#Paul Wilkins

[otakunoculture]

The Ghost Writer Redefines What Plagiarizing Means in this Murder Mystery

If you can find The Ghost Writer in the next #supernatural #filmfestival, you'll find the time to investigate this #murder mystery worthwhile! #moviereview at:

The Ghost Writer felt awfully familiar at times, and that’s because Paul Wilkins film is more about dealing with a very authorative father who may well be figuratively lurking in the shadows. He’s passed on some years ago, and although Gilliger (Luke Mably) thinks he can deal with those imagined spirits, there’s more going on in this film which may have some viewers curious. Here, this once…

[moviesandmania]

THE GHOST WRITER Reviews of mystery horror with trailer and US release date

‘Keep telling yourself it’s only a story’ The Ghost Writer is a 2022 British mystery horror film about a struggling author who plagiarises his deceased father’s undiscovered last novel, unleashing the demons of his dad’s past that he must overcome or be haunted by for the rest of his life. Directed and co-produced by Paul Wilkins from a screenplay co-written with Guy Fee. Produced by Nigel Galt.…

[mister-a-z-fell]

You might already have seen this videograph elsewhere, but I was rather excited to add this particular book to my collection! One of only twenty-four copies, I feel deeply privileged to be able to share it with you all.

Not only is the story itself very special to me (and worryingly accurate in many respects), it is most gloriously and skilfully bound, and contained in a burr oak box with brass fittings, lined with hand-marbled paper of celestial blue, and illustrated by that marvel of portraiture, Mister Paul Kidby.

Within the box are an assortment of ephemera, some of which are pictured below.

(And yes, I can read the alien ‘penalty notice’.)

[halloweiner69420]

cant stop drawing baddies curse

[betterthanapokeintheeye]

We've been building a Luggage and we are on the home straight.

He just needs his rivets attached properly now that have been painted and his legs need spray painting before being attached.

This has been an epic build and we cannot thank Gary Dorr of TARDIS Cabinets of South Wales enough for his help in making the box itself so we could turn it fully into our vision of Rincewind's faithful companion.

The next time we post some pictures of him,we will be at Fantasy Forest Festival where you can have your picture with him too.

[smeagles]

Roy Wilkins Auditorium, St. Paul, MN // March 20th 2005 // Matt Birhanzel

[femmeetart]

episode 4

1x05: The Janitor's Boy

the whole funeral was so awkward lmaooo

1x06: the relic

cont

[longliverockback]

Roxy Music Live 2003 Eagle ————————————————— Tracks CD One: 01. Re-Make / Re-Model 02. Street Life 03. Ladytron 04. While My Heart Is Still Beating 05. Out of the Blue 06. A Song for Europe 07. My Only Love 08. In Every Dream Home a Heartache 09. Oh Yeah! 10. Both Ends Burning 11. Tara

Tracks CD Two: 01. More than This 02. If There Is Something 03. Mother of Pearl 04. Avalon 05. Dance Away 06. Jealous Guy 07. Editions of You 08. Virginia Plain 09. Love Is the Drug 10. Do the Strand 11. For Your Pleasure —————————————————

Bryan Ferry

Colin Good

Zev Katz

Andy Mackay

Phil Manzanera

Chris Spedding

Paul Thompson

Lucy Wilkins

* Long Live Rock Archive

[sinceileftyoublog]

Black Belt Eagle Scout Interview: Expanding My Vulnerability

BY JORDAN MAINZER

Katherine Paul began the Black Belt Eagle Scout set at Pitchfork with whispered singing. As “My Blood Runs Through This Land” progressed, the song a standout from their third album The Land, The Water, The Sky (Saddle Creek), Paul’s singing transformed into a wail, albeit muted by her own guitar distortion and Camas Logue’s mighty drums. Fittingly, Paul’s voice never seemed like it was at the center. It was there, telling her stories, but always equal in sonic and emotional importance to her surroundings. Sometimes, the neighboring elements were symbolic, like the guitar solo of “My Blood Runs Through This Land”, “emulating [her] ancestors running,” as she told me at Pitchfork. (Paul is Coast Salish/Swinomish, raised in the Swinomish Indian Tribal Community in LaConner, Washington.) Other times, they were perhaps coincidental, as when she sang about being “engulfed by beauty” on “Don’t Give Up”, right as her singing was overwhelmed by the swirling of Logue’s drums, Nay Wilkins’ bass, and Claire Puckett’s guitars. No matter what, the set was a masterclass in tension and ultimate expressiveness, the songs exponentially louder than their studio versions. With every repetition of “Need you, want you” on Mother of My Children’s “Soft Stud”, the guitars bellowed with mammoth force, the crowd whooping in approval. It was breathtaking.

The Land, The Water, The Sky is inspired by Paul moving back to the Swinomish Reservation on which she was raised, as well as her metaphoric personal journeys. The record contains love songs of varying recipients: her surroundings (“Nobody”), her immediate family (“Spaces”), her local queer community (“Sčičudz (a narrow place)”). This time around, she worked with some notable collaborators on the record, like multi-instrumentalist Takiaya Reed of excellent Melbourne doom duo Divide and Dissolve, who co-produced the album, and Mount Eerie’s Phil Elverum, who sings on “Salmon Stinta”. Though Paul played many of the instruments on the record and certainly led its expanded instrumental palate, its instrumentation and production was not a one-person affair like her previous two albums. Many artists find working by themselves intimidating; in contrast, for Paul, opening herself up to other musicians in this way was a key part of her growth in confidence. Ditto for playing live. “I have a really amazing band,” Paul said. “We’ve grown so much...for most of the year, we’ve been on the road non-stop, so we’ve learned how to work through certain sounds and passages together.”

Paul and I sat outside the festival press tent (as JPEGMAFIA boomed in the distance) to discuss The Land, The Water, The Sky, playing live, her writing process, and Divide and Dissolve. Read our conversation below, edited for length and clarity.

Since I Left You: You have three albums already and a somewhat limited set time. How do you decide what songs to play at a festival?

Katherine Paul: I really wanted to play a lot of the new album, but also bring in some of what I felt are the heavy hitters from my previous album. [Songs] that make the set flow. I tried to put some of the new singles in the set, and some that are the favorites in the previous albums. Since you’re playing to a lot of new people, too, something that keeps the energy up.

SILY: I definitely felt that with what you chose to play. I had never seen you live and wanted to come in green, so I didn’t watch any videos, and your set was definitely louder than I expected, in a great way. There was a lot of play with dynamics and catharsis and release. Are you feeling those emotions on stage?

KP: Yeah, I mean I feel like we kick it up a notch, and I like to rock out. For this show, I played on an amp I don’t normally play out of, and I loved it. I kind of want to get one. I love playing loud guitars. [laughs]

SILY: When you play live, do you find yourself in a similar headspace to when you wrote the songs? Are you trying to channel on stage what inspired you to write them in the first place?

KP: I think about what they mean to me, which is maybe a similar thing. I think about why I play certain parts. When I play “My Blood Runs Through This Land”, the guitar solo is supposed to emulate my ancestors running. It’s raw and beautiful. I think about that and put my feeling and playing into those thoughts. I like to make a connection to what the song means to me when I play it.

SILY: On the record, you did a lot of the instrumentation yourself. Do you find adapting the songs to the stage, with a full band, just as rewarding as writing and recording them in the first place?

KP: I’m still learning. That’s what I’m realizing. Sometimes, my natural instinct is to play them how they sound on the recording, but lately, I feel like I want to put a jam in there. [laughs]

SILY: You played “Don’t Give Up” right before playing “Indians Never Die”. In interviews around the release of Mother of My Children, you were talking about “Indians Never Die” and the idea of always taking care of the land. When you sing on "Don’t Give Up”, “I was only seventeen, I was only seventy,” is that a similar sentiment?

KP: “Don’t Give Up” has a lot of writing about my mental health and taking care of myself, having that knowledge that we’re still growing as people and trying to figure things out, whether we’re seventeen or seventy. That’s what those specific lyrics mean, but I think that could tie into, by taking care of myself, I’m taking care of the connection to where I’m from.

SILY: I also like the phrase on the song, “engulfed by beauty.” It suggests being almost overwhelmed by nature, and it works with the heavy reverb of the music.

KP: Yeah. Being swallowed by it.

SILY: Have you gotten to see anyone else at the festival?

KP: I got to see snippets here and there: Vagabon’s one and a half songs, Weyes Blood, Big Thief, yaya bey. I wanted to see Julia [Jacklin], but I couldn’t. Her set was so short. There was a lot of running around, getting food, getting situated.

SILY: Do you like the new Divide and Dissolve record?

KP: I haven’t heard it yet. I’m waiting for the right time to listen to it. I know it’s out, and I want to listen to it when I’m at home on a walk. When I heard the previous record, I was just gutted. So I want to listen to this one walking around in the woods or something.

SILY: Apart from the specific stories and changes in your life that inspired The Land, The Water, The Sky, is there anything else unique about it as compared to your first two records? And how is it a continuation of them?

KP: There are still those glittery sounds within the pop genre that pop up. The uniqueness comes with expanding my vulnerability as a songwriter, having different people play on it. It shifted my perspective of what my songwriting can be. Before, I was more afraid to take risks and do different things, but now, I feel better about it--almost encouraged.

SILY: Are you the type of songwriter always writing, or do you have to set periods of time for you to sit down and do it?

KP: I definitely have to set time aside to do it. I have so much going on in my life. [laughs] It’s hard to always be writing.

SILY: Is there anything else upcoming for you?

KP: I’m working on a mini tour documentary with Evan Atwood, who did the photo [on the front cover of] the album. We’ll have some live recorded versions and filmed versions on the songs. This coming winter, I’m just going to write music and figure out what’s next.

[girlwikipedia]

my psychiatrist asked me if i had any really big specific interests that stood out from my other interests and i literally drew a blank......girl you have spent/been gifted around 400€ of les mis paraphernalia (+ a tattoo).....what do you think

[ponderingrandomthings]

This is such a lovely song!

Lyrics speak of family concerns and such things.

I just loved the vocal backup ladies' gestures (I always recall Pink Floyd's P.U.L.S.E. because of them).

I doubt they would have thought (then) how their hand movements and how involved they seem to be in doing their bits - would be remembered by some random guy (me) decades later, who would now (after many repeat listens) make a special note appreciating them and being grateful for their lives.

---

Interesting how some songs live/struggle/fight/endure/thrive - Trivia/Versions:

It was written by John Hurley and Ronnie Wilkins ('eventually' released in 1970).

This was on John Hurley's 1970 album 'John Hurley Sings about People'. (No, I haven't heard of him. I know I should at least read up a bit on him.)

However, this song was first sung in January 1967 by the Four Preps. (That's at least two/three years between the original writers' writing and release.)

Versions/Covers: 1967: Everly Brothers, Wayne Newton, Waylon Jennings 1968: Irish artist Joe Dolan and his backing group the Drifters, Leonard Nimoy (yes - Mr Spock) 1969: Soul group the Winstons 1970: Nicky Thomas 'reggae-inspired version' 1982: Paul Young (didn't chart as a Single), the band Stiff Little Fingers 1983: Paul Young - redone and re-released as a Single (again), this time it charted at #2 in the UK, #1 in Ireland, Italy, Netherlands; this version includes a solo by 'ska and reggae trombonist Rico Rodriguez'. 1994: Reginald Kenneth Dwight (yes - Elton John)

---

Lyrics:

. Living on free food tickets Water in the milk from a hole in the roof Where the rain came through What can you do? Mmm…

Tears from your little sister Crying because she doesn't have a dress without a patch For the party to go But you know she'll get by . [Chorus] 'Cause she's living in the love of the common people Smiles from the heart of a family man Daddy's gonna buy you a dream to cling to [Wow] Mama's gonna love you just as much as she can [Wow] (So cold) And she can… . It's a good thing you don't have bus fare (It's a good thing, ouch) It would fall through the hole in your pocket And you'd lose it in the snow on the ground (Ow, ah, ah, yeah) You gotta walk into town to find a job (What's it now?) . Trying to keep your hands warm (It's so cold) When the hole in your shoe let the snow come through And chill you to the bone (Brrr, cha) Somehow you'd better go home where it's warm . [Chorus] . Living on a dream ain't easy But the closer the knit, the tighter the fit [Double Wow] (The closer the knit) And the chills stay away (Ow, ah, ah, yeah) Just to take 'em in stride for family pride

You know that faith is your foundation (Ooh, now, ooh, now, ooh, now) With a whole lotta love and a warm conversation But don't forget to pray [Mmm] (Forget to pray)

Just making it strong where you belong

[Chorus versions]

[mitjalovse]

The surprising successes of the noughts made a lot of quality work as we can hear on all our discussions, but these didn't always result into something greater. Natasha Bedingfield, for instance, shocks me with her consequent career. True, she does seem to have disappeared, but I believe the major issue might be the strength of her debut. When you listen to the latter, you continue to be amazed. However, she probably should've waited longer for the follow-up, but would that be good? I am dealing with many hypotheticals here, we cannot reduce one's triumphs over our set of calculation. Nonetheless, I do believe a possible answer for her might be that the scene around here changed so much she stopped fitting in. Moreover, many of her followers stake their claim on the charts.

[fuckyeahgoodomens]

The Good Omens Musical Masterpost🎵❤

How it started :)

Some time before 2013: Vicki Larnach, the australian composer and lyricist, read the Good Omens book, imagined figures dancing on stage with brilliant music and thought, ‘Ah, I’m gonna ask Terry Pratchet and Neil Gaiman if I can turn it into a musical.’ and sent an email to the publishers. The next day she got an email saying, ‘We don’t want a musical but Terry’s coming to Australia, so come and say hello and tell us what you got.’

Rob Wilkins came down to meet Vicki and Jim Hare - Vicki's husband and writer - and took them to meet Terry. They spent an hour and a half with them where Terry asked ‘piercing questions’, had tea with them and they showed Terry a song that Vicki wrote (about the Chattering Nuns). Terry said to Rob, ‘Rob, write and email to Neil, “Dear Neil, this is Terry. I’m sitting in front of two hippies from Sydney and they want to make a musical out of Good Omens and I’m tempted to let them do it.”’ which was the best email they ever heard and then Terry said, ‘Okay, you have me curious.’ - it was because of the Nuns song which sounded like the book. ‘I’m gonna give you six months, come back with a first draft libretto and five songs.’

They then sent it to Terry who sent it to Neil. Terry said, ‘I really like it, you’re moving story, you’re doing all the right things, but where’s showstopper, where’s the toe-tapper, you know I need people to go to intermission just snapping their fingers with the song they just can’t get out of their head, and I haven’t heard that.’ - and they realized that they were so busy serving the story they forgot to do the wow-factor, but found it very encouraging from Terry that he wanted to make it better.

They went through the whole book again to find a centrepiece - and they found it  when Warlock is growing up and Aziraphale and Crowley are with him, and spent months working just on that one thing and called ‘All Living Things’ [the song at the start of this post :)] which is a line from the book.*’ Terry gave that song to a person he knew and asked him to play it to his wife with no context and when the next day the person said that his wife woke up still singing the song Terry said to Vicki and Jim: ‘Well, that’s what I asked you to do.’ 

* [“This here’s Brother Slug,” the gardener would tell him, “and this tiny little critter is Sister Potato Weevil. Remember, Warlock, as you walk your way through the highways and byways of life’s rich and fulsome path, to have love and reverence for all living things.” “Nanny says that wivving fings is fit onwy to be gwound under my heels, Mr. Fwancis,” said little Warlock, stroking Brother Slug, and then wiping his hand conscientiously on his Kermit the Frog overall.]

Vicki and Jim got the permission to being adapting it as a musical in 2013.

Vicki and Jim on it a couple of years ‘fumbling about’, took it as far as they could and decided to bring another person into it: Jay-James Moody

In 2015, Jay James-Moody joined the collaboration initially as a dramaturge and directorial eye, eventually evolving into co-book writer. Vicki, James and Jay have continued to evolve through countless more revisions and a number of private development readings with the support, time and talent of numerous wonderful Australian performers testing the material.

In November 2017, the musical was presented in its then-current form and entirety for the first time before an audience of over 500 eager attendees. The cast included Luke Joslin, Lachlan O’Brien, Nancye Hayes, Barry Quin, Brett O’Neill, Lauren McKenna, Nicholas Craddock, Paul Capsis, Rob Johnson, Amy Lehpamer, Debora Krizak, Blake Erickson, Nat Jobe, Ana Maria Belo, Jordan Hare, Bella Thomas, Anthony Abrakmanov and Samson Hyland.

Following a rapturous response to this reading it continued to be refined and developed.

In 2019, ten days before the show came out they did their last presentation, since then they’ve been to London and shown a videotape of that workshop to Neil and Rob which was ‘a pretty heartstopping experience’ but both Neil and Rob were ‘so lovely and very generous with their time’ and they were showing it to them and in the intermission Neil said ‘I wish Terry could have seen this.’ (see here :))

Differences between the musical and the book

The ending of the musical is a bit different, they were worried about it but Neil said, ‘I totally understand, the ending of the TV series is different, because I had something that was book-shaped and I needed to make it TV-shaped. And you had something that was book-shaped and you needed to make it stage-shaped.’

It opens with the burning of Agnes Nutter and Aziraphale and Crowley are introduced there. 

Act One ends with them ‘essentially breaking up’ because of a huge argument and they dissolve their friendship, Act Two starts with the first time they meet.

The Future?

What is the future for the musical: in 2021 they said that they need to work on some things and then they hope to do another run, initially in Australia.

There will be a CD of the soundtrack available when the show is produced in it’s full version.

Videos

Vicki, Jim and Jay talking 46min about the musical (this video was shown at the Ineffable Con 3 in 2021 :))

Sizzle Reel 6min

Anathema singing The Perfect Place

Crowley calling Dagon to check on the hellhound

Shadwell and Newt

Aziraphale vanishing Hastur 👀

Links

Webpage

Instagram - a lot of more bts videos and pics :)

How to support?

Subsribe to the instagram page and like and comment that you want the musical on posts :)❤. If you want to be a sponsor or donor, there is contact on their webpage.

[knowledgebaseng]

FaZe Rug Biography: Net Worth, Real Name, Merch, Age.

FaZe Rug Biography: Net Worth, Real Name, Merch, Age.

Faze Rug is a popular YouTuber and vlogger from San Diego, California. Brian Rafat Awadis (born November 19, 1996), better known as FaZe Rug, is a well-known YouTube Vlogger who vlogs his daily life and uploads it to his channel. He spent time on YouTube as a gamer, publishing gaming videos. He has been a member of the FaZe Clan since he was a toddler, and he rose to prominence through the…

[lionhandler]

Bill Russell, NBA great and Celtics legend

[betterthanapokeintheeye]

Events, Events, and more Events !

There are a truck load of events happening all over the place over the next couple of months.

Some are in person events, some have online options so you can join in from anywhere.

Check them all out over at https://discworldmonthly.co.uk/events