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disneydarlin · 3 years

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Top 7 Disney Channel Original Movies

It’s safe to say the Disney Channel’s original movies are some of the worst content Disney has ever created. Most of the time, the random song and dance numbers didn’t make any sense. The acting is also typically awful because the actors are always too dramatic or weird for no reason. Due to these things, the stories and plots become lost. Despite all of this, there are a handful of films where viewers might be able to tolerate their flaws. In this article, the best Disney Channel movies will be presented.

1. Smart House: Unlike most Disney Channel movies, this film has a lot of thought and creativity put into it. In the movie, a family moves into a high technology designed house. As such, the intelligent house can do a lot of fun and interesting things for its inhabitants. This original idea allows many good sets to be designed in creating a futuristic home. Some of the special effects are still good as well, even though some of the effects are dated. When it comes to the plot, the story is actually touching and emotional. This allows some good acting moments to come out of the actors, despite the usual corny directing.

2. Luck of the Irish: There’s a lot of European influence in this film. This mostly revolves around several Irish folklore, myths, legends and superstitions. It’s great how the movie utilizes these things in creative ways through the characters and the strange events they find themselves in. The weird adventure is entertaining to watch with all the silly characters interacting with each other. However, it would have been interesting to see the magical Fae Realm located in Ireland considering how often the movie talked and teased about it.

3. Let It Shine: Here is a musical done right. The music is sung at appropriate times during the story. There are no random break-out-into-song moments as if nobody can hear the characters. The dance numbers are also incorporated into scenes without people and characters suddenly breaking out into choreographed dance as if they have conveniently danced their entire lives. Nothing is random. Everything makes sense and fits well into an overall nice story. The acting is also great too. This movie might be the only occasion where pop and rap music can be tolerated among audiences who aren’t fond of either genre.

4. Wendy Wu: Homecoming Warrior— Beyond all the stereotypes and corny acting, this movie is actually entertaining. The action scenes are really interesting because the actors do real stunts and fighting. In fact, outside of the teenage high school girl tropes, the majority of the movie is filled with several fun and creative fighting scenes. Some of which even incorporate a little humor at times too.

5. The Thirteenth Year: This movie has an interesting take on mermaids, or rather, mer-folk. Instead of a girl being the mermaid, a boy is a merman. The practical effects and makeup utilized in the film are also great. It feels like a boy can actually turn into a merman. There are few poor movie effects in this movie beyond the electricity in the boy’s fingers. It’s interesting to see new ideas presented on mer-folk creatures in what could have easily been a typical mermaid movie.

6. Minutemen: A time travel movie is pretty predictable. However, this film actually has a lot of entertaining moments with the characters. Outside of the awful acting, many of the weird adventures these characters go on are random. However, the silly reactions the characters have to these events is what makes the film. Usually, the crazy and dramatic acting is hard to sit through, but it works in this movie on some unintentional funny levels.

7. Jump In: Like Let It Shine, this movie has some good acting. But this doesn’t mean the actors don’t sometimes lean towards being a bit overly dramatic in some scenes. There are also a few action scenes and fun stunts with the main cast of characters, which are rather entertaining to watch. Unfortunately, this film is predictable and contains several dated stereotypes. Beyond this, the story is still nice and it has a lot of potential.

What do you think? Do you agree with the top picks? If not, what are some of your favorite Disney Channel Original Movies? Please share with me!

#disney #article #disney channel #live action disney movies

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pawprintsmoon · 3 years

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You and me; Part I

The crown has a plan for Alex and Henry, but our boys are determined to do it their own way.

(This is a complete three part fic and I'll be updating it all in the next couple days.)

https://archiveofourown.org/works/30337365/chapters/74782878

The proposal was scheduled for Friday night, August of 2022. They would be on the rooftop terrace of Le Mer, the fanciest seafood restaurant in London. The waiter would drop off their drinks, and the ring would be in Alex’s champagne. The royal stylists had picked out another cardigan situation for Henry, and a white collared shirt for Alex with a gray necktie. The gas fire near their rooftop table would provide warm lighting, and photographers would be at the ready for the moment when Henry would take one knee. It had been choreographed to be one hundred percent perfect.

Except, of course, that everything about it was wrong.

A gray tie? A ring in champagne? Cameras?

Most importantly, there would be no surprises, no suspense, no adventure. Their proposal would be everything that their relationship wasn’t.

Of course, they were going to be together forever, they’d known that for years. One summer night, before any plans had been made for them, they were making dinner together and Henry dropped some heavy hints.

“Remember that time June played ‘Annie’s Song’ at your lake house?” he said, sautéing peppers and chicken. “I know it’s a bit cliché but, it’s a thought.”

“A thought for what?” Alex asked, distracted by the chili sauce he was mixing.

“Well, you know. I doubt it’s actually been played at a royal wedding before.” Alex’s face jerked away from the sauce to watch in awe as Henry continued. “Or well… maybe ‘Your Song?’ I suppose that could be nice.”

“Nice,” Alex echoed. “Sure, yeah. If you played it.”

“I’m unsure whether it would be too ‘alternative’ to play the music at my own wedding. It’s not exactly traditional, is it? My grandmother might want to filter out Elton John, anyways.” Henry didn’t look up from the cast iron as he spoke. He shrugged a shoulder. “Just thinking out loud.”

Alex knew for a fact that Henry very rarely just ‘thought out loud,’ but he also knew not to press it. These hints alone were making his heart hammer in his chest, and if the conversation continued any further he might have a heart attack.

“I think we’re ready for you to add the sauce,” Henry said, gesturing with a spatula. Alex brought over the sauce without comment and, like always, they let the progression of their relationship simmer.

While that was the end of the conversation, it was not the end of the idea. Alex once joked that he’d wear a kilt to their wedding, or perhaps a toga. Nora had started calling Alex ‘Princess,’ and would jokingly refer to Henry as Alex’s ‘hubby.’ They didn’t stop her. Once, Alex found a secret wedding binder that June had put together, and he indulged her, flipping lazily through color palettes. Like everything about them, forever was inevitable. But he and Henry… well they never actually <i>talked </i>about it. They had all the time in the world.

However, the Queen, Princess Katherine, and the royal publicists could smell engagement in the air. Katherine was accepting and supportive of their relationship, but sometimes she was over-protective. In order to shield Henry from the haters, she tried to make him more palatable to their socially conservative countrymen. Even some of the liberal Brits who said that they were okay with the prince being gay, still expected the two of them to behave like a heterosexual couple.

It was alright in NYC, where Henry could be himself, but every time they went to England the pressure seemed to crush him. Every visit, Philip reminded them that the crown must symbolize tradition and appear politically impartial -a tricky thing to do when the gay prince was being courted by an aspiring politician and had refused a military career. Still, he was also an icon for the queers of Britain. It’s a lot of work, trying to please an entire country.

When Shaun briefed them on the plan at La Mer, Alex followed his boyfriend’s lead. They both agreed to the choreographed proposal, their crowd-pleasing smiles firmly in place. Only his dedication to Henry’s comfort would make him go along with a plan like that. Coming out had been harder for the prince, and Alex knew that Henry didn’t want to make waves. Not after everything.

But as Henry became more and more subdued, listlessly wandering around their brownstone, Alex’s doubts grew. Conflicted and unsure how to broach the topic, Alex remained silent as they flew to London. His heart ached to see Henry lost in one of his moods and he knew that this was exactly what Henry didn’t want. When they woke up in Kensington Palace on Friday morning, Alex made up his mind.

“‘Morning sweetheart,” he said softly as Henry opened his eyes. Henry hummed and nestled closer to his side. “I was thinking. Let’s just go get curry in Soho tonight, see a show or something.”

Henry blinked up at him.

“And I don’t think I’ll wear a gray tie. Ever, in my life.” He smiled at how gently the sleep left Henry’s eyes. “Look, I know you don’t want to follow their plan. You’re, like, a romantic poet, secret love letter writing prince charming. Their plan is the opposite of you. So, I say fuck it.”

“You’re right,” Henry agreed with a mischievous smile.

“Generally.”

“Well, not about the prince charming bit, you’ve got to give that up.”

“Never.” Alex smirked. “So, you’ll text Shaun last minute, and we’ll escape the clutches of our PPOs?”

“Yes.” Henry kissed him. “A million times yes. I think I’ve been waiting for you to wake me up with the suggestion. God, the plan has been filling me with dread. And I love curry.”

“I know, baby.” They kissed some more, languid and smooth.

“Hey, you know,” Henry said after a while, “I don’t want that, but that doesn’t mean I don’t want-”

“I know,” Alex cut him off.

So they never saw cameras, champagne, and a firelit terrace. Instead, they saw a drag show, ate cheap curry, and kissed next to the Thames. The whole affair had inspired Alex, scattering ideas and fantasies through his mind. Prince Henry deserved his fairytale proposal, and Alex was determined to give it to him.

#rwrb #ao3 tags #ao3 #red white and royal blue #henry fox mountchristen windsor #alex claremont diaz #fluff #fanfiction #rwrb fanfic #fanfic #proposal

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hereticpriest · 5 years

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Bury a Friend Chapter 4

Warnings: Canon typical warnings apply to all chapters of this story.

The door closed behind Hannibal, and Rosalind smiled faintly to herself for a moment before changing into her practice clothes. The top was akin to a sports bra, a little baby pink thing that looked lovely with her skin tone. The gap between the top and her black leggings showed off her toned stomach and a map of bruises across her torso that she thought looked quite nice if she were being honest. She tied her ballet shoes and grabbed her phone, then opened the door. Hannibal’s eyes roamed over her, but it didn’t make her uncomfortable, even as he brushed his fingertips over the bruises.

“Rosa…” Hannibal pressed on one of the bruises, his pupils blowing up when she hissed, though he noticed she leaned into his touch instead of away from it. He blinked, then placed his hand back on her lower back and led her down to the open space of his living room. Once he moved the furniture aside, the space was plenty big enough for her to dance, and he could see the excitement in her.

“Do you need anything else?” He asked, and Rosalind hesitated, then nodded.

“Would you mind helping me stretch? I need someone to force me past my limits.” She requested, and he nodded, gesturing for her to begin. He took off his jacket, hanging it on the back of one of his chairs, then stalked over to her as she lifted her arms, spread her legs shoulder-width apart, and reached down to her left foot. Hannibal stood directly behind her, one hand on her ribs, the other on her back between her shoulders, relishing a little in the trust this woman was giving him. He pushed her a little further, and she sighed at the slight burn, holding the stretch and then moving to stretch to the right. Again, Hannibal helped her push past her limits, enjoying the gentle hums and quiet groans she released. He continued as she lifted one leg until her foot was over her head, forcing her leg straight as he pushed her further. She stood straight in front of him, feet together now, and bent forwards until her fingers touched the ground.

Hannibal smoothed his hand up her back, his hips pressed against her ass as he leaned over her a little to push her further. Rosalind straightened up against him, then offered him a smile over her shoulder as she sank into a front split. When his throat bobbed before he sank down behind her, she smiled to herself, until her face was pressed down until her cheek met the floor. She straightened up, then twisted into a side split and leaned down to hug her leg, urged further by Hannibal’s hands. When he finally let her up, Rosalind finished her stretches, then smiled at him.

“How tall are you, Hannibal?”

“I am 6’1.” Hannibal raised his brows as he answered, and Rosalind laughed quietly for a moment.

“Do you trust me?”

“I suppose I do.” Hannibal agreed, and the smile he received in response was worth it. A moment later, Rosalind’s heel was on his shoulder and she was arching back beautifully before him, showing off impressive flexibility that made him itch to touch her.

“Would you like to dance with me, Doctor Lecter?” Rosalind asked, sliding her foot from his shoulder and putting her hands on his stomach to balance herself as she leaned forwards with that same leg out behind her, creating a straight line, similar to an arabesque.

“I would love to.” Hannibal smiled genuinely as her hands trailed up his chest as she straightened.

“Wonderful. Do you know how to salsa?” Rosalind asked hopefully, beaming when he nodded. She went to turn on music on her phone, but Hannibal set a record on his record player before she had the chance, then stepped up behind her and settled his hands on her hips. Rosa was pleased to find that he was a beautiful dancer, and she almost thought for a moment that this felt like a seduction. His hands were on her hips, fingertips pressed into her hip sockets so intimately that she felt like moving his hand the few inches over and down to her pussy and seeing how he would react.

Instead, Hannibal led her into a couple of spins, then dipped her so low her hair brushed the ground. He ran a hand along her stomach almost reverently, traced his fingers up her chest, then lifted her back into him. Rosalind wrapped herself around him, forehead to forehead as if they were that intimate, then pushed herself away. He lifted her, and she went with it, arching for him to make herself easier to hold, her core tight as she held her balance. And then she was falling, and he was catching her, bringing her close to him. She felt understood in that moment, with the push and pull of a dance, reading each other’s moves so well that it felt choreographed.

“Hannibal, there’s a chance that my stalker will find me here. There’s a chance that he’ll find me here, and see me with you, and he may even take pictures of you. I imagine you’ve considered the risk, but I want to be absolutely sure. I find I quite like you, and I don’t want you to be hurt by my problems.” Rosalind said, her hands settling on his chest as they danced together. Hannibal twirled her, then placed his hands on her waist and drew her in close to his solid frame.

“I am aware of the risks, and I am not afraid of your stalker.” Hannibal assured her, and she nodded gratefully.

“You’re far too kind to me.” Rosalind replied, “Is there anything I can do to repay you?”

“Come help me cook. And if you’re absolutely unable to assist, you can sit on one of the counters and speak with me instead.” Hannibal replied, which drew a grin from her.

“I got all of the cooking talent in my family, not to worry. I was gifted with most of the artistic skill, actually. Will is better with facts and patterns.” Rosalind replied, humming along with the song playing. It switched soon enough to a song she recognized, and she laid her head on Hannibal’s shoulder and slowed them into a waltz to accompany the song.

“La mer, qu’on voit danser, le long des golfes clairs, a des reflets d’argent, la mer.” Rosalind sang quietly, her voice soft and her French pristine. Her voice had an old soul sound to it, and she had range, though she didn’t make use of it often. Hannibal hummed along with her, enjoying not only the song, but also the feeling of having her singing softly in his ear while they danced. He wondered for a moment how Will would feel about his sister being with an older man. He liked the feeling of her in his arms, and even more so, the look in her eyes when she was thinking about something that she knew she shouldn’t be. He felt a sprig of desire, the same longing that drove him to Will. The need to be understood and accepted.

He led her into the kitchen, not stopping dancing because he didn’t see much reason to when they were both enjoying it. When the song ended, he dipped Rosalind low to the ground, his hand making its way from her waist to her calf as he did. He felt the goosebumps under his fingertips as he touched her, and he could smell the spice of her arousal at his touch. Just to amuse himself, he brought her to a counter space he wasn’t planning on using and lifted her up onto it. He smirked at her little giggle, tracing his fingers over her thigh as he stepped away, enjoying the natural progression of their little seduction.

Rosalind watched him carefully as he went about prepping, shaking her head no when he asked her about allergies or food aversions. She’d never been very picky, though that may have had something to do with the way she had to scrounge for food when she was younger. As he cooked, she slipped from the counter and stood in the open space of his kitchen across the island to practice her pirouette. Hannibal watched her while he cooked, and he was surprised by how strong the urge to keep her there was. To have her singing or dancing around the kitchen every time he cooked, to watch her perform at his dinner parties, to bring her to lavish operas and plays just to relish in her appreciation of the arts.

The brunette pirouetted until she began to ache, slowing to a graceful stop with her foot brushing along the ground, and she was in somewhat of an elegant curtsy position.

“Dizzy, darling?” Hannibal’s voice cut through the fog she went into when she danced, and she blinked a couple times before shaking her head.

“Oh, no, I don’t get dizzy anymore. They teach you how to avoid it.” Rosalind replied, but the ‘darling’ didn’t go completely over her head, and it had a smile tugging at her lips. She stepped up behind him, slipping under his arm to stand pinned between him and the counter, then covered his hand that held a knife. He released his grip on it and she took it and began to skillfully chop the ingredients. She verified with him how big he needed certain slices after the first vegetable, and she felt a soft breath against her skin, and then a long inhalation against the crook of her neck that had her shivering. She pressed her ass back into his hips just to see how he would react, and she felt a thrill at the twitch against her and then a second inhalation against her skin. Lips traced over her neck then pressed against her fluttering pulse, and Rosalind closed her eyes, sighing breathily so he would know she enjoyed his touch.

“Neroli… bergamot...” Hannibal murmured against her skin, “Sandalwood and jasmine. Hint of lemon. Very unique.”

“It’s custom. Will sent me a gift card for a perfumery for my birthday because I always complain about having trouble finding scents that aren’t too strong but still stick around.” Rosalind replied quietly, a breathy moan escaping her as Hannibal kissed her shoulder and flicked his tongue across her skin. He hummed at the taste, kissing his way to her ear and licking the shell of it, then sucking on the lobe. His teeth sunk into her neck a moment later, gentle pressure. Delicate hands threaded through his hair, and the body in front of him arched beautifully as he bit down a little harder.

“Rosa.” Hannibal whispered, and Rosalind sighed happily at the nickname, twisting her body slightly so she could catch his lower lip in a bite of her own, “Clearly you are receptive, but considering your situation, I have to ask; are you sure you want this with me?”

“I need to regain an ounce of control in my life, Hannibal.” Rosalind replied, “If you are going to offer yourself to me, even if I have to wrestle that control from you, I will gladly partake. I’ve warned you what interacting with me might bring, and you’re old enough to make your own choices, so I won’t feel guilty should anything happen.”

Hannibal’s answering smile is wicked, and it fans the flames inside her. Rosa turned in his grip and pulled him down enough that she could lick the seam of his lips, one hand on his shoulder while the other cupped the back of his head. Rosalind sighed as he kissed her, returning it gently until he pulled away.

“Dinner before dessert, darling.” Hannibal smirked down at her, and Rosalind saw that darkness in his eyes. He could see her own darkness answering, knew her better than she knew herself in that moment, and he felt fire in his lungs. He almost wanted her to strike him, saw her hand twitch, but she simply relaxed in his grip and kissed his cheek. She turned around again and began to chop the vegetables again. She was still as stone again, like she hadn’t just been lit aflame by his mouth, and it made something coil in his gut that she could control herself like that. It made him feel warm and fond, but it also made him want to watch her truly lost to her instincts.

“I suppose that was the appetizer, mielasis?” Rosalind glanced back at him over her shoulder, “Did I pronounce that correctly?”

“Almost.” Hannibal stepped closer to her, pressing a couple of rough kisses to her neck, “Mielasis.” He corrected her pronunciation, and she smiled.

“Mielasis.” Rosalind repeated, and he kissed the apple of her cheek.

“Correct. Where did you learn that?” Hannibal asked, guiding her hands to cut the vegetables the way he needed them.

“My teacher used to throw some Lithuanian at us sometimes. Well, the ones she liked. She used to call her husband that when he’d visit, and she told me it meant sweetheart, so I figured I’d try it and see how you reacted.” Rosa admitted, letting him guide her.

“Do you speak any other languages?” Hannibal asked, leaving her to finish so he could check on the rest of their meal.

“French, Spanish, some Italian, and I’m learning Russian. Or, I was. I had to quit my night classes when I came here.”

“Impressive, brangioji.” Hannibal murmured, continuing when he saw Rosa open her mouth to speak, “Which is the feminine form of darling.”

Rosa grinned, finishing with the last of the vegetables and organizing them into neat, separated piles. She cleaned the knife carefully, wiped her work station, then turned to find Hannibal watching her with a certain appreciation in his eyes.

“Go ahead and change out of your practice clothes, darling. I’ll finish dinner and join you shortly.” Hannibal commanded gently, gesturing for her to go.

“Okay, I won’t be long. I’ll wait in the dining room. Thank you, Hannibal.” Rosalind replied politely, heading for the stairs.

#Hannibal #Hannibal Lecter/OC #Hannibal Lecter/Original Character #Hannibal Lecter

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liberace19 · 4 years

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No people could be more surprised than I -re and I when the newspaper headlined: " Liberate To Marry. We had known eaih other for five years and had been dating teaddy, but quietly, for six moni when suddi-nly our romance Ix-eame front pase news. Overnight our "boy-meets-girl, boy-dates-girl" relationh;p was cnt for the gossip columnist's m.U. Even my doe friend began ca'lm me "Liberace's girlfr.end" and "Mrs. Libcrace-to be." tar the record, we are not rn-gased. And, If he ba propord, that' a srrrrt btwrea u. We bavra't evea told our families. Terhap after reading my story vou will be able to guess the b Z errrt. Thrush million rif women the wofld mer dol;?e Libera e and a frw thousand of them be has never en have propo-fd to him I ftidn't reron.ze him the first time I saw him. To me he was a handsome Mran- ;rp ho moved into the bouse across the street from mv home in North Hollywood, t was eighteen at th time and omcth.ng of a tomboy. Hut a tomboy that was interest ed in eligible bachelor. I wa sure he wa a bachelor because, except for In Mom, I didn't see any women about th place. At n 2ht I could hear hi music through my open windows. Even then I could sens h.s moods. When he wa tired, or perhaps un-bappy, he would play wrnVr, serious pieces, and when he was ih.irpy the piano would come alive , Hill' would seem to make the !rcct hrht d.mrf. J t yearned to meet him and I Mush now In think of the first jirlish ruse I used. BASER U.L IN THE STREETS A I a d. was something of a tomboy. I lean to play baseball n the street with mv youncer brother. Eddie Jr.. and his friends. f insisted on playing the outfield because that put me in front of Lee' house where I thought sure he would notice me. lie didn't or so I thought un-td recently. Finally, after some months. I was introduced to ixe at M Charles Church after Sunday-Mass. Our families are both Cath-nt e I knew by then that he was The Libcraee. My fathr, Eddie Rio. I West-era Reeional Director of AtiVA. th prrfrmr, union. II told Mom and me that our mysterious neighbor wa "Libcraee, a pianist who's coin; to h th y r V m m 71 Jnannr and I.ibrrar sit ch holding came while n a date at nightclub. hottest thing la show business in a year or two." I don't remember much nf our meeting at church except that Mom and Dad exchanged casual greetings with Lee and his Mom and I stammered l.ke a bobby-soxer when I was introduced. I rcmendier I was disappointed that he didn't ask me for a date. That was to come later, lour years later. Meanwhile, though I gave up bal'playing, I watched py newest crush from my windows. Sometimes I'd get a scolding from my Mom for "peeking through the cur-ta.ns". Rut I'm sure Mom was more amused than angry. I watched Lee when he was learning to drive a car. a fire engine red Oldsmobile. and I was envious when I saw him leave on dates with a tall, beautiful blonde. I learned later tbey were engaged for a time. Lee talked to me occasionally when he W3s taking his French poodle. Suette. for a walk. Cut I'm afraid I was so awestruck that all 1 could talk about was SuzeUe. HEARTBROKEN ' When Lee moved away I was heartbroken for all of a week. All teenagers have crushes, though I'm not the type to swoon, over screen idols. And I h3d plenty of high schoo' dates. I forgot about Libcraee until years later when I was dancing and sinsing in the choru of the Moulin Rouge on the Sunset Strip. I grew up in show business. My mother. Mildred La Salle, was a blues siuger in Chicago before she ' - I rrk to cheek and play a hand- Hollywood's famous Moulin Rou;e save up her career fo marry Dad Drddy, before he became a union representative was one of the dancing Rio Brothers. So I was sort of "brought up in a trunk." Mom and Dad gave me singing and dancing lessons and I did some stage work and had child parts in movies. I now have a seconl lead in B"V Cmn St it Your Ft ', T lumbia's T.ug!es Wake which will be released soon and I plan to tour with my own nightclub act that is until I marry. I took the chorus job at the Moulin Rouge because I wanted to work with Don Arden. the show's choreographer, who is tops. My family and friends were all at ringside for opening ni;hu Danny Thomas, the comedian, w ho bas know n me since I was 14, nearly stopped the show when he spotted me in th chorus line. It was a sexy number with the girl dancing and doing a modified bump and grind in negligees. . Danny jumped to his feet and shouted to my father: "It's the baby. Lookit the baby." It amazed him that I was 22 and quite grtwn up. Liberace saw the show. Jn fact he saw it six times and that vas how we met again. One of the routines called for the chorus girls to ring bells to the accompaniment of the orchestra. Lee, who always sat near the runway, would reach up and play the bells for one of the chorines. I tried to get the girl to change places w ith me but she said "Nothing doing. I'm a fan of his too." After the show I sent Lee a note. I guess be wanted to se who th fresh chorus g:rl was because he invited me to his table for a drink. He was flabbergasted when he recognized me as the little torn-bo; who ued to play baseball in front of his house. It was a wonderful night. Lee drove me home in his new Cadillac. He was charming as he always is. Lee's the type of a man who shares everything with you I.e makes you think you are a part of his success and enjoying it with him. And he makes yo-feel that you are the only girl in the world. When he dropped me off at my home he walked me to the door and shyly asked to see me again. Then he bowed and squeezed my hand. It was like a caress. When I walked into the living room my mother took one look at me and told Dad: "Our Joanne is falling in love." TOMORROW: Joanne tell of her first dates with Liberace and their first kiss. October 21, 1954

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cynthiajayusa · 6 years

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What’s Hot Central Florida: February 2019

Welcome to the What’s Hot Column, where we feature countless events in the Greater Orlando, Tampa, St. Petersburg, and surrounding areas. This is also your connection to activities and events by local LGBT+ Organizations. Continue reading on to learn What’s Hot in February!

Friday, February 1

Join Southern Nights Tampa for their Monthly NeiBEARhood Takeover. “Beardstock” with DJ Edil Hernandez sponsored by Gobearr Gear & FatMarker. There will be fundraising performances for Miss Florida Bearded Queens journey to nationals. Showtime at 12am with Scarlette Diamond & Aquariius & 1am show with Miss Florida Bearded queen herself – Bearonce Bear. 21 & Over event with no cover before 10pm.

Saturday, February 2

Join The Parliament House as they say Farwell, to Shantell D’Marco for her final Saturday night as a current Footlight Player before she relocates to Chicago. Showtimes are 10pm & 12am. This weekend P-House will be featuring the Sounds of DJ Nina Flowers (Friday, Saturday & Sunday) in the main disco till 3am.

Starting today and every month on the first Saturday till June 1 join Lake Nona Cars & Coffee (11920 Narcoossee Rd, Orlando) for an event featuring everything from rare cars to new cars being released. There is always something cool and different that shows up, you just never know what it will be. Come hang out with your friends or network with like-minded individuals. They are a proud partner of Nemours Children’s Hospital. Each month they raise donations to help children in need. 100% of raffles, donations, and product sales are donated to Nemours Children’s Hospital. For Additional information carsandcoffeecfl.autoshowsonline.com.

Cristoph’s Tampa presents “Glow Party,” starring Stephanie Stuart and DJ Mike Sklarz. 21 and over with no cover!

Thursday, February 7

Come Out With Pride is excited to welcome Pride organizers and special guests to sunny Orlando for Interpride Pose 2019! Join them till February10 for educational workshops, networking opportunities and fabulous social events — all designed to showcase and benefit the various Prides of the Southeast. Get registration and hotel info plus check out the latest on their website at Comeoutwithpride.com/pose. Friday, February 8

Southern Nights Tampa presents “Surge Fridays” with International DJ Eddie Martinez, spectacular décor, sexy Go-Go dancers and much more. This is an 18 and over event with doors opening at 9pm and no cover till 10pm.

Back by Popular Demand, the Van Wezel presents “Patti Labelle” the Philadelphia Maven returns to belt out her Soul and R&B classics, pop hits, blues and spirituals – as only Ms. Patti can! Showtime at 8pm, and for tickets go to: Vanwezel.org.

Saturday, February 9

Right Angle Entertainment in association with Dr. Phillips Center present “The Simon & Garfunkel Story” The immersive concert-style theater show chronicles the amazing journey shared by the folk-rock duo, Paul Simon and Art Garfunkel. It tells the story from their humble beginnings as Tom & Jerry, to their incredible success as one of the best-selling music groups of the ‘60’s to their dramatic split in 1970. It culminates with the famous “The Concert in Central Park” reunion in 1981 with more than half a million fans in attendance. This event uses a huge projection photos and original film footage, featuring a full live band performing all the hits including ‘Mrs. Robinson’, ‘Cecilia’, ‘Bridge Over Troubled Water’, ‘Homeward Bound’ and many more. Showtime is at 8pm, and for tickets go to: drphillipscenter.org.

Sunday, February 10

The Amway Center presents Tyler Perry’s “Madea’s Farewell Play Tour.” Perry’s Madea franchise has resonated with its diverse audience with films exploring poverty, race, love and more. Marking Perry’s 21st stage play as the Atlanta grandma, the show stars the original cast including Tamela Mann, David Mann, and Cassi Davis. With the end of the Madea franchise era, and in proper Perry fashion, he wanted to give Madea fans a proper send off. The character, Mabel Earlene “Madea” Simmons, played by Perry himself, first appeared as a 68-year-old in the 1999 stage play, “I Can Do Bad All by Myself,” followed by the play and film, “Diary of a Mad Black Woman.” Performance runs though February 11. For additional information and tickets, please visit Amwaycenter.com.

If you want to hand out in your underwear head on over to Barcodes Orlando, every Sunday night with discounts for men in underwear.

Tuesday, February 12

Southern Nights Orlando presents Twisted Tuesday ‘Find your Valentine’ with special guest Blue Star. The main show is at 12am with Axel Andrews, Kaija Adonis & Cara Cavalli, followed by the Talent Contest. Doors open at 9pm, with no cover before 11pm.

The Straz Center presents “Hamilton: An American Musical” The Tony Award winning sung-and-rapped through musical about the life of American Founding Father Alexander Hamilton, with music, lyrics and book by Lin-Manuel Miranda, inspired by the 2004 biography Alexander Hamilton by historian Ron Chernow. Production runs through March 10. For tickets and show times go to: Strazcenter.org.

Reminder…. that Barcodes Orlando has Free Pool all day and all night every Tuesday!

Wednesday, February 13

The legendary tenor Andrea Bocelli returns to Orlando with his Valentine’s concert. Celebrating the romance of Valentine’s Day, Bocelli will delight his fans to a unique holiday repertoire combining the most beloved arias, crossover hits, and the world’s most famous love songs. With one of the most recognizable voices in the industry, Bocelli has been thrilling audiences for over 20 years and sold over 80 million records worldwide. A One Night Only event you can not miss! For tickets, please visit Amwaycenter.com.

Join Orlando’s Mayor Buddy Dyer and City Commissioners as they host the annual City of Orlando’s Black History Month celebration of the African American culture and contributions. This year’s Black History Month theme, “Black Migrations” emphasizes the movement of people of African descent to new destinations and subsequently to new social realities. While inclusive of earlier centuries, this theme focuses especially on the twentieth century through today. Event begins at 5:30pm at Mad Cow Theatre, 54 West Church St. For additional information, go to: Madcowtheatre.com.

Thursday, February 14

Mad Theatre and the Straz Center present “Heathers The Musical” a darkly delicious story of Veronica Sawyer, a brainy, beautiful teenage misfit who hustles her way into the most powerful and ruthless clique at Westerberg High: the Heathers. But before she can get comfortable atop the high school food chain, Veronica falls in love with the dangerously sexy new kid: J.D. When Heather Chandler, the Almighty, kicks her out of the group, Veronica decides to bite the bullet and kick Heather’s aerobicized butt…but J.D. has another plan for that bullet. Production runs till March 3. For Tickets and show times go to: Strazcenter.org.

Friday, February 15

Cristoph’s Tampa presents “Puppy Love,” which is a Pup night starring Alexis De La Mer and DJ Greg Anderson. 21 and over with no cover!

Southern Nights Tampa presents “Surge Fridays” with International DJ Cindel, spectacular décor, sexy Go-Go dancers and much more. This is an 18 and over event with doors opening at 9pm and no cover till 10pm.

Saturday, February 16

The Gay Men’s Chorus of Tampa Bay presents “Valentines Cabaret Show: “He Loves Me, He Loves Me Not” at the ballroom of the Historic Lozano Cigar Factory (1410 N 21st St Tampa). The GMCTB’s Cabaret is a must see showcasing their members singing solos, duets and group acts. They will have you loving, laughing and leaving happy, all while raising funds to continue the songs of The Gay Men’s Chorus of Tampa Bay. For more information, or to purchase tickets, go to: Gmctb.org.

The Parliament House presents the 6th Annual Red Ball featuring Monique Heart from RuPaul’s Drag Race All Stars 4. Shows at 10pm and 12am with the Footlight Players. Doors open at 8pm, and the Theatre doors open at 9:30pm. DJ Briana spins till 3am, with 18+ welcome. General admission is $12, with VIP admission $25 and includes a photo opportunity after the midnight pool stage show. Red Attire Strongly Recommended.

Southern Nights Tampa presents DJ Kitty Glitter (Direct from Australia). 18 & Over welcome with show time at 12am starring Roxxxy Andrews, Jade Embers and guests!

The Dr. Phillips Center in association with AEG Presents, present “Dancing With The Stars: Live! – a Night to remember” The show will feature fan favorite professional and troupe dancers in a brand-new production showcasing every type of dance style as seen on ABC’s hit show Dancing with the Stars, ranging from ballroom and jazz to modern and hip-hop. Choreographed by Emmy award-winning choreographer Mandy Moore and Dancing with the Stars Executive Producer Ashley Edens-Shaffer, this event delivers a spectacular night of show-stopping dance performances from world-renowned dancers including Brandon Armstrong, Alan Bersten, Witney Carson, Artem Chigvintsev, Val Chmerkovskiy, Sasha Farber, Jenna Johnson, Gleb Savchenko, Emma Slater, Hayley Erbert and Britt Stewart, and many more! For tickets, go to: Drphillipscenter.org.

Neema Barhami and Latin Saturdays “Amor” present Farrah Moan from RuPaul’s Drag Race All Stars 4. Doors open at 9pm, with admission $10 before 11pm and a Meet & Greet for only $20 (includes admission). 21 + welcome. Feautring DJ’s Kraig Mattew & Franklin Cruel. With Performances by Nouba Soleil, Natalie Nayles and Cara Cavalli. For Additional information, go to: Stonewallorlando.com.

Monday, February 18

The Dr. Phillips Center in association with Ed Atamian present Carol Burnett “An Evening of Laughter and Reflection.” Burnett will take questions from the audience, show video clips from her shows in a format that harkens back to the legendary openings of The Carol Burnett Show where her studio audience had an unfiltered opportunity to engage Carol with questions and receive spontaneous answers. “I love the spontaneity of these evenings,” said Carol. “I never know what anyone is going to ask, or say, or do, so it keeps me on my toes!” Showtime at 7:30pm, and to purchase tickets, go to: DrPhillipscenter.org.

Tuesday, February 19

Tonight and tomorrow night, the Van Wezel in association with Wilde Lexus Sarastoa and ABC 7 present “Finding Neverland.” The show tells the incredible story behind one of the world’s most beloved characters: Peter Pan. Playwright J.M. Barrie struggles to find inspiration until he meets four young brothers and their beautiful widowed mother. Spellbound by the boys’ enchanting make-believe adventures, he sets out to write a play that will astound London theatergoers. With a little bit of pixie dust and a lot of faith, Barrie takes this monumental leap, leaving his old world behind for Neverland, where nothing is impossible and the wonder of childhood lasts forever. The magic of Barrie’s classic tale springs spectacularly to life in this heartwarming theatrical event. For tickets and show times Vanwezel.org.

Thursday, February 21

The Dr. Phillips Center in association with Live Nation present “Hymn” starring Sarah Brightman in concert with special guests Vincent Niclo & Narcis Lustin Lanau. Known for her three-octave range and for pioneering the classical-crossover music movement, Sarah Brightman has amassed global sales of more than 30 million units. Showtime at 8pm, an for tickets, go to: Drphillipscenter.org.

Friday, February 22

The Parliament House in association with Miracle of Love, Inc. present an Intergalactic Experience – Wigs in Space! Experience big wigs, big entertainment, as well as big prizes. The Theme is Space, so make sure to come out in theme. For Tickets and additional information please visit Parliamenthouse.com.

Saturday, February 23

Mr Ms Adrien in association with Southern Nights Orlando present “Gaga Ball 3.” The show is a fully staged and choreographed drag tribute production dedicated to the career of Grammy award winning artist Lady Gaga, and her legions of dedicated fans. The show is a full hour packed with Gaga’s most iconic looks and performances, and will make you feel like you are front row at a live Lady Gaga concert. Showtime at 8:30pm, with doors opening at 8pm. Tickets are $10 pre-sale, and $20 at the Door. For tickets and additional information visit: mrmsadrien.ticketleap.com/gagaball.

Barcodes Orlando presents their monthly (last Sat of every month) Leather night with live demo’s and as always no cover!

Tuesday, February 26

An Intimate Evening of Songs and Storytelling with three-time Grammy Award-winner Sarah McLachlan and featuring Vanessa Freebairn-Smith takes place at the Van Wezel. With over 40 million albums sold worldwide and 12 Juno Awards to her name, McLachlan was recently inducted into the Canadian Music Hall of Fame and has solidified her place as one of the most celebrated singer-songwriters in the entertainment industry. Showtime at 8pm, and for tickets go to: Vanwezel.org.

Cristoph’s Tampa presents “Sexy Singlet,” starring Lady Janet and DJ Mike Sklarz. 21 and over with no cover!

source https://hotspotsmagazine.com/2019/01/31/whats-hot-central-florida-february-2019/ from Hot Spots Magazine https://hotspotsmagazin.blogspot.com/2019/01/whats-hot-central-florida-february-2019.html

0 notes

demitgibbs · 6 years

Text

What’s Hot Central Florida: February 2019

Friday, February 1

Saturday, February 2

Cristoph’s Tampa presents “Glow Party,” starring Stephanie Stuart and DJ Mike Sklarz. 21 and over with no cover!

Thursday, February 7

Saturday, February 9

Sunday, February 10

If you want to hand out in your underwear head on over to Barcodes Orlando, every Sunday night with discounts for men in underwear.

Tuesday, February 12

Reminder…. that Barcodes Orlando has Free Pool all day and all night every Tuesday!

Wednesday, February 13

Thursday, February 14

Friday, February 15

Cristoph’s Tampa presents “Puppy Love,” which is a Pup night starring Alexis De La Mer and DJ Greg Anderson. 21 and over with no cover!

Saturday, February 16

Southern Nights Tampa presents DJ Kitty Glitter (Direct from Australia). 18 & Over welcome with show time at 12am starring Roxxxy Andrews, Jade Embers and guests!

Monday, February 18

Tuesday, February 19

Thursday, February 21

Friday, February 22

Saturday, February 23

Barcodes Orlando presents their monthly (last Sat of every month) Leather night with live demo’s and as always no cover!

Tuesday, February 26

Cristoph’s Tampa presents “Sexy Singlet,” starring Lady Janet and DJ Mike Sklarz. 21 and over with no cover!

from Hotspots! Magazine https://hotspotsmagazine.com/2019/01/31/whats-hot-central-florida-february-2019/ from Hot Spots Magazine https://hotspotsmagazine.tumblr.com/post/182451586340

0 notes

hotspotsmagazine · 6 years

Text

What’s Hot Central Florida: February 2019

Friday, February 1

Saturday, February 2

Cristoph’s Tampa presents “Glow Party,” starring Stephanie Stuart and DJ Mike Sklarz. 21 and over with no cover!

Thursday, February 7

Saturday, February 9

Sunday, February 10

If you want to hand out in your underwear head on over to Barcodes Orlando, every Sunday night with discounts for men in underwear.

Tuesday, February 12

Reminder…. that Barcodes Orlando has Free Pool all day and all night every Tuesday!

Wednesday, February 13

Thursday, February 14

Friday, February 15

Cristoph’s Tampa presents “Puppy Love,” which is a Pup night starring Alexis De La Mer and DJ Greg Anderson. 21 and over with no cover!

Saturday, February 16

Southern Nights Tampa presents DJ Kitty Glitter (Direct from Australia). 18 & Over welcome with show time at 12am starring Roxxxy Andrews, Jade Embers and guests!

Monday, February 18

Tuesday, February 19

Thursday, February 21

Friday, February 22

Saturday, February 23

Barcodes Orlando presents their monthly (last Sat of every month) Leather night with live demo’s and as always no cover!

Tuesday, February 26

Cristoph’s Tampa presents “Sexy Singlet,” starring Lady Janet and DJ Mike Sklarz. 21 and over with no cover!

from Hotspots! Magazine https://hotspotsmagazine.com/2019/01/31/whats-hot-central-florida-february-2019/

0 notes

leyhejuhyunghan · 7 years

Text

Les XX Paul Vidal (French,1863–1931) and Paul Vidal de La Blache (French, 1845-1918) and The "Vidalian” program on Possibilism and Friedrich Ratzel (German, 1844–1904) Lebensraum and Carl Ritter (German, 1779–1859) and Landscape Archaeology

https://www.facebook.com/juhyung.han.5/posts/1729075880484912

http://blog.naver.com/artnouveau19/221228721554

Paul Vidal (French, 1863-1931) - LA GITANE (Orchestra) https://youtu.be/RTC7J-POf2M

Paul Vidal (French, 1863-1931) - Concertino - Szabolcs Varga trumpet https://youtu.be/pHn7L-d-GmE

Les XX and musicians

"Between 1888 and 1893, Vincent d’Indy worked with Octave Maus and a group of Belgian musicians, including the internationally famous violinist, Eugene Ysaye, to create a dynamic concert series of avant-garde music. Each year the principle French composers o f the day, including Gabriel Faurd, Ernest Chausson, Charles Bordes, Peter (pp.9-10) Benoit, Emanuel Chabrier, Cesar Franck, Julien Tiersot, Chevillard, and Paul Vidal, would travel from Paris to Brussels, to hear world-class performances o f their music and often perform their works to large and appreciative audiences o f the general public. The phenomena was exceptional and in essence paralleled the art exhibitions, which involved many ofthe principle Parisian artists from Van Gogh, to Seurat, Monet, Rodin, Gaugin, Pissaro, Lautrec and Redon, to name but a few."

“Les Vingt and the Belgian Avant-Garde"

A Discussion of the Music Staged Under the Auspices of Les Vingt; its Esthetic Relationship to Music, Art and Literature in Belgium and France, with reference to Le Societe Nationale de Musique, Paris.

Andrew Smith, University of Hartford, 2003, pp. 9-10

Paul Vidal Paul Antonin Vidal (16 June 1863 – 9 April 1931) was a French composer, conductor and music teacher mainly active in Paris. Life and career[edit]

Paul Vidal was born in Toulouse, and studied at the conservatoires there and in Paris, under Jules Massenet at the latter. He won the Prix de Rome in 1883, one year before Claude Debussy. On 8 January 1886, in Rome, Vidal and Debussy performed Franz Liszt's Faust Symphony at two pianos for Liszt himself, an after-dinner performance that Liszt apparently slept through. The following day they played Emmanuel Chabrier's Trois valses romantiques for Liszt.

Vidal conducted at the Paris Opera where he made his first appearance directing Gwendoline in 1894 (he had coached the singers for the Paris premiere in 1893[2]), and later conducted the first performance of Ariane and the Paris premieres of Roma by Massenet, and L'étranger by d’Indy. He co-founded the Concerts de l’Opera with Georges Marty.[1] He was Music Director of the Opéra-Comique from 1914–19, conducting revivals of Alceste, Don Juan (the French version of Mozart's Don Giovanni), Iphigénie en Tauride, L'irato, Le Rêveand Thérèse. He also conducted the premieres of several operas and ballets.[3] He taught at the Paris Conservatoire, where his students included composers Marc Delmas, Jacques Ibert and Vladimir Fédorov. See: List of music students by teacher: T to Z#Paul Vidal. He died in Paris, aged 67.

His brother Joseph Bernard Vidal (1859-1924) was also a composer.[1]

Compositions and pedagogy[edit]

His compositions are virtually forgotten today: they include the operas Eros (1892), Guernica (1895) and La Burgonde (1898); ballets La Maladetta (1893) and Fête russe (1893, arr. - both choreographed by Joseph Hansen, Paris Opera); a cantata Ecce Sacerdos magnus; and incidental music to Théodore de Banville's Le Baiser(1888) and Catulle Mendès' La Reine Fiammette (1898). In collaboration with André Messager, he also orchestrated piano music of Frédéric Chopin into a Suite de danses (1913).

He is perhaps better known today through his keyboard harmony exercises, Basses et Chantes Données which was a favorite teaching tool of his pupil, the legendary pedagogue Nadia Boulanger, and subsequently many of her students including Narcis Bonet who has republished a selection of these exercises under the title Paul Vidal, Nadia Boulanger: A Collection of Given Basses and Melodies”.

https://en.wikipedia.org/wiki/Paul_Vidal

Paul Vidal de La Blache (Pézenas, Hérault, 22 January 1845 - Tamaris-sur-Mer, Provence-Alpes-Côte d'Azur, 5 April 1918) was a French geographer. He is considered to be the founder of modern French geography and also the founder of the French School of Geopolitics. He conceived the idea of genre de vie, which is the belief that the lifestyle of a particular region reflects the economic, social, ideological and psychological identities imprinted on the landscape. Works[edit]

Vidal de la Blache produced a large number of publications; including 17 books, 107 articles, and 240 reports and reviews.[6] Only some of these have been translated into English. His most influential works included an elementary textbook Collection de Cartes Murales Accompagnées de Notices along with Histoire et Geographie: Atlas General and La France de l'Est. Two of his best-known writings are Tableau de la Géographie de la France (1903) and Principles of Human Geography (1918).

The "Vidalian" program The Tableau de la Geographie de la France was a summary of Vidal's methods, a manifesto whose production required a dozen years of work. It surveyed the entire country, taking note of everything he had observed in his innumerable notebooks. He took an interest in human and political aspects, geology (an infant discipline at the time, little connected with geography), transportation, and history. He was the first to tie together all those domains in a somewhat quantitative approach, using numbers sparingly, essentially narrative, even descriptive—not far removed, in some ways from a guidebook or a manual for landscape painting.

Influenced by German thought, especially by Friedrich Ratzel whom he had met in Germany, Vidal has been linked to the term "possibilism", which he never used but which summed up conveniently his opposition to the determinism of the sort that was defended by some nineteenth century geographers. The concept of possibilism has been used by historians to evoke the epistemological fuzziness that, according to them, characterized the approach of Vidal's school. Described as "idiographic", this approach was seen as blocking the evolution of the discipline in a "nomothetic" direction that would be the result of experimentation, making it possible to unlock laws or make scientific demonstrations.

"Vidalian" geography is based on varied forms of cartography, on monographs, and on several notable concepts, including "landscapes" (paysages), "settings" (milieux), "regions", "lifeways" (genres de vie), and "density". Many of the master's students, particularly in their dissertations,[7] produced regional geographies that were both physical and human (even economic). The context chosen for these descriptions was a region, whose contours were not always very firmly fixed scientifically. Undoubtedly because this approach was more structured, many of Vidal's successors, and still more those of Martonne, specialized in a geomorphology that became gradually stronger, but that also, by its narrowness, weakened French geography. https://en.wikipedia.org/wiki/Paul_Vidal_de_La_Blache

Possibilism in cultural geography is the theory that the environment sets certain constraints or limitations, but culture is otherwise determined by social conditions.[1][2]In Cultural ecology Marshall Sahlins used this concept in order to develop alternative approaches to the environmental determinism dominant at that time in ecological studies. Theory by Strabo in 64 BC that humans can make things happen by their own intelligence over time. Strabo cautioned against the assumption that nature and actions of humans were determined by the physical environment they inhabited. He observed that humans were the active elements in a human-environmental partnership.

The controversy between geographical possibilism and determinism might be considered as one of (at least) three dominant epistemologic controversies of contemporary geography. The other two controversies are 1) the "debate between neopositivists and neokantians about the "exceptionalism" or the specificity of geography as a science [and 2)] the contention between Mackinder and Kropotkin about what is—or should be—geography".[3]

Possibilism in geography is, thus, considered as a distinct approach to geographical knowledge, directly opposed to geographical determinism.

https://en.wikipedia.org/wiki/Possibilism_(geography)

Friedrich Ratzel (August 30, 1844 – August 9, 1904) was a German geographer and ethnographer, notable for first using the term Lebensraum ("living space") in the sense that the National Socialists later would.

Life[edit] Ratzel's father was the head of the household staff of the Grand Duke of Baden. Friedrich attended high school in Karlsruhe for six years before being apprenticed at age 15 to apothecaries. In 1863, he went to Rapperswil on the Lake of Zurich, Switzerland, where he began to study the classics. After a further year as an apothecary at Moers near Krefeld in the Ruhr area (1865–1866), he spent a short time at the high school in Karlsruhe and became a student of zoology at the universities of Heidelberg, Jena and Berlin, finishing in 1868. He studied zoology in 1869, publishing Sein und Werden der organischen Welt on Darwin.

After the completion of his schooling, Ratzel began a period of travels that saw him transform from zoologist/biologist to geographer. He began field work in the Mediterranean, writing letters of his experiences. These letters led to a job as a traveling reporter for the Kölnische Zeitung ("Cologne Journal"), which provided him the means for further travel. Ratzel embarked on several expeditions, the lengthiest and most important being his 1874-1875 trip to North America, Cuba, and Mexico. This trip was a turning point in Ratzel’s career. He studied the influence of people of German origin in America, especially in the Midwest, as well as other ethnic groups in North America.

He produced a written work of his account in 1876, Städte-und Kulturbilder aus Nordamerika (Profile of Cities and Cultures in North America), which would help establish the field of cultural geography. According to Ratzel, cities are the best place to study people because life is "blended, compressed, and accelerated" in cities, and they bring out the "greatest, best, most typical aspects of people". Ratzel had traveled to cities such as New York, Boston, Philadelphia, Washington, Richmond, Charleston, New Orleans, and San Francisco.

Writings[edit] Influenced by thinkers including Darwin and zoologist Ernst Heinrich Haeckel, he published several papers. Among them is the essay Lebensraum (1901) concerning biogeography, creating a foundation for the uniquely German variant of geopolitics: Geopolitik.

Ratzel’s writings coincided with the growth of German industrialism after the Franco-Prussian war and the subsequent search for markets that brought it into competition with Britain. His writings served as welcome justification for imperial expansion. Influenced by the American geostrategist Alfred Thayer Mahan, Ratzel wrote of aspirations for German naval reach, agreeing that sea power was self-sustaining, as the profit from trade would pay for the merchant marine, unlike land power.

Ratzel’s key contribution to geopolitik was the expansion on the biological conception of geography, without a static conception of borders. States are instead organic and growing, with borders representing only a temporary stop in their movement. It is not the state proper that is the organism but the land in its spiritual bond with the people, who draw sustenance from it. The expanse of a state’s borders is a reflection of the health of the nation.

Ratzel’s idea of Raum (space) would grow out of his organic state conception. His early concept of lebensraum was not political or economic but spiritual and racial nationalist expansion. The Raum-motiv is a historically-driving force, pushing peoples with great Kultur to naturally expand. Space, for Ratzel, was a vague concept, theoretically unbounded. Raum was defined as where German peoples live, and other weaker states could serve to support German peoples economically, and German culture could fertilize other cultures. However, it ought to be noted that Ratzel's concept of raum was not overtly aggressive, but he theorized simply as the natural expansion of strong states into areas controlled by weaker states.

The book for which Ratzel is acknowledged all over the world is Anthropogeographie. It was completed between 1872 and 1899. The main focus of this monumental work is on the effects of different physical features and locations on the style and life of the people.

Quotations[edit]

"A philosophy of the history of the human race, worthy of its name, must begin with the heavens and descend to the earth, must be charged with the conviction that all existence is one—a single conception sustained from beginning to end upon one identical law." "Culture grows in places that can adequately support dense labor populations." Selected bibliography[edit]

Here are his other notable writings:

Wandertage eines Naturforschers (Days of wandering of a student of nature, 1873–74) Vorgeschichte des europäischen Menschen (Prehistory of Europeans, 1875) Die Vereinigten Staaten von Nordamerika (The United States of North America, 1878–80) Die Erde, in 24 Vorträgen (The Earth in 24 lectures, 1881) Völkerkunde (Information on peoples, 1895) Die Erde und das Leben (The Earth and life, 1902) https://en.wikipedia.org/wiki/Friedrich_Ratzel

Carl Ritter (August 7, 1779 – September 28, 1859) was a German geographer. Along with Alexander von Humboldt, he is considered one of the founders of modern geography. From 1825 until his death, he occupied the first chair in geography at the University of Berlin.

Format of the Work

At the time of his death, Ritter had produced an astonishing amount of geographical literature contained in his “Erdkunde” alone. It amounts to 21 volumes comprising 19 parts which can be roughly divided into 6 section

1. Africa (I) 1822

2. East Asia (II-VI) 1818-1836

3. West Asia (VII-XI) 1837-1844

4. Arabia (XII-XIII) 1846-1847

5. Sinai Peninsula (XIV-XVII) 1847-1848

6. Asia Minor (XVIII-XIX) 1850-1852

Ritter's masterwork, the 19-volume Die Erdkunde im Verhältniss zur Natur und zur Geschichte des Menschen (Geography in Relation to Nature and the History of Mankind), written 1816–1859, developed at prodigious length the theme of the influence of the physical environment on human activity. It is an encyclopedia of geographical lore. Ritter unfolded and established the treatment of geography as a study and a science. His treatment was endorsed and adopted by all geographers.

The first volume of Die Erdkunde was completed in Berlin in 1816, and a part of it was published in the following year. The whole of the first volume did not appear until 1832, and the following volumes were issued from the press in rapid succession. Die Erdkunde was left incomplete at the time of Ritter's death, covering only Asia and Africa.

Many of Ritter's writings were printed in the Monatsberichte of the Berlin Geographical Society, and in the Zeitschrift für allgemeine Erdkunde. His Geschichte der Erdkunde und der Entdeckungen (1861), Allgemeine Erdkunde (1862), and Europa (1863) were published posthumously. Some of his works have been translated into English by W. L. Gage: Comparative Geography (1865), and The Comparative Geography of Palestine and the Sinaitic Peninsula (1866)

Political abuse of his work Ritter's writings thus also had implications for political theory. His organic conception of the state could be abused to justify the pursuit of Lebensraum, even at the cost of another nation's existence, because conquest was seen as a biological necessity for a state’s growth. His ideas were adopted and transformed into an expansionist ideology by the German geostrategist Friedrich Ratzel. It is to be doubted, however, whether Carl Ritter can be held responsible for this interpretation, which was developed under the influence of Darwinism, which was to become a leading and popular ideology in Germany only after Ritter's death.

1848: Ashkenazi Jew, Karl Marx (a Crypto-Jew, real name Moses Mordecai Levy), publishes, “The Communist Manifesto.” Interestingly at the same time as he is working on this, Karl Ritter of Frankfurt University is writing the antithesis which goes on to form the basis for Freidrich Wilhelm Nietzsche’s, “Nietzscheanism.” This, “Nietzecheanism,” is later developed into Fascism and Nazism and will be used to foment the first and second world wars. Marx, Ritter, and Nietzsche are all funded and under the instruction of the Rothschilds’. The idea behind this scheme is that those who direct the overall conspiracy could use the differences in so-called ideologies to enable them to divide larger and larger factions of the human race into opposing camps so that they could be armed and then brainwashed into fighting and destroying each other, and particularly, in destroying all political and religious institutions. This is essentially the same plan put forward by

Hitchcock, Andrew Carrington (2012-04-14). The Synagogue Of Satan - Updated, Expanded, And Uncensored (p. 32). Andrew Carrington Hitchcock. Kindle Edition.

Quote from 'Myron C Fagan'. Not reliable, as it contradicts many historic sources

https://en.wikipedia.org/wiki/Carl_Ritter

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superiorbiscuits · 6 years

Photo

“It’s 1907, you’ve never seen a leg before.”

Have you ever had a role that you just totally loved?

This is gonna be a long post about my summer choreographing a community theater production of Oklahoma! and performing as Dream Laurey (and ensemble). A LOT of it is me reiterating some of the compliments I received and I know it seems super braggy and it probably is, but I want to write down the happy things, not the sad ones. I want to remember the good times, and I’ve found over the course of my life that those are harder to remember.

So last summer, when I was choreographing (and an ensemble member in) Annie for this same community theater group (which I talked about here), about three weeks before opening night I heard tell from the guy playing Daddy Warbacks, who I’ll call D, that the next summer he’d be directing Oklahoma! He had directed our show in 2016, and I was excited that he’d be directing again. I was unfamiliar with Oklahoma (the story of how I’m unfamiliar with most musicals is long and emotional, so that’s for another time) so when I got home from rehearsal that night I immediately read the plot summary on Wikipedia and came away dreaming of two things:

1. I really want to choreograph it, because choreographing the Dream Ballet sounded AWESOME

2. I also really really want to play Dream Laurey

That dream festered for the better part of a year. I got the choreographer gig last year at the last minute, but I figured if they were to ask me to do it this year, it’d be around February/March. Well February came and went, and nothing. Sometime in March I was talking to a woman I’ll call K. K takes contemporary and hip hop dance classes with me off and on, and both her mother and older brother have been in every musical I’ve been in. She told me they had offered her the job of stage manager, and a couple weeks later she told me she’d accepted. She then talked about productions meetings they’d started to have, and strongly hinted that the group’s long-time choreographer was back that summer.

I honestly wasn’t hurt. That choreographer is 1. good at choreographing, 2. had been choreographing for this group for several years, and 3. is about ten years older than me. I knew there was a strong possibility that she would return, and they would go with her rather than me. I was disappointed, but not at all surprised. I resigned myself to the hope that I could be Dream Laurey, and comforting myself with the fact that I wouldn’t be as stressed as I was last summer (when, I should note, I was working 16 less hours a week than I do now).

Well, literally one week before auditions I got an email from D with the subject line “Choreographer for Oklahoma” and my heart started POUNDING. Sure enough, I open it to read that the long-time choreographer was supposed to do the show, but had to suddenly drop out to deal with personal family stuff. My thoughts were: oh my gosh, that’s so much work, this is so last minute, I’m working so much at my job omg, but of course I have do this, I’ll hate myself if I don’t.

And also, wow why was God giving me this incredible gift? (The circumstances of how I got the choreographer gig last summer were eerily similar)

I attended my first production meeting a few days later, to which the rest of the production team were excited to see me and vocalized how happy they were that I was on board once again (most of the team was involved in one way or another last summer too). The next day was the first audition and K came over to where I was doing dance stuff before we started to say that on the news that the other choreographer had to drop out, I was the first name that came up. So I wasn’t D’s first pick, but I was his second, and that was pretty cool.

Auditions happened, we got a killer principal cast and D allowed me to cast myself as Dream Laurey. We also got a Dream Curly, a guy I didn’t know at all I’ll call J (pictured above), who was not a dancer and had never been in a play before. But he seemed to pick up the dances fast enough during auditions that I cast him in the role.

The next week we settled how long the Dream Ballet would be, because we had to cut some of it. But I came with my proposed cuts, which were a few sections that I honestly thought were superfluous, and D agreed, and let me keep the rest so the Dream Ballet went from ~13 minutes to 10.

And then my panic set in. Here’s the list of things that were “firsts” for me in this show, as both a choreographer and a dancer/performer.

First time choreographing a ballet pas de deux

First time teaching a ballet pas de deux

First time dancing a ballet pas de deux

All the same as the above three, but contemporary instead of ballet

First time choreographing a dramatic dance

First time choreographing a fight

First time performing a romantic role

First stage kiss

First time playing the main character (albeit for only ten minutes, but STILL)

First time performing a dramatic role (other than tiny, minor characters)

First featured role in a musical

Additionally, neither the ballet nor the contemporary pas de deux could have any lifts, cause I know how much I weight and I’m not gonna force any guy to pick me up unless he’s a fricking powerlifter.

So yeah, all of the above = panic.

But I got to work. Rehearsals were... an adventure. I didn’t have nearly as many dance rehearsals allotted to me as I did last year, and really struggled at times with the workload. But the production team was fantastic to work with, we had a good cast, and like a couples weeks before opening night things finally fell enough into place that I realized it wasn’t going to be a disaster and started truly enjoying myself. ALSO I roped in a 16 year-old who’s been in these musicals forever to be my dance captain, which she CRUSHED (like seriously, she helped so so much), and her and another girl were good enough dancers that I was able to dump a lot of choreography on them and they picked it up in no time (like, they danced so much we credited them as “featured dancers” in the program)

The non-Dream Ballet dances were good. Not as fantastically-amazing as I wanted them to be, but good. The Dream Ballet?

I was so nervous each night. Especially opening night, I was petrified. But I had two amazing scene partners in Dream Curly, and Jud. J calmed himself beforehand by going over the choreograph, I calmed myself by stretching, and giving J a fist bump just before going to our places. Four shows, no major mistakes. Although, the second and third nights I got sweat in my eyes real bad halfway through. I tried to fight it at first, but then I realized I was dancing the sad part anyway, so I just let myself cry a tear or two. The last show I like, legit cried as a combo of sweat in my eyes, being super in character (who like, would understandably cry in that circumstance), and being so sad at it being my last time dancing the role.

I don’t really know how it went, honestly. I think it went well enough that I am satisfied. I have videos from the last few rehearsals, but each performance FELT better than the rehearsals. But people’s reception.... well here are a few highlights of the comments I received, as well as just little random tidbits.

1. First off is SEVERAL people told me I made them cry. The first and most significant was D, who announced it when we were doing a LIVE RADIO INTERVIEW. Like, he interrupted me talking about the Dream Ballet to say “it makes me cry every night” and then there’s like three seconds of silence cause I DIDN’T KNOW THAT AND DIDN’T KNOW HOW TO RESPOND. Another significant one was the woman who played Laurey (also pictured above) (who was always super nice about sharing the role with me and such an encouragement) (Also I’ll came her P).

2. K’s Dad, who has seen at least a decade’s worth of shows put on by this community theater group, told me that this show’s choreo was the best he’d seen. Also K’s boyfriend (whom I had never met before) came up to tell me how amazing the Dream Ballet was.

3. One of our backstage tech ladies (who CRUSHED it, and has been involved in these shows for like a decade) told me her cousin’s girlfriend said “I’ve never seen a ballet before, but if it’s anything like that Dream Ballet I’ll totally go see one” which like DANG what a compliment omg.

4. Not so much a compliment, but our assistant stage manager (I’ll call M) signed on to her job just after auditions, so she wasn’t involved in casting. We knew each other from previous shows though. ANYWAY we got through TWO MONTHS of rehearsals, and were hanging out at Wendy’s after our second-to-last show and I made some comment about J being a friend of P who she brought to auditions and our assistant stage manager was like “I have all this time thought J was your boyfriend.” I was super confused, so i asked for clarification and she was like “yeah I definitely thought y’all were dating and you brought him so that he could play Dream Curly with you.” So like, I guess we had good stage chemistry?

5. ALSO SOMEWHAT RELATED: The first part of the Dream Ballet is the 3-minute ballet pas de deux between myself and Dream Curly, which ends with us kissing and then him running offstage. We rehearsed the Dream Ballet in little tidbits here and there, so the first time most of the cast + crew saw it all together was like a week and a half before we opened, so we were already at the theater, and most of the cast was backstage in the wings waiting for their entrances. And one of my friends in the cast told me all the younger girls (like preteens and early teens) were straining to see and asking each other “are Merilee and J actually kissing?!” Which like, idk it makes me laugh

6. ALSO related: I went to talk to K and M before one performance and they were like “HEY we were talking about the Dream Ballet and how it just appeared, completely finished one day? How did that happen?” Cause they hadn’t realized all the little rehearsals I’d done with people prior to that day.

7. Three little girls came up to me after a performance to get my autograph and two of them excitedly told me about how they were taking ballet classes and they were ADORABLE.

8. One of the preteens in the cast (who has been in these shows for years and her mom does tech backstage) ‘s dad came up to me after the last show and told how well I danced and what a great job I did with the choreography and then was like “you should dance at weddings! You should have people pay you money to come and have a little stage their wedding reception and dance and people can watch you!” and it was just... I could tell he was very well meaning, but like, dude what a weird thing to say.

9. An older guy (who played Abernathy when we did Guys and Dolls in 2015) told me he’d seen Oklahoma many many times in his life, but that ours was the best Dream Ballet he’d ever seen.

10. A friend of mine (we were in Guys and Dolls together, but mainly we just talk cause we both love the McElroys) told me at his birthday party like two weeks after he came and saw the show that the Dream Ballet was far and away the best part of the show.

11. This is something a friend of mine (who was Ms Hannigan in Annie last year and Mammy Yokum in Lil Abner the year before that) posted on my FB like, a week after we closed:

Like what a SWEETHEART.

12. This was something someone commented on a photo a friend posted of us from the show. I do not know this person AT ALL:

13. At a party at D’s house after our Friday night show I was sitting on the porch talking with some of the cast and crew and parents (it was chill and nice) and D and the guy that played Curly were talking about how they had both been in several productions of different shows, the first being when they were in high school, and D said “I guess everyone just has that one show from high school that they’ll do over and over again” and I kinda sighed and was like “I don’t have one since Guys and Dolls in 2015 was my first musical” and D apparently didn’t know that cause he stopped and was like “YOU’RE KIDDING” and I was like nah man, I didn’t start doing musicals until I was 21 and this is my 4th musical and he was so surprised (he was in Guys and Dolls that year, played Nathan Detroit)

14. I also talked to him after our closing show, thanking him for letting me do this and what a dream come true it was (well, I tried to tell him but I started crying) and he said I did a really wonderful job not just with the choreo and dancing but with the acting and I was like “thanks, that’s what I was most nervous about, since I’ve never played a romantic role, or a dramatic role at all” and he like, couldn’t believe it, because I had done such a great job.

15. The final, most incredible thing. During the above conversation, D told me that should he ever be in need of a choreographer in the future (and the likelyhood is that yes, he will be) that I will be the FIRST PERSON HE CALLS. Which if you remember, I was not the first person he called this summer. I still can’t totally process what an amazing compliment that was, but I’m so immensely grateful.

So yeah, long and braggy post, but I really just, want to remember this.

I had so much FUN in this role. I didn’t talk much about that, but man it was so great being Dream Laurey. It’s an experience I won’t soon forget <3

#personal #long post #mer choreographs a musical #hot hot hottie

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