#Magril

[raccoonfallsharder]

magril ･:*ੈ♡‧₊˚:･

✩ let me love your OCs masterlist

i really feel like i've gotten to know @rxin3akamallory ‘s magril after months of following her adventures and backstories ♡ she’s such a cute little bean and im so glad i had the opportunity to draw her! thank you for the opportunity, friend. ♡ this is only the second anthropomorphic animal (other than rocket) that ive drawn so i don’t know what i am doing, but i am so grateful for you trusting me with her. she’s such a fucken delight ♡♡

magril is a opossum and another halfworld refugee. she wasn't exactly friends with batch 89 - her cage was at a distance from theirs - but if i'm remembering right, she could often hear them playing games and talking. i imagine it both helped her feel less alone and more wistful at the same time. she escaped shortly before rocket did - i think she might have tried to tell lylla about her distrust for the high evolutionary at the time - and was was picked up by a ravager ship. i think it may have been the eclector, because i understand that she and pete knew each other through their adolescence and that she actually went after him circa volume one, which is how she and rocket reunite (so to speak!). anyway she is a badass, and sometimes i think very sad and lonely. and her eye is a fuckin camera? how fun is that?

anyway she is rad as hell and you should go read more about her and check out all the cute art of her & rocket (and her & akira, who will be one of the next lovely OCs i'm drawing!!). thank you for letting me try to draw her in my style, rxin3! she was so much to doodle and to paint. thank you for also being patient with my questions - i hope i was able to do her justice!

(other iterations behind the cut)

[rxin3akamallory]

The self inserts: “I just feel a little dizzy.. But it’s okay, I probably just haven’t eaten yet. I’ll have something later.”

How the self inserts’ s/o would react to them not eating yet (4/4)

(Excluding Maggie, Mackenzie, Marcella, Marnie, Maeve, Marjorie, Marcie, and Marley because they don’t have partners)

[This one only has Rocket and Magril because I couldn’t fit this last one with the previous post]

[I wrote these to sorta comfort myself because this was almost exactly what happened yesterday. I didn’t bring food prior to going to work and didn’t go on my break so I had to sit through a 6+ hour shift with no food until 6pm. By the time I did eat I was not satisfied I still felt hungry after. I’m okay now, dw <3]

1 | 2 | 3

Rocket (to Magril)

[Magril artwork by @raccoonfallsharder]

Rocket: *groan* “You idiot.”

Magril: “What?”

Rocket: “I ain’t allowing you to hurt yourself like this. Stay put, don’t move.”

Rocket leaves the room and comes back with an orloni on a stick that he bought from one of the food stands in Knowhere.

Rocket: “Here, eat this.”

Magril: “But-“

Rocket: “No buts.”

Magril sighs and takes a bite. After a moment, Rocket spoke up.

Rocket: “Listen, I’m only being so firm about this because I care about you. You have a bad habit of putting other people’s needs before your own and no offense but it pisses me off sometimes.”

Magril: “I know.. I’m sorry.”

Rocket: “Don’t be sorry, just do be so flarkin’ hard on yourself. If not for yourself, then at least for me. Please…”

After a moment, Magril nods.

Magril: “It’s a deal.”

[rxin3stims]

Holy Night

Lol I never posted this here for some reason but here’s a lil drawing I made a while back of Mantis and Magril based on the GotG Holiday special!!

Timelapse :3

[ilovedamsels1962]

Rose Marie Magrill, 1939

[twigglestblog]

Going to be a long and interesting post, but I wanted to say how I think my OC Echo would be like with my Mutuals GOTG OC's, starting off with Magril by @rxin3akamallory

I already explored this a little bit with that short interaction I wrote, but honestly I could see Echo looking up to Magril like a mentor or parental figure, he would definitely need one and I doubt he would listen to anyone except her and maybe Kraglin. Maybe she feels the same, maybe not, but either way Echo would probably always take her advice to heart like a child would their parents.

Up next is Star by @cleo-is-babygirl

Echo would probably treat Star like a sister honestly, if she asked for it he would do it unconditionally, whether it be a piggyback ride, or to steal some cookies for her, he would do it for her, probably convince him to mess with Rocket a little bit, as long as neither get hurt of course. This brother-sister dynamic probably leads to each of them being defensive of the other in various situations, always willing to back each other up whether it be from a threat to their lives or just some jackass, they'll help each other.

Up next is Akira by @bakaotakulife

Honestly I'm not really certain how Echo would get along with Akira, I mean he would certainly try after a while and maybe he asks her to teach him some fighting skills, but I think Echo would just see her as a training partner/coach for most of the time, maybe occasionally discussing their problems. They do eventually reach the point of being friends, but I see this more as an issue with Echo having a hard time trying to find something to bond about, or being too shy to talk about his interests to her.

Lastly, Dr. Meti Geer by @quietanarchist before I start this one I will say to my other mutuals Meti Geer is a bit of an, interesting person, and innuendos are commonplace in his vocabulary so take that in mind for this.

Echo would be much older by this point, and I imagine Echo wouldn't have met his fellow experiments in this reality, so he probably stumbles upon Meti and Rocket on Knowhere after the first story. Echo probably has Meti help him navigate his own personal issues with his identity and possibly relationship advice, meanwhile Echo would probably act as Meti's personal bodyguard when Rocket isn't around, though they probably spend more time talking about dresses. Echo probably at first has to remind Meti the innuendos make him uncomfortable, and it takes a while before Meti 100% can control his vocabulary around him.

[hugheskepner]

Magril? Sally?

Okay wonder if this two would've been endgame leaving jackson all alone I admit, I will love it.

Their friendship is so special.

[theartsofsaturn]

I love this man. 

[nofatclips]

The 8-Bit Big Band in Let’s Play: Super Mario Bros live with full orchestra - Directed by Hunter Bird

[avicarijazz]

This Week's (3pm today) Jazz Doodles show on www.jazzlondonradio.com with music by Lynne Arriale, Paul Booth, Asaf Harris, Ron Magril, McCoy Tyner, Freddie Hubbard, Emma Rawicz-Szczerbo #ListenLive on jazzlondonradio.com TuneIn

[papermoonloveslucy]

THE BIG STREET

August 13, 1942

Producer: Damon Runyon

Director: Irving Reis

Screenplay: Leonard Spigelgass, based on the short story “Little Pinks” by Damon Runyon, first published in Collier’s magazine.

Dance Staging: Chester Hale

Gowns: Renie

Miss Ball’s Dancing Costume: Freddy Wittop

Miss Ball’s Make-Up: Perc Westmore

The film is sometimes referred to as Damon Runyon’s The Big Street.

The film premiered in New York City at the RKO Palace on August 13, 1942. That same day Disney’s long-awaited Bambi opened at Radio City Music Hall. At the Capitol, Orson Welles’ The Magnificent Ambersons, also starring Agnes Moorehead and Gil Perkins, continued its run. Nearby, at the Albee, a second-run cinema, Top Hat (1935) starring Ginger Rogers and Lucille Ball was playing. The Big Street opened nationally September 4, 1942. 

“Love is something that gets you one room, two chins, and three kids.” ~ Gloria Lyons (Lucille Ball) 

PRINCIPAL CAST

Lucille Ball (Gloria Lyons aka ‘Her Highness’) was born on August 6, 1911 in Jamestown, New York. She began her screen career in 1933 and was known in Hollywood as ‘Queen of the B’s’ due to her many appearances in ‘B’ movies. With Richard Denning, she starred in a radio program titled “My Favorite Husband” which eventually led to the creation of “I Love Lucy,” a television situation comedy in which she co-starred with her real-life husband, Latin bandleader Desi Arnaz. The program was phenomenally successful, allowing the couple to purchase what was once RKO Studios, re-naming it Desilu. When the show ended in 1960 (in an hour-long format known as “The Lucy-Desi Comedy Hour”) so did Lucy and Desi’s marriage. In 1962, hoping to keep Desilu financially solvent, Lucy returned to the sitcom format with “The Lucy Show,” which lasted six seasons. She followed that with a similar sitcom “Here’s Lucy” co-starring with her real-life children, Lucie and Desi Jr., as well as Gale Gordon, who had joined the cast of “The Lucy Show” during season two. Before her death in 1989, Lucy made one more attempt at a sitcom with “Life With Lucy,” also with Gordon.

Gloria’s singing voice was provided by Martha Mears, who also did Ball’s singing in DuBarry Was a Lady (1944).

Henry Fonda (Augustus Pinkerton II aka ‘Little Pinks’) first worked with Lucille Ball in the 1935 film I Dream Too Much. When Lucille Ball first got to Hollywood, the two actually briefly dated. They collaborated on the TV special “The Good Years” (1962) and the film Yours, Mine and Ours (1968). During the 1970s, Fonda and Ball often turned up on the same awards and tribute shows. Fonda was nominated for three Oscars, winning in 1982 for On Golden Pond. He also won an honorary Oscar in 1981. Fonda died in 1982 at age 77.  

Barton MacLane (Case Ables) was seen in the film The Maltese Falcon (1941) but is probably best remembered for his final role, the blustery General Peterson on “I Dream of Jeannie” (1965-69). 

“A fat man’s always listening to love stories, but he’s never go any to tell.” ~ Nicely Nicely Johnson

Eugene Pallette (Nicely Nicely Johnson, The Greatest Eater Alive) was seen as Friar Tuck in Robin Hood (1938) and in Mr. Smith Goes To Washington (1939). 

The character of Nicely Nicely Johnson was played by Stubby Kaye, who reprised the role he played on Broadway, in the film version of Runyon’s Guys and Dolls (1955).  He was so named because his usual reply to the question “How are you doing?” was typically “Nicely nicely, thank you!” 

Agnes Moorehead (Violette Shumberg) was a classically trained performer who collaborated with Orson Welles on Citizen Kane (1941) and The Magnificent Ambersons (1942). She is best remembered as Samantha’s exotic mother Endora on the TV series “Bewitched” (1964-72). 

Violette weighs 100 pounds, four ounces.

“She has a very large capacity for groceries.” ~ Pinks (about Violette) 

Sam Levene (Horsethief) originated the role of Nathan Detroit in the Broadway stage musical of Runyon’s Guys and Dolls. Singing great Frank Sinatra played  Nathan Detroit in the movie version in 1955. 

Ray Collins (Professor B) also collaborated with Orson Welles on Citizen Kane (1941) and The Magnificent Ambersons (1942), along with Agnes Moorehead. He is best remembered for playing Lieutenant Tragg on “Perry Mason” from 1957 to 1965. 

Marion Martin (Mimi Venus) would also be seen with Lucille Ball in Abbott and Costello in Hollywood (1945). Although she was often cast as a brassy stripper, showgirl or tough gun moll, off screen she was known to be extremely shy and retiring.

“That dame is a lump of mud!”  ~Gloria (about Mimi)

William Orr (Decatur Reed) was an actor turned executive. As the head of WB Television for nine years, he was executive producer of the studio's early forays into the medium, helping to put ABC on the prime-time map with a steady staple of westerns and detective shows. In 1959 he received a Golden Globe for his contributions to television. 

Vera Gordon (Mrs. Lefkowitz) emigrated with her family from Russia when she was seven years old. She became involved in the theatre and was active in silent films and early talkies. She had previously appeared with Lucille Ball in 1938′s Having Wonderful Time. 

George Cleveland (Col. Venus) makes his fourth film appearance with Lucille Ball. In 1949 they also did Miss Grant Takes Richmond. He is best remembered for playing Gramps on “Lassie” (1954-57). 

Ozzie Nelson (Himself) was considered the pre-eminent TV dad of the 1950s thanks to his successful family sitcom “The Adventures of Ozzie and Harriet” (1952-66). Before TV fame, he was a bandleader with his wife Harriet the lead singer. Nelson later appeared on several talk shows with Lucille Ball. 

UNCREDITED CAST (with connections to Lucille Ball)

Baby (Gloria’s Pekingese Dog)

Louise Beavers (Ruby, Gloria’s Maid) went on to appear in three more films with Lucille Ball: DuBarry Was a Lady (1943), Lover Come Back (1946), and The Facts of Life (1960). 

Charles Cane (McCarty, Holland Tunnel Policeman) also appeared with Lucille Ball in The Dark Corner (1946) and as one of the theatre patrons at “Over The Teacups” in “Ethel’s Birthday” (1954) which also featured Big Street extras Bess Flowers, James Conaty, Sam Harris, and Harold Miller. 

Jack Chefe was seen as a Paris waiter in “Lucy Meets Charles Boyer” (ILL S5;E19) and played a bellhop in “Lucy and John Wayne” (ILL S5;E2) and had also appeared in five films with Lucille Ball, including playing a waiter in Forever, Darling.  Of Chefe’s 358 film roles, 165 were waiters!

James Conaty (Nightclub Patron) was also seen with Lucille in I Dreamed Too Much (1935), Lured (1947), and The Long Long Trailer (1953).  He was one of the theatre patrons at “Over The Teacups” in “Ethel’s Birthday” (1954) which also featured Big Street extras Bess Flowers, Charles Cane, Sam Harris, and Harold Miller.

Hans Conried (Waiter) played Harry Martin in “Redecorating” (ILL S2;E8) and Percy Livermore in “Lucy Hires an English Tutor” (ILL S2;E13), both in 1952. He also did two episodes of “The Lucy Show,” both as her music tutor Dr. Gitterman in 1963.  

Pedro de Cordoba (Doctor) was also seen with Lucille Ball in Five Came Back (1939).

Helen Dickson (Florida Club Patron) had appeared with Lucille Ball in Carnival (1935) and Two Smart People (1946). She was one of the aging flapper showgirls in “Ricky Loses His Voice” (ILL S2;E9) in 1952. 

Jimmy Dime (Truck Driver / Stunts) was seen with Lucille Ball in 1951′s The Magic Carpet. He did a half dozen episodes as a background players on Desilu’s “The Untouchables” (1959-61). 

Eddie Dunn (Mulvaney) was also part of Ziegfeld Follies (1945) featuring Lucille Ball. 

Jay Eaton (Late Night New York Nightclub Patron) did a total of nine films with Lucille Ball between 1934 and 1949, including her other Damon Runyon film Sorrowful Jones (1949). 

Bess Flowers (Florida Nightclub Patron) aka 'Queen of the Extras’ made numerous uncredited background appearances on both “I Love Lucy” and “The Lucy Show.” She holds the record of the most film collaborations with Lucille Ball: 17. 

Karen X. Gaylord (Florida Club Patron) was also part of Ziegfeld Follies (1945) featuring Lucille Ball.

Charlie Hall (Caviar Waiter) also did Kid Millions with Lucille Ball and went on to do four more films with her until 1942. 

William Halligan (Detective) was also with Lucille Ball in 1940′s You Can’t Fool Your Wife. 

Art Hamburger (Joe Duffle, Eating Contest Opponent) makes his final of three screen appearances. He became an associate director. This is his only time working with Lucille Ball. 

Joe Duffle is from Boston and weighs 337 and a half pounds. There is some irony that Nicely Nicely (then Violette’s) eating contest opponent is actually named Hamburger. 

Mary Halsey (Showgirl) also did Seven Days Leave with Lucille Ball in 1942. 

Sam Harris (Passerby on Florida Boardwalk) was in the background of a dozen Lucille Ball films, as well as being seen on “I Love Lucy,” “The Lucy-Desi Comedy Hour” and “The Lucy Show.”  He was one of the theatre patrons at “Over The Teacups” in “Ethel’s Birthday” (1954) which also featured Big Street extras Bess Flowers, Charles Cane, James Conaty, and Harold Miller.

Jack Herrick (Mindy’s Customer) was also seen with Lucille Ball in The Bowery (1933). 

John Indrisano (Mug at Mindy's) was also seen with Lucille Ball in The Facts of Life (1960). 

Tiny Jones (Small Friendly Neighbor) was seen with Lucille Ball in A Girl, A Guy, and a Gob (1934) and Five Came Back (1939). 

Donald Kerr (Pete the Passer) appeared in eight films with Lucille Ball between 1936 and 1954.

Wilbur Mack (Florida Club Patron) appeared in three more films with Lucille Ball: Thousands Cheer (1943), Ziegfeld Follies (1945), and Lured (1947). 

George Magrill (Mug at Mindy's / Stunts) appeared with Lucille Ball in ten films between 1933 and 1949. 

Richard Martin also did Seven Days Leave with Lucille Ball in 1942

Tony Merlo (Mug at Mindy's) was also seen with Lucille Ball in Dance, Girl, Dance (1940) and Broadway Bill (1934).

John ‘Skins’ Miller (Truck Driver) was also with Lucille Ball in Fancy Pants (1950) and Sorrowful Jones (1949). 

Harold Miller (Florida Club Patron) shares 13 film credits with Lucille Ball. He was one of the theatre patrons at “Over The Teacups” in “Ethel’s Birthday” (1954) which also featured Big Street extras Bess Flowers, Charles Cane, James Conaty, and Harold Miller. Harris would return for “Lucy and the Loving Cup” (S6;E12) as a subway strap hanger. He appeared in six episodes of “The Lucy Show,” the last one being as a party guest on “My Fair Lucy” (1965).

Bert Moorhouse (Florida Club Waiter) did nine films with Lucille Ball from 1933 to 1954. 

Frank Moran (Mug at Mindy’s) makes his final of five film appearances with Lucille Ball. 

George Noisome (Newsboy) also appeared with Lucille Ball in That’s Right, You’re Wrong (1939). 

Barry Norton (Florida Club Patron) was also seen with Lucille Ball in Nana (1934) and Dance, Girl, Dance (1940).

Frank O’Connor (Police Captain at Holland Tunnel) did nine films with Lucille Ball from 1933 to 1946. 

Gil Perkins (Mug / Stunts) was aboard the train when Lucy and Ricky headed home from California in “The Great Train Robbery” (ILL S5;E5). He was seen in The Fuller Brush Girl (1950) with Lucille Ball. He made one appearance on “Here’s Lucy” (above right) in 1970. 

Bob Perry (Toupee, Associate of Ables / Stunts) was also seen with Lucille Ball in Stage Door (1937) and Joy of Living (1938). 

Ralph Peters (Florist) was also with Lucille Ball in Sorrowful Jones (1949). 

Addison Richards (Dr. Mitchell) played the American Consul in “Lucy Goes To Mexico” (LDCH 1959) as well as three other films with Lucille Ball. 

Dewey Robinson (Truck Driver) did five other films with Lucille Ball. 

Shimen Ruskin (Waiter Captain at Florida Club) was previously seen with Lucille Ball in Having Wonderful Time (1938) but is best remembered as Mordcha in the film Fiddler on the Roof (1971). 

Hector V. Sarno (Friendly Neighbor) was also with Lucille Ball in Muss ‘em Up (1936). 

Harry Shannon (Florida Doctor) was seen with Lucille Ball and Desi Arnaz in Too Many Girls (1940). He played Jim White (above center), photographer in “Men Are Messy” (ILL S1;E8) in 1951. He is probably best remembered as the father of Rose (Rosalind Russell) in Gypsy (1962). 

Walter Soderling (Doctor at Mindy’s) was with Lucille Ball in Easy To Wed (1946). 

Mary Stuart (Showgirl) was also seen with Lucille Ball in Seven Days Leave (1942). She is best remembered for her four decade run as Mary on “Search for Tomorrow”. 

Elliott Sullivan (Tramp) was also in That’s Right, You’re Wrong (1939) and Next Time I Marry (1938) with Lucille Ball. 

Harry Wilson (Fethington) did four other films with Lucille Ball between 1934 and 1950. He was also an extra on Desilu’s “Untouchables” (1959-62). 

Marie Windsor (Florida Club Patron) was also in Critic’s Choice (1963) with Lucille Ball. 

BIG STREET OPENING

"Loser's Lane - the sidewalk in front of Mindy's Restaurant on Broadway - is not as high-toned a trading center as Wall Street, but the brokers are a lot more colorful. Generally they prefer to put their money on a prizefight or horse race, but when the action slows, anything can happen and it usually does. Tonight, for example, the citizens of the Lane are discussing the latest contest in their usual quiet way..."

BIG STREET TRIVIA

The Big Street was a nickname for Broadway, where this movie's plot starts, and where all Runyon's stories take place. The film opens at West 50th and Broadway in New York City, with the marquee of the Capitol Theatre in the background. 

Damon Runyon originally wanted to cast Charles Laughton and Carole Lombard in the lead roles, but neither one was interested in the project. The two had previously paired on White Women (1933) and They Knew What They Wanted (1940), Lombard suggested the producer consider her friend Lucille Ball and, despite pressure by RKO to hire a better-known actress, Runyon offered her the role.  Unaccustomed to playing series roles, Lucille asked advice from Laughton on how to approach such a difficult part. Laughton told her not to hold back: “If you are going to play a bitch, play a bitch!”

Ball later recalled that at the time she was cast, "nothing much seemed to be happening for me at the studio. My $1000 weekly paycheck came regularly, but I was still a regular among the Bs."

Philadelphia Daily News ~ June 6, 1942

Reports that Lucille Ball sent a $25 War Bond to each of the ten girls that were fired from backing her up on “The Big Street”.

During filming, Lucy’s new husband Desi Arnaz felt so insecure about leaving Lucy and Fonda alone together that he’d often pop by the set to keep an eye on them. His paranoia so exasperated director Irving Reis that he finally banned him from the set.

This was Lucille Ball’s favorite of her nearly 80 films. She felt her performance was unjustly ignored by the Academy.

The vocals for "Who Knows?" by Harry Revel and Mort Greene, performed by Gloria in Case's Manhattan club, were provided by Martha Mears. The character later reprises the song with Ozzie Nelson and his orchestra in the Miami nightspot.

The film was re-released in 1955, at the height of Lucille Ball’s television success. Although Fonda remains first billed, Ball’s photo clearly indicates that she is the drawing card. 

Damon Runyon also created the source material for the hit Broadway musical Guys and Dolls (1950), which starred Robert Alda, who went on to make several appearances on “The Lucy Show.” The two stories share the character of Nicely Nicely Johnson. When the film version was made by MGM in 1955, Lucy and Desi were also under contract to the studio. A brief clip of the film was inserted into the middle of an episode of “I Love Lucy” called “Lucy and the Dummy” (S5;E3), although the clip was removed after its initial airing. Further, when Lucille Ball first came to Hollywood, before becoming a contract player at RKO, she worked for Sam Goldwyn as one of the Goldwyn Girls. In Guys and Dolls, the Hot Box Girls are played by the Goldwyn Girls. 

In 1949, Lucille Ball starred in another film based on a Damon Runyon story, Sorrowful Jones, a remake of the 1934 Shirley Temple film, Little Miss Marker.

Damon Runyon was a big fan of Lindy’s, a Manhattan restaurant famous for their cheesecake, and wrote the eatery into his books as Mindy's. The musical Guys and Dolls, based on Runyon's writings, immortalizes Lindy's in one of its songs. In “Ricky’s Contract” (ILL S4;E10), Lucy tells Fred and Ethel that Ricky took his entire band to Lindy’s to celebrate learning that he had been offered a movie contract. 

In The Big Street, a sympathetic Pinks decides to take Gloria to Florida to recuperate - by pushing her wheelchair the entire way - starting with the Holland Tunnel!  Although Lucy and Fonda never left Hollywood, the locations are achieved by rear projection and establishing footage. 

The Holland Tunnel figures into “I Love Lucy,” not once - but twice. In “The Marriage License” (ILL S ), after finding out that her marriage license may be invalid, Lucy goes on a twelve hour walk to East Orange, New Jersey. “How I ever got through the Holland Tunnel, I don’t know.” 

The Holland Tunnel will be mentioned again three years later in “Lucy Learns to Drive” (ILL S4;E11). Reportedly, she tried to make a u-turn in the Holland Tunnel resulting in traffic being tied up to East Orange, New Jersey.

Action is also set in Miami Beach, Florida. Pinks and Gloria hitchhike there to visit with Nicely Nicely and Violette who are operating a night spot there. 

In “Off To Florida” (ILL S6;E6), Lucy and Ethel also hitchhike to Miami Beach Florida after being left on the side of the road by their ride share, a suspected hatchet murderess.  They arrive at the North Miami train station covered in chicken feathers from riding in the back of a poultry truck. 

Doting Pinks has a pet name for haughty Gloria: 'Your Highness'.  In Florida, her friends conspire to get people to come and hear her sing by fibbing that she is the Princess of Corolia, a fictional place.

In “The Publicity Agent” (ILL S1;E31), Lucy conspires to get Ricky more publicity by pretending to be a fawning fan of royal blood: ‘The Maharincess of Franistan’!  

FAST FORWARD!

On a 1971 episode of “The Dick Cavett Show" with guests Lucille Ball, Carol Burnett, and Lucie Arnaz, Lucie compliments her mother's dramatic performance in the film.

The film is referenced in the television film Lucy & Desi: Before the Laughter (1991) 

A poster for the film is on Lucy’s dressing room wall in Lucy, a 2003 TV movie.

The Big Street turns up in the TV listings in the low budget film Hollywood Mouth (2008) starring Joe Bologna. 

A clip from the film is featured in a montage during “AFI Life Achievement Award: A Tribute to Henry Fonda” a 1978 special attended by Lucille Ball. 

Henry Fonda: The Man and His Movies (1982) contains dressing room and dance floor scenes with Lucille Ball. 

The Emmy-winning documentary Lucy and Desi: A Home Movie (1993) features a brief clip from the movie.

When Cher is TCM Guest Programmer in 2011, she selects The Big Street as one of her films to be aired.

In December 1948, Lucille Ball reprised her role on radio with John Garfield taking the role of Pinks. 

The Big Street on VHS. 

The Big Street is available on DVD from Warner Home Video. It is also part of the Lucille Ball Collection DVD, which also includes Dance, Girl, Dance, DuBarry Was A Lady, Critic’s Choice, and Mame.

[burlveneer-music]

Resavoir - s/t LP - light and joyous jazz fusion from Chicago (and Bandcamp’s Album of the Day)

Riding the ripples of their debut single “Escalator” (which BBC’s Gilles Peterson called “a winner,” and Supreme Standards’ Tina Edwards likened to “Radiohead on a Jazz trip”), Chicago collective Resavoir return with their first full length effort. The self-titled album presents a juicy suite of elegantly-orchestrated lo-fi jazz instrumentals germinated from home recording experiments by the group’s producer/arranger Will Miller. Applying a compositional approach attributable to his experience producing hip-hop beats as much as his studies at Oberlin Conservatory, Miller built melodic sketches on foundations of samples & loops before bringing pieces to the group for collective development. After integrating recordings of the full band into his home-produced impressions (not unlike IARC predecessors Jeff Parker and Makaya McCraven), he over-dubbed another dozen friends into the mix (including Brandee Younger, Sen Morimoto, Carter Lang, Knox Fortune and Macie Stewart) before finalizing the arrangements. In Miller’s modest editing room, Resavoir grew from experiment into epic opus recalling the lush, psychedelic soul jazz orchestrations of David Axelrod & Charles Stepney… but in the sampled-laden style of Yesterday’s New Quintet, Broadcast, or Thundercat, with a lyrical affinity for minimalism & texturalism, like trumpeter/composers Jon Hassell & Justin Walter.

Written, Arranged, and Produced by Will Miller. featuring (in order of appearance): Akenya Seymour – voice, piano, wurlitzer, sampler, Will Miller – sampler, trumpets, synth, piano, wurlitzer, B3 organ Macie Stewart – violins Lane Beckstrom – bass Colin Croom – synth J.P. Floyd – trombone Mira Magrill – flute, bamboo flutes Peter Manheim – drums, percussion Zoe Miller – violin Irvin Pierce – tenor saxophone Brian Sanborn – guitar Brandee Younger – harp Jeremy Cunningham – drums, electronic drums Wills McKenna – flute Luke Sangerman – electronic drums Knox Fortune – drum programming Sen Morimoto – voice, saxophone Carter Lang – wurlitzer drum machine, additional production

[raccoonfallsharder]

i need your help!

hey hello, shiny gemstones and spring sunrises thw doodle queue is currently CLOSED

which is to say, ahem if you’re interested in being added to the doodle queue, REBLOG THIS POST with

a picture or detailed description of your OC

their name/pronouns, their story and any cool powers they have or what makes them rad as hell (i might message you to ask more questions!)

i welcome different body types, skin colors, and hair textures, etc. and so does rocket

you can also send me a message but tbh reblogs are easier to keep track of if i fall behind. see below the samples for more info.

in general i prefer to draw vaguely humanoid femmes with a thing for raccoons (you know which fandom im in), so those characters will likely get in the queue first. this ain’t a “first-come, first-served” thing, it’s a “which character does my brain want to gnaw on, with or without my consent” thing.

i got too swamped last time because i just accepted/took on too many requests at once which resulted in some glorious individuals waiting MONTHS for their doodles to be done and while that could still happen, i am hoping to avoid it by keeping the queue shorter and just closing/reopening more frequently

worth noting i’ve only ever drawn three anthro characters (see one of ‘em below) so if you so request that, just know i’m a novice

i may also end up adding a few to the queue as well (i really want to revisit ember, dori, petra, maybe fleuret and rose, always juno — would love a chance to draw jupe of one of @frostedwitch’s other OCs too!). ive also been playing with a new-to-me, semi-lineless style i might use your characters to practice on.

above are just a few of the OCs from the masterlist. you can find them there to learn more about them and their cool-as-hell creators. from top left to right descending: moon, dori, petra quill (dyed version), brita, ken, magril opossum, rose, cherry, mori, and juno ♡♡♡ thanks for letting me doodle these cuties!

to see past works, check out the let me love your OCs masterlist

taglist ✩ @pa1kaa-toto @archangelofzion

[rxin3akamallory]

Airplanes (Rockgril edition, yeah that’s their ship name now-)

Insp:

I made this randomly last night because I was giggling over this meme

I apologize to @twigglestblog and @glow-autumz cause they witnessed this abomination being made lmao

☆彡 @raccoonfallsharder | @twigglestblog | @bakaotakulife

[newindieradar]

Guy Moses - Take Me Back (Thrip-Hop)

© Artwork: Guy Moses / Amalia Magril Discover 'Take Me Back', a great new thrip-hop / electro pop record by Tel Aviv, Israel-based artist Guy Moses. Thanks for listening: 🎹 Genre: Thrip-Hop | 📌 Official release date: 23.11.21             ❤️ Our rating: 8,0/10 Stream: https://open.spotify.com/artist/1cZUAgTSmJr8mXjwN9mvlI?si=5TklyElATmWNzlXEVBzw1Q Social: https://www.instagram.com/themosesguy/?hl=en

[twigglestblog]

Before reading this short hypothetical interaction, reminder:

Echo belongs to me

Magril belongs to @rxin3akamallory

Magril: *patrolling the Ravager ship, when she hears what sounds like crying, and slowly approaches it, and eventually sees a pup, no bigger than her but much younger, curled up and crying. She kneels down and checks on them.*

Echo: stay away from me! *Echo moves away, very much scared*

Magril: hey don't worry, I won't hurt you, just tell me why you're here.

Echo: I snuck on here, very scary people were after me. *Sniffles*

Magril: *by this point she's noticed the cut on his head, along with his various augmentations like his ears, nose, and legs*

Echo: Please don't take me back to the scary people.

Magril: I won't, come with me I'll get you something to eat, okay?

Echo: *Slowly nods head and stands up while grabbing her paw, and follows her to get a snack*

I just thought this would be a nice little hypothetical on how Magril and Echo would meet, it would require a lot of changes to my character's backstory to occur, such as never meeting his fellow experiments, and escaping by himself before meeting Magril, so he doesn't know Rocket exists.

[berlinonair]

Guy Moses - Take Me Back (Electro Pop)

🕑 Lesedauer: 2 min / 📷Amalia Magril Offizielles Erscheinungsdatum: 23.11.21             Die Art und Weise, wie der israelisch Künstler Guy Moses elektronische Elemente mit rhythmischem Thrip-Hop und dezenten traditionellen Einflüssen kombiniert ist einfach der Hammer. So ist uns seine neue Single 'Take Me Back' (entstanden auch in Kollaboration mit anderen Musikern) besonders aufgefallen. Weibliche und Männliche Stimme singen hierbei ein perfekt aufeinander abgestimmtes Duett in teils unterschiedlichen Sprachen und lassen dem Instrumental stets ausreichend Raum sich frei zu entfalten. So sind es ebenso die Synthesizer, die dem Ganzen eindeutig ihren Wiedererkennungswert verleihen: Sowohl ein bodenständiger Bass in den Tiefen, als auch fantastische Leads in den Höhen gestalten den Track mit interessanten Texturen und spielen teils auch im Einklang mit den Vocals. Währenddessen bereichern komplexe Drums das Arrangement mit einem temporeichen Beat und bringen reichlich Bewegung ins Spiel. Die leicht mystische und geheimnisvolle Stimmung gibt dem Ganzen letztlich erst recht den Kick, einfach klasse! Wir empfehlen auf alle Fälle selbst direkt in 'Take Me Back' bzw. auch in Guy Moses andere Produktionen auf Spotify reinzuhören: Melodie: ★★★☆☆ | Produktion: ★★★★★ | Arrangement: ★★★★★ | Energie: ★★★★☆ |  Weitere Songs von Guy Moses, die wir gut finden: Dearest , Catching Fevers , Hear it rise  Spotify: https://open.spotify.com/artist/1cZUAgTSmJr8mXjwN9mvlI?si=5TklyElATmWNzlXEVBzw1Q Instagram: https://www.instagram.com/themosesguy/?hl=en Text: Adrian Prath /discovered by Musosoup #sustainablecurator