#Tony Costello

[allthedesiredusernamesaretaken]

... evening music ...

[lycorogue]

One Piece NoPixel

Ever since the 4.0 launch of NoPixel (a private GTA Online roleplay server), my husband and I have become OBSESSED with the Yuno Sykk storyline going on.

Considering Sykkuno has been streaming NoPixel for roughly 8hrs every day, there's no way I can fully keep up, so my insomniac husband tends to give me recaps the following day. As he's telling me the story and is trying to get me to understand the relationship ties between characters I had an epiphany: Yuno is just Luffy from One Piece.

People already joke that Sykkuno has "plot armor" and is the "main character", so his GTA character Yuno being Luffy already kind of fits. Plus, both Yuno and Luffy are ADHD/Autistic balls of chaos that are also unintentionally beams of charisma that attracts just about everyone to their side. It doesn't matter how insane the plan is, if Luffy/Yuno says it people will follow through. You also have the fun of wondering if Luffy/Yuno is just insane with godly amounts of luck that allows their plan to work out, or if they are secretly geniuses that had already calculated everything in the background and the plan worked because of that discrete planning (or if it's a happy combo of the two). Luffy and Yuno are both almost impossibly optimistic and goofy, and people INSTANTLY know to take these boys seriously the second they become serious. If Luffy/Yuno stop smiling, you KNOW shit is about to go down! Also, Luffy/Yuno is INSANELY loyal and protective of his found family. On multiple occasions, Yuno has been informed that if he were to betray the speaker that would kill their last bit of faith in humanity, because if they know ANYTHING it's that Yuno doesn't lie and doesn't betray. Much like Luffy.

OK, so Yuno Sykk is Monkey D. Luffy (If Yuno's name wasn't just Sykkuno's I wouldn't be surprised if he had included the D. initial).

I then thought about those around Yuno. While the personalities don't work one-to-one, my husband and I were able to map a lot of Yuno's friends onto Luffy's simply based on relationship ties.

First is obvious. Yuno, through the 3.0 adoption chaos, ended up the adopted grandson of cop (and eventual Police Commissioner) Sam Baas. So, Baas is Garp. The fish-name connection is just a bonus.

Next up is the inspiration to both start an illegal lifestyle and to become the best possible at it. A pseudo-father-figure and mentor. The man whose blessings and pride in Luffy/Yuno is just about everything to the boy: Lang Buddha as Yuno's Shanks.

Luffy/Yuno couldn't get as far as he does without his true ride-or-die. The man who is loyal to a fault. Who will gladly give his life to not only save his best friend and brother, but also to simply lift him higher, if that's what's requested of him. A man who will smile as he participates in mass murder, and whose homicidal tendencies are surprisingly calmed when around Luffy/Yuno: Raymond Romanov as Yuno's Roronoa Zoro

The personalities don't really match, and YMMV when it comes to this ship, but 4.0 brought about Yuno's "relationship arc". This introduced us to a woman that Yuno loves spending time with, is very protective of, and joys in making her smile. She is there to comfort Yuno, but understands that he needs to do things his way and on his own sometimes. Yuno keeps saying that they're only best friends, and that may be true. He may honestly have no romantic interest in her, despite her obvious romantic interest in him. Even so, she's His Person and he wants to be with her and protect her as much as possible. If there's one person that Luffy/Yuno cares about that you DO NOT mess with, it's her. Ladies and gents, meet Yuno's Nami: Lottie Mae

On the flipside, we have a woman who started off as an enemy, but was instantly charmed by the lengths Yuno would go to in order to help someone that had threatened him. Someone who has family who viciously protects her. Someone who is completely smitten despite Yuno not really giving as many "I want to be in a romantic relationship" vibes as he does with Lottie. Someone who clearly has a jealous streak to her. The main person people seem to ship with Luffy/Yuno behind Nami/Lottie. Our own Tsundere Queen: Gigi Costello as Yuno's Boa Hancock

Next up is a man who is a more serious leader who doesn't approve of Luffy/Yuno's shenanigans, but he also can't deny the results, so he begrudgingly gives Luffy/Yuno free rein. He still tries to talk some sense into Luffy/Yuno and his friends, and they do listen to him on occasion, but those moments are few and far between. He also can't ignore Luffy/Yuno's charisma, and, in spite of himself, he's equally drawn in to the King of Chaos. Congratulations, Tommy T. You are Yuno's Trafalgar Law.

We then have someone who is older. Someone who is a bit of a mentor, but also would gladly follow Luffy/Yuno. Someone who was once a leader himself, but has since disbanded his own crew (or, at least, left them). Someone who is incredibly protective of Luffy/Yuno, but also understands that the kid can hold his own (for the most part). Someone who can't fathom Luffy/Yuno ever betraying anyone. Someone who is a master a steering??? This one is a little bit of a stretch, but my husband believes that Tony Corleone is Yuno's Jimbe.

Finally, we have someone who is a pseudo-ally to Luffy/Yuno, almost begrudgingly. Someone whose goals differ from Luffy/Yuno's and those differing goals caused tension for a bit before the two decided to break off from each other. Someone who has a sort of 1920s gangsta vibe with his underground gambling and mob-like connections. A man whose main goal deep down is to find a family of his own. Marty Banks as Yuno's Capone Bege

My husband also thinks that Benji Ramos would be Yuno's Sanji, mostly due to the incessant flirting with little-to-no success. Also, Mickey Sinclaire as Usopp due to Mickey being a cowardly schemer and master liar. I'm still on the fence for both of those. This list was largely mapping parallels on how these characters relate to Luffy vs how they relate to Yuno. The Benji and Mickey parallels are more about their personalities pairing with One Piece characters.

I think that will have to be a different list, though.

So, NoPixel/One Piece fans, what do you think? Does this work? Would you have picked other character parallels? Are there others we didn't think of?

[savage-kult-of-gorthaur]

DOOM OR BE DOOMED!! -- OBEY THE RIFF!!

PIC INFO: Spotlight on guitarist/co-founder Tony Iommi of English heavy rock band BLACK SABBATH, performing live at the Gaumont in Southampton, England on June 25, 1980, during the band's "Heaven and Hell" era. 📸: Fin Costello.

"SPIN" MAGAZINE: "So, for "Heaven and Hell," the first SABBATH record for Ronnie in the band… I know Sharon Osbourne introduced you two. Did you already know him from RAINBOW or ELF?"

TONY IOMMI: "I’ve never met him before. I’d obviously heard him with Rainbow. I thought, ‘wow, God, he’s a  great singer.’ Never thought for one minute I’d end up being in a band with him. She introduced me to him at a party. Remember those?"

SPIN: "Ha, barely! Had she introduced you with the intention of you guys playing together?"

TONY: "Well, it was sort of mentioned because it came to a point within Sabbath where it was getting a bit sort of… I just wanted to do something. And we were coming to a bit of a halt at the time because of the situation [Ozzy’s partying]. I did mention the idea of doing something solo, as a different project. Ronnie was interested in that. And then when it came to when Ozzy was no longer with the band, I called Ronnie and said, ‘do you fancy coming over and having a play with us?’ He came over and the idea was just to have a jam, really. We did, and we were all impressed with what he did. And he liked what we did. It sort of went from there, really."

SPIN: "I know you worked at Criteria in Miami, home of the Bee Gees… how did you end up there to record "Heaven and Hell"? And, part two, there’s the story you lit drummer Bill Ward on fire… was it there?"

TONY: "Stop making me laugh! No, it wasn’t, actually, it was in London where I set him on fire. We had recorded at Criteria with Technical Ecstasy [in 1976]. We were in Los Angeles when it all blew up with Ozzy, and Don Arden [Sharon’s father] managed us at the time, and he was very difficult, and we were breaking away from him. So we didn’t want to stay in Los Angeles any longer. The idea was, ‘well, let’s go to Miami,’ so we went and stayed at Barry Gibb’s house. And wrote the album, really."

Source: www.spin.com/2021/03/tony-iommi-black-sabbath-dio-eddie-van-halen-interview.

[mediamaze]

X Revolve at Miami Swim Week - Art Hearts Fashion

Revolve by Michael Costello at Miami Swim Week hosted by Art Hearts Fashion Shot by Tony Filson of KissMyKite

[julio-viernes]

Conocí "Love For Sale" por la versión que Elvis Costello incluyó en la reedición ampliada de su quinto LP, "Trust" (1981), disco en el que se pudo empezar a comprobar que aunque Costello se había dado a conocer en el periodo del punk y la nueva ola, lo suyo iba mucho más allá y no iba a conformarse con hacer siempre lo mismo. "Love for Sale" es una canción de Cole Porter presentada por Kathryn Crawford en el musical "The New Yorkers", estrenado en Broadway en diciembre de 1930. La canción está escrita desde el punto de vista de una prostituta que anuncia "amor a la venta".

Antes de Bennett la grabaron Billie Holiday y Ella Fitzgerarld en 1952 y 1957, respectivamente. Bennett le otorgó baile y swing latino, en una toma que enlaza con la versión animada de Ella. Costello un intimismo dramático que remite a la interpretación de Billie. Acompañando a Costello a la guitarra española estuvo el gran Billy Bremner (Rockpile), la registraron poco después de completar "Trust".

[diceriadelluntore]

Storia Di Musica #322 - Spoon, Kill The Moonlight, 2002

Alla cabina del mixer di The Stage Names dei Okkervil River c'era un ragazzo musicista, un batterista per la precisione: Jim Eno. Che all'uscita di quel disco era una sorta di celebrità della musica indie per via del gruppo che aveva fondato, circa dieci anni prima, con il cantante e chitarrista Britt Daniel. Ad Austin infatti agli inzi degli anni '90 fondano un gruppo che prende nome da una canzone dei leggendari Can, il famoso gruppo tedesco della Kosmik Music degli anni '70, che si chiama Spoon (da quel disco meraviglioso che fu Ege Bamyasi del 1972) e che faceva parte della colonna sonora di un film amato dai due ragazzi, Doppio Taglio (Jagged Edge), del 1985. Nel 1994 come duo con musicisti sessionisti incidono le prime canzoni: vanno in un EP, Nefarious (1994) e poi, assodati dalla etichetta Matador, in un LP, del 1996, Telephono, che vende poco ma viene notato da una certa critica come qualcosa di molto interessante. Nel 1997 un nuovo EP, Soft Effects, mostra l'embrione della loro musica futura: poco noisy, una musica geometrica che si rifà alla New Wave più illuminate (i Wire soprattutto) e una passione, soprattutto di Daniel, per Elvis Costello. Durante un concerto del 1996, invitano sul palco Josh Zarbo, bassista tra il pubblico, e finirà per suonare con loro per oltre dieci anni, fino al 2007. Nel 1998 hanno una grande occasione: li mette sotto contratto la Elektra, la leggendaria casa discografica dei The Doors, dei Love, centrale nella musica degli anni '70 negli Stati Uniti: esce persino un disco, A Series Of Sneaks, ma una serie di incomprensioni con il loro referente, Ron Laffitte, porterà ad una distribuzione scadente e persino a scelte produttive non concordate, tanto che la casa discografica li licenzia dopo un solo disco e gli Spoon dedicheranno a Laffitte una suite di sue brani, molto ironici ma potentissimi per la critica nei confronti dei suoi comportamenti, The Agony Of Laffitte e Laffitte Don't Fail Me Now che saranno incluse nella ristampa di A Series Of Sneaks del 2002, quando la band è sotto contratto con la Merge. Una delle etichette più importanti per la musica indipendente crede moltissimo in questo duo, che in tre anni scrive tre dischi bellissimi: Girls Can Tell del 2001 è l'antipasto per il disco di oggi, scelto per il misterioso motivo comune ai dischi di Aprile (che sono sicuro avete ormai capito).

Kill The Moonlight esce il 20 Agosto del 2002. È un disco che fa della semplicità sonora il suo fulcro, che non vuol dire affatto che sia un disco banale: anzi se ne apprezzano le idee, le influenze, le scelte degli arrangiamenti in modo più facile ed incisivo. È un disco che lascia da parte gli stili prefissati, meno dolente di Girls Can Tell, più gioioso e divertente, un omaggio alle loro passioni musicali. Il disco è trascinato da The Way We Get By, che diventerà molto famosa per l'uso in serie cult come The O.C., Scrubs e persino nella colonna sonora di Shameless (e di molti altri film). Il suono è semplice ma variopinto, con addirittura occasionali puntate di fiati, e per la prima volta il fulcro sonoro è di chitarra e pianoforte, quest'ultimo strumento mai usato precedentemente, nei crediti affidato al misterioso Eggo Johanson, in realtà lo stesso Britt Daniel (tra gli altri musicisti, il fido Zarbo e Mike McCarthy alla chitarra, altri due bassisti, Roman Kuebler e John Clayton, Matt Brown al sassofono e Brad Shenfield al Darbuka, che è un tamburo a cesto tipico della musica mediterranea, soprattutto lato africano). Meravigliosi gli intro di Small Stakes, molto rock, e quello quasi dadaista di Stay Don't Go. Someone To Look Foward To è più "sporca" e groove, salendo nei toni alti del canto tanto amati da Daniel. Jonathan Fisk è ritmica e sa di anni '80 (soprattutto nel timbro della batteria di Eno), ed è il più chiaro omaggio a Costello, anche nella tematica del brano (ricordi di bullismo da cortile, religione e politica di destra con "bombe atomiche e rasoi smussati"). C'è anche sufficiente angoscia in brani come All The Pretty Girls Go To The City. Ma è musicalmente che il disco sorprende: sono uno dei pochi gruppi rock indie del periodo che non "abusano" della chitarra ritmica fuzz, ricorrendo alle tastiere, che sono davvero la novità musicale nel loro stile, e anche ai campionatori. Chiude il disco un altro gioiello, Vittorio E., 3 minuti di malinconica e potente "anti-ballata".

Il disco viene osannato dalla critica, e finalmente anche dalle vendite: rientra in tutte le classifiche dei migliori dischi dell'anno 2002, del decennio 2000-2010 e persino nelle posizioni alte delle classifiche specialistiche dei migliori dischi indipendenti di sempre. Diventerà presto uno dei titoli migliori del catalogo Merge, dopo In the Aeroplane Over the Sea dei Neutral Milk Hotel e 69 Love Songs dei Magnetic Fields (li trovate tutte e due nelle Storie Di Musica). Ma il vero boom lo fece il disco successivo per gli Spoon: Gimme Fiction venderà centinaia di migliaia di copie, trascinato da un'altra canzone stupende, I Turn The Camera On, anch'essa usata in serie Tv (Veronica Mars, Bones e persino in una puntata de I Simpson), che segna il successo di una band che ha sempre fatto musica interessante, alla faccia di quel Ron Laffitte che non credette in loro.

[the-hottest-band-tournament]

Round Three of The Hottest 80s Band Tournament

Black Sabbath 

Defeated opponents: Tom Tom Club, Crowded House

Formed in: 1968

Genres: heavy metal 

Lineup: Ronnie James Dio- vocals

Tony Iommi- guitar

Geezer Butler- bass

Bill Ward- drums, percussion

Albums from the 80s:

Heaven and Hell (1980)

Mob Rules (1981)

Born Again (1983)

Seventh Star (1986)

The Eternal Idol (1987)

Headless Cross (1989)

Propaganda: 

Whitesnake

Defeated opponents: GWAR, Elvis Costello and the Attractions

Formed in: 1978

Genres: hard rock, blues rock, glam metal 

Lineup: David Coverdale- vocals

John Sykes- guitar

Neil Murray- bass

Aynsley Dunbar- drums, percussion

Don Airey- keyboards

Albums from the 80s: 

Ready an’ Willing (1980)

Come an’ Get It (1981) 

Saints & Sinners (1982)

Slide It In (1984)

Whitesnake (1987)

Slip of the Tongue (1989)

Propaganda: 

[bracketsoffear]

End Tournament Round 1

The Undertaker vs. Harrowhawk Nonagesimus

Bart Curlish vs. the Raven

Danny Phantom vs. Anton Chigurh

Nico di Angelo vs. the Boy

Antigone Funn vs. Aradia Megido

Suzie Costello vs. Susan Sto Helit

William Bludworth/the Coroner vs. Nadia Vulvokov

Jane Doe vs. Laudna

Red Riding Hood vs. the Big Bad Wolf

The Saint vs. the Foretold

Ned/the Piemaker vs. Godwyn, Prince of Death

The Amazing Karnak vs. Grandma Death

Daedalus vs. Wei Wuxian

Tony the Talking Clock vs. Barok van Zieks

Deadpool vs. Grimora

Light Yagami/Kira vs. the Black Parade

[winterspiderpurrs]

Christmas bonus scene for @professional-benaddict and mine collaboration HeadHunted (link below)

Merry Christmas Rafni!

**********************************************************

Giggling could be heard from the main living room of the manor. It overshadowed the argument going on in the background.

Peter was sitting in front of the fireplace, his cell phone out, as he recorded his newest presents. Who knew what fun it would be to be a third in a marriage. Outside of the whole kidnapping being shot at and all the things being with a mob boss entailed.

Currently, in front of Peter was the non communication present of the husbands trying to ensure Peter had the best first Christmas with them. And them trying to compete with each other.

A large great dane puppy that Tony got him was currently playing with the new kitten that Stephen had gotten him.

Peter was too busy gushing over the newest additions to the family he was tuning out Stephen and Tony, being annoyed with each other by what the other bought

" We already have 2 big dogs, a kitty is perfect and small"

" Yes 2 dogs what is one more? He passed his training, that cat isn't trained"

" Guys, I love them both. Now come sit so I can get a picture of all of us!"

Peter arranged everyone on the couch, his camera sitting on the mantle as he got them ready to pose. Stephen and Tony on either side of Peter in the middle, Diablo the doberman beside Stephen, Rogue the other dobie next to Tony. On the floor in all of their laps was newly named Pixie, the great dane puppy, and the kitten called Costello.

The flash of the camera catching a glint of jewelry around each of the mens neck. Peter was nervous about what to get his partners. He wanted to give them something that showed how much he loved and appreciated them, allowing him to join them. Not like he really had a say, as they wanted him first. But something to remind them and himself that they were together.

So he had custom made jewelry designed for them. They each had the same style of necklace, Tony's in gold, Stephen's in white gold and Peter's in rose gold. They each had a small rectangular pendant, and on the sides were engraving.

Tony's had Peter's and Stephen's names and the dates of when Peter just met him and then the wedding date of Tony and Stephen's.

Stephen's had the first date of meeting Peter with his name and his wedding date with Tony.

Peter's had both of their names and the date of when he met Stephen and when Peter came to work at Tony's nurse.

Peter actually gave them the gifts early on Christmas Eve. He was too nervous and after dinner that night, when they went to cuddle up together in bed he gave them the gifts then. He knew he made the right decision when he saw the look in their eyes as he put his own necklace on that had their names engraved.

Then, they spent the rest of Christmas Eve in bed with each other. Reminding each other how much they love each other and in Peter's case, how much these two men own him in every possible way.

Have a Merry Christmas, and I wish you the best for the New Year!

[shefanispeculator]

Tony Ferguson has had an amazing career in music! He began playing guitar at a young age growing up in England, touring with bands such as Unit 4 + 2 and Christie before switching to the record industry as a producer, manager and as Artist & Repertoire (A&R) for over 20 years. While working for Stiff Records he toured the United States, Europe and Spain working with Elvis Costello and several early Punk bands. A few years later he became A&R for the newly formed Interscope Records. Tony signed the band No Doubt in 1991 and worked with them on their first two albums, the first of which took two years to develop and release. Among the incredible stories Tony shared during his NAMM Oral History interview was the harrowing experience of performing behind the Iron Curtain in the late 1960s with the band Unit 4 + 2.

[sweetdreamsjeff]

Obituary: The son who soared: Jeff Buckley

Date: June 6, 1997

From: The Guardian (London, England)

Publisher: Guardian News & Media

Document Type: Obituary

Byline: ADAM SWEETING

FEW ROCK business careers began more tantalisingly than that of Jeff Buckley, who has drowned in the Mississippi river, aged 30 (his body was found on Wednesday this week). In 1991, record producer Hal Willner, known for assembling imaginative, star-studded tributes to Charles Mingus and Kurt Weill, put together a tribute concert for Jeff's father, Tim Buckley, at St Ann's Church, Brooklyn, New York. Tim had died of a heroin overdose in 1975, aged 28, but his early death ignited a slow-burning musical legend. It was founded on his recorded legacy in which soul, blues and jazz influences mingled freely, the process stirred by his arrestingly elastic vocal style.

His son Jeff, born in California during Tim's brief marriage to Panama-born Mary Guibert, had always been ambivalent about his father. Tim left Mary when Jeff was six months old, and his son was brought up by his mother and stepfather during a peripatetic childhood. 'We moved so often I had to put all my stuff in paper bags,' Jeff recalled. 'My childhood was pretty much marijuana and rock 'n' roll.'His decision to participate in Willner's tribute event launched Buckley Junior as a new phenomenon on the New York music scene, and simultaneously affirmed his quasi-mythic credentials, particularly when he performed his father's song Once I Was. 'It bothered me that I hadn't been to his funeral, that I've never been able to tell him anything,' said Jeff. 'I used that show to pay my last respects.'

Thus launched in public, Buckley was rescued from a string of odd jobs by joining the avant-garde combo Gods & Monsters, which featured Pere Ubu's ex-bassist Tony Maimone and Captain Beefheart's erstwhile guitarist Gary Lucas. But it was more a loose group of individuals than a real band and Buckley quit in early 1992 to pursue a solo career.

He began performing at small Manhattan clubs, particularly the Cafe Sin-e, where record company executives and A&R men were soon arriving by the limo-full, waving chequebooks. 'I went into those cafes because I really felt I had to go to an impossibly intimate setting where there's no escape, where there's no hiding yourself,' he explained.

Buckley's remarkable voice (his most obvious inheritance from his father) and movie-star looks left nobody in doubt that he was a star in the making, though the eclecticism of his shows confused some listeners. Buckley would pluck songs out of the air as the mood took him. It might be something by Van Morrison, the Hollies or Big Star, or a tune made famous by Nina Simone or Mahalia Jackson.

With a hippie-esque suspicion of large corporations, he turned down several deals before signing with Columbia at the end of 1992, apparently because he knew and trusted the label's A&R man Steve Berkowitz. The company previewed their new acquisition with a live EP, Live At Sin-e, following which Buckley travelled upstate to Bearsville to start work on his debut album, Grace.

The disc was released in 1994 to instant critical adulation. The sleeve pictured Buckley clutching a microphone and looking poetically dishevelled, while the music inside was a cornucopia of rockers, ballads, hymns and even a bold rendition of Benjamin Britten's Corpus Christi Carol, by no means standard rock 'n' roll fare. His voice was wild, passionate and sensual. If his music was hard to describe in a soundbite, it was bursting with hidden depths and infinite potential. Grace won Buckley the Best New Artist award from Rolling Stone magazine in 1995.

Buckley's inquisitiveness and musical ambition earned him acceptance across a broad spectrum of fellow performers. Elvis Costello brought him over in 1995 to perform at London's Meltdown Festival, where he easily held his own among string quartets and jazz ensembles, and last year he featured on Patti Smith's comeback album, Gone Again. He was also a fan of Eastern music, particularly the Islamic devotional Qawwali songs of Nusrat Fateh Ali Khan.

Buckley had been in Memphis since February, recording new material. He decided to go swimming in the Mississippi, fully clothed and carrying his guitar, but was apparently pulled under by the wash from a passing tug.

Jeff Buckley, rock singer, born August 1, 1966; died May 29, 1997

[rockandrollpicsandthings]

Rainbow, keyboard master Tony Carey onstage Auditorium Theatre, Chicago, 1975 ©pic Fin Costello

[kinonostalgie]

John Cleese und Terry Gilliam sind die einzigen Mitglieder von Monty Python, die für Oscars nominiert wurden. Zufälligerweise waren sie beide für das beste Original-Drehbuch, Gilliam für "Brasilien" (1985) und Cleese für "Ein Fisch namens Wanda" (1988). Beide Drehbücher gewannen ihre Oscars nicht und beide Filme waren Michael Palin dabei.

Cleese sagte, dass er den Charakter von Otto auf einem Zen-buddhistischen Lehrer basiere, den er einmal in einer Werbung gesehen hatte, einem Mann, der sich als sachkundig ausgab, aber „einzigartig unbeeindruckend“ aussah Er beschloss, Otto als Mann zu schreiben, der nicht schlau genug war, um zu erkennen, wie dumm er war. " Kevin Kline hat viel Material in Werbung gemacht, als er nach und nach die Figur fand.

Jamie Lee Curtis wurde auf allen Call-Sheets als "Jamie Lee Schwartz" aufgeführt, weil Cleese es amüsant fand, dass der echter Name ihres Vaters Tony Curtis Bernard Schwartz war.

Gilliam bemerkte unter seinen Co-Stars von Monty Python, dass es eine Trennung zwischen den größeren, "aggressiveren" Männern aus Cambridge (Cleese, Graham Chapman und Eric Idle) und den kürzeren, leichteren Oxford-Männern (Michael Palin & Terry Jones), denen der Amerikaner Gilliam näher befand. Gilliam hielt Cleese für das "Cambridge" der Gruppe, da er das höchste und "aggressivste" Mitglied von Monty Python war.

Nur um zu sehen, ob es jemandem auffällt, dass Cleese in den frühen 1970er Jahren einen offensichtlich gefälschten Film pro Jahr zu seiner jährlichen Filmographieliste in Who's Who hinzugefügt hat. Fürs Protokoll, diese gefälschten Filme waren "The Bonar Law Story" (1971), "Abbott & Costello treffen Sir Michael Swann" (1972), "Der Barber" (1973) und "Bekenntnisse eines Programmplaners" (1974). Obwohl Cleese den Gag in den 1980er Jahren gestand, erscheinen die Erwähnungen dieser gefälschten Filme immer noch von Zeit zu Zeit in wissenschaftlichen Werken über Cleese, einschließlich des Eintrags in der Enzyklopädie des Fernsehens, 1. Ed. (1996) herausgegeben von Horace Newcomb.

[touchstoneaf]

MSR/TXF playlist con't (they get longer as we get into the later seasons, for... reasons. Sexy/relationshippy ones, hehe):

S8:

Today: Jefferson Airplane (S)

I’m Still Waiting: Jamie O’Neal (S)

Cry No More (album version): Arcade (S)

Un-Break My Heart: Toni Braxton (S)

Gone Away: The Offspring (S)

How Do I Live: Leann Rimes (S)

Without You: Niilson (S) 

My Heart Will Go On: Celine Dion (S)

It Must Have Been Love: Roxette (S)

Who Wants To Live Forever (When Love Must Die): Queen (S)  

Scully’s Theme: Mark Snow (S)

My Immortal: Evanescence (S)

Do What You Have To Do: Sarah McLachlan (S)

Always On My Mind: Willie Nelson (M)

Stranded: Heart (S)

Beautiful Disaster (live version): Kelly Clarkson (S)

Kiss From A Rose: Seal (S)

Blue In The Face: Alkaline Trio (M)

Best Of My Love: The Eagles (M)

Bent: Matchbox 20 (M)

Fields Of Gold: Sting (M)

Blood and Fire: Indigo Girls (M)

If I Could Turn Back Time: Cher (M)

I’ll Stand By You: The Pretenders (S)

Making Love Out of Nothing at All: Air Supply (M)

Can’t Let Go: Mariah Carey (S)

Can’t Find My Way Home: Steve Winwood (M)

I Will Follow You Into The Dark: Death Cab For Cutie (S)

If I Close My Eyes Forever: Ozzy Ozbourne and Lita Ford (M)

Good: Better Than Ezra (B)

Never: Heart (S)

I’m On Fire: Bruce Springsteen (M) 

My Lover: Melissa Etheridge (S)

Full Of Grace: Sarah McLachlan (S)

Take Me For A Little While: Coverdale Page (M)

Out Of My Head: Fastball (M)

The Flame: Cheap Trick (B)

Here By Me: 3 Doors Down (B)

With Arms Wide Open: Creed (M)

The Reason: Hoobastank (M)

S9:

Save Tonight: Eagle-Eye Cherry (M)

Hands To Heaven: Breathe (M)

Against All Odds: Phil Collins (S)

Babe: Styx (M)

Every Little Kiss: Bruce Hornsby and the Range (B)

Every Time You Go Away: Paul Young / Hall and Oates (S)

Stranded: Heart (S)

If: Bread (B) 

Now You’re Gone: Whitesnake (S) 

Is This Love: Whitesnake (M)

Bed Of Roses: Bon Jovi (M)

Right Here Waiting: Richard Marx (S)

Somewhere: Within Temptation (S)

Time In A Bottle: Jim Croce (M)

Faithfully: Journey (M)

Send Her My Love Journey (M) 

Silent Running: Mike and the Mechanics (M)

I Guess That’s Why They Call It The Blues: Elton John (S)

Human Hands: Elvis Costello (M)

I Remember You: Skid Row (M)

I Will Remember You: Amy Grant (S)

Back For Good: Take That (S)

Nobody Knows: The Tony Rich Project (S)

All Along: Blessid Union of Souls (S)

Twenty-Nine Palms: Robert Plant (M)

All Out Of Love: Air Supply (S)

Everything I Own: Bread (S)

Far Away: Nickelback (B)

Ordinary World: Duran Duran (S) 

Constant Craving: KD Lang (B)

Season of Hollow Soul: KD Lang (B)

Seasons of Wither: Aerosmith (B)

When I’m Gone: 3 Doors Down (M) 

Here Without You: 3 Doors Down (B)

Landing In London: 3 Doors Down (M)

Away From The Sun: 3 Doors Down (M)

As I Lay Me Down: Sophie B. Hawkins (S)

Eyes Like Twins: Wilson Phillips (S)

Day After Day: Badfinger (S)

Broken: Amy Lee / Seether (B)

Mental Picture: Jon Secada (M)

Breathe Again: Toni Braxton (S)

Full of Grace: Sarah McLachlan (S)

To My Valentine: SJ Tucker (M)

Epiphany: Staind (M)

Warm Safe Place: Staind (M)

It’s Been A While: Staind (M)

Sweet Dreams: Air Supply (B)

Another Rainy Night: Queensryche (S)

I’ll See You In My Dreams: Giant (B)

Upside-Down Roses: Bekah Kelso (S)

What I Know: Bekah Kelso (S)

Wishing You Were Here: Chicago (S) 

The Letter (Ticket For An Airplane): The Box Tops (M) 

TN1 Teaser / Piotr Tchaikovski: Mark Snow / Scully  

Ghost: Indigo Girls (S)

Baby Come Back: Ambrosia (S) 

Just Another Day: Jon Secada (B)

It Don’t Come Easy: Badfinger (B)

Mandolin Rain: Bruce Hornsby and the Range (B)

One Year Of Love: Queen (B)

The Promise: Tracy Chapman (M)  

Just Remember I Love You: Firefall (M)

We Are Near (Scully’s Theme Extended): Mark Snow (S)

Unchained Melody: The Righteous Brothers (B)

Viva Forever: Spice Girls (S)

All Of My Love: Led Zeppelin (M)

(I ignore everything after Scary Monsters, because I refuse to accept that adoption bullshit or TLG dying (IT WAS A HOAX I TELL YOU!). Also, i will never accept the whole reboot 'CSM was the father' garbage. Not possible timing-wise (Mulder barely is if you do weird math with alien fetuses), and also, Just, NO.

I have more playlist for them, but it's very fanfic-centric and goes with my series on them, which departs after Scary Monsters to go AU, so i can post those if anyone wants me to.)

[piasgermany]

[Album] Joan As Police Woman kündigt neues Album an: "Lemons, Limes & Orchids"!

Die wunderbare Joan As Police Woman veröffentlicht mit "Lemons, Limes & Orchids" den Nachfolger des 2021 veröffentlichten Albums "The Solution Is Restless", das in Zusammenarbeit mit dem verstorbenen Afrobeat-Pionier Tony Allen und dem multidisziplinären Künstler Dave Okumu entstanden ist. Das 10. Studioalbum der amerikanischen Musikerin - VÖ 20. September über Play It Again Sam - ist im Kern ein Album über Liebe und Verlust. Eine Hommage an das Durchhalten in einer brüchigen, schnelllebigen Welt, inklusive unserer kollektiven Orientierungslosigkeit. In den zwölf Songs geht es darum, wie die Liebe uns vor Freude und vor Kummer immer wieder den Atem raubt. Teils Hymnen an das Festhalten, teils Segen für das Loslassen.

Das Album ist ein spannendes neues Kapitel von Joans künstlerischem Schaffen, die sich tiefer in ihre Jazz-Einflüsse hineinwagt und diese mit elektronischen und ambienten Elementen verbindet. “I was ready to make an album that truly featured my voice”, erzählt Joan, die mittlerweile als Keyboarderin und Background-Sängerin auch Teil der Liveband von Iggy Pop ist. “The basics were recorded like they used to be- with me singing live along with the band. My good friend told me this is the sexiest album I’ve ever made. Honestly, I think she’s right.”

Das Album wird von einer beeindruckenden Liste von Mitwirkenden produziert und instrumentiert. Dazu gehören die mit dem GRAMMY-Award ausgezeichnete Meshell Ndegeocello am Bass, Chris Bruce (Seal, Trevor Horn, Alanis Morisette) an der Gitarre, Daniel Mintseris (St. Vincent, David Byrne, Elvis Costello & The Imposters) am Keyboard sowie ihr longtime-fellow Parker Kindred (Jeff Buckley, Liam Gallagher) und Otto Hauser, die sich am Schlagzeug abwechseln.

Die erste Single "Long For Ruin" zeigt Joan, wie sie den traurigen Zustand der Welt hinterfragt, vor allem aber die Rolle, die der Mensch als aktiver Teil beim fortschreitenden Verfall der Gesellschaft spielt. Der Song dröhnt mit nachdrücklicher Dringlichkeit und Besorgnis, und untermauert die Beklemmung und Hoffnungslosigkeit des Tracks mit einer cineastischen Instrumentierung aus Indie-Rock, Soul, verzerrten Gitarren und schlurfenden Percussions. All das wird durch Joans melancholische Gesangsperformance nur noch weiter verstärkt. “We seem intent on destroying ourselves“, ergänzt die Songwriterin. “We seem unwilling to share resources. We seem to have turned away from ourselves and in turn each other.”

Tracklist "Lemons, Limes & Orchids": 01. The Dream 02. Full-Time Heist 03. Back Again 04. With Hope In My Breath 05. Long For Ruin 06. Started Off Free 07. Remember the Voice 08. Oh Joan 09. Lemons, Limes and Orchids 10. Tribute To Holding On 11. Safe To Say 12. Help Is On It’s Way

Live: 19.10.24 AT-Ebensee - Kino 21.10.24 Berlin - Heimathafen 22.10.24 Hamburg - Mojo Booking in D: Listen Collective

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[dreaminginthedeepsouth]

John Cleese and Terry Gilliam are the only members of Monty Python to be nominated for Oscars. Coincidentally, they were both for Best Original Screenplay, Gilliam for "Brazil" (1985) and Cleese for "A Fish Called Wanda" (1988). Both screenplays did not win their Oscars, and both films featured Michael Palin. Cleese said that he based the character of Otto on a Zen Buddhist teacher that he once had seen in an advertisement, a man who pretended to be knowledgeable but looked "singularly unimpressive." He decided to write Otto as a man "not smart enough to realize how stupid he was." Kevin Kline ad-libbed a lot of material as he gradually found the character. Jamie Lee Curtis was listed as "Jamie Lee Schwartz" on all of the call sheets, because Cleese found it amusing that her father Tony Curtis' real name was Bernard Schwartz. Gilliam noted among his Monty Python co-stars that there seemed to be a division between the taller, more "aggressive" Cambridge men (Cleese, Graham Chapman, & Eric Idle) and the shorter, lighter-humored Oxford men (Michael Palin & Terry Jones), the latter of which the American Gilliam found himself closer to. Gilliam considered Cleese the most "Cambridge" of the group, being the tallest and most "aggressive" member of Monty Python. Just to see if anyone would notice, during the early 1970s Cleese added one obviously fake film per year to his annual filmography listing in Who's Who. For the record, these fake films were "The Bonar Law Story" (1971), "Abbott & Costello Meet Sir Michael Swann" (1972), "The Young Anthony Barber" (1973) and "Confessions of a Programme Planner" (1974). Although Cleese confessed to the gag in the 1980s, mentions of these bogus films still appear from time to time in scholarly works on Cleese, including the entry in the Encyclopedia of Television, 1st ed. (1996) edited by Horace Newcomb. (IMDb) Happy Birthday, John Cleese!

[Cinema Shorthand Society]