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"They're one in the same kiddo" Nerv winced through the last dregs of his drink as it pleasantly burnt his throat.
"What do you mean, Mr Rudolph?"
"It means champ, you need to stop calling me that, I'm Gramps to you now. Your Mum, Freddie, is my daughter and your Aunty Fred" Nerv chuckled as his index finger frantically moved from person-to-person as they were mentioned.
Sharing a mix of excited gasps and squeals, Sprout and Belva beamed at each other.
"I'M YOUR ANTY!!"
"THAT DOESN'T MAKE SENCE BUT YAY!"
"Not much in our family does bud, but you're welcome round anytime, family always is"
#/end of queue#The Rudolph Legacy Continued#Continued Gen Eight#Sprout Rudolph#Belva Rudolph#Nervous Subject
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Bette Davis - The First Lady of the American Screen
Ruth Elizabeth "Bette" Davis (born in Lowell, Massachusetts on April 5, 1908) was an American actress who is one of the most prominent of the 20th century, making her "The First Lady of the American Screen."
Coming from an English family, Davis got a part as a chorus girl and made her Broadway debut in 1929 after graduating from Cushing Academy. One year later, moved to Hollywood to test for Universal. She got a contract, but her first films were unsuccessful.
She joined Warner Bros. in 1932 and had her breakthrough in Of Human Bondage (1934). Even after losing a legal case to cancel her contract, she became a celebrated leading lady. A period of decline in the 1940s was redeemed with her role in All About Eve (1950), often cited as her best. Her final years were marred by ill health, but she continued acting until shortly before her death from breast cancer in Neuilly-sur-Seine, France at 81.
Legacy:
She won the Academy Award for Best Actress twice: Dangerous (1936) and Jezebel (1939)
Was the 1st person to have 10 Oscar nominations for acting and set a record for the most consecutive with five
Nominated for three Golden Globe Best Actress: 1951, 1962, and 1963, and the Primetime Emmy Award in 1979 and nominated in 1980 and 1983
Nominated for the 1959 BAFTA Award for Best Foreign Actress
Won the Volpi Cup for Best Actress at the 1937 Venice Film Festival
Won the National Board of Review Best Acting twice in 1939 and 1942
Won the Photoplay Awards - Best Performances of the Month in Jul 1939 and Dec 1950 and the 1963 Most Popular Female Star
Listed by the Motion Picture Herald as one of America’s top-10 box office draws in 1939 to 1941 and 1944
Co-founded the Hollywood Canteen in 1941
Elected as 1st female president of the American Academy of Motion Picture Arts and Sciences in 1941
Won Best Actress for at the 1945 Picturegoer Awards
Awarded a Meritorious Civilian Service Award in 1946 and a Distinguished Civilian Service Medal by the Defense Department in 1983
Won the Golden Apple Award for Most Cooperative Actress in 1941 and 1963 and Life Achievement Award in 1983
Won Best Actress at Cannes Film Festival, New York Film Critics Circle, and Nastro d'Argento for All About Eve (1951)
Honored with a block in the forecourt of Grauman’s Chinese Theatre in 1950
Won the Golden Laurel for Top Female Dramatic Performance for Hush…Hush, Sweet Charlotte (1964)
Received the Craft of Cinema Award at the 1969 San Francisco International Film Festival and a special 20th Anniversary Award for All About Eve at the 1973 Sarah Siddons Awards
Gifted personal memorabilia to form the Bette Davis Collection at the Boston University since 1968
Co-wrote 2 autobiographies: The Lonely Life (1962) and This 'n That (1987)
Appeared in John Springer's "Legendary Ladies" series at The Town Hall in 1973
Presented the Cecil B. DeMille Award at the 1974 Golden Globe Awards
Won the 1976 Saturn Award Best Supporting Actress
Is the first woman to receive a Lifetime Achievement Award from the American Film Institute in 1977
Received the 1980 Outstanding Mother of the Year Award from Woman's Day, the 1982 Award of Excellence from the Film Advisory Board, the Golden Reel Award from the National Film Society Artistry in Cinema, the Rudolph Valentino Award for Actress of the Year in 1982, the 1983 Charles Chaplin Award by UCLA Film and Television Archive, and the 1983 Women in Film Crystal Award
Received Life Achievement Awards from American Theater Arts in 1982, Boston Theater District in 1983, Council of Fashion Designers of America in 1986, and American Cinema Awards in 1989
Featured in songs, including Kim Carnes' Grammy-winning "Bette Davis Eyes" (1981)
Won the Golden Nymph at the Monte-Carlo Television Festival for A Piano for Mrs. Cimino (1982)
Awarded an Honorary César, appointed commander of Ordre des Arts et des Lettres in 1986, and granted a Fellowship by the British Film Institute and a Legion of Honour at Deauville Film Festival in 1987
Was the recipient of the 1987 Kennedy Center Honors Lifetime Achievement Award
Granted the 1988 Merit of Achievement by the Campione d'Italia and the 1989 Donostia Lifetime Achievement Award at the San Sebastián International Film Festival
Has had a memorial plaque in her birth home in Lowell since 1988
Honored by the Film Society of Lincoln Center Gala Tribute in 1989
Featured in the 1989 book Bette and Joan: The Divine Feud, the basis for the 2017 show Feud: Bette and Joan
Ranked #38 in Empire’s Top 100 Movie Stars in 1997
Has the Bette Davis Foundation established in her honor in 1997 to award scholarships at Boston University
Listed 10th in Entertainment Weekly’s 100 Greatest Movie Stars of All Time in 1998
Named the 5th-greatest female star of classic Hollywood cinema in 1999 by the American Film Institute
Inducted in the Online Film and Television Association Hall of Fame in 1999
Ranked #2 in Premiere's 50 Greatest Movie Stars of All Time in 2005 and #5 in 100 Greatest Performances of All Time in 2006 for All About Eve (1950)
Honored as Turner Classic Movies Star of the Month for April 2008 and November 2019
Honored by US Postal Service with a postage stamp in 2008
Has 2 stars on the Hollywood Walk of Fame: 6225 Hollywood Blvd for motion picture and 6233 Hollywood Blvd for TV
#Bette Davis#First Lady of the American Screen#Bette Davis Eyes#Silent Films#Silent Movies#Silent Era#Silent Film Stars#Golden Age of Hollywood#Classic Hollywood#Film Classics#Classic Films#Old Hollywood#Vintage Hollywood#Hollywood#Movie Star#Hollywood Walk of Fame#Walk of Fame#Movie Legends#Actress#hollywood actresses#hollywood icons#hollywood legend#movie stars#1900s
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Before and after of Azure, did I change his aesthetic cause I saw @alas-i-cannot-sim/@the-rudolph-legacy-continued Sprout and took inspo and wanted to play the physical education bit of sims 3 university? definitely.
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Dana Carvey’s Unplanned Ice Cream Smash with Maya Rudolph on SNL: A Behind-the-Scenes Look
Dana Carvey’s Unplanned Ice Cream Smash with Maya Rudolph on SNL: A Behind-the-Scenes Look Dana Carvey, the legendary comedian known for his unpredictable antics on Saturday Night Live (SNL), recently shared a behind-the-scenes revelation about his spontaneous ice cream-smashing moment with Maya Rudolph during a cold open sketch. In an episode of the Superfly podcast, co-hosted with David Spade, Carvey explained that the iconic moment was entirely unplanned . The Unexpected Ice Cream Smash “The ice cream cone was not planned,” Carvey disclosed. He had initially requested a simple ice cream prop for the dress rehearsal, but the prop master surprised him with a much larger cone for the live show. “I didn’t ask her,” he noted, highlighting the serendipitous nature of the moment. In the sketch aired on October 5, Carvey portrayed Joe Biden, enjoying his ice cream alongside Rudolph’s Kamala Harris and Andy Samberg’s Doug Emhoff as they watched a vice presidential debate. In a spontaneous burst of creativity, Carvey decided to smash the ice cream into Rudolph’s face, eliciting genuine surprise and laughter from her. “I was right kinda gesturing,” Carvey recalled, explaining the split-second decision. “I thought, ‘Here’s ice cream, big gob. Here’s Maya’s face.’ I didn’t wanna hurt her, but I just thought of it and did it within two seconds.” This revelation puts to rest any rumors about the moment being premeditated. A Shift in Biden Impression Later in the podcast, Carvey reflected on the evolving public response to his Biden impersonation, particularly after the president announced his withdrawal from the 2024 presidential race against Donald Trump. He noted that the atmosphere surrounding his impression has become more “playful and fun,” contrasting with the intense scrutiny during Biden's re-election campaign. Carvey emphasizes that his goal is never to disrespect the president. Instead, he aims to exaggerate some of Biden's distinctive traits for comedic effect. “The main thing is it’s making me laugh,” he stated, adding, “I’m definitely doing stuff that he doesn’t do. He doesn’t smash ice creams into faces.” Carvey’s Legacy on SNL Carvey, a prominent cast member on SNL from 1986 to 1993, is renowned for his impersonations of various politicians, including former President George H.W. Bush. Now, as SNL embarks on its 50th season, Carvey has returned to portray Biden, bringing his signature humor and improvisational flair back to the iconic sketch comedy show. Conclusion Dana Carvey’s unplanned ice cream smash with Maya Rudolph exemplifies the spontaneous creativity that makes SNL a staple of American comedy. With his unique approach to impersonation and a history of memorable moments, Carvey continues to entertain audiences while keeping the spirit of live comedy alive. SEO Keywords: Dana Carvey SNL, Maya Rudolph ice cream smash, Joe Biden impersonation, spontaneous comedy moments, Superfly podcast, Saturday Night Live 50th season, political satire, comedy legacy, improvisation in comedy. Read the full article
#BreakingNewsToday#In-DepthPoliticalAnalysis#LatestEconomicTrends2024#SNL#TopTrendingStoriesThisWeek
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round up // MAY 24
Who cares what the calendar says? Ryan Gosling has declared summer is officially here!
Between longevity of the “Beavis and Butt-Head” Saturday Night Live sketch I shared last month, his extremely fun red carpet appearances, and the wonderfully fun The Fall Guy, he’s been everywhere, and I have no complaints about it.
But The Fall Guy and the other new releases in this Round Up aren’t the last summer movies to look forward to. I stopped by KMOV to preview some of the movies I’m most excited for this summer, including a star-studded rom-com set in the ‘60s, a legacy sequel action spectacular, a mystery starring a recent Best Actress nominee, and a prequel for a genre I rarely like. Let’s take on the summer as Ryan Gosling commands in The Fall Guy: “Jean-Claude, attaqué!”
May Crowd-Pleasers
1. The Fall Guy (2024)
Most movies go to great pains to hide their seams, but not The Fall Guy. And who needs to when a behind-the-seams look can be so fun? Summer 2024 is starting off with a bang because it’s a blast both as an action-adventure and as a romantic comedy, making it one of the easiest movies to recommend to just about anyone. Read my full review for ZekeFilm or watch out my review for KMOV. Crowd: 10/10 // Critic: 8/10
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2. John Mulaney Presents: Everybody's in LA (2024)
It’s not hyperbole to say I adored this weird and wonderful talk show experiment. Experts on palm trees and coyotes did most of the talking, Bill Hader and Pete Davidson couldn’t stop giggling, and John Mulaney kept asking about what kinds of cars people drive. Only a handful of clips have been added online from this live six-episode series…
"The Map of Los Angeles"
"Reverse Borat"
"Oh, Hello Manson Tour"
"Nepo Babies"
…but if Mulaney ever decides to resurrect his late night format of taking calls, discussing non-urgent topics, and creating sketch comedy with his friends and seismologists, I’d watch it every night.
3. IF (2024)
Not everything about the logic of IF hangs together, but one of the beauties of an original world is not being encumbered by mythology and continuity. IF is about dreaming big, and it’s for kids and families who want to be dazzled by a story imaginative in every sense of the word. Read my full review for ZekeFilm. Crowd: 9/10 // Critic: 8/10
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4. SNL Round Up
That’s a wrap on season 49! These sketches will be holding me over till the Saturday Night Live’s golden jubilee begins in the fall:
“Teeny Tiny Statement Pin” (4618 with Dua Lipa)
“OBGYN” (4618)
“Hot Ones with Beyoncé 2” (4619 with Maya Rudolph)
“Weekend Update: A Woman Who Insists She's Not Mad” (4619)
“Monologue” (4620 with Jake Gyllenhaal)
“Dad Has a Cookie” (4620)
“Fast Fashion Ad” (4620)
“NYPD Press Conference” (4620)
And if you're still laughing at "Beavis and Butt-Head" from Ryan Gosling's episode last month, don't miss these behind-the-scenes articles about the viral fave:
“Heidi Gardner Couldn’t Prepare for What She Saw,” Vulture.com (2024)
“Ryan Gosling’s Viral Beavis and Butt-Head Skit Was 5 Years in the Making,” gizmodo.com (2024)
5. Zillow Gone Wild (2024-)
@ZillowGoneWild has been one of my best Instagram follows for years, so you know I’m all in on the HGTV series. Can you live inside a former missile silo? Did you know a real-life house inspired the dwarfs’ cottage in Snow White? How would you renovate a 17,000 square-foot church to make it a home? Host Jack McBrayer is stopping by the craziest Zillow listings (and more than once in my hometown of St. Louis), which you can imagine inspires hilarious commentary along the way.
MORE MAY CROWD-PLEASERS // Olivia Rodrigo’s bonus tracks on GUTS (spilled) (2024) are five more album-worthy pop-punk bangers and folksy bops // Even though I find puppets unsettling, the Prime rom-com Música (2024) is proof Camila Mendes has the “it” factor and writer/actor/director/musician Rudy Mancuso should direct a full-blown musical // Kingdom of the Planet of the Apes (2024) is the least successful of the modern Apes franchise, but I’m still in on this dystopian adventure world // It’s a shame Rutherford Falls (2021-22) was cancelled just as it was finding its groove in Mike Schur’s canon with its big ideas like The Good Place, its small town cast of characters like Parks and Recreation, and its problematic lead like The Office // Angela Lansbury time travels to the Antebellum South in a mystery with thorny issues still relevant today in Murder, She Wrote: The Last Free Man (2001)
May Critic Picks
1. The Way We Were (1973)
After a longer-than-planned hiatus, SO IT’S A SHOW? has returned! We’re breaking our typical mold in our seventh and final season (much like the seventh season of Gilmore Girls—IYKYK), and after a quick catch up in ep. 137 (though not without plenty of discussion of what the Palladinos are working on right now and a new Gilmore children’s book), we dig into our newest pop culture reference. In ep. 138, we’re discussing the the ‘70s weepy The Way We Were, which features a Palladino-esque heroine, Robert Redford in a cable knit sweater, heartache, laugher, and Communism all in one neat package! We discuss the cultural changes in parenting since then, why the Gilmores reference this movie several times in the series, and yes, Robert Redford in that cable knit sweater. Crowd: 8.5/10 // Critic: 8.5/10
2. Persuasion by Jane Austen (1817)
Jane Austen—you ever heard of her? She’s pretty good! Though it always takes me a minute to get into the rhythm of her writing, her characters and plotting never disappoint. This romantic comedy focuses on lovers separated by society reuniting almost a decade later, and as always, their story is funny and swoon-worthy.
3. Audrey Hepburn in Paris by Meghan Friedlander (2024)
I have admired Audrey Hepburn as a performer, fashion icon, work-life balance enthusiast, and humanitarian since I was 15, and the creator of Rare Audrey Hepburn has captured the beauty of each of those roles in her first book. With a journalistic attention to detail, Meghan Friedlander reports on the sets, theaters, and fashion houses Hepburn graced during her frequent visits to France. This book is both a unique biography and a gorgeous coffee table book that fans of Hepburn, fashion, and film history won’t want to miss.
4. Thelma & Louise (1991)
Kyla and I also chatted about the crime classic Thelma & Louise on SO IT’S A SHOW?. What does this movie have to say about female friendships? What did we think of THAT ending? And is Rory totally a Thelma? We discuss that and more in ep. 139. Crowd: 9/10 // Critic: 8.5/10
5. Good Reads
Recently I’ve been reading and thinking about…
The movies…
“Ryan Gosling’s Best Co-stars Are His Jackets,” Vulture.com (2024)
"The Power of the Planet of the Apes,” NYTimes.com (2024)
“‘Mum Knew What Was Going On’: Brigitte Höss on Living at Auschwitz, in the Zone of Interest Family,” TheGuardian.com (2024)
Men and women…
"Trying to Decipher a Man’s Mind? Now There’s a Name for That,” WashingtonPost.com (2024)
“Why Your Big Sister Resents You,” NYTimes.com (2024)
“Executive Women Are Wearing Sequins to Work. ‘I Made the Decision to Be Seen,’ WSJ.com (2024)
“The Menstrual Mood Disorder You’ve Never Heard About,” TIME.com (2024)
“Scientists Calculated the Energy Needed to Carry a Baby. Shocker: It’s a Lot,” NYTimes.com (2024)
“Australian State Appoints Official for ‘Men’s Behavior Change’ as Outcry Over Violence Against Women Grows,” CNN.com (2024)
America…
“How America Got Mean,” TheAtlantic.com (2023)
“Why Americans Suddenly Stopped Hanging Out,” TheAtlantic.com (2024)
“A Map of Which States People Want to Stay In, Move To, or Leave,” AtlasObscura.com (2024)
“How to Be Less Busy and More Happy,” TheAtlantic.com (2024)
“America’s Best Decade, According to Data,” WashingtonPost.com (2024)
Asia…
“China’s Age of Malaise,” NewYorker.com (2023)
“How China Miscalculated Its Way to a Baby Bust,” WSJ.com (2024)
“China Is Pressing Women to Have More Babies. Many Are Saying No,” WSJ.com (2024)
“Overworked South Koreans Unwind With Pet Rocks—‘Like Talking to Your Dog,’” WSJ.com (2024)
“The Land That Doesn’t Need Ozempic,” TIME.com (2024)
The Internet…
“Our Entire Society Is Becoming Addicted to Sports Gambling,” NewRepublic.com (2024)
“Hold Your Clapbacks,” ChristianityToday.com (2024)
“Stop Filming Yourself at the Gym Already,” WSJ.com (2024)
“Is Uber Strangling the Restaurant Business?,” insights.som.yale.edu (2024)
MORE MAY CRITIC PICKS // The Moulin Rouge! National Tour finds new ways to update my beloved musical // Like all Douglas Sirk films, Magnificent Obsession (1954) looks incredible // Sofia Coppola and Celine Song chatted on the A24 podcast, and they spoke to my soul // Amy (2015) is making everyone wonder why Back to Black was ever made (keep reading for more on that new biopic) // Born to Kill (1947) is an underrated film noir // Caroline Polachek’s album Desire, I Want To Turn Into You (2024) is scratching the Imogen Heap itch I’ve had for awhile now // The scandals Ryan Gosling and George Clooney are caught up in The Ides of March (2011) already feel quaint, but I’m still thinking about days later
Also in May…
Young Woman and the Sea is a little choppy, but it’s good pick for family movie night. Read my full review for ZekeFilm.
I watched my worst movie of the year so far, the Amy Winehouse biopic Back to Black. Read my full review for ZekeFilm or watch my review on KMOV.
Photo credits: Zillow Gone Wild, Persuasion, Audrey Hepburn, Good Reads. All others IMDb.com.
#Round Up#The Fall Guy#The Way We Were#IF#Everybody's in LA#John Mulaney#Youtube#Saturday Night Live#SNL#Audrey Hepburn#Audrey Hepburn in Paris#Meghan Friedlander#Rare Audrey Heburn#Zillow Gone Wild#Persuasion#Jane Austen#Thelma & Louise
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Unlocking Sarasota Architecture: A Regional Style
Nestled between the sparkling waters of the Gulf Coast and the verdant embrace of Florida's interior, Sarasota boasts a sunshine-soaked disposition and a cultural heritage unlike any other. This vibrant city, long a haven for artists and eccentrics, has fostered a unique architectural style that reflects its carefree spirit and rich history. Welcome to the world of Sarasota architecture, a delightful blend of form, function, and Floridian flair.
A Legacy Crafted in Concrete and Glass
Sarasota Architecture isn't easily defined by a single look. It's a captivating tapestry woven from influences as diverse as the Sarasota School art movement, Mid-century Modern design principles, and the ever-present need to adapt to the sub-tropical climate.
Pioneers of Light and Space: The Sarasota School
In the 1920s and 30s, a group of visionary architects, now known as the Sarasota School, emerged. Faced with the harsh realities of Florida's hot, humid climate, these architects, like Paul Rudolph and Ralph Twitchell, championed a new approach. Their creations emphasized open floor plans, natural light, and cross-ventilation, all seamlessly integrated with the surrounding landscape. Think expansive walls of glass, overhanging eaves for shade, and indoor-outdoor living spaces. These elements became the hallmarks of Sarasota Architecture, a style that continues to inspire architects in Sarasota, FL today.
Mid-century Modern Marvels
Following World War II, Sarasota embraced the optimistic spirit of the Mid-century Modern era. Architects like Carl Abbott and Jack West created sleek, low-slung residences that embodied the "indoor-outdoor" philosophy. Think clean lines, geometric shapes, and pops of color – a perfect reflection of the carefree Florida lifestyle.
A Symphony of Style
Sarasota Architecture is more than just a collection of styles; it's a philosophy. It's about creating spaces that harmonize with the environment, celebrate natural light, and embrace the joy of living. From the iconic Ringling Museum with its Venetian Gothic Revival grandeur to the playful whimsy of Lido Shores bungalows, Sarasota's architectural landscape is a delightful surprise around every corner.
Unlocking the Magic: A Guide for Modern Sarasota
Whether you're an architecture aficionado or simply someone who appreciates the finer things in life, Sarasota offers a treasure trove to explore. Here are a few tips to help you unlock the magic of Sarasota Architecture:
Take a Docent-Led Tour: Immerse yourself in the history and details with a guided tour offered by various organizations.
Explore Architectural Districts: Discover hidden gems and iconic landmarks by strolling through neighborhoods like Lido Shores or Laurel Park.
Seek Inspiration for Your Own Oasis: If you're considering a home renovation or building a new residence, consider consulting bold architects in Sarasota. Architects Sarasota, FL like those at PS Design Workshop can help you translate the principles of Sarasota Architecture into a space that reflects your unique style and embraces the Sunshine State's charm.
So, come explore the captivating world of Sarasota Architecture. Let the light-filled interiors, breezy terraces, and connection to the outdoors inspire you. With its rich heritage and forward-thinking approach, Sarasota Architecture is a testament to the city's enduring love affair with sunshine, style, and the art of living well.
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#Architecture#CupertinoEichler#CupertinoEichlers#eichler#EichlerArchitecture#EichlerDesign#eichlerHome#EichlerHomes#EichlerHomesForSale#eichlerneighborhood#EichlerProperty#EichlerRealEstate#eichlerrealtor#EichlerRealty#eichlerspecialist#FallenLeafParkEichlers#josepheichler#LosAltosEichlerHomes#LosAltosEichlers#LosGatosEichlerHomes#midmodarchitecture#primewoodEichlers#RanchoVerdeEIchlers#SunnyvaleEichlerHomes
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Christopher Lee: A Sinister Centenary - Number 31
Welcome to Christopher Lee: A Sinister Centenary! Over the course of May, I will be counting down My Top 31 Favorite Performances by possibly my favorite actor, the late, great Sir Christopher Lee, in honor of his 100th Birthday. Although this fine actor left us a few years ago, his legacy endures, and this countdown is a tribute to said legacy! Today, we start our countdown off with our Number 31 pick! Kicking us off is one of Lee’s more obscure motion pictures: A Nutcracker Fantasy!
The classic Christmastime fairy-tale of “The Nutcracker and the Mouse King” is, in my opinion, one of the hardest stories out there to properly adapt. We all know the popular ballet, and honestly, I think that the ballet is probably the best version of it to exist. Different productions do a better or worse job with the material, naturally, but the ballet is helped by its medium: it runs on rules of emotion and spectacle more than complex storytelling and character development, using visuals, not words, to get across so much of its subtleties and impressive qualities. Movie and TV versions of the Nutcracker story, however, tend to fall pretty flat, in my opinion, ranging from “Dull as Dishwater” to “What the Heck Is This Rubbish?” If there’s one non-ballet adaptation of the Nutcracker I recommend, it would probably be the 1979 animated picture “Nutcracker Fantasy.” Now, if the style of this stop-motion feature’s animation looks familiar, it should: the movie was made by the same people who did the animation for many of the classic Rankin/Bass TV specials. Rankin/Bass, of course, were the ones who made such timeless Yuletide pieces as “Rudolph the Red-Nosed Reindeer,” “Frosty the Snowman,” and “The Year Without a Santa Claus.” While the film has no actual affiliation with Rankin/Bass, you can basically call this a Rankin/Bass Nutcracker, because – especially in the English release – the movie feels a LOT like a production of that company. It covers a classic Christmas/Fantasy piece, the style is obviously highly reminiscent, and even the voice casting feels in the vein of what that company would do. On that note, this cast is chock-full of celebrities: Roddy McDowall plays the Nutcracker Prince, himself, while Jo Anne Whorley plays the main antagonist, an evil two-headed Mouse QUEEN called Morphia. Other voice talents involved include Melissa Gilbert, Lurene Tuttle, Dick Van Patten, Jack Angel, Eva Gabor…and, of course, Christopher Lee. Lee actually plays several roles in the film, the most prominent being the mysterious and eccentric Uncle Drosselmeyer, who give the main character, Clara, her precious Nutcracker, setting off the events of the story. Throughout the picture, Clara encounters other characters who are equally enigmatic, and all voiced by Lee, including the zany Puppeteer, the shadowy Street Singer, and the gentle-hearted Watchmaker. The movie is a very strange, dreamlike fantasy picture, which has gained a cult following over the years for its surreal and colorful visual landscape, as well as its faithfulness to the original source material. For me, though, it was honestly Lee’s presence in the film (as well as Roddy McDowall’s, I should say) that got me interested in looking it up. While it’s a bit slow-moving, it’s still quite a marvel to behold, and honestly the only non-dance version of the Nutcracker I can earnestly and honestly recommend. Any film that casts Christopher Lee in four different roles, ensuring you’ll hear his illustrious voice PLENTY throughout the picture? Well, clearly they are doing something right, and deserve to be noticed. Tomorrow the countdown continues with My Number 30 Choice!
#happy birthday christopher lee#christopher lee#sinister centenary#top 31 christopher lee performances#list#countdown#may special#number 30#nutcracker fantasy#uncle drosselmeyer#actors#acting#movies#film#animation
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More Black History Month Picks: Selected Non-Fiction
We Are Each Other's Harvest: Celebrating African American Farmers, Land, and Legacy by Natalie Baszile
From the author of Queen Sugar—now a critically acclaimed series on OWN directed by Ava Duvernay—comes a beautiful exploration and celebration of black farming in America. In this impressive anthology, Natalie Baszile brings together essays, poems, photographs, quotes, conversations, and first-person stories to examine black people’s connection to the American land from Emancipation to today. In the 1920s, there were over one million black farmers; today there are just 45,000. Baszile explores this crisis, through the farmers’ personal experiences. In their own words, middle aged and elderly black farmers explain why they continue to farm despite systemic discrimination and land loss. The "Returning Generation"—young farmers, who are building upon the legacy of their ancestors, talk about the challenges they face as they seek to redress issues of food justice, food sovereignty, and reparations. These farmers are joined by other influential voices, including noted historians Analena Hope Hassberg and Pete Daniel, and award-winning author Clyde W. Ford, who considers the arrival of Africans to American shores; and James Beard Award-winning writers and Michael Twitty, reflects on black culinary tradition and its African roots. Poetry and inspirational quotes are woven into these diverse narratives, adding richness and texture, as well as stunning four-color photographs from photographers Alison Gootee and Malcom Williams, and Baszile’s personal collection. As Baszile reveals, black farming informs crucial aspects of American culture—the family, the way our national identity is bound up with the land, the pull of memory, the healing power of food, and race relations. She reminds us that the land, well-earned and fiercely protected, transcends history and signifies a home that can be tended, tilled, and passed to succeeding generations with pride. We Are Each Other’s Harvest elevates the voices and stories of black farmers and people of color, celebrating their perseverance and resilience, while spotlighting the challenges they continue to face. Luminous and eye-opening, this eclectic collection helps people and communities of color today reimagine what it means to be dedicated to the soil.
Meals, Music, and Muses: Recipes from My African American Kitchen by Alexander Smalls
Iconic chef and world-renowned opera singer Alexander Smalls marries two of his greatest passions―food and music―in Meals, Music, and Muses. More than just a cookbook, Smalls takes readers on a delicious journey through the South to examine the food that has shaped the region. Each chapter is named for a type of music to help readers understand the spirit that animates these recipes. Filled with classic Southern recipes and twists on old favorites, this cookbook includes starters such as Hoppin’ John Cakes with Sweet Pepper Remoulade and Carolina Bourbon Barbecue Shrimp and Okra Skewers, and main dishes like Roast Quail in Bourbon Cream Sauce and Prime Rib Roast with Crawfish Onion Gravy. Complete with anecdotes of Smalls’s childhood in the Low Country and examinations of Southern musical tradition, Meals, Music, and Muses is a heritage cookbook in the tradition of Edna Lewis’s A Taste of Country Cooking.
Taking a Knee, Taking a Stand: African American Athletes and the Fight for Social Justice by Bob Schron
A history of the activism and achievement of African American athletes from Jesse Owens to Serena Williams to Colin Kaepernick, who advanced the cause of social justice through their outspokenness, commitment, and integrity.
Muhammad Ali refused to fight in a war he believed was immoral. Wilma Rudolph retired from track and field to campaign for civil rights. Colin Kaepernick took a knee during the national anthem to draw attention to the oppression of black bodies. Taking a Knee, Taking a Stand tells their stories and the stories of other prominent African American male and female athletes who often risked their careers to fight racial discrimination and promote social justice.
From Jackie Robinson breaking the color line in major league baseball to NBA great Bill Russell sitting at the feet of Dr. Martin Luther King at the 1963 March on Washington to Althea Gibson asserting her tennis dominance at a time when many clubs would not allow African Americans to play on their courts, this moving and celebratory history shows how the tradition of black protest in sports has been consistent, necessary, and organic, and that the present crisis of misunderstanding and intolerance demands that this tradition continue as the country struggles toward fairness and equity.
Unbound: My Story of Liberation and the Birth of the Me Too Movement by Tarana Burke
From the founder and activist behind the largest movement of the twentieth and twenty-first centuries, Tarana Burke shares her never before revealed life story of how she first came to say me too and launch one of the largest cultural events in American history.
After a long, difficult day working with young Black girls who had suffered the unimaginable, Tarana tossed in her bed, unable to sleep as a fit of memories intruded into her thoughts. How could she help these girls if she couldn't even be honest with herself and face her own demons? A fitful night led to pages and pages of scribbled notes with two clear words at the top: Me too.
Tarana Burke is the founder and activist behind the largest social movement of the twentieth and twenty-first centuries, the me too movement, but first she had to find the strength to say me too herself. Unbound is the story of how she came to those two words, after a childhood growing up in the Bronx with a loving mother that took a terrible turn when she was sexual assaulted. She became withdrawn and her self split: there was the Tarana that was a good student, model kid, and eager to please young girl, and then there was the Tarana that she hid from everyone else, the one she believed to be bad. The one that would take all the love in her life away if she revealed.
Tarana's debut memoir explores how to piece back together our fractured selves. How to not just bring the me too movement back to empathy, but how to empathize with our past selves, with out bad selves, and how to begin to love ourselves unabashedly. Healing starts with empowerment, and to Tarana empowerment starts with empathy. This is her story of finding that for herself, and then spreading it to an entire world.
#black history#black history month#black history month books#nonfiction#non-fiction#history#social movements#social change#non fiction#nonfiction books#library books#highly recommend#to read#tbr#booklr#book tumblr#reading recommendations#Book Recommendations#book recs
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♛ BIOGRAPHY ♛
NAME: Kasandra Seung
AGE: 22-28 (years active)
BIRTHDATE: October 31st, unknown year
GROUP: Witch (water + limited necromancy)
FACECLAIM: Adeline Rudolph
Others have described her as confident & innovative, but also paranoid & moody.
TIME PERIOD: Early 1600s
♛ THE HISTORY ♛
TW: Infertility, blood, murder, death
For the better part of two centuries, The Hallowed Circle existed as a mere whisper throughout the old world. Rumored to be a shadowy coven of exiled and disgraced witches from every region of the globe, they lived in devout secrecy and dealt only in the reaping of souls. Necromancers, blood magic practitioners, silent merchants of hexes and curses. Fables and truth intermixed for years until the lines between fiction and reality blurred well past reason. Monsters? Possibly, but self-created long before the masses condemned their actions.
They were among the first witches to traverse across turbulent seas and endure the supernatural flight to Grand Manan. Hidden by cloaks and their own spell work, they blended into the crowd before settling on the edge of witch territory. It was where they practiced best, out of view on the fringes of society, but this new island instilled a particular vulnerability not previously known in the bustling cities back home. The Whittakers established themselves as the most powerful coven and least morally bankrupt, which posed an issue when coupled with the growing number of hunters also scouring for a threat.
Somehow they survived the initial chaos of border establishments and remained generally undetected for over a century. More rumors cropped up, more whispers in taverns and sideways glances at one’s neighbor, but The Hallowed Circle had implanted deep roots into the more criminal aspects of Grand Manan. Vampires were often their allies (for a price) and they welcomed fellow witches who defected from the mainstream agenda. Their numbers remained small for safety, but their power infiltrated nearly every corner and some leaders began to take notice.
It was at this point in the timeline that Kasandra came into the world, the first and only child of the coven’s elected regent. Decades upon decades of stolen lives and wielding the dark arts had in turn placed a curse upon her family. Infertility plagued their attempts at bringing forth a rightful heir until she emerged as the miracle child prayed for beneath the full moon; the last of their bloodline. Nevertheless, she was exalted by her relatives and chosen family, never daring to learn another path beyond the one given until fate left her with no choice.
Someone claimed it had been a fire sparked by the recent storm, but the young necromancer was there, hidden in the woods clutching the few items that she managed to escape with. She saw the silhouettes of hunters with their torches and weapons, heard the screams of her coven as they perished beneath their own extermination. Dozens of grimoires were lost and their entire operation destroyed for the sake of the reigning coven’s morality. The few who managed to flee traversed back to the mainland, integrating back into the human world or stowing aboard ships headed east. Except Kasandra.
Remaining within Grand Manan’s borders was undoubtedly a fool’s errand, but the island had been her home for twenty-two years and she knew no other life. Rebuilding came after the realization that so much time spent in isolation with only her coven and those who knew where to locate them made her nameless and faceless to the vast majority. Or at least to those who could immediately finish off what remained of The Hallowed Circle.
More time passed wherein Kasandra fell deeper into her studies and allowed the darkness of that work to swallow her whole, continuing the legacy of her beloved coven. She wound up maintaining previous alliances with nearby vampires and entrancing new ones with nefarious offers in exchange for their protection. Eventually any reliance on her fanged friends became too burdensome to upkeep and thus her most ambitious scheme manifested in the dim light of a cellar.
Would it be at all possible for a witch to hybrid themself with a vampire and still maintain their abilities? Had anyone attempted it? What could she learn from their mistakes? How undeniably powerful could she become as a result? The thought plagued her for weeks, months, years even. She worked overtime to sell her wares and abilities to upkeep the experiments and studies on the matter, but Kasandra’s obsession eventually became her greatest downfall.
Once more the Whittaker Coven discovered the echo of The Hallowed Circle on the island, but one dark magic practitioner was far easier to apprehend than an entire group. There was strength in numbers and Kasandra had been alone for many, many years. At twenty-eight years old, she was rounded up by the witch leaders for her crimes and only after did they realize what horrors against nature she had been attempting. Uncertain about her success and wary about the idea of executing a witch only to have her return vengefully as a vampire, the decision was made to secure the island’s safety by entombing her for all time.
The coven gathered their members to cast a sleeping spell upon the enemy, leaving Kasandra and her grimoire in an eternally preserved state where she might never awaken. Unless, of course, one of the following conditions were met: either the Whittaker bloodline ended in full or the tomb was unsealed by a talented witch reciting the original incantation. To prevent this from occurring, every Whittaker heir has continued the family lineage without question and all copies of the spell were burned except one which remains buried as well in a separate location.
The final member of The Hallowed Circle has been resting in her tomb undisturbed for over 400 years.
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Old School Replies
I don't know if people still do replies to comments like this, but sod it!
Big Pooh Bear hugs for y'all ❤️
So... Anyone still do Simblrs? Replies
@dovahtobi said: I don't really do sim stories anymore but ahhh it's so good to see you!!!!! 💜💜💜
Awh!! It's great to see you too! Can you believe we mat way back in the Pin up my Sim days? Wild times haha
@netflixreadingsimmingaddict said: I just started really playing again two weeks ago. This is my first time getting on this simblr in 6 years😂 I’ve been using Pinterest for CC
Oof, I feel that one! Felt like blowing dust off and old book when I logged back in to my simblr!
I have a love/hate relationship with Pinterest. It's great when you're looking for collections of things, but when I just want an image and Pinterest is like OH HAY LOOKET EVERYTHING ELSE.. I can't.
@amixofpixels Hello again, lovely! I don't think I've ever done sim stories, just forever posting what I think are cute sims.
Hey love!
Sim stories are great when you've got the creative juices flowing, but they can be a daunting task when you don't, for me anyway haha
To be honest, I think I may start up the Rudolphs story on @the-rudolph-legacy-continued but just post my cuties on here too for when I'm not feeling the writing inspo :)
New Simself, who dis? Replies
@frolickinggnomes said: You must have done an excellent job because I was sort of mindlessly scrolling through my dash and saw your simself and thought to myself, "Hey that kind of looks like Rose/Simblroonies... I wonder where/what she is up to these days" and then clicked (because I forgot you had a different tumblr) and was like OH IT IS HER! HIIII!
Oh and by the way.. in case that sounded creepy.. this is Morgan (formerly Morgibritt) if you remember me
Hahaha amazing! I beamed like a Cheshire cat when I read your reply as I was really worried about getting her to look like me FROM SCRATCH fml, but seeing that you recognised me through her was just chefs kiss :D
and of course I remember you once you said you were Morgibritt sweetpea! Your Bachelorette challenge was the first one I ever won :') Team Darj for life <3
#I had to google so much to remember how to use Tumblr XD#Replies#dovahtobi#netflixreadingsimmingaddict#amixofpixels#frolickinggnomes
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"That's one way to put it" Nerv half laughed, half sighed as he lent on the open bedroom door.
"Dad! What took you so long?"
"Well Belbo.." Nerv began, as he took a big swig of his "coffee" and lent on the dresser "..I've been having a big talk with Aunty Fred"
Belva's brow furrowed in confusion as she turned to fully face her now amused looking father.
"..Why were you talking with Aunty Fred? I thought you where talking to Sprout's grown ups?"
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“How does a moment last forever? How can a story never die? It is love we must hold onto -- Never easy, but we try. Sometimes our happiness is captured; Somehow our time and place stand still... Love lives on inside our hearts and always will... Minutes turn to hours, days to years, then gone, But when all else has been forgotten, Still our song lives on...”
~“How Does a Moment Last Forever? (cover)” by Celine Dion
x~x~x~x
tw: character death, funerals, grief
x~x~x~x
The kelpie known as Ru Ollivander always knew their time on Earth would be fleeting -- at least, in comparison to the human witches and wizards they’d ended up living alongside. It was the main reason Ru had such a passion for photography, animation, and moving pictures. The thought of capturing a single moment and making it last beyond that moment...making it possible to relive that moment over and over again, as many times as one wanted...it was meaningful in a way Ru couldn’t quite put into words.
And so over the years, the eccentric, blunt kelpie -- never the best at expressing themselves in the way more upright, classy humans did -- captured as many memories as they could of the things they found most remarkable about the Wizarding World they’d entered. They sketched the rows upon rows of disgusting-looking ingredients in jars set up in the Potions classroom. They took pictures of the way the moon looked from the Astronomy Tower after a thunderstorm. They made animations of how Venomous Tentaculas and Mandrakes grew, compressing entire months into mere seconds. And, of course, over the years, Ru used their cinematograph, Aeroscope, and other cameras to film the humans who had become most important to them -- their best friend, Galen Stagg @cursebreakerfarrier; their fellow Ravenclaw and Galen’s eventual other half, Siobhan Llewelyn @kc-needs-coffee; and their “keeper”-turned-muse-and-life partner, Estrid Soelberg @thatravenpuffwitch.
One morning, however, in the 1930′s, Estrid returned to the cottage she shared with Ru from a trip to the market to find the entire place in disarray. A table had been overturned, Ru’s camera was knocked over on its side, and a drawer of photographs had been pulled out, its contents spread out all over the floor. Alarmed, Estrid rushed to find Ru -- when she did, she found them on the floor, in full kelpie form, looking very restless and distraught as they huffed and puffed through their nose and mouth. Estrid hurriedly rushed over and bent down, trying to help, but it soon became clear what the problem was.
Ru couldn’t change form. They couldn’t transform themselves out of their real appearance. ...They couldn’t turn into a human anymore.
The realization overwhelmed Ru. As much as they always knew the day would come, it wasn’t any less devastating. They’d never have hands again. They’d never have legs or feet again. They’d never speak properly again. They’d never be able to take any more pictures, or make any more movies, or make improvements to their cameras, or draw any more sketches or animations. They’d never be able to visit Galen’s classroom anymore for his lectures. They’d never be able to exchange any more friendly swears with Siobhan over a game of Wizard’s Chess. ...They’d never be able to comfort Estrid again...never be able to stroke her hair and hold her until she stopped crying...never be able to play her film reels of her grandfather, or plant flowers in the garden with her, or dance with her in the rain...they’d never be able to tell her how much they loved her.
The kelpie’s eyes fell toward the ground, darkening, as they flooded with tears. Those tears streaked down their long face in cold, deafening silence. Estrid, who’d almost never seen Ru cry in all their time together, found herself struggling not to break down completely herself as she threw her arms around Ru’s snout and hugged them, resting her face in their overgrown seaweed mane. The two sat together on the floor for what felt like hours, crying and cuddling as best they could, Ru pressing their soft nose into Estrid’s cheek and the crook of her neck and Estrid kissing their nose and the top of their head.
Estrid wrote to the Staggs to pass along the news. Galen pretty much dropped everything to be by his friend’s side -- the magizoologist had always had a particular talent for speaking to magical creatures, and it had never been more useful than in those final weeks of Ru’s life. It seemed that what upset Ru most out of everything was that they’d had a project they hadn’t been able to finish. It was an incomplete film reel they’d stored under their and Estrid’s bed for the last year, taking out and working on only whenever Estrid wasn’t home.
Galen had made as if to go get it, but Ru had snatched his sleeve in their teeth and pulled him back so he couldn’t leave their side.
“Not yet,” they were clearly saying. “It’s not time. Please, not yet.”
Reluctantly Galen respected his friend’s wishes.
Within a month of them being unable to change back into a human, Galen and Siobhan received the owl they’d been dreading. Ru had passed the previous night, Estrid by their side all the way up until the end.
As per Ru’s wishes, their funeral service was very small. They were laid to rest beside the small pond behind their and Estrid’s cottage -- Galen knew that kelpies’ bodies tended to decompose quickly, leaving only the seaweed of their manes behind at the bottom of the seafloor. There wasn’t a dry eye during the modest ceremony.
On Galen’s prompting, Estrid went to their room and fetched Ru’s unfinished project from under their bed. Inside the box holding the film reel were hundreds, maybe thousands of old photographs and drawings, many of which Galen, Estrid, and Siobhan had never seen. Some featured Hogwarts, from different angles; some were of the places they’d been to, or the creatures they handled, or the food they ate, or just cool and random things they only half-remembered. Most of all, though, the pictures were of them...and a small fraction, toward the very front, were of Ru themselves.
It was incredible, just looking through the pictures. Forty years of memories were compiled together, documenting not just the changes in those years, but the advancement in Ru’s talent as an artist. The newest pictures were so much clearer and more life-like -- the magical ones moved with such clarity -- the drawings were more refined -- the animations more complex. The pictures placed side-by-side were an animation unto themselves: a beautiful montage of time, like a blooming flower.
Siobhan was the one who knew Ru’s equipment well enough to work out how to set up the projector so they could play the incomplete film reel. The beginning featured Ru as the three remembered them -- very long, wavy black hair, bright blue angled eyes, and diamond earrings, dressed in a dark violet velvet suit and vest with no collared shirt underneath and a gold and emerald necklace around their neck. They were smirking right at the camera, but it seemed to be a bit strained.
“Hi, Estrid. Galen...Siobhan...reckon you’re both here too. You are the only one who could ever figure out how to work the projector, Sha.”
They cleared their throat, snorting through their nose before continuing.
“...I’ve...recorded this a few times already, trying to get it right, but...well, I’ll just be straight. This morning...I had trouble creating my daddles.”
They held up their right hand and flourished the fingers in explanation.
“I woke up with hooves and it took me about a minute to conjure up my fingers. I didn’t tell you, Estrid, since I knew it’d only make you worry, but...well, I know I’ll only be doing more of that, soon.”
They forced a stronger smirk.
“So I decided to make this for you. It’s a compilation of our lives...one that you can hopefully play, when you need to remember. When you need to get away from the present, and run back to the past for a bit. Watch it every time you feel the urge to drink -- and then push away that urge.”
The moving image of Ru was replaced with the pictures, movies, drawings, and animations the three had seen in the box, overlaying Ru’s voice as they continued.
“When I first started disguising myself as Rudolph Ollivander, all I cared about was living in the moment. But the thing I found so amazing about being human was this instinct you all have to try to make moments last long after they’re over. Considering how long you all live, and therefore how short my existence is in comparison, I loved the thought of making something last. Something I made last. I wanted to plant some seed that would grow into something that would keep growing long after me. But it didn’t take me long to realize that even if I took great photographs, or made beautiful films, or made the best magical camera in the world...it didn’t matter. Because I didn’t have a family who would tend to my garden, after I left it. I didn’t have a family who would keep the things I’d made, and pass them on, and share them with the world. ...I didn’t have a family who would pass on my legacy. After Hogwarts, it’d be a lot harder to hide what I was from the world...and once everyone knew the truth, I would undoubtedly be alone again. It was something I knew was inevitable, really, so it didn’t break me or anything...but me leaving something lasting behind was still a dream I knew would never come true. And I won’t lie, that hurt like shit.
“But then, somehow...somehow or another, I ran into you, Estrid. I was steamed as all get-out when we first met, mind you...but I don’t think I’ll ever be more grateful for anything than you stopping me from eating that first year that day. The bridle you put on me? I hated it. I had to stay in one form for almost eight whole years, and that was a real pain in the arse. But as I told you before, over time, I found I didn’t mind so much. Kelpies don’t stay in one form because changing forms helps us survive. It keeps us safe and keeps any other creatures from getting close enough to eat or trap us. And sure, I couldn’t change form...but I wasn’t exactly trapped. Hogwarts was a fun place to be. There was a lot to learn and do and get into, and there were all sorts of rules to buck and dozens of lick-spittles to give a good arse-kicking to. And better still...there were even some humans that were fun to be around.”
The pictures all started to reflect Galen -- at the piano, with a tree of bowtruckles, laughing at a joke -- Galen and Ru running down the lane away from the Shrieking Shack --
“There were ones who were gentle. Pacifistic and wussy, yeah, but also...well, kind. Good at expressing their feelings and making others feel stronger. Good at being brave without being loud or obnoxious. Good at being a friend, to someone who didn’t know anything about friendship.”
The pictures then started to add Siobhan, often alongside Galen, but also on her own, or even with Estrid and Ru.
“There were ones who were clever. Too proud for their own good and prone to overthinking things that are really quite simple...but brilliant, and witty, and a blast to be around. Someone who you can share your interests with and know they appreciate them.”
The pictures then shifted over to Estrid with braids in her hair -- Estrid sitting by the pond in their garden -- Estrid dancing --
“And...there were ones who could change you...more than you ever thought possible.”
The pictures abruptly cut off -- Ru’s face returned to the projector. They were still talking to the camera, but it was clear they hadn’t intended for their face to be seen, as they weren’t looking straight at the lens anymore.
“A ‘keeper,’ who became a friend, and then a muse...and then something more. An equal and a partner...someone who makes you unafraid of the future and how fleeting life is, who actually makes you think that your life makes a difference. Who teaches you more than any book, without even trying. Someone patient, and brave, and compassionate...who never tries to stuff the silence full of worthless words...whose beauty masks a greater one underneath, one that few people ever are fortunate enough to see...”
Ru’s eyes on screen had begun to flood with tears. They closed their eyes and breathed in and out through their nose to try to get a rein on their emotions.
“...Estrid...my whole life, I wanted to leave something behind that would outlive me. That thing isn’t just my pictures, or my films, or my drawings -- it’s you. You are my legacy. You and Galen and Siobhan...you are the wonderful thing I’ll leave behind. It breaks my heart that I’ll have to...and it breaks my heart more, knowing I can’t make sure you all remain as you are, in this moment. Healthy. Successful. Stupid and happy and full of life.”
They forced a smile even as their electric blue eyes overflowed with tears that streaked down their face.
“I don’t have a family to make sure you all last beyond me...but I do have you. So, for me...I need you to tend to my garden. I need you to maintain my legacy -- by maintaining yourself. I need you to live, and heal, and grow, and do everything I can’t do...”
Ru was unable to keep themselves from breaking down into sobs. They bowed their head, clutching onto their own hair as they vainly tried to keep their voice steady.
“Don’t throw your time away. Don’t throw your lives away. If you do, I’ll never bloody forgive you!”
For the next minute they took a few stabilizing breaths, sucking in air shakily through their nose and mouth.
“Damn it...” they hissed under their breath. “Now I have to cut this...”
They swallowed, wiping the tears from their eyes with both hands. The tears left tracks on their face even as they forced themselves to return their focus to the camera.
“...Make every moment count...and when you can, make that moment last forever.
“I realized, when I was looking through my old pictures, that I’ve never really taken many pictures of me. I guess in the moment, I really was a lot more focused on capturing everything I saw, rather than myself. So here are some pictures I took more recently that have me in them. Hopefully you can use them to imagine me behind every picture I took earlier, of all of you. Even though I probably wasn’t smiling or anything...I’m sure you know I was enjoying myself, right? ...I did enjoy myself a lot, with all of you...”
They forced another smile, even though the tears on their face still shone in the light from the next room.
“I remember you once said, Galen, that you could see the love in the pictures I take. I still don’t really know what the hell that’s supposed to mean...but I reckon you bringing up love made some sense. I did love taking those pictures, every one of them -- and more than that...I learned about love, through the people in those pictures. So thank you. Thank you for loving me...and for teaching me so much. And even when this film reel’s obsolete, and my pictures are ruined, and my drawings fade...don’t stop doing things that are worth remembering. Keep making more memories. I know I’ll never forget you -- all you have to do now is make sure the rest of the world won’t either.
“So live. Live, and learn, and love. Make today last forever.”
When Ru’s film reel finally ended and faded to black, Galen, Siobhan, and Estrid were all in tears. Galen was clinging to his wife, his face buried in her hair and his hands clutching at the back of her dress as he sobbed. Siobhan herself had her eyes shut tight as she held Galen in return, unable to contain her own grief. Estrid was holding herself, tears streaming from her hazel eyes still staring at the blank projector screen where Ru had been smiling moments earlier. She closed her eyes, her hands covering her face as she cried silently.
The grief in the room was overwhelming, and yet Ru’s final unfinished present tapped into something at the base of the grief -- the deep, bottomless love they all felt. For as blunt and stubborn as Ru could be, the depth of their feelings was undeniable. They didn’t want their loved ones to despair -- they wanted them to remember, yes, but not languish in the memories...to live with an eye on the past and feet walking toward the future. Ru knew the grief Estrid had gone through when she’d lost her grandfather, and had tried so hard to give her something to help her through her grief again even when they weren’t there to physically support her.
And so over the years, Siobhan, Galen, and Estrid maintained Ru’s legacy. The three lived their lives to the fullest and worked to make sure that no one forgot about all of the advancements Ru had made in the world of wizarding photography. Galen used Ru’s old film reels of magical creatures in his classes; Siobhan took even more pictures of her own; and Estrid fought to ensure Ru’s work was put up in wizarding museums and exhibitions all over Europe, as a testament to her partner’s talent and dedication.
A man has no control who lives, who dies, and who tells their story...but the ones who they love in life, and who inspire them in death, are the most precious legacy they can leave behind.
#hphl#hogwarts legacy#ru ollivander#estrid soelberg#siobhan llewelyn#galen stagg#my art#my writing#*throws herself off a cliff sobbing* EHHHHHH#I cried several times writing this good god ;~;#I am so sorry everybody#but this song gave me such ru feels and I just had to get them out#in my headcanon kelpies grow more and more seaweed-like hair on their bodies as they grow hence why ru's got so much now#most real life horses die between the ages of 25-30 so ru actually lived a pretty long time in comparison#but yeah estrid galen and siobhan would've been in their 40's when ru died#I tapped into a lot of feelings surrounding the people I've lost while writing this#so hopefully the grief comes through#'hopefully' guh#if it does I apologize in advance
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A Creepy Christmas Cultural Conundrum: The Lasting Legacy of The Nightmare Before Christmas
A request by @lcvcdbyhim.
If you traveled back in time to the year 1993 and told someone that Tim Burton’s new stop-motion animated film, The Nightmare Before Christmas, was going to be the biggest holiday movie in for the next twenty years, they wouldn’t believe me. They just wouldn’t.
Of all of the holiday films of the 90s, Christmas or Halloween, nothing comes close to the cultural giant that is The Nightmare Before Christmas. Even family favorites like The Santa Clause or Home Alone don’t get nearly the attention and praise that this film has. Every year, from Halloween through Christmas, stores are packed with shirts, wallets, keychains, sneakers, backpacks, banks, toys, clocks, jewelry, decorations and more, all covered with images of Jack Skellington, Sally, Oogie Boogie, Zero, and other characters and images from the film. Even outside of the holiday months, the more merchandise-driven stores still dedicate an entire section to The Nightmare Before Christmas, putting it on the same level as franchises like Star Wars or the various superhero films.
The question is, why?
Why has The Nightmare Before Christmas’s imagery become nearly as recognizable as images of classic monsters like Dracula and the Frankenstein monster? How is this oddball little movie fast approaching How The Grinch Stole Christmas and other classic Christmas specials in terms of popularity?
There has to be a larger reason that simply being available to be marketed for two holidays instead of one.
Today, we’re going to be taking a look at The Nightmare Before Christmas in an attempt to figure out where all the hype came from, and more specifically, why it’s still so popular.
But first, we need a little background.
When The Nightmare Before Christmas was first released in 1993, it received modest critical acclaim and a decent opening. Right in the middle of Disney’s Renaissance period, a throwback to stop-motion wasn’t really thought of as being quite on the same level as animated films like Aladdin and The Lion King. As a result, the movie did okay, but just….okay.
So what happened?
Very simply, The Nightmare Before Christmas gained a cult following. Very quickly.
In the years that followed, The Nightmare Before Christmas started being praised as one of the greats in the animated film category. People started watching it for part of their holiday tradition, around both Halloween and Christmas, and the further we are away from that mediocre opening, it seems the more people laud it as a work of art. Stores like Hot Topic started selling so much Nightmare merchandise that now the imagery from The Nightmare Before Christmas seems to be the face of a new goth/emo trend. In fact, since the film’s release, the movie has been put on a rather bizarre pedestal, with some fans lavishing enormous amounts of praise on this movie. In a way, it seems like disliking it is unheard of.
To return to our earlier question, why? It doesn’t seem like anything special. There have been other ‘weird’ stop-motion films, such as Corpse Bride or Coraline. The characters and story are simplistic, almost childish at times. The music is good, sure, but with all the hype around it, the movie can very much seem….overrated.
Once again: Why?
It all boils down to uniqueness.
In 1993, Tim Burton was still relatively new to audiences. Directing since 1985, his biggest hits had been the likes of horror-comedy Beetlejuice, superhero blockbuster Batman, and drama flick Edward Scissorhands. In other words, the world was still being introduced to the styles that we are currently familiar with: use of Johnny Depp, score by Danny Elfman, stripes, German Expressionism, and pale-skinned, dark haired, sunken-eyed outcast protagonists. Thanks to the sheer number of Signature Style Burton-esque films, The Nightmare Before Christmas no longer seems like anything all that special in terms of style of film, but at the time, it was something very new, distinct, and different.
The same goes for the stop-motion aspect.
The stop-motion ‘weird’ films that we are the most familiar with: (Corpse Bride, James and the Giant Peach, Frankenweenie, ParaNorman) have all come after The Nightmare Before Christmas. Before Nightmare, stop-motion’s biggest claim to fame were the Rankin/Bass Christmas specials. The Nightmare Before Christmas revolutionized and reawakened the style of filmmaking and started a new form of animation that is being used since. Once again, it all comes down to that uniqueness of the time, especially when it applies to the story.
The story of The Nightmare Before Christmas, despite its aforementioned simplicity, is a rather unique one. The idea came to Burton while watching Halloween decorations come down at the same time Christmas decorations were being put up, and the movie is really all about the juxtaposition between the holidays. Jack Skellington, the king of Halloweentown, is dissatisfied with the ‘same old thing’ and decides to try something new. The ‘new thing’ that captivates his interest turns out to be another huge holiday: Christmas. Full of excitement at this strange new holiday, Jack decides to get the person in charge of Christmas out of the way (Santa Claus) and take Christmas for himself, assigning the denizens of Halloweentown the tasks necessary to bring about the festive holiday.
Being from Halloweentown, of course, Jack doesn’t fully understand Christmas, despite his frantic attempts to do so, and in the end, Christmas is a disaster, thanks to his botched interpretation of what makes the holiday. In the end, Jack learns not to meddle with things he doesn’t understand, and the movie ends at around 75 minutes.
As basic as it is, the idea of one holiday trying to do another is pretty creative, as is the way it is done. The concept of holiday worlds, based on the special day is extremely interesting, and it’s executed well. In fact, when looking at the film for what and when it was, The Nightmare Before Christmas was actually very creative in everything, characters, the visual look, the way it was done, story, even the music by Danny Elfman is very fitting to the story and characters, and it’s all very catchy.
When contextualized into the time period it was made in, The Nightmare Before Christmas, for all it may seem stale and overdone now, was fresh and unique, noteworthy for being something audiences haven’t seen before.
There’s more to the intense popularity of this film than quirkiness, though.
What I said earlier about the film being basic? That is actually a point in its favor.
One of the remarkable things about The Nightmare Before Christmas is that, for having a reasonably complex concept, it’s execution is very simple. The story never makes itself more complicated than it has to be. It’s very straightforward, with no plot twists or surprises for the audience. The direction the story takes is predictable, but that’s by no means bad. Not only is the story uncomplicated, but the meaning is as well.
It isn’t hard for people to understand Jack’s predicament, nor is it difficult for even the youngest kid to know that his endeavors to make Christmas are doomed to failure, because they pick up that Jack does not understand what he is trying to do. He has the feeling right, but he has no constructive direction to take it, and with a lack of understanding, ends up creating a mess.
Jack’s enthusiasm is for the holiday spirit, and it’s contagious, no matter which holiday you consider. By never trying to ‘explain’ the good feelings of the holidays and just letting them be, The Nightmare Before Christmas actually continues a trend that one wouldn’t think it has much to do with at all.
In my opinion, the hype behind The Nightmare Before Christmas, especially in the up-and-coming generations, is much the same reason that Rudolph the Red Nosed Reindeer is still talked about by the older generations. The holiday feeling.
Jack experiences the joy of Christmas without knowing why. Despite his best efforts, he cannot decipher the whys and wherefores of it, he just accepts that ‘just because I cannot see it doesn’t mean I can’t believe it!’. This tone, this viewpoint towards the holiday of simply enjoying it, is reminiscent of Christmas specials like How the Grinch Stole Christmas or the Rankin/Bass stop-motion productions. It evokes nostalgic feelings for the holiday. The Nightmare Before Christmas is to the post 90s generation what the other animated Christmas specials were to the ones before it: the traditional, good-feelings, familiar celebration of the holiday.
Most importantly though, it’s a film that people enjoy watching.
With a unique concept, design, and execution, nostalgic feelings and holiday warmth, and it just being a generally fun, charming movie, it’s not really a true wonder why The Nightmare Before Christmas got as popular as it did.
Is it overhyped? Yes.
Does that make the movie itself any worse? No. It just means that audience expectations are affected by the culture around it, some for the better, some for the worse.
Of course, it’s not a movie for everybody. Some will like it more than others. Some might love it, some might hate it, and some might just be okay with it. But that goes for any film.
The Nightmare Before Christmas is a cultural juggernaut, that’s for certain, and I doubt we’ll be seeing any fewer Oogie Boogie coin banks in the near future, but that’s more a reflection on the commercialism of film since 1977 (Thanks, George Lucas!) and how much people are willing to buy to reflect their tastes in film. My point is, the movie is still popular enough that people buy stuff connected to it because they like it.
And that’s not a bad thing. It’s a good movie, remarkably simple, but smart enough to hold up years later and continue to emotionally resonate with audiences. It was something that no one had ever seen before at the time, and is packed full of enough distinctive style and imagery that it is still instantly recognizable as being from The Nightmare Before Christmas. It’s an immensely popular film for a reason, and it’s not going away anytime soon.
Thank you all so much for reading! If you have any thoughts, questions, comments, suggestions, or just want to say hi, feel free to leave them in the ask box, I’d love to hear from you. I hope you guys enjoyed this article, and I hope to see you in the next one.
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And The Saga Continues
By saga I mean me supervising this 'fake RbbSbb' account on twitter because I want to.
also Im going to separate the posts by day, if anything else happens I'll retweet and add it on this one. Tommorow its a separate post.
If you're intrested to see the first bit (two separate days in a post, one in which I found and then kept retweeting what happened after weeks (?) of not checking on it) (! I do reccomend reading the previous one)
so if you're intrested look up the tag #Fake-RbbSbb in my account.
-
Sooooo as expected our buddy changed his bio to 11, which supports my speculation that it was (obviously) a countdown to Louis' show.
nothing new on the following/pfp/header etc...
They did tweet some things, but I'll touch on that later, first off the likes: It seems they are continuously trying to raise attention towards Rbb (and Rbb only???) being back in two weeks by sending anonymous statements in peoples CCs.
Also they liked this HIV support tweet- and I found that sweet so im also adding it in, because aweareness is key.
aswell as replying back with their usual variation of two emojis:
No sign of Android anywhere, just WebApp™.
Now onto the tweets:
Just like with the 12 they posted yesterday, today they posted an 11. And I got curious to know where abouts they were setting the time to:
If whatever I triod to do here is too complicated (even I dont understand it lmao) basically:
In LA posting time would've been 23:29
In London posting time would've been: 07:29
so if they wanted to (and im speculating this because I did not check) update it on midnight lets say (or close to), then logically the tweet would've come from LA.
Now this thing which then tells us there will be a pattern of when they'll update the countdown
The thing I found weird right, is that they're doing a countdown (supposedly) to Louis' show. So why update on LA time?
Next thing they posted was this:
'Well Meet at the end of the Road' at a first glance you'd guess they're talking about the countdown.
But oh to know who Rudolph Valentino was...
I'll put some intresting quotes I found of him here, you can skip all of this if you want, I'll do a short resume at the end of the indented.
"He was a sex symbol of the 1920s, who was known in Hollywood as the Latin Lover (a title invented for him by Hollywood moguls), The Great Lover, or simply Valentino.[1] His premature death at the age of 31 caused mass hysteria among his fans and further propelled his status as a cultural film icon."
"The Four Horsemen of the Apocalypse was released in 1921 and became a commercial and critical success" + "For his follow-up film, they forced him into a bit part in a B-film called Uncharted Seas.(1921)" + "Rambova, Mathis, Ivano, and Valentino began work on the Alla Nazimova film Camille.(1921)" + "Valentino's final film for Metro was the Mathis-penned 'The Conquering Power.(1921) "
thats 4 movies in a year!! Talk about overworked- (depending on how long they were)
"After quitting Metro, Valentino took up with Famous Players-Lasky, forerunner of the present-day Paramount Pictures, a studio known for films that were more commercially focused."
"Jesse L. Lasky intended to capitalize on the star power of Valentino, and cast him in a role that solidified his reputation as the "Latin lover"
"In The Sheik (1921), Valentino played the starring role of Sheik Ahmed Ben Hassan. The film was a major success and defined not only his career but his image and legacy."
"Famous Players produced four more feature-length films over the next 15 months" + "His leading role in Moran of the Lady Letty(1922) was of a typical Douglas Fairbanks nature" + "Valentino starred alongside Gloria Swanson in Beyond the Rocks(1922)" + "Valentino began work on another Mathis-penned film, Blood and Sand(1922)" + "During his forced break from Rambova, the pair began working separately on the Mathis-penned The Young Rajah(1922)"
15 months 4 movies. and again I will stress the 'capitalize the star power' over there.
Seems too familiar tbh.
"Missing Rambova, Valentino returned to New York after the release of The Young Rajah. They were spotted and followed by reporters constantly."
*cough* *cough* "spotted"
"During this time, Valentino began to contemplate not returning to Famous Players, although Jesse Lasky already had his next picture, The Spanish Cavalier, in preparation. After speaking with Rambova and his lawyer Arthur Butler Graham, Valentino declared a 'one-man strike' against Famous Players.[31]"
About the lawsuit:
"He was also upset over the broken promise of filming Blood and Sand in Spain, and the failure to shoot the next proposed film in either Spain or at least New York. Valentino had hoped while filming in Europe he could see his family, whom he had not seen in 10 years.[27]"
"In September 1922, he refused to accept paychecks from Famous Players until the dispute was solved, although he owed them money" + "Famous Players, in turn, filed suit against him.[33]"
"Valentino did not back down,[33] and Famous Players realized how much they stood to lose." + "the studio tried to settle by upping his salary" + "Variety erroneously announced the salary increase as a "new contract" before news of the lawsuit was released, and Valentino angrily rejected the offer.[31]"
"Valentino went on to claim that artistic control was more of an issue than the money." + "Famous Players made their own public statements deeming him more trouble than he was worth (the divorce, bigamy trials, debts) and that he was temperamental, almost diva-like. They claimed to have done all they could and that they had made him a real star.[33]
"Other studios began courting him." + "However, Famous Players exercised its option to extend his contract, preventing him from accepting any employment other than with the studio." + "Valentino filed an appeal, a portion of which was granted. Although he was still not allowed to work as an actor, he could accept other types of employment.[33]"
Return To The Movies
"Valentino returned to the United States in reply to an offer from Ritz-Carlton Pictures (working through Famous Players)" + "Rambova negotiated a two-picture deal with Famous Players and four pictures for Ritz-Carlton.[37] He accepted, turning down an offer to film an Italian production of Quo Vadis in Italy"
PERSONAL LIFE!!!!
"Valentino once told gossip columnist Louella Parsons that: "The women I love don't love me. The others don't matter". He claims that despite his success as a sex symbol that in his personal love life he never achieved happiness.[62]"
"Valentino impulsively married actress Jean Acker, who was involved with actresses Grace Darmond and Alla Nazimova. Acker became involved with Valentino in part to remove herself from the lesbian love triangle, quickly regretted the marriage, and locked Valentino out of their room on their wedding night."
"From the time he died in 1926 until the 1960s, Valentino's sexuality was not generally questioned in print.[67][68] At least four books, including the notoriously libelous Hollywood Babylon, suggested that he may have been gay despite his marriage to Rambova.[69][70][71][72][73] For some, the marriages to Acker and Rambova, as well as the relationship with Pola Negri, add to the suspicion that Valentino was gay and that these were "lavender marriages."
"Such books gave rise to claims that Valentino had a relationship with Ramón Novarro, despite Novarro stating they barely knew each other." + "These books also gave rise to claims that he may have had relationships with both roommates Paul Ivano and Douglas Gerrad, as well as Norman Kerry, and openly gay French theatre director and poet Jacques Hébertot." + "However, Ivano maintained that it was untrue and both he and Valentino were heterosexual.[24] Biographers Emily Leider and Allan Ellenberger generally agree that he was most likely straight"
like every historian would say: "they were just good friends"
"further supposed evidence that Valentino was gay; documents in the estate of the late author Samuel Steward indicated that Valentino and Steward were sexual partners.[77] However, evidence found in Steward's claim was subsequently found to be false, as Valentino was in New York on the date Steward claimed a sexual encounter occurred in Ohio."
- Via Wikipedia
These are the few quotes from his wekipedia page in which I literally gaped at...
So in short:
Sex Symbol who was an Actor
Got his image enhanced and exploited by his manager.
Constanly Overworked
Relationships used for PR (?)
Thought about leaving his management which led to a 'one man strike' and a lawsuit.
The lawsuit started off because of finantial reasons, but it was revealed it was more because of fucking creative freedom.
Management tried to reason with him, he didn't back down. And they continued to do so before an article of the 'lawsuit' was made public, he didn't accept any.
Management tried to paint Valentino as 'ungrateful' and that they were the reason he was a star.
When other people tried to get Valentino to work with/for them, his management stopped him by "threatening to extend the contract" (?) which prevented him from acting.
His sexuality was never really questioned due to the many relationships with woman he had (one which literally was a lesbian)
Lavender Marriages / PR marriages
After his death, speculation that he dated many men came up.
One even said they did the dEEd, but its impossible because they were both in separate countries duh, right? RIGhT????
The way we can literally compare this with Harry's situation (and maybe Louis' aswell!!!) is literally hurting my mind.
Also adding that @eyupdaisy is helping me a lot, kuddos to her aswell. She found this:
If you search the actual name of the post 'We will meet at the end of the trail' on google, this picture comes up
Which the HT account made a very lovely and subtle connection to it a few days ago
Guess well have to start lowkey monitoring them too? Or maybe just what they interact with the Mr.R acc...
wait- max images reached ;-;
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Thomas Whitfield
Thomas Anthony Whitfield (April 30, 1954 – June 20, 1992) was an American gospel singer, songwriter, arranger, pianist, choir director and producer best known for helping to shape the fabric of contemporary gospel music with his elaborate choral arrangements and the merging of musical styles ranging from jazz to classical into traditional gospel foundations. This style earned him the respectable title of "Maestro" by many of his colleagues and supporters. He was best known for organizing one of the popular contemporary gospel choirs of all time, the Thomas Whitfield Company, and for producing best-selling records for Vanessa Bell Armstrong, Shirley Caesar, Yolanda Adams, Douglas Miller, Keith Pringle, Paul Morton and for Aretha Franklin.
Biography
Early years and career
Thomas Whitfield, the eldest of five boys, was born in Detroit, Michigan to Thomas and Jacqueline Whitfield. He took to music at a very early age and was inspired by his great-grandmother to take piano lessons at the age of five and would advance to playing the organ by the age of ten. His influences remained some of Detroit's greatest musicians including renowned organist Herbert Pickard and Timothy Beard. After graduating from Detroit's Central High School, he attended the Detroit Conservatory of Music and ended up sharing his expertise and knowledge as a music instructor at Finney High School. While teaching, Whitfield continued to gain recognition in the area for his unique style of musicianship and would eventually work with the Beverly Glenn Chorale, the Craig Brothers and Rev. James Cleveland.
In 1977, Whitfield, along with his good friend Tyrone Hemphill, felt led in establishing The Thomas Whitfield Company (The Whitfield Company for short); a local music ministry featuring some of Detroit's finest singers and musicians. This remarkable institution remained the apparent incubator for most of Whitfield's most popular creations and would forever be attached to his musical legacy and recording career. Amazingly, it didn't take long for Whitfield to get the attention and overdue recognition he deserved. Sound of Gospel, a local Detroit gospel music subsidiary of Westbound Records operated by music guru Armen Boladian, took notice in Whitfield's fresh sound and approach to gospel music and signed him and the group thereafter; resulting in the debut release of "Brand New" in 1978. Detroit's sophisticated brand of traditional gospel crafted by artists such as Dr. Mattie Moss Clark, Donald Vails, Rev. Charles Nicks and Rev. James Cleveland remained the prominent and popular style from the area and was usually the formula the majority of the country expected from the region. Whitfield, on the other hand, merged traditional gospel with stylish piano performances, riveting rhythmic sections, melodic choral harmonies and musical arrangements. This style is heard on "Repeat The Sounding Joy", a funk-disco melding which ended up being one of his early hits, and other works including "The Lord Is Blessing Me", "I'm His Today" and "That's How The Lord Works".
The big break: Hallelujah Anyhow
After getting local attention with the releases of "Brand New" and "Things That We Believe, Vol. I" and "Things That We Believe, Vol. II" during the years of 1978–1980, Whitfield recorded his first live recording session (a popular trend in modern gospel music) with the Company at the St. Paul Church of God In Christ in Detroit. The album was finally released in 1983. At the same time, Whitfield began his association with Onyx International Records (a black gospel subsidiary of Benson Records) and also released "Hold Me"; a solo project that seemed to be threatening towards SOG's current contract with the Whitfield Company. While "Hold Me" was released on a more recognized label and was by far one of Whitfield's state-of-the-art productions to date, it also help increased the popularity and exposure of "Hallelujah Anyhow" and kept the album on Billboard's Gospel Music charts for over a year.
The understanding of the agreement with both music labels was that Whitfield recorded "Hold Me" as a solo entry while SOG was mainly interested in Whitfield being attached to the choir; feeling that his choir was the "selling card". SOG continued to record them as: Min. Thomas Whitfield & the Thomas Whitfield Company. Whitfield wrote most of the songs (except for "Soon As I Get Home" and "There's Not A Friend" – written by Roscoe Corner) and produced both projects. Songs like "God Wants Our Praises", "There's Not A Friend", "Walk In The Light", the infectious arrangement of "Oh, How I Love Jesus" and the brilliant ballad "Hallelujah Anyhow" were standouts.
Whitfield began a line of notable achievements in producing for both established and fresh talent. In 1984, Whitfield produced the historic debut project Peace Be Still, for a virtual unknown singer at the time by the name of Vanessa Bell Armstrong; earning him his first of three GRAMMY nominations. That year, he also wrote "Time To Come Back Home" for Shirley Caesar's GRAMMY and Dove Award winning "Sailin" album. Whitfield's popularity and demand continued to escalate – possibly pointing that he may have reached the beginning of his recording zenith. Production on projects from the Soul Children of New Orleans, Keith Pringle, Douglas Miller, the Winans, the Michael Fletcher Chorale and Paul S. Morton followed. In 1986, "I'm Encouraged" was released; a live recording session held at the Civic Auditorium in Cleveland, Ohio. The project climbed to the #1 spot on Billboard's Top Gospel Album charts.
During Whitfield's final years with Sound of Gospel, Whitfield discovered Texas native Yolanda Adams and produced her first project Just As I Am for the Detroit label in 1988 which skyrocketed up Billboard's Gospel charts.
An opportunity of a lifetime was awarded to Whitfield when the Queen of Soul Aretha Franklin confronted him with the task to head the musical direction for her upcoming live recording – a project that the media labeled the sequel to her best-selling and award-winning "Amazing Grace" LP. In 1989, Aretha Franklin took home a GRAMMY Award for Best Soul Gospel Performance, Female for "One Lord, One Faith, One Baptism" and a Dove Award for Traditional Gospel Album of the Year – an album that featured musical and choral arrangements from Thomas A. Whitfield. Some of the album's serious highlights include the moving opener of "Walk In The Light" and Aretha Franklin being serenaded by Whitfield's entrancing piano accompaniment on "Ave Maria".
Later years
In 1989, Teresa Hairston (head of Benson Music Group's black gospel department) contacted Whitfield and expressed interest in signing him, along with the Whitfield Company to her label. SOG released two successful projects ("The Annual Christmas Services", "...And They Sang A Hymn") in 1990, while Whitfield went into the studio to record "My Faith" for Benson. The project contained the Edwin Hawkins' composition "Glorify The Lord" and featured musical appearances from Vanessa Bell Armstrong and Karen Clark-Sheard (from the renowned Clark Sisters). In 1992, Benson released what would be Whitfield's last recording, "Alive And Satisfied". The album, to so many gospel music historians, felt like a prophecy and a "love letter" to Whitfield's presence in the gospel music industry. The album featured the moving praise-and-worship ballad "Precious Jesus", "Let Everything Praise Him" (which features the popular sampled vamp used in a number of recent gospel selections) and the reflective "We Remember (Medley)". The medley featured some of Whitfield's most treasured classics strung together in one song. By this time, Whitfield had already been contacted by Paramount Pictures to appear in the motion picture Leap of Faith, starring Steve Martin. He eventually turned down the offer; feeling that even though the visibility was good yet he felt it might diminish the dignity of his ministry. He also began work with music mogul Quincy Jones' "Handel's Messiah: A Soulful Celebration" – a powerful display of modern musical arrangements mostly handled by Mervyn Warren.
Death
On June 20, 1992, after a lengthy choir rehearsal, Whitfield went with four of the choir members to Elias Brother's Big Boy; a popular local restaurant on Telegraph Road. At the table, he started to clutch his chest and began to gasp for air. After being administered CPR by his dinner companions and arriving at Garden City Hospital, Whitfield died on June 21, 1992 from a heart attack.
Legacy
Whitfield's musical brilliance and influence has left a tremendous impact on today's leading contemporary gospel artists. Musicians such as protégé' Rudolph Stanfield, Donald Lawrence, Fred Hammond, John P. Kee, Byron Cage, Ricky Dillard, J.J. Hairston & Youthful Praise, Walter Hawkins, Richard Smallwood, Big Jim Wright, Edward Dawson and many others. He is still highly regarded for his numerous innovations during the eighties and early nineties and being one of the pioneers to master the usage of the MIDI-sequencing and synthesizers in gospel music; all helping to earn him his own style: the "Whitfield" sound.
In 1993, Benson Records released a tribute album dedicated to the memory and musical excellence of Thomas Whitfield. It featured new arrangements from Whitfield hits and featured a list of musical guests and musicians including Donald Lawrence, the Clark Sisters, Fred Hammond, Kevin Bond, Larry & David Whitfield and the Whitfield Company.
Thomas Whitfield was honored posthumously with the 1999 James Cleveland Award at the 14th Annual Stellar Music Awards held in Atlanta, Georgia.
The Thomas Whitfield Company has continued to perform and record since their founder passed and are ensuring to keep Whitfield's legacy alive. They have recorded "Still", a Top Ten gospel album, and featured new and rare selections from Whitfield, along with music from former Whitfield musician Rudolph Stanfield. The song, "Don't Give Up On Jesus", sung by Daryl Coley and Vanessa Bell Armstrong also appeared on the best-selling WOW Gospel 1999 compilation.
Larry and David Whitfield, brothers of the "Maestro", decided to organize the Whitfield Group (not to be confused with the Whitfield Company) in January 1994. Since their inception, the music troupe has recorded one project and have opened for artists including Yolanda Adams, Vanessa Bell Armstrong, Men of Standard and Kim Burrell.
There have been a number of artists that have sung Whitfield's praises and have re-recorded his music. Some of the most memorable tributes include:
Shirley Murdock "We Need A Word From The Lord" ("Home")
Vickie Winans "We Need A Word From The Lord" ("Bringing It All Together")
Edwin Hawkins Music and Arts Seminar Mass Choir "Precious Jesus" ("Dallas")
Bishop Paul S. Morton "Down At The Cross" and "Nothing But The Blood"("Still Standing")
Tarralyn Ramsey "Saved" ("Tarralyn Ramsey")
Donald Lawrence/Tri-City Singers "The Little Drummer Boy" ("Hello Christmas")
Byron Cage "Still Say Yes" ("Prince Of Praise")
Byron Cage "In Case You've Forgotten" ("An Invitation To Worship")
The Clark Sisters "You Can't Take My Faith Away" ("A Tribute To The Maestro")
Earnest Pugh "Wrapped Up, Tied Up, Tangled Up" ("A Worshipper's Perspective")
Donald Vails featuring Yvette Flunder and Shirley Miller "Just Knowing Jesus" ("My Soul Love Jesus")
Rodney Posey "Dear Jesus" ("Live In Praise & Worship with the Whitfield Company")
Mark S. Hubbard & the Voices "Lift Those Hands And Bless Him" (featuring Ted & Sheri) ("Blessin' Waitin' On Me)
Dr. Ed Montgomery/ALC "With My Whole Heart" (Total Live Experience")
Benson Records released a rare VHS "Alive And Satisfied" video of Thomas Whitfield and the Whitfield Company. The video also features an award presentation to Whitfield for his record going gold and also an emotional tribute from Fred Hammond. BMG Heritage Records has also re-released a double-CD of Aretha Franklin's "One Lord, One Faith, One Baptism" (1987) in 2003. The album featured four new bonus cuts including a previously unreleased version of Walter Hawkins' classic "Be Grateful".
Discography
Albums:
Brand New (1978)
Things That We Believe, Vol. I (1979)
Things That We Believe, Vol. II (1980)
Hold Me (1983)
Halleujah Anyhow (1984) #15
I'm Encouraged (1986) #1
The Annual Christmas Services (1988)
...And They Sang A Hymn (1989) #2
My Faith (1990) #30
Alive And Satisfied (1992) #2
Hold On (2000) #8
Compilations:
The Unforgettable Years, Vol. One (1992)
The Unforgettable Years, Vol. Two (1992)
The Best Of Thomas Whitfield (1999)
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