#jubilee le

[apocalypse-ghost]

Someone save Enjolras from a circle of 20 trump supporters

[dc-vs-marvel-tournament]

Submitted by anonymous

[fuckyeahalisonblaire]

mjfarberray

[antinouswilder]

keep an eye on the les mis socials today lads

[persolaise]

Top 10 Perfumes For The X-Men - Super-power Scents!

Who says super-powers can't have perfumes? -- Here's my list of Top 10 scents for the X-Men

As regular readers will be all too aware, every now and then, I give in to my silly side and broadcast a video that could generously be described as ‘light-hearted’. This is what happened the other day when I presented my Top 10 (+2) list of perfumes inspired by the super-powers of the X-Men, who are currently enjoying a revival, thanks to the new X-Men ’97 animated series. Here’s a link to the…

[lesmissocials-fuckedup]

Les Mis socials - official 2023 ranking

Here they are - The results of the "Worst post of 2023" competition and overall an archive for the worst posts the Les Mis social media teams have cursed us with this year.

1- "Who should Marius choose ?" - January 29

That one can be crowned "Worst post of the year" by far - The musical seems to once again have misunderstood three of its most important characters, reducing them to being mere love interests and defining Eponine and Cosette's relationship by a rivalry over Marius.

2 - Cosette at Thanksgiving - November 23

The US competitor also took a very strong stand here - not only because it shows a deep misunderstanding of what the character of Cosette fundamentaly stands for, but also because it can be seen as offensive by many. Putting an abused and starved french child in front of a Thanksgiving meal, really ?

3 - Mother's day - March 19

A picture of Madame Thénardier ? For Mother's day instead of Fantine ? It's more likely than you think. Although on this one the team gets extra credit for acknowledging that Madame Thénardier is not a good mother, which shows an unusual level of understanding when it comes to their own musical.

4 - The Wimbledon post - July 15

Also known as That One Post Where Everything Is Wrong - and for sure not their best use of this promotional picture. From the tennis racket to the editing of Cosette's arms to make her look muscular, it is the proof we never needed that there should not, in fact, be a Cosette for every occasion.Not to mention they somehow messed up the colors of the French flag... not a good look for them.

5 - Christmas Eve - December 24

Just a very disappointing post all around as an adequate way to wrap up this year. On the 200th anniversary of Valjean meeting Cosette in the woods, we got a quality pun and an edited picture that we could, at the very best, consider as inappropriate - would it only be because they added snowflakes to a barricade that was build in June.

Honorable mentions for this year go to :

The Fourth of July post - that surprisingly did not make it in top 5. The US team might win the battle for "Most incorrect use of this Cosette picture" with this one - and it is made even worse by the fact they did not post anything for July 14, the national french holiday.

The World cup one - similar to the Wimbledon post in that it just gets everything wrong overall, from the awful pun to putting Cosette in front of an english flag.

Easter Cosette - not surprising, but still extremely disappointing.

Christmas Cosette - in the same way, it is the exact same post as last year and never fails to disappoint.

Any time they felt the need to put sunglasses on Cosette - which, honestly, was a lot.

A very uncanny use of emojis in every single post, that never gets less disturbing.

Overall a very good year to archive their fuck ups - but they still did not manage to beat the record set last year by the Queen's Jubilee post ! Maybe they will do even better in 2024 ?

[the-twilight-sword]

Arlecchino, Penguins, and Angels

This theory has a bit of everything.

Naming Parallels

Perinheri- the in-game book confirmed to be related to Arlecchino's past by her 5th character story

Peruere- her birth name

Pers- Freminet's pet penguin's namesake, readable as the in-game book Tales of a Snow-winged Goose. This is based on Mother Goose from our world, which has a harlequin variant. This book also includes a story about a "Princess Marcotte" who is clearly meant to be Clervie.

Le Père- the French word for father

Hleobranto Innamorato & Blade Runner

Hleobranto Innamorato is the other name for the book Perinheri, and seems to be based on our world's Orlando Innamorato and Orlando Furioso books. In volume two of Perinheri, we hear about Hleobrant and his unrequited love for Angelica, which parallels our Orlando books.

This is further corroborated by the local legend Fairy Knight Twins, Angelica and Medoro. In our Orlando, Medoro is the man Angelica ends up with. The achievement for defeating them is called "Tears in the Rain", a reference to the Blade Runner monologue that is repeated in Tales of a Snow-winged Goose with the line "from red giants to white dwarfs, from the shoulder of Orion to the glimmering Tannhauser Gate..."

The central theme of Blade Runner is the divide between the humans and the replicants, something paralleled in Perinheri and Tales of a Snow-winged Goose. In Perinheri, it says that the Crimson Moon dynasty existed before birds split into domestic and wild kindred, and Tales of a Snow-winged Goose says that seagulls split into two races; seagulls, which continue to fly; and auks, which would never take to the skies again. Clearly, the metaphor here is that humans have split into two races.

It wasn't until I watched this video that I began to understand what these parallels might mean for the overarching storyline. Crucially, the replicants are soldiers for an interstellar war designed so that humans don't have to fight.

Angels & Seelies

This is Arlecchino's boss form. Typically, she has just half a wing, but here, she has six. I most frequently see this design being likened to the appearance of a spider (which would match visually with the Black Widow), but I see this has the six wings of a seraph. In Judaism, seraphim are angels associated with fire, constantly burning; seraph means both "burning" and "serpent".

I don't think it's a stretch at this point to say that Seelies are angels. In fact, there are measures to prevent Seelies from falling in love (and having offspring) with humans- why would this be? Perhaps to avoid creating a Nephil, as might happen according the Book of Enoch (which Genshin takes inspiration from). The Earth is understood in Jubilees and Enoch to have been flooded, inp part, for the sins of the Nephilim, which included drinking blood.

Kaeya & the Blessing of the Crimson Moon

Arlecchino can use the blessing of the Crimson Moon's blood, probably due to her lineage. The same goes for Kaeya, who, like Arlecchino, isn't effected by the "curse of wilderness" which Chlothar says turns all but pure-blooded Khaenri'ahns into monsters.

If you read the lore for Arlecchino's weapon, the Crimson Moon Semblance, you will understand the connection. The drinking of wine symbolises receiving the blood, and the blessing, of the Crimson Moon. How does this connect to Kaeya? Recall his father's letter from Hidden Strife. The Alberich clan are connected to the concept of purifying flame, the same concept as purgatory.

The Wagner Section

For me, every great Genshin Impact theory needs a reference to the operas of Wagner. In this case, it's the "Tannhauser gate" line in the Blade Runner monologue, a possible reference to Tannhäuser, the opera. It follows a bard of sorts and his infatuation with Venus and her underground realm "Venusberg". The evening star in our world is in fact not a star at all, but the planet Venus, and is associated with the fallen angel Lucifer (the demon to which the Ars Goetia's Paimon is obedient to). Khaenri'ah, the underground nation with its star motif, seems to reference Venusberg.

[euphraisette]

How the cast of Les Misérables would react to the musical if they were different people who didn’t experience the plot of Les Misérables

Valjean: Thinks it’s a deep and profound work of art but doesn’t learn anything from it he didn’t already know

Javert: Hates musical theater, doesn’t even see it

Cosette: Memorizes the entire soundtrack, takes Marius to see it on their first date

Marius: Has never seen a musical before, immediately becomes obsessed

Èponine: Sneaks into the theater with Gavroche, cries during most of it, has a crush on the girl playing Èponine

Gavroche: Had to use the bathroom and missed Gavroche’s death scene, sings Little People everywhere he goes afterwards

Enjolras: Likes it fine but prefers the book, thinks the show’s too liberal

Grantaire: Has seen the show eight times, can barely remember the plot

Combeferre: Likes it but is normal about it, eventually reads the book and is also normal about it

Courfeyrac: Played Grantaire in a high school production, wants to play Enjolras or Thènardier on Broadway someday

Bossuet: Has memorized the show but has never managed to get tickets

Joly: Was double cast with Courfeyrac as Grantaire but broke his foot and had to play the character with a knee scooter

Bahorel: Skimmed the book in high school and hated it because it was boring, but his go-to karaoke song is Master of the House

Prouvaire: Runs a Brickblr blog, has uploaded slime tutorials of the show, thinks it’s the greatest musical of all time until Hadestown comes out

Thènardier: Has never seen the show, is a scalper

Gillenormand: Not only retweeted the Jubilee plate but also bought it

COURF PLAYING THENARDIER OHHHHHH MY GOD MY HEART

(also poor joly :( and ofc gillenormand would)

[sparrowsabre7]

8th Doctor Main Range Audio Drama Mini-reviews

I've been listening to the Big Finish 8th Doctor stories on Spotify (the first 50 Main Range dramas is on there, plus a lot of the following "8th Doctor Adventures" stories) so I wanted to give a bit of a run down of my impressions.

Storm Warning

A solid start, classic Who shenanigans and introduces a solid companion in Charley Pollard, she's feisty and fun, but also not madly enamoured with the Doctor like so many companions can be. It makes for a fun reintroduction to the 8th Doctor, not seen since the movie some 5 years prior, allowing him more time to breathe.

The premise of humans trying to make first contact in order to steal alien weapons is tried and true but the cast elevates it and makes it more entertaining than it sounds. Lord Tamworth makes for an interesting support character, especially when his role could have been taken in a very cliché direction. The final scene sows the ongoing thread of Charley having been saved from her intended fate and the potential consequences of that.

7/10

Sword of Orion

Doctor Who does Alien/Aliens but with Cybermen and a background helping of the Android/Human conflict of Blade Runner, and it works bloody well. The initial mystery intrigues and while everything feels off from the start it's not til quite a way through that things start to make sense and align.

A more forgettable cast of characters (with many being left to be cannon fodder) but the premise is strong enough to bear out the runtime.

8/10

The Stones of Venice

Ugh. The first real dud. a somewhat tedious romp through a collapsing Venice with plot twists a savvy listener can see coming ten miles off and the longer they put off the "reveal" the more tiresome it becomes. The art curator was a fun enough support character but the upper class humans vs lower class aliens along with prophecies and a pining King leave for a very rote story that does little to excite or entertain and leaves the Doctor and Charley feeling irrelevant for large swathes of runtime, aside from use as props.

4/10

Minuet in Hell

This is more like it! A real mystery to sink one's teeth into. While it's somewhat frustrating that Eight has amnesia (again!) it works in the story's favour, weave a complex web of a narrative trying to see how all the narrative pieces interlock. Some of the performances (mainly the Americans) are a little hammy for my taste, but why make Doctor Who if you can't be a little silly for once. The return of the Brigadier more than makes up for Eight's rather limited airtime, but the audio tortures us by frequently putting the amnesiac Doctor with him but not letting them recognise each other until the drama is almost over. Nonetheless, an entertaining ride.

7/10

Invaders from Mars

A somewhat lacklustre alien invasion story, another with humans using alien tech to gain power, buoyed a little by some great performances from some actors and some truly unhinged and unrecognisable turns from Simon Pegg and Jessica Hynes doing the thickest American Mobster and Russian agent accents you've ever heard. There's also a delightfully scenery chewing turn from who I assume is Nicholas Briggs as the aliens. Nothing much of note here aside from this being Mark Gatiss' first DW script and sadly, much like some of his TV DW work, it's a lot of interesting ideas thrown at the wall, only some of which hit satisfyingly.

5/10

The Chimes of Midnight

This is it. This is the big one. A truly fantastic story, classic time loop premise but not in the usual fashion. It weaves a narrative that confuses and engages in equal measure throughout along with a lot of great work from the two leads. Has all the hallmarks of DW's best (perhaps not surprising that the writer Robert Shearman also wrote one of the all time great NuWho episodes in "Dalek" - in turn based on his audio drama "Jubilee") and would heartily recommend to any DW fan interested in getting to know the Eighth Doctor. I would say you need to have at least heard "Storm Warning" first to get the most benefit, as it ultimately centres on Charley and the paradox of her existence.

10/10

[freakingoutthesquares]

Mojo Britpop Special 2009 This Year’s Model. Transcription: Me.

A mix of Celtic yobs and art school wits, Pulp created a culturally momentous update of old school glam. But joining London's glitterati fragmented them. By Roy Wilkinson.

At the 96 BRITS, whilst Jarvis Cocker was making himself known to Michael Jackson via a stage invasion, bandmate Russell Senior was making another acquaintance. ‘I met Chris Eubank,’ says Russell of the monocle wearing former boxer. ‘We were getting on famously, but after the Jackson incident he folded his arms and turned away because he was a huge Jackson fan. I'd been having this interesting conversation, about art, philosophy... But Jarvis ruined it!’ [Laughs] ‘Though he had a point, of course.’

A phenomenon as chummy as Britpop was never likely to produce seditious acts similar to self-immolating monks or suffragettes throwing themselves under horses. Cocker's BRITS incursion was perfect - a commando raid as envisaged by Charlie Chaplin. If the Britpop was a national Jubilee, Cocker’s assault was the feat of bravado that marked the party at its peak - before dawn revealed the broken glass and trampled flower beds.

With nothing but a stylised posterior display and glare full of silent movie distain Cocker derailed Jackson’s plan to recast himself as a mix of Jesus, David Attenborough and Doctor Bernardo. Surrounded by children, images of wildlife and actors done up as representatives of the world's key religions, Jacko sang on through Earth Song, oblivious to Cocker’s presence. But the rest of the world noticed, and there were consequences.

Jarvis was locked up at Kensington police station, Brian Eno took out a pro-Cocker advert in industry paper Music Week, while Simon and Yasmin Le Bon appeared in the Daily Mirror wearing ‘Justice for Jarvis’ T-shirts. An act that united the ex-Roxy Music pop sage with the Duran Duran singer was an appropriately odd reflection of the way Pulp’s uneven career embraced both high and low art. By the time Cocker gatecrashed Jackson's performance, Pulp had been going 18 years. Jarvis, a single minded fellow, was the only surviving original member.

Russell Senior left Pulp after ‘Jacksongate’ in January 1997. He'd been with the band since 1983, effectively operating as Jarvis, his right-hand man. When I spoke to Russell, he was attempting to create a nesting site for kingfishers in the garden of his three-bedroom family home in Sheffield. Conversation ranged from Suede and Oasis to Russell’s fascination for central Europe. He recently visited Criona, a Serb enclave in Croatia. The band's guitarist and multi-instrumentalist, Russell quit Pulp, citing artistic frustration and the desire to spend more time with his family. He'd been part of Pulp’s slow ascent to 1995’s Different Class album, the band's commercial and critical peak, cut by a line up completed by keyboard player Candida Doyle, drummer Nick Banks and bassist Steve Mackey.

Jarvis wasn't the only member of Pulp to trespass at the BRITS. Cocker was accompanied by Peter Mansell, Pulp bassist, from 84 to 87. Mansell’s presence at the BRITS was a subtle reminder of the bands long torturous history. They survived years on the dole and lived through the Miners’ Strike, during which Russell served on the picket lines. Pulp finally reached the masses during Britpop's commercial peak in 95. But for Senior. Britpop began earlier, on a night in Paris in October 1991. Pulp were third on the bill to Blur and Lush.

‘My first experience of Blur,’ says Russell,’ was walking into their dressing room in Paris and seeing them smashing this mirrored wall. The floor was covered in glass and Alex (James) was pouring champagne out of the window onto the people below. Damon (Albarn) was flicking spoonfuls of caviar out of a window. The first thing Graham (Coxon) said to me was, ‘We like your band. We're going to copy you.’ I used to do this kind of Pete Townsend arm fling. Next time I saw Blur, Graham was doing it but making it look more like a Nazi salute.’

‘Later I thought their Girls and Boys single was very Pulp. (Blur producer) Stephen Steet did say, ‘I know we've nicked your clothes a bit.’ But I'm not griping at Blur because they had the balls to do it bigger. For me, that night in Paris was the start of Britpop. It's not something I'm going to knock. I mean, there was a period little later when I started wearing Union Jack socks.’

Prior to Senior’s Britpop flashpoint in Paris, he is band had a 13 year pre-history - unlucky for some including, it seems, Pulp. The band came into being in 78, formed by Jarvis at school in Sheffield. They were known as Arabicus Pulp, the Arabicus coming from a copy of the Financial Times. It alluded to a commodities index featuring coffee arabica, found in Ethiopia and Yemen. Spiritually cursed by such obtuseness, Pulp spent the next 15 years plagued by tragicomic levels of ill omen and commercial failure. There were rehearsals in the building shared with table tennis clubs and model railway enthusiasts. According to Jarvis, these hobbyist sects were at daggers-drawn and expressed their antipathy by crapping outside each other’s doors. Jarvis said in 1993 that he devoted much of ‘It’ Pulp’s 83 debut to ‘writing all these songs about girls when I'd never had a proper girlfriend.’ When he did secure female attention, Cocker had unconventional ways of making an impression. He attempted to walk along a second-floor window ledge outside a Sheffield bookshop. He fell, breaking a wrist and ankle and fracturing his pelvis.

Subsequent shows saw Jarvis singing from a wheelchair - a sight some interpreted as grotesque take on the kind of ‘disability chic’ launched by a hearing-aid-adorned Morrissey. Pulp made an album for £600. The sales figure wasn't of a dissimilar magnitude. Pulp made three albums in these wilderness years. It was followed by Freaks (1987) and Separations (1991) [Actually 1992!]. Freaks’ subtitle - Ten Songs About Power, Claustrophobia, Suffocation and Holding Hands – said Pulp were still some way from the matily exuberant dimensions of, say, Blurs beery, Britpop totem Girls and Boys.

I first interviewed Jarvis and Russell in 87 around Freaks. They were genuinely amazed that then record company Fire had stretched to some chocolate biscuits to go with tea. The resulting article compared Pulp to Ian McEwan, Bertold Brecht and Carry On actor Charles Hawtrey.

‘It wasn't all about me and Jarvis by any means,’ says Russell of Freaks. ‘There was also this Celtic yob element which was (Belfast born) Candida Doyle, Magnus (Doyle, Candida’s brother and Pulp drummer at that point) and Pete Mansell. If it was just me and Jarvis, it would have all been very art school. The other three liked Sham 69… Actually, we all liked Sham 69. Perhaps that was the only thing we all had in common. In fact, we sometimes played Sham 69s Hurry up, Harry live.

After Freaks, Jarvis moved to London, studying at Central St. Martins College of Art and Design. Steve Mackey had joined Pulp on bass and was also in the capital studying film at the Royal College of Art. Soon Pulp were exhibiting a more playful mood and an unknowingly pop-art retrospection. There were concert flyers advocating ‘Pulp-ish’ things to do, such as ‘doing a wheelie on a Raleigh Chopper’ and ‘Going to the supermarket wearing a lurex jumper.’

This increasing friskiness - and references to the kind of 70s bicycling design that would soon turn up in the video for Supergrass’, Alright single - began to manifest itself in Pulp’s records. In the early 1990s they released a string of singles full of a new vivacity. In title, at least one single could hardly have given clearer indication that Pulp were now ready for revelry. It was called Razzamatazz.

Pulp left Fire for Island Records. The band's first album proper for Island was His’n’Hers in 1994. Now Pulp finally reached the Top 10 of the UK Albums Chart. The sleeve featured an airbrushed portrait of the band by Philip Castle, the artist best known for his poster image for the film A Clockwork Orange in 1971 - Pulp were a vision of sci-fi second-hand chic. The music included the same pop art reconfiguration of the past.

‘Glam rock was a big part of the picture,’ says Russell. ‘I'd written this mission statement for the band - about making the fairground music of the future. The music of dodgem cars and girls with love bites - the modern version of Sugar Baby Love by the Rubettes, anything by Slade and Sweet. In the dour time we were experiencing, there was a wistfulness for the exuberance of glam rock. We believed in glamour. We absolutely wanted to be pop stars - on our own terms, but pop stars nonetheless.’

With its vandals, acrylics and tales of sexual initiation His’n’Hers was a critical and commercial success. The next 16 months saw Pulp - Jarvis in particular - become a national treasure. Where once Cocker had occupied the mildewed margins, now he seemed to be permanently addressing the nation with wit, charm and the ability to correctly answer every question that Mike Read [it was Chris ‘Talent’ Tarrant actually!] asked in the quick fire round on BBC 1's Pop Quiz.

Pulp’s years lurking in the backwaters could now be seen as advantageous, their own prolonged version of the way The Beatles had honed their craft hidden away in Hamburg. If Britpop was about taking age-old strands of British culture and re-styling them for the contemporary era, Pulp were masters of the moment. The Sheffield years weren't far removed from the formative grind endured by any traditional Northern stand-up comedian.

Russel: ‘On stage, Jarvis is always great at talking to people. But before Britpop, he kind of had them in his hand and then turned it into a joke. That used to drive me mad because I wanted him to keep hold of them and make it all really euphoric. Coming into the 90s he became a full-on master of ceremonies and it was great. The Pulp shows in that period was so exciting. That was the best of it for me. I don't think we ever truly captured it on record.’

When Pulp stood in for an injury-stricken Stone Roses at Glastonbury in 1995, they were greeted with the kind of open-armed gratitude Allied troops experienced while liberating Paris in 1944. These latter-day saviours brought with them a whiff of sex and nylons, but also Common People, a song that for the summer of 1995 became a universal anthem to match Lily Marlene or The White Cliffs of Dover.

When Jarvis guest presented Top of the Pops in 1994, he was met with a wave of communal good will. Even more so than when Chris U band appeared two years later, gamey lisping through ‘Suggs at six with Cecilia.’ Then Pulp became Top of the Pops themselves, their Different Class album hitting Number 1. It wasn't difficult to account for its success. The likes of Mis-Shapes and Something Changed have show-tune vigour that could have been as successful for Tommy Steele or Jesus Christ Superstar. There were also more left field inclinations. Common People was partly inspired by the drones of American minimalist composers Steve Reich and La Monte Young. But at its core, the album dealt in ancient methodology: narrative writing set to music everyone could understand.

While Britpop groups occasionally mined British music hall, Pulp surveyed the eternal verities of popular song less self-consciously than their peers. Here was a new folk music, but one that always felt like pop music. Musically, the album touched on The Beatles’ Revolution 9, drum and bass, the soundtrack to 1966 French film Un Homme et une Femme by Claude Lelouch and Gloria the 1982 hit from Laura Branigan. It amounted to a remarkable piece of populist art. However, the band have mixed memories of this period.

‘It did feel like vindication,’ says Nick Banks. ‘We were always confident that if only the masses could hear what we were doing, then they'd like it. When people did hear it, quite a few thought it was good enough to shell out for a record or two.’

‘At the time,’ says Candida Doyle, ‘We fought against the Britpop label. I thought we were the best band and there was no way we should be grouped with these other bands, but looking back, we were part of it and I'm glad we were. It was only in 2000 that I actually began to enjoy playing with the band. Before that, I was petrified on stage. Headlining Glastonbury, that was really fucking scary. But when we played Common People and they turned the lights on the crowd singing for miles into the distance, I'll never forget that.’

Russell has a more challenging version of events. ‘It had become a travesty,’ he says. Different Class was a kind of last gasp. It was over by then, but we still managed to get it down as a document. I rather hated Jarvis when he was in the studio singing Common People. He'd become so far removed. He was the villain of the piece because he was wearing trousers he'd been given by some designer. He wasn't wearing his jumble sale trousers. We were surrounded by coked-up knobheads.’

Senior also talks about an attitudinal North-South divide in the band at this point. In the Southern corner were London residents Jarvis and Steve. For the North, Russell, Nick and Candida, (though Candida was actually living in London by this point.) It's a perspective partly shared by Nick. ‘There was a North-South divide,’ says Russell, ‘Abso-fucking-lutely. I like living in Sheffield and one does have a chip on one’s shoulder about being patronised by poncy Southern bastards. To find there was a couple of members of the band who were doing the patronising was rather irksome! (laughs) The more they go all Kate Moss and London, the more I'd be, ‘By heck, where's me whippet?’ There was definitely a divide within the band.’

Russell left Pulp as they began to work on what would become 1998’s This is Hardcore album. By this time narcotics had become part of the picture, appearing in the lyrics of This is Hardcore and becoming a staple topic in Pulp interviews.

‘I thought that was a distorted image,’ says Steve Mackey. ‘I've never known Jarvis have a problem with narcotics. Ever. I was taking a lot more drugs than he was, but I didn't think I was taking that many. With Pulp no one ever went to rehab, no one was taking heroin. I don't recall Jarvis ever regularly taking drugs. But it did become a fairly regular part of the studio experience during This is Hardcore, and that's a dangerous thing. It became a bit of a self-indulgent record. But in a way that's also its finest hour, because something glorious came out of that. I feel very affectionate about that record. I think we really reached something with that.’

And the alleged north-south divide?

‘I never felt that,’ says Mackey, ‘My recollection of why Russell left is that after Different Class, it was clear he wanted to make a record that followed on in that vein. Me and Jarvis made it clear we weren't going to make that kind of record. Russell made it clear he didn't want to make our kind of record. The split was pretty amicable - we didn't fall out, but it cast a shadow over the band. I missed Russell - he was the person I loved watching when I saw them live before I joined.’

Before Pulp played their last show in 2002, they made one more album, the nature oriented We Love Life, released in 2001. There was also an underperforming greatest hits compilation in 2002, a record Jarvis has described as ‘the real whimper, the real silent fart’ of Pulp’s career. It charted Number 71, then disappeared. But if Pulp’s last years can read as forlorn times, that wasn't really the case. Recorded with Scott Walker, We Love Life has some of Pulp’s finest material, particularly the wonderfully elegiac, spoken word piece, Wickerman.

Nowadays, Pulp’s ex-members have a healthy view on all the past dramas, perhaps because Pulp isn't the only thing in their lives anymore. Jarvis was unavailable for interview because he was in America mastering his second solo LP. He also guest-edited BBC Radio 4’s Today programme and collaborated with Nancy Sinatra and Marianne Faithful. I spoke to Candida Doyle as she was visiting Disneyland Paris with six Shetland cousins and their ten children. She’s started a counselling course in London. Steve Mackey just finished producing Florence and the Machine’s debut album. He's produced and co-written for MIA and has remixed the likes of Kelis and Arcade Fire. While overseeing London's Frieze Art Fair’s musical programme, Mackey booked Karlheinz Stockhausen for one of his last engagements before he died. Nick Banks plays at private parties with The Big Shambles, knocking out covers of songs by The Damned, David Bowie and Amy Whitehouse. More typically, he runs Banks' pottery, a Rotherham based crockery business – ‘Crock’n’roll, as we like to call it.’

Of all the former members, Russell Senior has strayed furthest from music. He's written 50,000 words of a debut novel and has been setting up a ‘wild-foods processing plant.’ An avid lover of wild mushrooms, Russell has been furthering this. Rather than reducing trees to a pulp, he's utilised woodland in a more sustainable manner. ‘What I've been doing,’ he says, ‘is drilling little holes in Birch trees to collect sap – I’d highly recommend it.”

Scans from PulpWiki

[oopsalldadsderby]

The contestants have been finalized! Here's the bracket lineup!

So how this is going to work is, there's going to be 8 polls a day, starting tomorrow, until we hit semifinals. That means we'll do group A, B, C, D, then side AB, then side CD, then all the quarterfinals together. I'll update the images whenever we hit a new round.

Plain text Round 1 matchups under the cut:

(As a reminder, groups are formatted as [Dad name] & [Kid name]. So if there's multiple of either dads or kids, they'll use the word 'and.' Think of the ampersand like a separator.)

Group A

Bruno & Team Bucciarati (JJBA:GW) vs. Kanan & Ezra (SW Rebels)

Tony Stark & Peter Parker (MCU) vs. Lin & Asami, Mako, Bolin, Korra (LoK)

Balsa Yonsa & Chagun (MGotS) vs. Thancred & Ryne (FFXIV)

Aizawa & class 1A (MHA) vs. C!Philza & crew (DSMP)

Sojiro Sakura & the Phantom Thieves (Persona 5) vs. Tommy "Big Man" & Gus (Sweet Tooth)

Finn & Leif (FE) vs. Sandor & Arya (GoT)

Axel/Lea & Roxas and Xion + King Mickey and Riku (KH) vs. Artemy & Sticky and Murky (Pathologic)

Joel & Ellie (TLoU) vs. Darkwing Duck & Gosalyn Mallard (Darkwing Duck)

Group B

Pyrrha & Nona (TLT) vs. Kelsier and Vin (Mistborn)

Fukuzawa & Ranpo (BSD) vs. Miss Honey & Matilda (Matilda)

Jack Wynand & the Little Sisters (Bioshock) vs. Scar & Mei Chang (FMA)

Eda Clawthorne & King and Luz (TOH) vs. John Silver & Jim Hawkins (Treasure Planet)

Logan & Kitty and Jubilee (Wolverine) vs. Geralt & Ciri (Witcher)

Donquixote "Rosinante" Corazon & Law (OP) vs. Rouxls Kaard & Lancer (Deltarune)

Sully & Boo (Monsters Inc) vs. Simon & Marceline (AT)

Din & Grogu (The Mandalorian) vs. Bobby Singer & Sam and Dean (SPN)

Group C

Welt Yang & March 7th and the Trailblazer (Honkai Star Rail) vs. Jim Hopper & Eleven (Stranger Things)

Ingo & Irida and protagonist (PLA) vs. Gregor Samsa & Emil Sinclair (Limbus Company)

Nanami Kento & Itadori Yuuji (JJK) vs. Meta Knight & Kirby (Kirby)

Phoenix Wright & Trucy (AA) vs. Shirou & Michuri (BNA)

Yuugo and Lucas & 50 kids (The Promised Neverland) vs. Stan Pines & Dipper and Mabel (GF)

Date & Mizuki (AI:TSF) vs. Peabody & Sherman

Cabalena and Jowd & Lynne (Ghost Trick) vs. Pigsy and Tang & MK (LMK)

Kiryu & Haruka (+others) (Yakuza) vs. Tenmyouji & Quark (Zero Escape)

Group D

Silco & Jinx (Arcane) vs. Guts & Schierke (Berserk)

RGB & Hero (TPoH) vs. Father Garcia & John (FAITH)

Sam and Max & The Geek (Sam and Max) vs. Tom Wachowski & Sonic (Sonic movie)

Rei and Kazuki & Mira (BD) vs. Daud & Billie Lurk (Dishonored)

Chongi-re, Numeri and Butler (TRPC) vs. Jacob Holland & Maisie (The Sea Beast)

Reigen & Mob (MP100) vs. Maedros and Maglor & Elrond and Elros (Silmarillion)

Jean Valjean & Cosette (Les Miserables) vs. Loid & Anya (Spy x Family)

Batman & Robins (Batman) vs. Kurogane & Syaoran (Tsubasa Reservoir Chronicle)

[mybeautifulchristianjourney]

Lucas 22:42-43 42 diciendo: Padre, si quieres, pasa este vaso de mí; pero no se haga mi voluntad, sino la tuya 43 Y le apareció un ángel del cielo confortándole

42 saying, "Father, if you are willing, remove this cup from me. Nevertheless, not my will, but yours, be done." 43 An angel from heaven appeared to him, strengthening him. — Luke 22:42-43 | La Biblia del Jubileo 2000 (JBS) and Hebrew Names Version (HNV) La Biblia del Jubileo 2000 (De las Escrituras de La Reforma) Editado por: Russell M. Stendal Jubilee Bible 2000 – Russell Martin Stendal and © 2000, 2001, 2010 and The Hebrew Names Version Bible which is in the public domain. Cross References: Matthew 6:10; Matthew 11:25-26; Matthew 20:22; Matthew 26:39; Matthew 26:42; Luke 23:34

[fallimentiquotidiani]

Quante canzoni sulle prostitute: Bocca di rosa, Gianna, il cielo in una stanza, malafemmena...

Roxanne, Via del Campo, Honky Tonk Women, The House of the Rising Sun, Disperato Erotico Stomp, Son le Puttane le Donne Migliori, La Bella Canzone di una Volta, Walk on the Wild Side, Winter Lady, Jubilee Street, Maggie M'Gill, X Offendere, Stella della Strada, Four Time Around...

[lesmissocials-fuckedup]

Twitter 2022 compilation

So more like a 2022 archive but you get the spirit

In chronological order, we have :

• On barricade day : the infamous Queen jubilee, featuring a starving child supporting the monarchy as a plate decoration. Not only does it go against the musical's whole message, but it was also posted on barricade day.

• On June 21 for some reason. You go, oppressive capitalism ! The working class can't stop us rich people from having fun :)

• Queen Elizabeth's death, because again we strongly believe and support the monarchy. Four months later, we are still left wondering who "we" is supposed to be

• On November 30. This one seems like a perfectly fine post, until you realize Victor Hugo never actually wrote this line in les mis since it's from the musical and Hugo had been dead for a good century when it was written.

• And finally, the Christmas one, my personal favorite. Probably not the worst but there are a lot of things wrong with this picture, starting with the quality pun

Another good thing to add to this 2022 wall of shame is that not only did they post very embarrassing stuff, but they were also bullied into deleting three of those (the jubilee, the rail strike and the Queen's death) a few hours after posting them. Looking good for the fandom, looking bad for the musical industry.