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rorystormandthehurricanes · 1 year

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Anthony Hogan's paragraph descriptions of John Byrne (Johnny Guitar), Ringo Starr, Charles O'Brien (Ty O'Brien), and Walter Eymond (Lu Walters) from the book FROM A STORM TO A HURRICANE (2016)

" John [Byrne] was born on 4 December 1939 in Liverpool to Michael Patrick Byrne, a Seaman, born 22 October 1908, and Elsie Ford, who had married in the city in 1932. Elsie was born 10 July 1905 in Liverpool, with her early years being spent at No. 2 Belfast Road in Old Swan. Here she lived with her one sister and four brothers, her mother Eliza (nee Cowan) and her father Henry, who worked as a coal dealer. Her parents had married in 1898 and moved to the Old Swan area from Everton. By 1933 Michael and Elsie were living in London, where they had their first two children, Patrick and Norma. The family returned to Liverpool when Michael's work was moved there. After their return, John and Paul were born. John was a pupil at St Oswald's school in Old Swan and a part of the church of the same name. Like Alan, John had taken dance lessons at Martin's school on Derby lane. They had both attended the boys' club there as well. Just before his teen years John was struck down with rheumatic fever. He pulled through and spent six months in a Southport hospital convalescing. "

" Charles was born Charles William O'Brien in Liverpool on 15 February 1941, to Charles William O'Brien, born 1906 in Liverpool, and Marie Brierly, born 2 October 1904 in Liverpool. The couple married in 1927 at St Michael and Sacred Heart church on West Derby Road, Liverpool. The family lived at No. 49 Pemberton Road, Old Swan, with Charles Sr working as a seaman for the Canadian Pacific Line. Charles had an older sister named Marie who had been born in 1928. (..) Young Charles became a very talented amateur boxer, training at the Derby Lane gym, as well as a very good guitar player. He had been a pupil at St Oswald's school, and attended the church there. Charles, or Chas as he was often called, had known John Lennon and The Quarrymen in their early days. He was also another member of the band who had attended Martin's dance school on Derby Lane in Old Swan, where he proved to be a rather decent dancer. "

" Richard [Starkey] had been born on 7 July 1940, at No. 9 Madryn Street in the Dingle area of Liverpool, to Richard Starkey and Elsie Gleave, who had married in 1936. The couple had spent time dancing together on the ballroom circuit, but the birth of Richard drove them apart. Richard Snr showed little interest towards his son, preferring to spend his time drinking in local pubs. Elsie raised Richard and doted after him. In 1944 they moved the short distance to No. 10 Admiral Grove, the move being done by loading their possessions onto a handcart. Within a year Richard Shr had left and a divorce had been completed; his son barely saw him again. Richard, known as Ritchie, was very ill as a child, developing appendicitis aged six that led to a stay in the Myrtle Street children's hospital. He was a pupil at St Silas primary school and Dingle Vale secondary school, where he was a classmate of Billy Fury. In 1953 he contracted tuberculosis and was admitted to the children's hospital at Heswell on the Wirral. "

" Walter Eymond was born Walter Lewis Eymond on 6 August 1938 off Cazneau Street in Liverpool. His parents, who had married in Liverpool in 1934, were Henry Lewis Eymond, born 1906, and Mary Melia. Henry was the son of Lewis Felix Eymond and Georgina Esther Carruthers (Walter's grandparents) who in 1911 were living at No. 13 Buckingham Road in Walton, Liverpool, with Lewis working as a ship's pattern-maker. Walter's great-grandfather, Jean-Marie Henri Eymond, had brought his family over to England from the Bordeaux region of France. In 1875 he was living in the Dingle area of Liverpool and working as a master mariner. Walter also had a sister named Jean who had been born in 1935. During the Second World War Walter's home was bombed, resulting in the family being rehoused at No. 11 Ulster Road in Old Swan for the remainder of the war. Walter's father Henry worked as an electrical engineer and would often take his family with him when he worked in such places as London, Newcastle and Dudley in Birmingham. "

#johnny guitar #ringo starr #lu walters #ty o'brien #stories #early life #mine

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kwebtv · 1 year

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Hersha Parady (born Betty Sandhoff; May 25, 1945 – August 23, 2023) Television actress best known for her role of Alice Garvey in Little House on the Prairie.

Parady began her career in television with guest-appearances in Mannix, Bearcats! and The Waltons. Hersha was considered to play Caroline Ingalls in Little House on the Prairie, but lost out to Karen Grassle. Later, in 1976 episode "Journey in the Spring", Paraday played Eliza Anne Ingalls, Charles' sister-in-law. Then, in 1977, she was given the role of Alice Garvey in Little House on the Prairie, which she played until 1980 when her character was killed in a fire accidentally set by Albert Ingalls. After Little House on the Prairie, she made only rare appearances in television, including Kenan & Kel. (Wikipedia)

#Hersha Parady #TV #Obit #Obituary #O2023 #Little House on the Prarie

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simsrecordkeeping · 8 months

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Here Lies my Legacy Save.

Computer died, lost years of play, and so the records I was keeping are now done being collected and are now simply kept.

I WAS renaming my sims by generation because I couldn't tell who was what generation in gameplay and it made it weird when they had the same childhood crush as their children. So the first generation was A-named, next was B, etc.

I did rename some of them funky, I didn't rename others, and some I tried to rename but failed because I couldn't get the names to stick.

All of Gen C were born to played Sims.

Last/family names were mixed from the parents, whose were mixed from their parents. Manning and Falcon became Falman, and when Falman and Blackburn got together, they became Falburn.

When two of the same names have babies (usually because sibling affairs with in-laws), I mixed it up. Once, it was a lady who seduced a mother and son, so Beckman plus Scales became Scaleman and Beckscales. I tend to keep it at 1-5 syllables at most, generally 2, so it's not too messy, but I definitely start losing great grandparent names.

The 'official' records are: Snapshots, where I recap a household at time of switching families and Eulogies, where I recap a Sim's lifetime after their deaths.

Families always went Teen Daughter, Child Son in the beginning. I tried to go by household, but it turns out that those constantly change in ways that don't record well. ^ ^;

Due to length and link issues, I will likely be making a second page for Table of Contents. The links on this page are Eulogies

In only some order, my Save started with...

The Pancakes Family - married pair Bob and Eliza

The Whitfield Family - Craig, Dana, and their children Katherin and Stetson

The Angel Family - Lance, Ellie, and their children Danika and Waylon

The Overton Family - Jennifer and Maddox

The Cullen Family - Anna and her son Valentino

The Pike Family - Gabrielle and Rory, and their children Shawn and Jordan

The York Family - Cleo, and her children Ahmad and Fatima

The Pace Family - Katrina, and her children Kristina and Jefferson

The Scales Family - Shieu, and her children Janice and Dawson

The Holloway Family - Susan, and her children Evageline and Barry

The Brice Family - Chad and Nadine, and their son Walton

The Spencer-Kim-Lewis-Davis Family - Grandparents Dennis and Lydia, Parents Alice and Eric, and child Olivia

The Helton Family - Teens Dillon and Fernanda, and their grandparents who died early

The Pfeiffer Family - Genevieve and her children Benjamin, and Heven

The Blackburn Family - Husband and Wife couple, Annabelle and Bill

The McFarland Family - An old man and his unofficially adopted son, Javier

The Landgrabb Family - married couple Nancy and Geoffrey and YA son Malcolm

The Banks Family - Ayden, Krysten, and their children Lillian and Alan

The Walters Family - Husband and Wife whose names were lost by the game

The Caruso Family - Single Mother whose name was eaten by the game and her son Judah

The Merrill Family - Annie and her child Belmont

Individuals who didn't start as family but ended up paired

Imani Falcon - a sim I made in CAS to pair with someone

Colleen Manning - a townie Imani fell for instead

Lisa Moore - A townie I put into the Overtons to help raise Maddox

Jessie Boston - A townie Alien who lived with Colleen and Imani

Kian Padgett - a townie alien who lived with Jessie, Colleen, and Imani

Tiffani Hobson - a townie who Kian impregnated

Tatum Nixon - a townie that married (b) India Pancakes

Elsa Harms - an Alien who had a baby with Freddie Knapp

Freddie Knapp - A business man who hated kids but liked making them.

NPCs (not playing to death; leaving in the game) - Jana Puckett - A-gen - Mother of several and a high ranking surgeon - Sera Cerda - A-gen - A journalist and socialite

-Fatima York and Janice Scales - B gen - Hate Children and ran away to run a bakery

-Bianca Pancakes - B-gen - A womanizing Police Chief

Special Mention goes to townie Ariella Petty for Gino Pettyburn

Special Mention to townie Ava Tinsley for Ashlynn Puckley

Special Mention also goes to the hiccup with MCCC settings, resulting in Elaina Vatore, as resulting from Lilith and [I changed the game stuff so I can't see the other parent] and Justice Straus, child of Eden Ho and Vladislaus.

Since I'm only linking eulogies, I can't link to anyone not dead/decommissioned yet. Will update as I can.

#pinned post #sims 4 #the sims 4 #legacy save #links

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blogger360ncislarules · 1 year

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Hersha Parady, best known to TV audiences as Walnut Grove schoolteacher Alice Garvey on NBC’s Little House on the Prairie, died Wednesday at the age of 78.

According to a GoFundMe page set up by her son Jonathan Peverall, Parady was battling a brain tumor. She underwent surgery in July, then developed pneumonia while in recovery.

Peverall told The Hollywood Reporter that his mother died at his Norfolk, Va. home.

Parady was originally up for the role of Little House’s Caroline Ingalls, which ultimately went to Karen Grassle. She first appeared in a Season 3 episode not as Alice, but as Charles’ sister-in-law Eliza.

Alice and her husband Jonathan (played by former NFL star Merlin Olsen) arrived in Little House‘s Season 4 premiere, which aired Sept. 12, 1977. She’d appear in 33 more episodes through Season 6.

In the memorable two-hour installment “May We Make Them Proud,” which aired Feb. 4, 1980, Alice perished in a fire at the School for the Blind as she attempted to rescue Mary and Adam’s infant son.

Parady’s previous credits included episodes of Mannix, Bearcats! and The Waltons. She kept a relatively low profile after Little House, and last appeared in three episodes of Nickelodeon’s Kenan & Kel as Principal Dimly between 1997 and 1998.

#little house on the prairie

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deadcactuswalking · 2 years

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REVIEWING THE CHARTS: 01/10/2022 (Sam Smith/Kim Petras, Stormzy, D-Block Europe’s ‘Lap 2′)

So, this is kind of a big deal: “Unholy” by Sam Smith and Kim Petras out of nowhere clinches the #1 spot on the UK Singles Chart. It’s Petras’ first chart-topper, Smith’s eighth and honestly, it’s just pretty cool to see a non-binary artist sharing the stage with a trans woman at the top of the charts. I’m sure Liz Truss is just thrilled. Welcome back to REVIEWING THE CHARTS!

Rundown

This could be an interesting week, especially regarding our new arrivals, but before we get to those, let’s start with, well, everything else, including – as always – our notable dropouts, songs exiting the top 75, which is what I cover, after five weeks in the region or a peak in the top 40. This week, that list includes “I’m in Love with You” by The 1975, “Mary on a Cross” by Ghost, “STAYING ALIVE” by DJ Khaled featuring Drake and Lil Baby, “Stay with Me” by Calvin Harris, Justin Timberlake, Halsey and Pharrell Williams, “Hot in It” by Tiesto and Charli XCX, “Brazil” by Declan McKenna, “IFTK” by Tion Wayne and La Roux, “WAIT FOR U” by Future featuring Drake and Tems, and finally, “Remind Me” by Tom Grennan. Yeah, there are some pretty big hits leaving us this week, some feeling kind of premature, so what is there to replace them?

Well, outside of the new arrivals – and we’ll get to them – we have “Someone You Loved” by Lewis Capaldi returning once again to #72, and as for our notable gains, there’s “Getting Started” by Sam Fender at #47, “Romantic Homicide” by d4vd at #41 (just delightful), “Atlantis” by Seafret at #38, “Words” by Alesso featuring Zara Larsson at #36, “Calm Down” by Rema at #25, “2 be Loved (Am I Ready)” by Lizzo at #21, “CUFF IT” by Beyoncé at #14 and joining the top 10, it’s not a song I like but I’m not upset it’s there: “Bad Habit” by Steve Lacy at #9.

There won’t be an Off the Charts section this week because, well, this week itself is massive for albums that won’t impact the chart so I want to save some of my commentary for next week’s episode. With that said, the top five on the UK Singles Chart is “I Ain’t Worried” by OneRepublic at #5, “B.O.T.A. (Baddest of Them All)” by Eliza Rose and Interplanetary Criminal at #4, “Forget Me” by Lewis Capaldi at #3, “I’m Good (Blue)” by David Guetta and Bebe Rexha at #2, and of course, “Unholy” at the top. Now to run through these new songs, I suppose, and there are quite a few, including several from my favourite dynamic duo. You’ll see.

NEW ARRIVALS

#68 – “I Really Want to Stay at Your House” – Rosa Walton and Hallie Coggins

Produced by Rosa Walton

So I never played Cyberpunk 2077 – trust me, this is relevant. I’m just not into video games that aren’t Nintendo and never had the interest either, but the game, since its release in 2020 and arguably before, has cemented itself as a pretty important game in general pop culture, so it’s of no surprise to me that there is an anime spin-off called Cyberpunk: Edgerunners. What is a surprise is that Rosa Walton, one half of Let’s Eat Grandma, an indie pop duo I’ve reviewed on Off the Charts before, features on its soundtrack. This song was released with the game and thanks to the anime, has gained more traction and... yeah, this sounds like Let’s Eat Grandma, with the buzzing synths cascading over Rosa Walton’s unapologetically British vocals. It seems that the lyrics relate to the game or anime (therefore: I don’t care), but Walton performs just as well as she does in those Let’s Eat Grandma albums, and I love the crunchy filter everything is punctured through in the chorus, warping everything in a way not too dissimilar to how someone like SOPHIE would, but in a more accessible 80s synthpop setting. With that said, I have some nitpicks, like the pre-chorus dragging a bit too long and those snaps not really accentuating anything, and whilst I understand it wouldn’t make that much sense for the song to propulse further than it does, I’d love for that chorus to just be belted at the final stretch. If it’s not in her comfortable vocal range, that’s fine, but the melody is just begging to be yelled. Regardless, it’s a pretty damn great song; I doubt it’ll last, but I’m definitely glad it’s here. “Hallie Coggins” is an in-universe nickname for Walton, who I assume is integrated as a character in some way but I couldn’t care less. Spending more than one minute on the Cyberpunk Wiki is not in my plans.

#66 – “Public Figure” – Clavish

Produced by Makenobeats

Well, that producer name is just... a lie, isn’t it? Regardless, this isn’t the first time we’ve heard from UK drill rapper Clavish on the charts – he charted a couple months ago now with “Greece” – and it probably won’t be the last, but I do feel like there’s not much that’s special about this guy. The drill beat is standard, with some annoyingly flittering hi-hats that feel mixed incorrectly, and the booming 808s are barely synced with the cheap, ominous strings loop. Maybe he really had made no beats until now. Clavish doesn’t exactly help: he’s not detracting from the song with his typical flows and decent, multi-tracked cadence but apart from calling crack cocaine Winnie the Pooh, I fail to hear much more charisma or wordplay in Clavish to set him apart. He arguably wouldn��t need that with a better beat, and to be honest, the off-kilter nature of this song kind of grows on me in a cloudy, ethereal type of way but given the mixing, it’s clearly not really going for that so I can’t endorse it.

#55 – “STAR WALKIN’” (League of Legends Worlds Anthem) – Lil Nas X

Produced by Cirkut and Omer Fedi

Video game tie-ins are really a thing nowadays in the music industry, huh? Well, we have Lil Nas X becoming a brand ambassador for the 2022 League of Legends World Championships, and the anthem or theme song or whatever is generally about “the grind” and becoming the best, but in a really cheesy 80s way that I kind of love. The synthpop chorus has LNX flexing his vocals in a way that he doesn’t do that often, and the drill percussion that comes in and out on the verses is an interesting touch, if kind of awkward since it doesn’t properly return or make an impact in that driving chorus. With that said, it kind of just sounds like two halves of Post Malone clinked together with very little effort at combining them effectively, which kind of bugs me because “City of Gods” proved that buzzy synths and New York drill works really well, and that’s only in the mainstream since ethereal moods have been a signature of the sample drill scene. The one time that the synth wave actually blasts onto the drill percussion, LNX is silent apart from some muted whoos and vocal murmurs, and it just feels like an anti-climactic finish to a song that could really replicate that “INDUSTRY BABY” triumph. As it is, it’s decent, but not something I’d find myself returning to.

#54 – “Evergreen (You Didn’t Deserve Me at All)” – Omar Apollo

Produced by Teo Halm, Manuel Barajas and Omar Apollo

R&B singer Omar Apollo released his debut album Ivory in April, and this album cut didn’t really catch on until TikTok found it, the streaming numbers rose up, the song was renamed to be easier to find and here it is. I’m not very familiar with Omar Apollo, but this brand of bedroom R&B tends to really bore or just frustrate me, so I’m not surprised that I’m not over the Moon about this. I love the doo-wop harmonies backing Apollo but they don’t reach the Brill Building melodrama which would make so much sense for a song this desperate and longing. Omar Apollo can feel somewhat whiny in this post-breakup lane but I think his emotive performance is actually one of the saving graces, as the traditional and organic soul grooves don’t feel all that complete. The one thing I do love is the bridge, wherein Apollo channels his inner Steve Lacy, picks up the pace and aggression as the guitars start to soar, before it all withers away to leave Apollo on his lonesome with an acoustic guitar. The song then returns to its initial groove with a quick tempo change and honestly, that kind of disappoints me, taking away some of the resonance of the climax in the first place. I’d have preferred if it had kept to its sludge in the outro, but we get that muted ugly chipmunk sample and some mindless riffing to end the song. It had some potential for me, and I can definitely see this working for many others, but I’m just not that big of a fan, even if it does show promise for where Apollo can go next or, as far as I know, has already went.

#53 – “messy in heaven” – venbee and goddard.

Produced by goddard. and Tao

We’ve seen venbee before on the chart with her single “low down” with Dan Fable but this is the first credit for goddard., a drum and bass producer who gave an uptempo beat to Cat Burns’ “Go” when that was still a smash hit earlier this year. This new single starts with the lyric “I heard Jesus did cocaine on a night out”, but is sonically a lot less provocative, even if the lyrical conceit is actually really interesting, with the atmospheric blend of guitars and reverb reminding me of 2015. The singer venbee is not much of a presence, and goddard. is in many ways the main artist here, with the clipping warped bass riff that adds a lot of sheer force to the clambering breakbeats. As a result of the fact that it’s drum and bass, I pretty much automatically like it – that’s just how I work – but from a songwriting standpoint, it’s pretty uninteresting even if the concept and conceit is pretty cool, since it kind of just continues the same tricks, if you can even call them that, with less impact each time. He even uses the God damn Zedd clock sound effect but for like, the opposite reason, in the final drop. Given the fittingly messy mix and the unfitting acoustics, it doesn’t land directly into dark pop territory, kind of placing itself in between the tropical and the gothic, and it’s really awkward as a result, especially as it just plunges into nothingness by the end. This isn’t bad, but it’s definitely a misuse of your drum and bass producer. I know that breakbeats in bedroom pop is a thing now thanks to PinkPantheress but sometimes they really do not need to be there.

#39 – “Conor McGregor” – D-Block Europe

Produced by ???

If you want to get an idea of how quickly these two shovel albums out, they didn’t even bother crediting the producer on this one. Look, there are 10 new arrivals, seven of which have some unique backstory or deserve more attention. These three are just from DBE, it’s pretty fair to run through these as quickly as they made them. Lap 2 debuted at #2 on the albums chart and if it weren’t for the three-song rule, they would have nine songs on the chart. Thank God for arbitrary and inaccurate data manhandling, right? This track has a childish splash and odd flute with a rubbery bass that honestly sounds like a Lil Yachty type beat made by a kid with like 12 subscribers. Dirtbike LB sounds way more alive than usual, and he brings some charisma to counter Young Adz just being questionable, but there’s nothing funny or interesting about this one apart from the beat and I guess the Conor McGregor sample at the end but there’s nothing about boxing in this song. Next.

#30 – “She’s Not Anyone” – D-Block Europe featuring Burna Boy

Produced by JAE5

For whatever reason, their Ed Sheeran collaboration did not chart, but this weak Afrobeats track with Burna Boy did. JAE5 typically has great mixing, so I don’t really know what happened to the bass here that rips through the otherwise popping tropical percussion and the slick acoustics. For some reason, Burna Boy is given a verse for his rich cadence and sentiments of love instead of the chorus, which is handled primarily by Young Adz, who has gotten so much less funny in recent years. I mean, if you like Burna Boy, check his verse out since it’s pretty sweet, but otherwise, this is like a corpse of an Afrobeats song. Next.

#23 – “4 the Win” – D-Block Europe

Produced by Nathaniel London

Okay, you got me: I like this one. It’s oddly futuristic in the tipping marble of its warped synth loops being just crushed by a trap beat that even adds these little cyber-sounding percs that are pretty immersive. That’s not to say that either Adz or Mr. Dirtbike are good rappers, but they’re at least funny on this one: Dirtbike LB provides these cute falsetto ad-libs in Adz’s verse, right before he actually picks the pace of his flow up, and overall, Young Adz sounds good here, even when he’s saying that he would never cheat on a woman because he doesn’t even watch porn. I love Dirtbike LB’s effortless flow switching from the aggressive yet slightly muted pace to the melodic drawl a lot more slickly than you’d expect, mixing his cloudier tendencies on a song that otherwise works as a banger, and I honestly am starting to appreciate Dirtbike more. When he’s on it, he’s really good, but that’s like 10% of the time. The same could be said for Adz to be fair, but alas, that’s yet another DBE album cycle, each one less humorous than the last.

#12 – “Mel Made Me Do It” – Stormzy

Produced by Knox Brown

Now for some UK hip hop that might actually be worth the time: Stormzy’s seven minute epic “Mel Made Me Do It”, which may have only just missed the top 10 for length reasons alone, as the massively expensive music video is full of cameos and is nearly four minutes longer than the actual song... but none of that is all that important. Stormzy’s always been one to show off his connections in an contrastingly artsy and populist manner, not too dissimilar to Dave, but I think whilst Dave will purposefully take the conscious edge to observe a culture, Stormzy has always directly affiliated himself with it and what may mean less substance in the lyrical department allows for more diversity sonically. Given this song is seven minutes long, it may just need that sonic diversity, and apart from the pointless skit at the beginning, the song finds itself kind of staggering as Stormzy raps over a cold, trap-adjacent beat with an oddly close, warm bass mix that feels pretty unique as it trembles the whole mix alongside clinging vocal samples and what seem to be rickety guitars and filtered synths and horns. Stormzy spends all of this song bragging, full of pop culture references you’d expect, and whilst wordplay may not be there as is often the case, Stormzy just has a smoky and youthful charisma that allows his rhyme schemes to really shine and sound just as intricately detailed as they are. The subtle yet shocking changes in the beat seem to perfectly align with his cadences, and it’s a pretty immaculately collected song. The verse is pretty good too, obviously, setting himself apart from the youngest of the scene by not understanding all the Twitter slang, whilst still keeping his ear to the ground, even if he might spend a bit too much time talking about having sex with a Twitter user’s girlfriend in Dubai. He acknowledges this humorously, of course, as he says that he should probably move on considering that 1.) his nephews are listening and 2.) he’s got guests around, presumably fancier than he’d expect. That dichotomy and struggle to adapt to a higher class is, if anything, the through line on this song, and it’s an often compelling one considering his success. Nearly five minutes in, the verse gets cut in half with a pretty funny clip of José Mourinho saying that he prefers not to speak less he gets in trouble, and that seems like a perfect time for a beat switch, but alas he just keeps going on the same beat, which isn’t as disappointing since, well, he rides the beat pretty nicely but could have made this more of an impactful single, not that this is trying to get radio play. The line about owning all his masters and not having masters is a big takeaway, but with a song full of bars, not all of it that compelling, and even dropping the name of the song feeling like just another lyric, it kind of muddies the impact, especially when the closing lines don’t go as hard. With that said, it’s a great verse with a great beat and regardless of how long it is, I can’t say it won’t last. I mean, it’s Stormzy, or as he’d have you believe, President Biden. Yeah, that’s a weird comparison to make, considering you’re calling yourself a gaffe machine, Stormzy, but that’s nitpicking. Overall, it’s worth your time.

#1 – “Unholy” – Sam Smith featuring Kim Petras

Produced by Blake Slatkin, Cirkut, ILYA, Jimmy Napes, Omer Fedi and Sam Smith

I’m not surprised that this charted. Sure, Sam has been on the commercial decline recently, but they’ve still been able to consistently chart, and whilst Petras had only ever charted at #100 before this with her cover of “Running Up That Hill”, it’s no surprise that Sam could have easily brought her to say, #54 with them. Sure, it has an all-star producer cast – with Dr. Luke thankfully nowhere to be found – but Cirkut and Fedi also debuted at #55 with arguably a bigger star. The reason why this blew up out of nowhere is largely due to TikTok promotion, and I can’t say I’m a fan. The vocal glitches are not dissimilar to hyperpop, but the kind of static and commercial hyperpop that comes out of glaive rather than its bubblegum bass origins, taking some A.G. Cook and Dylan Brady ideas but not the A.G. Cook and Dylan Brady ethos, which leads to an uncomfortable, metallic listen that fails to match the mischievous content. In fact, the childish naivety of the main melody and the constant references to “Daddy” just makes it feel a tad uncomfortable lyrically, and Petras is obnoxious as ever. Sam doesn’t work as a choir under this stodge of a beat: they don’t even let them swear. It’s an unmoving, awkward track that is catchy as sin – and that may be the point – but not exactly all that listenable. I’m not sure if I see it lasting at #1, but for a while, there may not be much competition.

Conclusion

It’s not getting Worst of the Week, though, as whilst Sam Smith and Kim Petras clench the Dishonourable Mention with “Unholy”, I mean, at least it’s interesting. D-Block Europe grab Worst of the Week with “Conor McGregor” and on the other side of UK hip hop, we have Stormzy obviously getting the Best of the Week with “Mel Made Me Do It”, as the Honourable Mention goes to Rosa Walton and her video game OC for “I Really Want to Stay at Your House”. As for next week, it’s big for albums but I’m not sure how well the singles will hold up. I guess we’ll see, but for now, thank you for reading and I’ll see you next week!

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ladygarfunkel · 4 years

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ninewheels · 3 years

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DOLLHOUSE Actors By Screen Time

Eliza Dushku as Caroline Farrell / Echo et al - 381 Fran Kranz as Topher Brink - 179:15 Olivia Williams as Adelle DeWitt - 174:45 Tahmoh Penikett as Paul Ballard - 167:30 Harry Lennix as Boyd Langton - 129 Enver Gjokaj as Anthony Ceccoli / Victor et al - 115:15 Dichen Lachman as Priya Tsetsang / Sierra et al - 101:15

Miracle Laurie as Madeline Costley / November et al - 58:30 Amy Acker as Whiskey / Dr. Claire Saunders - 47:15 Reed Diamond as Laurence Dominic - 47:15 Alan Tudyk as Alpha - 42:30 Summer Glau as Bennett Halvorsen - 33:45 Alexis Denisof as Senator Daniel Perrin - 28:15 Felicia Day as Mag - 21:45 Zack Ward as Zone - 20:15 Liza Lapira as Ivy - 19:45 Adair Tishler as “Iris” / Caroline Farrell - 16:45 Stacey Scowley as Cindy Perrin - 15:30 Jaime Lee Kircher as Rayna Russell (1x03 “Stage Fright”) - 14:30 Patton Oswalt as Joel Mynor - 13 Matt Keeslar as Richard Connell (1x02 “The Target”) - 12 Vincent Ventresca as Nolan Kinnard - 11:45 Brian Bloom as Jonas Sparrow (1x05 “True Believer”) - 10 Kristoffer Polaha as Nate Jordan (2x02 “Instinct”) - 9:30 Mehcad Brooks as Sam Jennings (1x07 “Echoes”) - 9 Chris William Martin as Griff (1x13 “Epitaph One”) - 9 Jordan Bridges as Nicolas Bashford (1x10 “Haunted”) - 9 Jamie Bamber as Martin Klar (2x01 “Vows”) - 8:30 Toby Leonard Moore as Walton (1x04 “Gray Hour”) - 8:30 Anson Mount as Vitas (1x04 “Gray Hour”) - 8:15 Ana Claudia Talancón as Galena (2x07 “Meet Jane Doe”) - 8 Keith Carradine as Matthew Harding - 7:45 Ashley Johnson as Wendy / Caroline Farrell (1x12 “Omega”) - 7:30 Ian Anthony Dale as Jack Dunston (1x10 “Haunted”) - 7:15 Kurt Caceres as Gabriel Crestejo (1x01 “Ghost”) - 6:45 Aisha Hinds as Loomis - 6:30 Janina Gavankar as Lynn (1x13 “Epitaph One”) - 6:30 Adam Godley as Clyde Randolph - 6:15 Kevin Kilner as Joe Hearn - 6:15 Brett Claywell as Matt Cargill - 4:45 Rhea Seehorn as Jocelyn Bashford (1x10 “Haunted”) - 4:30 Phillip Casnoff as Clive Ambrose - 4:15 Mark Sheppard as Tanaka - 4 Maurissa Tancheroen as Kilo - 3:45

#Dollhouse #screen time stuff #Caroline Farrell #Adelle DeWitt #Topher Brink #Eliza Dushku #Joss Whedon #forgot that I'd had this one in the drafts

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hypo-critic-al · 3 years

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Frankenstein: A New Musical – The Cursed Edition a.k.a. The Workshop Version

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Earlier this week I have started a lyrics chain of "Birth to my Creation" from the workshop (or demo, or 2002 version) of Frankenstein: a new musical. Since nobody continued, I assume you don’t know where those strange lyrics come from (or you just missed it, or you don’t have time for silly things, or you just don’t care, and it’s fine! take this as a joke, please).

Because it was also a few months since I watched this musical for the last time, I decided to watch it now again.

Let me say, it was a ride.

I have written some notes and thoughts while watching it and it’s what this post is dedicated to:

-The musical starts with Amen. That means we are ending with Amen reprise. I kinda like this.

-Wait, that means NO WALTON?! Why...

-Victor is a horrible person. He buys the convict’s body before he is even hanged!

-Elizabeth doubts from the beginning that Victor will write them letters. Or care about them. They should‘ve left this detail here, it would add a bittersweet aspect to Way Home.

-So there’s no Victor’s mom? What has happened to her here?

-Victor is less passive in this early version, I like this because it seems like he too is a reason for his tragedy, he isn’t a victim of cirumstances and the Creature like in the Off-Broadway production.

-THEY MADE VICTOR A DOCTOR, help.

-HENRY IS A DOCTOR TOO, wut?

-Victor is late to his party, who are you? A musical Henry Jekyll?

-“It does turn to undermine the lady’s confidence when she learns she can not compete with the cadavers.” Oof.

-Henry is concerned about Victor since the beginning, Victor stop!

-Henry knows since the beginning that Victor is doing something wrong and/or illegal.

-This moment is weird if you take it out of context, heh:

(why does he have to deliver that line this way HBLDSAOREWBN)

-THE CURSED LYRICS OF “BIRTH TO MY CREATION”, and the words are off-beat, help.

-“The purest plasma coursing freely trough arteries and veins, the perfect tissue...” no.

-“At Ingolstadt I’ll have the means!” Where is my Mecha of science? And beans?

-The album: (softly) Can you hear me? Live! Damn you. The demo: (slaps him) Can you hear me?! Live (punch)! Damn you!!!

-Victor has living, conscious Creature tied up to a wall? What?!

-Victor goes straight home and locks himself up in his room in ~Henry Jekyll~ style. And doesn’t open door to his close friend. Can this get more simmilar to J&H musical?

-Elizabeth has a solo called "Once Upon a Time". Jekyll & Hyde musical had also a sad solo of a scientist’s future wife called "Once Upon a Dream". Cast Christianne Noll here and we got... oh, wait a minute.

-During “A Happier Day”, is it Vic’s and Eliza’s wedding? And while Elizabeth is preparing for her wedding, Victor is making a Bride? What is a time consistency or accuracy in this?

-“I, a man will now give birth...” NO! I swear, those lyrics are getting weirder each song (unless Victor is trans, then your headcanons were right all along!).

-“I shall help you by making you stop!“ Good point Henry, and Victor, stop holding Henry like a savage dog, no!

-Creature kills Elizabeth before her wedding and then Eliza has an "I’m dying but heartbreaking song is more important" moment.

-“Your Father’s Eyes” is nice! And that “Damn a man who does not give...” motif makes sense now in Amen reprise.

-I want the end of Amen reprise to be left in the play. “Behold a sorrow born of dreams... at least your playing God at last will end... Amen.” It makes such a chilling and symbolic ending. A convict’s life has ended with an Amen, now the Creature’s last words are the same.

So, was it good? Yes, it had some interesting moments I wish were kept in Broadway version but the play itself isn’t better than what we are used to. Was it worth it? I mean, yea, any "Frankenstein: A New Musical" content is a good content.

This day was amazing, thank you for your nice words everybody, I’m glad and happy people like my little drawings I do. Everyone I’ve somehow interacted with in this fandom was amazing and lovely. This fandom is great, thank you :D!

Alright. See you later, thanks for stopping by to read this post and have a nice day :)

#frankenstein #frankenstein a new musical #frankenstein musical #frankenstein adaptation #frankenstein or the modern prometheus #this version is weird #but it’s fine and it’s completely okay if you love it!#I just like that musical is more accurate to the book than in the earlier versions #and I’m simp for Hunter Foster’s voice

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captainclervals · 4 years

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I'm sorry if it's a stupid question but which adaptation is that "my love for eliza was nothing more than a brother's love" line from????? Thank you in advance!! :3

DW it's not a bad question!! :D i would put titles in all the posts but my thought process is that I don't want to praise/share around a book that I'm still reading and then find out later in the story there's something absolutely abhorrent that ruins the whole thing jddhsvn if i share anything of an abhorrent book I wanna be prepared to write warnings so nobody gets blindsided by triggering content when they were expecting something good HAHA

BUT I REALLY RECOMMEND THIS ONE. it's called The Modern Prometheus by Nicole Mello! (more detail under the cut because i rambled)

it's a bit odd at first because it is a modern-day retelling and I'm usually not into those, and it starts off with psychologist Walton (who is for some reason rewritten as a woman?) doing an interview with Victor, who's been arrested for the murders of Elizabeth and Henry. Vic then tells his story which Walton records and transcribes

but once you get past the weird premise, it is VERY emotional and heartfelt and refreshing. I didn't actually cry while reading frankenstein but this book broke me down 😭

merits: it's got diversity that i haven't seen in any other frankenstein books so far. victor is vietnamese and adopted into the black frankenstein family, and eliz is indian. ernest is trans and everyone is extremely accepting and supportive. victor explains struggling with understanding his feelings for henry as he grows up, and how he realized that heteronormativity made him think that he'd fall for someone like liz, but he actually was only ever in love with henry. theyre openly in a relationship and had plans to marry ;v; vic's dad is also completely supportive of them (iirc caroline passed before they started dating)

it's mentioned in just one sentence that caroline briefly entertained the idea that liz and vic might "fall in love or something" but once she saw that they accepted each other as siblings, she dropped the idea, and it's never mentioned again. they're just siblings and extremely close and loving ;-; it's really nice to see them be protective of and caring for each other and still affectionate while knowing it's completely platonic. liz is also very affectionate and loving to henry, again totally platonically, so it's also great to see such a close devoted m/f friendship that has not even hints of romance

i also really like the writing style personally. it's not a pastiche and doesn't use lofty english at all; it's written in a modern, easy-to-digest style while still being very vivid and expressive.

and god the characters, i think, are the most accurate depictions I've seen in an adaptation yet. it's VERY striking. liz is gentle but strong willed and determined, and equally attached to both vic and henry (who she also sees as a brother figure).

henry is described only from victors pov of course, and it'll break ya heart i swear. victor describes him as being his everything, and the most amazing, incredible person, and he's constantly getting sidetracked to go back to henry. but henry has character of his own, and while he is an extremely kind, forgiving man, he doesnt passively accept the awful things victor has done. he loves victor and is loyal to him, but he makes it clear that he isn't happy with what hes done, and in victors isolation he tried to push henry away. he mentions how their relationship was never the same, even though they were still in love, he put a barrier between them :[

and to me this victor is a really good portrayal because he DID do all the wrong he did in canon, but he isn't outright villainized. he's still sympathetic, a guy who messed up horribly, and knows that even though he never intended to hurt anyone, the loss of his family was in large part his fault. he realizes what he's done, but he also knows it's too late to fix it, and he regrets everything so much and doesn't have hope to forgive himself.

he held on long enough to tell his story to Walton because he wanted henrys memory to be recorded :[ and a little detail of the book that I like... there's a dedication page at the front that's something like "For Henry, without whom there would be no life at all" and you're like aw, the author had a henry in her life too and you move on to read, but near the end when victor breaks down over henry in the recording and tells walton how he wants henrys legacy to be preserved, he's like "when you write the book or whatever you're going to do with these transcripts and notes, could you please dedicate it to henry? I'm not a poet but maybe 'for henry, without whom there would be no life at all' or something like that"

and one part in particular that i think (imo) is a nice summary of victors character: (suicide cw) at one point victor has a moment confiding that he desperately wished he could die, because he felt so miserable and guilty and knew the world would be better off without him and if he was dead, the creature would have no reason to keep killing his loved ones—but vic never stopped to think how losing him would devastate the rest of his family, who had gone through so much already and needed him. i just think that's an accurate portrayal of him bc he doesn't want to hurt anyone; he does nothing with intent of harm, and he dearly loves those around him. but he thinks his idea of what to do is the best route for everyone's sake, and he just doesn't really see things from others pov to consider how they might be hurt or heartbroken by his decisions

also briefly touching on creature: the father/son role is really emphasized here. victor does name the creature from the start (adam... which I'm not a fan of personally but, victor did acknowledge that his creation needed a name) and like in canon, was terrified of him when he saw him animated. creature does see himself as an abandoned child, and describes how he at first saw victor as wonderful and craved his love, but once he learned victor had made him repulsive and nobody would love him, creature resented him.

bonus points for portraying creature as neither unaware of his deeds, or just inherently violent. like in canon, he wasn't made for evil, but he kills calculatingly and only with the purpose of hurting victor. victor does attempt to build a female creature, but tears her apart after it hits him that they could procreate (but in this book he remembers how foolish that was, because he could have just left out her reproductive organs, but he was so distraught with panic over creature's threats towards vics family that he wasn't thinking). it hits harder in this book because of how its described. creature tells vic that since vic made him alone with nobody to love him, creature was going to make vic alone too, and when he had nobody left, he and creature would be each other's sole companions

anyway HAHA i might post a more detailed review but I really recommend this book ;3; very heartbreaking, refreshing and strong once you get past the initial strangeness of a modern telling. (it is mostly clean, for a frankenstine adaptation, but there's a couple warnings besides the typical frankenmurders and corpses and stuff: addiction is briefly addressed, some of the corpses are described a bit graphically, and there is some discussion of suicide, that's all i can recall)

tl;dr: really good, emotional book that, once you get over the initial surprise of a modern day setup, has lots of diversity, positive relationships, great character portrayals and is really faithful to the original overall, and the changes that are made have their place. my favorite adaptation so far 😭

#asks #sorry for going on SO LONG i just love books and have thoughts

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