#Lee Drummond

[accuratepicuresofanthropologists]

Wenner-Gren's 100th symposium, Symbolism Through Time, was a chock-full of Famous Anthropologists.

Here is their caption for the event: "Back: J. Clifford, L. Drummond, J .Fernandez, J. Peacock, J. Boon, E. Leach, P. Burke, V. Valeri, B. Kapferer, N. Watson Front: D. Krupa, D. Handelman, N. Miyata, K. Blu, K. Komatsu, P. Rabinow, M. Sahlins, E. Ohnuki-Tierney, S. Ortner, C. Geertz, F. da Silva, L. Osmundsen"

Another image in which Sahlins is in the front row -- I'm keeping track of that.

via Wenner-Gren.

[crushermyheart]

Happy Valley / Series 2 / Episode 1

[thebluelagooncompany-567]

The ponytail duo.

[francisg]

this show

[wallachix]

classy relationship best pics compilation

[vintagelasvegas]

New Town Tavern, 600 Jackson Ave, Las Vegas, in 1967. Photo by Clinton Wright. One of the oldest clubs in Las Vegas, destroyed by fire 10/15/2023.

Town Tavern was opened Jul. ‘55 by owners Marie and Earl Turmon, locals who lived at nearby 708 Madison. In its heyday of the late 50s the 24-hour bar, casino, and coffee shop was central to Westside’s nightlife scene. After the closure of the Moulin Rouge in Fall ’55, Town Tavern became the main Westside destination for black performers who were headlining the segregated Strip hotels.

Nat King Cole, Sammy Davis Jr, Cab Calloway, Arthur Lee Simpkins, Bob Bailey, Dorothy Dandridge, and the Ink Spots all performed in a single night during an NAACP cocktail party in Dec. '55. Review-Journal columnist Forrest Duke wrote of another night when, “Pearl Bailey and her Flamingo gang sashayed over to Earl Turmon’s Town Tavern Wednesday night, and the joint was, to put it rather mildly, jumping.” Another columnist’s blurb describes an employee’s going-away party with music by jazz musicians Christine Chatman (singer, piano), Al Morgan (bass), Chuck Hampton (drums), and Bob Bailey as emcee, “there with his lovely wife Anna who dances in the Pearl Bailey’s Flamingo show.”

The club became “New” Town Tavern in late ’59 and operated more or less continually until 2013. Westside's nightlife scene deteriorated in the 60s – the unplanned byproduct of integration was the decline in black gaming establishments, but Town Tavern remained. Florence Elmore owned the club in '70-71. Danny Curtis & Elijah Green bought the club in '71; Green was still the owner in the 80s, renovating and enlarging the club after a fire in '81. In the 90s it became “Ultra New” Town Tavern and continued operated under this name until closing.

Town Tavern originally had a top hat-shaped sign. Its second sign with "Town Tavern" in a ribbon and "Casino" in a circle, was installed in the early 60s and remained until 2023. In 2016 the words "Town Tavern" were replaced with "Tokyo" for a casino which ultimately never opened. The sign was removed from the building on 8/16/2023.

1967 photos from Clinton Wright Photographs (PH-00379), UNLV Special Collections & Archives.

Sources: "Opening.” Review-Journal, 7/6/55; “NAACP Plan Party for Sunday.” Review-Journal, 12/24/57; Forrest Duke. Review-Journal, 1/16/59; “Take Pickets Off Westside Casino Beat.” Review-Journal, 9/7/59; J. Berger. Black casinos flourished during days of segregation. Review-Journal, 11/10/75; “Arson suspected in tavern fire.” Review-Journal, 5/25/81; “West Las Vegas Casinos Have New Look – And Dreams.” Las Vegas Sentinel Voice, Vol. 4, Issue 25, 10/20/83; C. Drummond. 'It's a legend gone': Fire destroys Historic Westside building, and Clean up of Historic Westside building destroyed by fire. News3LV, 10/17/2023.

Note. Prior to Town Tavern, this corner 1400 F St. was the site of the earliest known Westside casinos. It was Shady Rest Barbecue, licensed for slot machines on 9/17/42, and Club Alabam, aka Smokey Joe's Club Alabama the following year. Fuller's Index of Nevada Gaming Establishments says the Club Alabam was licensed for 21 from 5/1/43 to 7/2/43. City Commission Meeting Minutes of 7/2/43 (p97) states that the liquor and gaming license of Joe LaDue at Club Alabam was denied. The club burned down 9/29/43. Liquor License. Review-Journal, 9/17/42; Westside Club Burns, Officers Say Incendiary. Review Journal, 9/29/43.

[ruknowhere]

Inherit the Wind is a 1960 American film based on the 1955 play of the same name written by Jerome Lawrence and Robert Edwin Lee. The film was directed by Stanley Kramer. It stars Spencer Tracy as lawyer Henry Drummond and Fredric March as his friend and rival Matthew Harrison Brady.

It also features Gene Kelly, Dick York, Harry Morgan, Donna Anderson, Claude Akins, Noah Beery Jr., Florence Eldridge, and Jimmy Boyd.

The script was adapted by Nedrick Young (originally as Nathan E. Douglas) and Harold Jacob Smith. Stanley Kramer was commended for bringing in writer Nedrick Young, as the latter was blacklisted and forced to use the pseudonym Nathan E. Douglas.

Inherit the Wind is a parable that fictionalizes the 1925 Scopes "Monkey" Trial as a means to discuss McCarthyism. Written in response to the chilling effect of the McCarthy era investigations on intellectual discourse, the film (like the play) is critical of creationism.

source: Memes, Dreams Reflections

[gardenschedule]

Decision making within the Beatles

So the re-formation suggestions were never convincing enough. They were kind of nice when they happened – ‘That would be good, yeah’ – but then one of us would always not fancy it. And that was enough, because we were the ultimate democracy. If one of us didn’t like a tune, we didn’t play it. We had some very close shaves. ‘Maxwell’s Silver Hammer’ was a pretty close shave.”

“Paul McCartney’s New Album, New Life and How the Beatles Almost Reunited” by Brian Hiatt for Rolling Stone (1 March 2012).

"Well, say if George was the only one who didn't like a certain script but we were all mad about it, then we would try everything we could to change his mind, persuade him," he joked, as he raised his fist menacingly. "But if he just didn't want to do it, that would be it. We just wouldn't do it. We've always got to be in complete agreement on things as important as this, otherwise, later on it just wouldn't work out."

Paul McCartney interviewed by Maureen O’Grady for Rave, December 1965

“If they are asked to do something as a group and any one of them doesn’t want to take part, then the scheme is dropped,”

Norrie Drummond’s 1967 Melody Maker interview with McCartney

“We had a democratic thing going between us. Everyone had to agree with everything that was done, whether it was a concert in Liverpool or to go to Hamburg”

Harrison’s May 1998 testimony to the London High Court regarding the Star Club Tapes

Paul was the only thorn in his side. Paul refused to sign the contract and walked out of the offices. This left things in limbo, since according to the terms of the Beatles’ partnership agreement, all their business decisions had to be agreed by quorum. It might seem remarkable that Klein so quickly acquired this degree of power over the Beatles’ affairs. But bizarre at it might seem, the matter of the quorum was totally ignored. It might even have been that none of the Beatles were really aware that this clause had been written into their partnership contract by Brian. I doubt if at that stage any of them even had a copy.

Magical Mystery Tours My Life with The Beatles by Tony Bramwell

GEORGE: But it’s more of a personal thing. That’s down to the management situation. You know, with Apple. Because Paul, really, it was his idea to do Apple, and once it started going, Paul was very active in there. And then it got really chaotic and we had to do something about it. When we started doing something about it, obviously Paul didn’t have as much say in the matter, and then he decided – because he wanted Lee Eastman – you know, his in-laws – to run it, and we didn’t. Then that’s the only reason, you know. That’s the whole basis. But that’s only a personal problem that he’ll have to get over because that’s the reality. [It’s] that he’s out-voted, and we’re a partnership; we’ve got these companies which we all own 25 percent of each, and if there’s a decision to be made, then like in any other business or group you have a vote, you know. And he was out-voted three to one. And if he doesn’t like it, it’s really a pity. Because we’re trying to do what’s best for the Beatles as a group, or best for Apple as a company. We’re not trying to do what’s best for Paul and his in-laws, you know?

May 1st, 1970 (New York): George

It was true, that when the group was touring, their work and social relationships were close, but there had been a lot of arguing, mainly about musical and artistic matters. I suppose Paul and George were the main offenders in this respect, but from time to time we all gave displays of temperament and threatened to ‘walk out’. Of necessity, we developed a pattern for sorting out our differences, by doing what any three of us decided. It sometimes took a long time and sometimes there was deadlock and nothing was done, but generally that was the rule we followed and, until recent events, it worked quite well.

John Lennon’s affidavit – From “The Beatles Diary Volume 2: After The Break-Up 1970-2001” by Keith Badman

“I kept saying [to the other Beatles], ‘Don’t give Allen Klein 20 per cent, give him 15, we’re a big act!’ And everyone’s going, ‘No, no, he wants 20 per cent.’ I say, ‘Of course he does, he wants 30, really, but give him 15. It’s like buying a car. You don’t give the guy what he asks for.’ But it was impossible in the end, because it became three to one and I was like the idiot in the corner – trying, I thought, to save the situation. And to Klein it looked like I was trying to screw the situation. He used to call me the Reluctant Virgin. I said, ‘Fuck off, I don’t want to fucking marry you, that’s all.’ he’s going, ‘Oh, you know, he may, maybe he will, will he, won’t he, that’s a definite maybe.’ It was really difficult.”

Paul McCartney, interview w/ Paul Du Noyer for The Word: Let it be… naked. (December, 2003)

“On the way in which the four of us had sorted out our differences in the past, I deny that it had been on a three-to-one basis. If one disagreed, we discussed the problem until we reached agreement or let the matter drop. I know of no decision taken on a three-to-one basis”

Paul Mccartney - Keith Badman, The Beatles After the Breakup

John was a very forceful personality. Mostly – I mean, if we had arguments within the group, I remember George would turn to us, “Oh, he’s won again. John’s won again.” Just because he shouted loudest. And that often used to happen. “Ah, I’m not bloody doing that—” “Alright then, alright alright.” So there was a lot of that going on. So you do tend to get forced into another position, you know, if somebody’s very loud and very – I mean, I’m not saying he was just loud, he was a wit. He was a funny man, John, he was a clever guy, I loved him, you know. But somehow we got this anti position.

November 26th, 1984 (Soho Square, London): On British television show The Tube

“It’s not like we spend our time wrestling in the studio trying to get our own songs on. We all do it the same way… we take it in turns to record a track. It’s just that usually in the past, George lost out because Paul and I are tougher. “It’s nothing new, the way things are. It’s human. We’ve always said we’ve had fights. It’s no news that we argue. I’m more interested in my songs. Paul’s more interested in his, and George is more interested in his. That’s always been.”

John Lennon Interview: New Musical Express 12/13/1969

GEORGE: "Yeah, well, I wrote some songs -- in fact some songs which I feel are quite nice which I'll use on this album -- I wrote about four years ago. But, uhh, it was more difficult for me then to, you know, get in there to do it. It was the way the Beatles took off with Paul and John's songs, and it made it very difficult for me get in. And also, I suppose at that time I didn't have as much confidence when it came down to pushing my own material as I have now. So it took a while. You know, I think the first... I did write one song on about the second album, and I left it and didn't write any more. That was just an exercise to see if I could write. About two years later I recorded a couple more songs -- I think 'Rubber Soul.' And then I've had one or two songs on each album. Well, there are four songs of mine on the double White Album. But now, uhh, the output of songs is too much to be able to just sit around, you know, waiting to put two songs on an album. I've got to get 'em out, you know." "Yeah. It's always... it was whoever would be the heaviest would get the most songs done. So consequently, I couldn't be bothered pushing, like, that much. You know, even on 'Abbey Road' for instance, we'd record about eight tracks before I got 'round to doing one of mine. Because uhh, you know, you say 'Well, I've got a song,' and then with Paul -- 'Well I've got a song as well and mine goes like this -- diddle-diddle-diddle-duh,' and away you go! You know, it was just difficult to get in there, and I wasn't gonna push and shout. But it was just over the last year or so we worked something out, which is still a joke really -- Three songs for me, three songs for Paul, three songs for John, and two for Ringo."

George Harrison Interview: Howard Smith, WABC-FM New York 5/1/1970

GEORGE: To get it straight, if I hadn’t been with John and Paul I probably wouldn’t have thought about writing a song, at least not until much later. They were writing all these songs, many of which I thought were great. Some were just average, but, obviously, a high percentage were quality material. I thought to myself, If they can do it, I’m going to have a go. But it’s true: it wasn’t easy in those days getting up enthusiasm for my songs. We’d be in a recording situation, churning through all this Lennon-McCartney, Lennon-McCartney, Lennon-McCartney! Then I’d say, [meekly] “Can we do one of these?”

George Harrison, Guitar World: When we was fab. (1992)

John: Well, I’m saying that “Dear Prudence” is arranged. Can’t you hear [John vocalizes part of the song]. That is the arrangement, you know? But I’m too frightened to say “This is it.” I just sit there and say, “Look, if you don’t come along and play your bit, I won’t do the song,” you know? I can’t do any better than that. Don’t ask me for what movie* you’re gonna play on it. Because apart from not knowing, I can’t tell you better than you have, what grooves you can play on it. You know, I just can’t work. I can’t do it like that. I never could, you know. But when you think of the other half of it, just think, how much more have I done towards helping you write? I’ve never told you what to sing or what to play. You know, I’ve always done the numbers like that. Now, the only regret, just the past numbers, is when because I’ve been so frightened, that I’ve allowed you to take it somewhere where I didn’t want

...

John: And that’s all I did on the last album was say, “OK, Paul, you’re out to decide [how] my songs [are] concerned, arrangement-wise.” … I’d sooner just sing them, than have them turn into, into ‘[Being For the Benefit of] Mr. Kite,’ or anything else, where I’ve accepted the problem from you that it needs arrangement. … I don’t see any further than the guitar, and the drums, and, and George Martin doing the … I don’t hear any of the flutes playing, you know? I suppose I could hear ‘em if I [spoken as if straining] sat down and worked very hard! You know, I could turn out a mathematical drawing, if you like …

Jan. 13: The Lunchroom Tape

PAUL: You see the thing is also, I, I get to a bit where I just sort of push all my ideas, you know, and I know that my ideas aren’t the best, you know. They are [mechanical voice] “good, good, good” but they’re not the best, you know. We can improve on it. Because we write songs good, and we improve on it. [to Ringo] And you can improve on your drumming like it is, if you get into it. If you don’t, you know, then okay, I have better ideas, but if you get into it, you’re better! You know. It’s like that.

Twickenham, January 6th

I wasn’t surprised that Paul disliked “Revolution 9” as much as he did. Although he was well versed in all musical genres—in fact, he’d been into avant-garde well before John—he simply didn’t see it as Beatles music, and he certainly didn’t agree that it was the direction that the Beatles should go in. Later on, when they were sequencing the White Album, I heard through the grapevine that John and Paul ultimately had a huge row over “Revolution 9.” Paul absolutely did not want it on the album, and John was just as adamant that it would be on there. In the end, of course, he got his way.

Here, There and Everywhere, Geoff Emerick

I was more ready for the drink or a little bit of pot or something. I’d not wanted to do it, I’d held off like a lot of people were trying to, but there was massive peer pressure. And within a band, it’s more than peer pressure, it’s fear pressure. It becomes trebled, more than just your mates, it’s, 'Hey, man, this whole band’s had acid, why are you holding out? What’s the reason, what is it about you?’ So I knew I would have to out of peer pressure alone. And that night I thought, well, this is as good a time as any, so I said, 'Go on then, fine.’ So we all did it.

Paul McCartney, Many Years From Now by Barry Miles

"John's fellow student Helen Anderson remembers him ushering Paul in, with George, their tag-along junior, usually following a little later. The three would go into the cafeteria for a cheap lunch of chips then take their guitars into an empty life-drawing room, which tended to be more spacious than the others. Helen, being extraordinarily beautiful, was among the very few they allowed to watch while they rehearsed. 'Paul would have a school notebook and he'd be scribbling down words,' she says. 'Those sessions could be intense because John was used to getting his way by being aggressive---but Paul would stand his ground. Paul seemed to make John come alive when they were together.”

Paul McCartney: The Life - Philip Norman.

“I don’t know about being in a band with him, how that would work out,” he told Rolling Stone in 1979. “It’s like, we all have our own tunes to do. And my problem was that it would always be very difficult to get in on the act, because Paul was very pushy in that respect. When he succumbed to playing on one of your tunes, he’d always do good. But you’d have to do fifty-nine of Paul’s songs before he’d even listen to one of yours. So, in that respect, it would be very difficult to ever play with him.”

A Conversation With George Harrison

What was clear from the start was that writing would be a matter of Lennon and McCartney. “I remember walking through Woolton, the village where John was from, and saying to John, ‘Look, you know, it should just be you and me who are the writers,’ ” McCartney recalled. “We never said, ‘Let’s keep George out of it,’ but it was implied.”

In “Paul McCartney Doesn’t Really Want to Stop the Show” by David Remnick for The New Yorker (11 October 2021).

“I do stand back at times, unlike John. I look ahead. I’m careful. John would go for the free guitar and just accept it straight away, in a mad rush. I would stand back and think, but what’s this bloke really after, what will it mean? I was always the one that told Klein to put money away for tax. “I don’t LIKE being the careful one. I’d rather be immediate like John. He was all action. John was always the loudest in any crowd. He had the loudest voice. He was the cock who crowed the loudest. Me and George used to call him the cockerel in the studio.

Paul and Hunter Davies, 1981

Paul came across in 1963 as a fun-loving, footloose bachelor who turned on his charm to devastating effect when he wanted to manipulate rivals, colleagues or women he fancied. (...) He had enormous powers of persuasion within The Beatles. He would get his own way by subtlety and suaveness where John resorted to shouting and bullying. John may have been the loudest Beatle but Paul was the shrewdest. I watched him twist the others round to his point of view in all sorts of contentious situations, some trivial, some more significant, some administrative, some creative.

John, Paul, George, Ringo & Me: The Real Beatles Story, Tony Barrow (2005)

[anarchic-miscellany]

Gundam SEED: A Dubbing Journey

More fun physical media tales! "Gundam SEED"

It's not the best Gundam series, but it's good fun and the first iteration of "Gundam" which I watched. Hence I have a sense of nostalgia for it, despite its flaws (looking at you 48 episode length...).

Anime is already a fairly niche field, despite the hilarious jokes and mainstream creep us filthy degenerates are making into modern society. The age old "debate" I guess, between those of us who have never seen the sun, seems to be between watching in the original language with subtitles, or watching it dubbed.

My personal thoughts go towards the dub. Aside from the fact that there are dozens and dozens of brilliant actors in this field who make the material fantastic and more accessible (Tara Platt, Yuri Lowenthal, Colleen Clinkenbeard, my homie Kirk Thornton, Steve Blum, Michelle Ruff, Wendee Lee, Kari Wahlgren, Todd Haberkon, Joel McDonald, so, so, so, so many others) to simply ignore the dub through snobbery is to disregard the hours and hours of effort and work put in by hard working, under-appreciated actors across the field. Voice actors are my jam.

So, "Gundam SEED" came out in 2002/2003 but was dubbed by the Ocean Group with Bandai in 2004, released by Beez on DVD. It's a good dub: No "Baccano!" or "Cowboy Bebop" but then again, what is? There are some great actors in this (Andrew Drummond's brother Brian plays the best character: Andrew Waltfeld THE DESERT TIGER, Lisa Ann Beley is the ship's captain, Trevor Devall from "Cowboy Bebop" and "Team America" as Mu La Flaga, Samuel Vincent as one of the two leads and, for some god-damned reason Brad "Light Yagami" Swaile as one of the best characters) as well as some lesser known names in the industry but also great in their parts. Chantal Strand is a standout as Lacus Clyne.

The dub was an excellent work, and my first exposure to the series, it's great.

The series was released on DVD, but had a rather short run: the always excellent Beez released it in the ever delightful format of five episodes per disc and one disc per box, their usual M.O.

I am going somewhere with this, bear with me.

So far so good.

In 2014 the series was re-released in HD, fine. Excellent! More of Beez's back catalogue coming out again and to the forefront is always a good thing.

However.

The dub was redone.

The actors, for the most part, were completely replaced from the top down. Gone were Matt Hill and Samuel Vincent as Kira and Athrun, gone were Drummond and Swaile. Everybody has been changed, right down to the lesser known actors playing some major parts in the series.

And they are the people who I want to talk about.

Bill Switzer, Sarah Johns and Lisa Ann Beley are not ever going to be household names, nor ever known truly amongst the clique-like cult who follow weaboo shit. But I am going to focus on these three people for a moment.

Respectively, in the Ocean Dub, they play Sai Argyle, Lt. Badgiruel and Captain Murrue Ramius, all fairly major characters in the series.

And they were replaced.

Bye, so long, farewell, hope that you got something out of the experience.

This isn't about rambling about how "the new dub sucks" or "Grrrr, change is bad" (well, maybe the latter a little) because, in all honesty, I haven't watched it. Heck, maybe it's fantastic!

But on a more philosophical level, I guess, consider this:

Mr Switzer, Ms Johns and Ms Beley have put a lot of work, time and effort into those parts, they're actors underappreciated, underpaid and glossed over in an already niche field, and then the one big piece of art they get to do, the one big part they have to be remembered and loved, is forgotten, soon to be washed away by the new dub. Sounds dramatic, sure, but now in future should Gundam SEED be sought out by people hoping to catch up on Gundam (though, why you'd start with "Gundam SEED" like a moron when the fantabulously gay "Gundam Wing" exists I shall never know) or just picked up and watched it's more likely that one will watch the remastered dub, and Mr Switzer and co will be banished and forgotten by history.

I guess what I wanted to say was simple:

Remember forgotten art, remember obscure actors, writers, producers and the like. All art has meaning, be it terrible, great or forgotten. Every piece of art has effort and love put into it by some people.

Don't let Bill Switzer and Sarah Johns and Lisa Ann Beley be mere forgotten footnotes.

Buy a DVD of something obscure and forgotten. Remember the effort put into it.

[katanadepapel]

Voice actors 🇺🇲 and 🇧🇷 of Teenage Mutant Ninja Turtles

💙LEONARDO💙

TMNT (1987)

🇺🇲Cam Clarke

🇧🇷Manolo Rey

TMNT (2003)

🇺🇲Mike Sinterniklaas

🇧🇷Mauro Eduardo Lima

TMNT (2012)

🇺🇲Jason Biggs

(1°voice)

Dominic Catrambone

(2°voice)

Seth Green

(3°voice)

🇧🇷Antônio Akira

(1° voz)

Bruno Camargo

(2°voz)

ROTTMNT (2018/2022)

🇺🇲Ben Schwartz

🇧🇷Fabrício Rinaldi

TMNT MUTANT MAYHEM (2023)

🇺🇲Nicolas Cantu

🇧🇷Rodrigo Ribeiro

💙

♥️ RAPHAEL♥️

TMNT (1987)

🇺🇲Rob Paulsen

(1°voice)

Thom Pinto

(2°voice)

Hal Rayle

(3°voice)

🇧🇷Marco Ribeiro

(1°voz)

Duda Ribeiro

(2°voz)

TMNT (2003)

🇺🇲Frank Frankson

🇧🇷Renato Soares

(1°voz)

Wendell Bezerra

(2°voz)

TMNT (2012)

🇺🇲Sean Astin

🇧🇷Hermes Baroli

(1°voz)

Felipe Zilse

(2°voz)

ROTTMNT (2018/2022)

🇺🇲Omar Benson Miller

🇧🇷Glauco Marques

TMNT MUTANT MAYHEM (2023)

🇺🇲Brady Noon

🇧🇷Victor Hugo Fernandes

♥️

💜 DONATELLO💜

TMNT (1987)

🇺🇲Barry Gordon

(1° voice)

Greg Berg

(2°voice)

🇧🇷Márcio Simões

TMNT (2003)

🇺🇲Sam Riegel

🇧🇷Márcio Araújo

TMNT (2012)

🇺🇲Rob Paulsen

🇧🇷 Wendell Bezerra

ROTTMNT (2018/2022)

🇺🇲Josh Brener

🇧🇷Marco Aurélio Campos

TMNT MUTANT MAYHEM (2023)

🇺🇲Micah Abbey

🇧🇷Arthur Carneiro

💜

🧡MICHELANGELO🧡

TMNT (1987)

🇺🇲Townsend Coleman

🇧🇷Marcelo Meirelles

(1° voz)

Mário Jorge Andrade

(2° voz)

TMNT (2003)

🇺🇲Wayne Grayson

🇧🇷Yuri Chesman

TMNT (2012)

🇺🇲Greg Cipes

🇧🇷Daniel Figueira

ROTTMNT (2018/2022)

🇺🇲Brandon Mychal Smith

🇧🇷Caio Guarnieri

TMNT MUTANT MAYHEM (2023)

🇺🇲Shamon Brown Jr.

🇧🇷Enzo Dannemann

🧡

💛APRIL O'NEIL 💛

TMNT (1987)

🇺🇲Renae Jacobs

🇧🇷Dolores Machado

TMNT (2003)

🇺🇲Veronica Taylor

🇧🇷Márcia Regina

TMNT (2012)

🇺🇲Mae Whitman

🇧🇷Tatiane Keplmair

(1°voz)

Fernanda Bullara

(2°voz)

ROTMNT (2018/2022)

🇺🇲Kat Graham

🇧🇷Maíra Paris

TMNT MUTANT MAYHEM (2023)

🇺🇲Ayo Edebiri

🇧🇷Any Gabrielly

💛

🤎 SPLINTER 🤎

TMNT 1987

🇺🇲Peter Renaday

(1°voice)

Townsend Coleman

(2°voice)

🇧🇷Dario Lourenço

(1°voz)

Miguel Rosenberg (2°voz)

Orlando Drummond

(3°voz)

TMNT (2003)

🇺🇲Darren Dunstan

🇧🇷Válter Santos

(1°voz)

Renato Márcio

(2°voz)

TMNT (2012)

🇺🇲 Hoon Lee

🇧🇷Nestor Chiesse

ROTTMNT (2018/2022)

🇺🇲Eric Bauza

🇧🇷Raul Rosa

TMNT MUTANT MAYHEM

(2023)

🇺🇲Jackie Chan

🇧🇷Tatá Guarnieri

🤎

[kaatsound]

R.I.P. LOWELL MORRIS [1934 ☆ 2023], one of the founders of modern Jamaican music, Australian drummer based in Jamaica from '58 to the mid-60′s, original member of THE CARIBS. He can be heard on many important Jazz, Rhythm & Blues, and Shuffle records, notably for singer LASCELLES PERKINS, Derrick Harriott's JIVING JUNIORS, LAUREL AITKEN, OWEN GRAY, THE BLUES BUSTERS, KEITH & ENID, KES CHIN & THE SOUVENIRS, BYRON LEE & THE DRAGONAIRES or alongside ROLAND ALPHONSO, DON DRUMMOND and CECIL LLOYD on the classic LP "I Cover The Waterfront" released in 1962 on Port-O-Jam/Coxsone... On the picture, Sir MORRIS in May ‘59 with bassist LLOYD BREVETT and unidentified musicians, probably a CARIBS session.

[westeroslive]

fc suggestions with period resources?

marina  ruy  barbosa,  amy  james  kelly,  angela  sarafyan,  alexandra  dowling,  alicia  von  rittberg,  angela  baby,  ann  skelly,  anna  brewster,  anna  shaffer,  antonia  thomas,  anya  taylor-joy,  aslihan  malbora,  catriona  balfe,  charithra  chandran,  charlotte  hope,  dakota  fanning,  deepika  padukone,  debora  nascimento,  dilraba  dilmurat,  emilia  schule,  esther  yu,  freida  pinto,  aneurin  barnard,  archie  renaux,  bayo  gbadamosi,  ben  barnes,  callum  turner,  cao  yuchen,  cillian  murphy,  cynthia  addai-robinson,  dai  si,  daisy  head,  daniel  henney,  daniel  sharman,  danny  sapani,  david  corenswet,  ding  yuxi,  douglas  booth,  dylan  wang,  ebonee  noel,  emma  corrin,  eric  bana,  eve  best,  francois  arnaud,  gugu  mbatha  raw,  golshifteh  farahani,  hannah  dodd,  hazal  filiz  kucukkose,  henry  golding,  holliday  grainger,  howard  charles,  isabela  merced,  isabelle  drummond,  jacob  anderson,  jack  lowden,  jannik  schuman,  jessica  chastain,  jodie  turner-smith,  jonah  hauer  king,  jonathan  bailey,  josh  o'connor,  kit  harington,  kylie  bunbury,  larissa  manoela,  lee  jieun,  lena  heady,  lola  petticrew,  luke  thompson,  marina  moschen,  mark  addy,  matilda  de  angelis,  matthew  goode,  max  parker,  medalion  rahimi,  melisa  pamuk,  michelle  yeoh,  milly  alcock,  noemie  schmidt,  nur  fettahoglu,  oliver  jackson  cohen,  rege  jean  page,  richard  madden,  ryan  corr,  saadet  aksoy,  santiago  cabrera,  saoirse  ronan,  sam  reid,  sean  teale,  sebastian  de  souza,  sonoya  mizuno,  tamzin  merchant,  tahirah  sharif,  taylor  zakhar  perez,  thaddea  graham,  thalissa  teixeira,  thomasin  mckenzie,  toby  regbo,  xiao  zhan,  ni  ni.

[tierradenod]

Tienen recomendaciones de fcs?

Anónimo ha preguntado: ¿algunas caritas masculinas que quieran ver por acá?

Por aquí abajo les dejamos un par de caritas que se me ocurren de momento y otras que han sugerido nuestros usuarios a lo largo de estos meses, pero también les invitamos a chequear nuestro tag de faceclaims sugeridos para ver otras opciones. ¡Esperamos que alguna sirva! Regé-Jean Page, Jeremy Allen White, Kang Haneul, Ji Changwook, Lee Jaewook, Yuko Araki, Jeon Jongseo, Song Jieun, Sidney Park, Kiana Ledé, Madison Bailey, Kim Sejeong, Meng Ziyi, Esther Yu, Rome Flynn, Choi Wooshik, Kim Kyungnam, Kim Sungcheol, Dev Patel, Son Naeun, Enzo Vogrincic, Lee Dohyun, Kim Goeun, Kentaro Sakaguchi, Archie Madekwe, Jung Somin, Bae Ganghee, Tom Blyth, Ji Changmin, Harris Dickinson, Dominic Sessa, Josha Stradowski, Kim Yoojung, Laura Kariuki, Maddie Phillips, Ashley Liao, Isabelle Drummond, Pat Chayanit, Kim Yongji, Ritu Arya.

🗡 CAÍN.

[lesrevesdeprovence]

JANE DURAND Best Red Carpet Fashion

By Mode Style Team

PR Icon, socialité and red carpet fixture, Jane Durand has come a long way since her debutante presentation at the Delacroix Family Bal Rosé. Since her society presentation, the French heiress has become a force to be reckoned with at the helm of the PR giant Drummond & Durand. Jane’s prowess in the entertainment industry and rise to fame has come accompanied by a wardrobe to match. And while she rocks the most effortless fashion on daily basis, the gorgeous haute couture creations and sweet hair statements are now her signature on the red carpet.  It can’t be otherwise. Jane Durand never misses the chance to explore the juxtaposition between effortless cool and high-end regal.

From her first red carpet events dressed in cute Miu Miu minidresses, Jane Durand has evolved into a full-blown fashionista. Mode shortlisted the star’s best red carpet moments to date and recapped some of her coolest fashion picks to day. 

At the Chopard Nuit d’Été Gala, Jane adhered to the pink dress code and opted for a for Valentino fuchsia gown.

Attending the Cannes Film Festival alongside the cast of Les Sans Pitié, the PR Maven stepped out in a Dior couture dress. 

On appearance at the 63rd Annual Grammy Awards, Jane wore a sequined CELINE dress

Attending the GQ Men of the Year awards, Jane kept her look elegant and simple in an Elie Saab cutout dress  

Jane wore an Armani Privé gown to the 2021 Brit Awards

Jane looked red carpet ready in an instant. Just an hour after being spotted in the audience during NCT’s Coachella debut,  she showed up to the ABF Awards in a green silk Gucci gown and minimal makeup.

At the 2025 D&D Film Gala, Durand wore a custom Atelier Versace look with details inspired by  Rococo art.

Jane stunned at the BAT Foundation Gala dressed in an archive piece from the Delacroix 1988 Couture Collection.  

For the 2024 Mode Awards, Jane sported an off the shoulder gown by Gucci.

Attending the opening of Fondazione Prada’s exhibition Quattre Per Tutti,  Jane wore a minidress adorned with large pink paillettes, and crystals. For a beauty statement, the socialité got Miu Miu inked on her neck.

Whether she's clad in a sexy mini dress or or a couture customized dress, Jane Durand always looks chic and confident. With her accessible, polished cool Provence girl aesthetic and a roster of high-profile friends like Minah Delacroix, Tyler Lee, and the members of K-pop group NCT — and an even higher profile relationship to M Young — Jane is one super-stylish lady whose star power is hard to ignore. 

[hitchell-mope]

Hypothetical titles for season nineteen of 88

Watch what happens. Season premiere. Part one. The precinct teams up with the other precincts all over the state when thousands of expensive Cartier watches get stolen from right under the proprietors noses. First appearance of Divine Love Konadu-Sun as Theo Wilmington.

The art of horology. Season premiere. Part two. Armed with Clyde’s knowledge, and a lot more than a few puns at Lucia’s expense, Thornton leads his team up against The Horologist.

Old mother Hubbard. The remains of a champion Great Dane are found in Central Park. And all signs point to his owner

The testimony of a college bound warlock. A Familiar approaches Findlay to help convince her human to testify at a murder trial. Guest starring Michelle Gomez as Alpine Affleck and Miles Brown as Atticus Alderman

The wrong Holmes. With the help of the deceaseds Spectre. The team investigates a fratricide that turns into a should’ve been assisted sororicide. Guest starring Tia Mowry, Tahj Mowry and Tamera Mowry as Martine, Sherman and Eunice Holmes.

Mumsies the word. Leland’s ex wife and Zoey’s estranged mother Bernadette Sellars (Minnie Driver) stops by for a long overdue visit along with her new fiancé Morton Simmons (Lee Pace)

Four Jews in a room bitching. Lysander takes Tina, Drummond, Odessa, Clyde and David to the bar mitzvah of his favourite Oxford professors son. Where him and the other three men promptly get locked in the coat check room while a robbery’s in progress.

The family disappointment. The real reason for Bernadette and Morton’s nuptials is revealed when an immigration agent drops by Fifth Avenue. First appearance of Paget Brewster as Agent Wilhelmina Wallace.

Condolences. The Five Families of New York gather together once more for the funeral of Jacob’s mother. Second and last appearance of Bellamy Young as Adelaide Spratt

Truth will out. Having had enough of Bernadette’s charade. Delaney tells Zoey the truth about everything.

Hogwarts Holdings. Findlay can’t resist sitting in on one of Clyde’s business meetings. Which surprisingly helps Clyde gain a new ally against his sister. Guest starring Rupert Grint as himself.

Five alarm fire. Midseason finale. Part one. Solaris’s life is endangered when the NYFD headquarters explodes two weeks before Christmas with him a sixty other firefighters inside it.

Tag em and bag em. Midseason premiere. Part two. As Thornton and the team work to save the survivors of the explosion. Jones gets a visit from the director of the New York branch of the FBI. First appearance of Will Estes as FBI Director William Wallace.

The world’s oldest raver. Zoey gets a reality check when she throws her back out after she goes clubbing with Ethan.

Let a story be a story. Findlay finds herself at war with Arlene’s protege who’s trying to get a musical about Henry VIII cancelled on grounds of misogyny. Guest starring Sadie Sink as Chartreuse Addams.

Roulette. Chambers returns to ask Jacob’s help in a court case against a casino owner he owes money to. Guest starring Jack Black as Dionysus Morgan

Saxe Coburg Gotha. Part one. Findlay accompanies Tina back to England when the princess royal and her wife leak some personal news to the international press. Guest starring Rhianne Barreto as Rani Burton, Auli’i Cravalho as Aimee Davenport, Chris Pratt as Emerson Davenport and Meera Syal as the queen mother Nadine Burton

Threat level Hewitt. Part two. The queen mother will do anything to prevent history repeating itself. Even if it means irreparably destroying her relationship with her daughter. Guest starring Jack Whitehall as Tina’s older brother Lord Jasper Downey.

First flight. Theo starts flying independently and runs away after having enough of the fighting between Delaney, Bernadette, Findlay and Kimberly.

Yankees and Redcoats. A game of cat and mouse ensues at a cd signing by Tina’s celebrity crushes. Guest starring Finn Wolfhard as Yannick Keynes, Louis Partridge as his singing partner Radcliffe Coats and Hunter Doohan as their manager Hadley Dawson.

Pieta. Godfrey find himself getting sued by Jesse’s mother and stepfather for millennia of backpay in child support. Guest starring Sakina Jaffrey as Mary Carpenter, Alexander Siddig as Joseph Carpenter and Adria Arjona as Maggie Christensen.

The captain, the slut, her boyfriend and his mother. Thornton takes the lead when Ethan’s mother gets burgled. Meanwhile. The final preparations are underway for Sellers/Simmons “wedding”. Guest starring Catherine Keener as Dorothy Baum.

Who’ll catch the bride? Season finale. Part one. Bernadette and Morton’s sham wedding day arrives. And Delaney has a special present for the blushing schemer.

Why waste a wedding? Season finale. Part two. With Agent Wallace closing in, Bernadette tries to make sure her sham wedding goes off without a hitch. But she doesn’t count on Zoey coming to her senses. And that will be her downfall.

[thechanelmuse]

My Top Albums/EPs of 2022

So I bet you thought I forgot to post my end-of-the-year music list 😏

Chile, I did 🙃. Better late than never tho, right? 

Enjoy!

JAZZ

The Baylor Project - The Evening: Live at APPARATUS

Billy Drummond & Freedom of Ideas - Valse Sinistre

Brandon Coleman - Interstellar Black Space

Cécile McLorin Salvant - Ghost Song

Charlie Gabriel - Eighty Nine

Jeremy Pelt - Soundtrack

Joshua Redman Quartet (Redman, Brad Mehldau, Christian McBride, Brian Blade) - LongGone

Makaya McCraven - In These Times

Marquis Hill - New Gospel Revisited

Ron Carter - Finding the Right Notes

Samara Joy - Linger Awhile

COUNTRY

Abbey Cone - Hate Me EP

Carrie Underwood - Denim & Rhinestones

Luke Combs - Growin Up

Madeline Edwards - Crashlanded + Madeline Edwards EP (two projects)

Maren Morris - Humble Quest

Mickey Guyton - I Am Woman EP

FOLK

Brandi Carlile - In These Silent Days (Deluxe Edition) - In the Canyon Haze

Kina Grannis - It's Hard to Be Human — (2021 album)

Valerie June - The Moon and the Stars: Prescriptions for Dreamers + Under Cover (two projects)

GOSPEL

DOE - Clarity

Kirk Franklin & Maverick City Music - Kingdom Come One (Deluxe)

Ricky Dillard - Breakthrough: The Exodus (Live)

Tasha Cobbs Leonard - Hymns (Live)

Tye Tribbett - All Things New

BLENDED GENRES

Gabriels - Angels & Queens – Part I

Janet Jackson - The Velvet Rope (Deluxe Edition) — 25th anniversary

Moonchild - Starfruit

PJ Morton - Watch the Sun (Deluxe)

Robert Glasper - Black Radio III (Supreme Edition)

SZA - SOS

Tank and the Bangas - Red Balloon

Various Artists - Stranger Things: Soundtrack from the Netflix Series, Season 4

YEBBA - Live at Electric Lady

SOUL/BLUES (ROCK*)

Jamison Ross - JAMO

Lady Wray - Piece of Me

Lee Fields - Sentimental Fool

Liv Warfield - Live at Cafe Wha? *

Lizz Wright - Holding Space: Live In Berlin

Miko Marks and The Resurrectors - Feel Like Going Home

Various Artists - Summer of Soul Original Motion Picture Soundtrack

R&B

Alex Isley & Jack Dine - Marigold

Ari Lennox - age/sex/location

Arin Ray - Hello Poison

Coco Jones - What I Didn't Tell You

Durand Bernarr - Wanderlust

India Shawn - BEFORE WE GO (DEEPER)

Kenyon Dixon - Closer

Lucky Daye - Candydrip

Mariah Carey - Butterfly: 25th Anniversary Expanded Edition

Mary J. Blige - Good Morning Gorgeous

Ravyn Lenae - HYPNOS

Sevyn Streeter - Drunken Wordz Sober Thoughtz

Siergio - BEFORE IT'S TOO LATE

POP/ALTERNATIVE (ROCK)

The 1975 - Being Funny In a Foreign Language

Aurora - The Gods We Can Touch

Avril Lavigne - Let Go (20th Anniversary Edition)

James Bay - Leap

LÉON - Circles

Lissie - Carving Canyons

Sigrid - High Note

RAP

Danger Mouse & Black Thought - Cheat Codes

Denzel Curry - Melt My Eyez See Your Future

Elzhi & Georgia Anne Muldrow - Zhigeist

JID - The Forever Story

Leikeli47 - Shape Up

Mozzy - Survivor's Guilt

Nas - King's Disease III

Saba - Few Good Things

Smino - Luv 4 Rent

EXPERIMENTAL

Niia - OFFAIR: Mouthful of Salt

Sault - Air + Aiir (2 projects)

HONORABLE MENTION

Beyoncé - RENAISSANCE

I know it’s coming... *hands on hips* “Honorable mention?!?”

I just can't listen to Renaissance straight through. I’ve tried and tried and tried. When it comes to my listening experience, I approach music sonically first, following the story and arrangement of the music instruments, and how the timbre of one's singing or rapping meets and interweaves between those elements. Give me an audio painting with a tapestry of enthralling colors and textures that I can feel. Then I'll invite in the lyrics.

It's like cinema. The average person most likely follows the eyes of the camera as it relates to the dialogue for the cinematic story. The way my brain is wired 🤖 I have to separate a number of other elements into parts as the story moves along — from the color grading and lighting to the sound design and mise-en-scène — to fully understand the director's vision and grasp the actual tale.

The thing about Renaissance as a whole is that it doesn't breathe enough for me. It feels chaotic like a tide than a flow if I let it run straight through. Give me spatial, darling! But that's the intentional, heavy-handed part about Renaissance, especially on the heels of a post-pandemic world: "Get tf up, dance and feel good." I don't wanna dance; I just wanna listen 😩 lol

Side note: 

We all have a specific musical palette as to why we fully gravitate to some songs/albums and not to others. I posted my review of Susan Roger’s book, This Is What It Sounds Like: What the Music You Love Says About You, a few months ago. (She was Prince's sound engineer from 1983 to 1988.) If you’re curious about why you like the music you like, I recommend for you to read it.