#derek brooker

[temperancevalkyrie]

I would've boned almost every actor who played Adult Jason Voorhees.

Hodder, Mears, Kirzinger, Brooker, Gillette and Graham specifically.

Ted White can fuck off and die 🤷🏻‍♀️🔪

[magical-grrrl-mavis]

There have been 82 Doctors at this point!

Keep reading line because the list is so damn long.

Main Continuum

(In order of appearance)

Classic Who

First Doctor (William Hartnell 1963 – 1966, Richard Hurdnall 1983, David Bradley 2017, 2022)

Second Doctor (Patrick Troughton 1966 – 1969)

Third Doctor (John Pertwee 1970 – 1974)

Fourth Doctor (Tom Baker 1974 – 1981)

Fifth Doctor (Peter Davidson 1981 – 1984)

Sixth Doctor (Colin Baker 1984 – 1986)

Seventh Doctor (Sylvester McCoy 1987 – 1989)

Eighth Doctor (Paul McGann 1996 movie)

Nu Who

Ninth Doctor (Christopher Eccleston 2005)

Tenth Doctor (David Tennant 2005 – 2010)

Eleventh Doctor (Matt Smith 2010 – 2013)

The War Doctor (John Hurt 2013)

Twelfth Doctor (Peter Capaldi 2013 – 2017)

Thirteenth Doctor (Jodie Whittaker 2017 – 2022)

Fourteenth Doctor (David Tennant 2023)

Fifteenth Doctor (Ncutu Gatwa 2023 - ?)

Pre - Memory Doctors

(Timeless child my beloathed)

Morbius Doctors (Robert Holmes, Graeme Harper, Douglas Camfield, Philip Hinchcliffe, Christopher Baker, Robert Banks Stewart, George Gallaccio and Christopher Barry 1976)

The Other (Sylvester McCoy, 1990)

The Fugitive Doctor (Jo Martin 2020)

The Timeless Child(ren) (TBA, Grace Nettle, Leo Tang, Jac Jones, TBA, Jesse Deyi 2020)

Brendan (Evan McCabe 2020)

Possible Future Doctors

(italicized parts of names are the title of that Doctor's first appearance, if I can't find a better name)

Father of Time (No Actor, 1987)

"Merlin" or The Battlefield Doctor (No actor, 1991)

The Army of Shadows Doctor (No actor, 1991)

"Fred" (No actor, 1993)

The Relic (no actor 1997, 2002)

The Storytelling Doctor (Tom Baker 1999)

The Web of Caves Future Doctor (Mark Gatiss, 1999)

The Blue Angel Future Doctor (No Actor, 1999)

The Curator 1 (Tom Baker, 2013)

The Curator 2 (Collin Baker, 2022)

Pseudo-Doctors

The Watcher (Adrian Gibbs 1981)

The Valyard (Michael Jayston 1986)

The Obverse Eight Doctor (No actor, 1999)

The Metacrisis Doctor (David Tennant 2008)

The DoctorDonna (Catherine Tait 2008)

The Dream Lord (Tony Jones 2010)

The Ganger Doctor (Matt Smith 2011)

The Spriggan (David Tennant 2022)

Alternate Realities

Dalek Films

Dr. Who (Peter Cushing 1965, 1966)

The Inferno Universe

The Leader (Jack Kine, 1970)

Doctor Who and the Daleks in Seven Keys to Doomsday

The Doctor (Trevor Martin 1974)

Previous Doctor (Nocholas Briggs 2008)

The Lenny Henry Show

The Seventh Doctor (Lenny Henry 1986)

What If?

The Eighth Doctor (No actor, 1997)

The Infinity Doctors

The Infinity Doctor (No actor, 1998)

The Curse of Fatal Death

The Doctor (Rowan Atkinsen 1999)

The Quite Handsom Doctor (Richard E Grant 1999)

The Shy Doctor (Jim Briadbent 1999)

The Handsom Doctor (Hugh Grant 1999)

The Female Doctor (Joanna Lumley 1999)

The Chronicles of Doctor Who?

The Doctor (no actor, 2000)

Klein's Story

Johann Schmidt (Paul McGann, 2010)

Father Time

The Emperor (No actor, 2001)

Scream of the Shalka

The 9th Doctor (Richard E Grant 2003)

Doctor Who Unbound

The Doctor (Geoffrey Bayldon 2003)

The Unbound Doctor (David Warner 2003)

The Heartless Doctor (David Collings 2003)

The New Heartless Doctor (Ian Brooker 2003)

Martin Bannister (Derek Jacobi 2003)

The Victorious Valyard (Michael Jayston 2003)

The Previous Doctor (Nicholas Briggs 2003)

The Exile Doctor (Arabella Weir 2003)

The Warrior (Collin Baker 2022)

Gallifrey - Disassembled

Lord Burner (Collin Baker 2011)

Gallifrey - Regenerators

Commentater Theta Sigma (Collin Baker, 2011)

False Negative

The Doctor (No actor, 2017)

The People Made of Smoke

The Sixth Doctor (Dan Starkey, 2020)

Unspecified Doctors

Yeah sometimes they just say "The Doctor" and don't bother specifying...

The Cabinet of Light Doctor (No Actor, 2003)

The Dalek Factor Doctor (No actor, 2004)

[thatbiologist]

G’eth Character Name Bank

First Names

Masculine Names

Alfred, Andrew, Arlo, Arthur, Balthazar, Barry, Ben, Benedick, Bernard, Burchard, Cedric, Charibert, Crispin, Cyrill, Daegal, Derek, Digory, Drustan, Duncan, Edmund, Edwin, Elric, Evaine, Frederick, Geffery, George, Godfreed, Gregory, Guy, Harris, Harry, Horsa, Hugh, Humphrey, Iago, Jack, Jeremy, John, Kazamir, Kenric, Lawrence, Leoric, Lorik, Luke, Lynton, Lysander, Madoc, Magnus, Maukolum, Micheal, Miles, Milhouse, Mordred, Mosseus, Ori, Orvyn, Neville, Norbert, Nycolas, Paul, Percival, Randulf, Richard, Robert, Roderick, Stephen, Tennys, Theodoric, Thomas, Tristan, Tybalt, Victor, Vincent, Vortimer, Willcock, Willian, Wymond

Feminine Names

Adelin, Alice, Amelia, Beatrix, Beryl, Bogdana, Branwyne, Brigida, Catalina, Catherine, Claudia, Crystina, Deanna, Desdemona, Elaine, Elinora, Eliza, Enide, Eva, Ferelith, Fiora, Freya, Gertrude, Gregoria, Gueanor, Gwen, Gwendolyn, Hannah, Hegelina, Helen, Helga, Heloise, Henrietta, Igraine, Imogen, Jacquelyn, Jane, Jean, Jenny, Jill, Juliana, Juliet, Katie, Leela, Lettice, Lilibet, Lilith, Lucy, Luthera, Luz, Lyra, Malyna, Margherita, Marion, Meryl, Millie, Miranda, Molle, Morgana, Morgause, Nezetta, Nina, Novella, Olwen, Oriana, Oriolda, Osanna, Pamela, Petra, Philippa, Revna, Rohez, Rosalind, Rose, Sallie, Sarra, Serphina, Sif, Simona, Sophie, Thomasine, Tiffany, Ursula, Viola, Winifred, Yrsa, Ysabella, Yvaine, Zelda, Zillah

Gender-Neutral/Unisex Names

Adrian, Alex, Aiden, Arden, Ariel, Auden, Avery, Bailey, Blaire, Blake, Brett, Breslin, Caelan, Cadain, Cameron, Charlie, Dagon, Dana, Darby, Darra, Devon, Drew, Dylan, Evan, Felize, Fenix, Fernley, Finley, Glenn, Gavyn, Haskell, Hayden, Hunter, Jace, Jaime, Jesse, Jo, Kai, Kane, Karter, Kieran, Kylin, Landon, Leslie, Mallory, Marin, Meritt, Morgan, Nell, Noel, Oakley, Otzar, Paris, Peregrine, Quant, Quyn, Reagan, Remy, Robin, Rowan, Ryan, Sam, Samar, Sasha, Sloan, Stace, Tatum, Teegan, Terrin, Urbain, Vahn, Valo, Vick, Wallace, Waverly, Whitney, Yardley, Yarden, Zasha

Surnames

Surnames, Patrilineal - First Name (Patrilineal Surname)

Ace, Allaire, Appel, Arrow, Baker, Bamford, Barnard, Beckett, Berryann, Blakewood, Blanning, Bigge, Binns, Bisby, Brewer, Brickenden, Brooker, Browne, Buller, Carey, Carpenter, Carter, Cheeseman, Clarke, Cooper, Ead, Elwood, Emory, Farmer, Fish, Fisher, Fitzroy, Fletcher, Foreman, Foster, Fuller, Galahad, Gerard, Graves, Grover, Harlow, Hawkins, Hayward, Hill, Holley, Holt, Hunter, Jester, Kerr, Kirk, Leigh, MacGuffin, Maddock, Mason, Maynard, Mercer, Miller, Nash, Paige, Payne, Pernelle, Raleigh, Ryder, Scroggs, Seller, Shepard, Shore, Slater, Smith, Tanner, Taylor, Thatcher, Thorn, Tilly, Turner, Underwood, Vaughan, Walter, Webb, Wilde, Wood, Wren, Wyatt, Wynne

Surnames, Townships in G’eth - First Name of (Location)

Abelforth, Argent Keep, Barrow Springs, Barrowmere, Bedford, Brunhelm, Bumble, Casterfalls, Dunbridge, Falmore Forest, Folk’s Bounty, Frostmaid, Fulstad, Heller’s Crossing, Hertfordshire, Humberdale, Inkwater, Little Avery, Marrowton, Mistfall, Mistmire, Morcow, Necropolis-on-Sea, Otherway, Parsendale, Piddlehinton, Port Fairwind, Redcastle, Ransom, Rutherglen, Saint Crois, Tanner’s Folly, Tavern’s Point, Wilmington

Surnames, Geographical Locations in G’eth - First Name of the (Location)

Cove of Calamity, Deep Woods of Falmore, Eastern Isles, Eastern Mountains, Foothills, Frozen Peak, Lakes, Maegor Cobblestones, Northern Mountains, Southern Isle, Tangle, West Coast, Wild Wild Woods, Woods of Angarad

Surnames, Nickname - First Name the (Something) 

Bald, Bastard, Bear, Bearded, Big, Bird, Bold, Brave, Broken, Butcher, Bruiser, Careless, Caring, Charitable, Clever, Clumsy, Cold, Confessor, Coward, Crow, Cyclops, Devious, Devoted, Dog, Dragonheart, Dreamer, Elder, Faithful, Fearless, Fey, Fool, Friend, Generous, Giant, Goldheart, Goldfang, Gouty, Gracious, Great, Hag, Handsome, Hawk, Honest, Huge, Humble, Hungry, Hunter, Innocent, Ironfist, Ironside, Keeper, Kind, Lesser, Liar, Lionheart, Little, Loyal, Magical, Mercenary, Merchant, Messenger, Old, Orphan, Pale, Polite, Poet, Poor, Prodigy, Prophet, Proud, Reliable, Romantic, Rude, Selfish, Sellsword, Scab, Scholar, Shield, Shy, Singer, Sirrah, Slayer, Slug, Small, Stoneheart, Swift, Tadde, Talented, Tart, Tenacious, Timid, Tiny, Tough, Traveller, Trusted, Truthful, Viper, Wizard, Wolf, Wyrm

[ole777mobi]

Emma Brooker Wikipedia

At one level, Katy Perry was reportedly flirting with Trevor, and since she was apparently his lifelong superstar crush, Sierra supported it. Donovan entered DWTS with “no expectations” and even a phobia of Dancing, however the pair has since earned Derek Hough’s designation of this season’s dark horses. According to Slater, being the underdog is incessantly less complicated than being the…

[geekgemsspooksandtoons]

The GeekGem Verse?

I’m giving this a title so it gets attention.

But I’ve thought about making this for a while or so. I need to reveal this in case anyone hasn’t noticed yet. Because I also have thought about this weird idea.

In nearly all of my big AU’s. Whether they never got fully started(FNAF & Bendy), or they are their own thing and going well(Bioshock Rebirth)...there is a trend you will see in all three.

There is a character named Derek. All three of these...have a character named Derek.

Which leads into this. I have wondered about because of small details like this. Yet it’s mostly like an easter egg. Kind of like a movie directors work, you’ll notice something in there that is familiar. Or even a character has a similar name or so. Kind of like Quentin Tarantino’s work which is weird to say.

But the idea is about, should I have these three(My AU’s. Including Stories From Fazbear’s and whatever Bendy thing I’ll do next) exist in the same universe? 

In all honesty, it sounds like fun right? Because it is...but I feel like is there really a need for it? Besides, Bioshock Rebirth was caused by Burial At Sea breaking the multiverse. But it was mainly the Bioshock multiverse. So a FNAF timeline and a Bendy timeline appearing in it would seem weird.

It’s kind of like the theories of, “Alien, Predator, and Terminator exist in the same universe” kind of thing. Basically this video, I just watched it. I’m wondering if I’ve watched it before. It feels familiar having watched it.

I just really dig that thumbnail. But the idea is just strangely funny yet amusing to me. I would be a hypocrite if I was against it? But let me word this correctly...

A universe where legitimate diving suited monsters with drills that protect little girls, a demonic cartoon character brought to life by a ink machine, and possessed animatronics(One of them being possessed by a serial killer)...all existing in the same world...

I shouldn’t forget the underwater city...

It’s something I wouldn’t mind...it depends...but I wanna talk about the Derek’s and the Grady’s.

Here the Derek’s of these three worlds.

Derek Anderson. The young CEO of the new Fazbear Entertainment of the modern day. Who can be a gentleman. But in all seriousness, he’s an asshole who cares about money and is trying not to go bankrupt like the original CEO’s.

Derek Brooker. A bodyguard of Joey Drew. But also the original Alice Angel stan before me and my bro @kaijuguy19​ were even born yet.

*Was gonna edit a piece of Jared Padalecki’s face on there. Because Derek is reincarnated as a cartoon bear called Twisted Barry. But I felt like it would be mean. But also a simple bear is better. :)*

Now the Grady’s. Ian Grady, Katherine Grady, and Derek Grady.

I’m trying to be funny. But in my FNAF stuff. Ian was the first guard who experienced the first hauntings of the animatronics. When moving on from his job at Freddy’s. Years later in the 90′s. His wife would give birth to a daughter named Katherine. 

Derek Grady is a new character in an upcoming Bioshock Rebirth story I have made. But it hasn’t been beta tested yet. I think I have thought about just posting it. But I’ll wait till my friend Pikablob is less busy or so.

I have wondered...should I make Derek a younger brother of Ian, or whoever else. Definitely not a son though. Considering I have Ian being born in the 1960′s.

Now I’m just rambling on. I am not gonna put a keep reading option here. Because I want folks to see this. XD I wanted to make this and I did...so it’s possible and oh head...I could possibly do it...but it’s still weird. Yet when writing this, I did wonder wait, what about the old timelines?...fuck, Burial At Sea broke more than just the Bioshock multiverse...maybe. XD

Did wonder what image I wanted to use of Markiplier. I did think of using one of him with his long hair...but meh...just that picture of him make that edit I made seem funnier. XD

To be honest...I wanna make a cool thumbnail like that. :) I did think of it recently.

[artblooger19moon]

Jason Voorhees

FRIDAY THE 13TH

[nosensedit]

Like this post if you save.

[namesisfortombstones]

Happy Friday the 13th, J-Man.

[aion-rsa]

All Things Must Pass Remaster Brings Out George Harrison’s Voice

https://ift.tt/eA8V8J

A new remaster of George Harrison’s All Things Must Pass highlights why it was such an important record. Not just as an album, but of the time it was made. Besides the lead guitarist for the biggest act in showbiz history, it boasted players and a producer who each made an impact on the course of modern music. It’s been celebrating its 50th anniversary for a while now and it’s earned it. It was the first triple album by a single artist in rock history (the Woodstock concert album, released six months earlier, included a compilation of acts), and set the standard for longer long-playing albums.

Harrison set quite a few standards, including the first rock benefit project, The Concert for Bangladesh. As the Beatles guitarist, he demonstrated melodic and harmonic possibilities which hadn’t been explored in rock and roll, often changing the entire feel of songs with a single riff. As their in-house tonal experimentalist, his sitar-led songs didn’t just use the eastern stringed instrument as an exotic guitar. They captured the structure, atmosphere, tonality and shifting rhythms of Eastern music. The opening of “Love You To” can barely be classified as western commercial music, but had a universal appeal. As the band’s somewhat lesser-known songwriter, Harrison composed musical standards which eclipsed even the mighty songwriting team of John Lennon and Paul McCartney.

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The consistent hitmakers made for a competitive compositional atmosphere in the band. “I had such a lot of songs mounting up that I really wanted to do, but I only got my quota of one or two tunes per album,” Harrison admitted on The Dick Cavett Show in 1971. Even after a new arrangement was worked out for the group’s output, Harrison had quite a backlog of songs when the Beatles broke up. At least two of the best known songs from All Things Must Pass were written in 1966.

While still in the Beatles, Harrison released Wonderwall Music, which was a soundtrack to a film, and Electronic Sound, which saw him as one of the early experimenters on the synthesizer. According to the press statement for the remaster, George, along with Ringo Starr and bassist Klaus Voorman recorded fifteen songs at EMI Studios on the first day, May 26, 1970. The demo included “What Is Life,” “Awaiting on You All,” and “My Sweet Lord.” The next day Harrison played 15 more songs for co-producer Phil Spector, who covertly recorded them. The songs “Everybody, Nobody,” “Window, Window,” “Beautiful Girl,” “Tell Me What Has Happened to You,” “Nowhere To Go,” and “Don’t Want To Do It” never made the album. The whole session did come out on the bootleg Beware of ABKCO set.

The 50th Anniversary re-issue of All Things Must Pass includes versions of “Mother Divine,” and “Cosmic Empire,” which have never been officially released. The official music video reveals “Cosmic Empire” as a melodically catchy piece, with an instantly recognizable acoustic guitar run, and a change into a deep blues false ending.

You can see the video here:

The Wall of Sound

The deluxe 50th Anniversary Edition is executive produced by Harrison’s son Dhani, and his first order of business was to pull back on Spector’s reverb-heavy production. Spector was the man Lennon brought in to produce the song he’d written for breakfast, wanted to record for lunch and have out for supper: The Plastic Ono Band single “Instant Karma!,” which Harrison played on. Spector also produced the final mix of the Beatles’ Let It Be, as well as Lennon’s Plastic Ono Band and Imagine albums.

Spector was a legend in the studio. He created the “Wall of Sound” with the top session players of the early 1960s, and Harrison tasked him with doing it again with the current cream of the musical crop. This included two of out of three members of the band Cream. Ginger Baker drums on a jam, and Eric Clapton’s guitar gently weeps all over All Things Must Pass. Crying on the inside over his unrequited love for George’s wife Pattie Boyd Harrison, Eric was getting ready to wail about her on Layla and Other Assorted Love Songs. Harrison co-wrote “Badge” with Clapton for Cream’s Goodbye album, and played on Derek and The Dominos’ debut single, “Tell The Truth” backed with “Roll It Over.” Spector recorded it. It went so well, much of the band stuck around to be bricks in the contemporary Wall of Sound.

“Phil was in full control of this whole bunch of musicians playing,” Voorman remembers in Simon Leng’s book, While My Guitar Gently Weeps. “We played all at the same time – we didn’t record one on top of the other; it was all six people playing acoustic guitars and five keyboard players playing the piano all at once. It was crazy!”

The Players

To fill seats in the rock orchestra, Harrison dipped into the players he’d been on stage with since the waning days of the pre-breakup Beatles. Harrison, credited as “Mysterioso,” toured with Delaney & Bonnie and Friends. He was a backing guitarist beside Clapton, in a band which included Dave Mason, Bobby Whitlock, Carl Radle, Jim Gordon, and Leon Russell, who would prove invaluable for The Concert for Bangladesh.

Also called in for sessions were Procol Harum’s Gary Brooker, Badfinger’s Pete Ham, Tom Evans and Joey Molland; Spooky Tooth’s Gary Wright, sax player Bobby Keys; and trumpeter Jim Price. Besides Starr and Gordon, drums and percussions were played by Alan White, who was then the drummer for the Plastic Ono Band and would go on to drum for Yes, and Phil Collins. Peter Frampton played guitar on much of the album. Nashville player Pete Drake played pedal steel. Drake pioneered the use of the talkbox, and Frampton caught it first-hand during sessions before using it as the hook for his hit “Show Me the Way.” John Barham, a pianist and arranger who had worked with Harrison’s sitar guru Ravi Shankar, wrote orchestral scores.

Keyboardist and longtime Beatle associate Billy Preston is a major influence on the album. All Things Must Pass is a spiritual celebration. Harrison set up a small altar in the studio, and devotees of the Hare Krishna movement brought the players vegetarian food. Harrison was as much a spiritual student as a musical one of sitar maestro Ravi Shankar. The same could be said of Preston.

The Songs

Harrison made a special study of the structure and composition of gospel music for his work with soul singer Doris Troy, who he produced and co-wrote songs with. He delved further to co-produce Preston’s fourth studio album That’s The Way God Planned It, and wrote “What Is Life” for it. George also co-produced Preston’s fifth album Encouraging Words, which came out two months before All Things Must Pass, and included versions of the title track and “My Sweet Lord.”

You can hear several versions of the Beatles running through “All Things Must Pass” on bootlegs. Though not as many passes as the famously unreleased “Not Guilty” got. It might have been too pointed a self-reference for the group to deal with. The title comes from a passage of chapter 23 of the Tao Te Ching: “All things pass, a sunrise does not last all morning. All things pass, a cloudburst does not last all day.” It is more philosophical than spiritual, but is as uplifting as its chordal ascension. “Beware of Darkness” is lyrically devotional and cautionary, but its structure is a mystery of faith. It’s all over the place harmonically, as the key aimlessly wanders into melodic transcendence.

“Awaiting On You All” is one of the most blatant spiritual proclamations of the album. It describes Japa Yoga meditation, the repetitive chanting of a mantra, which is mystical energy itself, inside sound. “Chanting the names of the Lord and you’ll be free,” explains the lyrics. Though Harrison does get in a dig at the Catholic Church. “While the Pope owns fifty one percent of General Motors, and the stock exchange is the only thing he’s qualified to quote us,” the last verse opens. Harrison’s deep understanding of the spiritual music he was producing was most fully realized on the album’s most recognizable song.

“I thought a lot about whether to do ‘My Sweet Lord’ or not, because I would be committing myself publicly and I anticipated that a lot of people might get weird about it,” Harrison wrote in I Me Mine. Towards the end of the Delaney & Bonnie tour in December 1969, Harrison heard and fell in love with Edwin Hawkins’ piano-driven, modern gospel rendition of the 18th century hymn “Oh Happy Day.” Inspired by the joyful energy, Harrison wanted to merge the buoyantly devotional “Hallelujah” invocations with the “Hare Krishna” Maha Mantra of the Hindu faith. The subconscious mix evoked some not-so-instant karma when Harrison was sued for “unconscious plagiarism” by the royalty owners of The Chiffon’s “He’s So Fine,” which could be interpreted as a devotional invocation.

“My Sweet Lord” is also the song which best establishes and exemplifies Harrison’s signature, post-Beatles, slide guitar playing.

The album’s opener, “I’d Have You Anytime,” was co-written with Bob Dylan when Harrison spent the Thanksgiving 1968 weekend at Dylan’s home in Woodstock. They also co-wrote the song “When Everybody Comes to Town.” Harrison played on Dylan’s April 1970 New York City sessions for the album New Morning, performing uncredited on several songs, including “If Not for You,” the second of All things Must Pass’ vagabond troubadour trilogy. Dylan had spent a lot of time off the road after his motorcycle crash of 1966. Harrison encouraged the reclusive artist to make his comeback performance at the Isle of Wight festival in 1969. “Behind That Locked Door,” which comes later on the album, is part of that encouragement.

The Beatles passed on including “Isn’t It a Pity” on Revolver, so George gifts us with two fully realized versions of it for All Things Must Pass. The 50th Anniversary box set includes an even more “downtempo version,” with Nicky Hopkins on piano. “Wah-Wah” was the first song recorded for the album, which is fitting because it was written on the day Harrison walked out of the “Get Back” sessions. It’s a great, angry song, in the tradition of “Taxman,” though not as pointed as Lennon’s “Sexy Sadie,” or “How Do You Sleep,” which Harrison played on. “Let It Down” has some great vocal backing by Clapton and Whitlock.

Hearing Clapton’s opening guitar screams squeezed through his wah-wah on “Art of Dying” makes you wonder how the Beatles rejected it in 1966. Although the lyrics George brought to the band at the time might have sealed its fate: “There’ll come a time when all of us must leave here, then nothing Mr. Epstein can do will keep me here with you,” Harrison admitted singing at his bandmates in I Me Mine. “Art of Dying” is the hardest Harrison rocks on the album and Spector lets the band explode. Coming after the intimately amorous “I Dig Love,” it is suspense reincarnate. Listen for Phil Collins’ bongos on the remix.

Harrison brought “Hear Me Lord” to the Beatles when they were recording at Twickenham Film Studios in January 1969. It is as confessional as anything Lennon cops to on his debut album Plastic Ono Band, but primal in an entirely different way. “Apple Scruffs” is Harrison’s personal gift to the group of fans which used to camp outside the Apple Corps offices for a glimpse of the four when they was fab. Performed live by a solo George with Beatles roadie Mal Evans tapping along, it is acoustic fun with a wild and wayward harmonica.

The Jams

But not as much fun as the band had after Spector went to bed for the night. Harrison initially thought it would take just two months to record the album, but had to take a break in the middle to care for his mother, Louise, who was ill with cancer in Liverpool. Louise bought George his first guitar and encouraged all things musical, including allowing the early Beatles to rehearse at their house. She passed away in July 1970. 

Bored with the lag time, Spector was drinking heavily, bracing himself with Cherry Brandy just to sit in the booth, and ultimately breaking his arm in a fall. He left the sessions in July 1970, and Harrison produced overdubs at London’s Trident Studios and Apple Studios. But most of the album’s backing tracks were recorded onto eight-track tape at Abbey Road, with the musicians normally playing live.

When Spector left the studios, Harrison and the other musicians would jam into the early hours. “Thanks For the Pepperoni,” pulls the toppings off Chuck Berry riffs. It was recorded along with “Plug Me In” on July 1, 1970, with Harrison, Clapton and Dave Mason on guitars, Radle on bassr, Whitlock on keyboards, and Jim Gordon on drums. “Out Of the Blue” must get its title from how it comes in. It sounds like the band was in the middle of a fun run, and someone rushed to turn on the tape. But listen for Voorman’s lead guitar part.

“I Remember Jeep” is named for Clapton’s dog, and Preston and Baker bring out the jazz while Harrison’s Moog playing breaks traditions. “It’s Johnny’s Birthday” is a mockup of Cliff Richard’s song “Congratulations,” which the band warbled to Lennon for his 30th birthday. These afterhours jams were the kinds of musical driftwood routinely collected by bootleggers before box sets made them standard extras.

Demos and extra tracks, like “Mother Divine” or “Nowhere to Go,” underscore the greatest flaw of the original album: George’s vocals. Even gruff, weak and not-yet-familiar with the songs, Harrison’s voice is a beautifully emotive instrument. During their solo careers, he and Lennon drenched their voices with effects. Even Spector complained in production notes how Harrison’s voice is buried on too many songs. The new mix brings the voices forward. It doesn’t completely take away the reverb, because some of it is artistically correct, like the slap back echoes which evoke a specific sound. It is very well used on “Going Down to Golder’s Green,” an outtake which finds Harrison channeling his inner Elvis. One of the deluxe editions of the All Things Must Pass reissue includes a 96-page scrapbook evoking the time.

The album cover shows Harrison at home in Friar Park. Photographed by Barry Feinstein, George is surrounded by four garden gnomes, which could be taken as an in-joke on his days with the Beatles. All Things Must Pass was released Nov. 27, 1970, as a triple vinyl album. To accommodate the extra disc, Tom Wilkes of Camouflage Productions designed a box with a hinged lid, similar to the packaging of classical music and operas. It is presciently fitting, as the record is a modern masterwork of a timeless artist.

All Things Must Pass 50th Anniversary Edition will be available on Aug. 6.

The post All Things Must Pass Remaster Brings Out George Harrison’s Voice appeared first on Den of Geek.

from Den of Geek https://ift.tt/3fmed7Y

[diceriadelluntore]

Storia di Musica #152 - George Harrison, All Things Must Pass, 1970

Il disco di oggi l’ho scelto anche in senso simbolico, sin dal titolo, per un’uscita da quest’anno particolarmente significativo. Questo è un disco che ha parecchi primati tra l’altro, ed frutto di una esigenza: dare alla luce tutto quello che si era tenuto dentro i cassetti George Harrison. Il chitarrista dei Beatles ha sempre vissuto nell’ombra del due Lennon\McCartney, anche frenato dalle personalità dei due nel proporre i suoi brani, un po’ anche per il suo carattere schivo e riservato. Fatto sta che quando un suo brano era approvato dagli altri due, ne sono usciti capolavori (pensate a Something da Abbey Road, o While My Guitar Gently Weeps). Harrison abbastanza stranamente fu però il primo Beatle a firmare un disco solista, Wonderwall Music nel 1968, una colonna sonora di un film registrato in India, dove era in viaggio spirituale per abbracciare le religioni orientali (e che fu ispirazione per una delle canzoni più belle degli Oasis) ripetuto nel 1969 da Electronic Sounds, un esperimento di musica elettronica prodotto dalla Zapple, una sottoetichetta dalla loro casa discografica (la famosissima Apple). La storia di cosa accadrà è nota: dopo l’uscita di Abbey Road nel 1969 la band non esiste praticamente più, e Let It Be, prodotto da Phil Spector, ne è il canto del cigno. Harrison è l’unico che lega con il geniale produttore del Wall Of Sounds (una particolare tecnica di sovraincisione di archi e fiati per dare un’aria wagneriana alla musica pop) e lo invita nella sua villa di Friar Park, dicendogli “Ho qualcosa da farti ascoltare”. In verità Harrison, liberatosi dal vincolo del gruppo, gli fa ascoltare centinaia di pezzi, registrazioni, idee, Spector è estasiato, tanto che dirà “passai giorni interi ad ascoltare quelle canzoni, tutte potenziali successi”. Nonostante le scremature, All Things Must Pass, registrato a Londra tra il maggio e l’ottobre 1970, finisce per essere un triplo album, 6 facciate per complessive 18 canzoni più un disco di jam session improvvisate. Oltre a Spector in produzione, alle musiche partecipano tanti amici di Harrison tra cui Eric Clapton, fraterno amico, Gary Wright, Bobby Whitlock, Gary Brooker, Billy Preston, Tony Ashton che diventeranno i Derek and the Dominos, alla batteria si alternano Ringo Starr, Jim Gordon, Alan White, Phil Collins, Ginger Baker, Peter Frampton e Dave Mason alla chitarra, Klaus Voorman, amico dei Beatles dai tempi di Amburgo suona il contrabbasso, Bobby Keys, che era il sassofonista dei Rolling Stones e altri. E non voglio certo dimenticare che il disco di apre con I’d Have You Anytime, scritta con Bob Dylan, che ospitò Harrison nella sua villa di Woodstock durante la convalescenza post incidente motociclistico, quando nel seminterrato suonava e registrava meraviglie con la The Band; nel disco Harrison canta anche una toccante If Not For You che il menestrello di Duluth pubblicherà pochi giorni dopo l’uscita di questo triplo in New Morning. Il disco è bello, riuscito, in perfetto equilibrio tra una componente scherzosa e una di riflessione di tipo religiosa, che caratterizza alcuni brani divenuti iconici come Beware Of Darkness, Isn’t It A Pity, la forza musicale di What Is Life o la bellezza di Let It Down (apoteosi spectoresca). Harrison sciorina tutta la sua classe e in alcuni brani lancia anche frecciatine: Wah-Wah, con la metafora del pedale per l’effetto della chitarra usato moltissimo durante le registrazioni di Get Back\Let It Be racconta dell’atmosfera da mal di testa che c’era durante quelle sessioni; Apple Scruffs, dedicata alle ammiratrici che appostavano i 4 di Liverpool davanti agli Studi della Apple, è un’altra frecciatina, dato che per gli altri 3 erano una seccatura, per George invece erano una manifestazione della passione musicale; My Sweet Lord, canzone simbolo del disco, è una canzone sulla spiritualità, e sul cambiamento che Harrison subì rispetto alla religione, con la conversione all’induismo e all’abbandono del settarismo religioso (con la fusione nel coro dell’Hallelujah con il mantra Hare Kṛṣṇa e la preghiera Vedica). My Sweet Lord è famosa anche per una storia di plagio: un giudice condannò nel 1976 Harrison di aver “incosciamente” usato la struttura musicale di un brano doo-woop delle The Chiffons, He’s So Fine, brano di cui alla fine Harrison acquistò i diritti, dopo aver corrisposto alle autrici di He’s So Fine un cospicuo assegno. Cospicuo poichè il disco arrivò al numero 1 sia in Gran Bretagna che negli Stati Uniti, e nella gara con gli altri dischi solisti degli ex Beatles, McCartney di Paul e il John Lennon\ Plastic Ono Band dello stesso anno, a mio parere e a parere di molti critici musicali, vince per compattezza e per successo. Due ultime cose: la copertina fu scattata da Barry Feinstein nel giardino di Friar Park: Harrison è seduto come un giardiniere con gli stivali di gomma circondato da 4 nani da giardino, probabilmente a simboleggiare i 4 Beatles. Si dice che Lennon se la prese moltissimo per questo, e anche perchè aveva fatto un disco migliore del suo. Disco che era costosissimo tra l’altro, dato che aveva una scatola con cerniera nella quale inserire i tre dischi in vinile a 33 giri e un poster di Harrison in chiaroscuro in un corridoio. Una delle canzoni mito del disco, All Things Must Pass, dolcissima, ha un passaggio che fa così:

All things must pass None of life’s strings can last So, I must be on my way And face another day

è il mio augurio per chi mi legge, e buona musica a tutti. 

[studiesof-fandom-primaryblog]

Library Update

Edward P. Comentale, Aaron Jaffe - The Year's Work at the Zombie Research Center

Jennifer Otter Bickerdike - Fandom, Image and Authenticity: Joy Devotion and the Second Lives of Kurt Cobain and Ian Curtis

Jonathan Gray, Cornel Sandvoss, and C. Lee Harrington - Fandom: Identities and communities in a mediated world

Lynnette Porter - The Doctor Who Franchise: American Influence, Fan Culture and the Spinoffs

Louisa Ellen Stein, Kristina Busse, Louisa Ellen Stein, Kristina Busse - Sherlock and Transmedia Fandom: Essays on the BBC Series

Mark Duffett - Understanding Fandom: An Introduction to the Study of Media Fan Culture

Paul Booth - Playing Fans: Negotiating Fandom and Media in the Digital Age

Paul Booth - Crossing Fandoms: SuperWhoLock and the Contemporary Fan Audience

Zoe Fraade-Blanar, Aaron M. Glazer - Superfandom: Como nossas obsessões estão mudando o que compramos e quem somos

Aaron Schwabach - Internet and the Law: Technology, Society, and Compromises

Jonathan Gray - Show Sold Separately_ Promos, Spoilers, and Other Media Paratexts

Jonathan Gray, Amanda D. Lotz - Television Studies

Jonathan Gray, Derek Johnson - A Companion to Media Authorship

Jonathan Gray, Jeffrey Jones, Ethan Thompson - Satire TV: Politics and Comedy in the Post-Network Era

Lincoln Geraghty - American Science Fiction Film and Television

Paul Booth - Game Play: Paratextuality in Contemporary Board Games

Various Authors - Heroines of Film and Television: Portrayals in Popular Culture

Will Brooker - Batman Unmasked_ Analyzing a Cultural Icon

Will Brooker - The Blade Runner Experience: The Legacy of a Science Fiction Classic

[brn1029]

Here’s what happened on this date in music….

April 4th

1953 - The Stargazers

The Stargazers were at No.1 on the UK singles chart with 'Broken Wings.' The first record by any British group to reach No.1. Stargazers' member Fred Dachtler is the father of Clark Datchler of 80s group Johnny Hates Jazz.

1956 - Elvis Presley

Elvis Presley played the first of two nights in San Diego Arena in San Diego, California. The local Police chief issued a statement saying if Elvis ever returned to the city and performed like he did, he would be arrested for disorderly conduct.

1960 - Elvis Presley

RCA Victor Records announced that it would be release all Pop singles in mono and stereo simultaneously, the first record company to do so. Elvis Presley's single, 'Stuck on You' was RCA's first mono / stereo release.

1964 - The Beatles

The Beatles held the top five places on the US singles chart, at No. 5 'Please Please Me', No.4 'I Want To Hold Your Hand', No.3, 'Roll Over Beethoven', No.2 'Love Me Do' and at No.1 'Can't Buy Me Love.' They also had another nine singles on the chart, bringing their total to fourteen singles on the Hot 100.

1967 - Jimi Hendrix

The Jimi Hendrix Experience,The Walker Brothers, Engelbert Humperdink and Cat Stevens played two shows at Bournemouth Winter Gardens, England. The Jimi Hendrix Experience were also the special guests on the first edition of the UK BBC-TV's 'Dee Time', along with Kiki Dee and Cat Stevens.

1970 - Van Morrison

Brinsley Schwarz's promotion company sent 133 UK journalists, by plane to New York to see the band supporting Van Morrison at the Fillmore East, at a cost of £120,000 ($204,000). The event turned into a disaster. The group planned to leave a few days before the show to rehearse, but were denied visas on a technicality. They were finally given visas on the morning of the show, and arrived hours before the concert. The plane carrying the journalists developed a mechanical fault, delaying the flight and when the journalists arrived In New York 18 hours later, they were all hung over. Brinsley Schwarz gave a underwhelming live performance, resulting in a flood of scathing reviews.

1970 - Crosby Stills Nash & Young

Crosby Stills Nash & Young went to No.1 on the US album chart with Deja Vu. The first album which saw Neil Young joining Crosby, Stills and Nash featured three US Top 40 singles: 'Teach Your Children', 'Our House' and 'Woodstock'.

1982 - Derek and the Dominos

‘Layla’ was on the UK singles chart. The re-released track originally featured on the Derek and the Dominos, album Layla and Other Assorted Love Songs (November 1970). Inspired by Clapton's then unrequited love for Pattie Boyd, the wife of his friend George Harrison, ‘Layla’ is considered one of rock music's definitive love songs, and features an unmistakable guitar figure played by Eric Clapton and Duane Allman.

2007 - Metallica

A Swedish couple ran into trouble with authorities after trying to name their baby Metallica. Michael and Karolina Tomaro went to court with the country's National Tax Authority about naming their daughter after the rock band. The six-month-old had been baptised Metallica, but tax officials said the name was "inappropriate". Under Swedish law, both first names and surnames need to win the approval of authorities before they can be used.

2008 - Procol Harum

Procol Harum singer Gary Brooker won back full royalty rights to the band's worldwide hit, ’A Whiter Shade Of Pale’ at London's Court of Appeal. The decision overturned a 2006 ruling that organist Matthew Fisher was entitled to a 40% portion of royalties on the 1967 hit after he argued he had written the song's organ melody. The court ruled there was an 'excessive delay' in the claim being made - nearly 40 years after the song was recorded.

2013 - The Rolling Stones

Former Rolling Stones bassist Bill Wyman turned himself in to British police after reports emerged suggesting he began a sexual relationship with his second wife, Mandy Smith, when she was 14 years old. After a brief meeting, the authorities decided not to pursue charges.

2016 - David Bowie

It was reported that David Bowie had dominated the UK album charts for the first quarter of 2016. Bowie had the most entries to the chart with six albums in the top 40, after fans sought out his music in the wake of his death in January with his final album Blackstar becoming the second best selling album of the year so far, (behind Adele's 25).

[emmaconwayfmpyearone]

Jason Voorhees

Jason Voorhees is the main character in the friday the 13th franchise and is protrayed by  Ari Lehman (child), Warrington Gillette, Steve Daskewisz, Richard Brooker, Ted White, Tom Morga, C. J. Graham, Kane Hodder, Ken Kirzinger and Derek Mears.  In his first appearance hes the young son of camp cook-turned-killer Mrs. Voorhees at Camp Crystal Lake and originally she was the antagonist of the film. Since he has been known to stalk and kill the campers under his mothers instructions.

[auskultu]

Procol Harum: The Harum Troubles

Derek Boltwood, Record Mirror, 30 September 1967

WHEN FIVE individuals come together to experiment with music and ideas, and produce a collection of individual sounds blended together to create one of the most fantastic, and one of the biggest hit records of 1967, one must expect a certain amount of chaos, confusion and consternation to reign.

And so it was in the case of Procol Harum.

Now, they assure me, all their troubles are at an end. The group have reformed, bringing in Robin Trower and Barry Wilson to replace guitarist Ray Royer and drummer Bobby Harrison. And all the behind the scenes difficulties that were so well publicised seem to have sorted themselves out as well.

‘BEST OF TERMS’ As Gary Brooker, the lead singer says: “We learnt a lot from our experiences with ‘A Whiter Shade Of Pale’. It was very difficult for us, a newly formed group, to cope with all the problems involved in having such a huge hit on our hands. Things just started happening before we knew where we were. But now we’re ready to meet whatever comes along. All this has nothing to do with Bobby and Ray, you understand. When we reformed the group Bobby and Ray left us on the very best of terms, and we are all the best of mates still. And we’ve sorted our management out now as well. Tony Secunda and Keith Reid have really got everything organised—and Tony is our hero. The thing is that, until you’ve been a number one group, you can never know what it requires. However, we learnt the hard way, and now we’re ready for success when it comes along again. “I think we may get another number one with ‘Homburg’—it’s a beautiful number, and a good song to record, and we did as best we could with it. I think it has more instant impact that ‘A Whiter Shade Of Pale’—and the song is as good, if not better.”

I wondered if the sudden disappearance of the pirate radios from the scene would affect their record at all.

DAVE KNIGHT SPEAKS “No. The absence of the pirates won’t affect the charts. Perhaps the climb to the top won’t be as rapid as it was with ‘Whiter Shade Of Pale’, but it’ll get there. Anyway, I think ‘WSOP’ would have been exactly the same without the plugs—and apart from that, the BBC are our friends.”

At this point the normally silent Dave Knights said something, but I was so stunned at this sudden flow of conversation, that I’ve completely forgotten what it was. Still, I thought I’d best put it down for the record that the silence of many moons had finally been broken!

And what about the two new members of the group? Robin and Barry both used to play in that very underrated group the Paramounts, with Gary, before the formation of Procol Harum. What, I wondered, did they think of their new comrades?

“Really nice guys,” said drummer Barry, who idolises Ringo Starr to the extent of using Ringo Starr drumsticks.

“When I first met them at the audition,” said Robin, “I was surprised to find that they were real people like you and me, and not gods at all. In fact,” repeated Robin, “they ARE really nice guys.”

[fanhackers]

New fan studies research - August 8th, 2017

A weekly list of new/recent fan studies research that’s just been added to the Fan Studies Bibliography. Works are divided into things that are open access (=immediately readable for anyone) and not open access (=behind a paywall or not yet public).

Most of the stuff in the “not open access” section this week is chapters from a new edition of Fandom: Identities and Communities in a Mediated World, a key fan studies book from 2007. Some of the chapters are new, so we’ve included them again. Click the links to Google Books to read at least a portion of the chapters.

If we missed anything or made a mistake, submit a correction and we’ll fix it in next week’s edition. Happy reading!

Open access:

Dyche, Caitlin. 2017. “Binging on Gilmore Girls: A Parasocial Exploration of Fans’ Viewing Behaviors.” MA thesis, The University of Alabama. http://search.proquest.com/openview/967beed642f597db6d5ce6e2209800f9/1?pq-origsite=gscholar&cbl=18750&diss=y

Gerrard, Ysabel. 2017. “‘It’s a Secret Thing’: Digital Disembedding through Online Teen Drama Fandom.” First Monday 22 (8). http://www.ojphi.org/ojs/index.php/fm/article/view/7877

Shuhail, Maitha, and Swapna Koshy. 2017. “The UAE’s Tryst with Anime: An Evaluation.” In International Conference on Education, Humanities and Management (ICEHM-17). University of Wollongong in Dubai. http://ro.uow.edu.au/dubaipapers/875/

Not open access:

Alalinarde, Marine. n.d. “The Popularization of Space – Link between Science, Policy, and Public Perception Star Trek as an Early Mind-Opener for Space Endeavors.” Space Policy. doi:10.1016/j.spacepol.2017.04.008

Bennett, Lucy. 2017. “Resisting Technology in Music Fandom: Nostalgia, Authenticity, and Kate Bush’s ‘Before the Dawn.’” In Fandom: Identities and Communities in a Mediated World, 127. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA127&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsILS&sig=Vjoad2iSt62u6tIeLFkE9TCl-V4

Bielby, Denise D., and C. Lee Harrington. 2017. “The Lives of Fandoms.” In Fandom: Identities and Communities in a Mediated World, 205. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA205&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsILS&sig=cy1nKV04YVDqcYzlNKdmLg_ZgUc

Brooker, Will. 2017. “A Sort of Homecoming: Fan Viewing and Symbolic Pilgrimage.” In Fandom: Identities and Communities in a Mediated World, 157. https://books.google.be/books?hl=en&lr=&id=rDsuDwAAQBAJ&oi=fnd&pg=PA157&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=CuQarDx1EI&sig=Xccp6mCNfGfcTTxShPHI5xEEwnQ

Busse, Kristina. 2017. “Intimate Intertextuality and Performative Fragments in Media Fanfiction.” In Fandom: Identities and Communities in a Mediated World, 45. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA45&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsLFO&sig=GlJYrevscM4zTT3mSzfUKQsc4Fc

Cavicchi, Daniel. 2017. “Loving Music: Listeners, Entertainments, and the Origins of Music Fandom in Nineteenth Century America.” In Fandom: Identities and Communities in a Mediated World, 127. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA127&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsILS&sig=Vjoad2iSt62u6tIeLFkE9TCl-V4

Chatman, Dayna. 2017. “Black Twitter and the Politics of Viewing Scandal.” In Fandom: Identities and Communities in a Mediated World, 299. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA299&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsLLR&sig=-gTLqGaSArUiSYWgAkw5P27mTbU

Click, Melissa. 2017. “Do All ‘Good Things’ Come to an End? Revisiting Martha Stewart Fans After ImClone.” In Fandom: Identities and Communities in a Mediated World, 91. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA91&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsLFO&sig=3H9pteYqFXJ1lacRu4kvyin3KfY

De Kosnik, Abigail. 2017. “Memory, Archive, and History in Political Fan Fiction.” In Fandom: Identities and Communities in a Mediated World, 270. https://books.google.be/books?hl=en&lr=&id=rDsuDwAAQBAJ&oi=fnd&pg=PA270&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=CuQarDx_KM&sig=y-3xCSPsF-1YPlrUVQVZ7vfs238

Duffett, Mark. 2017. “I Scream Therefore I Fan? Music Audiences and Affective Citizenship.” In Fandom: Identities and Communities in a Mediated World, 157. https://books.google.be/books?hl=en&lr=&id=rDsuDwAAQBAJ&oi=fnd&pg=PA157&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=CuQarDx1EI&sig=Xccp6mCNfGfcTTxShPHI5xEEwnQ

Gilbert, Anne. 2017. “Live from Hall H: Fan/Producer Symbiosis at San Diego Comic-Con.” In Fandom: Identities and Communities in a Mediated World, 354. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA354&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsLLR&sig=d8V6RovPT473iCxldV51UpS33CQ

Gray, Jonathan. 2017. “The News: You Gotta Love It.” In Fandom: Identities and Communities in a Mediated World, 91. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA91&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsLFO&sig=3H9pteYqFXJ1lacRu4kvyin3KfY

Gray, Jonathan, Cornel Sandvoss, and C. Lee Harrington. 2017. Fandom, Second Edition: Identities and Communities in a Mediated World. NYU Press.

Groot, Gerry. 2018. “Cool Japan Versus the China Threat: Does Japan’s Popular Culture Success Mean More Soft Power?” In Japanese Language and Soft Power in Asia, 15–41. Palgrave Macmillan, Singapore. doi:10.1007/978-981-10-5086-2_2

Hashimoto, Kayoko. 2018. “Cool Japan and Japanese Language: Why Does Japan Need ‘Japan Fans’?” In Japanese Language and Soft Power in Asia, 43–62. Palgrave Macmillan, Singapore. doi:10.1007/978-981-10-5086-2_3

Heljakka, Katriina. 2017. “Toy Fandom, Adulthood, and the Ludic Age: Creative Material Culture as Play.” In Fandom: Identities and Communities in a Mediated World, 91. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA91&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsLFO&sig=3H9pteYqFXJ1lacRu4kvyin3KfY

Hills, Matt. 2017. “Media Academics as Media Audiences: Aesthetic Judgments in Media and Cultural Studies.” In Fandom: Identities and Communities in a Mediated World, 91. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA91&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsLFO&sig=3H9pteYqFXJ1lacRu4kvyin3KfY

Ito, Mizuko. 2017. “Ethics of Fansubbing in Anime’s Hybrid Public Culture.” In Fandom: Identities and Communities in a Mediated World, 333. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA333&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsLFO&sig=_N9B3TOhIMUaec4XKopkUpSnK8Y

Jenkins, Henry. 2017. “‘What Are You Collecting Now?’: Seth, Comics, and Meaning Management.” In Fandom: Identities and Communities in a Mediated World, 91. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA91&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsLFO&sig=3H9pteYqFXJ1lacRu4kvyin3KfY

Johnson, Derek. 2017. “Fantagonism: Factions, Institutions, and Constitutive Hegemonies of Fandom.” In Fandom: Identities and Communities in a Mediated World, 369. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA369&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsILS&sig=MaB5iQsaaGzBEj6pfaxE54RKkQE

Kido Lopez, Lori, and Jason Kido Lopez. 2017. “Deploying Oppositional Fandoms: Activists’ Use of Sports Fandom in the Redskins Controversy.” In Fandom: Identities and Communities in a Mediated World, 315. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA315&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsLFO&sig=DViP_a-OxD9pQXNNBa10Rgse9RU

Linden, Henrik, and Sara Linden. 2017. “Text and Representation: The Community and the Individual.” In Fans and Fan Cultures, 61–83. Springer. http://link.springer.com/chapter/10.1057/978-1-137-50129-5_4

Lothian, Alexis. 2017. “Sex, Utopia, and the Queer Temporalities of Fannish Love.” In Fandom: Identities and Communities in a Mediated World, 238. https://books.google.be/books?hl=en&lr=&id=rDsuDwAAQBAJ&oi=fnd&pg=PA238&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=CuQarDx_KM&sig=rSfqe90jB2TPsYlURD_qnYBohIY

Morimoto, Lori Hitchcock, and Bertha Chin. 2017. “Reimagining the Imagined Community: Online Media Fandoms in the Age of Global Convergence.” In . https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA174&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsILS&sig=WcSJ9h5XSqpYVb3rvxzmD4LE5-s

Napoli, Philip M., and Allie Kosterich. 2017. “Measuring Fandom: Social TV Analytics and the Integration of Fandom into Television Audience Measurement.” In Fandom: Identities and Communities in a Mediated World, 402. https://books.google.be/books?hl=en&lr=&id=rDsuDwAAQBAJ&oi=fnd&pg=PA402&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=CuQarDx1KL&sig=iLdgmcNLWO_YeOls7sxpR582MEs

Punathambekar, Aswin. 2017. “Between Rowdies and Rasikas: Rethinking Fan Activity in Indian Film Culture.” In Fandom: Identities and Communities in a Mediated World, 285. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA285&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsLFO&sig=jK5Ag4AszyY3qjbjiwLziMbxGGs

Sandvoss, Cornel. 2017. “The Death of the Reader? Literary Theory and the Study of Texts in Popular Culture.” In Fandom: Identities and Communities in a Mediated World, 45. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA45&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsLFO&sig=GlJYrevscM4zTT3mSzfUKQsc4Fc

Scott, Suzanne. 2017. “The Powers That Squee: Orlando Jones and Intersectional Fan Studies.” In Fandom: Identities and Communities in a Mediated World, 387. https://books.google.be/books?hl=en&lr=&id=rDsuDwAAQBAJ&oi=fnd&pg=PA387&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=CuQarDx1KL&sig=uhuPWTDq1PNJKf1QtzwUv7T_TCg

Tushnet, Rebecca. 2017. “Copyright Law, Fan Practices, and the Rights of the Author (2017).” In Fandom: Identities and Communities in a Mediated World, 77. https://books.google.be/books?hl=en&lr=&id=qDsuDwAAQBAJ&oi=fnd&pg=PA77&dq=%22Fandom:+Identities+and+Communities+in+a+Mediated+World%22&ots=Sv-jQJsILS&sig=4dDAv2r9PvyAjY2rVjPs6Gz7I4M

Woods, Kelsey, Michael D. Slater, Jonathan Cohen, Benjamin K. Johnson, and David R. Ewoldsen. 2017. “The Experience of Narrative in the Permanently Online, Permanently Connected Environment.” In Permanently Online, Permanently Connected: Living and Communicating in a POPC World. https://books.google.be/books?hl=en&lr=&id=eJwuDwAAQBAJ&oi=fnd&pg=PT269&ots=59Z3Zx-OxB&sig=3KyamjrFVEP0D7AEA_-uPZiiXGw.

[geekgemsspooksandtoons]

Derek's story

Derek Brooker: I may not be right in the head because I am literally in love with a cartoon character. Even though she's a character that had helped me through my darkest times. But I know the difference between right and wrong and have friends who view me as family who helped me through those dark times as well. I am gonna make sure Mr. Drew never hurts anyone again.

*After his own father figure Joey Drew murders him and puts him in the ink world. Derek becomes a hulking beast but he's still some what similar*

*Derek trying to say a full sentence*

Twisted Derek:....ALL.....ANGELS....ARE...VALID.

Basically the joke is that buff dog meme. He was already a buff dog. But he becomes a even bigger buff dog in the ink world.