mascrita Sagrada because he was on TV. Konnan, because Konnan used to do movies and he used to sing. There are a couple of ones from AAA that I watched, but I wasn’t really involved in the whole thing of Lucha Libre until I was 18 or 19. It was one of the first times I went to shows, and then I started going to Indie Wrestling.
“I didn’t really like WWE. It was too fake for me,” Rosa added. “I remember my cousin used to watch WWE when The Rock and Steve Austin were there . John Cena used to wear the big clock, and I was like, ‘What is this ridiculousness that you’re saying to watch?’ I was like, ‘This is so stupid. I’m sorry, it’s so stupid, and when I started watching it, it was around 2007, but it was TNA and it was the Knockout Division and I fell in love with it.
“It was so dope,” Rosa continued. “I was like, ‘Oh my God. These ladies can go!’ Kong [Awesome Kong], Cheerleader Melissa was there, Raisha Saeed, Gail Kim, ODB was my favorite! Victoria! I loved it! These ladies know how to do it. Those are the ladies that I remember the most because those are the matches I watched. Mickie James too, she was there.”
Rosa continued on about Mickie James, referencing how strongly she feels about her as a performer and even taking to social media to praise her in-ring work and ability.
“So as you can see, I didn’t watch your typical Bra and Panties Matches,” Rosa said. “I didn’t watch that until my friend was wrestling. He’s like, ‘You need to sit down with me. We’re going to watch these matches, and please promise me you’re never going to look like this,’ and then we watched Mickie James and Ashley Massaro. I saw Mickie James working to make this match look good, and he’s like, ‘You see this? Please don’t do that’.
“I remember when they had Evolution, Mickie James was in a match, and I tweeted, ‘Mickie James should be the MVP of this show,’ because I saw it,” Rosa said. “People like Mickie James have made me be a worker because you got to be a worker. You need to make sure your opponent looks good, especially if they’re like the favorite of the company. So people like that, that’s where I started looking up to that were workers.”
Mickie James was most recently involved in a match with Asuka where the finish was reportedly botched by the referee. Rosa mentioned her as one of her dream matches.
“That’s one of them [dream matches], yes,” Rosa revealed. “Sarah Stock as well. Hopefully she doesn’t retire and we can step in the ring; she’s so good! She’s so d–n good, and I love seeing her wrestle. Who else? I really don’t know. Maybe Deonna [Purrazzo] because she’s so technical. I think it would be a lot of fun because I don’t get to do those matches as often. She’s a lot of fun. I think those are the ones from now.
“Maybe have a one-on-one with Io Shirai,” Rosa added. “I never got the opportunity to do that in Japan. She was my trainer when I was in Japan and, oh man, she’s hands down one of the best women’s wrestlers in the world currently. She can work any style and she’s so good at selling, telling a story. Even if she doesn’t speak English, people are drawn to her, and I was just mesmerized when I used to watch her. Oh, Meiko Satomura. That’s another one.”
If you use any of the quotes in this article, please credit Chris Van Vliet with a h/t to Wrestling Inc. for the transcription.
Mehdy Labrini contributed to this article.
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