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hepatitushepatits · 5 months

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Egg headcanons! (Yes more) ((and yes this is if everything was happy and all eggs were alive))

Winner of 26/11/23 poll

JuanaFlippa is allergic to 20+ things (I can list them but that may or may not be overkill)

When Leo has panic attacks, Foolish or Vegetta or Roier will rock her and pet her hair to ground her (Def not projecting)

Pomme, Leo, and Sunny are lefthanded

Richas is ambidextrous

Pepito also has allergies. Pepito has juvenile osteoporosis and chronic pain, and on-and-off uses a wheelchair.

The Hope egg is named Tereza, and A1's real name is Ignacio.

Bobby is an empath

Tallulah has a small collection of photos of Wilbur and his friends from before the island, to recreate when they get out.

HOBBIES

Tilín, Bobby, Chayanne, and Empanada do wrestling

Chayanne is one of those kids whose in literally every program. Like, he does sword/fence fighting, archery, wrestling, kickboxing, baseball, futbol (soccer), martial arts, leatherwork, bookbinding, everything you can think of.

Dapper tap dances

Tallulah crochets and taught Wilbur and Philza to

Tallulah also figureskates

Leonarda does hiphop, tap, ballet, and latin dance

Sunny can do the BEST nails. Like. Seriously talented (in Tubbo's eyes) Example below.

Trump liked to work in animal shelters, and took the best care of all of them

MISC AGAIN

When they have to wash it, Empanada, Richas, and Dapper all go over to Felps' place to have it washed because he has a similar hair type and does it really well.

JuanaFlippa, Slime, and Mari all have matching gas masks. Juana's from her allergies, and Slime and Mariana because of Purgatory

Sunny has a rhotacism

Ramón has a really good fashion sense, and helps Fit out when he goes on dates with Pac.

When Tilín and Bobby wrestle, they try to drag Pepito in but he's too weak to fight (PROJECTING AGAIN, my cousins never wrestled with me because I'm disabled)

Pomme has like, whole bookshelves full of her journals.

Pomme is Muslim, and transitions from a shayla and a hijab, very rarely a niqab depending on the situation (if this isn't like. Accurate. To the Muslim religion tell me, I'll fix it. I don't wanna offend anyone.)

Richas just RAMS people with his forehead when he's playing

Half the eggs have bird wings, while the other half have normal dragon wings. Pomme is the exception, she has butterfly wings

Richas has no sense of personal space, due to sleeping in the Brazilians sleep room.

Tallulah loves Hamilton

Bobby has palilalia

The whole island has a theatre night once in a while, where the eggs act out movies and shows.

Dapper is a god of death devotee, as is Badboyhalo. I have so many headcanons about what this entails for them, rituals, their exact type of devotee, ect. I'll shut up tho

Carre taught Ramón to skateboard, so Ramón always has those knee pads on. Also he never wears a helmet, no matter how much Fit begs him to.

All of the eggs do speak, but not often. They mostly communicate through AAC devices which serve as tablets and also communicaters. They also use sign language. Also, they all have notebooks to elite in. So to be more accurate, the signs all around are the eggs papers littering the ground

Sunny has chronic migraines and headaches, so she's always wearing her sunglasses for that reason.

Sunny trailer park princess canon

Poncho Pepito. See below.

Also like a jumpsuit. Under. Idk.

You know that post that says that Pepito has those like children glasses? Yeah. That.

Tallulah likes Pepsi over Coke. Chayanne likes Coke over Pepsi. Sunny doesn't drink soda, besides ginger ale.

Sunny keeps her hair above her neck, because she hates the feeling on her collarbones. (projecting again)

She's literally stretched out shirt collars to being unwearable to stop it from touching her neck (me af)

Empanada has like. Neopolitan hair. Brown, pink, blond/white. She has vitiligo, and is black/japanese. Em's got like, onyx eyes? Like ddu. I forgot the English word. But they sparkle like obsidian, kind of.

Dapper loves watching Skeppy videos, but they reach the island very late

You know Wilbur's new album? He sent it to Phil, and he got it 2 weeks late (cuz international processing or whatever) and then Tallulah got to listen! She loves it! Her favorite songs are Glass Chalet and Dropshipped Cat Shirt.

The longest Sunny's hair has ever been is to her shoulders, aka when she first met Tubbo. She had it up in a bun to make sure it won't touch her skin. Sunny immediately asked him for a haircut on her first night at his place.

AGE/HEIGHT

Chayanne: 11, 4'2

Dapper: 10, 4'5

Ramón: 10, 4'6

Leonarda: 9, 4'8

Trump: 9, 4'2

JuanaFlippa: 9, 4'8

Tilín: 9, 4'3

Bobby: 8, 4'4

Tallulah: 8, 4'11

Richarlyson: 8, 4'4

Pomme: 7, 4'2

Sunny: 6, 3'9

Empanada: 6, 3'11

Pepito: 6, 3'2

MISC

Fit sometimes tells stories to Ramón about Schlatt. Ramón, so far, is absolutely infatuated. Big Guy is like a God, an idol to Ramón. (Did anyone watch his stream today? Just me? Alright)

Sunny has a cleft lip/palate

When Leo can't sleep, all the capybaras curl up around her with her in the middle, like a little nest.

All the eggs fucking love Pokémon. With a few exceptions (Ramón, Tallulah, Sunny)

Ramón likes blackjack instead. Or Egyptian Rat Screw.

Tallulah likes boardgames (she's a 'Sorry' lover)

Sunny likes Yu-Gi-Oh! better. Or Magic: The Gathering

Speaking of which, they all have those broadcast TVs, and very much live like in 2009 when you were running around during ad breaks, and dove back through furniture to not miss ur show. They can only watch Fed-approved-channels.

Pepito has a stutter and a lisp

Ramón is one of those kids who blends everything. Like. Spaghetti? Into the blender. Smoothie. Turkey? Into the blender. Smoothie.

His favorite is an onion, lettuce, mayo, ham, very thin cuts of shark meat, sweet gherkin, spicy pickle relish, and pineapple (I once knew someone who actually ate this. Daily. At lunch. Mauro you're now the inspiration for a minecraft egg) Ramón just blends it and goes lol

Welp. I think that's it. Thanks lol. I'd love to hear any of yours.

#qsmp #qsmp headcanons #qsmp help #egg headcanons #qsmp juanaflippa #qsmp quackity #help #qsmp eggs #can you tell who my favorite is #i dare you to guess

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courtofmatchups · 6 months

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ooo could i possibly get an obey me matchup? :) i’m an aries, entp, bi, she/they pronouns

i’m about 5’8 with shoulder length hair that’s relatively straight. i like to wear crop tops and high waisted stuff, my fashion taste is pretty androgynous overall and is kind of an 80s/90s vibe. i almost never wear makeup or do my hair. and i’m always bumping into things so i have several bruises at any given time

i make comics and i’m a grad student TA. i have a caffeine addiction and the sense of humor of a 12 year old boy. i’m known for my ability to remain calm and optimistic, and also for being relatively quiet but when i do speak it’s always something out of pocket. i’m not shy i just don’t got shit to say. i love to help people and also make them laugh and/or cry with my art

hobbies/interests/likes: gossiping, funny movies, making playlists, singing/karaoke, acting, writing screenplays and songs, drawing/animating, traveling, going on walks/hikes, sending cursed images in the groupchat, and every animal in the world except dogs and spiders. love any excuse to wear some sort of costume or goofy outfit

dislikes: i hateeee cooking it’s so boring. also hate being dirty i can’t function when i feel gross. not a fan of loud music or weed/cig smell either so i don’t go to parties/clubs often. i have massive sensory issues when it comes to bad smells. i dislike routine too i love change and challenging norms. i couldn’t be with someone who gets secondhand embarrassment easily cuz i’ll be weird in public and not care. in fact i’d hope that my partner would join me

my red flags are i’m terrified of aging and being undesirable and there is not a single body part that i haven’t been insecure about at some point. i’m stubborn and i’m a complainer i love kvetching about random shit. i am rather skittish and look scared/confused all the time like a wild rabbit. i don’t bring much to the table tbh but i can make you laugh i am always eager to try new things and my heart is true. i imagine i’d be pretty low maintenance in a relationship, as long as u are nice to me and don’t cheat on me we’re good

It seems to me you have captured the heart of...

The Scummy Second-Born,

Mammon!

Someone who is chaotic as he is?? And smart as hell?? He's already interested. And as he learns more about you, that interest soon spirals into infatuation. But Mammon, being the tsundere he is, will try to deny these feelings, and ultimately fail. You're just *that* charming

Your sense of humour is what stands out to him the most. It's a little juvenile, but that's what he likes (Lucifer, prepare yourself for some bad joke induced migraines). And your calm and optimistic nature is something he can get behind. And when you say something completely unhinged, it might take him aback at first, but it'll grow on him

A lot of his interests line up with yours, like karaoke and movies, so you can expect him to take you to karaoke palours and to movie theatres. If it ever gets to crowded or too noisy, he'll get you someplace calmer and quieter as soon as possible. He'll notice it pretty quickly, as he's pretty observant, especially when it comes to you (in a wholesome way that doesn't make you feel like you're being viewed under a microscope, that is)

Whenever the two of you are apart, you can expect him to send you lots of cursed images to you also. Of course, you cannot forget about the unhinged yet wholesome texts you send to each other

You draw comics? Mammon LOVES that about you too, so please, draw a silly little comic about your misadventures. He's not gonna sell them though. You made those comics especially for him. As money-hungry as he is, those comics hold a special place in his heart.

He can understand your distaste for being dirty (he lives with Asmo after all), so he'll send you care packages with cute little soaps, shampoos, and different body lotions

You don't have to worry about Mammon ever cheating on you, as he's clingy as hell

If you ever overwork yourself from a caffeine-induced high (being a grad student TA is no walk in the park), he's gonna drag you to sleep. Please do not resist

In a nutshell, your relationship would look like this:

#court of matchups #obey me matchups #obey me otome #obey me shall we date #obey me #obey me mammon #om! mammon #mammon x reader #mammon avatar of greed

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paralleljulieverse · 1 year

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70th anniversary of Jack and the Beanstalk Coventry Hippodrome, 164 performances (23 December 1952 - 28 March 1953)

This week marks the 70th anniversary of a milestone event in the juvenile career of Julie Andrews: the opening of Jack and the Beanstalk at the Coventry Hippodrome on 23 December 1952. It would be Julie’s fourth annual pantomime, following Humpty Dumpty (1948), Red Riding Hood (1950) and Aladdin (1951).

That Jack and the Beanstalk was a provincial production -- rather than a West End show -- could be misconstrued as a career comedown for the young star. After all, twelve months earlier she was principal girl in Aladdin at the London Casino and the following year she would headline the 1953 production of Cinderella at the London Palladium. But an appearance at the Coventry Hippodrome was no small affair.

The Showplace of the Midlands

Dubbed “The Showplace of the Midlands”, the Hippodrome was an ultra-modern Art Deco entertainment palace lovingly built and managed by automobile industry baron cum entertainment impresario, Sam Newsome. With a massive 2000-seat auditorium, multi-levelled foyers and bars, twelve dressing rooms and its own broadcasting studio, the Hippodrome occupied over one and a quarter acres in the heart of Coventry. It was the biggest and most up-to-date theatre in the country -- and it quickly established itself as the foremost Midlands venue for touring dates, attracting a stream of headline acts and hosting regular seasons from major companies including The D'Oyly Carte Opera and Sadler’s Wells Opera (Newman 1995).

The Coventry Hippodrome was especially celebrated for its spectacular Christmas pantomimes. Newsome took “personal pride and delight in his pantomimes” and ensured they “possessed a thoroughly exclusive quality” that distinguished them from run-of-the-mill seasonal fare (Stephens 1965, 6). Planning for each year’s panto would start months in advance with generous budgets, top-notch creative talent, high production values, and big star names.

It was a calculated business strategy on Newsome’s part. Not only would each Christmas panto be an assured money-earner for his theatre, but, once it had debuted in Coventry, it would subsequently be re-mounted -- using the same scripts, sets, costumes and, sometimes, cast members -- in other theatres. It was not uncommon for a different Newsome pantomime to be playing simultaneously in five or six theatres around the country (Auty, 20; Newman, 77). In the case of Jack and the Beanstalk, for example, Newsome would re-stage the show repeatedly over ensuing years including runs at the Dudley Hippodrome in 1953/54; the Derby Hippodrome in 55/56; the Swansea Empire in 56/57; the Brighton Hippodrome in 57/58 and the Bradford Alhambra in 59/60 (The Stage).

Launching Jack and the Beanstalk

In early 1952, Newsome announced that his next Christmas pantomime at the Coventry Hippodrome would be an “entirely new and magnificent production” of Jack and the Beanstalk, a popular source for pantos since the early-19th century and a sure-fire crowd pleaser. A “firm believer in maintaining the well-loved traditional features of Pantomime”, Newsome’s production of Jack adhered faithfully to the plot of the well-known fairy tale about the adventurous village lad turned Giantslayer, but with lashings of pantomime essentials of music, spectacle, comedy and dance. (Newsome: 1).

Overseeing the production and taking on directorial duties was Laurence Green, something of a right-hand man for Newsome throughout this era. The book was developed by the celebrated lyricist team, Barbara Gordon and Basil Thomas, who were also Newsome panto regulars. Other key members of the production team included costume designer, Michael Bronze, and set designers, Josef Carl and Tod Kingman, who created a series of impressive backdrops and props including a giant hand that in one scene whisked Julie aloft into the theatre fly tower (Foxon: 6; Whetsone: 3). In terms of music and dance, there were seventeen full musical numbers with a mix of classics, pop standards, and bespoke compositions, all arranged and orchestrated by the Hippodrome’s longtime music director, W.E. Pethers. Celebrated choreographer, Pauline Grant was commissioned to develop several dance routines including an Act 1 closing ballet sequence and a grand finale parade.*

As always, one of the most important elements in the show was its roster of on-stage talent. And for Jack and the Beanstalk, Newsome assembled a star-studded line-up from the fields of theatre, variety, film, and dance. To optimise marketing potential, the principal cast was announced in June, a full six months before the show was set to open. Julie was cast in the principal girl role of Princess Bettina, alongside Joan Mann as Jack; Eddie Henderson as Dame Durden; and, the undoubted comic star of the show, Norman Wisdom as Simple Simon (‘Norman Wisdom to star’: 6).

Stories and profiles about the stars were fed in regular instalments to the local and regional press, ensuring continued exposure and boosting public anticipation (’Pantomime Star’: 4; ‘Julie is so determined’: 6). Julie even made a ‘surprise’ PR visit to Coventry in the first week of November to join the theatre’s special Birthday Show (‘Behind the footlights’: 9). The star-driven marketing paid off handsomely with brisk ticket sales. By early-December, a quarter of a millions seats had been booked -- a theatre record -- and the run was extended from 12 to 14 weeks (’Quarter of a million...”: 4).

The Singing Princess

Though she would be second fiddle to the show’s top billed player, Norman Wisdom, Julie was an important drawcard for Jack and the Beanstalk. Much was made of her youth and the fact that, at just seventeen, she was the youngest principal girl ever to appear in a Newsome pantomime (’Pantomime Star’: 4; ‘Julie is so determined’: 6).

And, as John Cottrell (1968) notes, “[f]or the first time in her life she was treated like a star” (62). She was given one of the theatre’s best dressing rooms with its own private bathroom -- and Newsome made sure that it was decked out with fresh flowers each week, even during rehearsals (Andrews: 146; Cottrell: 61).

Julie also commanded a star-like fee, securing a contract for a whopping £250 per week, reported to be an era record for a pantomime principal girl (Cottrell: 61). It was a burst of newfound wealth that allowed the young star to buy her first car -- which she dubbed ‘Bettina” in honour of the character she played in the show -- and assume control from her parents of the mortgage on ‘The Old Meuse’, the family home in Walton (Andrews: 147).

As Princess Bettina, the object of Jack’s affection who is rescued by the young hero and united with him in the mandatory happily-ever-after finale, Julie had one of her biggest stage roles to date. Combining moments of royal pageantry, abduction and imprisonment, thrilling rescue, and budding romance, the script afforded an opportunity for the young actress to flex her growing dramatic talents.

Needless to say, Jack and the Beanstalk also showcased Julie’s most famous asset: her voice. She was given six full musical numbers in the show -- four solos and two duets -- comprised of:

‘If You Feel Like Singing’: This popular Warren-Gordon song had only recently been introduced in the 1950 MGM film, Summer Stock, where it was performed by Judy Garland (Larkin 1992). In the show, Julie sings the number in Scene 1 as her character is wandering alone in the forest and is spied by Jack who instantly falls in love wth her. With its lyrical ode to expressive singing and repetitive tra-la-las, the song would have provided a perfect showcase for Julie’s brand of light coloratura trilling.

‘Am I in Love’: Another newly-minted Hollywood number, this Oscar-nominated song by Jack Brooks was first performed by Bob Hope and Jane Russell in the 1952 Paramount release, Son of Paleface (Benjamin and Rosenblatt 1993). In the show, Julie sings it in Act 1 as a duet with Jack (Joan Mann) and reprises it again a few scenes later as a solo.

‘You Made Me Love You’: This well-known pop standard by Monaco and McCarthy was first performed by Al Jolson in 1913. It quickly became an international hit and part of the Great American Songbook, covered by a wide variety of famous vocalists including Jeanette MacDonald, Bing Crosby, Doris Day and, in a slightly revised version, Judy Garland in The Broadway Melody of 1938 (Whitburn 1986). In the show, Julie sings it in Act 1 as a duet with Norman Wisdom in the comic star role of Jack’s bumbling younger brother.

‘Yesterdays’: This classic ode to lost loves from the 1933 Kern and Harbach musical Roberta has been performed by many singers over the years including Irene Dunne, Mario Lanza, Barbra Streisand and Kiri Te Kanawa (Larkin 1992). One can only imagine how lovely Julie’s version would have been, sung as the imprisoned Princess pines for her home at the start of Act 2.

‘The Belle of the Ball’: Written in traditional Viennese style, this bouncy LeRoy Anderson waltz was introduced in 1951 and quickly became a light classical standard that has been played over the years by countless pop orchestras and school bands. It also has a lesser known sung version with lyrics by Mitchell Parish (Whorf 2012). It is that version that Julie performed in the show as her final solo. Hippodrome music director W.E. Pethers clearly liked LeRoy Anderson because Jack and the Beanstalk featured another of the composer’s orchestral works, ‘The Syncopated Clock’, used for the opening dance in Act 2.

‘You Belong to Me’: This romantic ballad was another newly-minted hit in 1952. First recorded by Joni James, it was made famous by Jo Stafford in a chart-topping single that became an international sensation. With its lilting melody and evocative opening lyric -- “See the pyramids along the Nile...” -- it became one the era’s most popular love songs and was recorded by many of the biggest vocalists of the 1950s such as Ella Fitzgerald, Patti Page, Dean Martin and, in the UK, Alma Cogan (Larkin 1992). The song was used in Jack and the Beanstalk as the final love duet between Jack and Princess Bettina.

A Who’s Who of Jack and the Beanstalk

Alongside our Julie, other key talents involved in the cast of Jack and the Beanstalk included:

Norman Wisdom as Simple Simon: The beloved 'sentimental clown’ of British theatre, film and television, Wisdom shot to meteoric fame in the late-40s and early-50s with an appealing brand of character-based physical comedy. Sporting a trademark crumpled suit and upturned tweed flatcap, he crafted an endearing persona nicknamed "The Gump," a well-meaning, bumbling Everyman who failed at everything but won hearts in the process. A talented musician and vocalist, Wisdom included songs as a central part of his act which he would use to great effect in accentuating the warm-hearted pathos of his comedy (Bullar and Evans: 186). As with many stage performers of the era, Wisdom made frequent forays into pantomime, starting with a well-received debut in Robinson Crusoe at the Alexandra Theatre Birmingham in in 1948/49. By the time of Jack and the Beanstalk, Wisdom was a major star and the show gave him free rein in several set pieces including five songs, three of which he wrote himself. In his memoirs, Wisdom (2002) fondly recalled his time in the show, making special mention of Julie who, he writes, “had a freshness about her that was totally captivating” (181). Following Jack, Wisdom went on to an even bigger career in film with a string of hit comedies for Rank that saw him become one of the most popular stars of British cinema of the 50s and early-60s. Though his style of sentimental slapstick would fall out of fashion, Wisdom remained a much-loved national icon. In recognition of his contributions to British cultural life, he was knighted by the Queen in 2000. He passed away in 2010 at the grand age of 95 (’Sir Norman Wisdom’: 29).

Eddie Henderson as Dame Durden: Though he is little remembered today, Scots-born Henderson was a popular figure of mid-century British theatre and variety. A self-taught dancer and comic actor, Henderson had a diverse career that stretched across music hall, cabaret and ‘legitimate theatre’. In the inter-war years, he toured widely in revues and productions around the UK and abroad. He played opposite a young Ronald Colman and even co-wrote a play with Reginald Furdell (Ashley: 2). Henderson was especially renowned as an accomplished panto Dame. He played a long line of comic Dames from the 1930s into the early-60s, earning him the soubriquet “Queen of Dames” (Durbridge: 5). Jack and the Beanstalk would be the first of several pantomimes that Henderson would do for Newsome during the 1950s, before retiring in the early-60s.

Joan Mann as Jack: Welsh-born Mann trained as a dancer and started touring the variety circuit in her teens where she appeared on bills with stars including Max Miller and Tommy Trinder. A tall attractive brunette with a pleasant voice and shapely dancer’s legs, Mann was a perfect pantomime boy. She played in top pantos in Glasgow, Edinburgh, and Liverpool, before making her Coventry debut in Jack and the Beanstalk. Julie relates in her memoirs that she and Mann roomed together during the run of Jack and, despite a 15-year age difference, they became firm friends. Mann would re-team with Julie in 1953 as part of the musical revue, ‘Cap and Belles’ (Andrews: 146). Mann’s greatest fame came as part of the celebrated Fols-de-Rols variety troupe with whom she performed for almost two decades. She also starred opposite Dame Anna Neagle in the hit West End musical, Charlie Girl in the late-1960s. Mann died in 2007 aged 87 (P.N.: 53).

Finlay Brothers as Rack and Ruin (The Broker’s Men): One of the many novelty acts popular in mid-century variety, the Finlay Brothers started as a comic musical trio in the late-30s. Billed as “the English replies to the American Marx Brothers”, they blended song, dance, slapstick, sketch comedy and vocal impressions into a fast-paced routine (’What’s On’: 10). When one of the brothers called it quits following the war, Jack and Herbie Finlay continued as a duo, using a classic straight man/clown pairing. One brother would try to sing and act dramatically but the other would forever interrupt with ludicrous gestures and facial expressions, setting the scene for a manic spectacle of physical comedy. It played well in the era and, come Christmastime, the Finlay Brothers would be in demand as comic supports for panto. In Jack and the Beanstalk, they played the comic duo part of the Chancellor’s bumbling officials with much opportunity for audience-pleasing slapstick. The Finlay Brothers continued variety touring and Christmas pantos into the late-50s before retiring (’Pantos last’: 4).

The Four Fredianis as the Giant’s Acrobats: Part of a multigenerational lineage of Italian circus performers dating back to the 17th century, the Four Fredianis was a family group of acrobats comprised of father, Giovanni, and his three sons, Rolando, Guglielmo, and Bruno (Cochran: 38). Giovanni had grown up performing in his own father’s circus troupe in Europe before branching out on his own. He settled in the UK where the Four Fredianis moved from circus work into the more stable and lucrative field of variety and theatre. In fact, the Fredianis shared an earlier variety bill with Julie as part of the Look In revue which toured through the spring of 1952 (‘At the Theatre: 4). In Jack and the Beanstalk, they were cast as ‘The Giant’s Acrobats’ encountered by Jack on his way to the Giant’s castle, but their role was essentially to bring increased spectacle and physical excitement to the show’s proceedings.

Gerald Cuff as King Hal: Playing the part of Princess Bettina’s ‘merry monarch’ father, Gerald Cuff started his career in repertory where he performed for many years as part of the celebrated Derek Salberg Company in Wolverhampton (’Personality’: 13). During out-of-season spells he would appear frequently in pantos, many of them for Sam Newsome. In fact, he would reprise his role as King Hal in the Dudley Hippodrome season of Jack and the Beanstalk the following year (B.M.: 6). Cuff’s lasting claim to fame came in 1958 when he was cast as ‘The Bosun’ in the popular British TV series of Popeye (Ashley, R.: 20). In his spare time, Cuff was a publican in his hometown of Wolverhampton. He died in 1963 at the sadly young age of 58 (’Obituary’: 7).

Carole Greer as Fairy Goodheart: Trained as a ballet dancer from childhood, Scottish-born Greer started her theatrical career at age 16 when she first appeared in pantomime during school holidays. She then toured the variety circuit for a few years as part of a dance duo with Barrie Manning. Greer was subsequently championed by choreographer, Pauline Grant, who cast her as principal dancer is several shows, including Jack and the Beanstalk (Thespis: 9). She appeared for two seasons with the Gyndebourne Opera Company, including a tour of Germany (’Flying opera’: 5). She also performed in a few London shows, notably Fun and the Fair at the Palladium in 1953. Like others in the cast, Greer would reprise her role as Fairy Goodheart in the Dudley Hippodrome season of Jack and the Beanstalk the following year (B.M.: 6). Thereafter, the public trail for Greer grows cold. Like many women of that era, she may have married and changed her name and/or possibly retired from the stage.

Humphrey Kent as Giant Blunderbore: Born in Hertfordshire, Kent was a regular in regional theatre throughout the 40s and 50s. He had an early success as part of the cast of the touring production of Lesley Storm’s Great Day in the mid-40s. Thereafter he seemed to settle in to a steady stream of local productions with the occasional brief appearance in film and TV. He did some film voicework including working with Julie on the British dubbed version of the Italian animated feature, The Rose of Barghdad (1952) where he voiced the part of Tonko (’Rose’:43). A tall, well-built man with a booming voice, Humphrey was ideal for the part of the Giant, a role he would reprise several times over the years (’Panto Giant’: 9).

John C. Wright as Demon Discord: Born in Northampton, Wright studied at the Repertory Theatre where he appeared opposite Sonia Dresdel and Freda Jackson. A classically trained tenor, he performed widely in opera and musicals in the interwar years, including several seasons with the Carl Rosa and Sadler's Wells Opera Companies. After the war, Wright went on to become manager of the Sadler’s Wells Opera but continued to perform periodically in various theatre productions. He did some early TV work including an appearance in the the landmark serial, Quartermass Experiment (Foxon: 6). In Jack and the Beanstalk, he played the Giant’s malevolent henchman, the Demon Discord, a role he would recreate the following year at the Dudley Hippodrome (B.M.: 6). Wright died in 1963 at the age of 64 (’John Wright’: 21).

The Astaires as Ethel the Cow: No pantomime would be complete without a ‘skin’ role and in the case of Jack and the Beanstalk that is Dame Durden’s long-suffering cow. Variously named Daisy, Buttercup, Daffodil, Mabel or, as here, Ethel, the cow is an important part of the story and a source of competing comedy and pathos for the audience. Pulling it off while cloaked in a heavy costume and operating multiple parts is no mean feat. In the case of this production, the job fell to Jimmy and Ernie Astaire, two brothers from a family of entertainment troupers. Their father, George Astaire founded a stilt-walking puppet troupe, the Seven Gullivers, that toured the country and was especially popular as a novelty act in pantomime. After their father died, the sons continued the troupe while also branching out with their own novelty duo act whose showpiece would see them tap dance on stilts up and down a staircase. They even performed the act as part of the 1947 Royal Command Variety Show. The Astaires did double duties in Jack and The Beanstalk, playing both Ethel the Cow and also leading the Seven Gullivers troupe who played the part of the Giant’s Henchmen (’It’s Hard Work’: 5).

The Betty Fox Babes: One of many companies of dancing juveniles popular in the era, the Betty Fox Babes were products of the Betty Fox Stage School in Birmingham which was started in 1938 by -- you guessed -- Betty Fox (Norris: 29). The School grew to be one of the biggest in the Midlands and it would provide troupes of well-trained juvenile dancers for most of the area’s big theatres, especially for pantos (’The Babes’: 3). In 1988, on the occasion of the School’s 50th anniversary, it was claimed that the Betty Fox Babes had appeared in over 150 pantomimes (Norris: 29). In Jack and the Beanstalk, Fox provided a group of 12 ‘babes’ who performed in several of the show’s lavish dance sequences, both independently in the ‘Pantry Playtime’ sequence and alongside the show’s adult Corps de Ballet in the two big act-closing ballets choreographed by Pauline Grant.

Critical and Popular Reception

Jack and the Beanstalk was well received by audiences and critics alike. The following excerpts give a sense of the uniformly glowing notices earned by the show, with particular mention of Julie:

Coventry Evening Telegraph: “[T]he S.H. Newsome presentation, Jack and the Beanstalk, which began its run at Coventry Hippodrome last night, is...a huge parcel of enjoyment....There are jolly songs, lively dancing, and first-rate speciality acts. All this and Norman Wisdom, too...Then there is Julie Andrews, pretty, fine-voiced, 17 years old and already an experienced artist. A charming princess, she... never indulges in the tiresome tricks of some panto principals. She sings instead of cooing, smiles and looks straight instead of simpering. This is a pleasantly fresh interpretation of a role easily sugared into inanity" (Whetsone: 3).

Coventry Standard: "Jack and the Beanstalk...is the finest, most opulent and attractive spectacle in the series of “Newsome shows”...Norman Wisdom is a comedian of undoubted gifts and great personal charm [and] Julie Andrews sings most pleasingly and looks lovely” (J.T.: 7)

Birmingham Gazette: “It takes a true hero, too, to be worthy of Julie Andrews’s princess. Were she a classical ballerina, this pretty heroine could not set herself on such a pinnacle of remote and exquisite purity as she does in song. Her voice soars and sails, sweet or gay, into quite winning melody. She acts, too, with a clear-eyed simplicity” (Harvey: 5).

Evening Despatch: "Jack and the Beanstalk...is put on by Mr. S.H. Newsome with the customary lavishness. There are...a dashing Principal Boy in Joan Mann and a Principal Girl in Julie Andrews who has poise and assurance far beyond what might be expected in a 17-year-old” (Holbrook: 3).

The Stage: “Here is a pantomime to ‘bite’ on, and the traditional story line, without pantomime licence, is sufficient vehicle for a three-hour entertainment...Joan Mann’s principal boy is a tonic of gaiety and verve, and one is impressed by the sweet simplicity which Julie Andrews introduces into the part of Princess Bettina. Norman Wisdom...gain[s] the immediate sympathy and clamour of the audience” (’Christmas Shows’: 11).

Jack and the Beanstalk was equally popular with audiences. When the 14-week season ended on 28 March 1953 after 164 performances, Jack and the Beanstalk had broken every previous pantomime record at the Coventry Hippodrome. It had sold close to 300,000 tickets and attracted theatregoers from across the Midlands and as far afield as London. Taking to the stage on closing night, Sam Newsome thanked “this brilliant company who have given us a great deal of talent, enthusiasm, team-work and zest” (’Pantomime sets’: 3).

Notes:

* As an aside, Jack and the Beanstalk would be the start of two important relationships for Pauline Grant: with Julie -- who would become a frequent professional collaborator throughout the 50s and a lifelong friend -- and with Sam Newsome who Grant would end up marrying a few years later (Andrews: 146).

References:

Andrews, Julie (2008). Home: A memoir of my early years. London: Weidenfeld and Nicolson.

Ashley, Lewis (1939). ‘Lewis Ashley’s pageant.’ Sunday Sun. 24 December: 2.

Ashley, Robbie (1961). ‘Full steam ahead for The Bosun.’ Sunday Mercury. 11 June: 20.

‘At the theatre: Song and story’ (1952). Evening Despatch. 1 April: 4

Auty, Donald. (2003). ‘Pantomimę profiles of times past.’ The Stage. 4 December: 20.

‘The babes are ready.’ (1953). Birmingham Gazette. 15 December: 3.

‘Behind the footlights: The party was a big success.’ (1952). Coventry Standard. 7 November: 9.

Benjamin, Ruth and Rosenblatt, Arthur (1993). Movie Song Catalog: Performers and Supporting Crew for the Songs Sung in 1460 Musical and Nonmusical Films, 1928-1988. Jefferson, N.C.: McFarland Press.

B.M. ‘This week’s shows: Dudley Hippodrome.’ (1954). Birmingham Weekly Post. 1 January: 6.

Bullar, Guy R. and Evans, Len (1950). Who’s Who in Variety. London: The Performer Ltd.

‘Christmas shows.’ (1953). The Stage. 1 January: 10-11.

Cochran, Charles B. (1945). Showman Looks On. London: J.M. Dent & Sons.

Cottrell, John (1968). Julie Andrews: The Story of a Star. London: Arthur Barker.

Derby and Joan (1958). ‘She faces Derby Panto challenge.’ Derby Evening Telegraph, 12 December: 3.

Durbridge, Frances (1958). ‘Derby’s pantomime is spectacular “Queen of Hearts”’. Derby Evening Telegraph. 20 November: 5.

‘Flying opera.’ (1954). The Yorkshire Observer. 23 September: 5.

Foxon, Ellen (1954). ‘Theatres and cinemas’. Birmingham Weekly Post. 29 January: 6.

Harvey, Brian. (1952). ‘Star comedians lead the “big three”.’ Birmingham Gazette. 27 December: 5.

Holbrook, Norman (1952). ‘Mr. Wisdom has punch and verve.’ Evening Despatch. 27 December: 3.

‘It’s hard work being Ethel the Cow.’ (1953). Coventry Evening Telegraph. 12 March: 5,

‘John Wright: obituary’. (1963). The Stage. 31 January: 21.

J.T. (1953). ‘A different basis in this year’s pantomime.’ Coventry Standard. 2 January: 7.

‘Julie is so determined.’ (1952). Daily Herald. 28 November: 6.

Larkin, Colin (ed.) (1992). The Encyclopedia of Popular Music. London: Omnibus Press.

Newman, Michael J. (1995). The Golden Years: the Hippodrome Theatre Coventry. Whittlebury: Baron Birch.

Newsome, S.J. (1952). Pantomime Parade. Birmingham: Parkes & Mainwarings Ltd.

‘Norman Wisdom to star in next pantomime: Jack and the Beanstalk.’ (1952). Coventry Evening Telegraph. 27 June: 6.

Norris, Fred. (1988). ‘Birthday bash for Betty’s Babes.’ Birmingham Evening Mail. 18 March: 29.

‘Obituary: Mr. Gerald Cuff’ (1963). The Birmingham Post. 26 April: 7.

‘Panto giant will be a nice one.’ (1952). Coventry Standard. 12 December: 9.

‘Pantomime sets new record.’ (1953). Coventry Evening Telegraph. 30 March: 3.

‘Pantomime stars’ (1952) Coventry Evening Telegraph. 8 July: 4.

‘Pantos last week.’ (1957). Daily Mail. 1 February: 4.

‘Personality: Derek Cuff.’ (1954). Walsall Observer. 5 February: 13.

P.N. (2007). ‘Obituary: Joan Mann’. The Stage. 6 December: 53.

’Quarter of a million seats sold for pantomime’. Coventry Evening Telegraph. 19 December: 4.

‘Rose of Baghdad.’ (1953). Photoplay. January: 43.

‘Sir Norman Wisdom: Master of slapstick who became Britain’s most successful screen comic after Charlie Chaplin.’ (2010). Daily Telegraph. 6 October: 29.

Stephens, Frances (1965). ‘Panto in the provinces’, Theatre World. 65(491): 4-6.

Thespis (1956). ‘Behind the footlights: Not the stars but full of ambitious talent.’ Coventry Standard. 24 February: 9.

‘What’s on next week.’ (1947). The Somerset Guardian. 2 May: 10.

Whetstone, K. (1952). ‘”Jack and the Beanstalk” has the modern touch.’ Coventry Evening Telegraph. 24 December: 3.

Whitburn, Joel (1986). Pop Memories 1890-1954. Madison, WI: Record Research Inc.

Whorf, Michael (2012). American Popular Song Lyricists: Oral Histories, 1920s-1960s. Jefferson, N.C.: McFarland Press.

Wisdom, Norman (2002). My Turn: An Autobiography. London: Century Books.

#julie andrews #jack and the beanstalk #pantomime #theatre #British #coventry #coventry hippodrome #1950s #variety #music hall

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gay-jewish-bucky · 2 years

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i grew up in the theatre world and did a year long work placement at a children's theatre, and i just have to say i abhor the argument the russos used to defend the soleless, corporate money-grab other directors have criticized

"It feels like a very juvenile conversation. The whole thing feels sad and cynical and pessimistic. You’re talking about movies that 10-year-olds are weeping over and begging to go see. They’ll remember for decades that they were there with their grandfather. Like, give me a fucking break."

I don't know what to tell you, but children are just as deserving of meaningful and well thought-out art. kids are far more intelligent and aware than adults give them credit for, they can understand and absorb complex stories and issues in the art they consume. kids actually like being treated like human beings instead of being talked down to and dismissed by adults. young kids are sponges and the art they consume has an impact on shaping them, i still remember many films and plays i saw that were important formative experiences for me and i still see their influence in how i interact with the world today.

something being targeted at kids doesn't give you the licence to abandon actually telling a story.

#personcole

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nellie-elizabeth · 2 years

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What We Do in the Shadows: The Grand Opening (4x03)

Sometimes I truly can't believe the shit this show actually puts out into the world. Madness, in the best way.

Cons:

I'm struggling to come up with anything I'd truly call a negative about this one! In terms of the comedy, I suppose I'll say that the scene with Lazlo and young Colin Robinson when they're robbing art from a museum was probably the least funny to me. The stuff with Colin has been surprisingly hilarious so far, but the repetition about the Legos, and Lazlo doing stunts with the lasers, it just felt slightly less inspired than most of the rest of the episode for me. Not bad by any means, though!

Pros:

But Colin's musical theatre references, and his performance at the end, saving Nadja's nightclub, was genuinely so funny. I love how Lazlo and Guillermo are essentially co-parenting this bizarre little nightmare together. Guillermo is offering him encouragement and being such a good dad, and Lazlo is trying to mold him into something he'll never be, until he learns his lesson about accepting his weird son for who he is. It's such a creepy uncanny valley sight, seeing that adult man's face on the body of a child, but it's cracking me up every second.

Nadja and the Guide have to convince their special musical guest star for the grand opening, Richie Suck, to come and perform, and get him away from his jazz-obsessed, over-controlling familiar-slash-manager. Fred Armisen is hilarious in the role of the familiar. The jazz trio, Nadja helping to get the rapper back on his feet after he's been away from the scene for a while, all of this stuff was pretty fun. I love how Nadja is good natured but also extremely determined to succeed; she'll kill who she needs to kill to make this happen. When Richie does ultimately take the stage, it's to try out his observational comedy, which doesn't go over well with the crowd. I was oddly touched by Nandor and Lazlo both rushing to Nadja's aid when the crowd turned on her, but of course it's Colin Robinson who saves the day with a little soft shoe.

There's also an entire subplot in this episode about Nandor using one of his djin wishes to get a bigger dick. This is one of those moments where I despair at the limits of my own abilities, because how can I write about this and explain to you how and why it worked and was honestly pretty hilarious, without just repeating the jokes at you? Somehow, against all odds, this concept, which sounds incredibly juvenile, it works. I mean, don't get me wrong, it is incredibly juvenile. But it quickly devolves into a negotiation where Nandor and Guillermo try and predict any and all loopholes the djin might throw their way in granting Nandor his wish for the biggest penis in the world. Guillermo manages to catch one of the potential tricks, by instructing the djin not to make everyone else's dicks smaller in order to accomplish this, which I thought was funny and clever.

In the end, though, in an absurd turn of events, Nandor ends up with a massive penis, and also the inability to ever use it without thinking about Guillermo, thanks to a slip of the tongue. It's... freaking hilarious. I love how he's apparently all grossed out by this, and Guillermo seems a little offended but mostly just kind of resigned. Like, he's truly reached a place of zen where Nandor's intermittent expressions of disdain don't bother him anymore. You truly love to see it.

So yeah, that's that! Another solid installment. I'd still probably say last week's two episodes were stronger, the jokes a little more clever and fast-paced and wacky, but this episode had plenty to laugh at, and I can't wait for more, as we find out if Nandor and his lady are able to make things work between them!

8/10

#review #what we do in the shadows #wwdits #wwdits review

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queenofcandynsoda · 2 months

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Sol Fertilis: Victory Week and Day

Victory Week and Day

Victory Day, also known as officially the Day of Victory in the Ardens Oriens War, meaning “Blazing East”, celebrates the defeat of Nazi-Ostania and Zandia and the end of the Ardens Oriens War on March 27th. This is a major part of Abbadon’s Inferno War. In the week leading up to Victory Day, Sol Fertilis observes Victory Week, a period of remembrance and celebration dedicated to honoring the nation's triumph in the Ardens Oriens War and the defeat of their enemies. It occurred from the 21st to the 26th of March.

The Departments of Art Promotion and National Holidays from the Ministry of Celebrations & Festivals would provide each household with Victory Day decorations, along with small Nazi-Ostanian and Zandia flags that look like they’re on fire, PNP Banners, Victory Wreaths, and memorial candles. Streets, Centers, malls, Children’s Palaces, workplaces, government buildings, and many other places would be decorated with Victory Day decorations, along with anti-Nazi Ostanian, anti-Zandian, and pro-Sol Fertilian propaganda.

On the first day of Victory Week, town squares across Sol Fertilis present documentaries that vividly depict the atrocities committed by Nazi-Ostania and Zandia during the Ardens Oriens War. The documentaries did not spare any graphic details of war crimes and crimes against humanity. There are images of Nazi-Ostanian soldiers killing Sol Fertilian citizens, bombing major cities during air raids, enslavement of citizens, mass murders of the Jews, Roma, Arab, and African Sol Fertilians, Zandian soldiers destroying religious monuments, etc. The purpose of this is to increase rage against Nazi-Ostania, which was already defeated, and Zandia, which has a conditional surrender and is suspected to house escaped Nazi criminals.

On the second day, citizens are presented with historical footage and audio from their teleautomata, which is a television with automatic activation capabilities, and an automataradio, which is a radio device equipped with automatic activation features. The historical footage consists of Sol Fertilian military leaders, soldiers, supporters, and citizens preparing for war to protect its sovereignty. The purpose of this is to remind the nation’s resilience and defense.

On the third and fourth days, this is where the Sol Fertilian children would prepare items for the Victory Day Parade. All of the Iuventutis Foederatios, meaning youth leagues, would prepare their decorations. Examples include the Ceres Gaia Junior Harvesters, a Beta Neutral Iuventutis Foederatios focus on agriculture, which would build a cornucopia of ration food that soldiers and citizens eat. Another is the Bona Flora's Bloomers, an Omega Iuventutis Foederatio focusing on floriculture, which would make garlands and bouquets that represent the Supervictus, a term for the survivors of the Nazi-Ostanian and Zandian atrocities. Another example is the Keres Scouts, an all-female Alpha Iuventutis Foederatio, who would build paper-mache figures of Sol Fertilis’ enemies so they would be burned down at the end of the week.

On the fifth day, there are films about major heroes from the Ardens Oriens War. Starting from the Sol Resistance Army to the “Witch of Berlint” Sigal Fleischer, to the Juvenile Soldiers who fought the Hässlich Youth, to the Berlint Theatre Massacre along with the eventual Beheading of Hässlich. These are the most iconic films and would be shown on primetime, depending on which channel. Also, the AlphaVigil, which is a short program for young Alpha children in the Centers and Children’s Palaces to instill a sense of rage towards Sol Fertilis’ enemies, would show recreations of war heroes’ fights to celebrate the triumph over enemies.

On the sixth day, there would be televised public executions of those who are convicted of High Treason, officially known as Altum Proditio. This type of High Treason mainly connects to Nazi-Ostania and Zandia as these traitors are convicted of being collaborators, terrorists, spies, assassins, seditious criminals, and secessionists. Once they are convicted, they are held in prison until it is the day before Victory Day. They are taken to the April 3rd Square where they are executed by either firing squad, hanging, burning at the stake, and, for the most severe offense, damnatio ad bestias via wolves. In Olympia, most of its citizens would be in person to watch and praise the executions as high-ranking government officials, such as Senators, Justices, and Patriarchs/Matriarchs, would watch them from the balconies. Citizens living outside Olympia are mandated to watch it on the screens in public squares, taverns, workplaces, Centers, post-Center institutions, malls, etc. Omegas, pregnant women, the elderly, and young children are the only ones to be excluded from watching the brutal executions.

On Victory Day itself, there is a massive festival around the nation with a military parade in Olympia. There were presentations on military strength and citizen resilience. There are floats from the Iuventutis Foederatios to show that the nation survived to be fertile. Citizens would eat “Victory Snacks” as they watch the parade. Sol Fertilian leaders and war heroes would watch from balconies and praise the military and Iuventutis Foederatios. Citizens would visit Ardens Oriens war memorials and museums to commemorate the soldiers, heroes, and Supervictus, which is a term for survivors of the Nazi-Ostania invasion of Northeast Sol Ferilis and the enslavement. There is a televised orchestra concert at the Minvera Theater with songs based on battles that Sol Fertilis won. At primetime, citizens would watch a documentary film that shows the entirety of Sol Fertilis’ involvement in the Ardens Oriens War, starting from Nazi Ostantia’s invasion of the north to the death of Hasslich, marking the end.

#sol fertilis #holiday #victory day #victory week #omegaverse #dystopia #dystopic #dystopian #dystopian omegaverse

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buangkok · 6 months

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4/11/23

“We’ve got more work to do.”

There is so much noise in the house, that I can’t focus. My dad has his phone’s volume up to 10. Why is his phone’s volume just so fucking loud? I really can’t focus. I like working in the dining room and he knows this. God, this is so distracting. Anyway, I need to stop looking at my phone screen so much. I feel that it’s affecting my brain, which means it’s affecting how I think. I feel that my thinking is quite scattered nowadays. I used to be a lot smarter and more eloquent back then.

I’m not too sure about where I want my career to go. I just generally know what I’m interested in. I just want to get good grades in school. I do. I don’t know what it takes though. I know that I have to be better at reading and writing, and I’m trying to do so. Today, I just picked up a book. Stephen King, if you’re wondering. His book on writing. It’s a memoir. It’s the first time in a few months that I’ve picked up a book. I spend way too much fucking time on my phone, scrolling through Twitter and Instagram. And for what? I find myself getting dumber and dumber as time goes by.

I’m tired of social media. I used to want to be an influencer. 10k followers at least. That dream was never realized. It’s pretty interesting how my priorities have changed, though. 10k in my bank account is better than 10k followers (if I had to pick one). I don’t know, a part of me thinks that I had a shot at “making it big”. Maybe I’m just delusional and starry-eyed.

I realized that it’s not about the quantity of people you know, but rather the quality of people you know. It’s better to be close friends with 4 successful people than 10 unsuccessful people. Do you get what I’m saying? Followers on social media…that’s such a juvenile subject. I’ve grown out of it, thank God.

Also, I’m beginning to realize that I should think of myself on an international stage, rather than a local one. Arts industries across the world are interconnected. Other than that, hugely successful Singaporeans in the arts industry usually work overseas before they get industry-wide recognition.

Here are some professional aspirations of mine:

to contribute to Singapore's theatre scene

start a local zine series detailing the local arts scene in Singapore

have community events that build up Singapore's arts scene. synergy and interconnectivity

study and work overseas for a bit (nyc or london)

build up my adobe suite, photography and drawing skills

I may want to study overseas for grad school, but I'm not too sure. It depends on whether I still want to at the end of my three years at uni. I would like to go overseas for internships though.

Why is my dad’s phone so fucking loud? I really can’t focus. I’m not angry or anything, I’m just a bit sensitive to noise. I can’t focus when there’s too much noise at home.

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bak3r · 1 year

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Initial Project Ideas

The possibilities that this brief has is immense - so to help me figure out the direction I want to take, I started to create a list of things that I personally found both really interesting and unique.

Maximalism

Post-Pixel Video Games

JRPGs

Shibuya-Kei

Theatre of the Absurd

Soviet Animation

Kitsch Aesthetics

Sock Puppets

Stamps

Nonsensicality

Life Simulation

Petroglyphs

Paracas Textiles

Medievalism

Net.art

CD-Roms

Rave Subcultures

Lan Parties

Reality TV

Queer Sanctum

J-Idol Culture

Nostalgia

Juvenile Art

Baron Munchausen

While theres obviously a lot of different ideas in this list (too many to personally explain), below are a few of my favourites:

Shibuya-kei is a microgenre of pop music that flourished in Japan in the mid-to late 1990s. The music genre is distinguished by a "cut-and-paste" approach that was inspired by the kitsch, fusion, and artifice from certain music styles of the past. The most common reference points were 1960s culture and Western pop music, especially the work of Burt Bacharach, Brian Wilson, Phil Spector, and Serge Gainsbourg.

The Theatre of the Absurd is a post–World War II designation for particular plays of absurdist fiction written by a number of primarily European playwrights in the late 1950s. It is also a term for the style of theatre the plays represent. The plays focus largely on ideas of existentialism and express what happens when human existence lacks meaning or purpose and communication breaks down. The structure of the plays is typically a round shape, with the finishing point the same as the starting point. Logical construction and argument give way to irrational and illogical speech and to the ultimate conclusion—silence.

After creating this list, I started a discord channel to help me formulate my research and ideas as I went along - something that proved really helpful. Over the next few days, while researching, I would find myself jotting down a bunch of interesting words, phrases and concepts that I came across.

#major project #reference

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thrustin-timberlake · 1 year

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thoughts on epic the musical?

i hadn't heard of it before your ask! i looked up a bit about it/listened to a few songs and i'm conflicted, i think

concept-wise, i'm really into it. i think that's really fun, and I think musical theatre as an art form is a really cool medium for mythology/epics. in general i want to see more of that, and not just "oh! we remade disney's hercules!" (also, not complaining about stage version of hercules itself. its beautifully done, and its my favorite disney movie in general, i'm more complaining about just adapting a pre-existing movie for the theatre and calling it a day. i think its lazy and a waste of the medium) no, i ACTUALLY wanna see an adaptation, and it seems like this show does that? so i think that's really fucking cool! i also really like the instrumentals and i think vocally it seems to have some pretty strong singers? i'm definitely intrigued by it.

that said, i also have my own personal biases. i listened to Just A Man, and i'm conflicted because i really want to like it. tonally, however, i don't think it fits with the odyssey. i'm not sure if it's the performance itself, because in line with my own biases, i think that singer is trying too hard to be pretty, and because of that it loses the emotion that a song like that should have, yanno? this is a traumatized man who is desperate to return to his family, but it comes across as a sort of like an...ingenue song, if that makes sense. for me there was no emotional beat, which was strange to listen to because listening to it, you can tell there's SUPPOSED to be one. it just fell flat for me. again, this may very well be my personal bias because i don't think the vocalist's style fits with what odysseus' character is supposed to be. incredibly pretty voice, but it's a range that i don't think makes sense in this context. i would prefer a lower and rougher voice, i think its much better suited for the mental state they're setting up/odysseus consistently has in both the iliad and the odyssey.

also listened to Open Arms. in general did not care for it. it was another tone issue for me.

that said!! THAT SAID!! i think Polyphemus is fucking cool. i love the effect for his voice, i also really like that he's kind of playful with odysseus and the men. i can also imagine that song being performed on a stage and being REALLY unique, which i think is important for any musical.

overall, i'm...interested. i'm interested to see where it goes. when i looked it up (https://tvtropes.org/pmwiki/pmwiki.php/Theatre/EpicTheMusical <- this is the first site that came up!), it mentioned starting on tiktok? and i worry i may be unconsciously holding that against it. but with that in mind, i think lyrically, it's very simple. the songs i listened to felt like they were holding your hand too much for my liking, i feel like it didn't give a lot of wiggle room to use your own imagination. which, i think there are pros and cons to that. a pro is that for someone unfamiliar with the story, i could see how someone holding your hand through it might be helpful, and i don't want to knock it if this is how someone gets interested in classics. but also, as someone who loves classics and IS familiar with the story, it felt kind of...juvenile? if that makes sense? the hand holding from that perspective comes off as thinking your audience is dumb, and i think maybe even for someone unfamiliar with the story, it might come off the same way as well. i think when you're writing you need to trust your audience. especially with classics, so much hinges on the audience interpreting things for themselves and using their imagination because that's how the stories grow and spread. narration is fine! it's expected with epics! if these songs did proper narration, it would be one thing, but instead it reads as "my audience can't see what i'm looking at so let me make sure there's no ambiguity" and like, you don't need to do that! it comes off as really unnatural, in my opinion!

i think another thing to keep in mind with that criticism is that this IS a concept album, and i'm not sure what exactly that means in the broader context of like, musical theatre, but i'm willing to give it the benefit of the doubt and hope that the things like excessive hand holding and vocalist preferences are more of a "hey, we're still working out the kinks!" type of issues. i may be completely wrong, but i really doubt that what's available is near the final product? so i'm not gonna put any nails in any coffins. i worry a bit about the tone and emotion, but, again. no nails.

i feel like this read like me being a huge hater. and i mean, i am by trade. but not about this. i think it's really cool! the stuff i liked i really liked, and i'm definitely interested in seeing where it goes from here. its clearly a really special project with really talented people working on it! i also love the idea of bringing epics to musical theatre/encouraging original works. i think i'm deffo gonna properly listen through the available tracks eventually because i can see this becoming something that i get into, depending on how it grows!

#sorry this is so long and sorry if i come off like a hater #i think its a cool idea! thank you for putting it on my radar!

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limra12 · 1 year

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Department of Orthopedics

DEPARTMENT OF ORTHOPAEDIC

The Department of Orthopedics and Orthopedic surgery at Apex Super Speciality Hospital & Post Graduate Institute is headed by Dr. S. K. Singh (MBBS, MS, MCh Ortho) having 35 years of vast experience in Spine & Joint Replacement surgeries.

The Department of Orthopedics and Orthopedic surgery offers diagnostic and therapeutic services for the management of disorders of bones, joints, Spine and associated structures. The team of highly qualified and experienced surgeons are known for their skill in performing joint replacement surgeries and keyhole surgeries.

The services offered include medical and surgical care for bone and joint problems resulting from injuries, infections, nutritional or metabolic disorders. Spine, Hip and knee replacement surgeries, treatment for degenerative disc disease leading to disc herniation (slipped disc) are performed with extremely successful outcomes in a dedicated operating room. Children with genetic diseases, aberrations in growth, development and age related degenerative processes are also treated by the department. Orthopedic surgeons are part of the trauma team that is available round the clock to treat polytrauma patients.

The department is supported by a radiological suite with O-arm, Computer assisted navigation system, intraoperative neuro monitor, X-ray, MRI, and other major imaging facilities. Physiotherapy and rehabilitation services are available to restore the health and functional abilities of people after spinal cord disorders and injuries, amputation, joint replacement, sports injuries, fractures and ligament injuries.

Facilities

Operation Theatre equipped with Laminar Airflow.

State of art Instrumentation

Image Intensifiers

Intra-op monitoring

Trained staff, for specialized jobs.

Well equipped ICU for post-operative care.

Joint replacements

Total hip replacement

Total knee replacement

Total shoulder replacement

Total elbow replacement

Wrist replacement

Hand joint (small) replacements surgery

Ankle joint replacement

Bilateral Total Hip Replacement Surgery

Arthroscopic surgery

Key hole surgery for disorders of knee, shoulder, elbow and ankle are offered, in the following manner

One day admission.

Patient is mobile within a day.

High quality telescope and camera system.

Motorised shaver system.

Trauma and Fracture surgery

High quality Swiss ‘AO’ systems, help stabilize fractures

Image intensifier, confirms perfect fracture fixations

Correction Of Deformity With External Fixator.

Ilizarov and External Fixation Device

Management of open fractures

Infected non-union of long bones

Limb lengthening

Correction of deformities

Fusion of joints

Spinal Surgery

Disc surgery

Microsurgery for disc

Fixation Systems for fractures

Surgery for correction of spinal deformities

Surgery for tuberculosis

Endoscopic spine surgery

Spine Fracture Treated With Internal Fixation

Arthritis

Osteoarthritis

Rheumatoid arthritis

Infective arthritis

Traumatic arthritis

Congenital limb & spinal deformities

Bone & Joint infections

Juvenile Arthritis

Metabolic bone disorders

Paediatric Orthopedics

All pediatric trauma surgery

All Congenital & Developmental Surgery (Non G.A.)

The department is supported by the most elaborate intensive care services, a modern Accident and Emergency department, and state of the art Physiotherapy and rehabilitation department. We have established trauma protocols for the care of the critically injured patients and principles of Advanced Trauma and Life Support System (ATLS) are applied for the prompt and efficient treatment.

· Address:D.L.W. Hydle Road , Varanasi-04

· 24x7 Helpline: +91-911-960-1990+91-911-960-1999

· Email:[email protected] in your application

· Website:www.apexhospitalvaranasi.com

#department of orthopedics #medical orthpedics department #orthopedics surgoen department

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scotianostra · 9 months

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Thomas Sean Connery, born in the Fountainbridge area of Edinburgh on 25th August, 1930.

Big Tam, as he was affectionately known around Fountainbridge in his youth, he was Tommy until his teens, when he shot up in height and stature, at one point he entered a bodybuilding contest, he was 6'2″ at the time, weighed around 14 stone, had a 48-inch chest, 25-inch thigh, and his arms were 15.25 inches.

His first job was as a milkman with the St Cuthbert’s Co-Operative Society in Edinburgh. I would think he would have delivered the milk on a horse drawn carriage, the stables for these horses was in the are he grew up, were in Grove Street, where I used to live the main offices for St Cuthbert’s still stands round the corner on Fountainbridge.

Connery also played football at junior level for Bonnyrigg Rose, my cousin played for them too for several years.

A few more facts about Sean are he has a tattoo on his arm that state “Scotland Forever” he got when he enrolled in the Merchant Navy, he was discharged from that job due to stomach ulcers, between jobs he was a nude model for art students at Edinburgh College of art, again not to far from Fountainbridge. Other jobs he took up were, a lorry driver, a lifeguard at Portobello swimming baths,a labourer and a coffin polisher!

I think it is interesting Connery never strayed far from Fountainbridge in his younger days, indeed when he decided that acting was a career he was going to pursue, it was the nearby Kings Theatre he got a job helping backstage, he was also competing in bodybuilding competitions at this time and while at an event in London he learned that there were auditions being held for South Pacific, he was picked to appear on the chorus line but as the production toured the country he was making his way up the ladder.

By the time it hit Edinburgh he had the part of Marine Cpl Hamilton Steeves and was understudying two of the juvenile leads, and his salary was raised from £12 to £14–10s a week, when the production was reprised the following year he had the lead role on the tour, taking over from the actor Larry Hagman, who played the part in London’s West End.

Connery never looked back from there and of course the role of James Bond catapulted him to international stardom, Ian Fleming though was against him getting the part initially, he said Sean was “unrefined” and not what he had in mind, Sean soon won him over though and Fleming later admitted he was an “ideal” Bond.

A few of the parts Sean either didn’t get or turned down are Gandalf, in the Lord of the Rings series of films, he said he never understood the books and also wasn’t keen on 18 months of filming in New Zealand. He also turned down the chance to play the role of the Architect in The Matrix Reloaded and The Matrix Revolutions. Sean was asked to portray King Edward I in Braveheart, but was too busy working on Another film at the time, Patrick McGoohan took the role instead, I’m sort of glad he never played Longshanks.

His 93rd and last film was 2003’s The League of Extraordinary Gentleman - although he officially retired in 2006, although he was temporarily tempted back to do the voice of Sir Billi in the animated adventure comedy of the same name.

Sir Sean Connery passed away in his sleep on 31st October 2020 at his home in the Bahamas, his son said he had been unwell for some time. The official cause of death was pneumonia, heart failure and old age, his death certificate revealed.

In a career spanning over 50 years, Connery earned an Academy Award, multiple Golden Globes, including the Cecil B. DeMille and Henrietta Awards, as well as two British Academy Film Awards (BAFTA) awards.

#scotland #scottish #history #actor #milkman #footballer #edinburgh #theatre #cinema

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mpmcorner · 1 year

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How did Kenichi Morozumi die? Draguno's voice actor's cause of death explained

How did Kenichi Morozumi die? Voice actor of Dragunov cause of death Explained Yen Planning recently announced that its actor Kenichi Morozumi has died at the age of 67. Let's see how the Dragunov voice actor died and Kenichi Morozumi's cause of death.

How did Kenichi Morozumi die?

Morozumi is best known in the fighting game world as the voice actor of Sergei Dragonov in the Tekken series, having played the role since the character's debut 17 years ago. Yann Palning expressed his condolences to voice actor Kenichi Morozumi. Our thoughts go out to Morozumi's family, friends and colleagues at this difficult time, and his work will be immortalized as Tekken's deadly snake,” the message read.

Kenichi Morozumi Cause of Death:

Morozumi is reported to have passed away on September 1, 2022. Kenichi Morozumi's cause of death was ischemic heart failure. However, news of his death is only now spreading outside of Japan. Morozumi's first interest in the arts was stage performance and drama in 1979, but he began participating in voice acting roles in the 1980s. This isn't the first time a Tekken actor has died in recent years; Ansho Ishizuka, the voice of Heihachi Mishima since Tekken Tag Tournament 2, died in 2018.

Who is Kenichi Morozumi?

Kenichi Morozumi was the Japanese voice actor of Sergei Draguno, from Tekken 5: Dark Resurrection to Tekken 7. Kenichi Morozumi's birthday. 11 January 1955, in Yamanashi, Japan. Fighting game fans first met the actor in 2005. Dragonov debuted in 2005 in Tekken 5: Dark Resurrection. He continued to work as a voice actor for the Russian fighter through Tekken 7. Tekken 8 is currently in development and slated for release in 2023. However, it is not known if Morozumi has already recorded lines for Draguno and will reprise his role at last. Additionally, Morozumi has voiced characters in several anime and motion pictures, including Kiyoshi Yoshioka in Kants, Takahashi in Monsters, Arthur in Soul Eater, Goodman in Terra Farmers, and Fujiwara in Black Lagoon. Stage Performances: Kenichi Morozumi's stage productions include Dream Woman (Meijiza), Mirror Zoo, Yashakaike (Tsunichi Theatre), Black Lizard (Shinbashi Theatre), Pissarro (Fargo Theatre), Romeo and Juliet (Sunshine Theatre). Night on the Moon (PARCO Part 3), The Merchant of Venice (Tokyo Globe Theatre), Thistle Than (Three Hundred People Theatre), Kyoka Kaleidoscope Furyu Line. Non-Anime Characters: Kenichi Morozumi's non-anime roles include Captain Vidal in "Pan's Labyrinth" (live-action film dub) (Japanese), Hank Summers in "Buffy the Vampire Slayer" (TV) (Japanese), Lucius Malfoy in "Harry Potter and the Order". Of The Phoenix” (Live-Action Movie) (Japanese), Sergey Dragunov “Tekkan 5: Dark Resurrection” (VG) (Japanese), Sergey Dragunov in “Tekkan 6” (VG) (Japan) Sergey Dragunov in “Tekkan 7” (VG) (Japan) Sergey Dragunov in “Tekkan Tag Tournament 2” (VG) (Japanese) Zero in “Toshinten Subaru” (VG) (Japanese). Kenichi Morozumi's TV roles include The Younger (CX), Love (NHK), Ex-Wife (CX), Housemate from the Spirit World (TBS regular) and Did the Curtain Fall? (TX), Wife of Co., Ltd. (NTV), Zenigata Heiji (CX), Life III (MBS, regular), from Musashi (TX) site, and after that, Juvenile Suspect (ANB). Morozumi's narrative work includes Nissan car commercials (Murano, Largo, Teana, Terrano), Panasonic Digital Camera and Sankyo Regain. Also read: How did Francis Joseph died at 62? Cause of death - revealed

Tributes to Kenichi Morozumi:

The voice actor, Kenichi Morozumi, sadly passed away on September 1st of this year. He only made a few noises because Sergey never spoke, but I give the voice actor some respect because the character he voiced has brought me so much joy over the years. Bii tweeted, RIP Kenichi Morozumi. You have brought such a wonderful aspect to a minor character. VAL | Tordu tweeted, A few hours ago I read about Kenichi Morozumi, the voice actor of Draguno. Although Dragunov didn't speak much, Kenichi gave Dragunov a wonderful feel and sense through grunts, grunts, and those little screams. I was shocked. Joshua Ledesma Segovia tweeted. Responding to @tvfgc. First Unsho Ishizuka and now Kenichi Morozumi rest in peace. They may be gone, but their spirit lives on in our memories forever. Joshua Ledesma Segovia tweeted. Responding to @LadyGravano. I feel bad for Kenichi Morozumi, the voice actor of Sergey Draguno, but now that he's gone who's going to replace him? Rest in peace, Kenichi Morozumi. We will miss you, you may be gone, but your spirit will live on in our memories forever Danielson tweeted. The voice of Sergei Draguno has passed away???!!!?? I don't believe this shit. My day is ruined. RIP Kenichi Morozumi Read the full article

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lightandsoundsmau · 1 year

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July 10th 2006

Ed felt the anxiety pool in his chest, as he aimed his finger to press in the buzzer on the next house down.

He’d been lucky so far but sooner or later that luck would run it’s course and he’d find himself face to face with a kid from his school. The thought of it made the acid in his gut stir.

It wasn’t the thought of seeing a classmate, though for certain there were classmates he DID NOT have any desire to casually run into. The fear was of the question they’d ask, questions they’d been avoiding since they had disappeared from school last fall.

They were questions Ed knew he’d have to face sooner or later, but he very much hoped later would win out in that equation.

He had hoped to push the questions off to the start of next year, save up all the anxiety for that first day back. He’d be dreading it either way he figured, and at least then he’d be able to return to the sanctuary of the Radio room when it all became too much.

Ed fiddled with the long-since-past-its’-prime disc player. It was currently skipping on the underwriting part of one of his last years pre-recorded overnight sets for the station. A irritating krazylazkrazylazkrazylaz reverberated over and over in their head, as the disk tried desperate to play out an ad for the local laser tag place.

Finally, the cacophony reached a fever pitch and Ed ripped the ear buds from his ears and shoved them and the device deeply into the inner pocket of his jean jacket.

Anti-skip my ass.

They really need to convince Hornigold to start letting them record digitally. They ended up converting them anyways to put them in the overnight line-up, and it would make it a lot easy to take his shows home too.

Ed knew it might be lame to listen to his own shows like this, or so Jack had often informed him. But the station always got demos, so a lot of that music was really only accessible through his old shows, and, after all, he had picked those song because he liked them.

He also knew, or, again, had unhelpfully been told, that his focus on collecting music was narcotic at best, and obsessive at worst. But the thought of a song disappearing into his memory, until he couldn’t even hum the melody anymore, triggered something deeply melancholy in him.

It was the same reason why the art which he’d scrolled on his bedroom walls included so many lyrics, poems, or lines from movies. They were more then a collection, each one held a story. Each had made contact with something inside him at the exact moment when he had needed it. He could, and often did, run his fingers along the multi-colored sharpie lines, and feel the memories and emotions of when he’d written them flood back into him.

He still mourned the loss of the markings on his bedroom door, which had been replaced after a particular bad night the prior summer. Many of the sentiments written there on had already faded out of his consciousness, into nothing.

He hated loosing things in general, but most of all he hate loosing memories, not being able to feel them anymore.

If he didn’t remember them who would.

Ed could hear the faint whirl of the struggling player in his pocket as he starred down the dark green paneling of the neighbors door.

He waited a few beats, possibly shorter then would be preferable to his program director, before retreating in the direction of the next house.

He didn’t see the harm in it, figuring the theatre program would survive even if he didn’t sell his fair share of no-bake cookie dough.

It wasn’t that he didn’t care. He actually enjoyed theatre, even when it wasn’t an alternative to incarceration. Though, he admittedly did like it more so when he didn’t have to spend his summer going door to door fundraising for it, and risking run ins with classmates with every ring of a new doorbell.

Ed knew he had technically gotten off easy. A month in Juvenile and a referral to the summer theatre program his school hosted for troubled youths was light punishment in anyones book for certain. He wondered if Izzy had faired as well.

That would be one good thing about classes starting at least. Getting to see his friends again.

His father had thoroughly isolated them from most of their friends since the incident. No computer, no phone, no visitors.

The last time he’d seen Izzy, he was being shuffled off to a different room in the precinct.

That was another problem with the questions, he hadn’t gotten to talk to Izzy, didn’t know how much he wanted him to share.

They needed to talk.

Ed began contemplating the possibility of using the whole “selling cookie dough” thing as a ruse to justify going to Izzy’s neighborhood, wondering if they could steal a few moments to talk about things before his mom made it to the door, and strategizing what he might do where Izzy’s mom to be the one to answer the bell.

He was turning this scenario every which way in his mind, examining all the angles as, he pressed in the bell for the house five down from his.

Dinosaur boxers.

The house was older and modest in size, like most of those on the block, though even from the curb it bore the telltale markings of the new money that had recently started flooding into the established neighborhood, buying up property and “rehabbing” it. The newly installed sod lawn, in the place of the front garden, was a death knell for the neighborhood, a harbinger of things to come.

The house itself was mostly unassuming, construction on the externals looked to be just getting underway, siding being replaced, new concrete laid for the front steps, and a fresh coat of teal paint on the front door.

The door which had swung open before the doorbell could finish ringing out its’ rendition of Gnossienne no. 5, a song which Ed thought deserved better then to be watered down to a 10 second clip played through doorbell speakers.

A door which behind it revealed a boy.

This was not a boy Ed knew from school. Though he did look to be of a similar age to them, he could have also been a year older. A college student? Or perhaps, from the local private school? That would certainly fit, considering the house. In any case, there was something familiar about him that Ed couldn’t place.

Something almost nostalgic about the shape of the constellation of freckles on his cheek, and the soft curl of his golden hair, which currently stood up at odd angles, as if he’d just rolled from bed. Ed wondered if this may in fact be the case, considering his state of dress.

Ed may have had more luck placing him in their memory had it not been for that detail, because the state of dress, with which he had chosen to fling open the door for the whole world to see, was a pair of dinosaur boxers and now that’s all Ed’s mind had room to hold.

Who does that?

What a lunatic.

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#our flag is death #our flag means gay #our flag means love #ofmd #smau #ofmd smau #LASSMAU #gentlebeard #coming of age #social media au

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