#ra farrel

[that-one-enby-ranger-fanfics]

Chaos Games Chapter 4

Chapter 4 on Chaos Games up.

Characters: Halt, Crowley, Samdash, Leander, Norris, Farrel, Will and Gilan mentioned.

Warning: Swears

Also read on Wattpad and Fanfiction

[finniestoncrane]

Do u have like a ranking of the characters starting from your fav

oh gosh like as in the rogues (i hope so because that's what i'm doing now)??? i like a very specific set of rogues (although it gets bigger every day lmao) but you asked for it so i will not PUNISH YOU in ways you never even thought possible by rambling on for quite some time 💚 so anyway feel free to suggest new rogues to me or try to change my mind because i listed rogues i don't care for and ones i wanna fall in love with too u-u

ok let's start off nice and easy by saying i don't like catwoman. i find her hard to read, she's cold, she's mean and i she would make me cry. i hate her. and i also hate ra's al ghul god damn.

ANYWAY ON TO THE GOOD STUFF

Number One: The Riddler

my beloved disgusting green man 💚 there hasn't been a riddler i've met yet who i wouldn't kiss on the head and then fuck hard and long like i am obsessed with every iteration of him. you want me to rank them, i can't, but please know that arkham and capullo are up at the top fighting each other (shirtless, covered in oil, maybe kissing too i dunno, maybe not just shirtless either maybe we're talking just hanging dong, bouncing around all over the place, rubbing against each other I GOT SO DISTRACTED HOLY SHIT LMAO)

Number Two: The Penguin

just something about a silly little guy with a silly little smile and a silly little tummy that does it for me. this is very specific to farrell and gotham penguins but honestly, i've just finished reading one bad day and i'd fuck him too 💜

Number Three: Scarecrow

i want him so bad you don't even know, like i want jonathan crane to read me a book, then fuckin fear toxin me and then i want scarebeast to rail me sorry but i'm also not sorry. he also just seems like such a nice man which don't even come at me

Number Four: Two Face

such a handsome, handsome, charming, well-dressed man battling his inner (outer) demons like??? what more could you really ask for??? get you a man who can do both, be super smart and cutie and also absolutely unhinged and hot

Number Five: Harley Quinn

i struggled ranking ivy and harley but ultimately she's so cute and bubbly and fun and i want her to squish my cheeks and let me touch her butt, like i don't like margot robbie something about her bugs me but i still loved birds of prey, that's the lure of harley ;-;

Number Six: Poison Ivy

yeah yeah ivy is hot everyone knows it, yes cool eco-terrorism sure thing, but ok so also while we're here, fat ivy. fat ivy fat ivy fat ivy. i would sell my fucking organs to fill my grabby little hands with her body >:(

Number Seven: Victor Zsasz

love you chihuahua man u-u mostly gotham zsasz because he radiates mischief, just a cheeky lil guy, visiting his bub and getting ice cream with his pals, and he's so funny???

Number Eight: Victor Freeze

freeze gets to be ranked on my list PURELY because he's a mad scientist, he's nice to his wife (romantic what????) and MOSTLY because of that one shot of nathan darrows in gotham with the low-rise fucking trousers like good LORD in heaven the stranglehold that has on my clit you wouldn't believe

honourable mentions of rogues i kinda fuck with but not enough to rate or rank yet:

black mask, but absolutely the fuck not ewan mcgregor

mad hatter, i want to love you

joker, i hate him but i want to fuck him sometimes it's complicated

bane

professor pyg

hugo strange

solomon grundy

rogues i want to fuck with in future:

clock king

music meister

huntress

the creeper

batmite (what the fuck is he i love him???)

jeremiah arkham

flamingo

cluemaster

calendarman

firefly

hush

rogues i know but don't give a fuck about:

killer croc

manbat

clayface

killer moth

king shark (except i wanted to fuck him in assualt on arkham)

[justforbooks]

The distinctive sound of Pharoah Sanders’ tenor saxophone, which could veer from a hoarse croon to harsh multi phonic screams, startled audiences in the 1960s before acting in recent years as a kind of call to prayer for young jazz musicians seeking to steer their music in a direction defined by a search for ecstasy and transcendence.

Sanders, who has died age 81, made an impact at both ends of a long career. In 1965 he was recruited by John Coltrane, an established star of the jazz world, to help push the music forward into uncharted areas of sonic and spiritual exploration.

He had just turned 80 when he reached a new audience after being invited by Sam Shepherd, the British musician and producer working under the name Floating Points, to take the solo part on the widely praised recording of an extended composition titled Promises, a concerto in which he responded with a haunting restraint to the minimalist motifs and backgrounds devised by Shepherd for keyboards and the strings of the London Symphony Orchestra.

By then he had become a vital figure in the recent revival of “spiritual jazz”, whose young exponents took his albums as inspirational texts. When he was named a Jazz Master by the US National Endowment for the Arts in 2016, musicians of all generations, from the veteran pianist Randy Weston to the young saxophonist Kamasi Washington, queued up to pay tribute.

Farrell Sanders was born in Little Rock, Arkansas, a segregated world where his mother was a school cook, his father was a council worker and he grew up steeped in the music of the church. He studied the clarinet in school before moving on to the saxophone, playing jazz and rhythm and blues in the clubs on Little Rock’s West Ninth Street, backing such visiting stars as Bobby Bland and Junior Parker. After graduating from Scipio A Jones high school, he moved to northern California, studying art and music at Oakland Junior College. Soon he was immersing himself in the local jazz scene, where he was known as “Little Rock”.

In 1961 he arrived in New York, a more high-powered and competitive but still economically straitened environment. While undergoing the young unknown’s traditional period of scuffling for gigs, he played with the Arkestra of Sun Ra, a devoted Egyptologist. Sanders soon changed his name from Farrell to Pharoah, giving himself the sort of brand recognition enjoyed by all the self-styled Kings, Dukes, Counts and Earls of earlier jazz generations.

Amid a ferment of innovation in the new jazz avant garde, Sanders formed his own quartet. The poet LeRoi Jones (later known as Amiri Baraka) was the first to take notice, writing in his column in DownBeat magazine in 1964 that Sanders was “putting it together very quickly; when he does, somebody will tell you about it”.

That somebody turned out to be Coltrane, who invited him to take part in the recording of Ascension, an unbroken 40-minute piece in which 11 musicians improvised collectively between ensemble figures handed to them at the start of the session. When it was released on the Impulse! label in 1966, critics noted that the leader, one of jazz’s biggest stars, had given himself no more solo space than any of the other, younger horn players, implicitly awarding their creative input as much value as his own.

Coltrane also invited Sanders to join his regular group, then expanding from the classic quartet format heard at its peak on the album A Love Supreme, recorded in 1964. With Alice Coltrane and Rashied Ali replacing McCoy Tyner and Elvin Jones at the piano and the drums respectively, and other young musicians coming in and out as the band toured the US, the music became less of a vehicle for solo improvisation and more of a communal rite, sometimes involving the chanting of mantras and extended percussion interludes.

While some listeners were dismayed, accusing Coltrane of overdoing his generosity to young acolytes, others were exhilarated. For both camps, Sanders became a symbol of the shift. “Pharoah Sanders stole the entire performance,” the critic Ron Welburn wrote after witnessing Coltrane’s group in Philadelphia in 1966. The poet Jerry Figi reviewed a performance in Chicago and described Sanders as “the most urgent voice of the night”, his sound “a mad wind screeching through the root-cellars of Hell”. Sceptics believed Sanders was leading Coltrane down the path to perdition.

When Coltrane died of liver cancer in 1967, aged 40, Sanders began his own series of albums for Impulse!, starting with Tauhid (1967) and Karma (1969), which included an influential extended modal chant called The Creator Has a Master Plan. He continued to work with Alice Coltrane, appearing on several of her albums as well as those of Weston, Tyner, Don Cherry, Ornette Coleman, Sonny Sharrock, the Jazz Composer’s Orchestra, Norman Connors and others.

In 2004 he was inducted into the Arkansas Black Hall of Fame. Ten years later, he travelled from his home in Los Angeles to Little Rock, the city where his classmates had tried, in 1957, to desegregate the local whites-only high school, for an official Pharoah Sanders Day.

When asked to explain the philosophy behind the music that Baraka described as “long tissues of sounded emotion”, he replied: “I was just trying to see if I could play a pretty note, a pretty sound.” In later years, those who arrived at his concerts expecting the white-bearded figure to produce the squalls of sound that characterised Coltrane’s late period were often surprised by the gentleness with which he could enunciate a ballad. “When I’m trying to play music,” he said, “I’m telling the truth about myself.”

🔔 Pharoah (Farrell) Sanders, saxophonist and composer, born 13 October 1940; died 24 September 2022

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[ausetkmt]

He first gained wide recognition for his work with John Coltrane. He went on to a fertile, prolific career, releasing dozens of albums as a leader.

The saxophonist Pharoah Sanders in performance in Brooklyn in 2015.Credit...Sam Polcer for The New York Times

Published Sept. 24, 2022Updated Sept. 25, 2022

Pharoah Sanders, a saxophonist and composer celebrated for music that was at once spiritual and visceral, purposeful and ecstatic, died on Saturday in Los Angeles. He was 81.

His death was announced in a statement by Luaka Bop, the company for which he had made his most recent album, “Promises.” The statement did not specify the cause.

The sound Mr. Sanders drew from his tenor saxophone was a force of nature: burly, throbbing and encompassing, steeped in deep blues and drawing on extended techniques to create shrieking harmonics and imposing multiphonics. He could sound fierce or anguished; he could also sound kindly and welcoming.

He first gained wide recognition as a member of John Coltrane’s groups from 1965 to 1967. He then went on to a fertile, prolific career, with dozens of albums and decades of performances.

Mr. Sanders played free jazz, jazz standards, upbeat Caribbean-tinged tunes and African- and Indian-rooted incantations such as “The Creator Has a Master Plan,” which opened his 1969 album, “Karma,” a pinnacle of devotional free jazz. He recorded widely as both a leader and a collaborator, working with Alice Coltrane, McCoy Tyner, Randy Weston, Joey DeFrancesco and many others.

Looking back on Mr. Sanders’s career in a 1978 review, Robert Palmer of The New York Times wrote, “His control of multiphonics on the tenor set standards that younger saxophonists are still trying to live up to, and his sound — huge, booming, but capable of great delicacy and restraint — was instantly recognizable.”

Mr. Sanders told The New Yorker in 2020: “I’m always trying to make something that might sound bad sound beautiful in some way. I’m a person who just starts playing anything I want to play, and make it turn out to be maybe some beautiful music.”

Pharoah Sanders was born Farrell Sanders in Little Rock, Ark, on Oct. 13, 1940. His mother was a cook in a school cafeteria; his father worked for the city.

He first played music in church, starting on drums and moving on to clarinet and then saxophone. (Although tenor saxophone was his main instrument, he also performed and recorded frequently on soprano.) He played blues, jazz and R&B at clubs around Little Rock; during the era of segregation, he recalled in 2016, he sometimes had to perform behind a curtain.

In 1959 he moved to Oakland, Calif., where he performed at local clubs. His fellow saxophonist John Handy suggested he move to New York City, where the free-jazz movement was taking shape, and in 1962, he did.

At times in his early New York years he was homeless and lived by selling his blood. But he also found gigs in Greenwich Village, and he worked with some of the leading exponents of free jazz, including Ornette Coleman, Don Cherry and Sun Ra.

It was Sun Ra who persuaded him to change his first name to Pharoah, and for a short time Mr. Sanders was a member of the Sun Ra Arkestra.

Mr. Sanders made his first album as a leader, “Pharoah,” for ESP-Disk in 1964. John Coltrane invited him to sit in with his group, and in 1965 Mr. Sanders became a member, exploring elemental, tumultuous free jazz on seminal albums like “Ascension,” “Om” and “Meditations.”

After Coltrane’s death in 1967, Mr. Sanders went on to record with his widow, the pianist and harpist Alice Coltrane, on albums including “Ptah, the El Daoud” and “Journey in Satchidananda,” both released in 1970.

Mr. Sanders had already begun recording as a leader on the Impulse! label, which had also been Coltrane’s home. The titles of his albums — “Tauhid” in 1967, “Karma” in 1969 — made clear his interest in Islamic and Buddhist thought.

His music was expansive and open-ended, concentrating on immersive group interaction rather than solos, and incorporating African percussion and flutes. In the liner notes to “Karma,” the poet, playwright and activist Amiri Baraka wrote, “Pharoah has become one long song.” The 32-minute “The Creator Has a Master Plan” moves between pastoral ease — with a rolling two-chord vamp and a reassuring message sung by Leon Thomas — and squalling, frenetic outbursts, but portions of it found FM radio airplay beyond jazz stations.

During the 1970s and ’80s, Mr. Sanders’s music moved from album-length excursions like the kinetic 1971 “Black Unity” toward shorter compositions, reconnections with jazz standards and new renditions of Coltrane compositions. (He shared a Grammy Award for his work with the pianist McCoy Tyner on the 1987 album “Blues for Coltrane.”) His recordings grew less turbulent and more contemplative. On the 1977 album “Love Will Find a Way,” he tried pop-jazz and R&B, sharing ballads with the singer Phyllis Hyman. He returned to more mainstream jazz with his albums for Theresa Records in the 1980s.

But his explorations were not over. In live performances, he might still bear down on one song for an entire set and make his instrument blare and cry out. During the 1990s and early 2000s he made albums with the innovative producer Bill Laswell. He reunited with the blistering electric guitarist Sonny Sharrock — who had been a Sanders sideman — on the 1991 album “Ask the Ages,” and he collaborated with the Moroccan Gnawa musician Maleem Mahmoud Ghania on “The Trance of Seven Colors” in 1994.

Information on Mr. Sanders's survivors was not immediately available.

Mr. Sanders had difficult relationships with record labels, and he spent nearly two decades without recording as a leader. Yet he continued to perform, and his occasional recorded appearances — including his wraithlike presence on “Promises,” his 2021 collaboration with the London Symphony Orchestra and Sam Shepherd, the electronic musician known as Floating Points — were widely applauded.

Reviewing “Promises” for The Times, Giovanni Russonello noted that Mr. Sanders’s “glistening and peaceful sound” was “deployed mindfully throughout the album,” adding, “He shows little of the throttling power that used to come bursting so naturally from his horn, but every note seems carefully selected — not only to state his own case, but to funnel the soundscape around him into a precise, single-note line.”

In 2016 Mr. Sanders was named a Jazz Master, the highest honor for a jazz musician in the United States, by the National Endowment for the Arts.

In a video made in recognition of his award, the saxophonist Kamasi Washington said, “It’s like taking fried chicken and gravy to space and having a picnic on the moon, listening to Pharoah.” The saxophonist Lakecia Benjamin said, “It’s like he’s playing pure light at you. It’s way beyond the language. It’s way beyond the emotion.”

[mirandamckenni1]

Liked on YouTube: Capitalism and the Body || https://www.youtube.com/watch?v=ESe6RrWDGKQ || We all have bodies... how can we use them to make money? What are the moral implications of selling access to our bodies and our body parts? While the liberal feminists scream "lean in!" and "ra ra capitalism," how do feminists critical of the patriarchy and capitalism conceptualize hierarchy and consent? This is an in-depth, colourful, uncompromising, sexy essay about the gruesome world of bioethics and body horror! Neil Farrell explores this thorny, controversial topic, all while making a recipe for vegan seitan wings. The Liberal Cook is created by Neil Farrell and Sarah Oeffler Support the channel on Patreon ►► https://ift.tt/4XorHRf Thank you to the brilliant Matthew Tallon! You can follow him on Twitter: https://twitter.com/matthew_tallon and on TikTok at https://ift.tt/0ZwyRxC Thanks so much to Ponderful for giving her voicebox to this video, check out her brilliant channel: https://www.youtube.com/watch?v=QMBcWlsn6XY ↓↓↓ Citations ↓↓↓ There were TOO MANY citations to fit in youtube's description box, so here is a link to an external document. : https://ift.tt/1nRmlAt ↓↓↓ Recipe ↓↓↓ Seitan: (Essential) 1 cup wheat gluten 1/2 cup flour 1 cup water (Optional) Nutritional Yeast Soy Sauce Garlic Powder MSG Vegetable Stock Frying Oil (canola/rapeseed, vegetable, etc) Sauce: Vegan Mayonaise Frank's Hot Sauce Lime Juice Garlic Powder To make: Mix gluten and flour in bowl with water. Stir until water is evenly spread through the mixture, and add seasonings. These are optional and added to taste, but the MSG is the most critical. Let sit for 30 minutes or until mixture is the texture of chewing gum (or gak, remember gak?). Form into loose ball and boil uncovered in vegetable stock on high heat for 1.5 hours. When finished, slice into thin strips. In frypan, heat oil on medium to medium-high heat. Add strips of seitan and fry until golden and crispy. In bowl, mix sauce ingredients. Again, this is to individual tastes. Once strips are fried, coat with sauce on both sides. Serve immediately.

[aggressivemacintosh]

Headcannons for the Early years. Bad quality cause I was rushing

Crowley

-softest boy -kiss your heart and your ass goodbye -has a awful temper on him -insecure about his nose -will break yours though -great at multi-tasking

Halt

-surprisingly protective -glares actually kill -weak stomach -people watches -Pritchard taught him english -very strong accent -can barely understand him

Leander

-probably your new dad -always telling people to step up -calls everyone "sonny" -even Egon -you better say "yes mam" and “yes sir” -probably the only one who actually respects duncan

Farrel

-more like FERAL -wields a battleaxe -tuff stuff -anger issues -literal bull in a china shop -"who the hell would tell that to a man with a battle axe" -probably does somthin like pottery

Berrigan -musical -that one kid who WON'T STOP QUOTING DISNEY -thomas sander vine of "unwelcome duet" -power walks -only ones who dares to call halt "kiddo"

Egon  -Old crusty and a little weird -Pervert -loves beer but he loves dem booties more -Indecisive  -"great with the ladies"

Lewin

-mr. is this against the law? -ships everybody -kinda a cinnamon roll -actually has porn magazines though -always gets nervous when people watch him

Samdash

-probably has a vendetta against crowley -REALLY picky - B -has greasy hair -Drinks starbucks coffee and nothing else -would watch you sleep just to make fun of the way you snore

[thatoneperson747]

I'm having a bad day so here's Farrel

History class sketch. I really need to have a reference for my next Tumblr drawing...

The Early Years characters are my comfort characters, so I'll probably try drawing them all.

[solarishashernoseinabook]

Oh I never posted this here did I?

In short:

Ranger's Apprentice fans, I have come to a revelation about Gilan. In particular, about his lack of description.

So in Ruins of Gorlan, when we meet Gilan, one of the first things Will notices is that he has a sword that he uses in addition to the standard ranger weapons. Will remarks this is unusual, but Halt says no one saw any point in wasting the training Gilan had already received with the sword.

We also learn two things about Gilan: one, he's tall, and two, he's clean shaven. This is the full extent of the description we get of him.

Now, coincidentally, this is rather similar to a bit in TEY1 where we meet Farrel, ranger for Redmont. He's notable for using a battleaxe in addition to the standard ranger weapons. Halt remarks this is unusual, but Crowley says no one is gonna argue with a man with a battleaxe.

And coincidentally, we also learn only two things about Farrel: one, he's taller than the average ranger, and two, he's quite broad in the shoulders. This is also the full extent of the description we get of him.

Therefore, we can conclude that rangers who use weapons more associated with knights in addition to standard ranger weapons are so frightening to everyone else that anyone meeting them only has time to notice a maximum of two (2) physical features before their attention is drawn to their unusual weapons, thus we never get a full description of them

[araluenrangerdanger]

Alright I NEED to know what happened during the blank year/year and a half between Tournament at Gorlan and the Battle of the Hackam Heath.

When they transported king Oswald from Gorlan to Araluen and Morgarath has a convenient passage leading from his castle and could have easily sent soldiers after them

He sends like 50 of them and the king's guard along with Crowley, Egon and Berwick stay behind to fight them while Pritchard continues with the king and Duncan

At a crossroads Pritchard tells the king to get out of his carriage. Prince Duncan will continue with it on the way to Araluen while Pritchard and the king will take the wrong way

The king is too weak to go by himself so Pritchard lets him ride on his horse. King Oswald must tell him the secret word first and he stares at the ranger like he went absolutely mad but ultimately does it

The two of them hide in some forest along the road in case some of Morgarath's guards made it past Crowley & the others

Pritchard telling Halt and Crowley stories he heard while travelling. It's about a young archer called Guillaume Tell who could shoot an apple from the head of a beautiful lady.

Crowley and Halt immediately trying to do this. They become a menace to castle Araluen's maids

A little girl bonding with Crowley over their red hair. This girl is Evanlyn Wheeler, adopted daughter of one of castle Araluen's cooks who later becomes princess Cassandra's maid/best friend

The full story of Thorgan

Halt finally receiving his silver oakleaf and how he threatened Crowley

After Farrel's injury, the Redmont fief is without a ranger and Halt goes to observe the fief from time to time

While Halt's away, Farrel and Crowley are going through four years old documents because Stilson was messy and it's taking them months (also Halt is secretly amused when he finds a document with the ranger apprentices results and sees that Crowley tripped and fell head first into Cropper's droppings and failed his exam not only because everyone heard him, no, he failed because he let out a bunch of swear words)

Farrel finds the message about the death of prince Halt of Clonmel. There's even a picture and he tells Crowley. They decide that they should wait for Halt to tell them himself and they won't assume anything

Which is kind of hard when the king dies and from all over the world leaders come to Araluen to express their condolences and to see Prince Duncan's coronation and Crowley literally bumps into Ferris

It's like he's looking at Halt without the beard. But Ferris is nothing like Halt and Crowley can't help but notice Halt's reaction when he spots him. He stiffens and Crowley lets him abandon his duties for the night and Halt spends the day with Abelard

In the evening Crowley goes to him, but he doesn't try to pry anything out of him. He already knows.

Halt and Crowley being depressed when they learn of Pritchard's death.

Halt had some time to deal with it on his way back to Araluen but he still cries along with Crowley. Halt also closes himself in for the whole world, Crowley is unusually silent and working much more than he would normally

The first gathering where the get rid of Morgarath's useless pawns. No one passes the exams they set up and their absolute mishaps both amuse and disgust every proper ranger present

The second gathering where it's just the proper Rangers and their apprentices. The six boys are learning what it means to be a ranger from the others. They all accept that the stories and Rangers they met during their childhood just weren't what you'd call a ranger. They become much more enthusiastic about their studies

Duncan and Rosalind's wedding. All of the rangers are invited but ultimately only 4 make it there the others are busy

Queen Rosalind bonding with the rangers (mainly Halt and Crowley). She feels she's kind of indebted to them for saving Duncan. They become her good friends and she trusts then with her life

Both men not understanding how hard it is to be pregnant

Dealing with Stilson because he's a pathetic excuse for a Ranger

After king Oswald's death Morgarath tries to send some wargals into Araluen. They are dealt with quickly and efficiently by the Rangers (I also wanted to include this due to the very first paragraphs in Ruins of Gorlan because otherwise the timeline wouldn't make much sense - I mean the part that he attacked during the first ten days after king Oswald's death)

Also there's a lot of cralt (before Halt becomes the ranger to the Redmont fief)

Feel free to add ideas

[captaincookie92]

Hot take: Bobby Farrell died of a broken heart after his 'love machine' died

[dalekofchaos]

The Batverse fancast

Doing a new fancast for The Batman Trilogy or Batverse

my other DC fancasts

DCEU Recast 1

DCEU Recast 2

Superman

Wonder Woman

The Flash

Green Lantern

Aquaman

Green Arrow

Justice League

Teen Titans

Justice League Dark

Batman Beyond

The Dark Knight Returns

Telltale’s Batman

Injustice

Legion Of Doom

Birds Of Prey

Robert Pattinson as Batman/Bruce Wayne

My alternate choice for Batman Jensen Ackles as Batman/Bruce Wayne

Andy Serkis as Alfred Pennyworth

My alternate choice for Alfred Derek Jacob as Alfred Pennyworth

Courtney B. Vance as Lucius Fox

Laura Dern as Dr Leslie Thompkins

Tanner Buchanan as Robin//Nightwing/Dick Grayson

Leslie Grace as Batgirl/Barbara Gordon

My alternate choice for Barbara Gordon

Kiera Allen as Oracle/Barbara Gordon

Gianni DeCenzo as Tim Drake/Robin

Dacre Montgomery as Robin/Red Hood/Jason Todd

Kristen Stewart as Batwoman/Kate Kane

Mary Elizabeth WInstead as Huntress/Helena Bertinelli

Lana Condor as Cassandra Cain/Batgirl

Kiernan Shipka as Spoiler/Stephanie Brown

Izaac Wang as Damian Wayne

Trevor Jackson as Duke Thomas/The Signal

Zoë Kravitz as Catwoman/Selina Kyle

My alternate choice for Catwoman Eiza González as Catwoman/Selina Kyle

Jodie Comer as Vicki Vale

Mark Pellegrino as Jack Ryder

Jeffrey Wright as James Gordon

My alternate choice for Gordon Bryan Cranston as James Gordon

Michael Madsen as Harvey Bullock

Stephanie Beatriz as Renee Montoya

Brian Cox as Commissioner Gillian Loeb

Sam Witwer as Captain Howard Brandon

Michael Weatherly as Detective Arnold Flass

John Turturro as Carmine Falcone

My alternate choice for Falcone Robert De Niro as Carmine Falcone

Gwendoline Christie as Sofia Falcone

Charlie Heaton as Alberto Falcone

James Carpinello as Mario Falcone

Andy Garcia as Sal Maroni

John Goodman as Rupert Thorne

Michael Imperioli as Anthony Zucco

Barry Keoghan as The Joker

My alternate choice for Joker Bill Skarsgård as The Joker

Anna Taylor-Joy as Harley Quinn

Paul Dano as The Riddler

My alternate choice for Riddler David Tennant as The Riddler/Edward Nygma

Collin Farrell as The Penguin/Oswald Cobblepot

My alternate choice for Penguin Timothy Spall as The Penguin/Oswald Cobblepot

Oscar Isaac as Two-Face/Harvey Dent

Giancarlo Esposito as Mr Freeze/Victor Fries

Viggo Mortensen as Black Mask/Roman Sionis

Jane Levy as Andrea Beaumont/The Phantasm

Adam Driver as Scarecrow/Jonathan Crane

Adewale Akinnuoye-Agbaje as Killer Croc(he deserves another chance)

Doug Jones as Man-Bat/Kirk Langstrom

Peter Stormare as Clayface/Basil Karlo

Toby Jones as Mad Hatter/Jervis Tetch

John Lithgow as The Ventriloquist/Arnold Wesker

Natalie Dormer as The Ventriloquist II/Peyton Riley

Dane DeHaan as Hush/Thomas Eliot

Raul Esparza as Hugo Strange

Ana de Armas as Poison Ivy/Pamela Isley

Laz Alonso as Bane

Pedro Pascal as Deadshot/Floyd Lawton

Frank Grillo as Deathstroke/Slade Wilson

Stephen Lang as David Cain

Finn Wittrock as Talon/William Cobb

Wes Bently as Lincoln March/Owlman

Lucy Liu as Lady Shiva

Ghassan Massoud as Ra’s Al Ghul

Nadine Nassib Njeim as Talia Al Ghul

[tutu-fangirl]

Peter Martins and Suzanne Farrell, Jewels

Photo: Dance Magazine archives

[thealmightyemprex]

Top 10 Live Action Batman Movie Villains

I always view the Batman villains as something special in terms of cinematic villains. They are colorful foes who can be played a number of diffrent ways ,and always seem to attract great actors

10.Scarecrow -Dark Knight Triliogy (2005-2012)

Cillian Murphy is just plain CREEPY as this unsavory Arkham doctor ,its a pity the series never uses him to his full potential

9.The Riddler from Batman Forever (!995)

Say what you will about this film, Jim Carrey is phenomenal bringing his over the top goofyness to the character ,but also there are moments where he is a legit unhinged obsessive stalker .He actually is a villain who hits more nowadays then back then as a psychotic fanboy

8.The Penguin from Batman Returns

OK the writing of Oswald is messy....But Danny Devito is so creepy,with a great design and the vibe of a classic universal monster ,almost Phantom of the Operaish .Devito almost disappears into this ghoulish figure

7.Ra's Al Ghul from Batman Begins (2005)

A unique villain in the Batman mythos ,Batman tutor turned on of his greatest enemies,played phenomenally by Liam Neeson AKA the last guy I ever thought would be in a Batman movie

6.Penguin from the Batman (2022)

This Oswald is just a ton of fun .Not only is he well played by an unrecognizable Colin Farrell,hes funny,hes got a great action scene ,and he is kind of the Penguin I have always wanted in a Batman movie.I loved this mobster take on Pengy as well

5.Joker from Batman (1989)

The one casting in superhero movies where everyone was like "Oh yeah hes perfect".Jack Nicholson is just plain fun in this role and highly qoutable

4.United Underworld from Batman The Movie (1966)

OK so I debated how if I should include these guys cause three of them originated on TV ,or just have Catwoman ,as she is the only one original to cinemas ,before deciding theyd get their own spot,cause all four in this film are a unit and I still think are the gold standard for how you handle a villainous ensamble in a superhero movie and Burgess Meredith,Lee Meriweather,Frank Gorshin and Cesar Romero are just very entertaining and in my mind perfect versions of the classic takes on PEnguin,Catwoman ,Riddler and Joker

3.Joker from The Dark Knight (2008)

Probably the most iconic villain of the 21st century so far ,the late Heath Ledger delivers a marvelous performance that is a interesting reinvention of the Joker ,with a subtle dark sense of humor.I can see people taking umbrige with him not being number 1 ,but I have two I like better

2.The Riddler from The Batman (2022)

This guy scares me but in a diffrent way then say Heath Ledgers Joker . This guy feels not like a super criminal but like a guy who could be real .Paul Dano manages to not only feel like the Riddler but also just make the idea of Riddler terrifying ,like a horror movie take on him.Everytime we either saw him or he talked my skin crawled

1.Catwoman from Batman Returns (1992)

A very complex character who walks the line betwee villain and anti hero ,Michelle Pfeiffer gives one of the best performance in a comic book movie EVER .Powerful as she is tragic ,everytime I watch Batman Returns ,I am just blown away by how good she is

Who are your favorite Batman movie villains

@filmcityworld1 @personofsinterest @amalthea9 @lord-antihero @metropolitan-mutant-of-ark @the-blue-fairie @ariel-seagull-wings @marquisedemasque @professorlehnsherr-almashy @princesssarisa

[ausetkmt]

Pharoah Sanders (born Farrell Sanders; October 13, 1940 – September 24, 2022) was an American jazz saxophonist. Known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of "sheets of sound", Sanders played a prominent role in the development of free jazz and spiritual jazz through his work as a member of John Coltrane's groups in the mid-1960s, and later through his solo work.

He released over thirty albums as a leader and collaborated extensively with vocalist Leon Thomas and pianist Alice Coltrane, among many others. Fellow saxophonist Ornette Coleman once described him as "probably the best tenor player in the world".

Sanders' take on “spiritual jazz” was rooted in his inspiration from religious concepts such as Karma and Tawhid, and his rich, meditative performance aesthetic. This style was seen as a continuation of Coltrane's work on albums such as A Love Supreme. As a result, Sanders was considered to have been a disciple of Coltrane or, as Albert Ayler said, "Trane was the Father, Pharoah was the Son, I am the Holy Ghost".

Early life

Pharoah Sanders was born on October 13, 1940, in Little Rock, Arkansas.[5] His mother worked as a cook in a school cafeteria, and his father worked for the City of Little Rock. An only child, Sanders began his musical career accompanying church hymns on clarinet. His initial artistic accomplishments were in the visual arts, but when he was at Scipio Jones High School in North Little Rock, Sanders began playing the tenor saxophone.

The band director, Jimmy Cannon, was also a saxophone player and introduced Sanders to jazz. When Cannon left, Sanders, although still a student, took over as the band director until a permanent director could be found.

During the late 1950s, Sanders would often sneak into African-American clubs in downtown Little Rock to play with acts that were passing through. At the time, Little Rock was part of the touring route through Memphis and Hot Springs, Arkansas for R&B and jazz musicians. Sanders found himself limited by the state's segregation and the R&B and jazz standards that dominated the Little Rock music scene.

After finishing high school in 1959, Sanders moved to Oakland, California, and lived with relatives. He briefly attended Oakland City College and studied art and music.

Once outside the Jim Crow South, Sanders could play in both black and white clubs. His Arkansas connection stuck with him in the Bay Area with the nickname of "Little Rock". It was also during this time that he met and befriended John Coltrane.

Career

1960s

Pharoah Sanders began his professional career playing tenor saxophone in Oakland. He moved to New York City in 1961 after playing with rhythm and blues bands. Sun Ra's biographer wrote that Sanders was often homeless and Ra gave him a place to live, clothes, and encouraged him to use the name "Pharoah".

In 1965, he became a member of John Coltrane's band, as Coltrane began adopting the avant-garde jazz of Albert Ayler, Sun Ra, and Cecil Taylor. Sanders first recorded with Coltrane on Ascension (recorded in June 1965), then on their dual-tenor album Meditations (recorded in November 1965). After this Sanders joined Coltrane's final quintet, usually playing long, dissonant solos. Coltrane's later style was influenced by Sanders.

Although Sanders' voice developed differently from John Coltrane's, Sanders was influenced by their collaboration. Spiritual elements such as the chanting in Om would later show up in many of Sanders' own works. Sanders would also go on to produce much free jazz, modified from Coltrane's solo-centric conception.

In 1968, he participated in Michael Mantler and Carla Bley's Jazz Composer's Orchestra Association album The Jazz Composer's Orchestra, featuring Cecil Taylor, Don Cherry, Larry Coryell, and Gato Barbieri.

Pharoah's first album, Pharoah's First, was not what he expected. The musicians playing with him were much more straightforward than Sanders, which made the solos played by the other musicians a bit out of place. Starting in 1966 Sanders signed with Impulse! and recorded Tauhid that same year. His years with Impulse! caught the attention of jazz fans, critics, and musicians alike, including John Coltrane, Ornette Coleman, and Albert Ayler.

1970s and 1980s

In the 1970s, Sanders continued to produce his own recordings and also continued to work with Alice Coltrane on her Journey in Satchidananda album. Most of Sanders' best-selling work was made in the late 1960s and early 1970s for Impulse Records, including the 30-minute wave-on-wave of free jazz "The Creator has a Master Plan" from the album Karma.

This composition featured vocalist Leon Thomas's unique, "umbo weti" yodeling, and Sanders' key musical partner, pianist Lonnie Liston Smith, who worked with Sanders from 1969 to 1971. Other members of his groups in this period include bassist Cecil McBee, on albums such as Jewels of Thought, Izipho Zam, Deaf Dumb Blind, and Thembi.

Although supported by African-American radio, Sanders' brand of brave free jazz became less popular. From the experiments with African rhythms on the 1971 album Black Unity (with bassist Stanley Clarke) onwards he began to diversify his sound.

In the late 1970s and 1980s, Sanders explored different musical modes including R&B (Love Will Find a Way), modal jazz, and hard bop. Sanders left Impulse! in 1973 and redirected his compositions back to earlier jazz conventions. He continued to explore the music of different cultures and refine his compositions.

However, he found himself floating from label to label. He found a permanent home with a small label called Theresa in 1980, which was sold to Evidence in 1991. However, Sanders would continue to be frustrated with record labels for most of the 1990s. Also during this time, he went to Africa for a cultural exchange program for the U.S. State Department.[citation needed]

1990s

In 1992, Sanders appeared on a reissue (Ed Kelly and Pharoah Sanders) for the Evidence label of a recording that he completed for Theresa Records in 1979 entitled Ed Kelly and Friend. The 1992 version contains extra tracks which feature Pharoah's pupil Robert Stewart. In 1994, Sanders traveled to Morocco to record the Bill Laswell-produced album The Trance Of Seven Colors with Gnawa musician Mahmoud Guinia.

The same year, he appeared on the Red Hot Organization album Stolen Moments: Red Hot + Cool on the track "This is Madness" with Umar Bin Hassan and Abiodun Oyewole and on the bonus track "The Creator Has A Master Plan (Trip Hop Remix)." The album was named "Album of the Year" by Time. He also collaborated with drummer–composer Franklin Kiermyer on Kiermyer's album Solomon's Daughter, also released on the Evidence label (re-released with 3 previously unreleased tracks on the Dot Time label in 2019).

Sanders's major-label return came in 1995 when Verve Records released Message from Home, followed by Save Our Children (1998). But again, Sanders's disgust with the recording business prompted him to leave the label.

Sanders worked with Laswell, Jah Wobble, and others on the albums Message From Home (1996) and Save Our Children (1999). In 1999, he complained in an interview that despite his pedigree, he had trouble finding work. In 1997 he was featured on several Tisziji Muñoz albums which include Rashied Ali.

2000s and 2020s

In the 2000s, a resurgence of interest in jazz kept Sanders playing festivals including the 2004 Bluesfest Byron Bay, the 2007 Melbourne Jazz Festival, and the 2008 Big Chill Festival, concerts, and releasing albums. He has a strong following in Japan, and in 2003 recorded with the band Sleep Walker. In 2000, Sanders released Spirits and, in 2003, a live album titled The Creator Has a Master Plan. He was awarded an NEA Jazz Masters Fellowship for 2016 and was honored at a tribute concert in Washington DC on April 4, 2016.

In 2020, Sanders recorded a collaboration with electronic music producer Floating Points and the London Symphony Orchestra. Titled Promises, the album was released in March 2021, making it the first major new album released by Sanders in nearly two decades. The album was widely acclaimed by critics, with Pitchfork declaring it "a clear late-career masterpiece".

Sanders was managed by artist manager Anna Sala of AMS Artists and AB Artists.

Death

Sanders died on September 24, 2022, at his home in Los Angeles at the age of 81.

[theravenlyn-art]

I just want to say that I really love your RA art, be it drawings or animations - I love it all. What I love even more is that you give us some Early Years content and my heart is screaming bc it's all amazing and to see the characters in their younger years is just amazing and I thank you for bringing a smile on my face every time I see a new post

thank you omg ;-;

i simply love the early years squad the most tbh. like i love the lil found family with Halt and His Boys!! but also i love Halt and The Boys, you feel??? 

it’s a bunch of Lads just vibing and riding around the countryside and may thwart a corrupt baron Just Because and also Elite Archery Unite and also like just,,, we dont often get to see a bunch of rangers together? and i love it. 

i love the scene before Farrel and Berwick go to take Tiller, when they approach during the day to get a rough idea of the terrain. and theyre just walking down the main street or something and all the other rangers are flitting by in the shadows, in alleys, side streets,, i can see it so clearly in my mind. like if it were a movie, Farrel and Berwick just walk down the street and the camera will track along with them and then you see a little shadowy flicker in the corner of your eye as they pass a building but it’s too quick for you to know if you really saw it, and then the next a shadowed figure passes by in the foreground and ahhhhhhhhhhhhhhhhhhhhhhhhhh