L to R: Depeche Mode members Martin Gore, Dave Gahan, Alan Wilder, and Andrew Fletcher in Berlin in July 1984.
Michael Putland/Getty Images
Few bands inspire faith and devotion like Depeche Mode. Over a career spanning four decades, the boys from Basildon, England, have redefined what electronic music can look and sound like. With albums like 1987’s Music for the Masses and 1990’s blockbuster Violator, Depeche Mode forged a dark, sexy, mature synth-pop sound that has rocked stadiums across the globe. The 2019 documentary Spirits in the Forest shows just how deep a mark the band has left on diehard fans. For relative newcomers, here are 10 things you might now know about Depeche Mode.
1. Depeche Mode got their name from a French fashion magazine.
The name Depeche Mode carries a mysterious air of artsy European sophistication. But it’s not as exotic as you may think. Lead singer Dave Gahan cribbed the moniker from a French fashion magazine. Many fans believe Depeche Mode translates to “fast fashion,” but it’s apparently closer to "fashion news" or "fashion update."
2. Martin Gore got in the band because he owned the right gear.
Martin Gore of Depeche Mode photographed in West Berlin in July 1984.
Michael Putland/Getty Images
There was a simple reason Vince Clark tapped Martin Gore to join Composition of Sound, the group that would become Depeche Mode: Gore owned a Yamaha CS5 synthesizer. “That’s why we got him in—because he had a synth, not for any other reason; certainly not for his outgoing personality!” Clarke said.
3. Depeche Mode underwent a major lineup change after their first album.
The original Depeche Mode lineup featured Dave Gahan, Martin Gore, Andy Fletcher, and Vince Clarke, the group’s primary songwriter. Clarke penned nine of the 11 songs on 1981's Speak & Spell, the band's debut album, including the international hit “Just Can’t Get Enough.” Clarke quit that same year, leaving Gore to carry the songwriting burden.
4. Vince Clarke had a pretty good second (and third) act.
After leaving Depeche Mode in 1981, Clarke teamed up with powerhouse singer Alison Moyet to form Yazoo (or Yaz, as they were known in America). That soulful synth-pop duo released two albums and scored three top 5 hits in the UK including “Only You,” a song Clarke reportedly offered to Depeche Mode. In 1985, Clarke linked up with Andy Bell to form Erasure, an electronic duo that has scored 35 top 40 hits in the UK as of 2019. In America, Erasure is best known for the late '80s hits "Chains of Love" and "A Little Respect."
5. It took America a long time to catch on to Depeche Mode.
Depeche Mode scored a number of U.S. dance hits in the early ‘80s, but it wasn’t until 1985’s “People Are People” that mainstream American audiences finally warmed to these leather-clad synth-popsters. The anthemic plea for tolerance reached #13 on the Billboard Hot 100 and remained the band's biggest American pop hit until “Personal Jesus” in 1989.
6. Everyone in Depeche Mode has a specific job—sort of.
L to R: Depeche Mode's Andy Fletcher, Martin Gore, David Gahan, and Alan Wilder backstage at Madison Square Garden in 1987.
Michel Delsol/Getty Images
In the 1989 documentary 101, keyboardist Andy Fletcher sums up the band like this: “Martin’s the songwriter, Alan’s the good musician, Dave’s the vocalist, and I bum around.” Fletcher may have been selling himself short—he apparently handles a lot of behind-the-scenes managerial duties—but from 1982 through 1995, that was the basic division of labor. Martin Gore wrote the songs, classically trained keyboardist Alan Wilder helped to shape them, and Dave Gahan sang them. Since Wilder’s departure in 1995, Depeche Mode has essentially been a trio, and beginning with 2005’s Playing the Angel, Gahan has co-written three songs per album.
7. Depeche Mode sold out the Rose Bowl before a lot of people knew who they were.
On June 18, 1988, Depeche Mode wrapped up their Music for the Masses Tour with sold-out performance at the Rose Bowl in Pasadena, California. Paid attendance was 60,453. It was a major moment in the band’s career, especially since they’d only scored one Top 40 hit in America up to that point. Much of Depeche Mode's popularity in Southern California was due to KROQ, the pioneering L.A. radio station that championed alternative music in the ‘80s. Filmmaker D. A. Pennebaker, who famously documented Bob Dylan in the ‘60s, captured the concert for the 1989 documentary 101.
8. Depeche Mode's signature song was inspired by Elvis and his missus.
“Personal Jesus” isn’t Depeche Mode’s biggest American hit. That would be “Enjoy the Silence,” also off the Violator album. But thanks to covers by Johnny Cash and Marilyn Manson, “Personal Jesus” is arguably their most famous. Gore’s lyrics were inspired by Priscilla Presley’s 1985 memoir Elvis and Me. “It’s about how Elvis was her man and her mentor and how often that happens in love relationships; how everybody’s heart is like a god in some way,” Gore told SPIN. “We play these god-like parts for people but no one is perfect, and that’s not a very balanced view of someone, is it?”
9. Dave Gahan nearly became a rock ‘n’ roll casualty.
In the mid-’90s, Dave Gahan became enamored of the burgeoning alternative rock scene in L.A. He grew his hair long and developed a serious drug problem that nearly claimed his life on more than one occasion. In 1995, he attempted suicide by slashing his wrists, and the following year, he overdosed on a speedball—cocaine and heroin—at the Sunset Marquis Hotel. His heart stopped for two minutes, and he felt his soul leave his body. Fortunately, the courts allowed him to pick drug treatment over jail, and he’s been clean ever since.
10. Depeche Mode are huge in Eastern Europe.
Dave Gahan of Depeche Mode performs at Brooklyn's Barclays Center on June 6, 2018.
Taylor Hill/Getty Images
From their first shows in Hungary and Poland in 1985, Depeche Mode has enjoyed a special relationship with Eastern Europe. Before the collapse of the Soviet Union, when it was illegal to own Western music, fans behind the Iron Curtain somehow got their hands on Depeche Mode tapes and even copied the band’s fashions. According to some, the appeal lies in the melancholic, industrial nature of Depeche Mode’s music. The fact that it was banned made it all the more enticing to young people beginning to question authority. Eastern Europe’s love affair with The Mode continues to this day: One of the six superfans profiled in 2019’s Spirit In the Forest hails from Romania.
Do you follow Lin-Manuel Miranda on Twitter? If not, you should. The Pulitzer Prize-winning creator of Hamilton tweets prolifically—and delightfully—about his life and his work, dropping in inspirational messages along the way.
Twitter isn't the only place you can get a dose of Miranda these days: In addition to making the rounds at awards shows for his work as an executive producer on Fosse/Verdon (where he also made a memorable cameo as Roy Scheider), Miranda had a major role as Lee Scoresby in HBO's adaptation of His Dark Materials and had some fun playing a soldier in Star Wars: The Rise Of Skywalker.
This summer, Miranda will produce and star in the big-screen adaptation of his play In the Heights and is preparing to make his directorial debut with an adaptation of Jonathan Larson's musical tick, tick… BOOM. In celebration of Miranda's 40th birthday (Miranda was born in New York on January 16, 1980), here are some fun—and surprising—facts about the creative Renaissance man.
1. As a kid, Lin-Manuel Miranda couldn’t make it all the way through Mary Poppins.
Gareth Cattermole, Getty Images for Disney
In 2018, Lin-Manuel Miranda starred alongside Emily Blunt in Mary Poppins Returns—but he didn't see the original movie all the way through until he was an adult. Miranda recalled to Vanity Fair how, as a kid, certain songs would make him “burst into tears.” Those songs included Stevie Wonder's “I Just Called to Say I Love You,” Simon & Garfunkel's "Bridge Over Troubled Water," and a track from Mary Poppins.
“I couldn’t get through ‘Feed the Birds,’” he told Vanity Fair. “I was very sensitive to minor-key music, and that song was so sad that I don’t think I saw the ending of Mary Poppins until I was grown, because I would just cry. I loved ‘Supercalifragilisticexpialidocious.’ I loved Dick Van Dyke. I loved the whole movie but then that one song was so sad I kind of never survived it.”
2. Lin-manuel Miranda's talent for the dramatic was clear from an early age.
Miranda’s father, Luis, wanted his son to be a lawyer—but according to Playbill, it was clear after a young Lin-Manuel filmed an “infamous” video book report about Jean Merrill’s The Pushcart War in the third grade that he was destined for the stage, not the courtroom. Miranda posted the video to YouTube noting, “I got an A.” (You can enjoy it for yourself above.)
3. Lin-Manuel Miranda faked an injury to get out of summer camp.
Miranda—who was born and raised in New York City—did not enjoy his trips to summer camp. “Sending me to a place without electricity was a very bad idea,” he told Jimmy Kimmel.
Miranda wrote his parents letters from camp describing his malaise, and his flair for the dramatic was on full display: “Dear Mom and Dad, Please come and take me back to New York, away from this hellhole,” he wrote in one letter. In another—in which he called himself “the kid you ditched in the woods for a month”—he drew “a picture to remind you of me”: an image of himself jumping off a building. Miranda recounted to Kimmel that he finally escaped from summer camp by faking a spinal cord injury—and had to keep up the act all summer long.
4. Lin-Manuel Miranda was profoundly influenced by Rent creator Jonathan Larson’s work.
In a 2004 essay application for the Jonathan Larson Grant, Miranda wrote that seeing Larson's rock musical Rent on his 16th birthday “simply changed everything … Never had I seen a show that spoke to me so directly, that used fresh, new music as a way of addressing contemporary concerns in an honest way. By writing about his friends with the problems and anxieties he faced, Jonathan Larson gave me permission to write about my life, hopes, and fears.” The show inspired Miranda to write his first musical (more on that in a minute), which was then performed at his high school. After that, he never stopped writing.
It wasn’t the last time Larson’s work would inspire Miranda. After graduating from Connecticut's Wesleyan University, Miranda saw Larson’s tick, tick… BOOM!—the story of an aspiring musical theater composer struggling to make it—which, Miranda wrote, “spoke to me and strengthened my resolve.”
He was workshopping what would become his first Broadway show, In the Heights, when he wrote that essay; though he ultimately didn’t get the grant, Miranda tweeted that “it turned out okay anyway. Don’t give up. Don’t you dare.”
Miranda is currently in pre-production on a movie adaptation of tick, tick… BOOM! The film will mark his feature directorial debut.
5. The first musical Lin-Manuel Miranda ever wrote was about … a dissected fetal pig.
Steven Henry, Getty Images
According to Miranda, the show “involved a dissected fetal pig rising up for revenge.” It was directed by Chris Hayes—yes, MSNBC host Chris Hayes, who was then a senior in high school—and ran about 20 minutes. “I can still hum the tunes of that show,” Hayes said in 2017.
6. Before he was a Broadway star, Lin-Manuel Miranda was a substitute teacher.
After college, Miranda “taught 7th grade English for a year,” he tweeted in 2016. “[T]hen I was a professional substitute teacher UNTIL I got Heights on Broadway.” He was subbing at his old high school, Hunter College High School, for a while, he toldPlaybill, when he was asked to “stay on to continue to teach part-time.” At that point, one of the future producers of In the Heights had also reached out to Miranda because he was interested in his writing.
Unsure of what to do, Miranda asked his father: “Should I keep teaching or should I just kind of sub and do gigs to pay the rent and really throw myself into writing full time?”
Luis wrote his son “a very thoughtful letter, in which [he] said, 'I really want to tell you to keep the job—that's the smart 'parent thing' to do—but when I was 17, I was a manager at the Sears in Puerto Rico, and I basically threw it all away to go to New York, [and] I didn't speak a lot of English. It made no sense, but it was what I needed to do ... It makes no sense to leave your job to be a writer, but I have to tell you to do it. You have to pursue that if you want.’ That was very opposite advice from, ‘Be a lawyer,’ and I'm glad I took it.”
7. Lin-Manuel Miranda wrote music for local politicians.
Luis is a political consultant, and while his son was working on getting In the Heights to Broadway, he used his connections to get Lin-Manuel gigs writing music for ads for many of New York's leading politicians, including former governor Eliot Spitzer. “He’d say, ‘I have a Sharpton radio ad—I need 60 seconds of smooth jazz,'" Miranda toldThe New York Times in 2012.
According to Miranda, the music he composed was “generally accompanied by footage of the candidates shaking hands, doing very task-oriented things,” so the music needed to be “generally hopeful.” Music accompanying an attack ad, on the other hand, would have “sad strings” before transitioning to something more upbeat. “It’s a little like movie scoring,” Miranda told the Times. “If you’ve got a scary scene, you’ve got to write music for the scary scene.”
8. The version of In the Heights that Lin-Manuel Miranda wrote in college is drastically different from what ended up on Broadway.
Steven Henry, Getty Images
Miranda began writing In the Heights as a sophomore at Wesleyan. The college version, he toldThe Guardian, “was really just a love story set in” New York City's Washington Heights neighborhood. But when he came back home after college and saw the changes happening in the neighborhood, that began to change, and the show became, “In a sense ... a time capsule of a Washington Heights that's not going to exist in 10, 15 years,” he said. “All I know is I wanted to write a little show that captures what it was like, as I remember it. And so that will exist. My little memory of the neighborhood, through the show.”
In the Heights—which Miranda also starred in for a time—ran on Broadway from 2008 to 2011; it was while Miranda was on vacation between the show’s off-Broadway and Broadway runs that he read the biography by Ron Chernow that would lead him to Hamilton.
9. Lin-Manuel Miranda was really nervous when Hamilton author Ron Chernow came to see In the Heights.
Christopher Jackson, who played Benny in In the Heights and George Washington in Hamilton, recalled to Rolling Stone how Miranda told him about the idea for his next musical just a few days after he got back from vacation: “When Ron Chernow came to see Heights, I had never seen Lin that nervous,” Jackson told Rolling Stone. “He said, ‘Ron Chernow’s here!’ I said, ‘What does that mean?’ And he said, ‘The show needs to go well today.'”
10. Lin-Manuel Miranda's favorite Hamilton verse is in “WE Know.”
The moment occurs when Hamilton is accused of embezzlement. “I decided that when Hamilton is backed into a corner, he gets super internal rhymey,” Miranda told Katie Couric. As he’s telling Jefferson, Madison, and Burr about the Reynolds Affair, Hamilton raps:
She courted me
Escorted me to bed and when she had me in a corner
That’s when Reynolds extorted me
For a sordid fee
I paid him quarterly
I may have mortally wounded my prospects
But my papers are orderly
As you can see I kept a record of every check in my checkered history
Check it again against your list n’ see consistency
I never spent a cent that wasn’t mine
You sent the dogs after my scent, that’s fine.
“Those are enormous fun to put together,” Miranda said. “When Hamilton’s mad, it’s, like, Super Eminem, I’m going to destroy you with my mind.”
11. Lin-Manuel Miranda identifies with The Little Mermaid’s Sebastian.
“As a child, the [character in The Little Mermaid] I related to the most was Sebastian the crab, and I think as an adult he’s still the one I relate to the most,” Miranda said in WIRED’s autocomplete interview. “He just wanted someone to sing in his concert, poor guy. He’s a frustrated musician! I relate.”
12. Lin-Manuel Miranda compares himself to other people, just like the rest of us.
Miranda has packed a lot into his 40 years. To name just a few of his accomplishments: He has created Hamilton and In the Heights, co-written the music and lyrics for Bring It On: The Musical, penned a mini-musical called 21 Chump Street for This American Life, and translated the lyrics of West Side Story into Spanish for a 2009 Broadway revival. He has also appeared in The Sopranos, Modern Family, the revival of The Electric Company, and Sesame Street, among other shows.
While starring in Hamilton, Miranda wrote songs for Disney’s Moana (with Opetaia Tavita Foa‘i and Mark Mancina) and composed music for a scene in J.J. Abrams’s Star Wars: The Force Awakens. He co-wrote Hamilton: The Revolution, wrote a book with illustrator Jonny Sun, and somehow finds time to do monthly "Hamildrops" of remixes and new music inspired by the show.
But despite all Miranda has done, that doesn’t stop him from comparing himself to other people, just like the rest of us.
“I’ve seen people my age and younger shoot to success, and I measure myself against people by age,” Miranda told Rolling Stone in 2016. “Paul McCartney had already ended the Beatles and was midway through Wings when he was my age! Like, the entire Beatles, and he was not 30 yet. There’s always someone to measure yourself against when you’re like, ‘F***, what am I doing with my life?’”
13. Lin-Manuel Miranda keeps a high school math trophy next to one of his Grammys.
Theo Wargo, Getty Images
In his career, Miranda has been nominated for an Oscar, won a Pulitzer Prize and a MacArthur Genius Grant, and taken home three Tony Awards, two Laurence Olivier Awards, four Drama Desk awards, three Grammys, and an Emmy (among other awards). But, as he toldVariety in 2016, he’s “just as proud” of a trophy he won for math in the 11th grade, “Because I got straight C’s in math all through high school.” The award, he said, “is on my shelf next to my Grammy.”
14. Lin-Manuel Miranda works hard to stay grounded.
Despite all that he has accomplished, Miranda doesn’t intend to get a big head. “I think the trap is in getting caught up in the importance of those titles and letting that make you think you’re important. I try very hard to fight against that,” he toldVariety. “I have friends who are very happy to remind me that I’m myself,” adding that most of his friends “roast” him whenever they see him: “That’s why they’re my friends.”
Mia Farrow and Alan Arkin in The Last Unicorn (1982).
Lions Gate Entertainment
It’s been nearly 40 years since The Last Unicorn (1982) reared its magnificent, horn-adorned head in theaters across America. For adults, the animated Rankin/Bass production was a highly innovative, surprisingly introspective film with all the trappings of a quality fantasy, from its magical, motley, quest-bound crew to every winding staircase in its towering castle. For those who watched the film as a kid, on the other hand, The Last Unicorn was a 90-minute nightmare complete with a screeching, three-breasted harpy; a fiery, diabolical bull; and music sung by your chillest uncle’s favorite band.
Rediscover the enchanted world of the cult classic with the following facts—and keep a wary eye out for beasts, brutes, and Mommy Fortuna.
1. The Last Unicorn was based on a book by Peter S. Beagle, who also wrote the screenplay.
Peter S. Beagle autographs a copy of The Last Unicorn at Phoenix Comic Con in 2012.
Peter S. Beagle published his fantasy novel The Last Unicorn in 1968, and also insisted on writing the screenplay when it was optioned for film. That resolution coming from another novelist might’ve made film executives a little apprehensive, but it wasn’t Beagle’s first time at the screenwriting rodeo: he had also written the screenplay for Ralph Bakshi’s 1978 film adaptation of The Lord of the Rings.
“I had the horrors about who else might do it,” Beagle said in an interview. “I never felt I had a choice, whether I particularly wanted to do the screenplay or not.”
2. The Last Unicorn was originally intended for an adult audience.
It’s not just the frightful red bull and permeative sense of terror that make The Last Unicorn seem like a questionable film to show young, impressionable children—there’s also a rather scarring scene in which a lascivious old tree holds Schmendrick captive with her ample bosom. (Not to mention that most of the music was performed by the legendary ’70s folk rock band, America—not quite a kindergarten favorite.)
The overall adult tone is much less odd when you consider that it was, at least initially, intended for adults. Early press referred to the film as an “adult musical fantasy-adventure” and also mentioned that Rankin/Bass had deliberately cast actors who would pique adult interest.
3. The creators of the Peanuts TV specials wanted to make the film.
Lee Mendelson and Bill Melendez, the producers behind A Charlie Brown Christmas, A Charlie Brown Thanksgiving, and many other Peanuts TV specials, were very interested in adapting the novel for film, though nothing ever came of it. By Beagle’s own account, one of their partners’ wives pulled him aside at a gathering and earnestly cautioned him against entrusting the project to them.
“Don’t let us do it. We’re not good enough,” Beagle recalled her warning him.
4. Nobody turned down the opportunity to be cast in The Last Unicorn.
The project eventually went to Jules Bass and Arthur Rankin, Jr. of Rankin/Bass Productions, the company best-known for its stop-motion animation projects like Rudolph the Red-Nosed Reindeer, Santa Claus Is Comin’ to Town. As a testament to both the popularity of the novel and the quality of the screenplay, Rankin and Bass weren’t forced to settle for their second choices for any of the voice actors.
“We decided to get the best people we could get,” Bass said in an interview. “And one thing that’s interesting about it, and this is unique, is that every single person whom we approached to do it said yes immediately.”
Those “best people” included Hollywood heavyweights and musical theater legends alike: Mia Farrow as the titular character, Alan Arkin as Schmendrick the magician, Jeff Bridges as Prince Lir, Christopher Lee as King Haggard, Angela Lansbury as Mommy Fortuna, Tammy Grimes as Molly Grue, and more.
5. Jeff Bridges personally asked for a role—and even said he’d work for free.
After hearing that René Auberjonois, his friend and fellow actor from 1976’s King Kong, had been cast as a cackling skeleton in The Last Unicorn, Jeff Bridges called Bass and asked if he could be involved, too. When Bass told him they had yet to cast Prince Lír, Bridges volunteered to lend his time and talents either for free or for whatever Auberjonois was making. Bass hired him on the spot.
6. Prince Lír has a happier ending in the book version of The Last Unicorn.
Jeff Bridges and Mia Farrow in The Last Unicorn (1982).
Lions Gate Entertainment
In the film, Prince Lír leaves the kingdom to forge a new life for himself after losing just about everything: his adoptive father has died, the castle he should’ve inherited has crumbled into the sea, and his beloved Amalthea has transformed back into a unicorn. In the original novel, however, Lír remains to rebuild the kingdom, and he even gets a second chance at love: When Schmendrick and Molly happen upon a troubled princess (fully human, this time) during their journey, they send her Lír’s way.
7. The Last Unicorn was animated by the studio that would later become Studio Ghibli.
Though the original storyboards for The Last Unicorn were created in the U.S., Rankin/Bass outsourced the film’s actual animation to the experts at Topcraft, a Japanese animation studio with whom they had already collaborated on The Hobbit and many other productions throughout the 1970s. When Topcraft folded a few years later, the company was bought by Hayao Miyazaki, Isao Takahata, and Toshio Suzuki, who rebuilt it as Studio Ghibli and went on to release some of the most celebrated animated features of all time, including 2001’s Spirited Away and 2004’s Howl’s Moving Castle.
8. Peter Beagle wasn’t thrilled with Alan Arkin’s performance.
Overall, Beagle has expressed satisfaction with how the movie turned out, commending the animators’ “lovely design work” and calling the voice actors “superb.” One actor, however, did fall short of Beagle’s expectations: Alan Arkin, who voices the affable yet blundering magician, Schmendrick.
“I’m still a little disappointed with Alan Arkin’s approach,” Beagle said in an interview. “His Schmendrick still seems too flat for me.”
(The word schmendrick, by the way, is Yiddish for “a foolish, bumbling, or incompetent person.”)
9. Christopher Lee also played King Haggard in the German version of The Last Unicorn.
Christopher Lee was a fierce supporter of both the film and novel, and considered King Haggard a tragic, rich character similar to Shakespeare’s King Lear. Such was his enthusiasm for the project that he even signed on to reprise his role for the German dubbing of the film (he was fluent in German). According to Beagle, Lee said he “simply couldn’t resist a chance to play King Haggard one more time, even in another language.”
10. German audiences love to hear America perform “The Last Unicorn.”
Evidently, it wasn’t just Christopher Lee’s acting chops that helped establish a German fan base for the The Last Unicorn—it was also the music, composed by Jimmy Webb and recorded by America. Bandmember Dewey Bunnell said in an interview that they often play the title track while touring there, since German audiences love to hear it.
11. Art Garfunkel and Kenny Loggins have both covered songs from The Last Unicorn soundtrack.
A couple of America’s contemporaries have given their own folk rock treatment to songs from The Last Unicorn soundtrack: “That’s All I’ve Got to Say” is the final track on Art Garfunkel’s albumScissors Cut, and Kenny Loggins sang “The Last Unicorn” for Return to Pooh Corner in 1994.
12. Fergie wanted to adapt The Last Unicorn for Broadway.
In 2015, Playbillannounced that the Black Eyed Peas’s Fergie, a childhood fanatic of the film, was planning to bring The Last Unicorn to Broadway with the help of then-husband Josh Duhamel. There hasn’t been any news of it since, and, considering Fergie split with Duhamel in 2017, it’s probably safe to say that the project is on hold.