#Jerome Williams

[hoopsmedia]

A collection of #13 jerseys to help you celebrate Friday the 13th.

[positivebeatmagazine]

HOW LONG - THE EVEREADYS

[carrierofpretzel]

Some quotes i have saved from JRWI

“Two Mommy?”- Gillion Tidestrider

“This Jesus guy seems really cool!”- Gillion… again

“I can’t wait to k*ll myself!” -Jay Ferin

“That girl just bit me.. and I think I was into it?”- Jay Ferin

“If you zoot one more time im gonna choke you..”- Rumi

“…..Zoot~”- Peter

“Yippe”- Dakota Cole

“I’m just gonna kms and its gonna be your fault!” Bizly ooc

“Ahhgrhduhiejbagci wa”- Kian Stone

“Julian the groomer… has a nice ring to it”- Julian

“Its.. sewer ravioli!”- Dakota

“Niklaus is making a deal with russian Goku rn”- Bizly i believe ooc if not Chip

[augustheir]

William Bracewell and Francesca Hayward in Dances at a Gathering (Royal Ballet, 2020)

[surely-galena]

This round of deliveries is so great because first, it’s Artem and MC trying to get William Lewis to think twice about his current attempt to woo Ingrid Rosworth, and then BAM, Jerome Adams is back and he’s doing vaguely suspicious things again. What a sequence of events

[emergefromthenoise]

Violent delights and violent ends – a tragic lovers' tale.

All the world's a stage... Indeed, so the whole theatre becomes exactly that: from the rooftop (a distant and isolated Mantua), to the backstage corridors and fire escapes standing in for meandering streets of Verona or foyer turning into Capulet's house's halls. Use it all. And at the same time focus on the word: darkness engulfing the stage where vulnerable characters bare their desires. Micro expressions on display as cameras follow the actors around. Lights. Camera. A story of love and hate. A tragedy weaved by fate. Timeless tale.

Some raised the alarm as the casting revealed Francesca Amewudah-Rivers as Juliet, claiming it wasn't true to Shakespeare's spirit. Well, I, for one, am glad that it wasn't. Not that I have anything against men in tights, but that would be a different play entirely. Also may I remind everyone we would be subjected to some pre-teen, prepubescent males with their falsetto trying to nail Juliet's voice timbre. And Nurse's too. But then we would have been deprived of seeing such brilliant performances from Francesca and Freema [Agyeman] which would be simply a travesty. And all in a name of staying true to the original text (may I add also well known fact – Shakespeare's not so secret and nice tendency to “borrow” from other's work thus him being not so original himself).

Even though my first reaction to Freema being cast as a Nurse was: she's too young! Because in my head this character is this elderly matron rather than witty and lively Nanny. But that's the beauty of theatre and interpretation: anything goes! And oh, boy how it worked!

Francesca's Juliet is so youthful, gentle, so full of passion. One's heart sinks seeing her heart's woes. Tom's Romeo has boyish charm, rage and love so bound together it boils. His Romeo is impulsive, emotional, he brings laughter and choked silence as one observes his character being played by fate. Let's not forget Juliet is the driving force. She's “yes” or “no”, black or white, ultimatum giving kind of girl. And Romeo? Well, he's both romantic (grand gestures much?) and... well, he's a fuckboy (how fast Rosalind is in his rearview mirror, huh?). But then he's Juliet's fuckboy and heaven is not on their side.

Maybe I'm a cynic when I look at this great romance and frown and childish overreactions and hyperboles. But these two [Francesca and Tom], they're so gentle and pure, so deep, that one quickly invests in their budding feelings and looks upon them with softness knowing too well what's glooming over. The tragic face of star crossed lovers.

But these two aren't the only ones shining bright on that stage. Mercutio always has been one of my favourite characters – flamboyant, fast with words and weapons, mad or is he? Harold Perrineau made such an impact with his Mercutio [in Baz Luhrmann's Romeo+Juliet], even though not on stage, there was no other version of this character for me. But I dare to say Joshua-Alexander Williams comes real close or maybe even matches the performance. Which is incredible considering it's his professional debut. Exuberant, cheeky sidekick, cursed... and cursing the feuding families. Seemingly insane with his flowery talk turns out to be the voice of reason and prophecy in the end.

The staging is stripped back, functional, raw in it's simplicity, but not dull. Focus is on the actors and the text. Blaring music and flashing lights prevent the audience from being too comfortable in their seat – it's a tragedy after all.

'Romeo and Juliet', a tale as old as overplayed. Yet, always attracting both actors ready to add their version to the pile and crowds eager to see lovers' tragic fate onstage (and/or on screen).

Shakespeare's plays always were the entertainment for the masses, even the tragedies have characters being bigger or smaller 'comic relief'. In 'Romeo and Juliet' it would be surely the Nurse, but thanks to Freema's brilliance this character is so much more than crazy old lady. The wit is her weapon of choice, true, but the emotions and layers that spill out thanks to Freema shine a new light on this character.

It takes a special kind of talent to breathe a new life into the text and a play as a whole (and the assemble did a marvellous job at it!), especially one so well-known, played so many times that people think they have seen it all. But Jamie Lloyd has carved a reputation for himself and his innovative and bold approach (and vivisection) is doing only favours to dusty classics. It is an unmissable event.

---

William Shakespeare's ROMEO & JULIET.

Dir.: Jamie Lloyd

Cast: Tom Holland, Francesca Amewudah-Rivers, Freema Agyeman, Michael Balogun, Tomiwa Edun, Mia Jerome, Daniel Quinn-Toye, Ray Sesay, Nima Taleghani, Joshua-Alexander Williams, Callum Heinrich, Kody Mortimer

In Duke of York's Theatre, London from 13 May to 3 August 2024

[Photo from Duke of York's Theatre]

[dreaminginthedeepsouth]

From 1989: An interview with Agnes de Mille. She was something. As discussed, Amanda Vaill.

>>>>>

James Grissom: "Tennessee [Williams] said you were impatient and abrupt with him."

Agnes de Mille: "I'm an impatient and abrupt woman. I'm impatient and abrupt with you, as I'm sure you've noticed."

James Grissom: "He claims you were not sympathetic to his worries about the waning of his talent."

Agnes de Mille: "He was absolutely correct. I have no patience for people who seek approval for their existences. People who want you to remind them that they've done good work and should continue. It is not for me to decide. It is not for anyone to decide. I think we must all know ourselves and what we are and what we can do. I'm sure I told the same thing to Tennessee.

"I was a failure as a classical ballerina. I did not have the equipment. I think I had the temperament. I know I had the desire, but desire cannot transmit to the feet and the legs what it is they should do to become a dancer. I was not born with the rudiments of ballet. But I learned. I worked. I found a way to be useful, and I was often very good, and more often than not, merely good. You think I'm happy with that? On some deep level? I'm not. I wanted to be great. I'm not great.

"Martha Graham and Jerome Robbins are great. They are geniuses. I forgive them everything, even when they are merely good or very good. No one is a genius every day or every time they try to do something, but there is genius within what they've done. I am not a genius, so I've taken some tough criticism, even recently, which I probably deserve. But I don't complain. I don't stop. I hated that Tennessee felt that the approval of others was keeping him from working. Only Tennessee kept Tennessee from working.

"Tennessee was a genius. I believe that. I don't think the theatre could have grown if he hadn't decided to work within it. I absolutely believe that, and I told him that, and he wanted a pat on the back and some sweet talk with some wine that he mattered. This is nonsense. See, I'm abrupt. I'm also right. A genius can only be stopped by himself, and that is what Tennessee did. He silenced himself. And God, we needed him. We needed him to keep writing and trying. He was a genius."--Agnes de Mille/Interview with James Grissom/1989

Photograph of Agnes de Mille by Jack Mitchell, 1992.

[newyorkthegoldenage]

"Cleopatterer," from Leave it to Jane, 1917, sung by Joan Morris.

Today, P.G. Wodehouse is known for his novels and stories, especially those about that valet of valets, Jeeves. But for 30 years beginning in 1904, Wodehouse also wrote the books and lyrics for 33 musicals. In 1917 alone, he had five shows running on Broadway at once.

But Wodehouse produced more than hits: he was one of the great innovators in American musical theater. He steered it away from revues and imported operettas to stories about contemporary life that had a plot that made some sense. As a lyricist (or “lyrist,” to use the older term that he preferred), Wodehouse used vernacular speech rather than flowery poetics.

[moorheadthanyoucanhandle]

DOVE TALE

Again and again I find myself sheepishly admitting that Star Trek, as in the original series, is my all-time favorite TV show. It's a little embarrassing to acknowledge that, north of sixty years old, I keep going back for comfort and refreshment to the corny sci-fi show that I loved as a kid.

Worse yet, for all the show's sophomoric heavy-handedness and cultural chauvinism and ludicrous science and inconsistently applied social values, I keep finding relevance, even prescience in it.

For instance, this past weekend I watched the third-season episode, scripted by the redoubtable Jerome Bixby (also author of the story that became the Twilight Zone favorite "It's a Good Life"), called "Day of the Dove..."

You may remember it: Both the Enterprise and a crew of Klingons arrive at a planet, lured there under false pretenses by a powerful incorporeal alien Entity. Through a variety of mind tricks and matter transmutation, the Entity gets the Federation crew and the Klingons trapped together aboard the Enterprise, which is hurtling out of control on course to leave the galaxy.

Onboard, the factions are allowed their own turf, armed with swords--Scotty admires "a Claymore..."

...and psychically aroused to furious hatred toward their adversaries and even toward each other. They soon discover that the conflict between them is self-renewing; their wounds heal miraculously and the Entity allows neither side complete victory.

As a kid, I always thought it was a pretty cool episode. It had plenty of action, including swordfights, and the coolest and most badass of all the original series Klingons, Kang, played by the rumbly-voiced Michael Ansara...

...towering over Shatner...

It was also the only glimpse we ever got, in the original series, of Klingon women, notably Susan Howard as Kang's wife and science officer Mara...

In the course of the show Chekov, under the Entity's evil influence, attempts to violate Mara, although it looks like she could smack his little ass across the corridor with one hand.

Along with Chekov, Kirk, McCoy, Scotty and Uhura all get to work themselves up into highly entertaining angry lathers in this one. Shatner's in particularly hilarious, wound-up form here: "Look at me...Look. At. Me." And there's the great moment when the hysterical Scotty, responding to Spock's attempt to calm him, says "Keep your Vulcan hands off me," but it sounds like he said "Keep your f**kin' hands off me."

But watching it the other night, it occurred to me that this episode seems unusually relevant these days. I noticed this a few years ago about the second-season episode "The Omega Glory" as well. The theme, about the dangers of fetishizing and theocratizing America's foundational documents and other objects of patriotic regard like the flag, seems like a pedestrian, basic civics lesson. But it turns out that our society needs to be reminded of it regularly.

Similarly, with "Day of the Dove," the message might seem, at a glance, like the usual honorable but ineffectual Star Trek platitudes about the horrors of war and the bondage of bigotry and the liberating virtue of tolerance. But now, in light of the revelations from the Dominion lawsuit, it has a strikingly specific subtext. Because, of course, the reason the invading Entity is attempting to create this hellish eternal conflict on the Enterprise is that it feeds on violent hatreds, turning from yellowish-white to a happy shade of red...

...when it sucks up some delicious fury.

It creates false narratives in people's minds to stir up their bloodlust--Chekov claims his brother was killed by the Klingons; Sulu later explains that the brother is imaginary, as Chekov is an only child--and feeds both sides with propaganda to gin up enmity. Essentially, the Entity is a farmer, planting outrage so that it can harvest rage.

In other words, the Entity is Fox News, and the "news" media machine of which Fox News is the most successful and egregious example. I mean, isn't it, kind of?

In this context, some of Bixby's lines take on an extra resonance, as when Kirk speculates "Has a war been staged for us, complete with weapons and ideology and patriotic drum beating? Even...Spock...even race hatred?"

Or, when Kirk says "It exists on the hate of others," and Spock replies "To put it simply. And it has acted as a catalyst, creating this situation in order to satisfy that need."

Or, again, Kirk's desperate appeal to Kang, in the climactic minutes: "...and it goes on, the good old game of war, pawn against pawn! Stopping the bad guys. While somewhere, something sits back, and laughs, and starts it all over again."

In the end, Kang is persuaded, a truce is ordered, and the weakened Entity is chased off the Enterprise to hearty laughter from both sides...

Kang slaps Kirk on the back and for a second it looks like Kirk is going to pass out. A lovely moment; I would highly recommend it for our nation right now. But as the Entity goes flittering off the ship into space, it's all too easy to imagine it scurrying down to some TV "News" Network on some unsuspecting planet.

[superghfan]

Kim Nero and Julian Jerome.

[queenmakings]

racebending - the love interests of stardew valley (2016)  

→ kim woo-bin as elliot  → d’pharaoh woon-a-tai as sam → tyler james williams as harvey → jharrel jerome as alex → ali hadji-heshmati as sebastian → kj apa as shane → yara shahidi as maru → abigail cowen as penny → adria arjona as leah → maitreyi ramakrishnan as haley → auliʻi cravalho as abigail → amita suman as emily

[duranduratulsa]

Now showing on my 80's Fest Movie 🎥 marathon...Purple Rain (1984) on glorious vintage VHS 📼! #movie #movies #drama #purplerain #purplerain40 #prince #ripprince #princeandtherevolution #TheRevolution #wendyandlisa #thetime #MorrisDay #jeromebenton #jilljones #apollonia #clarencewilliamsiii #RIPClarenceWilliamsIII #BillySparks #olgakarlatos #JesseJohnson #bobbyz #mattfink #brownmark #jellybeanjohnson #dezdickerson #vintage #vhs #80s #80sfest #durandurantulsas6thannual80sfest

[cryingadenium]

The first meeting

[rainingmusic]

KC & The Sunshine Band - Get Down Tonight

[fuckyeahworldoftaika]

Taika IG stories, July 13, 2023 - Part 1

[letterboxd-loggd]

Frisco Jenny (1932) William A. Wellman

April 20th 2024