#chuck and bob campbell

[jessicatates]

[aerosmiley219]

It's outstanding is what it is!

[kissandships]

top 5 soap characters! 😊

Y’all already know my first one 😉

Jodie Dallas

Jessica Tate

Chuck and Bob

Mary Campbell

Corinne Tate

Honorable mention to Dutch :)

[ometochtli2rabbit]

13.0.12.3.8

junlajun[11] LAMAT/Q"ANIEL- junlajun[11] K'ANKIN

galactic tone: resolution/ dissonant structure

sun sign: STAR| rabbit/yellow(blue)/south

ask for abundance in all relations - MAYA

mahtlactli-once[11] - TOCHTLI [rabbit]

Chalmecatecuhtli | Mayahuel

alo[scarlet macaw]

lord of the night: Itztli

trecena[11]: Mictlantecuhtli

x: macuilli[5]- hueitozoztli - NAHUA

Day Tochtli (Rabbit, known as Lamat in Maya) is governed by Mayahuel, Goddess of the Maguey and of Fertility, as its provider of tonalli (Shadow Soul) life energy. Tochtli is a day of self-sacrifice and service to something greater than oneself. It signifies the religious attitude which holds everything sacred and results in experiences of self-transcendence. It is a mystical day, associated by the passages of the moon. It is a good day for communing with nature and spirit, a bad day for acting against others.

-[www.azteccalendar.com]

although i know i have done this one before, this day is associated with the passages of the moon. so here are some songs that mention the MOON:

Lana Del Rey: Fly Me to the Moon

Thin Lizzy: Dancing in the Moonlight (It's Caught Me in It's Spotlight)

Nick Drake: Pink Moon

Fleetwood Mac: Sisters of the Moon

The Police: Walking on the Moon

Glen Campbell: The Moon is a Harsh Mistress

Grace VanderWaal: Moonlight

Bee Gees: Rings Around the Moon

Cat Stevens: Moon Shadow

Sara Bareilles: Send Me the Moon

Genesis: Mad Man Moon

Meghan Trainor: To the Moon

Rush: Between Sun & Moon

Savage Garden: To the Moon and Back

Little Richard: By the Light of the Silvery Moon

Mariam Makeba: Back to the Moon [Back]

Bob Seger: Shame on the Moon

Barbra Streisand: Nobody's Heart (Belong's to Me)

Ozzy Osbourne: Bark at the Moon

Sarah Vaughan: Full Moon and Empty Arms

Nat King Cole: Moon Love

Nina Simone: Everyone's Gone to the Moon

The Cult: Brother Wolf, Sister Moon

Electric Light Orchestra: Ticket to the Moon

ABBA: The Piper

Merle Haggard: Crazy Moon

AC/DC: What's Next to the Moon

Television: Marquee Moon

Diana Krall: No Moon at All

Pearl Jam: Yellow Moon

Tom Waits: Grapefruit Moon

Ella Fitzgerald: Reaching for the Moon

Talking Heads: Moon Rocks

Stevie Wonder: Moon Blue

Björk: Lilith

Chuck Berry: Havana Moon

The Rolling Stones: Moon is Up

Paul McCartney: C Moon

George Harrison: Here Comes the Moon

Snotty Nose Rez Kids ft. Tanya Tagaq: Rebirth

BONUS(first MOON list):

Grant Lee Buffalo: Mighty Joe Moon

Duran Duran: New Moon on Monday

Creedence Clearwater Revival: Bad Moon Rising

King Harvest: Dancing in the Moonlight

Pink Floyd: Dark Side of the Moon

Iron Maiden: Moonchild

R.E.M: Man on the Moon

Lana Del Rey: Honeymoon

Billie Holiday: Blue Moon

Echo and the Bunnymen: The Killing Moon

David Bowie: Moonage Daydream

Elliott Smith: New Moon [full album]

[therecordchanger62279]

THE BEST WRITTEN SONGS OF ALL-TIME

     Because I have zero innate musical ability, the idea that someone can sit down with a musical instrument, and create an original song out of thin air is magic to me. Songwriting is a craft, but it’s inspiration that makes a good song into a great one. There are songwriters who seem able to turn out high quality songs in perpetuity. There are others who write maybe one or two great songs, and are never heard from again. So, I made a list of what I think are the 50 best written songs I’ve ever heard. These are in no particular order. I’ve listed the title followed by the songwriter or songwriters, and in parentheses is the performer I most enjoy hearing do the song – although most of these songs have been recorded countless times by a variety of artists. You can probably find all of these on YouTube or any of the streaming services. Most have lyrics, but some do not. But, it’s hard for me to imagine any of these songs being recorded by anyone with talent, and not retaining the brilliance with which the song was written.

Claire de Lune by Claude Debussy (Eugene Ormandy & The Philadelphia Orchestra)

Rhapsody in Blue by George Gershwin (Zubin Mehta & The New York Philharmonic, Gary Graffman, piano)

A Change Is Gonna Come by Sam Cooke (Sam Cooke)

Coal Miner’s Daughter by Loretta Lynn (Loretta Lynn)

Hello Walls by Willie Nelson (Faron Young)

I Left My Heart In San Francisco by George Cory and Douglass Cross (Tony Bennett)

God Bless The Child by Arthur Herzog, Jr. and Billie Holiday (Billie Holiday)

Eleanor Rigby by Paul McCartney and John Lennon (The Beatles)

Blind Willie McTell by Bob Dylan (Bob Dylan)

A Remark You Made by Wayne Shorter (Weather Report)

She’s Always a Woman by Billy Joel (Billy Joel)

Roll Me Away by Bob Seger (Bob Seger)

Margie’s At the Lincoln Park Inn by Tom T. Hall (Bobby Bare)

Angel From Montgomery by John Prine (Bonnie Raitt and John Prine)

Rainy Night in Georgia by Tony Joe White (Brook Benton)

You Never Can Tell by Chuck Berry (Chuck Berry)

Where or When by Richard Rodgers and Lorenz Hart (Dion and The Belmonts)

American Pie by Don McLean (Don McLean)

It Was a Very Good Year by Ervin Drake (Frank Sinatra)

Gentle On My Mind by John Hartford (Glen Campbell)

Early Morning Rain by Gordon Lightfoot (Gordon Lightfoot)

Book of Rules by Harry Johnson and Barry Llewellyn (The Heptones)

Highwayman by Jimmy Webb (The Highwaymen)

American Music by Ian Hunter (Ian Hunter & Mick Ronson)

That’s Entertainment by Paul Weller (The Jam)

Song of Bernadette by Leonard Cohen (Jennifer Warnes)

Jazzman by Carole King and David Palmer (Carole King)

Talking Back to The Night by Steve Winwood and Will Jennings (Steve Winwood)

My Favorite Things by Richard Rodgers and Oscar Hammerstein II (John Coltrane)

Don’t It Make You Want to Go Home by Joe South (Joe South)

Sunday Mornin’ Comin’ Down by Kris Kristofferson (Kris Kristofferson)

Heart Like a Wheel by Anna McGarrigle (Linda Ronstadt)

I Am a Town by Mary-Chapin Carpenter (Mary-Chapin Carpenter)

Footprints by Wayne Shorter (Miles Davis Quintet)

Pleasant Valley Sunday by Gerry Goffin and Carole King (The Monkees)

This Old Town by Jon Vezner and Janis Ian (Nanci Griffith)

Brooklyn Roads by Neil Diamond (Neil Diamond)

Thrasher by Neil Young (Neil Young & Crazy Horse)

Box of Rain by Robert Hunter and Phil Lesh (Grateful Dead)

Is That All There Is? By Jerry Leiber and Mike Stoller (Peggy Lee)

Louisiana 1927 by Randy Newman (Randy Newman)

King of the Road by Roger Miller (Roger Miller)

America by Paul Simon (Simon & Garfunkel)

The Sound of Silence by Paul Simon (Simon & Garfunkel)

Children’s Crusade by Sting (Sting)

My Girl by Smokey Robinson and Ronald White (The Temptations)

Green, Green Grass of Home by Claude “Curly” Putnam, Jr. (Tom Jones)

Downtown Train by Tom Waits (Tom Waits)

The Whole of The Moon by Mike Scott (The Waterboys)

My Heroes Have Always Been Cowboys by Sharon Vaughn (Willie Nelson)

[cuzikan]

As a session musician, arranger, producer, singer, songwriter, pianist, guitarist, bandleader, and touring musician, Leon Russell has collaborated with hundreds of artists, including Glen Campbell, Joe Cocker, Willie Nelson, Edgar Winter, George Harrison, Eric Clapton, Bob Dylan, Ringo Starr, John Lennon, J.J. Cale, David Gates, Bruce Hornsby, Hal Blaine, Tommy Tedesco, Bobby “Boris” Pickett, B.B. King, Freddie King, Bill Wyman, Steve Cropper, Carl Radle, Chuck Blackwell, Don Preston, Jesse Ed Davis, Rita Coolidge, Gram Parsons, Barbra Streisand, Ike & Tina Turner, Ricky Nelson, Herb Alpert, Frank Sinatra, Aretha Franklin, Ann-Margret, Dean Martin, Marvin Gaye, Dave Mason, Steve Winwood, and groups such as Delaney & Bonnie and Friends, The Monkees, and more.

[wutbju]

Charles Edward Bailey, BJU Class of 1962.

Rev. Dr. Charles ""Chuck"" Bailey died peacefully Saturday morning, December 21, 2024. Chuck was a long-time area pastor and professor who will be remembered and missed by many.

Chuck was born in Logan, WV in 1940 to parents Claude and Eunice Bailey. He went on to earn a Bachelor's degree from Bob Jones University, Master's from Roosevelt University, and PhD from the University of Virginia.

He married Deborah McFarlen on June 15, 1968. They moved to upstate New York in 1972 from Charlottesville, VA, where Chuck had accepted a teaching position at Adirondack Community College (now SUNY Adirondack). He also began to pastor the Fort Miller Reformed Church, where he preached and ministered to many for 42 years, retiring in 2014. In 2016, due to an impairment from a TBI, Dr. Bailey retired from teaching after 44 years at SUNY ADK as a distinguished professor of German, Comparative Religion, and European History.

Chuck enjoyed traveling frequently with his family, living in England, Germany, France, and Austria. He loved to perform magic tricks for his grandchildren. His passion for books led him to amass a small library of over 3,000 vintage books that he sold privately online and at antique sales. In the past five years, he made three cross-country RV trips with his sons to visit his hometown in West Virginia, his roots in Minnesota, and his family in Tennessee.

Chuck is survived by his wife of 56 years, Deborah Bailey of Greenwich; his three sons, Christopher Bailey of Wilton, Peter (Jen) Bailey of Cambridge, Jeremy (Danielle) Bailey of Schuylerville; his sister, Kay (Charles) Shafer of Kingsport, TN; niece, Shawna Shafer of Kingsport, TN; nephew, Dan (Laurie) Shafer of Flushing, NY; and his seven grandchildren, Isabelle (Andrew) Westerman, Mara Bailey, Emily Bailey, Eden (Fritz) Knecht, Ian Bailey, Anna Bailey, and Campbell Bailey.

Arrangements are in the care of the M.B. Kilmer Funeral Home, 123 Main Street, Argyle, NY 12809.

A Celebration of Life service will be held at Argyle Presbyterian Church, 48 Main St, Argyle, NY on Saturday, December 28, 2024 at 11 a.m., with calling hours beforehand from 9:30 to 10:30 a.m. The service will be streamed on the Argyle Presbyterian Church YouTube channel for those unable to attend. A private burial will follow the service at Riverside Cemetery in Fort Miller. All are invited to stay for a reception at Argyle Presbyterian Church. In lieu of flowers, donations can be made to InterVarsity Christian Fellowship, 846 Route 29, Saratoga Springs, NY 12866 and Washington County Young Life, PO Box 253, Granville, NY 12832.

[mirandamckenni1]

What Happens To Quantum Information Inside A Black Hole? Check out the Space Time Merch Store https://ift.tt/HTBNs6a Sign Up on Patreon to get access to the Space Time Discord! https://ift.tt/BMECHgu Meet Alice and Bob, famous explorers of the abstract landscape of theoretical physics. Heroes of the gerdankenexperiment—the thought experiment—whose life mission is to find contradictions in the deepest layers of our theories. Today our intrepid pair are jumping into a black hole. Again. Why? Well, to determine the fundamental structure of spacetime and its connection to quantum entanglement of course. PBS Member Stations rely on viewers like you. To support your local station, go to:https://ift.tt/d8hWsSU Sign up for the mailing list to get episode notifications and hear special announcements! https://ift.tt/njMyN5l Search the Entire Space Time Library Here: https://ift.tt/ZeHXRGT Hosted by Matt O'Dowd Written by Matt O'Dowd Post Production by Leonardo Scholzer, Yago Ballarini & Stephanie Faria Directed by Andrew Kornhaber Associate Producer: Bahar Gholipour Executive Producers: Eric Brown & Andrew Kornhaber Executive in Charge for PBS: Maribel Lopez Director of Programming for PBS: Gabrielle Ewing Assistant Director of Programming for PBS: John Campbell Spacetime is a production of Kornhaber Brown for PBS Digital Studios. This program is produced by Kornhaber Brown, which is solely responsible for its content. © 2024 PBS. All rights reserved. End Credits Music by J.R.S. Schattenberg: https://www.youtube.com/user/MultiDroideka Space Time Was Made Possible In Part By: Big Bang Sponsors First Principles Foundation John Sronce Bryce Fort Peter Barrett David Neumann Alexander Tamas Morgan Hough Juan Benet Vinnie Falco Mark Rosenthal Quasar Sponsors Grace Biaelcki Glenn Sugden Ethan Cohen Stephen Wilcox Mark Heising Hypernova Sponsors Daniel Muzquiz Michael Tidwell Frank Plessers Chris Webb David Giltinan Ivari Tölp Kenneth See Gregory Forfa Alex Kern Bradley Voorhees Scott Gorlick Paul Stehr-Green Ben Delo Scott Gray Антон Кочков Robert Ilardi John R. Slavik Donal Botkin Edmund Fokschaner Chuck Zegar Jordan Young Gamma Ray Burst Sponsors Arko Provo Mukherjee Mike Purvis Christopher Wade Anthony Crossland treborg777 Grace Seraph Parliament Stephen Saslow Robert DeChellis Tomaz Lovsin Anthony Leon Leonardo Schulthais Senna Lori Ferris Dennis Van Hoof Koen Wilde Nicolas Katsantonis Joe Pavlovic Justin Lloyd Chuck Lukaszewski Cole B Combs Andrea Galvagni Jerry Thomas Nikhil Sharma John Anderson Bradley Ulis Craig Falls Kane Holbrook Ross Story teng guo Harsh Khandhadia Matt Quinn Michael Lev Rad Antonov Terje Vold James Trimmier Jeremy Soller Paul Wood Joe Moreira Kent Durham jim bartosh Ramon Nogueira John H. Austin, Jr. Diana S Faraz Khan Almog Cohen Daniel Jennings Russ Creech Jeremy Reed David Johnston Michael Barton Isaac Suttell Oliver Flanagan Bleys Goodson Mark Delagasse Mark Daniel Cohen Shane Calimlim Tybie Fitzhugh Eric Kiebler Craig Stonaha Frederic Simon Tonyface John Robinson Jim Hudson Alex Gan John Funai Adrien Molyneux Bradley Jenkins Amy Hickman Vlad Shipulin Thomas Dougherty King Zeckendorff Dan Warren Joseph Salomone Patrick Sutton Julien Dubois via YouTube https://www.youtube.com/watch?v=Rogm_lpVZYU

[musicposter]

The Night Marty McFly Invented Rock ‘n’ Roll

The time-traveling Marty McFly took the stage on Nov. 12, 1955, in a high school gymnasium stuffed with fellow students who had no idea what they were in for. Accompanied by his band the Starlighters, Back to the Future's lead character delivered a riveting show.

"This is an oldie,” he says as he introduces the number, forgetting momentarily that what he's about to play hasn't even been written yet. “Well, it’s an oldie where I come from.”

The band leaps into Chuck Berry's "Johnny B. Goode." Played by Michael J. Fox, McFly rocks and rolls from one end of the stage to the other, the audience slowly but surely comes round and everyone begins to shimmy and shake. One young man, Marvin Berry, rushes to phone his cousin Chuck. "You know that new sound you've been looking for?" Marvin says. "Well, listen to this!"

"Johnny B. Goode" wouldn't actually come to fruition until 1958, but McFly, ahead of his time by three whole years, attempted to turn Hill Valley High School onto music's next big thing. As the song continues, McFly lets loose, emulating future guitar legends that no one has ever seen before.

"For about four weeks we worked this piece, and at the same time I was working with this choreographer for Madonna,” Fox told Empire.

“I said, ‘I dance like a duck. I can’t dance. But what I’d like to do is incorporate all the characteristics and mannerisms and quirks of my favorite guitarists, so a Pete Townshend windmill and Jimi Hendrix behind the back and a Chuck Berry duck walk.’ And we worked all that in, and he made it flow. It was moments like that when you don’t think, I’m tired or I feel pressure to do this. You just do it and have a blast.”

The performance is one thing, but the guitar playing is another. Fox, not exactly a virtuoso himself, had to learn guitar well enough to be filmed playing.

“When I did the ‘Johnny B. Goode’ scene, I had a great guitar teacher who taught me how to play,” he said. “I said to Bob [Zemeckis], ‘When I do this scene, I play guitar, so you can finger sync me. Feel free to cut to my hands any time you want.’ Having said that, it put pressure on me to get it fucking right. So I had this guy named Paul Hanson, who was my guitar teacher.”

Hanson taught him the basics, but ultimately, Fox's playing and singing would be overdubbed by guitarist Tim May and vocalist Mark Campbell.

"Since I’m a few years older than Michael anyway, it was like youthing it up, energizing it up just a tad," Campbell told Nerd Report. "That was all I knew about it and the rest was it’s 'Johnny B. Goode' by Chuck Berry and everybody knows it, or should by that time."

Campbell, good friends with the members of Huey Lewis and the News at the time of the movie's production, knew the soundtrack would be a big deal. Two of the band's songs, "Power of Love" and "Back in Time," would appear exclusively on the album, a definite incentive for fans. And while Campbell had agreed with the film's musical supervisor, Bones Howe, that his name would mainly be kept on the down low, he credited the opportunity as an undeniable highlight of his career.

"They want to keep the mystique that it’s Michael singing, and I was all good with that," he said. "I did get a special thanks credit at the end: Mark Campbell, my name’s right there. I was happy with that, but Bones didn’t really like that. He was like, 'You should get more than that.' So he made sure I got my gold album and also that I got a very small piece of the soundtrack, so every time I run into Huey I do the same thing. 'Thank you, thank you, thank you for putting those songs on that album,' because it went through the roof."

Songfacts Johnny B. Goode by Chuck Berry

🛒 All posters “Chuck Berry” can be found here : Art Heroes , Pictorem, Werk aan de Muur ,  Urban Arts , Displate🛒

Another small but unforgettable musical moment appears when McFly, donning a space suit, slips a cassette tape labeled "Edward Van Halen" into a Walkman to blast into his father's ears. Years later, Eddie Van Halen revealed it was indeed him on the tape "just playing a bunch of noise."

A "bunch of noise" is likely the best way to describe how McFly's display in the high school gym ends. His performance becomes so raucous in the scene, the crowd ceases dancing, unsure of the wild spectacle unfolding in front of them. In reality, most real-life teens were already accustomed to rock 'n' roll sounds on their radios in 1955 by artists like Bill Haley, Little Richard and even Chuck Berry himself, who had released "Maybellene" that summer.

Still, McFly passes it off. “I guess you guys aren’t ready for that yet,” he muses before leaving the stage. “But your kids are gonna love it.”

All posters “Back to the Future” can be found here  👇 🛒 Art Heroes , Werk aan de Muur , Pictorem 🛒

[jessicatates]

Will Burt ever come out of the bathtub? And if he does will he be all wrinkled? Will Father Tim's retreat in Canada cure him of Corinne? Or will he take up hockey? Will Chester be able to pay E. Ronald Mallu's enormous fee for Jessica's defense? And now that Claire has called the SEC, will he have any money left over for his own defense? These questions and many others will be answered on next week's episode of Soap.

[80smovies]

[thefrogholler]

Musical Birthday Notes - February 1st

Musical Birthday Notes – February 1st

[empress-of-snark]

Top 100 Ladies of TV

A challenge issued by @televinita that ended up being a lot harder than I expected?? For someone who watches as much TV as I do, this should’ve been a cakewalk but I was struggling.

Disclaimer: yeah, a few of these characters are technically from books that then got adapted into TV shows, which may be a bit of a cheat, but this is an arbitrary list that is completely meaningless to anyone who isn’t me, so I’ve decided that it’s not against the rules.

(sorted alphabetically by show title, in an additional level of organization that I couldn’t resist)

Janine Teagues (Abbott Elementary)

Barbara Howard (Abbott Elementary)

Melissa Schemmenti (Abbott Elementary)

Ava Coleman (Abbott Elementary)

Winifred ‘Fred’ Burkle (Angel the Series)

Katara (Avatar: The Last Airbender)

Toph Beifong (Avatar: The Last Airbender)

Azula (Avatar: The Last Airbender)

Korra (Avatar: The Legend of Korra)

Asami Sato (Avatar: The Legend of Korra)

Lin Beifong (Avatar: The Legend of Korra)

Tina Belcher (Bob’s Burgers)

Louise Belcher (Bob’s Burgers)

Linda Belcher (Bob’s Burgers)

Amy Santiago (Brooklyn 99)

Rosa Diaz (Brooklyn 99)

Gina Linetti (Brooklyn 99)

Buffy Summers (Buffy the Vampire Slayer)

Willow Rosenberg (Buffy the Vampire Slayer)

Cordelia Chase (Buffy the Vampire Slayer/Angel the Series)

Kate Beckett (Castle)

Alexis Castle (Castle)

Martha Rogers (Castle)

Robin Ellacott (CB Strike)

Annie Edison (Community)

Brittany Perry (Community)

Shirley Bennett (Community)

Erin Quinn (Derry Girls)

Michelle Mallon (Derry Girls)

Orla McCool (Derry Girls)

Clare Devlin (Derry Girls)

Sister Michael (Derry Girls)

Rose Tyler (Doctor Who)

Martha Jones (Doctor Who)

Donna Noble (Doctor Who)

Zoe Washburne (Firefly)

Kaylee Frye (Firefly)

Inara Serra (Firefly)

River Tam (Firefly)

Daphne Moon (Frasier)

Roz Doyle (Frasier)

Phoebe Buffay (Friends)

Monica Gellar (Friends)

Rachel Green (Friends)

Dorothy Zbornak (Golden Girls)

Rose Nylund (Golden Girls)

Blanche Devereaux (Golden Girls)

Sophia Petrillo (Golden Girls)

Mabel Pines (Gravity Falls)

Wendy Corduroy (Gravity Falls)

Pacifica Northwest (Gravity Falls)

Kim Possible

Parker (Leverage)

Sophie Devereaux (Leverage)

Judy Robinson (Lost in Space 2018)

Penny Robinson (Lost in Space 2018)

Maureen Robinson (Lost in Space 2018)

Dr. Smith/June Harris (Lost in Space 2018)

Guinevere (Merlin)

Morgana Pendragon (Merlin)

Ziva David (NCIS)

Abby Sciuto (NCIS)

Cecelia ‘Cece’ Parekh (New Girl)

Pam Beesly (The Office)

Mabel Mora (Only Murders in the Building)

Beatrice (Over the Garden Wall)

Leslie Knope (Parks and Recreation)

Ann Perkins (Parks and Recreation)

April Ludgate (Parks and Recreation)

Abby Maitland (Primeval)

Sarah Page (Primeval)

Jess Parker (Primeval)

Dani Powell (Prodigal Son)

Edrisa Tanaka (Prodigal Son)

Juliet O’Hara (Psych)

Karen Vick (Psych)

Charlotte ‘Chuck’ Charles (Pushing Daisies)

Olive Snook (Pushing Daisies)

Elaine Benes (Seinfeld)

Inej Ghafa (Shadow and Bone)

Alina Starkov (Shadow and Bone)

Nina Zenik (Shadow and Bone)

Molly Hooper (Sherlock)

Mary Watson (Sherlock)

Nancy Wheeler (Stranger Things)

Jane ‘Eleven’ Hopper (Stranger Things)

Max Mayfield (Stranger Things)

Robin Buckley (Stranger Things)

Chrissy Cunningham (Stranger Things)

Rebecca Welton (Ted Lasso)

Keeley Jones (Ted Lasso)

Allison Hargreeves (The Umbrella Academy)

Lila Pitts (The Umbrella Academy)

The Handler (The Umbrella Academy)

Natasha Rostova (War and Peace 2016)

Myka Bering (Warehouse 13)

Claudia Donovan (Warehouse 13)

Jamie Campbell (Zoo)

Chloe Tousignaunt (Zoo)

Dariela Marzan (Zoo)

[twotales]

Staff Meeting

Fandom: Stargate Atlantis

Characters: Elizabeth Weir, Radek Zelenka, Evan Lorne, Rodney McKay, Laura Cadman, Chuck Campbell, John Sheppard, David Parrish

Rating: T

Word Count: 1005

Tags:  Microbrew AU, beer, vague implied cannabis use, brewing, ficlet

Summary: Just another weekly staff meeting at Atlantis Brewing Co.

Notes:

Prompt: by @colonelshepparrrrd | inspired by my favorite photo of David Nykl:

"Hipster AU where they all work at a microbrewery."

Setting: Portland, Oregon.

Pronunciation: Gose (GOHZ-uh.)

Read on AO3

“Could I have everyone's attention please?” Elizabeth said as she made her way to the front of the room.

Laura turned from her conversation with Radek to head toward her chair. The bespectacled man looked back down at his journal and scribbled in it. Rodney came in from the back room with his clipboard and slumped next to Radek, tilting slightly to read his notes. Evan came out of the office followed by Chuck holding a stack of papers, the two of them sitting. They all settled down and looked up at her before turning toward the sound of light snoring. Laura sniggered and kicked the side of John’s chair, the man jerking upright, barely saving his shades from falling off his face.

“I’m up, I’m up.” He said.

Elizabeth smiled in amusement. “Thank you. I am happy to inform everyone that Evan has secured a spot for us at The Oregon Brewers Festival!” She waved her hand toward Evan as everyone started clapping. The man smiled bashfully as he moved up next to her. “Take it away Evan.” She said before sitting next to Chuck.

“Now, I know we tend to go huckleberry this time of year, but with the festival coming, David and I are thinking about doing something different.” He looked around at everyone. “Rose hips.” He held his hands up at the mummers, “Listen, it’s native, and it has a very subtle sweet flavor." He smiled warmly. "I think it would be a nice change." He shrugged. "Maybe a pilsner?”

“No,” Radek looked up from his journal and leaned back in his chair. “it should be sour beer.” He tilted his head, “Something like-”

Rodney snapped his fingers, “Gose.”

“Ah, yes.” Radek nodded. “We will use Brettanomyces yeast.” He leaned back chewing lightly on his thumb, elbow resting on his other forearm. “Hm. But-”

“-We need another flavor.” Rodney cut in, his face screwing up slightly.

Evan’s eyebrow lifted, “What kind?”

Radek twirled his hand around, “Fresh, citrusy.” He rolled his eyes at the sharp look Rodney shot him, “But not citrus.”

Evan grinned, “Like some local douglas fir tips?”

Radek tilted his head, “I am unfamiliar.”

“Oh, man,” Laura moaned. “I had a doug fir pale ale at Zwicklemania,” she smacked her lips, “it would be perfect.”

“Well, this settles it.” Radek pointed at her, “Who am I to argue with our top taster?”

Laura’s lips quirked up, eyes shining happily.

Rodney groaned, “Yes, please give her an even bigger ego.” Everyone turned and looked at him with arched brows. Rodney grimaced, “What!?”

Evan chuckled. “Cool, David and I will get everything worked out from our end.” His eyes moved to John, “We could use a hand, you down?”

John shrugged. “You know me,” his lips curled up head tilting, “I’m down for anything.”

“Yeah, we know,” Rodney said, followed by a few sounds of amusement from Laura and a snort from Radek.

Evan sat back down next to Elizabeth as Chuck bounded up with his stack of papers. “As usual, let me know if anything is off for deliveries or if your schedules need to be changed.” He squinted at Laura as she took hers, “NOT at the last minute.”

She shot him a sly smile. “I would never.”

“Seriously?” Chuck sent her his best bitch face before sitting back down.

Everyone groaned as Rodney stood and moved to the front of the room. “Alright, you clowns, listen up.” He looked down at his clipboard. "Quit smoking in the downstairs bathroom." He rolled his eyes. "It smells like a Bob Marley concert down there." He flicked them to the side, "Looking at you Sheppard."

John tilted his head, glancing over his shades. "I don't know what you're talking about Rodney."

Rodney slanted his mouth. "Uh-huh, sure you don't.” His eyes slid to Laura, "and do I even need to say it out loud?”

She quirked her lips. “Jealous?

Rodney rolled his eyes skyward, "Knock it off, or I'll have to take drastic measures."

"Fine," she shrugged. "Still say you're jealous."

"Jesus Christ." Rodney's ears turned red as he looked at Chuck, the man freezing, eyes wide.

“We know you’re the one who started the rumor.”

Chuck swallowed, “W-which rumor?”

“Well, that distinction doesn’t really matter considering you start,” Rodney slit his eyes, “ALL OF THEM.”

Chuck pressed his lips together, crossed his arms, and leaned back before shrugging lightly.

“No more.” Rodney made a pained noise as Chuck shrugged again. “Anyways,” he ground out before looking at Radek. “We still need to talk about-”

“Yes,” Radek grimaced. “This new batch, measurements were off.”

Rodney shook his head. “My measurements were perfect, it’s the pick of flavors that really caused-”

“No, measurements were off, the beer is only-”

“As good as the brewer," Rodney mocked using finger quotes, "yes, we have heard it a quintillion times already.”

Elizabeth made an amused face at the others and stood, brushed off her pants, and headed toward the office. Evan and Chuck followed closely behind.

Radek pushed his glasses up his nose. “Well, then you know that-”

“-No, It’s completely salvageable, we make it cheap, slap some-”

Radek stood, his hand slashed through the air, “it will never be sold.” He curled his lip. “I will not sully our name with shit beer.”

“Come on Radek, we can’t just scrap the whole thing. It’s not even that bad.”

John tilted toward Laura and pointed at his watch, eyebrows raising several times. Laura smiled slyly, the two of them heading downstairs.

Radek’s nose scrunched up, “It tastes like donkey piss.”

“Oh? Are you very familiar with this flavor?” Rodney said, “I didn’t know donkey piss was a Czech delicacy.”

“Rodney," Radek intoned.

He huffed, “Alright, fine.” He pulled a pen out and crossed it off his list. “Done, scrapped, no more.” His hand waved around, “Happy now?”

“Quite,” Radek nodded. “Now. Let’s talk about-”

“-The Gose?” A lopsided smile split across Rodney's face.

Radek grinned back, his dimple popping out. “Of course the Gose.”

[starkiddreamcasting]

Starkid Footloose

Sorry for this being late and leaving you all holding out for a hero, but here is the Starkid dreamcast for Footloose. sorry for this being a little late (and future things might be a little late as a production of Children of Eden I’m in currently is entering tech week) but here is a dreamcast I first began due to a certain Jeff Blim having been in it’s national tour (learn something new everyday)!

1. Curt Mega as Ren McCormick 2. Kim Whalen as Ariel Moore 3. Dylan Saunders as Rev. Shaw Moore 4. Jamie Burns as Vi Moore 5. Brian Holden as Wilard Hewitt 6. Britney Coleman as Rusty 7. Jeff Blim as Chuck Cranston 8. Meredith Stepien as Ethel McCormick 9. Rachael Soglin as Betty Blast/Irene 10. Mariah Rose Faith as Wendy Jo 11. Lily Marks as Lulu Warnicker 12. Angela Giarratana as Urleen 13. Joe Walker as Principal Clark/Saloon Keeper 14. Corey Dorris as Coach Dunbar 15. Chris Allen as Wes Warnicker 16. Julia Albain as Ensemble 17. Clark Baxtresser as Ensemble 18. Jaime Lyn Beatty as Eleanor Dunbar/Doreen/Ensemble 19. Tyler Brunsman as Garvin/Ensemble 20. Richard Campbell as Ensemble 21. Bryce Charles as Ensemble 22. Brant Cox as Ensemble 23. Denise Donovan as Ensemble 24. Nick Gage as Cop/Country Fiddler/Ensemble 25. Ali Gordon as Ensemble 26. Jae Hughes as Ensemble 27. Lauren Lopez as Ensemble 28. Robert Manion as Bickle/Ensemble 29. Jon Matteson as Ensemble 30. Alle-Faye Monka as Ensemble 31. Joey Richter as Jeter/Cowboy Bob/Ensemble 32. Brian Rosenthal as Tarvis/Ensemble 33. James Tolbert as Lyle/Ensemble 34. Tiffany Williams as Ensemble

Swings: Nico Ager, Janaya Mahealani Jones, Nick Lang, Alex Paul, Sango Tajima

Understudies: Nico Ager (Lyle, Travis), Jaime Lyn Beatty (Vi Moore, Betty Blast/Irene), Tyler Brunsman (Wilard Hewitt), Bryce Charles (Rusty), Brant Cox (Lyle, Travis), Corey Dorris (Rev. Shaw Moore), Nick Gage (Principal Clark/Saloon Keeper, Wes Warnicker), Arielle Goldman (Vi Moore, Ethel McCormick, Lulu Warnicker, Eleanor Dunbar/Doreen), Ali Gordon (Ariel Moore, Urleen), Janaya Mahealani Jones (Rusty, Betty Blast/Irene, Wendy Jo), Nick Lang (Cop/Country Fiddler), Robert Manion (Ren McCormick, Chuck Cranston, Coch Dunbar), Alle-Faye Monka (Wendy Jo), Alex Paul (Ariel Moore, Ethel McCormick, Lulu Warnicker, Urleen, Eleanor Dunbar/Doreen), Jim Povolo (Rev. Shaw Moore, Principal Clark/Saloon Keeper, Coach Dunbar, Wes Warnicker, Cop/Country Fiddler), Joey Richter (Wilard Hewitt), James Tolbert (Ren McCormick, Chuck Cranston)

Make sure to leave any show suggestions or any questions on my casting choices so I can explain them.  

[letterboxd]

Blurring the Line.

As a new Space Jam film beams down to Earth, Kambole Campbell argues that a commitment to silliness and a sincere love for the medium is what it takes to make a great live-action/animation hybrid.

The live-action and animation hybrid movie is something of a dicey prospect. It’s tricky to create believable interaction between what’s real and what’s drawn, puppeteered or rendered—and blending the live and the animated has so far resulted in wild swings in quality. It is a highly specific and technically demanding niche, one with only a select few major hits, though plenty of cult oddities. So what makes a good live-action/animation hybrid?

To borrow words from Hayao Miyazaki, “live action is becoming part of that whole soup called animation”. Characters distinct from the humans they interact with, but rendered as though they were real creatures (or ghosts), are everywhere lately; in Paddington, in Scooby Doo, in David Lowery’s (wonderful) update of Pete’s Dragon.

The original ‘Pete’s Dragon’ (1977) alongside the 2016 remake.

Lowery’s dragon is realized with highly realistic lighting and visual-effects work. By comparison, the cartoon-like characters in the 1977 Pete’s Dragon—along with other films listed in Louise’s handy compendium of Disney’s live-action animation—are far more exaggerated. That said, there’s still the occasional holdout for the classical version of these crossovers: this year’s Tom and Jerry replicating the look of 2D through 3D/CGI animation, specifically harkens back to the shorts of the 1940s and ’50s.

One type of live-action/animation hybrid focuses on seamless immersion, the other is interested in exploring the seams themselves. Elf (2003) uses the aberration of stop-motion animals to represent the eponymous character as a fish out of water. Ninjababy, a Letterboxd favorite from this year’s SXSW Festival, employs an animated doodle as a representation of the protagonist’s state of mind while she processes her unplanned pregnancy.

Meanwhile, every Muppets film ever literally tears at the seams until we’re in stitches, but, for the sake of simplicity, puppets are not invited to this particular party. What we are concerned with here is the overlap between hand-drawn animation and live-action scenes (with honorable mentions of equally valid stop-motion work), and the ways in which these hybrids have moved from whimsical confections to nod-and-wink blockbusters across a century of cinema.

Betty Boop and Koko the clown in a 1938 instalment of the Fleischer brothers’ ‘Out of the Inkwell’ series.

Early crossovers often involve animators playing with their characters, in scenarios such as the inventive Out of the Inkwell series of shorts from Rotoscope inventor Max Fleischer and his director brother Dave. Things get even more interactive mid-century, when Gene Kelly holds hands with Jerry Mouse in Anchors Aweigh.

The 1960s and ’70s deliver ever more delightful family fare involving human actors entering cartoon worlds, notably in the Robert Stevenson-directed Mary Poppins and Bedknobs and Broomsticks, and Chuck Jones’ puntastic The Phantom Tollbooth.

Jerry and Gene dance off their worries in ‘Anchors Aweigh’ (1945).

Mary Poppins is one of the highest-rated live-action/animation hybrids on Letterboxd for good reason. Its sense of control in how it engages with its animated creations makes it—still!—an incredibly engaging watch. It is simply far less evil than the singin’, dancin’ glorification of slavery in Disney’s Song of the South (1946), and far more engaging than Victory Through Air Power (1943), a war-propaganda film about the benefits of long-range bombing in the fight against Hitler. The studio’s The Reluctant Dragon (1941) also serves a propagandistic function, as a behind-the-scenes studio tour made when the studio’s animators were striking.

By comparison, Mary Poppins’ excursions into the painted world—replicated in Rob Marshall’s belated, underrated 2018 sequel, Mary Poppins Returns—are full of magical whimsicality. “Films have added the gimmick of making animation and live characters interact countless times, but paradoxically none as pristine-looking as this creation,” writes Edgar in this review. “This is a visual landmark, a watershed… the effect of making everything float magically, to the detail of when a drawing should appear in front or the back of [Dick] Van Dyke is a creation beyond my comprehension.” (For Van Dyke, who played dual roles as Bert and Mr Dawes Senior, the experience sparked a lifelong love of animation and visual effects.)

Julie Andrews, Dick Van Dyke and penguins, in ‘Mary Poppins’ (1964).

Generally speaking, and the Mary Poppins sequel aside, more contemporary efforts seek to subvert this feeling of harmony and control, instead embracing the chaos of two worlds colliding, the cartoons there to shock rather than sing. Henry Selick’s frequently nightmarish James and the Giant Peach (1996) leans into this crossover as something uncanny and macabre by combining live action with stop motion, as its young protagonist eats his way into another world, meeting mechanical sharks and man-eating rhinos. Sally Jane Black describes it as “riding the Burton-esque wave of mid-’90s mall goth trends and blending with the differently demonic Dahl story”.

Science-classroom staple Osmosis Jones (2001) finds that within the human body, the internal organs serve as cities full of drawn white-blood-cell cops. The late Stephen Hillenburg’s The Spongebob Squarepants Movie (2004) turns its real-life humans into living cartoons themselves, particularly in a bonkers sequence featuring David Hasselhoff basically turning into a speedboat.

David Hasselhoff picks up speed in ‘The Spongebob Squarepants Movie’ (2004).

The absurdity behind the collision of the drawn and the real is never better embodied than in another of our highest-rated live/animated hybrids. Released in 1988, Robert Zemeckis’ Who Framed Roger Rabbit shows off a deep understanding—narratively and aesthetically—of the material that it’s parodying, seeking out the impeccable craftsmanship of legends such as director of animation Richard Williams (1993’s The Thief and the Cobbler), and his close collaborator Roy Naisbitt. The forced perspectives of Naisbitt’s mind-bending layouts provide much of the rocket fuel driving the film’s madcap cartoon opening.

Distributed by Walt Disney Pictures, Roger Rabbit utilizes the Disney stable of characters as well as the Looney Tunes cast to harken back to America’s golden age of animation. It continues a familiar scenario where the ’toons themselves are autonomous actors (as also seen in Friz Freleng’s 1940 short You Ought to Be in Pictures, in which Daffy Duck convinces Porky Pig to try his acting luck in the big studios).

Daffy Duck plots his rise up the acting ranks in ‘You Ought to Be in Pictures’ (1940).

Through this conceit, Zemeckis is able to celebrate the craft of animation, while pastiching both Chinatown, the noir genre, and the mercenary nature of the film industry (“the best part is… they work for peanuts!” a studio exec says of the cast of Fantasia). As Eddie Valiant, Bob Hoskins’ skepticism and disdain towards “toons” is a giant parody of Disney’s more traditional approach to matching humans and drawings.

Adult audiences are catered for with plenty of euphemistic humor and in-jokes about the history of the medium. It’s both hilarious (“they… dropped a piano on him,” one character solemnly notes of his son) and just the beginning of Hollywood toying with feature-length stories in which people co-exist with cartoons, rather than dipping in and out of fantasy sequences. It’s not just about how the cartoons appear on the screen, but how the human world reacts to them, and Zemeckis gets a lot of mileage out of applying ’toon lunacy to our world.

Bob Hoskins in ‘Who Framed Roger Rabbit?’ (1988).

The groundbreaking optical effects and compositing are excellent (and Hoskins’ amazing performance should also be credited for holding all of it together), but what makes Roger Rabbit such a hit is that sense of controlled chaos and a clever tonal weaving of violence and noirish seediness (“I’m not bad… I’m just drawn that way”) through the cartoony feel. And it is simply very, very funny.

It could be said that, with Roger Rabbit, Zemeckis unlocked the formula for how to modernize the live-action and animation hybrid, by leaning into a winking parody of what came before. It worked so perfectly well that it helped kickstart the ‘Disney renaissance' era of animation. Roger Rabbit has influenced every well-known live-action/animation hybrid produced since, proving that there is success and fun to be had by completely upending Mary Poppins-esque quirks. Even Disney’s delightful 2007 rom-com Enchanted makes comedy out of the idea of cartoons crossing that boundary.

When a cartoon character meets real-world obstacles.

Even when done well, though, hybrids are not an automatic hit. Sitting at a 2.8-star average, Joe Dante’s stealthily great Looney Tunes: Back in Action (2003) is considered by the righteous to be the superior live-action/animated Looney Tunes hybrid, harkening back to the world of Chuck Jones and Frank Tashlin. SilentDawn states that the film deserves the nostalgic reverence reserved for Space Jam: “From gag to gag, set piece to set piece, Back in Action is utterly bonkers in its logic-free plotting and the constant manipulation of busy frames.”

With its Tinseltown parody, Back in Action pulls from the same bag of tricks as Roger Rabbit; here, the Looney Tunes characters are famous, self-entitled actors. Dante cranks the meta comedy up to eleven, opening the film with Matthew Lillard being accosted by Shaggy for his performance in the aforementioned Scooby Doo movie (and early on throwing in backhanded jokes about the practice of films like itself as one character yells, “I was brought in to leverage your synergy!”).

Daffy Duck with more non-stop banter in ‘Looney Tunes: Back in Action’ (2003).

Back in Action is even more technically complex than Roger Rabbit, seamlessly bringing Looney Tunes physics and visual language into the real world. Don’t forget that Dante had been here before, when he had Anthony banish Ethel into a cartoon-populated television show in his segment of Twilight Zone: The Movie. Another key to this seamlessness is star Brendan Fraser, at the height of his powers here as “Brendan Fraser’s stunt double”.

Like Hoskins before him, Fraser brings a wholehearted commitment to playing the fed-up straight man amidst cartoon zaniness. Fraser also brought that dedication to Henry Selick's Monkeybone (2001), a Roger Rabbit-inspired sex comedy that deploys a combo of stop-motion animation and live acting in a premise amusingly close to that of 1992’s Cool World (but more on that cult anomaly shortly). A commercial flop, Back in Action was the last cinematic outing for the Looney Tunes for some time.

Nowadays, when we think of live-action animation, it’s hard not to jump straight to an image of Michael Jordan’s arm stretching to do a half-court dunk to save the Looney Tunes from slavery. There’s not a lot that can be fully rationalized about the 1996 box-office smash, Space Jam. It is a bewildering cartoon advert for Michael Jordan’s baseball career, dreamed up off the back of his basketball retirement, while also mashing together different American icons. Never forget that the soundtrack—one that, according to Benjamin, “makes you have to throw ass”—includes a song with B-Real, Coolio, Method Man and LL Cool J.

Michael Jordan and teammates in ‘Space Jam’ (1996).

Space Jam is a film inherently born to sell something, predicated on the existing success of a Nike commercial rather than any obvious passion for experimentation. But its pure strangeness, a growing nostalgia for the nineties, and meticulous compositing work from visual-effects supervisor Ed Jones and the film’s animation team (a number of whom also worked on both Roger Rabbit and Back in Action), have all kept it in the cultural memory.

The films is backwards, writes Jesse, in that it wants to distance itself from the very cartoons it leverages: “This really almost feels like a follow-up to Looney Tunes: Back in Action, rather than a predecessor, because it feels like someone watched the later movie, decided these Looney Tunes characters were a problem, and asked someone to make sure they were as secondary as possible.” That attempt to place all the agency in Jordan’s hands was a point of contention for Chuck Jones, the legendary Warner Bros cartoonist. He hated the film, stating that Bugs would never ask for help and would have dealt with the aliens in seven minutes.

Space Jam has its moments, however. Guy proclaims “there is nothing that Deadpool as a character will ever have to offer that isn’t done infinitely better by a good Bugs Bunny bit”. For some, its problems are a bit more straightforward, for others it’s a matter of safety in sport. But the overriding sentiments surrounding the film point to a sort of morbid fascination with the brazenness of its concept.

Holli Would (voiced by Kim Basinger) and Frank Harris (Brad Pitt) blur the lines in ‘Cool World’ (1992).

Existing in the same demented… space… as Space Jam, Paramount Pictures bought the idea for Cool World from Ralph Bakshi as it sought to have its own Roger Rabbit. While Brad Pitt described it as “Roger Rabbit on acid” ahead of release, Cool World itself looks like a nightmare version of Toontown. The film was universally panned at the time, caught awkwardly between being far too adult for children but too lacking in any real substance for adults (there’s something of a connective thread between Jessica Rabbit, Lola Bunny and Holli Would).

Ralph Bakshi’s risqué and calamitously horny formal experiment builds on the animator’s fascination with the relationship between the medium and the human body. Of course, he would go from the immensely detailed rotoscoping of Fire and Ice (1983) to clashing hand-drawn characters with real ones, something he had already touched upon in the seventies with Heavy Traffic and Coonskin, whose animated characters were drawn into real locations. But no one besides Bakshi quite knew what to do with the perverse concept of Brad Pitt as a noir detective trying to stop Gabriel Byrne’s cartoonist from having sex with a character that he drew—an animated Kim Basinger.

Jack Deebs (Gabriel Byrne) attempts to cross over to Hollie Would in ‘Cool World’ (1992).

Cool World’s awkwardness can be attributed to stilted interactions between Byrne, Pitt and the animated world, as well as studio meddling. Producer Frank Mancuso Jr (who was on the film due to his father running Paramount) demanded that the film be reworked into something PG-rated, against Bakshi’s wishes (he envisioned an R-rated horror), and the script was rewritten in secret. It went badly, so much so that Bakshi eventually punched Mancuso Jr in the face.

While Cool World averages two stars on Letterboxd, there are some enthusiastic holdouts. There are the people impressed by the insanity of it all, those who just love them a horny toon, and then there is Andrew, a five-star Cool World fan: “On the surface, it’s a Lovecraftian horror with Betty Boop as the villain, featuring a more impressive cityscape than Blade Runner and Dick Tracy combined, and multidimensional effects that make In the Mouth of Madness look like trash. The true star, however, proves to be the condensed surplus of unrelated gags clogging the arteries of the screen—in every corner is some of the silliest cel animation that will likely ever be created.”

There are even those who enjoy its “clear response to Who Framed Roger Rabbit”, with David writing that “the film presents a similar concept through the lens of the darkly comic, perverted world of the underground cartoonists”, though also noting that without Bakshi’s original script, the film is “a series of half steps and never really commits like it could”. Cool World feels both completely deranged and strangely low-energy, caught between different ideas as to how best to mix the two mediums. But it did give us a David Bowie jam.

‘Space Jam: A New Legacy’ is in cinemas and on HBO Max now.

Craft is of course important, but generally speaking, maybe nowadays a commitment to silliness and a sincere love for the medium’s history is the thing that makes successful live-action/animation hybrids click. It’s an idea that doesn’t lend itself to being too cool, or even entirely palatable. The trick is to be as fully dotty as Mary Poppins, or steer into the gaucheness of the concept, à la Roger Rabbit and Looney Tunes: Back in Action.

It’s quite a tightrope to walk between good meta-comedy and a parade of references to intellectual property. The winningest strategy is to weave the characters into the tapestry of the plot and let the gags grow from there, rather than hoping their very inclusion is its own reward. Wait, you said what is coming out this week?

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The 100 Sequences that Shaped Animation: the companion list to the Vulture story

Jose Moreno’s list of every animated film made from 1888 to the present

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