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fmbishop · 4 years

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* I'VE GOT MY VEINS ALL TANGLED CLOSE .

* ╰ chicago’s very own 𝐞𝐥𝐢𝐣𝐚𝐡 𝐛𝐢𝐬𝐡𝐨𝐩 has been spotted on madison avenue driving a 1960 vintage jeep bronco , welcome ! your resemblance to 𝒈𝒓𝒂𝒚𝒔𝒐𝒏 𝒅𝒐𝒍𝒂𝒏 is unreal . according to tmz , you just had your twenty - first birthday bash . your chance of surviving new york is uncertain because you’re 𝒄𝒉𝒖𝒓𝒍𝒊𝒔𝒉 , but being 𝒔𝒕𝒆𝒂𝒅𝒇𝒂𝒔𝒕 might help you . i think being a taurus explains that . 3 things that would paint a better picture of you would be 𝒑𝒆𝒆𝒍𝒆𝒅 𝒔𝒌𝒂𝒕𝒆𝒃𝒐𝒂𝒓𝒅 𝒈𝒓𝒊𝒑 𝒕𝒂𝒑𝒆 , 𝒅𝒂𝒓𝒌 𝒄𝒊𝒓𝒄𝒍𝒆𝒔 𝒃𝒆𝒏𝒆𝒂𝒕𝒉 𝒕𝒊𝒓𝒆𝒅 𝒆𝒚𝒆𝒔 , & 𝒌𝒏𝒆𝒆𝒔 𝒂𝒏𝒅 𝒑𝒂𝒍𝒎𝒔 𝒓𝒖𝒃𝒃𝒆𝒅 𝒓𝒂𝒘 . ( i cut ties with my best friend and collaborator because i was secretly in love with her , but our publicist had her date my brother instead . ) & ( cis male + he / him ) + ( ruby , 18+ , she / her , pst )

 𝒊 . 𝒔𝒕𝒂𝒕𝒔 .

𝒏𝒂𝒎𝒆 : elijah alexander bishop 𝒏𝒊𝒄𝒌𝒏𝒂𝒎𝒆𝒔 : eli , e . from his loved ones , he recieves variations on ellie , ugly ass mustache head , tony hawk , and zumiez employee of the month . 𝒂𝒈𝒆 : twenny - won 𝒛𝒐𝒅𝒊𝒂𝒄 : taurus 𝒐𝒄𝒄𝒖𝒑𝒂𝒕𝒊𝒐𝒏 : professional skateboarder and youngest x games gold medalist in history , brand ambassador for several skate fashion brands , established youtube vlogger , and aspiring filmmaker . 𝒈𝒆𝒏𝒅𝒆𝒓 𝒊𝒅𝒆𝒏𝒕𝒊𝒕𝒚 / 𝒑𝒓𝒐𝒏𝒐𝒖𝒏𝒔 : cis male / he him his 𝒐𝒓𝒊𝒆𝒏𝒕𝒂𝒕𝒊𝒐𝒏 : heterosexual , heteroromantic 𝒉𝒆𝒊𝒈𝒉𝒕 : 5’11 𝒍𝒂𝒃𝒆𝒍𝒔 : the black sheep , the despondent , the fallen angel , the isolato , the intangible concept , the dirtbag , the doryphore 𝒌𝒆𝒚 𝒕𝒓𝒂𝒊𝒕𝒔 : - churlish , emotionally reserved , hesitant , resentful , self - sabotaging + steadfast , benevolent , chivalrous , reliable , down to earth 𝒉𝒐𝒈𝒘𝒂𝒓𝒕𝒔 𝒉𝒐𝒖𝒔𝒆 : hufflepuff 𝒔𝒐𝒏𝒈 𝒊𝒏𝒔𝒑𝒐𝒔 : that’s on me - mac miller / obstacle 1 - interpol / just my luck - marc e bassy & blackbear / EARFQUAKE - tyler the creator / superfast jellyfish - gorillaz / here comes a feeling - louis the child / horseshoes and handgrenades - green day / boys don’t cry - the cure / SUGAR - brockhampton / slow dancing in the dark - joji / come back to earth - mac miller / swing , swing - the all american rejects

𝒊𝒊 . 𝒃𝒂𝒄𝒌𝒔𝒕𝒐𝒓𝒚 .

harold and lillian bishop welcome the heirs to the bishop throne on an early may morning . ceo of the multi-billion dollar bishop industries construction empire , and partner of the bishop & franklin international law firm respectively , the boys enter into the shadow of a last name prepared to build onto its own legacy . eli comes into the light moments after his brother , a hand firmly grasped onto the ankle of his twin , victorious to emerge into the world first . parallel to the biblical brothers jacob and esau , his nurse notes , but his parents pay no mind . on the whim of a meaningless sequence , the elder twin is delegated as the champion of the bishop legacy , to bear the weight of their family empire and its subsequent legacy on his shoulders with pride .

elijah , on the heel of his brother , isaiah , by a mere fraction of a second , bears the weight of his second-coming due to such a christening for the rest of his upbringing .

the black sheep is perhaps too delicate of a phrasing to explain the conflict stirring daily in the bishop household , a family of perfection — and elijah , the foil to them all , a failure by definition , perhaps crafted simply to emphasize the feats of his twin brother . he’s smaller , scrawnier , slower to pick up school work and requiring relentless tutoring and support throughout his elementary school years . sensitive and introverted , he spends the first decade of his life cowering behind isaiah as a shield , receiving constant critiques of not enough , not good enough , not close enough to —

he tries not to focus on his shortcomings , as plentiful as his parents may convince him that there may be . any expression other than a stoic compliance is seen as contumacious , swiftly corrected with a ‘ i wish you would be more like your brother . ’ eli withers into himself shortly after his 12th birthday , the onset of puberty and a discovery for a natural athletic inclination giving him some semblance of musculature , his jaw sharpening and gaze taking a similar harshness . his body becomes a fortress , the only protection he can implement as his brother begins to split from him , taking on more responsibility as the twins are brought increasingly into the spotlight of their family name and fortune .

each moment harboring a critique only stokes resentment behind each clenched jaw and tight lipped smile eli has to fake . he knows its all for show , his brother is the only true heir written into their legacy regardless of what path he chooses to take . bearing the weight of a whole family tree of disappointment , eli takes on odd hobbies and begins to compose bits and pieces of himself as the him he wants to be , dismantling the illusion composed by expectations to mirror his infallible brother . by 13 , his secretive hobby becomes an increasingly viable career in skateboarding , by 17 , he’s hired his own agent and moves out on his own to escape the increasing burdens of being the bishop legacy disappointment . his parents all but excommunicate him , and he spends spans of month-long silences between them with only his brother �� to bridge such gaps . eli is gnarled and hidden away from the glitz and glamour he had grown so comfortable with , navigating his shattered self-image and desire to amount to something entirely on his own — but at the very least , he’s free .

it’s a tabloid’s dream , the black sheep of the bishop family , reuniting with his herd for their move to new york . eli is resentful and bitter at the idea of uprooting himself , but it’s his brother’s impassioned pleas of a reunion that soften eli’s resolve and cause the young skateboarding sensation to follow the rest of his distant family to new york . his brother assures him with honeyed promises of a family reunited , a change of heart of their parents’ callousness , a desire to see the bishops as one . their father’s upcoming retirement and a supposed reflection on the cruelty imposed on his brother are all cited as reasons why eli should just come with them . and eli , hardened and bitter to all but the implorations of his brother ( and perhaps a gnawing desire for some sort of familial validation after a lifetime of being dubbed the disappointment , ) begrudgingly follows through .

their parents do not .

it awakens a particular emotion within eli to see his parents for the first time in nearly 2 years and be received with the same coldness he had been seen off with at their last meeting . backhanded compliments follow fronthanded insults and it ends with eli and his father in a screaming match , fingers jabbed dangerously into chests and tempers on full blare . the betrayal comes not from a set of parents who didn’t want him — eli knew it was entirely too good to be true to be taken as the prodigal son . the betrayal , he laments , is in the falsities told by his brother , the one person who had spent so long protecting him and had now allowed him to walk without guard into the lion’s den . eli knows his brother had nothing but the best of intentions and keeps him as the sole bishop contact : this is the last he talks to his parents after years of torment .

they stay in new york together and fill their time with work and the occasional youtube video at the behest of their management , random vlogs that surprisingly take off . the bishop twins become something of an internet sensation — isaiah a charming and composed law student , eli a brooding and unkempt skater boy , with a dynamic that viewers are quick to fall in love with . they turn out content on a regular basis , building a fanbase through their vlogs that begs for collaborations and ‘ linking up . ‘ they go through the motions of collabs until one particular set of youtubers have a chemistry with the twins that their fans eat up . quickly hired to the same management team , the bishops create a mini vlog squad with their friends , a dynamic that finds eli more emotionally invested than he’d care to admit . but forever the self - saboteur , he keeps himself from admitting these feelings to their collaborator , repressing them until an email from their publicist reveals plans to have her date isaiah for the sake of views .

eli , despite having kept his feelings from practically everyone in his life , takes the move personally and cuts off all work with their collaborator , the ensuing drama being enough to keep his publicist happy despite whatever happens between her and his brother . their group goes back to being a duo , a secret for eli to keep perhaps to his grave , and he pushes to forge on with creating a name for himself out of the shadow of his family .

( um for context slash anyone who knew version one of eli we’re gonna say he got sick of the celeb world and went backpacking through southern asia w no phone n no outside contacts , just recently returned to ny after the past 2 months of isolation ! )

𝒊𝒊𝒊 . 𝒅𝒊𝒔𝒑𝒐𝒔𝒊𝒕𝒊𝒐𝒏

i’m so excited to bring eli back . … i love wealthy sm lemme give y’all a few bullets for the rundown of the uglie mean sk8r boi that u should all say ‘ see u l8r boi ‘

as the bio implies , he had a really tough upbringing in the shadow of his perfect brother . a lot of his parents’ cruelty resulted in the personality he has now .

eli is most known for his resentment of wealth and fame . in the celeb world , he’s always known as the one who’s just a normal guy . super down to earth and constantly critiquing ppl who let the fame get to their head

in a way , he gets this weird sense of superiority that’s super hypocritical ? like he thinks he’s better than the rich ppl bc he doesn’t act boujie .. . . . but ? he’s rich too ? just bc ur chinos r ripped doesnt make u better than anyone else u dumb bitch

super , and i cannot emphasize this enough , SUPER emotionally constipated . he acts like he’s above it all to serve as his defense mechanism bc on the real he’s terrified of being rejected by people the way his own parents rejected him . his solution ? if u act like u don’t give a shit , nobody can hurt u .

if he’s not angry ranting , he’s honestly p stoic . nobody knows what he’s thinkin or feelin which is how he likes it . it gets real annoying when he keeps playing the cool disconnected guy n ur like ‘ what do u want for lunch ‘ n he’s like ‘ i dont give a fuck ‘ n ur like ‘ we know dumbass edgelord we still gotta EAT tho ‘

on that ranting note , he’s usually pretty reserved and calm during things like interviews or talking to fans . when he’s in touchier situations , his defense mechanism is to switch to his hairpin trigger hostility .

ig he feels like he has something to prove by being the tough guy so he just ? gets mad super easily instead of processing his feelings like a normal person ? he detaches himself from his emotions bc he has a really fucked sense of self - worth and has an eternal belief he’s not worthy of happiness so he’ll sabotage himself to no end

shockingly sensitive and will hold onto his pain as if to fuel him . he takes disloyalty personally and will often hold onto abandonment or slights that happened years ago because they genuinely affected him , even if he didn’t show so at the time .

in terms of the celeb life : he’s p low key . isn’t much of a partier bc he has social anxiety sdfsd but he’s comfy sipping a beer on the patio as long as everyone else stays inside lmao . he’s cool w hookups but isn’t actively sleeping around ? like he could prob live like a fuckboy but rlly surprises u when he doesn’t do the fuckboy thing .. … . it’s the sensitive boy in him or somethin idk.. . .. mayb he just can’t care enough .. .. it’s the apathy … .

when he’s not seeing red , he’s rational man meant to BUST everyone’s stupidity . usually the only mfer w common sense in the squad to plan ahead n shit but if someone pushes his homies ? eli comes out SWINGING n then avoids all the tabloids about him sloppy fighting in the club like he’s mariah carey n can’t read or somethin

cannot flirt for the life of him , says dumb shit like ‘ u smell nice ‘ and hopes his muscles do all the talking lmao fuckin BEEFCAKE

on the real , �� when he’s calm n collected he can be surprisingly sweet and this is when the down to earth comes in . doesn’t get attached to many but to the few he does , he defends to the end and is the type to sacrifice whatever it is to protect them . this mans LOVES his friends and ppl are surprised to see how kind he can b bc he’s usually masking his kindness with his brutishness lmao .

he’s also ? surprisingly funny ? we’ll see abt that tho bc most of his shit is deadpan

most of the time : just fuckin . mean as hell sdfsdf

anarchist mfer ! he said FUCK the system , it’s a big skate energy and he tries to be as creative and undefined as possible . follows random whims as he learns to be less self conscious bc now he’s his own brand and doesn’t have to always think about ‘ whats best for the family ’ and all that bs ! he’s rlly passionate abt skate culture and originality and is a really big outspoken feminist / social activist bc what’s more punk than dismantling the patriarchy and other oppressive power structures ?

on that note . lowkey . a simp KWHRJWE he acts hard and won’t let any man come after him but he’s afraid 2 be mean to girls n lets most of his female friends bully him while he does the office stare in2 the camera .

i always stick random blurbs downhere but the mans is vegan , cares more about his car than anything , spends most of his time in his ratty skate clothes that barely get washed bc they ‘ hold the energy better ’ ( nastie ) , if it aint sk8 shoes its socks w sandals n he doesn’t get whats wrong w that , he’s a hufflepuff n a ISTJ-T myers briggs ( The Logistician ) , n tbh he really just appreciates the little things in life ? thats eli my lil meat head .

#wealthyhq:intro #as always like and i'll come 2 u 4 plots ! 💖🥰#back at it again w the clownery 🤡#all old members : we can def keep old plots if wanted or revamp ! lmk ! 🥰

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nototherwisespecified · 5 years

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you said your first tumblr was a fashion blog so top 5 fashion houses would be cool!! also top 5 hozier lyrics :) (i love that funky bog man sm)

viktor & rolf:

(imo they’ve gotten boring lately. the spring 2019 collection is derivative bs; lazy oaf has been doing this at high street level since 2014, hot topic at suburban mall level since 2000, punks with sharpies since 1960)

maison martin margiela, pre-galliano, not just because of the crystal full-face masks but those are definitely a part of it

they look like humanoid caddis larvae from that one amazing installation by hubert duprat

which brings me to iris van herpen, who is unspeakably good & only getting better (you know what would kill me? van herpen collaborating with anouk wipprecht & naomi wu)

guo pei af

mary katrantzou was one of the first designers who I like fell headfirst in love with just because she’s so clever

hozier lyrics in a separate post & tyyy for giving me a chance to babble!!

#an ask meme #top fives etc #not hockey

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jejciu · 5 years

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98, 83, 69, 64, 49, 28 ❤️ ❤️❤️ ❤️❤️ ❤️❤️ ❤️

thank u for asking ily!!!98. favorite historical era? i kinda wanna say like 80s because of fashion and music and shit and how everything was so fucking kitschy and bad but ~on purpose~, that was fun. also those shoulder pads babeyyyyy i wanna be a business woman looking all boxy and stuff83. writing or drawing? definitely definitely writing…… i know i say this often already but i CANNOT emphasize it enough, i write every day and i LOVE IT so much because like. u can write whateverrrrrr the fuck u want, even if its 3 pages long and u give up on it the very next day sometimes its just fun to like see that old word document thats just like, 2k words on midground au where theyre in the 1960s before i gave up on it as i remembered how bad racism and homophobia were back then and like, it was generally a stupid idea. but like. i love writing. those memes when people are like? ‘‘haha i identify as a writer but havent written a single paragraph in two years bc writing is a torture and i physically cant stand it’‘ CANT RELATE!!!! ABSOLUTELY CANT RELATE!!!!! i love it so much that even when i sleep over at someone else’s place but i feel the sudden need to write some scene/dialogue down i just will do it. i absolutely will. during boring ass lectures and stuff, too, and sometimes when im riding the bus for more than 10 minutes. and i love writing when its all sunny outside, and i get my laptop and sit on the balcony or in the backyard and write stuff that makes me happy, and i enjoy doing researches and preparing like, playlists for writing and other stuff that inspires me and like… all that shit.69. a fun fact that you don’t know how you learned? uhhhh i cant come up with anything LMAO….. sorry64. favorite website from your childhood? everythinggirl.com LOL…………… back when internet was still a luxury we would play all these dumb barbie or myscene games with my friends so much, taking turns and stuff and OH I LOVED that pixelated little girl living in her house. it was so cute, irl it was like tamagotchi for girls, and she could travel from one house to other if u had more than one of those games or whatever the fuck that was………………. also, me and my best friend would look up all these weird, a bit fishy websites with drag and drop dress-up games……. we had this favourite one that i still remember to this day, with bright blue bg and it was like a super simple site, but there were hundreds of these dollmakers. and we would spend hours playing that stuff and later we would go and draw our own paper dolls lol49. what saying or quote do you live by? hmmm….. i cant come up with a specific quote tbh but when im feeling down, i usually say to myself ‘‘one step at a time’‘, because.. honestly, what else is life if not a bunch of single little steps. like, yeah, my world is crumbling apart bc i failed some classes at school or a boy broke up with me or whatever the fuck else couldve happened, but…. at least i cleaned up my room. or at least im getting better at art. or at least im taking meds or going to therapy. no one can really manage everything at once, theres always SOMETHING thats gonna go wrong. thats just how life is, we gotta take it slow28. five songs to describe you?- worst in the world by uncle outrage bc no matter how many years its been since ive listened to that shitty fucking song for the very first time. i will still scream internally. hell yeah i AM that human trashcan!!!!!!! dude!!!!!! i feel it so much- this is so dumb but i also DEEPLY relate to the most cliche movie song ever - you get what you give by new radicals. but fuck man……. thats my life philosophy. also this quote right here:

thats pure bottomcore.

-take me home by sophie ellis bextor - but the new version, the classical remake. MAN does that song feel good. idk how it describes me but it just feels good. i relate to its essence or whatever. it just feels so sweet. i need that sweetness in my life. i wanna be that sweetness in my own life

i honestly dont know what else is there. like, i could come up with like an entire playlist of “songs i wanna feel like” or “songs i get on a deeper level” or shit like that but.... that is a difficult question honestly. and also i feel like this reply is way too fucking long already so lik e dhgdfsfvsvhshdf thank u sm for asking kidd luv u have a good fucking evening baby

#so sorry fhfsgjdhfgshfshdg #maurycy talks #long post

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ben-winch-writer-rocker · 5 years

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Live, Masonic Auditorium, Detroit, 01/14/1978

Fred “Sonic” Smith and Oppositional Defiance Disorder:

The appeal of MC5 guitarist Fred “Sonic” Smith goes beyond his guitar work, savage, deft and incendiary as that work may have been, and far beyond what traces of that work remain via studio and live recordings. In this era of “over-diagnosed” psychological disorders, Smith’s “condition” might well be labelled, like Kurt Cobain’s, “oppositional defiance disorder”. But unlike Cobain, Smith had neither the drive to be a frontman nor the good grace (or self-doubt) to back down in the face of physical opposition. And unlike Cobain, he was no suicide; his anger faced squarely outwards, driven by a righteous indignation that, at first, was anything but self-implicating.

A famous MC5 creation myth paints the young would-be revolutionary. While discussing the band-to-come at a Detroit restaurant with Wayne Kramer and Rob Tyner, Smith knocked a glass over mid-rant and (according to Kramer) said, “Yeah, this is what we’ll do, we’ll just knock shit over if we wanna knock shit over. We’ll be powerful. We’ll take a stand.”

“That ain’t cool,” Tyner said. “That ain’t being powerful. You’re not taking a stand. You’re not proving anything.”

Smith: “Well what are you gonna do about it?”

Tyner: “I’ll do what I have to do.”

Smith: “Then let’s fight.”

So they fought outside in the icy parking lot. After a couple of punches it went to the ground and Smith, an athletic six-foot-plus, came out on top, fist raised. “I could smash your face in,” he said.

And Tyner said, “Well why don’t you?”

As Kramer tells it, for three teenagers this was deep, and they got in the car and drove around for hours analysing what had happened. For Smith, I suspect it was a turning point, maybe not just in his relationship with Tyner (“After that they were tight,” says Kramer) but in his understanding of what nowadays might be termed his disorder. Of course it didn’t stop him fighting (he’d spar with Tyner again, and tackle two policemen when they arrested MC5 manager John Sinclair), but just maybe it started him questioning, turning his ideals from “smash everything” to “smash what needs smashing”, and giving him the dignity and true-seeming righteousness that comes across so strongly in his future wife Patti Smith’s recollections. (Fred Smith died in 1994, aged 46. See Patti Smith’s book M. Train for some touching writing on the man.)

From Detroit delinquent to doting family man, Smith’s trajectory was always up, despite that the MC5 crashed and burned due to record-company hassles and Sonic’s Rendezvous Band never had the chance to repeat that ignominy, largely or partly, if the other players’ testimonies are accurate, because Smith willed it that way—because Cobain-like he taunted and insulted any A & R man plucky enough to make him overtures.

So, like the MC5, like the Flamin’ Groovies, like even—to some extent—the Stooges (whose masterpiece Raw Power was, production-wise, a misfire) Sonic’s Rendezvous Band are one of the great protopunk should-have-been-a-success stories. In a sense they may be the greatest, because of their failure, because of their mystique. And that mystique is rooted not only in mists-of-time semi-invisibility, but in the aura of rebel iconoclast Fred “Sonic” Smith.

Scott Morgan and the Tonic:

But since Sonic’s Rendezvous Band, despite the name, were a two-singer band, let’s discuss the second singer, especially as he was, by any traditional yardstick, the better frontman—louder, more professional, with clearer diction (Smith’s was, make no mistake, awful; fans will be arguing over the substance of his lyrics forever), and more possessing of what some listeners may have taken as charisma. And in any case, the first song on the album is his: “Electrophonic Tonic”.

Scott Morgan, a veteran of fellow almost-made-it Detroit rock band the Rationals, had cut his teeth as a frontman singing Otis’s “Respect” pre-Aretha’s-version and turned that song into a regional hit, which, thanks to the last-minute non-involvement of Jerry Wexler’s Atlantic, never made it national. (Faced with the Rationals’ lofty demand of five grand upfront, Wexler demurred, handed the song to Aretha, and the rest is history.) A soul singer, then, with a hard rock edge, which may simply have been what it took to get across in the intimate and sonically inadequate venues of Detroit in the late 1960s, Morgan delivers his parts here with an R & B frontman’s panache, positioning himself on the classic-rock continuum somewhere between Ted Nugent and Steve Marriot, though when he sets his band loose they kick harder—thanks to ex-Up bassist Gary Rasmussen and ex-Stooges drummer Scott Asheton as much as to Smith’s semi-insane, close-to-breaking-point, post-Chuck-Berry guitar solos—than almost anyone except AC/DC, and with a sheer abandon which the famous Scots-Australians, ever the professionals, rarely mustered.

But let’s back up a little. Harder than anyone? What about Sabbath, Zeppelin, Deep Purple? I’ll make it clear: Sonic’s Rendezvous Band doesn’t do lumbering. Much as they’re classic, classic as hell, you couldn’t call them dinosaurs because they’re too fleet-footed. But nor do they sprint, they’ve got too much distance to cover; every other track here clocks in at over five minutes, and two of them (Smith’s masterpieces “Sweet Nothin’” and “City Slang”) are nearer to seven. The tempo is Sex Pistols and up, the beat almost motoric. (Asheton focusses on hitting hard and keeping the pace; he hasn’t got time for fancy flourishes.) Their roots are in R ’n’ B boogie, just as Sabbath’s were in blues. And I’d say they were just about as ahead of their time as Sabbath, if inevitably (given they had no record deal) nowhere near as influential.

But back to the “Tonic”. It’s a good song: deft, workmanlike, shuffling the same old three classic-rock chords in a natural and not entirely expected fashion. There’s a nice halftime breakdown in the middle. It’s got grit. Those who weren’t bemoaning its classicism (this was a support slot at a Ramone’s gig, after all) were probably shaking their heads in disbelief at its onslaught, unless they were shaking their asses with sheer abandon, tearing up seating, going wild. As an opener and a mission statement, it kicks ass. But for me, it’s only in track two, “Sweet Nothin’”, that the magic happens.

Sweet Nothin’:

Who can say what arcane voodoo is at work here? On the surface it starts out not so dissimilar to track one. We’ve jumped from E to B though, a good sign. (B is a great guitar key, enabling riffs that E makes obscure.) But to start off with, at least, it’s the same three-chord theory. There’s a subtle key-shift in the pre-chorus, and then with the chorus we’re in new territory: the minor sixth—the “Raw Power” chord, the “Suffragette City” chord, the “Sonic Reducer” chord—rears its head and Smith puts his cards on the table. Like Sabbath’s embrace of the devil’s interval, this is a chord-change that would inspire an entire genre—postpunk—and it darkens proceedings and ups the drama as soon as Smith unveils it.

What can I say? “Sweet Nothin’” is an anthem, despite or maybe because of the fact that I can’t hear more than a few words of it. It’s a love song, that much I’m sure of, maybe penned for the soon-to-be Mrs Patti “Sonic” Smith. (Patti Smith was on the scene intermittently in Detroit around the time: the two had sparked up an affair—she was still married to her last husband—and SRB would support her in bigger venues, breaking away from their intimate, not to say dead-end, bar gigs, where according to legend they played for as few as six people.) Whatever the “message”, I don’t care; I feel it in my bones. And when Smith, after repeating the simple refrain “You’re really really something sweet nothin’” in the plainest of minor-key melodies five or six times before the final solo, sing-shouts “You take my breath away”, barely caring if he’s in earshot of the microphone, I know exactly what he’s saying. Besides, whoever said an anthem has to meansomething? What does “Pretty Vacant” mean? “There’s no point in asking, you’ll get no reply.” You either know it deep down, deeper than words, or you never will. “There’s more to the picture than meets the eye” after all, and “Sweet Nothin’” is as good an illustration as any.

To make it clear, “Sweet Nothin’”, in my opinion, is one of the top twenty rock songs ever. It gets in. It obsesses you, or obsesses me, and I say this as someone who discovered it at age 43, via Spotify, through a $200 portable Bluetooth player. As Roberto Bolañosaid, if you want to find out if something’s a masterpiece, translate it. Translate it badly. If it stillretains its power, there’s your answer. And this album, smothered in tape saturation and poorly mixed from the live desk, was hardly a good translation to begin with. It’s not a classic like Bowie’s Low, or Abbey Road, or even the flawed Raw Power—not a finely-wrought work of art. It’s more like a jam tape. And what’s more, like a jam tape that doesn’t half sound familiar. I’ve beenat those jams. I’ve played in them. Not that our jams were as powerful, but I’d say Sonic’s Rendezvous Band stake a convincing claim to sounding like what, to this day, many rock bands want to sound like.

Into the Red:

And so it goes, through the five-minute semi-psychotic choogle of “Asteroid B612” (weird name for Morgan’s declaration of righteous love for his woman, bisected by a brilliant, dexterous-soulful blues-at-11 solo from Smith) to Smith’s five-plus-minute slightly more contemplative but still excoriating “Gone With the Dogs”, which to tell the truth slightly pales, given that Smith’s voice is already hoarse and he’s just graced “Asteroid B612” with some of his tastiest guitar-work. But wait, that accolade may well go to track six, “Song L”, which attempts a truly strange percussive minor-chord motif that doesn’t quitework but adds a new-wave-like aspect to Smith’s palette (it almost sounds—wait for it—sophisticated), before the nuclear explosion of the solo. By now, admittedly, following Morgan’s “Love and Learn”, it all seems slightly like business as usual: high-energy rocker after high-energy rocker; two guitar solos a piece, apparently thrown in whenever Smith feels like it; each song culminating in a swelling classic-rock crescendo. Nonetheless it’s precisely the lack of dynamics that makes this feel so modern. It’s unrelenting.

And I wonder, was it only in the space above zero VU—well into the red—that Smith felt the thrill of being powerful, of knocking stuff over, that had made him want to play guitar in the first place, but without the need to do violence that had very nearly made him cave his friend’s face in? Whatever their motivation, for the remainder of the set he and his collaborators play their hearts out, so much so that by “City Slang”, pretty much the ultimate showstopper, it’s hard to believe they can still play at all. Yes, the performance is patchy compared to the seven-inch version (the only record released by SRB in its lifetime, and a flat-out masterpiece). Smith is barely enunciating by the last shouted refrains. But he always maintained he liked performers that stepped up to or over the line, and all four players do that here. It’s pure adrenalin.

Plainly no band could have kept up this intensity without some serious motivation. And the truth is that by “City Slang” Smith sounds tired. Probably he didn’t have what it takes to be a frontman, at least not a touring frontman, and possibly he knew it. Maybe all he wanted was to sing his songs—because they existed, because he’d written them, because if he didn’t no-one else would. And it’s this near-complete lack of ego—this hesitating on the verge of doing nothing at all, then throwing himself in regardless body and soul—that makes Smith’s performance here one of my all-time favourite perfomances by a male singer, despite its faults. It’s the tone, bluntly masculine but vulnerable, straight-talking, speaking calmly from the centre of the storm. What can I say? He means it, and he really doesn’t much care how it goes over. Or better put, sure, you can tell he’s humbled by the crowd’s ecstatic response, but get a record deal, tour the country, maybe get rich and famous? The song and its performance are their own rewards. And, just maybe, this degree of selflessness could only have come from a singer who didn’t think of himself as a frontman.

From playing back-up to Rob Tyner and sharing the stage with Scott Morgan, Smith transitioned, shortly after this recording, to playing husband and sideman to Patti Smith, collaborating on her 1988 album comeback album Dream of Lifeand its breakthrough single “The People Have the Power”. For someone who started with a will to destroy, the adult Fred “Sonic” Smith had learned humility. His story, or what I’ve managed to uncover of it, is a true inspiration, because though he never hit the bigtime he lived the dream, doing what he wanted how he wanted at maximum volume, and never with that preening strut of the peacock that suggests it’s all theatre.

Live, Masonic Auditorium, Detroit, 01/14/1978 is a flawed document, and who knows, it may be that Sonic’s Rendezvous Band were never going to break through outside of Michigan. Regardless, it’s a classic. It takes your breath away.

#sonics rendezvous band #fred sonic smith #detroit rock #mc5 #rock writing #rock n roll #classic rock #hard rock #scott morgan #patti smith

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teasugarcoffee · 6 years

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Hi Tea!! I am new to your blog (and love it sm) was just wondering if you could introduce yourself?? ik youre blog has been around a while but I would love to get to know u!!! 💖

Hello anon it is lovely to know you like my blog xx

You can call me Isobel if you’d like (she/her) and I am 17 from Yorkshire (UK.) This blog is around 3 years old and I have been a player of Toontown since around 2007/8? I am not too sure but it has definitely always been a big part of my life x

I have a big interest in fashion from the 1920s-late 1960s which is what I tend to use for most of my art on here (Tea gets to play dress up most often she is my child) - however my other interests are documented elsewhere (my personal blog is @teacupboats (that is also my deviantart + twitter + instagram) and my art blog is @teatimematey)

Goodness knows how active I will be on this blog, I’m just in my summer holidays at the moment which is why I have had the time!! I hope to draw more for you soon xxx

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the-master-cylinder · 4 years

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Madeline Smith was born in Hartfield, Sussex. Her father owned an antiques shop and painting restoration business in Richmond, suffered a nervous breakdown early on in her childhood. She and her mother moved to Kew. Madeline went to Broomfield Primary School and then Queen’s School on Kew Green. When I was around 15 years old I discovered a youth theatre in Ealing called the Questor. At the time I was at a convent school – the same one Dusty Springfield had been at – and the nun who was responsible for us forbade me from attending the theatre group so that was that. She was very cruel and put me off pursuing acting for quite some time.

Several weeks later Madeline was modelling for catalogues and looking like – in her words – a cadaver. She polished things up at the Lucy Clayton Modelling School before moving to Paris in 1968, meeting Georgie Fame, the iconic photographers of the era and several bands along the way.

“It was a different era. It all sounds very implausible now but back then the most unlikely opportunities seemed to arise and it suited me. I wanted an adventure. I went out every day determined to experience life to the full,”

It all sounds racy to say the least but just when you think you are building a picture of what was then called a Dolly Bird, Madeline delivers a fact that turns all your perception on its head. Her first boyfriend – like her – was a young Catholic, who is now a Monk at Downside. I think this is precisely what keep her young – a disarming ability to constantly surprise.”

So just when her career as was on the highest possible trajectory in the Glamoursphere, Madeline decided to upset everyone’s assumptions and study English Literature at Goldsmith – but only after tutoring herself through the English A Level she was too rebellious to sit at Convent School. Of course.

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One of your early jobs was working for the legendary fashion store Biba, is that right? Madeline Smith: Yes I took a temporary job there in 1967, first of all as an assistant in one of Barbara Hulanicki’s shops. Barbara spotted me and I appeared as a model in her very first catalogue. That was how I got into modelling. London in the Sixties was a marvellous place to be – if you wanted to go out and do something you just did. I was cheeky and just asked to do things, more modelling and catalogue work followed and I loved it all.

Tell me more about your first professional acting role? Madeline Smith: In the 1960s in London you could get spotted in the street and offered modelling work or small parts in films. The very first film I appeared in was called Escalation (1968) and it starred among others the actress Claudia Auger. It was fun to do, just a few days, but most of the films I made back then were very slight, fun but nothing to them. Eventually my agent at the time asked if I was serious about acting or wanted to continue as a model. I decided that although I loved modelling, I wanted to concentrate on acting and hopefully get meatier parts.

What’s your earliest memory of Hammer? Madeline Smith: Taste the Blood of Dracula – wonderful – we made it in 1969. For that one I did audition, and was beyond joy to get the part. I had secretly yearned to be in one of these horror films, but because I was so innocent, gormless and untried in every sense I had no idea what a bordello scene was, or why I was in that extraordinary little outfit… but I knew how to pull gormless faces. Shortly after, I was given the part in The Vampire Lovers.

The Vampire Lovers (1970) was a much more adult direction for Hammer… Madeline Smith: I have to remind you of my previous remark about being completely gormless and innocent – we’ve only moved on about three months. I got a very worried phone call from the producer who said he was concerned about my lack of bosom. He said ‘we like you a lot, but we don’t think you are voluptuous enough’. I reassured him, and then I scuttled off to Hornby and Clarke dairy round the corner and I bought every yoghurt I could find and stuffed myself like you might fatten cattle, and it worked!

Hammer’s boxoffice grosses had been declining in a competitive market. Fading out their sexual subtleties, the company’s regime infused their product with nudity and more pronounced lesbian trysts. THE VAMPIRE LOVERS (1970), debuting as the first Gothic horror film to garner an R-rating, obligated its actresses to slip out of the trademark diaphanous nightgowns and cleavagehugging corsets. Only three years out of convent school, Smith was cast as the virginal “Emma”, who’s chastity appeals to lesbian vampire Carmilla (Ingrid Pitt).

“I auditioned for THE VAMPIRE LOVERS, and I got the part during Christmas of 1969,” Smith explained. “But I got a terribly embarrassing phone call from the producer. He said, ‘We do want you, but we are not sure that you are voluptuous enough.’ So I was determined that, by the end of the Christmas holiday, I would be voluptuous enough. I ate myself silly! I put on a lot of weight, but was still frightfully thin. But at least I had a bosom. That was the important thing because, as you know, the whole plot was the vampire biting the bosom and all that. The producer, Michael Style, was delighted. I had absolutely no bosom until that day.

“The one thing that was difficult for me was the lesbian aspect of it. I really couldn’t be less lesbian than I am. I mean, I am totally disinterested in females. In that way, I really felt it was distasteful. I hated doing that, loathed doing it. Ingrid did too.

“THE VAMPIRE LOVERS was very steamy and I can remember Michael Style running around saying, “The audience is going to fall asleep if you don’t inject something into it.’At that time, I was still very innocent and I didn’t know what to inject into it.

I recounted my conversation with Derek Whitehurst, the film’s assistant director, who told me that some of the crew members were a bit embarrassed by the nude scenes. “Oh, no, I think they enjoyed them!” laughed Smith. “I mean, there were these two lovely girls in bed. Why shouldn’t they enjoy it? I think possibly Derek was a bit embarrassed. He’s a good friend of mine, he lives just around the corner from me. He’s the dearest, sweetest man you’d ever want to meet and he may have been embarrassed. I don’t think the rest of the crew were.”

Although Smith wasn’t exactly “over the moon” in regard to the nudity, she plunged into the role: “I was very naive and innocent, I really was. The character I played was very innocent, so I didn’t have to do much acting. But I had a lot of fun on the film. Director) Roy Ward Baker was very patient and understanding-and working with Peter Cushing, he was a most lovely man.” Smith shared many of her scenes with a youthful Jon Finch who, only one year later, was cast as MACBETH in Roman Polanski’s controversial spin on Shakespeare. Finch’s acting skills had been honed on the stage, whereas Smith admits, “I didn’t really have any training. I did modeling, then I did films. Hammer was always on the lookout for young women. Since then, I’ve gained a lot of training through experience.”

Looking back at films like The Vampire Lovers, do you feel you were exploited? Madeline Smith: I was a very willing exploitee – I didn’t mind at all. My main point of existence is to make people laugh and I was able to use those bosoms later for comedy, I was the foil in a lot of comedy shows and sketches and I have absolutely no regret about being ‘sexploited’. Others I know take against it. I didn’t mind looking womanly, that’s not ever been concern of mine – but it is for others, and good for them.

What are your memories of making the film of Up Pompeii (1971)? Madeline Smith: It was another delightful experience. Bob Kellett was the director of that film and he was such a lovely man to work for. Bill Fraser was one of the stars of the film and he was an absolute joy – I had been a fan of Bill’s for a long time and used to watch him in Bootsie and Snudge on television. Bill brought us champagne for the first day of filming and it certainly all went very well after that!

You worked with Frankie Howerd a great deal I believe. What was he like to work with? Madeline Smith: I got on very well with Frankie and worked with him often, quite a bit of it on television. I was part of the furniture, didn’t offer opinions or try to steal scenes because he was the star. He was such a talented man and there were never any problems. He was very kind to the women on set and those who worked with him. I don’t know why they no longer show his work on television today – he did so many things for both the BBC and ITV and it’s such a shame he’s not shown, apart from the odd documentary.

I must ask about the filming of Carry On Matron (1972). What was that like and what were Barbara Windsor and Hattie Jacques like to work with? Madeline Smith: When I got the part in Matron I was about to give up acting. I had a place to train to become a nurse at St Bartholomew’s Hospital. However my father was very proud of the bits of acting work I had been getting and when he found out about Carry On Matron, he insisted I did it. It was a joy to make the Carry On, I was only there for half a day and gone before lunchtime which was a shame. The atmosphere on set was delightful and that was mainly down to the genius of director Gerald Thomas. He was such a nice man, genial with a sunny personality and loved making films and everyone he was with. Hattie and Barbara were really kind and easy to work with and the lovely Joan Sims was there too doing reaction shots to what the three of us were filming. Jacki Piper was also on set although I didn’t do anything with her there. She is an adorable person, really lovely and a great friend. Even though I didn’t train to be a nurse I did eventually go to University to study English when I was about 30 – I really loved that experience.

Would you like to have appeared in more of the Carry Ons? Madeline Smith: Peter Rogers wanted me to come back for more of the films and I would have loved to, Matron was such a good experience. However by the time the next Carry On was going into production I was contracted to do a theatre tour with Patrick Macnee as the star. The tour was awful, the play was bad and the reviews meant nobody came to see us. Dinah Sheridan was also in the play and we were both so miserable. I really regret doing that tour now as it stopped me taking on other lovely jobs like more Carry Ons. Once the tour was finished offers like that had stopped coming in, at least for a while.

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Of course they are talking about making another Carry On at the moment… Madeline Smith: Yes every so often they come up with the idea to make another but I knew some of the people in the last of the original Carry Ons – Emmannuelle and Columbus – and they weren’t fun to make or to watch because the innocence had gone. I have watched some of the comedy series they have remade recently on the BBC and I wish they had left things alone. They all had very talented actors in them but I wish they could do new things with the talent that is around today.

You also appeared in the film Theatre of Blood (1973). What are your memories of that production? Madeline Smith: I remember that the part I was originally offered was much bigger than what I played but I really just wanted to be in the film to be with that cast! There were so many revered actors in that film that it was just great to be there with him all around me. It turned out to be a good film and I think it’s now a bit of a classic. It was made on a tiny budget, all out on location in the freezing cold with no studio work. It was quite uncomfortable but just great to be with all those wonderful people.

You were in the Bond film Live and Let Die (1973)? Isn’t that the one when Roger Moore undoes your zip with his magnetic watch? Madeline Smith: I loved that scene and I love him. I made the Bond in January 1973. I think that was the first scene that Roger shot in his new go at Bond.

I’d already had a part in The Persuaders with him and Tony Curtis – and I’ve been told since that he suggested me for the part in the Bond. Madeline Smith: I don’t even remember auditioning. And suddenly there I am shooting it with that divine being. He’d cut his hair off and lost a lot of weight by the time he was Bond. I think he looked smashing.

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What was that like to film and what was Roger Moore like to work with? Madeline Smith: Roger was absolutely adorable. He had slimmed down a bit since then, had shorter hair for the part of Bond was just as professional and lovely to be with. I may be wrong but I think Roger actually suggested me for the part in Live and Let Die. I was only there for three days I think but it was great. They had created Bond’s very 1970s flat in a corner of one of the big studios at Pinewood and it felt like a real flat – the attention to detail was superb. It was great to work with the lovely Bernard Lee (M) and Lois Maxwell (Miss Moneypenny) too – she was such a nice lady and there was no fuss with any of them. I knew Michael Caine for a while around that time and the set of the flat always reminded me of his flat at the time.

Did you enjoy working at Pinewood Studios? Madeline Smith: Oh yes! I worked at the beautiful Pinewood many times – it was a very comfortable place to work and you were always very well looked after there. The dining room at Pinewood is beautiful too. Very happy times.

Cast as “The Angel,” Smith once again appeared seraphic in Hammer’s Frankenstein and the Monster from Hell (1974). Though her visibility stretched through much of the film’s running time, Smith’s role was performed sans dialogue. Peter Cushing, in his swan song as Baron Frankenstein, cooks up a scheme to mate Smith’s character with the monster (played by STAR WARS’ David Prowse). “I really enjoyed working with Peter Cushing again,” Smith wistfully smiles. “But I noticed such a difference in Peter this second time around. It was made shortly after the death of his wife, and he’d become so gaunt and pale-looking. But he was still a wonderful man, and so great to work with. Of course, we had a great director-Terence Fisher-on that film, too. I think it was his last film. And he was one of the kindest, most easy-going directors I’ve ever worked with. He would always ask you what you wanted, how you felt about something, and that’s rare in a director. It was the same with Peter Cushing. No matter what you wanted, he was willing to listen.”

During the ’80s, Smith frequently surfaced on British television. Why Didn’t They Ask Evans? (1980) and The Steam Video Company (1984). She was a member of the regular cast of the BBC2 series The End of the Pier Show (1974) and In The Looking Glass (1978) alongside satirists John Wells and John Fortune and composer Carl Davis. One of her last film credits, The Passionate Pilgrim (1984), turned out to be the final screen appearance of Eric Morecambe.

Matter of fact, Smith “had a screaming part” in another film credited as a Vincent Price vehicle, Bloodbath at the House of Death (1984); but, once again, she wasn’t introduced to its star: “Kenny Everett and Pamela Stephenson were also in it. I just had a small role in the precredits sequence. I just have a long, endless scream that goes on for what seems like ten minutes. I’m being chased by a madman.”

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“In 1974 I met the actor David Buck while making the TV show Crown Court. He was 15 years older than me and very bright, but not an easy man. We had our daughter, Emily, in 1984. Having given birth to a daughter, she gradually wound down her acting career. She married another actor, David Buck, but within ten years was widowed when he died of cancer, leaving her with a daughter, Emily, who was still too young for school. It was a bleak time and she remembers wanting to hide away. But Madeline possesses a brand of resilience and optimism which is hard to break. She forged ahead with her writing and acting.

If you could choose between film, television and the stage, which medium would you prefer to work in? Madeline Smith: This might surprise you but I prefer television. It’s quick to do, you don’t have to get up at the crack of dawn so you’re not tired all the time and I like being in a studio, particularly with a live audience. I did a lot of satire and children’s television later my career and I think those were my favourites.

What do you think are the main differences with the acting profession now compared to when you were in the business in the 1970s? Madeline Smith: I think actors are expected to go a lot further with certain things now – particularly in terms of love scenes and nudity – it always seems to push things further than they need to go and if it was my time now I don’t think I’d be completely comfortable with it. Having said that, there is a lot of great stuff being produced these days and I’d certainly say the quality of the drama we see on television now is definitely much better.

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CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY news.bbc.co.uk carryonfan.blogspot Samhain#39 Femme Fatales Magazine (October 1996 – Volume 5 No. 4)

SELECTED FILMOGRAPHY The Mini-Affair (1967) – Samantha The Killing of Sister George (1968) – Nun (uncredited) Some Like It Sexy (1969) – Miss Beaufort-Smith Pussycat, Pussycat, I Love You (1970) – Gwendolyn (uncredited) Taste the Blood of Dracula (1970) – Dolly The Vampire Lovers (1970) – Emma Morton Tam-Lin (1970) – Sue Up Pompeii (1971) – Erotica The Magnificent Seven Deadly Sins (1971) – Guest Appearance (segment “Sloth”) Carry On Matron (1972) – Mrs. Pullitt Up the Front (1972) – Fanny The Amazing Mr Blunden (1972) – Bella The Love Ban (1973) – Miss Partridge Theatre of Blood (1973) – Rosemary Live and Let Die (1973) – Miss Caruzo Take Me High (1973) – Vicki Frankenstein and the Monster from Hell (1974) – Sarah Percy’s Progress (1974) – Miss UK Galileo (1975) – Young Court Lady Fern, the Red Deer (1976) – Mrs. Gordon The Bawdy Adventures of Tom Jones (1975) – Sophia Why Didn’t They Ask Evans ? (1980) – Moira Nicholson The Passionate Pilgrim (1984) – Damsel

Madeline Smith: Selected Filmography/Interview Retrospective Madeline Smith was born in Hartfield, Sussex. Her father owned an antiques shop and painting restoration business in Richmond, suffered a nervous breakdown early on in her childhood.

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universeinform-blog · 7 years

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I tried Samsung Android answer to the iPad Pro

New Post has been published on https://universeinform.com/2017/03/24/i-tried-samsung-android-answer-to-the-ipad-pro/

I tried Samsung Android answer to the iPad Pro

I like Android. I think it looks top, I love how Google’s apps are the default, and I love being able to screw with the entirety every time I lose interest. Whilst it is finished proper, and Whilst it is sincerely updated, Android is each bit as charming as iOS, and miles extra bendy. On telephones, this is.

Android’s quirks and charms work on smaller monitors, due to the fact it’s in which it’s most popular, so it is where its myriad builders have lent their cognizance. Whilst you positioned Android on a pill, matters get sloppier in ways iOS does not. Whilst you try and use that pill like a computer, matters feel undercooked.

You may use a mouse and keyboard and run apps aspect by way of aspect, but too often Android still appears and seems like it is explicitly designed for phones. due to the fact, clearly, it is.

Google is aware of this. it is spent the previous few months slowly making its different operating system, Chrome OS, play nicer with touchscreens. it is transferring Android apps there

Building increasingly more computing device-fashion capabilities into them, and usually setting Android’s tablet-friendly bits onto the platform it truly is already designed for big displays, so it may be that “2-in-1” OS Android isn’t.

And yet, as all this is going down, Samsung is rolling out the Galaxy Tab S3, a modern-day, high-cease Android tablet. It expenses a hefty $600 and tries to justify that charge via doing PC matters. it is even were given its own keyboard case, which throws any other $a hundred thirty onto the value.

Samsung Phone Covers

Advent

Samsung based in Samsung City, Seoul is a South Korean multinational conglomerate enterprise. Most of the several subsidiaries and associates of Samsung are united beneath the Samsung logo, being the most important South Korean enterprise conglomerate. In 1938, Lee Byung-Chul based Samsung as a buying and selling business enterprise. The boom diversified into meals processing, textiles, securities, retail, and insurance areas in next 3 many years. In overdue 1960’s, Samsung entered electronics industry, followed by construction and shipbuilding industries in mid-1970’s.Samsung becomes separated into four business organizations, after Lee’s demise in 1987. The 4 business institution of Samsung is Samsung institution, CJ group, Shinsegae institution, and Hanson group. Samsung especially multiplied globalization in its activities and electronics on the grounds that 1990. Its Most critical source of income is mobile telephones and semiconductors.

Samsung Smartphones

A chain of mobile computing devices designed, manufactured and advertised by means of Samsung Electronics, that’s established in Suwon, South Korea and is a South Korean multinational electronics business enterprise is Samsung Galaxy. Galaxy S collection of excessive stop smartphones, Galaxy Note collection of tablets and phablets with the delivered stylus functionality, Galaxy Tab series of pills and the first model of Galaxy Equipment smartwatch, are included inside the product line. Earlier than the announcement of Samsung Galaxy TabPro S, the primary Galaxy-branded Home windows 10 device in CES 2016, Samsung Galaxy used Google produced Android operation system at the side of TouchWiz a custom consumer interface. Before September 2013, Samsung Galaxy model numbers started out with GT-xxx, whereas because September 2013 they began with SM-xxx.

Samsung Smartphone Covers

These days, cellular telephones have ended up our day by day necessity. Cases and covers are made to preserve our cell telephones safe and sound from clumsy pin falls and greasy grips. Samsung, being one of the topmost brands in a production of mobile phones and less highly-priced in comparison to different topmost manufacturers like Apple, human beings decide upon to shop for Samsung phones. They’re also lightweight. So, it becomes important to buy Cellphone covers to protect these telephones from scratches.

There one of a kind varieties of Cellphone Instances: cellular Socks, are fabricated from woolen or cotton and to be had in free sizes. cellular Pouches are normally manufactured from leather, suede, synthetic leather, neoprene cloth for that reason presenting true safety for the tool. They actually have the holster, in order that they may be clipped on a belt. Cellphone Skins, serve a distinct persona to your Smartphone.They connect directly to the floor of the Smartphone. They’re a product of vinyl merchandise. They suit precisely to the body of the Cellphone without interfering its capability.

Face Plates, are generally made of plastic and offer protection and decoration to the Cellphone. body Gloves are normally fabricated from thermoplastic polyurethane or soft gel and silicone. A body Glove does now not allow the Smartphone to slip away. Hybrid Instances, basic level comes of components, plastic casing and thick thermoplastic polyurethane rubber glove encasing the plastic skeletal.This protects the device from shocks, dirt, water sprinkles or mild showers.

Benefits of an Android TV Box

The Android Tv container is a beneficial piece of kit that connects to the Tv via the HDMI port to provide most of the features of Android. This type of setup may be very flexible and without problems connects to most TVs with the proper port and is a lot less expensive than a smart Tv. Right here are a number of the benefits of the use of the Android Television container:

Countless apps

One of the most preferred advantages is the capability to apply and installation the Countless apps which might be now available at the Android operating machine. By means of journeying the Google Play keep using the net connection, it is feasible to put in the state-of-the-art apps associated with no longer handiest multimedia content material, but also audio editing packages, games, books, magazines, sending e-mail, or signing into social media accounts, including Facebook and Twitter.

Tv aid

With the aid of connecting the Android Tv container to the Tv at home through the internet; it is also feasible to connect with different devices in the domestic, consisting of those who employ technologies like Airplay, Miracast, DLNA, or others that feature with Android. This makes it very bendy to percentage various varieties of multimedia with the Television. As an example, it’s miles viable for an Android well-matched pill or phone to have interaction and control the Tv at the same time as also giving the choice to share documents with a PC or maybe watch a downloaded collection or a film on the big screen. Typical, this form of setup gives an easy gateway to get the net on the Television.

Top notch rate

The value of upgrading a popular Television to gain from all the possibilities of Android is especially cheap as compared to buying a smart Tv. Plus, the blended widespread Tv and Android Television field can provide lots greater than a standalone clever Tv.

Regular updates

The Android working machine is up to date on a Regular basis, because of this the modern version of a recreation, software, or machine is usually to be had. Plus, this is usually performed automatically so there’s no need to hold trying to find updates while logged into the app store. this is appreciably more convenient than a clever Television that could take a while to get hold of updates, specifically while each logo of Television wishes to have its very own update created and launched.

All in all, the Android Television box makes it feasible to experience the connectivity and flexibility of Android on a fashionable Television installation.

How to Improve Your iPad’s WiFi Performance

Whilst I bought the WiFi-enabled iPad I knew that I’d omit to be built-ring capable of built-integrated over the 3G community. What I did not count on became now not be built-ing able to jo built integrated over WiFi! Unluckily, I’m no longer on my own with my WiFi problems. Many iPad owners are reporting built-in problems with WiFi – either connect integrated to or stays built-in related to a wireless community.

If, like me, you’re built-inbuilt integrated what to do approximately WiFi, then built-in on. I have built-in the research and come up with the top 5 ways to repair the iPad WiFi connection problems.

Built-integrated built-in first: the on-off switch. You’d be surprised at what number of complicated step-by-step built-in commands stop with “if that does not work, flip the iPad off and on built-in.” Your iPad’s no longer count built integrated “on,” any greater than an iPhone is.

Keep down the sleep/wake button till the built-in slider appears, and drag it to the proper to energy off. To power on, built-in integrated down the button built-inagabuiltintegrated and let the iPad undergo its startup built-in integrated. This takes a while, and while you need your iPad to work proper a few seconds is an eternity. However cont built integrated preserve integrated this one geared up – it is frequently the “built-in built integrated” proper solution. 2. Appearance Ma, no fingers. Customers are report integrated that built-in preserving an iPad like a book, orientated taller than huge with your fingers on its aspects, your robust WiFi signal gets weaker, and your susceptible sign disappears. Do not.

Renew your lease. The iPad has a regarded problem with DHCP leases.

Lengthy tale quick, it attempts to built-in built-internet integrated deal with on a DHCP community without renewing integrate digits DHCP rent. The network built-links the built-in net address is fair game and troubles it to built-in else. When integrated with a DHCP community:

Tap Settintegratedgs/Widespread. Underneath Car-Lock, pick “In no way.” built-in case you integrated re built-integrated the DHCP connection even as built-in, Faucet the blue arrow next to the community name and “Renew lease.”

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