#patrick o'reilly

[applesaucesims]

After the twins had been put to bed, and all the guests had arrived, it was finally time for everyone to gather around the birthday cake Emma had baked earlier that day. Louis could hardly wait to blow out the candles and have the family around celebrating him.

Dressed in his best little party suit, Louis climbed atop the chair at the end of the dining table, where the cake was placed. He was determined to blow out the candles all by himself this time.

For Louis, entering childhood started with putting on the new sailor suit his grandparents had bought for him and showing it off. Soon he was running around the house, ready to fight pirates and hang out with mermaids. Although, he was soon called over to eat cake with the rest of the family, which, of course, he could not say not to.

[st33le]

Saw someone else do this and wanted to do one too!

[stoneoferech]

Yes

[blusical]

HAPPY "WE WENT BLUES" DAY FELLOW BLUES FANS!

(Image ID: The St Louis Blues players and staff surrounding the Stanley Cup. End ID)

[thackerycinx]

[blueiskewl]

Patrick O'Reilly 'A La Research Du Temps Perdu'

Signed O'Reilly (on base). Bronze with gold leaf. Height (including base): 33cm.; 13in. Width: 25cm.; 9¾in. Executed in 2021, the present work is unique.

[sinceileftyoublog]

SPRINTS Interview: Personal to the Bone

BY JORDAN MAINZER

The first great album of the year came out five days into it, belying the post-New Year haze and bitter cold, walloping us into paying attention. Letter to Self, the debut LP from Dublin post-punk quartet SPRINTS, out via City Slang, is a tremendously assured collection of songs that the band describes as "to-the-bone" personal. They're led by singer-songwriter Karla Chubb, whose taut shouts, full-throated yells, and pained but deliberate lyrics match the utter tenseness of the compositions. She sings about her life, and topics ranging from depression and ADHD to sexuality and Catholicism, but without the overt autobiography that can plague even the most well-intentioned writers. Her singing sonically traverses the sinews of Colm O'Reilly's lead guitar riffs and bassist Sam McCann and drummer Jack Callan's brawny rhythm section. Each song is its own journey, and when they end, it feels like you've been holding your breath the whole time.

Though SPRINTS showed promise with their early material, they sound like a complete band with their debut. Working with Gilla Band's Daniel Fox in the studio helped them embrace the charged intensity that makes their live shows so thrilling. Letter to Self begins with "Ticking", the song that's been at the start of their live setlists, on which foreboding guitar, a double-tapped snare, and Chubb's chants build to a false explosion before the full beat truly drops. (Moments like this make it clear that the majority of the band are horror and sci-fi fans, but not necessarily obsessed with jump scares.) "Heavy" builds up similarly, with twangy guitar squalls and trilling drum fills, as Chubb asks pointed questions like, "Do you ever feel like the room is heavy?" before melismatic belting, lamenting that she's "watching the world go round the window beside me." Elsewhere, they combine the frankness of Fontaines D.C. with the cascades of Midwest emo ("Shaking Their Hands") and delve into swirling soundscapes ("Can't Get Enough of It"). As for Chubb, she knows when to scream; at her most full-throated, like on "Shadow Of A Doubt", she's a dead ringer for Courtney Love.

As much as SPRINTS' instrumentation purveys the spirit of their songs, Chubb is a deft lyricist, writing clever rhymes and cutting barbs alike. On "Cathedral", she chides the heartlessness of the Irish Catholic church when it comes to their views on queer folks like her: "He's singing from a hymn sheet, I'm singing for the others / They say I've gone cold while I'm sat drowning in the gutter." "Adore Adore Adore" bemoans the sexist double standards of the music industry, wherein anybody but a straight cisgender male is subject to only love or hate. "Am I everything you wish you had?" Chubb asks, "Or am I everything you detest?" Perhaps best is the album's closer, the title track, where Chubb honors her own ability to conquer trauma, generational and otherwise. "I can shake the leaves of hereditary," she sings, pronouncing the final word "he-re-di-tree" in a cheeky bit of wordplay, continuing, "I don't have to take the path that was carved out in front of me." On Letter to Self, Chubb and SPRINTS in general toss off a world of fear and shame in favor of self-love and acceptance.

SPRINTS plays Schubas on Tuesday night. Back in January, I spoke with Callan about Letter to Self, playing live, horror, and film scores. Read our conversation below, edited for length and clarity, and know the Irish band is excited to be in Chicago mere days after our raucous St. Patrick's Day celebration.

Since I Left You: One of the things I love about Letter to Self is that the instrumentation and the song structures engage the themes just as much as the lyrics do. Can you talk about creating a mood between words and instruments?

Jack Callan: That boils down to the songwriting process. It usually starts with Karla. It could be one riff on guitar or start with lyrics or melody. A lot of the time, and especially with the two opening tracks on the album, "Ticking" and "Heavy", from the get-go, we talked about building a literal feeling of anxiety. That's probably the case for most of the songs. We're trying to match the emotions of the music. The intensity of the song dictates the dynamics. It's quite natural: We all know each other so well.

SILY: As the drummer, specifically, you're at the forefront of toying with our expectations, especially on a song like "Ticking". You think it's going to explode into a rousing moment, but it pulls back. It eventually explodes, but there's a push-pull throughout.

JC: Yeah, absolutely, particularly with "Ticking". It's probably one of the oldest songs written on the album. We probably wrote it at the same time as the songs on our second EP. It didn't really sit well with those [songs], but we always knew we were going to come back to it. When we started properly planning for [Letter to Self], we knew it was going to be the opening track because it has such a slow build. You think it's going to kick in, but it doesn't. Live, we start sets with that, and it sets the tone nicely and builds the anxiety.

SILY: One of the most powerful things about Karla's lyrics is that she asks questions. "Do you ever feel like the room is heavy?" You don't know who she's talking to, but as a listener, it almost feels like she's talking to you. How do you feel about that confrontation when playing live?

JC: I think it's incredibly effective. The way Karla writes is very personal and vulnerable, but in a way it's not so specific you know exactly the circumstance what she's talking about.

SILY: The album title Letter to Self reminds me of a diary. It's a cliché album descriptor when writers say that a personal album is "like reading someone's diary," but this one truly is. If I were to pick up somebody's diary without knowing them, it wouldn't make total sense. I might be able to relate to vague feelings, but I wouldn't know the specifics they refer to. Do you think the record achieves an ideal level of abstraction?

JC: Absolutely. A lot of it was about dealing with those emotions or experiences. Since we've started out as a band, Karla's become more comfortable being vulnerable and open in her songwriting. Our first EP had some personal things, and our second EP was about the self and everyday life, but this is more to-the-bone personal. I think that felt very natural to Karla. There's an honesty to it. She's writing about her own experiences and how she feels about them.

SILY: How is playing the songs live from an emotional standpoint? Do you find yourselves in a similar headspace to when you recorded them, or do you let loose?

JC: I think the recording process, especially for Karla, was more taxing emotionally. Before recording, we rehearsed songs a bunch, and we messed around with demos for a while, but because the lyrics are so personal, putting down the tracks in the studio, that's when it hits you that the songs are going to go out into the world and everyone will listen to them. When you're in the studio, and there's no live audience, just us and Daniel Fox, our producer, it just feels a lot closer. By the time you get to the live set, the music isn't just ours anymore. People will interpret it any way they want. The live shows take on a life of their own, as well. It's more about the band at that point. The live shows have a lot of energy, a lot of fun. On stage, we've never really taken ourselves too seriously. We have a bit of a laugh, even when the subject matter is heavy.

SILY: Have the live versions instrumentally or structurally taken on a new life? Do you extend things or change things up at all?

JC: A little bit. Not as much with some of the album tracks yet, because we haven't been playing them as long. It's usually something that happens naturally. Some of the songs from the EPs we play differently. "Literary Mind" was recorded again for the album. It's is way faster than the original recording. We recorded it and started playing it live. How it is on the album is closer to how it is live.

SILY: Do you have a favorite of the Letter to Self songs to play live?

JC: Probably "Cathedral". The start of that song is a bit scary, but the chorus is proper all-out headbanging. We've played it a little bit live, but not for that long.

SILY: I can imagine that's a cathartic song for you to play live. You're just pounding along.

JC: Yeah. Loud and fast.

SILY: What's the story of the cover art?

JC: It was a still taken from the music video for "Adore, Adore, Adore". During the video, there's a scene where Karla has been abducted and wrapped up in gauze. If you look closely, you may notice the thick eyebrows and mustache: I'm one of the abductors. There's a plastic bowl with water in it her head was being dunked into. The photo was taken from underneath.

SILY: Something not everyone would realize just listening to the album is how much all of you--except for Sam--love horror films and sci-fi.

JC: It was definitely a big inspiration for the videos in particular. It was thematically linked to the "Adore, Adore, Adore" video, but also just a bit creepy and weird.

SILY: Over the past 10 years or so, there's been a resurgence of artful horror films that aren't just genre pieces, that deal with a lot of the same themes on this record. They use an aesthetic to explore themes that might be traditionally explored in different genres. Do you have some favorite contemporary horror films?

JC: I'm definitely a big fan of Hereditary and Midsommar. They were a reference point, slightly thematically, and aesthetically as well. Slightly creepy but not slasher horror. Stuff that's unsettling. Especially with the music. It's not jump scares, just that slight feeling of, "I don't feel right about this."

SILY: Have you ever thought about trying film scoring?

JC: I would absolutely love that. I saw the original Suspiria not that long ago that Goblin did the score to. It's super weird. The film's amazing, but the score is incredible as well. When I saw it, I thought, "I could totally see us doing something like this." It would be a lot of fun.

SILY: I know Letter to Self just came out, but are you the type of band constantly coming up with new songs? Or do you have to sit down and dedicate time to it?

JC: There's constantly new stuff knocking around. There are already demos for what could be album 2. Even from [Letter to Self], there are plenty of demos that couldn't make it in the end. You do eventually need to find time to sit down all together and work on stuff. It's increasingly difficult as we're on the road so much, but we need to block in weeks throughout the year so we have time to do it.

SILY: Is there anything you've been listening to, watching, or reading lately that's caught your attention?

JC: I just finished Goodbye to Berlin by Christopher Isherwood. The last book I read was Carmilla by Sheridan Le Fanu, which came out 20-30 years before Dracula. It's similar, with vampires, but there's a lesbian love element to it. It's really good, only 150 pages. A lot of people reckon Bram Stoker stole a lot of his ideas for Dracula from it. There's a lot of what we now think of as vampire lore in it from what we [attribute to] Bram Stoker. There's a castle in vague Eastern Europe [in Carmilla], so he definitely lifted some ideas from it.

I went to see Spy Kids in the cinema last week. That was a lot of fun. I don't know why they were showing it, but it was a favorite of mine as a kid. I'm going to see Poor Things tomorrow.

[filmjunky-99]

s t a r t r e k t h e n e x t g e n e r a t i o n created by gene roddenberry [reunion s4ep7] 'The ja'chuq Ceremony'

[thingsmk1120sayz]

Hockey players as 1989 songs (we are throwing it back to 2014 for this)

All you had to do was stay - Nathan Gerbe

I know places - Tyler Ennis

Blank Space - Marcus Foligno

Wildest dreams - Ryan O'Reilly

Style - Steve Montador

Clean - Ryan O'Reilly

Out of the Woods - Tyler Ennis

Bad Blood - Patrick Kane/Jack Eichel

Shake it off - Sidney Crosby

[applesaucesims]

With how fast Louis was growing, he was soon able to stand by himself and started teething. Even with all that was going on, there was no way to miss this little one making his way around the house faster than ever, with Emma and Niall barely being able to catch up sometimes. Before long, it was time to invite the family to celebrate Louis's birthday.

Unlike the previous party, immediate family members were more than enough guests. Anything else would have been too exhausting for the child, and it was his party after all.

A song to celebrate and some spit on the birthday cake (thankfully, Emma had baked a replacement, just in case) later, Louis was officially another year older.

[quartztwst]

O'Leary, O'Reilly, O'Hare and O'Hara

There's no one as Irish as Azul O'ashengrotto

Anyway there are so many people outside science it St Patrick that I almost couldn't make it home so I did this while waiting:)

HELP ME??? WHATSGFUYSNDJK WHAT IS TGJIS HELFP WHATYRYYYBFEM

[punkrockhistory]

Happy Birthday to Stephen Patrick O'Reilly aka Stephen Egerton, American guitarist and member of Massacre Guys, Descendents and All, born on this day in 1964

Photo by David Pass

#punk #punks #punkrock #punkguitarist #stephenegerton #history #punkrockhistory #otd

[goalhofer]

Where every player played during the 2012-13 NHL lockout: Colorado

DEL: Paul Stastny (Eishockeyklubb Red Bull München) ECHL: Ryan O'Byrne (Florida Everblades) HockeyAllsvenskan: Gabriel Landeskog (Djurgårdens I.F. Ishockeyförening) NL: Matt Duchene (C.D.H. Ambrì-Piotta) SEL: Matt Duchene (Frölunda Hockeyklubb) KHL: Ryan O'Reilly (Metallurg Magnitogorsk) & Semyon Varlamov (K.K. Lokomotiv) AHL: Tyson Barrie (Lake Erie Monsters), Patrick Bordeleau (Lake Erie Monsters), Stefan Elliott (Lake Erie Monsters), Brad Malone (Lake Erie Monsters), Mark Olver (Lake Erie Monsters), Michael Sgarbossa (Lake Erie Monsters) & David Van Der Gulik (Lake Erie Monsters) Didn't Play: Jean-Sébastien Giguère, Jan Hejda, Milan Hejduk, Matt Hunwick, Erik Johnson, David Jones, Nicolas Kobasew, Jamie McGinn IV, Wesley McLeod, John Mitchell, Shane O'Brien, Pierre-Alexandre Parenteau, Ryan Wilson & Greg Zanon

[farcillesbian]

watching this movie cause it has a really intriguing synopsis and it's already... interesting

"After her mother's death, mediocre chef Amanda Shelton (Sarah Michelle Gellar) is having trouble attracting customers to her family's restaurant. While shopping for ingredients, she is given a magical crab by mysterious Gene O'Reilly (Christopher Durang). Afterward, Amanda's dishes suddenly become excellent, inducing strong emotional reactions in everyone who eats them. Tom Bartlett (Sean Patrick Flanery), who is preparing to open his own eatery, tries her cooking and falls in love."

[sergeifyodorov]

drop the essay PLEASE

o7

so. the main thing we know about Kyle is. he likes his guys.

this manifests in many different ways: most notable of which being that he is loyal to coaching staff and former players of his -- whenever he gms a team, sheldon keefe is his head coach; the current leafs roster is stacked with former soo greyhounds; he gives out no trade clauses generously; et cetera. we've all seen the soo jokes. but what can we glean from this?

firstly, that kyle is more likely to trade picks than players, even prospects. this is good and also bad: we have our 23 first, which is good, and we're desperately cap-strapped, which is bad. win some lose some.

secondly, that we are cap strapped. why is this a consequence of kyle Liking His Guys? well, it's because of the third reason.

thirdly, because kyle understands, almost as much as skill, that the vibes are crucial to a good team. this is why the winnipeg jets went from bad last year to good this year with hardly much more than a coaching and captaincy change. this is why kyle spent a first round pick on nick foligno. this is why john tavares was appointed captain. this is why the leafs wore pride tape as the away team on another team's pride night. this is why the bruins are unbeatable.

because kyle values the vibes he is willing to pay the big bucks for people he knows are good in the locker room even if they're not as shiny on the ice as some others. matt murray, nick foligno, jason spezza, jake muzzin. this -- and a brutally unlucky stroke that COVID flattened the cap right after 1634 signed their contracts -- is why we are cap strapped.

liking his guys and valuing the vibes drives the sorts of teams he wants to build: structured, possession-heavy, 200-foot. besides The Curse the leafs have very few weaknesses. kyle is very good at his job.

so what does that mean for trades?

one, that kyle isn't going for a rental. he's made that mistake in foligno before -- someone you sign on an expiring contract without plans of extension who doesn't work out and walks in UFA. he paid a prized first round pick for him. he hasn't used a first round pick in his entire tenure [citation needed but i think it's true off the top of my head]. if he's going to spend it on the scoring we so desperately need, he's going to spend it on term.

two, that kyle isn't going to get someone controversial. fuck you patrick kane (controversial being a mild term here)

three, that kyle likely won't get involved in a big show. because he general manages The Leafs, every move of his is picked apart and every GM in the league wants to see him (well, The Leafs, but him by proxy) lose, which means if there's a bidding war his offer is last on the list unless it's the shiniest by far. and because of the cap situation and his reluctance to give up valued players for strangers, his offer almost never will be.

so what targets remain?

patrick kane violates (😬) all three of the guidelines here, which means he should remain a chicagoan pissbaby forever. timo meier is the prize, which means that the third guideline is almost certainly blocking his arrival (not to mention RFA status and 10 mil QO). gavrikov, mccabe, and lafferty are straight up bad and we're trying to cup contend here. ryan o'reilly is a rental and aging but does have a good leadership reputation. karlsson is far too expensive but otherwise ticks all the boxes.

i doubt, with the possible exception of meier, that kyle is pursuing anyone on this list. but the fact remains that the leafs need someone, and that the deadline is inching nearer. the probable addition will likely be out of left field. but whoever he is I hope he helps

[k00290736]

I was inspired by Patrick Ó Reilly for creating this piece. I really like how he made teddy bear statues and it inspired me. https://www.mayorgallery.com/artists/84-patrick-oreilly/