#pete whittaker

[dealwrought]

this month's random man is pete whittaker, professional climber 🧗

[wentzmp3]

Babygirl levels are leveling

[daisyxogrenade]

"Are you scared of me yet?" by Daisy Grenade

[almostshere]

oh daisy grenade we're really in it now

[tombstoneswerewaiting]

if anyone needs me, i’ll be here for the foreseeable future

[thedoctorwhocompanion]

Pete McTighe Confirms That Praxeus Originally Brought Back the Autons

Pete McTighe Confirms That #DoctorWho Praxeus Originally Brought Back the Autons

Writer, Pete McTighe has confirmed that his Doctor Who Series 12 episode, Praxeus, originally brought back the Autons. When a story focuses on the dangers of plastic, it’s only natural that fans immediately think of the Autons — living plastic, stirred into being by the Nestene Consciousness –and McTighe has shed some light on initial plans for the Thirteenth Doctor story: “Originally, that was…

[leikeliscomet]

We Failed the First Black Doctor (Part 2)

After the high of Fugitive of the Judoon ended, the fandom waited for her next appearance. In The Timeless Children, Fugitive appears to help Thirteen. The version we see is of her however actually isn’t her in the flesh, it’s a projection in the Matrix or a hallucination in Thirteen’s mind. Either way, she gives our main character her ‘you can do it’ speech before Thirteen makes her great escape. And that's it. The big showdown was between Thirteen, Dhawan!Master and surprisingly Ko Sharmus who’d give his life to save our main cast making him MVP of the episode. Having Fugitive save the day could’ve given her character a greater role but killing off our First Black Doctor without any explanation of who she was yet definitely would’ve been a terrible idea, so maybe saving her for the Matrix would've been okay. But her backstory was still in a vague place. Whilst the Brendan flashbacks gave us this context and pulled us into the mystery further, wouldn't it have made sense to show us Fugitive in those scenes? We knew she was the Doctor so we could’ve easily put two and two together. Even the Timeless Child reveal itself came across as disappointing to most of the fandom. Technical things aside, making Fugitive the Timeless Child also could've been a way to fully flesh her out and give her more to do in the finale. Running away from Division after they’d kidnapped and experimented on her, taking the form of the Doctor to blend in and help others also exploited like her and being highly skilled in combat for her own protection could've made for some great storytelling and yet…. nothing. Normally in RTD stories the mid-season informs the finale. Dalek showed us a dalek and in the finale… we got Daleks. The Cybermen from Pete’s World returned for Army of Ghosts/Doomsday. The Family of Blood/Human Nature fob returned for Utopia and gave us a three-part finale. The missing planets throughout series 4 would lead us to another major Dalek return in The Stolen earth/Journey’s End. So to copy RTD Who’s format to introduce Fugitive, but not follow through in the finale was very strange and disappointing. With that in mind, I waited for her hopeful return in series 13.

The next time we saw The Fugitive was in Once, Upon Time. The new fam have found themselves trapped in their own timestreams and Thirteen gets a flashback of her past. In there, she sees her reflection and that reflection belongs to the Fugitive. The entire sequence is essentially a Fugitive-era episode. Swarm and Azure were her villains. Karvanista represented by Dan, Lee likely represented by Vinder and likely Gat represented by Yaz were her TARDIS team. Fugitive has a more militaristic approach due to her control by Division but also delivers a decent speech before capturing the Ravagers. She has a calm and controlled presence same as before giving her an interesting dynamic with them. Chaos defeated by order. Once, Upon Time gives us a glimpse of what a Fugitive Doctor episode is or at least could be… and still couldn't commit to it. Thirteen and Fugitive constantly flick back and forth between each other and impressive VFX aside, this was completely unnecessary. We know Fugitive and Thirteen are the same person and that they're both the doctor and yet the episode doesn’t trust the audience enough to let us see the scene carry on without her. The filming of Flux was affected by the pandemic and this is given as the main reason for the flickering but it’s a poor excuse that doesn't hold up. If Jo Martin filmed a fully completed socially distanced take of the Doctor’s lines why did we need Whittaker’s layered over it? Just show us the Martin cut! Again, once Fugitive’s purpose of helping Thirteen was fulfilled, she was gone and the fam moved on. The main Flux storyline continued without her presence. Similarly to Timeless Children, we were teased with a Fugitive appearance that still sidelined her to a cameo role.

In her final appearance, the Fugitive comes back for Power of the Doctor. She’s a hologram… again. Her main role is to save Thirteen… again. She tricks the Cybermen into shooting each other and helps Yaz, giving her one last iconic moment but again, she exists to serve Thirteen's narrative and not her own. A smaller but still interesting part of the scene was her remark about the Master being a ‘rubbish schoolboy’, breadcrumbing us about Fugitive's backstory and her relationships with other characters but this is another question that remains unanswered. Some fans hoped this left a door open for an RTD2 appearance but as Fugitive is a Chibnall character, RTD has no obligation to bring her back so yet again, her fate is still in limbo. There’s some hope as RTD has shown interest in the storyline and has picked it up in a way for the new era but until Jo Martin is on screen again nothing has been confirmed as of yet. The Fugitive Doctor will return instead in a Big Finish audio announced in April 2022. The audio isn’t coming out until 2025.

--

Every doctor, especially in nuwho, goes on a journey; an arc designed and crafted for them which ends with their character changed by the time we reach their regeneration. War accepted the consequences of his actions but realised he didn’t have to fight alone. Despite having a single appearance, Day of the Doctor gave his character a purpose, a conflict and resolution perfectly wrapping his incarnation up within 1 hour. The future was something to embrace, not fear. Nine was the oncoming storm, haunted by the destruction of Gallifrey who eventually opened up to companionship again and finally forgave himself. Ten was the self-destructive hero, whose brilliance and intellect would fuel his ego to great heights eventually causing his downfall. Eleven was the imaginary best friend, an old soul in a young body, with darker tendencies who brought a sadness to the character. Twelve was the lecturer, having very philosophical and internal struggles eventually giving his life not out of grand gesture but simply out of kindness. Thirteen, regardless of what you thought of her writing, had her own narrative journey. The lonely woman who fell to earth not knowing her origin but letting it go because she gained a found family instead. But for the Fugitive, who cares? Why should Chibnall bother to give a Black woman’s incarnation a purpose? Wants and needs? Conflicts? A drive? Motivation? Why even bother giving her a placement in the main lineup? Why bother giving your Black characters depth when it's just easier for fans to just say ‘No way there’s racism here, look a Black doctor!’ with no regard, care of concern for how she was treated? Even when you look at how Black characters are written and perceived, it's clear fandoms aren’t willing or ready to take on board nuanced representations of Black characters. Both Thirteen and the fandom were shocked by Fugitive’s gun use, some claiming it reinforced stereotypes of the angry, violent Black woman but actually she subverts it. The Fugitive’s gun was a red herring to trick the Judoon and Gat. She wasn’t going to use it, she just needed them to think she would. This was no different to Eleven threatening to blow up the Dalek’s ship with a jammy dodger. The violence Fugitive used was in self-defence, not out of malice. Her telling Thirteen to shut up was because she threatened the plan by revealing they were both doctors, not just because she was angry for no reason. It’s ironic and also worrying that after portrayal, after portrayal, after portrayal of morally grey nuwho doctors each using violence as the last resort, each angry at rightful injustices, each holding a darkness within, that the incarnation that didn’t claim any lives is the most violent because they exist in a dark skin Black woman’s body. The ‘lack’ in the representation of marginalised people is an issue that's prominent in Chibnall Who. The Fugitive Doctor is a Black woman. The gender-blind approach to Thirteen’s writing already raised a few concerns but for the experiences of Black women specifically, our Blackness isn’t something that can be ignored or represented ‘subtly’. From the long history and list of tropes used to represent us, from the outrage and anger in fandoms towards Black characters and castings, this lived experience has to be acknowledged. Even in the Doctor Who fandom, Martha Jones was the first Black woman to be a companion and she was hated. RTD and co. acknowledging Martha’s Blackness could've helped protect Freema Agyeman from the rampant racism in the fandom. So why would casting a Black woman as the lead this time, specifically a dark skin woman, be approached any differently? In a diverse and ‘progressive’ show why is race ignored? 

When Jodie Whittaker was announced as the first female Doctor she got tribute videos from young girls that congratulated her, went on Children in Need, spoke about representation in interviews and went on the runway. When Michelle Gomez was cast as the first female master, the uniqueness of casting a woman as the Master for the first time was spoken about on Doctor Who’s YouTube channel. When Jo Martin was cast as the first Black woman to play the doctor, the BBC did nothing. The Black cosplayers shouted out were done by Jo Martin alone on her Instagram. The events where those cosplay group photos took place were organised by Black fans and other fans of colour just like they had always been (shoutouts to Black TARDIS and Team #TARBIS at Gally1). This issue goes beyond Chibnall and is about representation in TV/Film itself. If creative teams can’t be bothered to support Black characters, creators or our stories then I won’t accept the breadcrumbs. I’m becoming less impressed with simply having a Black companion or doctor there but how. If they want credit for representing Black characters then simply, they need to do the damn work. I am tired of the Doctor Who fandom giving Chris Chibnall, Steven Moffat and Russell T Davies credit for Black representation they didn’t create and for work they haven't done. Give me a Black character in Who whose arc doesn’t revolve around a white one, who doesn’t go through extreme trauma with no catharsis and isn’t just ‘there’ and then I’ll give full credit where it's due. Only then will I start handing out gold stars for lanes of Black representation being paved. Only then will I start singing praises of anti-racism and allyship. Until then, I’m no longer accepting breadcrumbs as a full meal.

<- Part 1

Part 3 ->

[mourning-star-daily-comet]

Jared Whittaker here, and I just wanted to say that all of these people are so rude. You do a wonderful job covering cases you like, and I respect you for it! My B.F.F. Pete doesn't want me to interact with this blog, but I think it is a great source of information!1!! I hope these people don't get you too down or make you give up what you love. (P.S. I'm on "Anonymous" Mode - How does one turn this off???)

thanks, man. i really appreciate it. and dont worry too much, getting hate is annoying but im okay. ive got a couple close followers and mutuals and its nice to be able to interact with them despite all that! i'm dealing with some personal stuff rn, but im gonna get back to covering more cases soon :)

[scriptscribbles]

To give my general 13 Who feelings since I asked:

Ryan was my favorite Chibnall era companion though I suspect Tosin probably felt pretty burned by lack of material and hope he's on to better things that make him happier. He's quite a good actor IMO. Makes a lot of interesting choices when left to the background.

Dan and Graham were both quite charming but just not character types I need from stories right now. Dan also really suffered from not getting, like, any breathing room as a character. It ends up feeling like after Brian Williams, Chibnall needed a comfort older white dude in the TARDIS.

Yaz I like on paper but never felt like she got the focus or exploration the many interesting things about her deserved. Can You Hear Me was a very clever retcon to explain her lack of material in series 11 in addition to being poignant though it does totally change her from the character introduced in Woman Who Fell to Earth.

I like the idea of the Timeless Child and the opportunities it offers and relate a surprising amount to the whole forgotten child childhood trauma questions about identity, but think it stalled on examining that after the quite underrated Once, Upon Time.

Sacha Dhawan is a superb actor who elevated a lot but I did not care at all for the direction the Master was taken in. The lack of acknowledgment of Missy was painful, the Nazi stuff doubly so, and the redestriction of Gallifrey just annoying.

Jodie Whittaker is wonderful and very Doctory. I wish she could have played more range though and really wanted to see her play a fuller relationship plot because I love the Doctor in that kind of thing and think she'd have nailed it.

Loved the sonic. Didn't love the TARDIS. Liked series 12, apart from Spyfall part 2. Thought Resolution and Eve of the Daleks were fantastic. Complicated feelings about Flux and how it all in my view fell apart (well documented that Chibnall wrote it while it went and it shows). Thought series 11 was the right idea but didn't think it was good enough overall.

Really enjoyed writers like Vinay Patel, Ed Hime, Joy Wilkinson, Maxine Alderton, and Nina Metivier contributing, and even controversially Pete McTighe, though I wish they got a bit more polish the way RTD or Moffat added sparkle to their guest writers. It's probably not fair to expect Chris Chibnall to meet the dialogue crispness of two of the best living British TV writers who proceeded him. It's not that he's bad, but Moffat and Davies are really special talents on that front and a tough act to follow.

Thought the best director of the era was Nida Manzoor and hope they get her back. Also loved Wayne Yip again but sounds like he didn't love doing it.

Some episodes and elements I really liked but overall the era of modern Who I'm coolest on. Still would take it over several classic runs any day.

[tygerbug]

DOCTOR WHO: THE CHURCH ON RUBY ROAD (2023): A Christmas special and the first full story for Ncuti Gatwa as the Doctor and Millie Gibson as their friend Ruby Sunday. Unusually, Gatwa got a lot of screen time in the previous special, "The Giggle," presumably so that viewers could get used to the new actor, but this is Gatwa's first proper outing. While the three specials with David Tennant were a much-appreciated throwback to what the show was in 2007, this one shows what the show will be going forward. It immediately feels more modern than the previous specials, despite having the same showrunner (a returning Russell T Davies) and production team. In most respects it's standard Doctor Who fare, but the differences appear in subtler choices about tone and presentation, which show that a lot has changed since 2007.

The good news, and biggest question to be answered, is that Ncuti Gatwa has the charisma to carry the series. There is a lot going on in this performance, some of it unexplained.

What is clear is that Gatwa is extremely charming, to the point where the Doctor's first interactions with other characters tend to raise the question, is this flirting? The performance then goes on to clarify that the answer is no, but we see how people quickly fall under the Doctor's spell, charmed by that smile. This is also the most explicitly queer Doctor Who. While other Doctors had variations on one basic outfit, Gatwa's Doctor changes outfits frequently and cares about being fashionable - fashion which initially mirrors Ruby's. Gatwa is athletic and muscular, and prefers low necklines that show that off. We've seen this Doctor with bare legs and bare arms, and lots of interesting costumes. The actor's reactions to situations often feel gay-coded, or at least unbothered about being perceived that way. Doctor Who has often been very clearly gendered in the past, with the Doctor standing strong against the monsters while the female companion cowers in fear. Gatwa seems happy to play both sides of that role as needed, projecting either unshakeable charisma and confidence, or occasionally the sort of submissive fear response we'd expect from a Jo Grant. What this means for Millie Gibson's Ruby Sunday, we'll have to see.

Their time onboard the goblin ship also involves a full-on musical number, with singing and dancing, although David Bowie (Labyrinth) is not involved, having passed in 2016. Russell T Davies included newly-written musical numbers in his Christmas specials when running the show previously, but it's never been quite this overt.

Earlier, they go out dancing at an LGBT-friendly club, with the Scottish Gatwa in a kilt and yellow tank top, fully raving. Trans actress Mary Malone (The Prince) sings onstage accompanied by Ruby on keyboards. Mary is a minor character but it's enough that she's there. Trans actor Pete McHale has also been cast for the series, and Yasmin Finney (Heartstopper) of course appeared in "The Star Beast." Jinkx Monsoon (RuPaul's Drag Race) has been cast as a villain. Star names include Neil Patrick Harris in The Giggle and Jonathan Groff (Hamilton).

The casual subtext here is that people of color exist, and LGBT people exist, and are important to these stories. People who are not cishet white men exist. This has been the case, behind the scenes, on Doctor Who, since the very beginning, with the first episodes directed by Waris Hussein and produced by Verity Lambert, with a theme produced by Delia Derbyshire. However, this wasn't always reflected onscreen. Classic Doctor Who always had a gay fanbase, and had leaned into that by the 1980s. And Russell T Davies' 2005 Doctor Who worked harder to appeal to women, foregrounding the character of Rose Tyler and playing up the romantic aspect of The Doctor himself. However, there was a strong negative reaction, within the older fandom, to the casting of Jodie Whittaker and Jo Martin as The Doctor. A large chunk of the existing fanbase outed themselves as overtly bigoted.

For his part, Russell T Davies has been including elements in these specials which seem intended to drive these viewers away, such as Donna discussing (in Wild Blue Yonder) how gay the Doctor is really, or the Doctor asking The Meep The Meep's pronouns. Hopefully the bigots have stopped watching by now, so we won't have to hear much more of their whining. I have heard a lot of complaints about the unusual new Sonic Screwdriver, enough that I suspect they're really complaining about the unusual new Doctor Who. There is not, otherwise, much to complain about yet.

The monster of the week plot is a bit weak, and there's a lot about these goblins which isn't explained, and which is handwaved away quickly. The Doctor, at least, gets to waffle on about deciphering a language made up of ropes, knots, accidents, cracks and coincidences. That part sounds interesting, and suggests something evocative which isn't quite explained in full. The goblins also look good - mostly practical suits, and using every penny of the money Disney is adding to the coffers of these specials. An overarching mystery, or two, is also set up, involving Ruby Sunday's parentage … and neighbors. Davies had already hinted that an overarching villain (or villains) was coming, and this is a similar but more subtle way to keep viewers watching, until all is revealed. Running time is a bit of a problem here. The first twenty minutes pass slowly, while the last fifteen minutes cut a lot of corners. We don't have time for that, the show says, or we don't have time for that this week anyway.

Ncuti (pronounced Shuti) also excels at the real-world drama here, especially in a strangely-written scene with Ruby's adoptive mother, in which both are aware that something is missing, or has gone terribly wrong, but they're talking around their feelings about it. Here, Michelle Greenidge dampens the warmth and charm we've seen in other scenes with her, and won't look the Doctor in the eye. We must assume we'll be returning to this situation later, as there is unresolved story and it's populated with character actors -- Angela Wynter as the grandmother, Anita Dobson as the neighbor Mrs Flood, writer Gemma Arrowsmith as a social worker.

As for Millie Gibson as Ruby Sunday, the writing is a bit of a problem here, because it takes the character awhile to warm up. She is written strangely during the first twenty minutes of the special, and has very little reaction to the strange events around her. She is introduced doing an interview with TV presenter Davina McCall, which is not quite as relatable as, say, Rose Tyler eating some chips. But I respect that, for a character who initially appears to be Rose Tyler Again, the writing and performance resists the urge to make her literally that, at least in this episode. In practice this means that the character takes some very strange and disturbing events in stride as if they're normal, or as if they're nothing … then has a delayed reaction to it all at the very end of the special, both emotionally and in terms of figuring out what's just happened. I liked her a lot more in these moments, since we can now actually tell what she's thinking. It is made explicit in the script that she is having a delayed reaction and couldn't stop to think about all of this until now. Which is … strange.

Of course Ruby trusts The Doctor immediately and that explains most of her performance here, but there's something lacking in the writing, in terms of presenting Ruby as an actual normal human woman. (Clara Oswald had a similar problem.) Perhaps it's just that Russell T Davies lacks recent life experience of this kind. It feels like a later Marvel movie, where so many cataclysmic and magical things have occurred that people don't react to them like a normal person would anymore. This extends to the plot as well. Something happens to Ruby's family home which is absolutely a major problem, and which does not get solved during this special. I am reminded of how Rose Tyler, Donna Noble, and Amy Pond had to be relatable, while others like Clara Oswald simply had to be there. Is Ruby, like Clara, simply a mystery to be solved? She certainly has chemistry with Ncuti and fits well enough into (what we used to call) the traditional companion role.

Despite a typical Doctor Who plotline, and the presence of Russell T Davies as showrunner, this doesn't quite feel like 2000s Doctor Who. It's clearly a piece of streaming television in 2023, and that has changed the show in ways which are hard for me to define. I am curious how this will play out in the full series, once I have a better idea of what Russell T Davies and company are up to here.

As far as technical concerns go, it is typical for current television series to be a bit dark and murky. There shows were often shot as low contrast video, which would look very grey as raw footage, and then graded for HDR monitors that do not exist yet for the average viewer. In this respect, this special is a lot better than you'd expect, and actually better than the previous specials. It doesn't have the super-bright, overlit look of Doctor Who of old, but you can see everything, and there's usually a bright, contrasty rim light making Ncuti Gatwa's features stand out, as well as Millie Gibson's. The tradeoff with this is that the photography and editing rely too much on closeups, which are often a bit too close. It's not especially moody, but it's not an especially moody story. It's also fairly colorful. A club scene uses what Youtubers call "bisexual lighting," and most exterior scenes are surprisingly diffuse and subtle, with flatteringly soft visuals. This could pass for a current feature film, on the lower budget side, and the key locations of Ruby's family home and a pirate ship are convincingly portrayed. The audio is where I had the biggest issue, although it may be my setup. It sounded like this was mixed for 5.1 rather than the stereo speakers I was using, although everything was audible and it wasn't as bad as it could have been.

The Church at Ruby Road is a good showcase for Ncuti Gatwa's intensely charismatic and charming Doctor, which is all it really needs to be. Despite the presence of Russell T Davies, and familiar Doctor Who tropes, it feels different from 2000s Doctor Who in ways which aren't easy to define. Stylistic traits from the Chibnall and Moffat eras of the show seem to have survived into this one, more than I would have expected. Millie Gibson's Ruby Sunday is pleasant enough, but frustratingly hard to get a handle on as a character. (Think Clara Oswald rather than Rose Tyler.) The language of television and film has changed in the past two decades, and I think that's affected how these characters are written and portrayed, in ways that feel a bit distancing, at this point. I'll have more of an opinion about this as the series goes. But it's a good start and we'll see where things go from here. It's also a fresh start, with The Doctor alone again, rather than hanging out with Bonnie Langford. It's bold and confident about what it's doing, and overtly queerer than the show has been before, with or without the aid of Bonnie Langford. I am not, at this point, entirely sure what the show is actually doing, but I'm interested in finding out.

[actual-bill-potts]

Hii! Very intrigued about the 📄 and 🔍possibilities of the WIP ask game if you're up to it! <3

Hello!! Absolutely!!! For once I am answering an ask somewhat on time!!!

(ask meme here, inbox still open)

📄What’s a WIP you never finished that you would like to go back and revisit? augh not somebody reminding me of past sins xD I actually have a few, but none of them are Silm-based (yet....):

Two Worlds Split Apart - this was a doctor who AU, the premise being that when Amy and Rory were touched by the Angel at the end of their run, they got sent to Pete's World and had to find a way back home. I had it all plotted out, it was gonna be epic, but then unfortunately I really did not like the thirteenth doctor's run (it felt...a little soulless to me to be perfectly honest, or perhaps I just wasn't in the same place I was when I was watching the Moffat era and so the themes didn't speak to me as much? no hate to Jodie Whittaker or the rest of the cast, they were fantastic) and I kind of fell out of doctor who fandom. I'd still really like to finish this one someday, I think my outline remains in my notes app somewhere, but right now I just don't have the passion or the time for it. Maybe someday. Doctor Who did truly save my life in my teen years. also my god this was posted in 2019...im so old...

and whisper, "thank you for stopping by" - man 2019 really was my year for unfinished WIPs huh, my god. This was my one and only Hadestown fic, damn I loved that musical (and still do) and. wanted to write a story about Orpheus learning to move on, or at least to learn to cope. This one actually was abandoned not because I lost interest but because I found the second chapter near-impossible to write. It was supposed to be a fix-it in some sense, you see, but that...doesn't really fit with the cyclic nature of the story. Someday, I think, the second chapter will come to me - till then, like Eurydice, I'm waiting.

if you want to know about my truly dark fandom past, i also have a third wip, which I wrote around 10 years ago, which was an Enjolras/Eponine les mis au and which will never see the light of day

🔍Give a clue (a picture, emoji, a word, etc) and let your followers guess what a WIP is about. hmmmmmm. an unpublished wip?

my word is youth

[wentzmp3]

Sillies..

[daisyxogrenade]

"So fuck my feelings. They're not worth it."

Song: Real Horror Show by Daisy Grenade

[theart2rock]

Farewell - diese Musiker mussten 2023 gehen

Leider war auch das letzte Jahr nicht zu allen Musikern gut gewesen. Einige richtig einflussreiche Menschen mussten die Bühne wechseln, wie immer eigentlich zu früh. Den Musiker hören ja nie wirklich auf Musik zu machen. Was bleibt ist in allen Fällen ein Vermächtnis. Ein Werk für die Nachwelt. Deshalb möchte ich natürlich all den Musikern gedenken, die im 2020 in den Tourbus gestiegen sind und ihre letzte Tour angetreten haben. - Sebastian Marino (Overkill, Anvil, Ramrod) 07.11.1965 - 01.01.2023 (Herzinfarkt) - Fred White (Earth Wind & Fire) 13.01.1955 - 01.01.2023 - Manni Jordan (Heaven's Gare, Steeltower, Carrion) 27.01.1960 - 02.01.2023 - Jeff Beck 24.06.1944 - 10.01.2023 (Hirnhautentzündung) - Doug Grandon (Psychosis, Mass Psychosis, M.O.D.) 10.01.2023 (Parkinson) - Lisa Marie Presley 01.02.1968 - 12.01.2023 (Herzversagen) - Van Connor (Screaming Trees) 17.03.1967 - 17.01.2023 (Lungenentzündung) - David Crosby (Byrds, Crosby Stills and Nash) 14.08.1941 - 19.01.2023 - Top Topham (The Yardbirds) 03.07.1947 - 23.01.2023 - Michael Kupper aka Maik Moti (Running Wild) 29.08.1957 - 16.02.2023 - Steve Mackey (Pulp) 10.11.1966 - 02.03.2023 - Gary Rossington (Lynyrd Skynyrd) 04.12.1951 - 05.03.2023 - Wayne Swinny (Saliva) 22.03.2023 (Hirnblutung) - Nora Forster (Sex Pistols) 06.11.1942 - 06.04.2023 - Lasse Wellander (ABBA) 18.06.1952 - 07.04.2023 - Guy Bailey (The Quireboys) 07.04.2023 - Ian Bairnson (Alan Parsons Project) 03.08.1953 - 07.04.2023 (Demenz) - Mark Sheehan (The Script) 29.10.1976 - 14.04.2023 - Tim Bachmann (BTO) 01.08.1951 - 28.04.2023 (Krebs) - Gordon Lightfoot 17.11.1938 -01.05.2023 - Andy Rourke (The Smiths) 17.01.1964 - 19.05.2023 (Bauchspeicheldrüsenkrebs) - Chas Newby (The Beatles) 18.06.1941 - 22.05.2023 - Kirk Arrington (Metal Church / Vanderhoof) 23.01.1962 - 22.05.2023 - Sheldon Reynolds (Earth Wind & Fire, The Commodores) 13.09.1959 - 23.05.2023 - Tina Turner 26.11.1939 - 24.05.2023 - Lee Rauch (Megadeth) 10.09.1964 - 23.06.2023 - George Tickner (Journey) 08.09.1946 - 05.07.2023 - Jane Birkin 14.12.1946 - 16.07.2023 - Tony Bennett 03.08.1926 - 21.07.2023 - Sinéad O'Connor 08.12.1966 - 26.07.2023 - Randy Meisner (Eagles) 08.03.1946 - 26.07.2023 (COPD) - John Gosling (The Kinks) 06.02.1948 - 04.08-2023 - Robbie Robertson (The Band) 05.07.1943 - 09.08.2023 (Prostata Krebs) - Peter Haag "West" (Hämatom) 15.08.2023 - Bernie Marsden (Whitesnake) 07.05.1951 - 24.08.2023 (Meningitis) - Jack Sonni (Dire Straits) 09.12.1954 - 30.08.2023 - Jimmy Buffett 25.12.1946 - 01.09.2023 (Hautkrebs) - Steve Harwell (Smash Mouth) 09.01.1967 - 04.09.2023 (Leberversagen) - Matt Vinci (Liege Lord) 01.03.1965 - 09.09.2023 (Krebs) - Roger Whittaker 22.03.1936 - 13.09.2023 - Jon Kennedy (Cradle Of Filth, Hecate Enthroned, Imperial Genocide) 25.08.1977 - 25.09.2023 (Autounfall) - Jeff L'Heureux (Culprit) 17.11.1959 - 10.10.2023 (Motorradunfall) - Rudolph Isley (The Isley Brothers) 01.04.1939 - 11.10.2023 (Herzversagen) - Steve Riley (Keel, W.A.S.P.) 22.01.1956 - 24.10.2023 (Lungenentzündung) - Heath (X Japan) 29.01.1968 - 29.10.2023 (Krebs) - Vittorio "Vic" Vergeat (Toad) 15.05.1951 - 01.11.2023 - Pete Garner (The Stone Roses) 03.11.2023 (Krebs) - Charlie Dominici (Dream Theater) 16.06.1951 - 17.11.2023 - Mars Williams (The Waitresses, The Psychedelic Furs) 29.05.1955 - 20.11.2023 (Krebs) - Kevin "Geordie" Walker (Killing Joke) 18.12.1958 - 26.11.2023 (Schlaganfall) - Shane MacGowan (The Pogues) 25.12.1957 - 30.11.2023 (Lungenentzündung) - Danny Laine (Wings, Moody Blues) 29.10.1944 - 05.12.2023 (Lungenerkrankung) - Ken Erb (Shok Paris) 14.12.2023 - Manny Martinez (Misfits) 16.12.2023 - Colin Burgess (AC/DC) 16.11.1946 - 16.12.2023 Leider wird auch diese Liste vermutlich nicht vollständig sein. Rockt in Frieden Lesen Sie den ganzen Artikel

[tombstoneswerewaiting]

it is not lost on me that my favourite daisy grenade songs was written by pete. the man is stuck in my brain

[thedoctorwhocompanion]

BBC Books Celebrates 50 Years of Target Books With Five New Doctor Who Novelisations

BBC Books Celebrates 50 Years of Target Books With Five New #DoctorWho Novelisations

Five new Target novelisations featuring the Fourth, Tenth, Twelfth, and Thirteenth Doctors will be released in July, celebrating half a century of the Target Books range. Each book will come with new cover artwork by the sensational Anthony Dry, a friend of the DWC! The titles are: Warriors’ Gate and Other StoriesPlanet of the OodThe Waters of MarsThe Zygon InvasionKerblam! These will all be…