#Chris Marrs

[timothykendall]

Simparica Trio “Unstoppable” DirCut

After the original commercial shoot we knew we had something special. Yet we always wished we had time to film commentators giving the exposition instead of a voiceover track. UPP had created spectacular characters and VFX and we got such great performances from our snuggly little pups, that we wanted to bring the original vision for this film back to life. With the help of Abigail Marlowe and Chris Marrs we added the fun back in with commentators giving play-by and color commentary.

It was a Saturday morning pickup shoot at the Rose Bowl where we invited friends and colleagues to help us put this together. I am forever grateful for the community of like-minded individuals who graciously give time and energy to this. I’m blown away by how fun we all had simply being together.

[dazaiconfused]

Back stage after Cities in the Park 4th of August 1991, at Heaton Park, Manchester

[harrisonstories]

Happy belated 80th birthday to my favourite guitar player. <3

A sequel to this post.

George Harrison: You need Eric Clapton.

John Lennon: No, you need George Harrison.

"He showed me a lot of things on the guitar. George was a really great guitar player. He just didn't think he was. He told me that he almost quit one time because he couldn't play as well as Eric. He said that Eric just had this feel and touch. George really wanted to play like that and told me so, many times. But who wouldn't?" - Bobby Whitlock (Derek and the Dominoes)

“[George is] a great guitar player. When he strikes up on the slide there’s nobody better; his precision, his vibrato is perfect. But he always plays it down.” - Jeff Lynne (ELO, Traveling Wilburys)

"I had heard George's playing on the records, but I hadn't seen him play before I saw A Hard Day's Night. I picked up some tips from him, like playing the G-string up and down the neck for lead guitar because it gave more punch to the lead line. And of course he played the Rickenbacker 12-string and that was a big influence on me, but I even liked to watch his Gretsch playing. He did a lot of barre chords -- John and George used barre chords almost exclusively, whereas coming from the folk tradition I used lots of open chords. With The Searchers and The Seekers, you could hear some of that 12-string out there, but primarily it was The Beatles. I know George influenced us a lot." - Roger McGuinn (The Byrds)

“The innovations in guitar technology he brought to The Beatles were just amazing. He defined what we now know as this classic Rickenbacker 12-string sound. He laid the groundwork for me. And it’s utterly definitive. Nobody had used that volume-pedal technique before ‘I Need You’ […] But you can’t beat ‘Ticket To Ride’. It’s futuristic guitar, even before Hendrix came on the scene. It still sounds like a modern guitar part now." - Johnny Marr (The Smiths)

"I met George during the session Cream did for Badge, and I was very impressed with his playing [under the pseudonym L’Angelo Mysterioso]. I took it for granted that people like McCartney and Lennon were brilliant but didn’t really analyse it. But when you actually play with George you could see what an amazing guitar player he was, doing things that I hadn’t even thought of." - Jack Bruce (Cream)

"Me personally, I worshipped guitar players like George Harrison, who was this melodic part of the Beatles sound and he seemed like he served the song more than his own ego of how many notes per second he could play. I really appreciated that." - Vicki Peterson (The Bangles)

"I love George Harrison so much because [of] the way he would construct a little kind of solo within the song which would be part of the song. So from him I learned about melody […] George Harrison would create a little masterpiece in 8 bars in the middle of Hard Day's Night for example. It's a perfect example of that where he would do something that no other guitarist in the world would think of. He'd put this little lick in. It would have some little fast bits in it, and it would be so outside what you'd imagine the solo of that song to be. Later on I got to know George very well. We became very good friends at one time, and he could do things that no one else could do, and his slide playing was amazing because he used to have very strong Eastern influences from his days with Ravi Shankar and doing the meditation and everything. Just to be around someone like that you learn so much. He really was a giant in the music world for me, very sadly missed." - Gary Moore

"George’s guitar playing was just perfect. In those days we didn’t jam and get to the middle of a song and just play any old thing (laughs); we would have rehearsals and you’d kind of figure out what the part would be so from then on, when you played that song, that was the solo. He was that sort of guitar player and I learned that and I really liked that ‘cause that’s what I was thinking most of the time." - John Fogerty (Creedence Clearwater Revival)

"To see George Harrison there [on the Ed Sullivan Show], standing off to the side, looking down at his guitar while he played his licks -- to my impressionable mind it defined what a lead guitarist was. I knew right then what I wanted to do with my life: I wanted to be like the guy in the middle -- the guy looking down at his guitar and playing all the little fills and solos. Harrison taught me about short solos and hooks, and what a hook is. All those mid-Sixties Beatles tracks -- whether it was 'Day Tripper' or 'Ticket to Ride' or whatever -- they all start with a guitar lick that you wait to come around again in the chorus. That’s where I learned to do that." - Elliot Easton (The Cars)

“His chords were sometimes more a cluster of notes that, to my ears, are beautifully dissonant. The turnaround lick over the last chord in the chorus of the Beatles’ ‘Help’ functions on many levels. It’s such an innovative use of the open G and B strings ringing out, while a minor 3rd shape chromatically descends below it.” - Brian Bell (Weezer)

"I modeled myself after George Harrison a lot in the early days; solos you could sing along with. To this day, that's my approach, and I teach it as a guide at IMA's Rock 'n Roll Girl's Camps." - June Millington (Fanny)

“George was responsible for perhaps the most romantic guitar solo of all time when he recorded Something. It’s arguably among the most gorgeous and expressive solos in any song.” - Nancy Wilson (Heart)

“The solo [from the album version of Let It Be] -- the way his lick comes in after the keyboard breakdown strikes the perfect emotion and uplift for the track. I’ve ripped it off a million times, and will probably rip it off a million more before I’m through. The tone is perfectly gritty but without a safety net and mixed way on top of the tune, warts and all. Love it.” - Chris Shiflett (Foo Fighters)

"I was into Harrison. He's an amazing guitar player. Songwriter too." - Jim Root (Slipknot)

“I feel like the music world mostly thinks of George Harrison as the phenomenal songwriter that he was, but I think he’s really underrated as a tone innovator. I remember reading a GW article [January 2014] about I’m Only Sleeping and how George got this crazy tone by writing the solo, learning it backward and then recording it with the tape running back to front, resulting in the initial solo he had written with this insane, surreal effect. It’s so interesting to think about what that process would have been like, getting those tones in a completely analog studio setting.” - Nita Strauss

“As a guitarist, I've always loved George Harrison. I've never been a fan of the rock'n'roll style, or the solos, etc. I like simple things. When Harrison does a solo, it doesn't sound like a solo, it's just his part, it's never a show of virtuosity. I don't like sham.” - Alex Scally (Beach House)

“The mix [in Savoy Truffle] is all about a trip to the dentist’s office. The guitar tone -- most likely run through a fuzz pedal -- sounds like a drill. The bending, stabbing notes during the lyrics, ‘But you’ll have to get them all pulled out’ really gets the image of a dentist’s drill across vividly. I borrowed those bending, stabbing notes from him and have no intention of returning them anytime soon. The phrasing is total Harrison -- even with the fuzz, you can tell it’s him. He does have that ‘George Harrison sound’ as well, but to identify a guitar player with phrasing is rare.” - Joey Santiago (Pixies)

“Till There Was You shows George’s vast range of playing in 1963. He has lovely phrasing, uses diminished notes –- and there’s a fantastic use of the Gretsch tremolo arm before a fabulous run into the middle eight. [GW Editor’s note: Although he used a nylon-string guitar on the studio recording, Harrison often performed the song with an electric guitar.] To my young ears, this was masterful guitar playing." - Bernie Marsden (Whitesnake)

“No one changed the face of guitar more than George, in my opinion.” - Steve Lukather (Toto)

“He gives [Dig a Pony] space where it’s needed and doesn’t clutter the sound or detract from the lead vocal. This is definitely something we could all learn from him. His choice of notes adds a sense of melancholy to the song, lifting it above what could otherwise have been a bit of a throw-away number. Lennon would later refer to the song as ‘garbage,’ but for me, Harrison’s class makes it an underrated gem. Watching the footage, we get an insight into George’s excellent technique throughout the song; expertly switching between flat-picking, hybrid picking and straight finger picking to accent the lead lines and add texture to his parts. There’s a great shot where you can see him with his pick palmed while playing with his fingers, followed by a quick adjustment of the volume and tone controls, before swiftly returning the pick for some flatpicking. It’s skillfully done and impressive to watch.” - Kevin Starrs (Uncle Acid and the Deadbeats)

“I mean he was one of the first guys to really play melodic slide because most guys that play, they want to play blues, you know? Which is great, but George from My Sweet Lord on, he would play really melodic. I love the way he played, and he was really kind to me. He was very supportive, and he told me several times that he liked the way I played slide too, so I’m greatly indebted to George.” - Mike Campbell (Tom Petty and the Heartbreakers)

'My impression of George when I first met him was that he wasn’t really extremely confident, didn’t understand what all the fuss was about and felt like maybe people were mistaking him, or making a mistake, or seeing something that wasn’t there. That was the feeling I got from him. Everyone was into hot licks, but he didn’t have any. So I feel he didn’t have a glimpse of how really wonderful a musician he was…He was very conscious that he couldn’t read music and that he couldn’t play searing solos off the top of his head. What he could do was worth more to me. He was a beautiful musician, extremely musical. The 'Moonlight Sonata' is a very simple thing to play on the piano, but it’s beautiful. And beauty is not about technique." - David Bromberg

[burnandshiverconsulting]

[1980sand1990smusicclassics]

"Getting Away with It" is the first single by the English band Electronic, which comprised Bernard Sumner of New Order, ex-Smiths guitarist Johnny Marr, and guesting vocalist Neil Tennant of the Pet Shop Boys. 

It was first released in 1989.

Musically, Bernard Sumner wrote the verse and Johnny Marr wrote the chorus.

The lyrics, co-written by Tennant with Sumner, are a parody of Marr's Smiths partner Morrissey, and his public stereotyping as morose and masochistic (Pet Shop Boys would further satirise this trend on their 1990 song "Miserablism").

Morrissey, for his part, criticized the song in a 1991 interview, calling it "totally useless" and joking that the song had a "very apt title".

In a 2021 interview with Music Radar, Marr revealed that Chris Lowe also worked on the track, citing the bassline as his work. 

ABC and The The, Drummer David Palmer programmed the track's drums.

Two music videos were made for "Getting Away with It".

The first, directed by Chris Marker and produced by Michael Shamberg for European use in 1989, featured Sumner, Marr and Tennant in a studio environment miming to the single edit of the song.

Additional footage of Marker's muse Catherine Belkhodja, strolling among peacocks through Paris Zoo and also singing to the track, was left out.

The second video, shot in 1990, was made for the US release.

Sumner and Tennant appeared, alternately, against a series of coloured backgrounds, with artistic effects superimposed.

Two women's faces are also panned in close-up.

The later version is available on the 2006 Get the Message DVD.

Electronic - Getting Away With It (1990 Official Music Video) [HD Upgrade]

[gatutor]

Seanna Marre-Brenda Vaccaro-Chris Hyams "Capricornio uno" (Capricorn one) 1977, de Peter Hyams.

[mercipourlevenim]

chris and neil interviewed by johnny marr

[l00kt0thestars]

so I was randomly looking on yt and found THIS. like imagine my surprise when I found out Johnny Marr made remixes. anyways, this is so good..giving electronic vibes ngl

[sinceileftyoublog]

Pet Shop Boys Box Set Review: Smash: The Singles 1985-2020

(Parlophone)

BY JORDAN MAINZER

“It’s in the music / It’s in the song,” sings Neil Tennant on Pet Shop Boys’ “Vocal”, a 2010s club banger about the power of a communal groove. It’s a simple, but appropriate summation of their new box set Smash: The Singles 1985-2020. A collection of 55 remastered tracks, from the band’s “Imperial Phase” to their surprising late-career critical success, Smash makes the case for the London synth pop duo as some of the most concisely affecting pop songwriters of all time. Though each track sounds crisp and timeless, the set’s improved audio quality is secondary to the strength of the collection as a whole, one that puts the the band’s idiosyncratic, lesser-known songs on the same pedestal as their massive hits. 

The casual music fan and non-PSB-diehard is likely familiar with, at the very least, the ever-relevant “West End Girls”. A perfect slice of deadpanned, Thatcher-era pop, it’s a predecessor to Pulp’s “Common People”, a satire of our penchant to fetishize those of a different socioeconomic status. That the band’s tone isn’t obvious is perhaps their greatest trick--from the get-go, they fully embraced commercialism while singing about the suburban hellscapes brought upon by capitalism (“Suburbia”) and society’s swindlers (“Opportunities (Let’s Make Lots of Money)”. To Tennant and Chris Lowe, though, this wasn’t hypocrisy: It was the perfect melding of the minds, the former’s pop songwriting chops with the latter’s artistic, experimental edge. Take “Love Comes Quickly”, which wouldn’t hit as hard without its Reichian choral background, panning synths, and Tennant’s croon-to-falsetto from which you can trace a direct line to the likes of Hot Chip’s Alexis Taylor. Ditto the band’s inspired disco-ifed covers of songs from other genres: Brenda Lee’s “Always On My Mind”, the whistling synths emulating pedal steel guitar, or U2 and Boys Town Gang mashup “Where The Streets Have No Name/I Can’t Take My Eyes Off You”.

What you perhaps come to appreciate most about Pet Shop Boys from Smash is how many of their club-conquering songs take place in intimate settings. For every horn-inflected, Latin pop jam like “Domino Dancing”, there’s the unspoken infidelity of “So Hard” or the paranoid obsession of “Jealousy”, lovers waiting for the other to come home from being out. On the surface, “Se a Vida É (That’s the Way Life Is)” sounds basic, but it’s a thoughtful reflection on the complications of life and how they change as you age, all atop a brass section, strummed guitars, and percussive drums from SheBoom. And even on a certain dance song like “I Wouldn’t Normally Do This Kind of Thing”, the narrator spends most of the time in their own head, thinking about their journey from getting out of their comfort zone to letting loose on the floor.

Of course, at the heart of the band’s introspection is an unavoidable societal context. Pet Shop Boys came to fruition in an age of state-sanctioned homophobia, governmental response to AIDS met with, at best, a shrug, and at worst, demonization. Tennant came out as gay in a 1994 interview in Attitude magazine, and before that, his references to his sexual orientation in song were somewhat veiled. On early religious satire “It’s a Sin”, Tennant laments being blamed “for everything I long to do / No matter when or where or who”. The stunning, whispered eulogy “Being Boring” is about a friend of his who died from AIDS; sullen, he sings, “All the people I was kissing / Some are here and some are missing.” You can hear the difference in songs with similar themes after Tennant came out; on “I Don’t Know What You Want But I Can’t Give It Anymore”, he theatrically leans into the jealousy, chanting over wailing backing vocals, “Is he better than me? Was it your place or his? Who was there?” And while the famously understated Lowe has never publicly come out, it’s long been speculated that his added verse on “Paninaro ‘95″ refers to an ex lover who passed from AIDS. The band’s inclusion of this version over the original on Smash speaks volumes, given the disgusting rise of anti-LGBTQ+ legislation today.

Ultimately, what allowed Pet Shop Boys to continue succeeding, as society’s attitudes and tastes changed, is their adaptation. A diss track like “Yesterday, When I Was Mad” represents Tennant at his most bitter, chiding critics. “You have a certain quality, which really is unique / Expressionless, such irony, although your voice is weak,” he sings, putting himself in the mindset of a stuffy journalist unamused by a track like, say, “Left to My Own Devices”. Over two decades later, on “The Pop Kids”, Tennant adopts a different mindset rife with humility thinking about the band’s early days: “We were young but imagined we were so sophisticated / Telling everyone we know that rock was overrated.” It’s those very rock-oriented elements that, ironically, comprised their best later-career tunes. Ali McLeod’s guitar and BJ Cole’s pedal steel stand out on “You Only Tell Me You Love Me When You’re Drunk”, a moment inspiring to polymaths like Death Cab For Cutie guitarist Dave Depper. The Smiths’ Johnny Marr provides guitar on “Home And Dry”, whose additional snares and seaside synths fit alongside Tennant’s autotuned vocals on the band’s most wistful track. And acoustic guitar from Tennant himself buoys “I Get Along” and the Xenomania-produced “Did You See Me Coming?” They’re the type of songs that make you think were age truly nothing but a number, you’d be looking at a second collection of eternal songs in another 35 years.

[rorytunes]

Okayyyyy this is embarrassing but it's prime Old Men posting hour, or rather just. Men in general posting hour. EMBARRASSING but you all need to understand something. I dont post about him that often because I don't like cross contaminating Arctic Monkeys with Bob Dylan with Echo and The Bunnymen with Dave Grohl and so on and so forth. But GODDDD I am SO gay for Alex Turner. So gay. God I want him.Oughhhhhhhhhh

[weewoo911]

So I wrote a little something loosely based on this post I made about Eddie subconsciously associating his future wedding as being with Buck- I haven't written for ages but I thought if I was gonna make it into a fic I'd also have an accidental drunk confession to Buck in there- and this is that. If I ever wrote a whole fic of this there'd be no cheating so dw dw

"It must be nice," Buck says from the floor, "Marr-Marriaging, -having a wedding. I want that, I'd want-"

"I know what you want," Eddie laughs confidently from the empty tub. It feels very zen, lying here with his legs hooked over the circular tub, like lying inside a big cereal bowl. He is so drunk, and giddy and totally at peace with everything, "You want a spring wedding because you want a frankly ridiculous amount of flowers. You want it far enough away from the city that you can see the stars at night, but not so far that it'd cost too much for everyone to travel there. You like the idea of releasing lanterns but you're worried about the environment so you'd probably want - like- doves or butterflies instead-"

"Butterflies," Buck says from the floor, his voice thick, "Eddie, what-"

"M'not finished," Eddie continues with the gravitas of someone so hammered they cant feel their legs but who is nevertheless making an Important Point, "Butterflies, then. You want a light coloured suit, something that breathes well because you'll worry about sweating. Bobby would be doing the ceremony, so maybe Athena to walk you down the aisle? And of course Maddie as your best man. Woman. Person."

"… Maddie?"

"Well yeah," Eddie shrugs, transfixed by how the ceiling seems to be slowly tilting to the side, "Because Chris would be mine, and that way they can both be involved."

There's a frantic shuffling noise from the floor, and Buck's voice is much clearer when he speaks again, "Eddie. Eddie are you talking about- me and you getting married?"

"Who else?" And in his alcohol-soaked state, it's as simple as that- who else. God knows he's tried to fit other people into that role and they just never fit right because the void in his life is so decisively Buck-shaped. Haha, God knows, his chest begins to shake with silent laughter, it's funny, right? Because of the Catholicism.

"And that's-" Buck sounds kind of upset, which makes Eddie pause, why would Buck be upset when there's good booze and the ceiling is tilting and they're getting married? "That's something you want- the-the spring wedding and the butterflies and the-"

Oh, Buck's simply misunderstood, that's easy.

"I just wanna be the guy standing next to you."

[crowhoonter]

KotOR's Sith vs SWtOR's Empire

It's rather interesting to look at the "True Sith" as described by Kreia in KotOR 2 vs the Sith Empire we got in SWtOR. Back in KotOR, the True Sith were implied to be something near cosmic horror. Beings that had been changed by the Dark Side beyond any convention of human understanding, things that could no longer be reasoned or compromised with in any fashion, and would very possibly pose a threat to all life when they returned. Granted, what we know of them from KotOR is part conjecture and most of it comes from Kreia, who is an untrustworthy source at the best of times.

Then SWtOR roles around with the Sith Empire and they are... very much not that. They are a functioning, if dystopian, society with actual values and culture. They have wants and desires, goals outside just blind slaughter and killing. Y'know, like real people. Granted, I suppose the threat to all life did carry over with Vitiate and his whole deal, but he hardly is representative of everyone in the Empire. He is just a freak like that.

This drastic change in portrayal does make sense when you look at the writing teams goals with the faction. Obsidian and Chris Avellone in particular wanted to make a major big bad for what they thought would be the upcoming KotOR 3 (may it rest in peace), and wanted that threat to be something different than the typical Star Wars fanfare. As we know however, KotOR 3 never got made and instead became SWtOR, and Bioware wanted to make it palatable to more general audiences so they copy-pasted the Galactic Empire over into the past with some minor changes.

Of course, in doing this, they could no longer follow with the original idea of the True Sith. Making an entire society innately evil and desiring to wipe out all life has some... icky implications. So instead we got the Sith Empire, a still terrible and evil state, but one that is an actual society. The True Sith of KotOR were just made into one man, Vitiate, and everyone else in the empire is a mostly normal person, or as close as they can be to being normal.

While I would have loved to see the original vision of the True Sith, I can't help but believe the Sith Empire is the better than what we would've gotten. Vitiate, being honest, sucks as an antagonist. He's boring, uninspired, and lacks the charisma that made Palpatine fun. He got a bit better in Knights of the Fallen Empire, but still was overall underwhelming. I can't imagine something where legions of people like him are the main antagonist. The conflict would probably be reminiscent of the Fate of the Jedi books once Abeloth got introduced. Boring, impersonal, and just tedious to get through.

Granted, a villain like that can be done well, as exemplified by KotOR 2's own Darth Nihilus. He works because he is completely void. Nihilus' discerning feature is his lack of personality, being subsumed into his own hunger. Power has destroyed and reduced him, but even in such a state, you can make out the faint outline of the man he once was. His last shred of humanity showing through when he spared Visas Marr. A twisted sense of compassion, but compassion nonetheless. He is tragic, but still thoroughly inhuman and evil. The problem would arise in trying to make legions of characters like this. It would wear thin fast.

Side tangent aside, I really love the Sith Empire we got. It is, as of now, maybe the most complex view we have gotten of the Sith outside of books. They are still thoroughly evil, but it gives some insight into what made them into that. Whether it be trauma, ambition, grief, or even a sense of duty, the Sith have actual motivations besides kill and rule. It demonstrates that at their core, they are still people, not just evil caricatures.

This got longer than I expected, sorry about that. Just have a lot of thoughts about these fellas.

[cherrylng]

Guitar Princes - Part 3 [STYLES Series #004 - Muse (August 2010)]

Ian McCulloch leads Echo & The Bunnymen. His childlike face and up-turned hair with a pouty expression really captured the hearts of 80s UK-loving girls.

Green Gartside, the face of Scritti Politti, was extremely popular in the 1980s. He is still active with his gentle voice and ability that Miles Davis and others would recognise.

The Prince of Neo-acoustic music is this man, Roddy Frame of Aztec Camera. The atmosphere that hasn't changed from his boyish first period to the present is amazing! He is also an excellent guitarist.

Charlie Sexton, aka Charlie Boy, made his solo debut as a boy prodigy at the age of just 17. He has had a long and successful career, recognised by Bob Dylan and others. But he was still beautiful! pic: Koh Hasebe

Johnny Marr is currently the guitarist for The Cribs. He looks like a reliable guitar brother, but back in The Smiths days he had such a sensitive vibe.

Bernard Butler, who wielded his glamourous charm alongside vocalist Brett Anderson during the Suede era.

The Reid brothers Jim (left) and William (right) of The Jesus and Mary Chain, were the ‘Feedback Princes’. They broke up and resumed their activities in 2007, but they are no longer princes!

This is Extreme's Nuno Bettencourt, the electric prince of the metal world. With his exotic face, rich black hair and exceptional technique, he has risen to the status of guitar hero.

Rich Robinson (left) of The Black Crowes shows a completely different personality backing his wild frontman brother Chris (right).

Einstürzende Neubauten frontman Blixa Bargeld. Also played in Nick Cave & The Bad Seeds. pic: Koh Hasebe

Guitar Princes Part 1 Guitar Princes Part 2 Guitar Princes Part 4

[queen-scribbles]

What motivated you to make Tel your canon outlander?

Oh, that's a fun story :D

Originally it was his big sister, Silver, smuggler extrodinaire and one of my OG launch day babies

(art from emedeme)

She's two years older than Tel and I've always(since making him, at least, bc he came along a year or two after she did) headcanoned they were going through the class story events at roughly the same pace. She was a little ahead for Act 1, he was in Act 2, then she was for Act 3 and the post-main story stuff. They keep in touch and are on good terms; catching up, goofing off, teasing each other mercilessly etc etc. So when Silver starts running Shadow of Revan, of course she taps in her little brother for help. There's no way Tel's a Revanite; he loves the Republic so much he left the family smuggling business to be a goody-two-shoes soldier.

Since this means they've both interacted with Marr and Satele, I had the thought it would be really funny if when Marr commed Silver about the Wild Space Expedition she snarked something about her war hero brother being a better fit for somethin' like that and gave him Tel's holofrequency before snuggling in against Corso and going tf back to sleep. (cue five years of Guilt™ when she thinks she got him killed >.>) And then I started actually thinking about it, and realized it was a) something she would do and b) very helpful for some Silver/Corso timeline things. With when I wanted them to have kids, she would have been 7 or 8 months pregnant in carbonite(yeesh) and Corso would have had an 18 month old to handle while she was MIA and while Silver is good she's not heroic, if that makes sense.

Tel is both. He's so Captain America his face claim is Chris Evans /cough And he's a really good fit for Alliance Commander(better than Silver, much as I love her, she does not do the Leading Large Forces thing). Sooo my joke thought turned into canon. Silver instead got that Dantooine farm Corso mentions in one of his romance letters, three kids, and occasionally goes on forays into Wild Space to look for her little brother bc part of her can't believe he's dead. (she finds him on one of them, and becomes an Alliance recruit. Yes, this messes up the whole Corso and Risha alliance alert, but you only get that as a smuggler, so it's fiiiiine. Risha can tag along. That way I get to reunite her with Vette and all is as it should be in the world.)

OH. Also, Elara Dorne is my favorite romance in the whole game, so I had to make her my canon one. :D

[lautific]

well i need two more but i have too many in mind...

1. Brian Jones

2. Johnny Marr

3. Ian Curtis

4. Axl Rose

5. Robert Smith

6. Benjamin Burnley

7. Lee Mavers

8. Chris Gentry (menswear)

HELP ME

[docrotten]

I WAS A TEENAGE WEREWOLF (1957) – Episode 153 – Decades Of Horror: The Classic Era

“All right now, we’ll move in stagger fashion. We’ll circle the outer edges first and keep going round and round till we meet in the center.” And that’s called a “search grid?” Join this episode’s Grue-Crew – Chad Hunt, Daphne Monary-Ernsdorff, Doc Rotten, and Jeff Mohr – as they go for the winning combination of mad scientist and teenage angst in I Was a Teenage Werewolf (1957).

Decades of Horror: The Classic Era Episode 153 – I Was a Teenage Werewolf (1957)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

A troubled teenager seeks help through hypnotherapy, but his evil doctor uses him for regression experiments that transform him into a rampaging werewolf.

  Director: Gene Fowler Jr.

Writers: Herman Cohen, Aben Kandel

Makeup Creator: Phillip Scheer

Selected Cast:

Michael Landon as Tony Rivers

Yvonne Lime as Arlene Logan

Whit Bissell as Dr. Alfred Brandon

Charles Willcox as Jimmy (as Tony Marshall)

Dawn Richard as Theresa

Barney Phillips as Detective Donovan

Ken Miller as Vic

Cynthia Chenault as Pearl (as Cindy Robbins)

Michael Rougas as Frank

Robert Griffin as Police Chief P.F. Baker

Joseph Mell as Dr. Hugo Wagner

Malcolm Atterbury as Charles Rivers

Eddie Marr as Doyle

Vladimir Sokoloff as Pepe the Janitor

Louise Lewis as Principal Ferguson

S. John Launer as Bill Logan (as John Launer)

Guy Williams as Officer Chris Stanley

Dorothy Crehan as Mrs. Mary Logan

A young Michael Landon, just a few years before rising to fame as “Little Joe” Cartwright in Bonanza, stars as Tony Rivers, a troubled teen struggling with anger management. Whit Bissell is featured as Dr. Alfred Brandon,  a psychologist (or mad scientist) with ulterior motives. Yes! Oh, yes, indeed! It’s the AIP/Herman Cohen campy classic, I Was a Teenage Werewolf. The Grue-Crew is in full Drive-In Theater mode for this one.

High-quality versions of I Was a Teenage Werewolf, streaming or physical media, are not available, but there is a reason. Susan Hart, the actress and widow of AIP co-founder James Nicholson, owns the rights to eleven AIP films outright: It Conquered the World (1956) and its remake Zontar, The Thing from Venus (1966); Invasion of the Saucer Men (1957) and its remake The Eye Creatures (1965); I Was a Teenage Frankenstein (1957); I Was a Teenage Werewolf (1957); The Amazing Colossal Man (1957); Terror from the Year 5000 (1958); Apache Woman (1955); The Oklahoma Woman (1956); and Naked Paradise (1957). She frequently negotiates rights for merchandise and theatrical showings, but physical media has not been updated for release in decades. You can, however, purchase a VHS tape of the movie.

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, as chosen by Chad, is The Wasp Woman (1959). Yes, they’re sticking with 1950s B-movies, but moving from AIP/Herman Cohen on to Film Group/Roger Corman!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for watching and listening!”

Check out this episode!