Catie Disabato - The Ghost Network

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The Ghost Network: краткое содержание, описание и аннотация

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Rainbow Rowell’s FANGIRL for adults, written with a penchant for old maps and undocumented 15th century explorers. For literary readers with a taste for suspense: two women hunt for a missing pop star and become ensnared in her secret society, following clues through the dark underbelly of Chicago. A frightening, whip-smart adventure through Chicago that begins when a pop star, Molly Metropolis, disappears before a major performance. And two young women who set out to find her. At first, the mystery of her disappearance is a lighthearted scavenger hunt…until they both realize that they’re in greater danger than they could have ever imagined.

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Then Peaches asked to see the map that Molly had just begun calling The Ghost Network. Molly didn’t want to show Ali and Peaches until it was finished, so she refused Peaches’s request. Peaches thought it was hypocritical of Molly to let Berliner see the map but refuse to show it to her, even as Peaches collected the raw materials for it. Peaches complained to Ali, who refused to participate in the conflict. To avoid her friends’ squabbling, Ali spent ten hours a day working, dancing, or copying maps, and the rest of her time with her boyfriend. Though Ali removed herself, she encouraged Molly to try to patch things up with Peaches.

During the last week of May 2008, Molly and Peaches met every night to try to work through their problems and instead spent hours fighting. Neither girl would relent, so they fought for days. It seemed to Ali that they would go on like this forever, that fighting would become the new normal mode of their relationship, then Peaches crossed a line. In early June, Molly found her trying to break into the computer Molly used to run MollyMaps. Later that night, she sent a text message to Ali and Berliner: “Peaches is expelled from the Urban Planning Committee.”

Berliner supported Molly’s decision, but Ali tried to reconcile the situation. She spoke to Peaches and Molly, trying to put a Band-Aid on a bullet hole. After a few days of needling from Ali, Molly wrote her an e-mail during a layover on a quick trip to Australia to promote Cause Célèbrety :

Ali dear, this is my last word on the subject. I don’t want to cut you off or keep you from expressing yourself, but I’m not going to relent and nothing you can say, or that Peaches can say for that matter, would change my mind. I’ve been betrayed on a personal level, a professional level, and an artistic level — betrayed so completely that even talking about it is difficult and painful for me. If it wasn’t you that I was writing to, someone I trust completely and who I feel confident that I can bare my soul to without putting myself in emotional danger, I wouldn’t be able to speak about this at all. I can’t talk to Nick about it, for example. I wanted to make sure you knew that. Peaches seemed to take my closeness with Nick as some kind of threat against her, and I wanted to make it absolutely clear to you that my relationship with Nick is separate from my relationship with you, and has no baring [ sic ] on how I feel about our friendship.

Peaches made it very clear to me, both in her words and her actions, that she no longer believes in our work — both in the Urban Planning Committee and our pop music. She felt trapped by my relative power. For example, she knows that even though she is no longer a part of my work, her nondisclosure agreements are so binding that if she talks publicly or even privately about any of my secrets, I will have the power to ruin her life in a serious way. I’m angry enough right now that I would probably do it. I trust she won’t talk about the Urban Planning Committee, in any case. I think that, unfortunately, she would sound insane if she tried to do so. I didn’t mean for it to be like that.

I know you’ve done some reading about the Situationists — so you know that to rigorously maintain the focus and driving force of the group, Guy [Debord] had to expel several members, including a few of his painter friends. I’ve exchanged a few e-mails with an academic named McKenzie Wark (under a pseudonym of course) who has just written a book about the Situationists, and has been asked to write the introduction to a collection of Guy’s correspondence. I convinced him to send me a few of the translated letters he’s working with and I read Guy’s own words on expelling members from the Situationists.

It comes down to this: it was incredibly painful for Guy to break with his friends and oust them, but if he hadn’t done so, the Situationists would’ve crumbled. I won’t let my own efforts crumble. I’ve worked too hard and come to [ sic ] far. If Peaches didn’t mean to hurt the Urban Planning Committee and my pop career, I would be able to work with her — but she acted against me deliberately. I can’t deal with that. I won’t ever see her again. I don’t care if you maintain a friendship with her, but you can’t speak to her about the Urban Planning Committee. If you do, I’ll expel you too. I’m sorry to sound so strict with you. I love you. Any forcefulness behind my words is because I’m hurt and frightened of losing you as well.

The first thing I want to do when I get back to Chicago is talk deeply and seriously with you. I miss you. I will see you when I return.

Ali and Molly did speak “deeply and seriously” and Ali reassured Molly, who put the incident with Peaches out of her mind. sMolly stopped worrying, and Ali continued her friendship with Peaches.

Meanwhile, Berliner and Molly had been working like mad on The Ghost Network, piling map on top of map at a frantic pace, as “Don’t Stop (N’Arrête Pas)” started to get more and more airtime on Top 40 radio. To keep up their breakneck speed, Berliner often traveled from Chicago to wherever Molly was promoting her album and singles. Berliner enjoyed visiting Molly’s other world, her vibrant life as a steadily rising pop star, so they were together for the climax of the work on The Ghost Network, on the set of the “New Vogue Riche” music video.

On August 31, 2008, more than a year after Molly and Berliner had begun building The Ghost Network, Molly’s dancers, entourage, and a film crew descended on a mansion in the affluent Los Angeles suburb of Westlake Village to shoot the music video for “New Vogue Riche,” Molly’s first EDM-influenced single. Molly conceptualized the video, which follows a girl who discovers a portal to her own city hidden inside the second floor of a fancy mansion. It is a sequel to her first music video, for “Don’t Stop (N’Arrête Pas).”

As she hadn’t yet proven she could record a hit, the label spent almost nothing on the “Don’t Stop (N’Arrête Pas)” video production. To direct, they had hired Danielle Skendarian (not yet as in demand as she is today, and therefore cheaper), rented a mansion, and told Joe Frank Parker to choreograph a “normal pop video dance.” tParker obliged and developed a routine that combined sharp jazz movement with provocative hip-hop dance aesthetics, plus a few movements that would become dance signatures for Molly: a slinky walk with little flicks of her legs, her hands blocking her face, her whole upper body still; rolling into what, in yoga, would be called a “shoulder stand” and haphazardly peddling her legs; and overall jerking, rather than fluid, movements.

SDFC had foisted upon Molly a concept for the “Don’t Stop (N’Arrête Pas)” video. It begins with Molly and her friends (Peaches and Ali) driving to a mansion on a hill, lit with teal and purple lights. During the chorus, they crash the party, and dance around as the guests dressed in Gatsby-esque costumes look on, perplexed. In a dazzling, back-lit close up, Molly lip-syncs her hook: “Don’t stop stop / stop never stop / Keep dancing, dancing / dancing ’til we drop.” She finds Astroman, the song’s producer, among the guests and gyrates against him, mouthing his lyrics: “Work, work, work your body / Pop, pop, pop a Molly.” The video ends with a long dance sequence on the mansion’s grand staircase. In the final shot, Molly laughs and runs up the stairs, an outtake edited into the video for its considerable charm. In later interviews, when SDFC was giving Molly more money and creative power, she called the “Don’t Stop (N’Arrête Pas)” video the intro to “New Vogue Riche.”

Molly designed the “New Vogue Riche” video herself. On the concept, she took creative input from Momo Waxler, her creative director, and her choreographer, Parker. Though SDFC and Rappaport, Molly’s handler from the label, had to approve of the concept before they would fund the video, they did so without giving Molly any notes and approved her choice of Skendarian to direct again. u

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