Get to Know . . .
On the Arcadia Stage OCTOBER 19 – DECEMBER 3, 2017
A new musical comedy about love, sex, and the fantasy at the other end of the line…
TouchTones AUTHOR'S Notes Why do we love fish-out-of-water stories? Dorothy Gale in The Wizard of Oz, Marty McFly in Back to the Future, E.T. and Edward Scissorhands — to name only a few cinematic fish. Maybe because we empathize with the disoriented, having felt this way so often ourselves; or because the fish out of water has to go on a treacherous journey (inside or out) to become who they needed to be all along. When it comes to technology, humans are always fish out of water. Technology evolves and advances, but we’re still people, with the same basic wiring we’ve always had. And as technology becomes more and more central to our quest for intimacy – through computers and smartphones and apps — we’ll continue to flop about on the beach, trying desperately to grow feet and lungs faster. TouchTones is a fish-out-of-water story. We found it together, through trial and error, research and invention, continually asking ourselves and these characters “Who are you? How’d you get like this? What do you love and fear the most? How far would you go to attain the former and avoid the latter?” Along the way, in making two very different worlds collide — those of the abstinence movement and the phone sex industry — we discovered ways that they, and the people that inhabit them, are more similar than we might think. We’re grateful to the many artists and institutions who have contributed to the development of this show, from early song presentations at the BMI Musical Theatre Workshop in NYC to full workshops at the Arden and Villanova University. Both Villanova and West Chester University — our “day jobs” as teachers — have generously advanced us and this endeavor through professional development grants. Finally, heartfelt thanks to our patient spouses and children, who have supported us over the past dozen years.
Michael Hollinger & Robert Maggio
About the Authors MICHAEL HOLLINGER (TouchTones Story, Book and Lyrics) Hometown:
York, PA
Family?: Married (since 1990) to actor/teacher/director Megan Bellwoar, with children Benjamin (21) and Willa (12). Dad (in Virginia), brother (in Portland, OR), sister (in King of Prussia); Mom (died in 2006). Grew up doing community theatre with Mom and Dad at York Little Theatre. First musical you ever saw?: Probably OKLAHOMA at Central High School. Loved the lyric “One’s like snow – the other’s more like milk,” and Curley sitting on a hot stove. Classic. Favorite author?: Changes every couple of years… I’m currently reading: WAR AND PEACE (no, really!), LET ME CLEAR MY THROAT by Elana Passarello, THE CREATIVE HABIT by Twyla Tharp (my current bathroom book), and BEING MORTAL by Atul Gawande (the audiobook in my car). When I’m not writing, I’m…: songwriters.
Teaching playwrights, solo performers, and
If you could be any character in fiction, whom would you be?: Godot. (If I actually wanted to appear, I’d be an actor.) ROBERT MAGGIO (TouchTones Story, Composer) Hometown: North Branch, NJ Family?: Married (since 1990) to artist and educator, Tony LaSalle; We have a 16-year-old daughter; I’m the youngest of four. I have two sisters (one in California, one in Pennsylvania), and one brother (Massachusetts). First musical you ever saw?: Jesus Christ Superstar (Original Broadway Production) Favorite composer?: Nope. That’s like asking me which one friend I’d like to invite to a party! I’m currently listening to: Everything all the time, but most recently I’ve been enjoying Lady Gaga’s “Joanne,” Perfume Genius’s “No Shape,” Broadway soundtracks, and classical music written by my fellow composer-friends. When I’m not composing, I’m…:teaching composers, performers and future music educators at West Chester University. And when I’m not doing that, I’m enjoying time with my family. If you were instrument, which would you be?: A tennis racket. Seriously, I love playing tennis. OK, a piano – all those notes!
A BRIEF SUMMARY It’s 1999, the cusp of a new millennium, and technology promises intimacy as well as anonymity. Christine and her fiancé Justin wander into this titillating world of roleplay, secret delights, and shifting identities; but who will they be when they come out again? (And will they recognize themselves?)
MUSICAL ACT ONE
NUMBERS
Golden Circle...................................................................................................Ensemble Ready.....................................................................................................Christine, Justin White Dress............................................................................................Justin, Christine Ready (reprise)..................................................................................................Christine You Gotta Be Who They Want.................................................Pearl, Holly, Teresa, Gary What Do I Tell Them?.............................................................................................Justin Good Thing....................................................................Pearl, Gary, Holly, Teresa, Brad Dream Date...................................................Brad, Christine, Gary, Holly, Pearl, Teresa Let Her Out...............................................................................................Brad, Christine Delilah..............................................................................................Christine, Ensemble
ACT TWO
Golden Circle (Reprise)...................................................................................Ensemble Sex Ain't What It Used to Be............................................................................Ensemble Real........................................................................................................................Justin All the Way...............................................................................................Brad, Christine What's Wrong........................................................................................................Teresa See Me...................................................................................................................Justin Good Thing (reprise)...............................................................Pearl, Holly, Teresa, Gary Circles................................................................................................................Christine See Me- Ready (reprise)........................................................................Christine, Justin You Gotta Be Who You Want (reprise).............................................................Ensemble
MEET THE CAST JESS CONDA (Holly) Arden debut! Regional: Performer and creator of 99 Breakups, Pay Up (Pig Iron Theatre Company); Mary the Maid in A 24 Hour the Bald Soprano (BRAT Productions); five summer seasons (Shakespeare in Clark Park). Jess has performed in numerous cabarets including Cinematic Human— a solo show self—produced in SoLow Fest 2017 and currently showing in living rooms in Philadelphia; Rock and Awe cabaret series (BRAT Productions); Bastille Day (Bearded Ladies Cabaret); guest soloist (Martha Graham Cracker Cabaret, various since 2006); guest host and chanteuse (Peek A Boo Revue, since 2013); Get Pegged, Red 40 and The Last Groovement (FringeArts). Training: B.F.A. from Arcadia University, Certificate, Pig Iron (2013, Inaugural Class).Teaching Artist: The Wilma Theatre, Yes! And... Collaborative Arts, People’s Light, Germantown Friends and Independence Charter School. Two-time Barrymore nominee, Outstanding Ensemble. Love and thanks to my given and chosen families for your constant support! MICHAEL DOHERTY (JUSTIN) Arden: La Bête (Du Parc); Incorruptible (Jack); Next to Normal (Henry); The History Boys (Posner). Off-Broadway: Dublin By Lamplight (59E59, Inis Nua). Regional: Noises Off, Peter and the Starcatcher (Connecticut Repertory Theatre); Hand to God (Berkeley Repertory Theatre); Man of La Mancha, Ragtime, A Christmas Carol (Milwaukee Repertory Theatre); Charley’s Aunt,Taming of the Shrew,Two Gentlemen of Verona (Utah Shakespeare Festival); Fully Committed, Into the Woods,The 25th Annual Putnam County Spelling Bee, Holiday Show with the Swing Club Band, HONK! (Theatre Horizon); Moon Over Buffalo (Gulfshore Playhouse); Musical of Musicals the Musical!, The Great American Trailer Park Musical (Montgomery Theater); Lend Me a Tenor (Act II Playhouse). Film/Television: Los Jarochos (Pilot); The Amazing Rondini (Short). Training: B.F.A. in Musical Theatre from the University of the Arts. Awards: Barrymore for Supporting Actor in a Musical (2011); Barrymore for Ensemble in a Musical (2011, 2014, 2015); Independent TV Festival Award for Best Writing (2013). This performance is dedicated to Joanne. KEVIN R. FREE (Gary) Arden: Flick in Violet (Barrymore Nomination, Best Supporting Actor). Off-Broadway: Curtiz in CasablancaBox (Drama Desk Nomination, Unique Theatrical Event); Bellomy in The Fantasticks, Memphis in From My Hometown, Playwright & Ben in Night of The Living N-Word!! (Overall Excellence in Playwriting, FringeNYC); Too Much Light Makes The Baby Go Blind (New York Neo-Futurists). Regional: James Farmer in The Parchman Hour (The Guthrie); Emissary Kim in A Single Shard (People’s Light); Donnie in Dot (Actors Theatre of Louisville). Film/Television: Law & Order: SVU, Law & Order, Cyberchase,The Coolest Girl in the World. The narrator of over 250 audiobooks;Voice of Kevin on Welcome to Night Vale. www. kevinrfree.com. Twitter: @kevinrfree. JOILET F. HARRIS (Pearl) Arden: Anna in A Doll’s House (Upcoming), Mazeppa in Gypsy, Lena in A Raisin in the Sun, Caroline in Caroline or Change, Landlady in Violet, Ophelia in Third & Indiana, Female Character in Jacques Brel is Alive and Well… Regional: Katie Nannah & Mrs. Corry in Mary Poppins (Syracuse Stage); Sue Bayliss in All My Sons (People’s Light and Theatre); Gloria Dump in Because of Winn-Dixie (Delaware Theatre Co.); Mother Shaw in Crowns (Human Race Theatre); Miss Jones in How to Succeed in Business Without Really Trying, Motormouth Maybelle in Hairspray (Walnut Street Theatre); Ella Fitzgerald in Ella, Ain’t Misbehavin’ (Weston Playhouse). Film/Television: Law & Order SVU (NBC); The Wire (HBO); Hack (CBS); Officer Donna in Philly (ABC). Thanks to Emmanuelle and the Arden team and God for ALL His many blessings! Thanks, as always, to Terry and the Arden staff! To God Be The Glory!! ALEX KEIPER (Christine) Arden: Mash in Stupid F**king Bird, Martha in Secret Garden, Alcyone & Others in Metamorphoses, Therese Du Parc in La Bete, Marie in Incorruptible. Regional: Suzy in Buzzer (Theatre Exile); Jessica in Hand to God (Philadelphia Theatre Company); Lizzie Bordon in Lizzie: a Rock Musical, Mogo in Field Hockey Hot (11th Hour Theatre Co.); Rosalind Hay in Moon Over Buffalo (Gulfshore Playhouse); Brigid in The Humans (upcoming, Walnut Street Theater). B.F.A. in Musical Theater from the University of the Arts. Atlantic Acting School Summer Intensive 2013. Independent Foundation Fellow, 2013. www.alexkeiper.com. Devotion and desire to Manu, Ryan, Mel, Michael, Rob, Alec, Leslie, Amanda, and the whole cast for standing hand-in-hand and taking a leap. Love to MDR&M. This is for Michael Doherty, thanks for sharing the stage and yourself. APRIL ORTIZ (Teresa) Arden debut! Broadway: Abuela standby in In the Heights (Richard Rodgers), Daniela in In the Heights (1st National Tour); Demeter in Cats (Shubert Theatre); La Cage Aux Folles (Pantages); Inez in Tio Pepe (Somewhere) (Public Theatre). Regional: Rita Mae in The View Upstairs (Culture Project Off-Broadway); Daniela in In the Heights (PCLO); Marina in Children of Salt (NYMF); Camila in In the Heights (TUTS); Denise in Bright Ideas (Laguna Playhouse); Stepmother in Medea Macbeth Cinderella (Yale Rep); Betty in Distant Thunder (Amas Theatre). Film/Television: Father Of The Bride I&II, The Majestic, Instinct, Braindead, Law & Order, Golden Girls, Everybody Loves Raymond, Coach, Mad About You, 8 Simple Rules, ER, Picket Fences, Down & Out in Beverly Hills, Empty Nest. DARICK PEAD (Brad) Arden debut! National Tour: Milky White, Rapunzel’s Prince in Into the Woods; Beast in Beauty and the Beast. Regional: Aldolpho in Drowsy Chaperone, Freddy in Dirty Rotten Scoundrels, Starbucks in 110 in the Shade (Hale Center Theatre); El Gallo in The Fantasticks (Robert Redford’s Sundance). Creator and director of Allegro Arts Theatre camp in Sutton, Nebraska. To my family, Hil, Judy, Jenna, and Katie thank you for all the love and support. Sure Love Ya!
Setting the tone: A dramaturg's process TouchTones dramaturg, Jessica Bedford, illuminates the process of dramaturgy and the role of the dramaturg in new play/musical development. putting the big action or event in dialogue and sing songs with more expositional or commentary moments. Where do you let your process begin?
Jessica Bedford For those who don’t know, what is a dramaturg? One of my favorite grad school professors said that, “Dramaturgy is the historical and critical conscience of a play.” It approaches a piece of theatre like an anthropological study: What was going on historically and socially when the play was written? How did that history affect the writing of the play and shape the themes and thoughts within it? And how/why are those themes and thoughts still relevant for an audience today? The answers to these questions effect how a play is designed, staged, and produced so it’s my job, as dramaturg, to provide that context and that research for the writers, actors, designers, and director. On a new play like TouchTones a dramaturg also keeps an eye on the developing structure of the piece. It can be hard for the writers to be both creators and editors at the same time. Too much of the latter can really stunt the former and we want our writers feeling as creative as possible. So I take some of the editorial burdens off their plate and pay attention to structure. For example, if a new scene introduces a new theme or storyline or conflict, I keep an eye out for where it’s resolved and make sure the play isn’t left with loose threads. How does the dramaturgical work for a musical differ from work needed on a play? Honestly, not very much at all. Music can change tone so I do help the writers keep an eye on whether or not a song hits the right note in a scene (pun absolutely intended). One also has to ensure that the plot moves forward on the songs instead of in the scenes. The terrible musicals I’ve seen almost always make the mistake of
Always with a good long date with the script. If it’s a new play, I then chat with the writer(s). If it’s an established play, I then chat with the director. The first question, though, is always the same: What do you want your audience to walk away thinking or feeling? Dramaturgs ask the playwright a lot of questions about the play. What are some questions you like to ask? Well, hey, see above. When it comes to editing and a writer is hesitating over cutting or keeping a moment, I like to ask, “What does this buy us?” or “How does this move the story forward?” When they can’t answer that, it usually becomes clear that the moment or line has to go. Having an objective viewer can really help a writer detach. When it comes to things that feel dropped or anemic, I like to ask, “Where does [xxx] live in the play?” You have to remember that when dissecting a play, you’re talking about someone’s creative work that they’ve poured years into. A good dramaturg’s questions should feel like invitations more than criticisms (even when their intent is critical). Describe the “world” of TouchTones for us. It’s a warm, open place, actually. All walks of life are embraced with humor and care. How do you know when you’ve researched a topic enough? Jessica makes notes in her script. Ah! The answer is “just enough.” You have to remember that you’re collaborating with people who have A LOT on their plates. Actors have lines, songs, and choreography to learn. The writers are generating new pages and slashing others. The director has
the entire production in her head. When someone asks for some research, give them just enough to answer their question but not so much that it overwhelms them. When passing along requested research, I try to keep it down to what a person can reasonably digest in one evening, after a long day of rehearsal. I leave it to them to ask for more if they want it. Is there anything you’ve discovered in your research that you found surprising? I can’t answer that question and keep this PG. Have you considered not knowing the answer to a question? How do you leave it unanswered? Absolutely! In fact, it’s critical to say “I don’t know” when you don’t know. If it’s a question that can be researched, I get to it until I find an answer (i.e. what did the cover of The Joy of Sex look like in 1999?). If it’s the writer or director asking me something that I don’t know the answer to, it’s even more critical to be honest. Lots of times they’re turning to me to be that objective observer so if they’re hoping I’ve picked up on a detail and I haven’t, they really need to know that because chances are the audience won’t pick up on it either. Also, theatre is a collaborative art. There can’t be trusting collaboration where there’s no honesty. What is the relationship between dramaturg and playwright? Composer? Cast? Dramaturg and Playwright This relationship has got to be close. After all, if the writer can’t be in the room, I’m something of his representative. If the playwright is the parent and the play is the child, the dramaturg is that best friend that can be counted on to babysit twice a week and has all the kid’s allergies memorized. Dramaturg and Composer A more watered-down version of the above.
Dramaturg and Cast Do you remember that librarian in undergrad who would point you in the right direction when you were researching a paper and was always really happy to see you and even remembered what your last paper was about and would ask after your grade? That’s me. I’m here to give them what they need and root them on. How does your role change once rehearsals begin? In tech? Before opening? Once a play or musical goes into the rehearsal hall, the dramaturg shifts into “hurry up and wait” mode, in terms of her research responsibilities. But the “objective observer” duty kicks into high gear.
To that end, I’m only in the rehearsal hall three days a week so that I can see things anew and so that I’m not biased from, say, overhearing a conversation about how so-and-so really wants this prop to work or this song to be cut, etc. As it gets closer to tech and opening, I also have to edit my notes/thoughts. At that point in the process, there’s only so much the director and actors are going to be able to fully incorporate so I only speak up about the big things. What do you most want audiences to take away from this story? Whatever Michael and Manu want them to take away. That’s not me being cute, that’s my role in this process.
Who is your favorite character in TouchTones and why? And/or favorite song? The best friend who babysits twice a week isn’t allowed to have favorite characters. I adore all of these actors and their portrayals equally. As for a favorite song, Delilah makes me stomp my feet, forget just tapping them. And I find myself humming Ready all week long. The melody is so lovely. What are you working on next!? Well, I’m playing Mrs. Cratchit in A Christmas Carol at the McCarter Theatre. How’s that for a change of pace?
About the Dramaturg JESSICA BEDFORD is a Philadelphia based theatre artist. Previously, at the Arden, she served as production Dramaturg on Equivocation and served as assistant to playwright Michael Hollinger on Under the Skin. She was formerly the Associate Artistic Director at Montgomery Theater where she oversaw the Education and Dramaturgy programs for five years. Jessica teaches at DeSales University, Temple University, Villanova University and the Walnut Street Theatre School. She is a member of the Dramatists’ Guild and Actors’ Equity Association.
Glossary of Terms • • •
TouchTones: the name of the company in which the main characters work PSO: Phone Sex Operator Golden Circle: a group of individuals who come together to celebrate abstinence until marriage
• •
Celibacy: the state of abstaining from marriage and sexual relations. Bad Date Throwdown: a competition amongst the TouchTones workers about who had the worst date the previous night
•
“Other”: Brad’s term for the different personalities a PSO has while on the line talking to customers
• Libido: sexual desire •
900 Number: As opposed to a 1-800 number, most phone sex lines used 1-900 numbers to have customers call in
•
Cyberspace: the notional environment in which communication over computer networks occurs
• • •
Voyeur: one who gains pleasure by watching others engaged in a sexual act Kurosawa: a popular style of Japanese film Wagga Wagga: a major regional city in the Riverina region of New South Wales, Australia.
PHONE SEX: BASIC FACTS AND HISTORY “Phone sex is the act of describing and simulating sexual activity over the phone. How phone sex is enjoyed can vary wildly from couple to couple, but often involves descriptions, fantasies, fetishized discussions, and other opportunities to express desires in a safe way. In many cases, phone sex is performed with a partner, often long-distance partners, whether temporarily or permanently. In others, phone sex is performed between an individual and a paid phone sex operator or a randomly assigned single looking to chat. The virtual sex industry is enormous, bringing in millions of dollars a year and creating countless opportunities for interested parties to engage in a safe, exciting way to explore fantasies. In these verbal elements lies the draw to phone sex; in a discussion over the phone, people may feel more comfortable sharing feelings and ideas without the intimate nature of face to face conversation. Using phone numbers with a 1-900 prefix, operators were able to charge a steep fee a few minutes of conversation. In the days before the internet, 900 numbers were frequently advertised in the back pages of magazines and adult-oriented media as well as on late night television, aired in the early hours of the morning, long after children were put to bed.” “You think that phone sex is about getting the caller off, but it's about keeping the caller on. It's about leading with your personality and making sure that they're still listening and they're still interested in you, because you cannot make money when they hang up. ... They pay by the minute, and I get paid by the minute,” said Oscar-nominated actress Gabourey Sidibe about her previous career as a phone sex operator (POS) in a 2017 interview with NPR. In 2011, Slate published an article about a 2005 report by the lobbying group Citizens for Responsibility and Ethics in Washington that found that “phone sex generates between $750 million and $1 billion in revenues each year with as much as 50 percent being retained by U.S. long distance carriers.” While phone sex is definitely less lucrative than videos and websites, it still occupies a significant, if declining, position in the porn marketplace. SOURCES:
http://www.chatlineguide.com/history-of-phone-sex http://www.npr.org/2017/05/08/527392123/actress-gabourey-sidibe-on-anxiety-phone-sex-and-life-after-precious http://www.slate.com/blogs/xx_factor/2011/12/19/phone_sex_lines_moms_want_the_job_but_do_clients_still_want_the_service_.html
REMEMBERING LIFE IN THE 1999S… • They Might Be Giants became the first major-label recording artist to release an entire album, Long Tall Weekend, exclusively in mp3 format. • The Blair Witch Project was in theaters, earning $248 million. • Other big movies included Star Wars Episode One, The Sixth Sense, Toy Story 2, Tarzan and The Matrix. • The price of a movie ticket was $5.00. • The New York Yankees won the World Series. • Cher, Destiny’s Child, Britney Spears and Brandy dominated the music charts with their hit singles. • Y2k, in which many thought that most computers would stop working when the year 2000 started, was a bust. • Billy Mitchell played Pac-Man for six hours non-stop to reach the 256th screen and achieve a perfect score of 3,333,360 for the first time. • Who Wants To Be A Millionaire? on ABC sparks the network reality television boom. Source: http://pop-culture.us/Annual/1999.html
“Talk to the Hand”
and other 90’s slang 'Dip' or 'Let's Dip verb...To leave. ex. 'Hang up the phone and let's dip.'or...'See you guys later, we have to dip.' Ah girl What's up girl? Aiight Alright, Okay All that and a bag a chips Means "I'm the best and then some." As if! 1) Excl. Yeah right! Phrase immortalized by Alicia Silverstone in "Clueless". Back In The Day expression. back in the days of..., '90s version of "When I was..." or "Remember when...?" Bangin'/Slammin' Has it going on.. Bling-Bling Wearing nice jewelry The Bomb 1) Adj. Par excellence! Out of this world! Boo Ya! a phrase of exlaimation after you've done something fly; or meaining "Ya bitch in yo face!"; often used after a "yo mamma" joke... Bounce To leave "lets bounce" Brutal Basically means bad "That movie was brutal dogg"
Bunk Crazy, messed-up... Buzz Kill Boring CHA-CHING!!! Costly Cheddar Money, cash, etc. Chica Means "chick" or "girl". i.e. "Hey what's up chica?" Chillin' It means that you doing O.K., or your fine. Dawg another meaning for a friend, an acquaintance..."What up Dawg!" Don't go there! Someone has just hit a touchy subject and the other person doesn't appreciate them getting in their business. Dope Synonomous with fly, cool, etc. Ex. "Yo, those shoes are dope, girl!" Dude! used at the beginning of an exclamation or a question. Duh!! Didn't you know that? Eat my shorts! "Screw you!" or "Go to hell!" used by the cartoon boy Bart Simpson in Matt Groening's "The Simpsons" FYI For your information. "FYI< i don't care"
Fine he/she looks real good, like "that guy is fine" Fly meaning cool, good, fun, etc. used mostly in the mid 90's, when the word "phat" was especially popular. (exp-"that dance was sooo fly") Freak out Go crazy, get really mad, i.e. "he freaked out when I told him" Fresh original, cool, nice, "the shit" Going Postal 1) Excl. Going crazy. Refers to the trend of some postal workers becoming violent. Hard / Hard nut / Tough nut A tough guy. "He thinks he's a Tough nut" Hella It means sort of like saying "really." i.e. "she was hella pissed!" Home Skillet meaning your friend or anyone you may wont it to be meaning! How's it hangin'? Expr. informal greeting, as in "How are you?" Jack verb) to steal something. i.e. "my car got jacked" or "don't jack my stuff" Like an insert in sentences when no other word is available Man, I'm Slammin Meaning I'm doing good today
My Bad! 1)Expr. My mistake
Stylin' Cool hair or clothes.
NOT! Adverb. Used as a function word to stand for the negative of a preceding group of words Oh snap... oh yeah, thats right
Sup The shorthand saying of "Wassup"
Yoink! v. to steal or take from someone,to skillfully acquire, etc.. You Straight Phrase. Are you okay or all right
Sweet Means cool (as in "That car is sweet")
You be trippin fool 1) Excl. You're wrong, or you made a mistake.
Old School adj./adv. old-fashioned, of the old style, etc. Usually a term of respect for the past greats of whatever discipline you're talking about (e.g., Do it old school like Elvis)
TMI Too much info!
Your Mom it's a come back, usually used when you can't think of anything to say back: ex/ "that was the dumbest thing i ever heard" "yeah, your mom!"
Peace out Bye
Throw Down To fight.
Phat! 1) Adjective. Cool, awesome, your hip or pretty hot and tempting.
Tight Great, The best
Talk to the Hand Another way of saying "I don't want to hear what you are saying."
dang it! Meaning ow man! Saying you hurt yourself or you got a bad grade or something. another is looking good.
Playa someone who is cheating on their significant other
Trippin' going off; overly critical of something or someone. Like telling your mom "Quit trippin' over my tattoo"
Po Po Noun. Term used for police
Tweak Hurt or fix up
faux adj. fake (from the French for "false")
Punked v. To be proven wrong; dissed; to be capped on. "That fool got punked on!"
Whassup Asking how someone is doing (usu. between two guys talking)..
m'kay noun; yes, okay, alright. Popularized by "The South Park Movie"
Whatever! Created by Alicia Siverstone in "Clueless".
sup 1) Excl. What's up.
Rolling verb. Feeling the effects of MDMA (E, X, Ecstacy). Salty 1) Verb. To make someone angry. eg. "Back off, Score! Shady Someone who acts cool with you, but really isn't. Shooter A person who shows off. Shwing If you see a hot chick you would say shwing while humping mid air. Snaps To give someone "Snaps" is like to give someone credit or applause.
Wicked A lot or very as in "that movie was wicked good" or "that guy is wicked hot!!!!"
deal verb. cope with the circumstances (i.e., "deal with it")
you go! excl. Good for you! More power to you! (usu. used with "girl": "You go, girl!")
Wig out 1) Verb. To freak out; go nuts about something Word Understood; I agree YO Hello Yadda Yadda Yadda Phrase popularized by the sitcom "Seinfeld". Often used to make a long story short, thus leaving out uncomfortable details.
Got some sweet 90â&#x20AC;&#x2122;s slang of your own you care to share? Use #ArdenTouchTones on Facebook or Instagram and tell us your fave 90â&#x20AC;&#x2122;s phrase!
The full list can be viewed at: http://www.inthe90s.com/generated/ terms.shtml
Special Thanks for Dramaturgical Research Provided by Jessica Bedford Michael Hollinger Robert Maggio Created by Rebecca Cureton Jonathan Edmondson Production Photos: Mark Garvin Promotional Photos: Ashley LaBonde, Wide Eyed Studios