For the OC basics ask game: 13 + 14 + 15 for Bethany, please??
@dancingsunflowers-ocs ✨💛✨
I love my dear Bethany O'Neal:
13. What is your oc’s most prized possession? What’s the importance/meaning behind this item?
Bethany's most prized possession is a locket with a picture of her family. Despite her family not always understanding her choices, she does love them unconditionally. They are the reason she joined Starfleet, and knowing that every day she is in space is another day they are safe keeps her going.
14. Does your oc have any hobbies? How did they get involved in these?
She keeps most of her hobbies a secret, with the one exception of drawing. She is an amateur artist who takes inspiration from the worlds she visits and the people around her. It's her release from her job, which she only shares with a few close people.
15. What’s your oc’s favorite color? Does this color have any special meaning/symbolism?
Bethany's favorite color is white, a clean and minimalistic color with many possibilities. Given how chaotic her job is, she likes the simple things in life. One of the first things Jim learns around her is to clean up after himself, especially given most of her home is white. Plus, she rarely has time to live in her home, much less decorate it with color. The only splashes of color she brings into her life are bits of yellows and blues once she starts being at home a bit more.
made this blog because i recently rewatched the bruno and boots movies and started reading the books, and it's safe to say i haven't stopped thinking about them <3
my favorite characters: bruno, george, chris, wilbur, sturgeon, cathy (though i love everybody else too!! these r just my faves)
my ships: wilbur x chris, george x bruno (bruno x boots is kinda meh for me), and cathy x diane
expect art, fics, screenshots, and other things relating to these characters/ships^^
had a dream that marvel studios went bankrupt, and shaq (who played thor in my head) led an actor-run movement where they made seven more movies thats whole purpose was to make fun of the avengers.
basically, the "knock-off" heroes and more violent vigilantes had been going missing through the timestrem, and the higher ups hadn't noticed yet (though they did notice a "sudden crime wave"). Thor and Ant-man led two (seperate) searches to figure out what was going on (illegally of course) and began the best plan fight scene ever in the weirdest dream plane.
The plane is above the ocean, at some really high distance thats typed out in dramatic screen-typewriter format. the movie opens with cutscenes. shaq-thor is seated at the front. chris hemsworth makes a cameo as the pilot. robert downey jr is a flight-attendant. ant-man is near the middle of the plane, with random and varied jr heroes/vigilantes he's watching to keep from hoing missing.
the fight begins.
every passenger is allowed time to leave via the emergency exit. the baddy, a punk girl who kinda reminds me of 2012 Karai from TMNT is babysitting a feral demon child that wields fire. the child is unleashed.
both have ant-man's ability to shrink, so the fight against knock-off!karai takes place inside the carry-on bins. thor doesn't notice this. he's fighting demon child, and ends up throwing a lot of seats out into the ocean.
cutscene to flight attendant!rdj and pilot!chris. they're debating whether to fight or flee, and ended up breaking the fourth wall more times than deadpool. all cusswords have been replaced with a smiley-face sticker over the mouth and a voice over of that person's voice saying some really ridiculous cover-up words. (see, Mr Lancer, Danny Phantom, cursing with book titles)
they choose to keep flying the plane.
shaq!thor shocks the demon child. lightning hits the fuel tank. The ant-man jrs watch on in slow motion fascination. the fuel tanks explode. wings are hanging on by a really thinw stretch of metal. the jrs and vigilantes break the windows of the plane and hold the wings on with sheer will and bare hands.
the plane is no longer over the middle of the ocean, but near unstearable and heading for like,,, boston or some other heavily populated east coast city that IS NOT NEW YORK ffs.
the plane begins to fall out of the sky. both wings are lost (and land near the beach, but still mostly in the water). someone has a program that maps out their suspected course and path of destruction.
Option 1: go as low as and as slow as possible and crush an orphanage, a homeless shelter, a church, about a block of houses and two friendly mom'n'pop restaurants.
or Option 2: go up (via thor flying under and pushing up until he couldn't carry it further) and then attempt to land quickly and destroy maybe one or two buildings.
they chose 2. and when thor brought them up, got tired and tilted them down, they failed to realize just how far they managed to go. the new calibrations put them in path with a school, about to let out.
its too late to change it. antman begins to bounce on the nose of the plane to try to bring it down sooner. this works, slightly.
the plane hits the parking lot in front of the school, but contines to slide dramatically forward, towards the brick wall of learning.
antman holds it back and slowly biggerizes, conscious of the building behind him. the wall only partially crumbles.
I Walked with a Zombie and The Seventh Victim will be released on 4K Ultra HD, Blu-ray, and DVD together on October 8 via The Criterion Collection. Katherine Lam designed the cover art for Val Lewton productions.
1943's I Walked with a Zombie is directed by Jacques Tourneur (Cat People) and written by Curt Siodmak (The Wolf Man) and Ardel Wray. James Ellison, Frances Dee, and Tom Conway star.
1943's The Seventh Victim is directed by Mark Robson (Earthquake) and written by DeWitt Bodeen (Cat People) and Charles O'Neal. Tom Conway, Jean Brooks, Isabel Jewell, and Kim Hunter star.
Both films have been newly restored in 4K with uncompressed monaural soundtracks. Special features are listed below.
Special features:
I Walked with a Zombie audio commentary by film historians Kim Newman and Stephen Jones
The Seventh Victim audio commentary by film historian Steve Haberman
Interview with film historian Imogen Sara Smith
Audio essays from Adam Roche's podcast The Secret History of Hollywood
Shadows in the Dark: The Val Lewton Legacy - 2005 documentary on producer Val Lewton featuring William Friedkin, Guillermo del Toro, George A. Romero, John Landis, Robert Wise, Neil Gaiman, and more
Trailers
Booklet with essays by critics Chris Fujiwara and Lucy Sante
Terror lives in the shadows in a pair of mesmerizingly moody horror milestones conjured from the imagination of Val Lewton, the visionary producer-auteur who turned our fears of the unseen and the unknown into haunting excursions into existential dread. As head of RKO’s B-horror-movie unit during the 1940s, Lewton, working with directors such as Jacques Tourneur and Mark Robson, brought a new sophistication to the genre by wringing chills not from conventional movie monsters but from brooding atmosphere, suggestion, and psychosexual unease. Suffused with ritual, mysticism, and the occult, the poetically hypnotic I Walked with a Zombie and the shockingly subversive The Seventh Victim are still-tantalizing dreams of death that dare to embrace the darkness.
C - Cupid Come - my bloody valentine
E - Easy Lovers - Piero Piccioni
L - Les yeux au ciel - Louis Garrel
E - Endless Love - Piero Piccioni
S - Sleeping With Ghosts - Placebo
T - Temptation - New Order
I - If You Were Here Tonight - Alexander O'Neal
A - Absolut - Camouflage
L - Lämna Mig Ifred - Apati
S - Stardust - Ennio Morricone
P - Pain - Pinkpantheress
R - Roam - The B-52's
I - Inertia Creeps - Massive Attack
T - Third Stone From The Sun - Jimi Hendrix
S - Seasons - Chris Cornell
Sandii & the Sunsetz were a Japanese synthpop band that collaborated from 1979 until the 1990s. The Sunsetz, led by Makoto Kubota, and Sandii started as separate artists, and each has a separate discography. However, their collaboration provided a particular body of work that is representative of the period, and which successfully blended Eastern, Western and pop influences.
Early days
Sandii (サンディー) - born Sandra O'Neale - was born in Japan to an American father of Irish and Spanish ancestry and a Japanese mother. Her father was in the U.S. Navy, and she spent her early life in Japan, but moved to Hawaii in her early teens and began to study hula and Pacific dance.
After becoming accomplished as a singer and dancer, Sandii released her first record "Perusha Neko" under the name Sandi Ai. Returning to Japan in 1975 she was befriended by Kyu Sakamoto, who helped her to get a job as a DJ on NHK TV in Japan. Sandii performed during the interval of the "World Popular Song Festival" in late 1975, and secured a record deal with Toho. Sandii's debut album, Sandi Ai, is a mix of Japanese originals and covers of well-known songs by John Lennon and Olivia Newton-John. The album was not a great success, and Sandii left Toho for Discomate Records.
In 1976 Sandii performed at the Yamaha World Popular Song Festival as a non-competitor interval act, and the next year she won the prestigious “Grand Prix Best Vocal Performance” award with the single "Goodbye Morning", her best selling record to date.
Sandii met Makoto Kubota in 1976, when he was a guest on her NHK TV show and afterward joined his band Yuyake Gakudan ("Sunset Gang") as a backup singer. Makoto was an accomplished musician with broad influences, and the collaboration went on to be critically acclaimed, though never quite achieving the popular success expected. The music of The Sunset Gang was very influenced by blues, Southern and West Coast rock, but later they became increasingly interested in Hawaiian and Okinawan music. At this time Sandii also became friends with the future members of the Yellow Magic Orchestra, frequent collaborators with the Sunset Gang; Haruomi Hosono naming her "Sandii" because of the connection with Hawaii. However, until 1980 Sandii used a variety of names for different sessions e.g. "Sandra Hohn", "Sandi A. Hohn", and even "Sandy Ayako".
On the soundtrack of Lupin The Third Sandii performed the songs "I Miss You Babe" and "Love Squall"; the latter was a single release paired with the theme of the TV series by Yuji Ohno.
In 1978 Sandii sang the end title theme for the Japanese release of Agatha Christie's Death on the Nile, which became a top 20 hit in Japan. This gave Sandii and Makoto the opportunity to record a follow-up album. With limited time and budget, the album Mystery Nile consists of disco and pop cover versions including "Dancing Queen" by ABBA. Sandii and Makoto used fake English names on the record - "Sandy O'Neil" and "Theo Layer".
Other guest appearances include the albums Dead End and Monkey Magic by Godiego plus Melting Pot by Yamamoto Sho, whose backing band became Ippu-Do (including future Japan member Masami Tsuchiya).
In 1979, again using the name "Sandy O'Neil", Sandii released the disco track "Hey! King Kong", which failed to become a hit. The same year saw Sandii's first guest appearance with the Yellow Magic Orchestra on their album Solid State Survivor. Right at the end of '79 the Y.M.O. and Sandii began to record her debut for Alfa Records, Eating Pleasure, featuring lyrics by Yellow Magic Orchestra lyricist, Chris Mosdell, who, as he had done for YMO's Solid State Survivor also wrote the bulk of the lyrics for Eating Pleasure. At this point Makoto also wound up the Sunset Gang and Sandii & The Sunsetz were born. The two groups had the same members, but Sandii became lead vocalist. The collaboration with Mosdell would go on to produce some of the band's biggest hits over the next four years.[1] Sandii and Makoto are on record as saying they were influenced by the sound and success of Blondie and later became friends with Debbie Harry and Chris Stein.
1980s: The Sunsetz
Their first show as Sandii & The Sunsetz was opening for Yellow Magic Orchestra at Budokan in December 1980. In 1981 their next album Heat Scale, again featuring lyrics by Chris Mosdell, was released in 17 countries - most international releases adding tunes from "Eating Pleasure". From the release of "Heat Scale" until the next album release "Immigrants" (with a title song penned once more by lyricist Chris Mosdell) The Sunsetz spent a lot of time in the UK, recording with David Sylvian and Fun Boy Three producer Dave Jordan. Sounds, NME and Melody Maker gave The Sunsetz extensive coverage which gave the group a lot of credibility in Japan, leading to increased record sales. Their live act gained many fans in the international music industry following their support slot on the final Japan world tour. The Sunsetz went on to tour and play festivals with Eurythmics, INXS, Blondie and David Bowie. Their extensive touring and TV appearances in Australia in 1983 allowed them to achieve the #11 charting hit single "Sticky Music" (lyrics by Chris Mosdell).[2] Sandii & the Sunsetz also wrote songs for pop idol Akina Nakamori, including her hit "Babylon". The group had problems with international distribution and promotion and was unable to replicate that success worldwide, but it had an avid cult following.
Steve Cropper saw Sunsetz guitarist Keni Inoue play in his distinctive plucking style (as heard on "Open Sesame") and asked to be taught the technique.
In 1985 Sandii & The Sunsetz left Alfa Records for Toshiba-EMI, whose greater financial muscle gave the group a better budget to work with. Following a collaboration with Stephen Duffy ("Something Special") the group released the rock influenced "La La La La Love", released as "Banzai Baby" outside Japan. Although a strong album musically the group was disappointed that it was not promoted internationally, despite following the guidance of the record company, and opted to follow their own creative vision for subsequent releases. This led them to reggae, dancehall and other Jamaican styles which heavily influenced the final Sunsetz albums "Rhythm Chemistry" and "One Love".[1]
1990-present: Latter days
In 1990, the group had another re-invention, just using the name Sandii, although they would carry on using "& The Sunsetz" for live appearances well into the 1990s. Sandii and Makoto decided to concentrate on the Asian market and subsequent releases sold in greater numbers, helped by Sandii recording key songs in up to four languages. In 1996 Sandii recorded the first of her "Hawaii" albums and became increasingly involved in Hula culture.[3] Sandii now runs two Hula schools, in Harajuku, Tokyo and Yokohama and has a TV series on NHK, contributing to the popularity of Hula dance in Japan and allowing Sandii to release roughly two albums a year of Hawaiian and other Pacific style music. In late 2005 Sandii achieved the rank of Kumu Hula and celebrated with an event at a shrine in Ise, with old friend Haruomi Hosono providing the music.
Makoto Kubota is still a major music producer in Japan, always exploring new directions in world music.