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The nostalgia factor is strong

They might appear to be a relic of bygone days, but there’s still a demand for the modest cassette. CDs and digital streaming appeared to spell the end for the mixtape, yet in a corner of Manchester’s Northern Quarter they’re flying off the shelves.

That’s down to Mars Tapes, widely regarded as the last cassette shop in the UK. Operated by Alex Tadros and situated inside Manchester’s independent shopping haven, Afflecks Palace, it’s been hugely successful and is now gearing up for its next phase.

“After seven years of growth, we are entering into our third expansion. This time moving down to a much larger unit on the 1st floor of Afflecks Palace — one of the biggest units in the building,” Alex says.

Mars tapes stocks a selection of classics, a ‘Rewind’ series — official tapes missing their paper inserts — mixtapes and consignments of new music from major labels.

The new premises will showcase an enlarged library of cassette tapes, a broader selection of refurbished vintage audio equipment, and the launch of the Mars Tapes Listening Cafe — a designated area where patrons can savour a coffee whilst listening to tapes from the shop’s collection, reports the Manchester Evening News.

To mark the expansion, they’re throwing a weekend party on March 7 and 8.

The venue will feature a Dave Haslam DJ set on the Sunday and a live gig from emerging Glasgow outfit Cowboy Hunters on the Saturday — the latter will be dropping a new EP on cassette through Sour Grapes Records.

The weekend will also welcome Horace Panter (The Specials), who will be showcasing his cassette artwork throughout both days. There will be a range of in-store discounts for various cassette products, with food and drinks specials available as well.

“Our cassette shop launched back in 2019 in perhaps the smallest unit in Afflecks Palace, and we never expected to grow in the way we have,” adds Alex.

“Now in the midst of our third expansion, into one of the biggest spaces in the building we wanted to celebrate with all of the cassette aficionados that made it possible! We’re offering food, drinks and in-store deals, alongside some fantastic live music from Cowboy Hunters, and DJ sets from Dave Haslam and Glue Tape Jockeys (a cassette DJ set).

“We’re also excited to be bringing down Horace Panter of The Specials who will be exhibiting some of his fantastic cassette based artwork. It’s gonna be a tape heads dream weekend and we can’t wait to welcome everyone down to the new store.”

The launch celebration will run on March 7 and 8 at Afflecks Palace, 52 Church St, Manchester M4 1PW. Complimentary tickets can be secured via Skiddle.

MILAN — When she skated, Tara Lipinski was always nervous. But it was different before the free skate of the 1998 Olympics. The teenager cried that morning. She called her parents after the six-minute warmup and said she couldn’t do it. Her legs were physically shaking in her beginning pose. She didn’t know what to do.

“When you go to the Olympics, there’s no training for that,” said Lipinski, now an analyst for NBC. “You don’t know what it’s going to feel like ‘til you’re actually feeling it.”

The awe-inspiring dream that often starts as a child can quickly turn into a nightmare for athletes who get blinded by the bright Olympic spotlight. While Lipinski realized her dream, becoming Olympic champion in Nagano, she knows the suffocating feeling of competing under the Olympic rings.

She knows the stress that devoured Ilia Malinin on Friday in Milan.

Malinin’s meltdown from favorite to eighth place underscored the unpredictability of the Olympic stage. The 21-year-old dubbed “the Quad God” was supposed to unleash the first quadruple axel in Olympic history. The four-and-a-half twisting jump he successfully executed when he was 17 has been the talk of the Olympic cycle.

Battling nerves and the conditioning needed for a long Olympic competition, he didn’t use it during the team competition or his individual short program. The free skate would be the last opportunity. It felt like the perfect coronation for the soon-to-be Olympic champion.

Then he bailed midair.

“I think that, for me, I would be like, ‘Oh, man, I just missed what everyone was waiting for,’” Lipinski said. “You go through that minute of being rattled and you have to come back to [the program]. … The next jump [he] wasn’t able to completely reset and shake it off. And then once that next mistake happened — and for Ilia, who doesn’t make mistakes — I think that was probably very difficult for him.”

The standing-room-only crowd gasped when Malinin gave up on the quad axel. Fans grew more uneasy when he fell two jumps later. They tried to urge him on as the mistakes piled up. Instead of joyful encouragement, the clapping felt like desperation in the arena.

Ilia Malinin falls during his free skate at the Milan-Cortina Games on Friday.

(Robert Gauthier / Los Angeles Times)

Eight years ago, when Nathan Chen bent under the Olympic pressure in Pyeongchang, the crowd’s gasps each time he stumbled through his short program only made one of the hardest moments of his career even more difficult.

“That just hurts you to your gut,” Chen said in a video for Yahoo Sports. “You get up and mentally you have to refresh … but also the energy just changes in the arena. You can tell there’s tension now.”

Chen, then 18 years old in his Olympic debut, bounced back in a fearless free skate that moved him into fifth overall. He became almost unbeatable for the next Olympic cycle. At the Beijing Games, he set the world record for the short program, exorcised the demons from 2018 and became the United States’ first Olympic gold medalist in men’s singles in 12 years.

Malinin was a contender to be at those Games four years ago. He finished second in the 2022 U.S. championships, but was left off the Olympic team in a controversial decision. Then just 17, he was only in his first full season of senior competition.

But Malinin was already poised to be the future of the sport. Simply going to the Games as an understudy to Chen’s leading role would have been valuable experience.

Instead, U.S. Figure Skating selected third-place finisher Vincent Zhou and fourth-place Jason Brown.

Sitting with his coaches while waiting for his score Friday, a frustrated Malinin said if he had been sent to Beijing, he “wouldn’t have skated like that.”

“It’s not easy,” he said as cameras zoomed into his face.

He shrugged. He reset.

“It’s done,” he said.

“I think if I went to ’22 then I would have had more experience and know how to handle this Olympic environment,” a composed Malinin said in the mixed zone interview area. “But also, I don’t know what the next stages of my life would look like if I went there. So now all I can do is just regroup from this and really just take in the information that happened and just figure out how to manage in the future.”

Malinin has said he wants to skate for three Olympic cycles. The first attempt ended in shattering disappointment. That could only make the comeback sweeter.

“He will dominate the sport for years to come,” Lipinski said. “This was a huge, obviously, heartbreak for him, but we will see him rise again.”

Before hitting the stage, the comedians of the TV series “Jokes with JoySauce” have an on-camera ritual of exchanging immigrant stories about growing up with their families. There is no audience during these moments, just comics being vulnerable with one another.

The tales give insight into the lives they live offstage and their perspectives as Asian Americans that inspire so much of their material. It lets the audience know more about these up-and-coming comedians without the generic stage introductions.

The series is part of the original program curated for JoySauce, available on Amazon Prime. It premiered in early January as part of the first free, ad-supported streaming channel dedicated to highlighting Asian American voices across comedy, film, reality TV and sitcoms.

Season 1 of “Jokes with JoySauce” is currently airing as part of the launching programming for the channel. Director and creator of the series Ana Tuazon Parsons is excited to watch it grow.

Narumi Inatsugu, from left, Cat Ce, Ana Tuazon Parsons and Jonathan Sposato at The Times’ office in El Segundo.

(Allen J. Schaben/Los Angeles Times)

“I’m still definitely going for that underground punk rock, like, let’s-find-some-cool-people kind of thing for Season 2,” Parsons said. “Bigger and better venue, and more budget, more budget, please.”

While Parsons focuses on cultivating new comedic voices, JoySauce wants to create its own opportunities for people in the community by broadening its mission of ownership and representation.

“We won’t really get the full spectrum of the representation that I believe that we deserve unless we own the pipeline and the platforms and the carriers and really the gateways,” Jonathan Sposato, creator of Joysauce, said.

He decided to bring the platform to the masses in 2022 after growing sick and tired of how much hate his community was going through and wanting to fill in a gap in the media. Media representation was also low for Asian American actors, with only 6% of all Asian characters in 100 titles on streaming platforms in 2022 in leading roles, according to a study by USC Annenberg Gold House.

“I do think positivity wins,” Sposato said. “Comedy is a very necessary tool, a necessary ingredient in the overall mix of what we’re trying to offer.”

His goal is to broaden the concept of Asian American culture through storytelling that would display what the U.S. has to offer while staying rooted in Asia.

“A win for JoySauce is a win for anybody who feels underrepresented, who doesn’t feel like they’re considered the normative mainstream,” he said.

At a time when attention is a currency, creating a space that’s focused on elevating AAPI voices will help diversify the media landscape.

“A win for JoySauce is a win for anybody who feels underrepresented, who doesn’t feel like they’re considered the normative mainstream,” JoySauce creator Jonathan Sposato, left, said.

(Allen J. Schaben/Los Angeles Times)

“As a comedian, you cannot complain,” Cat Ce, a comedian whose special “Perfect Chinglish” was licensed by JoySauce, said. “Nowadays, you want it on so many different platforms, you never know which kind of audience you may reach.”

Her work reflects the kind of storytelling JoySauce hopes to amplify. The comedy hour by Ce deals with the cultural differences when dealing with family, friends and romantic relationships as a Chinese American. For Narumi Inatsugu, that universality is the point.

As the chief creative officer of JoySauce, Inatsugu wants to create a space where Asian Americans do not feel outnumbered.

“For so long I thought nobody cared about Asian American stories,” he said.

As a curator of the channel, and host of the upcoming “Chopsticks and Chill,” an interview show where he shares a meal with influential members of the AAPI community, Inatsugu wants to create a platform where the younger generation can see the many opportunities life can offer, regardless of your cultural background.

“It’s community building, it’s letting people know they can be whatever they want, do whatever they want,” he said.

Season 1 of “Jokes with JoySauce” is currently airing and is part of the first free, ad-supported streaming channel dedicated to highlighting Asian American voices across comedy, film, reality TV and sitcoms.

(Allen J. Schaben/Los Angeles Times)

Throughout his years in the entertainment industry and in production meetings, Inatsugu felt like he couldn’t pitch certain stories because they were aimed at his Asian community. He hopes an outlet like JoySauce can create a safe space for creative minds to feel like they can be themselves and not feel outnumbered, the way he once did.

Everything in the details of a show will make people feel welcomed, from the people making it to the food that’s made available for the cast and crew.

During production of the first season of “Jokes with JoySauce,” Parsons made sure every aspect of the production was AAPI, including the food. Her production team made sure to fill the craft table with food that can be found at any Asian market. The sense of belonging is exactly the reason she built “Jokes with JoySauce” and why JoySauce exists.

“When I’d see the comics come up into the greenroom and their faces, it was like ‘Oh, I feel so like they were just reverted to their childhoods,’” she said. “It was just like they felt like they were at home with their families, and it was so important for me, it made me cry a little bit.”