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insomniac-jay · 3 years ago

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Marvel Next Gen

So I made this post a while ago expressing my frustration that Marvel made all of these teams made up of newer and younger characters (some made up of the children of their popular characters) and yet have done nothing with them.

Being how I am, I'm going to fix it because I think they all had so much potential but Marvel wants to focus on their boomers more.

For starters, the older heroes FINALLY age because realism makes for good story and plot points but they are still operating until the newer heroes become of age.

Another thing is that most of them will be young adults so about 18 to 20 because fuck the child soldier aspect.

New X-Men

I will never forgive Marvel for how dirty they do the New X-Men. Here's my idea of a New X-Men lineup:

David Alleyne | Prodigy: Co leader, Chicago born Mutant with the ability to absorb the skills and knowledge around him via subconscious telepathy. Later joins the Young Avengers.

Sofia Mantega | Wind Dancer: De facto leader, Venezuelan born Mutant with the ability to telepathically control the wind and some minor sound manipulation abilities. She later joins the Hellions Squad.

Laurie Collins | Wallflower: Member, American Mutant with the power to control the pheromones of others.

Josh Foley | Elixir: Member, American Mutant with the power to control, shape, and reform the biological structure of both his and other's bodies.

Jay Guthrie | Icarus: Member, American Mutant with the powers of flight via wings and a regenerative healing factor. Later joins the Hellions Squad.

Ruth Aldine | Blindfold: Member, American Mutant with the powers of psionics and clairvoyance.

Laura Kinney | X-23: Member, Indigenous Canadian Mutant with the power to sprout metal claws.

Megan Gwynn | Pixie: Member, American Mutant with the powers of flight and emitting a hallucinatory dust.

Cessily Kincaid | Mercury: Member, American Mutant with the power to turn her body into mercury and manipulate it. She also joins the Hellions Squad later.

Hisako Ichiki | Armor: Member, Japanese Mutant with the power to create a psionic armor around herself.

Noriko Ashida | Surge: Member, Japanese Mutant with the power to absorb all forms of electricity.

Kevin Ford | Wither: Member, American Mutant with the power to disintegrate anything with one touch. He is the third and last member to convert to the Hellions Squad.

With three of their members having left for the Hellions Squad, Jean Grey assigns four new members to take their place:

Alani Ryan | Loa: Hawaiian Mutant with the power to phase through solid matter by breaking apart its binding forces. Takes up the leadership role after David's departure.

Victor Borkowski | Anole: American Mutant with the powers of reptilian physiology and camouflage.

Paras Gavaskar | Indra: Indian born Mutant with the powers of a retractable exoskeleton and psionic construction.

Mark Sheppard | DJ: American Mutant with the power to manipulate different forms of energy based on the music he's listening to

Hellions Squad

Another team Marvel does dirty. Here's my Hellions Squad lineup:

Julian Keller | Hellion: Leader, American Mutant with the powers of telekinesis.

Sooraya Qadir | Dust: Co leader, Afghani Mutant with the ability to turn herself into a living whirlwind of dust.

Santo Vaccaro | Rockslide: Mexican born Mutant with the ability to create a body made entirely of solid rock.

Brian Cruz | Tag: Colombian born Mutant with the power to telepathically "tag" a person so others felt compelled to run away from them.

Quentin Quire | Kid Omega: American Mutant with the powers of psionics

Sophie, Irma, Celeste, and Esme Frost-Grey/Cuckoo | Stepford Cuckoos: American born Mutants with the powers of a psionic hivemind.

Angel Salvadore Bohusk | Tempest: American Mutant with the powers of insectoid physiology and acid production.

Roxy Washington | Bling!: American Mutant with the ability to produce and manipulate gems via her gemstone skin

Later on they gain three members from the New X-Men: Wind Dancer, Mercury, and Wither.

Young Avengers

My children and the better version of the Avengers. Here's my version of their lineup:

Kate Bishop | Hawkeye: Leader, Human with incredible archery and swordsmanship skills.

America Chavez | Miss America: Co leader, has the powers of superhuman physiology, interdimensional and time travel, and energy infusion.

William "Billy" Kaplan-Altman | Wiccan: Member, Mutant with magical powers including reality warping, clairvoyance, and creation.

Thomas "Tommy" Shepherd | Speed: Member, Mutant with the power of superhuman speed

Theodore "Teddy" Kaplan-Altman/Dorrek-Vell | Hulking: Member, Kree/Skrull hybrid with the abilities of shapeshifting, hybrid alien physiology, and superhuman condition.

Cassandra "Cassie" Lang | Stinger: Member, Human exposed to Pym Particles and now has the ability to reduce or increase her size

Elijah "Eli" Bradley | Patriot: Member but sometimes acts as leader, mutated Human due to exposure to Super Soldier Serum which grants him superhuman condition

Luna Maximoff | Aura: Member, Human/Inhuman hybrid with the powers of aura vision, empathy, and precognition.

David Alleyne later joined after leaving the New X-Men.

Future Four

The successors to the Fantastic Four, the Future Four have no intention of not uploading the First Family's legacy.

Franklin Richards | Powerhouse: Leader, Human mutate with powerful reality warping and psionic abilities

Valeria Richards | Brainstorm: Co leader, Human mutate with the power of super genius intellect

Takeshi "Taki" Matsuya: Member, Mutant with the power to telepathically reform technology

Rachel Summers-Grey | Prestige*: Member, Mutant with the powers of telepathy, empathy, and telekinesis. She is also the current host of the Phoenix Force after it bonded with her mother's body.

*Rachel had an old team which was made up of her and the other children of the previous X-Men, but left for unknown reasons.

MCU fans DNI

@calciumcryptid

#jay's marvel era #young avengers #new x men

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madebyleftovermuses · 4 years ago

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Masterlist ❤️

ask games

Disney’s Descendants

Carmen Raelyn White

Introduction (coming soon)

made up fic

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Emberly Hope Charming

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help me developed my character

🦦: Send me 🦦 + OC and I’ll tell you

an important scene that happens

Search history

one outfit

OTP song

How’d they get along with another OC

50 OTP question

brotp meme (Carlos)

badly describe my oc

🤓: best subject in school

brotp meme (Herkie)

😘: nicknames from canon characters

a song that fits an OC

Freddie Facilier (adopted)

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Freya Evelyn Emerson

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Hadie (adopted)

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Herkie (adopted)

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Lucian Justin Flammia

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Rose Sage White

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Ryan Alexandria Beast

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headcanon

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Tempest McKenna Rose (AU)

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Wyvern Ivy Fae (AU)

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Disney's Z-O-M-B-I-E-S

Alexa Roe Nelson

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Jacob Ryan Lewis

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Josiah Peter Cook

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Keira Teresa Foster

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Weslyn Callie Buchanan

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Flash

Cerise Emilia Winters

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🔈: song playing during a scene

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Harry Potter

here

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Brenda Heaven King

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Bruce Dane Phillips

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Emma Margaret Romanova-Rogers

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Keith Wayne Anderson

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On My Block

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Once Upon a Time

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Lucian Greyson Grimes

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Amoretta Skylar Rose

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Kieran Ryan McIntyre

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Leta Casey Shea

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Riverdale

here

Stargirl

Isadora Dylan Gunn

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Scott Warren Swift

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Wilhelmina Justine Gunn

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Strange Days at Blake Holsey High

Prudence Cosette Pearson

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Teen Wolf

Dani May Whittemore

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Zoey Chase Swan

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📅: OC birthday

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Vera Bloom Xavier-McCoy

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Young Sheldon

Hayleigh Samantha Sparks

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WBW

#master list OC #i did a thing #disney's descendants oc #disney's zombies oc #the flash oc #harry potter oc #marvel oc #on my block oc #once upon a time oc #percy jackson oc #riverdale oc #ghoulie oc #southside serpent oc #stargirl oc #teen wolf oc #twilight oc #xmen oc #young sheldon oc

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silent-era-of-cinema · 4 years ago

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John Gilbert (born John Cecil Pringle; July 10, 1897 – January 9, 1936) was an American actor, screenwriter and director. He rose to fame during the silent film era and became a popular leading man known as "The Great Lover". His legendary breakthrough came in 1925 with his starring roles in The Merry Widow and The Big Parade. At the height of his career, Gilbert rivaled Rudolph Valentino as a box office draw.

Gilbert's career declined precipitously when silent pictures gave way to talkies. Though Gilbert was often cited as one of the high-profile examples of an actor who was unsuccessful in making the transition to sound films, his decline as a star had far more to do with studio politics and money than with the sound of his screen voice, which was rich and distinctive.

Born John Cecil Pringle in Logan, Utah, to stock-company actor parents, John Pringle (1865–1929) and Ida Apperly Gilbert (1877–1913), he struggled through a childhood of abuse and neglect, with his family moving frequently and young "Jack" having to attend assorted schools throughout the United States. When his family finally settled in California, he attended Hitchcock Military Academy in San Rafael. After he left school, Gilbert worked as a rubber goods salesman in San Francisco, then performed with the Baker Stock Company in Portland, Oregon, in 1914. He subsequently found work the following year as a stage manager in another stock company in Spokane, Washington, but he soon lost that job when the company went out of business.

After losing his stage job in 1915, Gilbert decided to try screen acting, and he quickly gained work as a film extra through Herschell Mayall. Gilbert first appeared in The Mother Instinct (1915), a short directed by Wilfred Lucas. He then found work as an extra with the Thomas Ince Studios in productions such as The Coward (1915), Aloha Oe (1915), Civilization (1915), The Last Act (1916), and William Hart's Hell's Hinges (1916).

During his initial years in films, Gilbert also performed in releases by Kay-Bee Company such as Matrimony (1915), The Corner (1915), Eye of the Night (1916), and Bullets and Brown Eyes (1916). His first major costarring role was as Willie Hudson in The Apostle of Vengeance, also with William S. Hart.[6] Viewed by studio executives as a promising but still "juvenile" actor at this stage of his career, Gilbert's contract salary was $40 a week ($940 today), fairly ample pay for most American workers in the early 1900s.[7] Gilbert continued to get more substantial parts at Kay-Bee, which billed him as "Jack Gilbert" in The Aryan (1916), The Phantom (1916), Shell 43 (1916), The Sin Ye Do (1917), The Weaker Sex (1917), and The Bride of Hate (1917). His first true leading role was in Princess of the Dark (1917) with Enid Bennett, but the film was not a big success and he went back to supporting roles in The Dark Road (1917), Happiness (1917), The Millionaire Vagrant (1917), and The Hater of Men (1917).

Gilbert went over to Triangle Films where he was in The Mother Instinct (1917), Golden Rule Kate (1917), The Devil Dodger (1917) (second billed), Up or Down? (1917), and Nancy Comes Home (1918). For Paralta Plays, Gilbert did Shackled (1918), One Dollar Bid (1918), and Wedlock (1918) and More Trouble (1918) for Anderson, but the company went bankrupt.[7] He also was cast in Doing Their Bit (1918) at Fox and then returned to Triangle for The Mask (1918). Gilbert also did Three X Gordon (1918) for Jesse Hampton, The Dawn of Understanding (1918), The White Heather (1919) for Maurice Tourneur, The Busher (1919) for Thomas Ince, The Man Beneath for Haworth, A Little Brother of the Rich (1919) for Universal, The Red Viper (1919) for Tyrad, For a Woman's Honor (1919) for Jess Hampton, Widow by Proxy (1919) for Paramount, Heart o' the Hills (1919) for Mary Pickford, and Should a Woman Tell? (1919) for Screen Classics.

Maurice Tourneur signed him to a contract to both write and act in films. Gilbert performed in and co-wrote The White Circle (1920), The Great Redeemer (1921), and Deep Waters (1921). As a writer only, he worked on The Bait (1921), which starred and was produced by Hope Hampton. For Hampton, Gilbert wrote and directed as well, but he did not appear in Love's Penalty (1921).

In 1921, Gilbert signed a three-year contract with Fox Film Corporation, which subsequently cast him in romantic leading roles and promoted him now as "John Gilbert". The actor's first starring part for the studio was in Shame (1921).[10] He followed it with leading roles in Arabian Love (1922), Gleam O'Dawn (1922), The Yellow Stain (1922), Honor First (1922), Monte Cristo (1922), Calvert's Valley (1922), The Love Gambler (1922), and A California Romance (1922). Many of the scenarios for these films were written by Jules Furthman.

Gilbert returned temporarily to Tourneur to costar with Lon Chaney in While Paris Sleeps (1923). Back at Fox, he starred in Truxton King (1923), Madness of Youth (1923), St. Elmo (1923), and The Exiles (1923). The same year he starred in Cameo Kirby (1923), directed by John Ford, co starring Jean Arthur. He went into The Wolf Man (1923) with Norma Shearer, not a horror film, but the story of a man who believes he murdered his fiancée's brother while drunk. Gilbert also performed in his last films for Fox in 1924, including Just Off Broadway, A Man's Mate, The Lone Chance, and Romance Ranch.

Under the auspices of movie producer Irving Thalberg, Gilbert obtained a release from his Fox contract and moved to MGM, where he became a full-fledged star cast in major productions. First starring in His Hour (1924) directed by King Vidor and written by Elinor Glyn his film career entered its ascendancy. He followed this success with He Who Gets Slapped (1924) co-starring Chaney and Shearer and directed by Victor Sjöström; The Snob (1924) with Shearer; The Wife of the Centaur (1924) for Vidor.

The next year, Gilbert would star in two of MGM's most critically acclaimed and popular film productions of the silent era: Erich von Stroheim's The Merry Widow and King Vidor's The Big Parade.

Gilbert was assigned to star in Erich von Stroheim's The Merry Widow by Irving Thalberg, over the objections of the Austrian-American director. Von Stroheim expressed his displeasure bluntly to his leading man: "Gilbert, I am forced to use you in my picture. I do not want you, but the decision was not in my hands. I assure you I will do everything in my power to make you comfortable." Gilbert, mortified, soon stalked off the set in a rage, tearing off his costume. Von Stroheim followed him to his dressing room and apologized. The two agreed to share a drink. Then Gilbert apologized and they had another drink. The tempest subsided and was resolved amicably. According to Gilbert, the contretemps served to "cement a relationship which for my part will never end."

The public adulation that Gilbert experienced with his growing celebrity astounded him: "Everywhere I hear whispers and gasps in acknowledgment of my presence... he whole thing became too fantastic for me to comprehend. Acting, the very thing I had been fighting and ridiculing for seven years, had brought me success, riches and renown. I was a great motion picture artist. Well, I’ll be damned!"

Gilbert was next cast by Thalberg to star in the King Vidor's war-romance The Big Parade (1925), which became the second-highest grossing silent film and the most profitable film of the silent era. Gilbert's "inspired performance" as an American doughboy in France during World War I was the high point of his acting career. He fully immersed himself in the role of Jim Apperson, a Southern gentleman who, with two working class comrades, experiences the horrors of trench warfare. Gilbert declared: "No love has ever enthralled me as did the making of this picture...All that has followed is balderdash."

The following year, Vidor reunited Gilbert with two of his co-stars from that picture, Renée Adorée and Karl Dane, for the film La Bohème (1926) which also starred Lillian Gish. He then did another with Vidor, Bardelys the Magnificent (1926).

In 1926, Gilbert made Flesh and the Devil (1926), his first film with Greta Garbo. Gilbert first encountered Garbo on the set during filming of the railway station scene, and the chemistry between the two was evidently instantaneous. Director Clarence Brown remarked approvingly that he "had a love affair going for me that you couldn’t beat, any way you tried." Garbo and Gilbert soon began a highly publicized romance, much to the delight of their fans and to MGM.

He made The Show (1927) with Adoree for Tod Browning then did Twelve Miles Out (1927) with Joan Crawford and Man, Woman and Sin (1927) with Jeanne Eagels.

Gilbert was reunited with Garbo in a modern adaptation of Tolstoy's 19th-century novel, Anna Karenina. The title was changed to Love (1927) to capitalize on the real life love affair of the stars and advertised by MGM as "Garbo and Gilbert in Love."

Gilbert made The Cossacks (1928) with Adoree; Four Walls (1928) with Crawford; Show People (1928) with Marion Davies for Vidor, in which Gilbert only had a cameo; and The Masks of the Devil (1928) for Victor Sjöström.

Though officially directed by Edmund Goulding, Gilbert, though uncredited, was responsible for directing the love scenes involving Garbo. He was perhaps the only person in the industry whose "artistic judgment" she fully respected. As such, MGM approved of this arrangement.

Gilbert and Garbo were teamed for a third time in A Woman of Affairs (1928). His last silent film was Desert Nights (1929).

With the coming of sound, Gilbert's vocal talents made a good first impression, though the studio had failed to conduct a voice test. The conventional wisdom of the day dictated that actors in the new talkies should emulate "correct stage diction". Gilbert's strict adherence to this method produced an affected delivery that made audiences giggle, and not due to any particularity in Gilbert's natural speech. Indeed, the "quality of his voice compared well with that of co-star Conrad Nagel, regarded as having one of the best voices for sound."

Gilbert signed an immensely lucrative multi-picture contract with MGM in 1928 that totaled $1,500,000. The terms of the agreement positioned MGM executives Irving Thalberg and Nicholas Schenck, both sympathetic to the star, to supervise his career. Gilbert, however, frequently clashed with studio head Louis B. Mayer over creative, social and financial matters. A confrontation between the two men, one that became physical, occurred at the planned double-wedding of Garbo and Gilbert and director King Vidor and actress Eleanor Boardman. Mayer reportedly made a crude remark to Gilbert about Garbo, and Gilbert reacted by knocking Mayer to the floor with his fist.[24] While this story has been disputed or dismissed as hearsay by some historians, Vidor's bride Eleanor Boardman insisted that she actually witnessed the altercation.

In the all-star musical comedy The Hollywood Revue of 1929 (1929), Gilbert and Norma Shearer played the balcony scene from Shakespeare's Romeo and Juliet, first as written, then followed with a slang rendition of the scene. The comic effect served to "dispell the bad impression" produced by Gilbert's original "mincing" delivery.

Audiences awaited further romantic roles from Gilbert on the talking screen. The next vehicle was the Ruritanian romance His Glorious Night (1929), directed by Lionel Barrymore. According to reviewers, audiences laughed nervously at Gilbert's performance. The offense was not Gilbert's voice, but the awkward scenario along with the overly ardent love scenes. In one, Gilbert keeps kissing his leading lady, (Catherine Dale Owen), while saying "I love you" over and over again. (The scene was parodied in the MGM musical Singin' in the Rain (1952) in which a preview of the fictional The Dueling Cavalier flops disastrously.)

Director King Vidor speculated that the late Rudolph Valentino, Gilbert's main rival for romantic leads in the silent era, probably would have suffered the same fate in the talkie era had he lived. Gilbert's inept phrasing, his "dreadful enunciation" and the "inane" script as the genuine sources of his poor performance, that drew "titters" from audiences.

The persistent myth that John Gilbert had a "squeaky voice" that doomed his career in sound films first emerged from his performance in 1929 with His Glorious Night. It was even rumored that Louis B. Mayer ordered Gilbert's voice to be gelded by manipulating the sound track to give it a higher, less masculine pitch. Later, after analyzing the film's sound track, British film historian Kevin Brownlow found that the timbre and frequency of Gilbert's speaking scenes in His Glorious Night were no different than in his subsequent talkies. Brownlow also reported from that analysis that Gilbert's voice, overall, was "quite low". With regard to the alleged manipulation of Gilbert's footage by Mayer or by anyone else, television technicians in the 1960s determined that the actor's voice was consistent with those of other performers on the same print, casting doubt that any targeted "sabotaging" of Gilbert's voice occurred.

Film critic John Baxter described Gilbert as having "a light speaking voice", a minor defect that both MGM and the star "magnified into an obsession." Despite any conflicting opinions or myths surrounding the actor's voice, Mayer's lingering resentment and hostility toward Gilbert remained apparent, especially after MGM's star signed a new contract for six pictures at $250,000 each. Those ill feelings fueled additional speculation that Mayer deliberately assigned Gilbert bad scripts and ineffective directors in an effort to void the contract.

Metro-Goldwyn-Mayer cast Gilbert in a film adaption of The Living Corpse by Tolstoy re-titled as Redemption (1929). The bleak atmosphere and maudlin dialogue presaged the disaster looming in the stars’ personal life and career. Gilbert's confident screen presence had vanished, while his use of the exaggerated stage diction that elicited laughs from the audience persisted. In one scene Gilbert declares ominously "I’m going to kill myself to let the whole world know what it has lost."[34]

MGM put him in a more rugged film, Way for a Sailor (1930) with Wallace Beery. He followed it with Gentleman's Fate (1931). Gilbert became increasingly depressed by progressively inferior films and idle stretches between productions. Despite efforts by studio executives at MGM to cancel his contract, Gilbert resolved to thwart Louis B. Mayer and see the six-picture ordeal through to the end.

Gilbert's fortunes were temporarily restored when MGM's production chief Irving Thalberg gave him two projects that were character studies, giving Gilbert an excellent showcase for his versatility. The Phantom of Paris (1931), originally intended for Lon Chaney (who died from cancer in 1930), cast Gilbert as a debonair magician and showman who is falsely accused of murder and uses his mastery of disguise to unmask the real killer.

Downstairs (1932) was based on Gilbert's original story, with the actor playing against type as a scheming, blackmailing chauffeur. The films were well received by critics and fans but failed to revive his career. In between, he appeared in West of Broadway (1931). Shortly after making Downstairs, he married co-star Virginia Bruce; the couple divorced in 1934.

Gilbert fulfilled his contract with MGM with a perfunctory "B" picture – Fast Workers (1933) directed by Browning. He left the studio in 1933, terminating his $10,000 a week contract.

Exhausted and demoralized by his humiliations at MGM and his declining success at the box office, Gilbert began to drink heavily, contributing to his declining physical and mental health.

Gilbert announced his retirement from acting and was working at Fox as an "honorary" director when, in August 1933, Gilbert announced he had signed a seven-year contract with MGM at $75–100,000 a picture. The reason was Greta Garbo insisted that Gilbert return to MGM to play her leading man in Queen Christina (1933), directed by Rouben Mamoulian. Garbo was top-billed, with Gilbert's name beneath the title. Queen Christina, though a critical success, did not revive Gilbert's poor self-image or his career. Garbo was reported to have dropped the young Laurence Olivier scheduled to play the part, but director Rouben Mamoulian recalled that Olivier's screen tests had already eliminated him from consideration.

Columbia Pictures gave Gilbert what would be his final chance for a comeback in The Captain Hates the Sea (1934) in which he gave a capable performance as "a dissipated, bitter [and] cynical" playwright. But the off-screen cast of heavy drinkers encouraged his alcoholism. It was his last film.

Biographer Kevin Brownlow's eulogy to John Gilbert considers the destruction of both the man and his career:

"The career of John Gilbert indicates that the star, and the person playing the star, were regarded by producers as separate entities, subject to totally different attitudes. Gilbert, as an ordinary human being, had no legal right to the stardom that was the sole property of the studio. When Gilbert, as an employee, tried to seize control of the future of Gilbert the star, the studios decided to save their investment from falling into the hands of rivals, [so] they had to wreck their property. Other properties – books, films, sets – could be destroyed with impunity. But the destruction of a star carried with it the destruction of a person…it seems somewhat abhorrent that it took such tragedies as that of John Gilbert to bring us our entertainment."

Gilbert was married four times. His first marriage, on August 26, 1918, was to Olivia Burwell, a native of Mississippi whom Gilbert had met after her family moved to California. They separated the following year and Burwell returned to Mississippi for a while. She filed for divorce in Los Angeles in 1921.

In February 1921, Gilbert announced his engagement to actress Leatrice Joy. They married in Tijuana in November 1921.[44] As Gilbert had failed to secure a divorce from his first wife and the legality of Gilbert and Joy's Mexican marriage was questionable, the couple separated and had the marriage annulled to avoid a scandal. They remarried on March 3, 1922. The marriage was tumultuous and, in June 1923, Joy filed for legal separation after she claimed that Gilbert slapped her face after a night of heavy drinking. They reconciled several months later. In August 1924, Joy, who was pregnant with the couple's daughter, filed for divorce. Joy later said she left Gilbert after discovering he was having an affair with actress Laurette Taylor.[47] Joy also claimed that Gilbert had conducted affairs with Barbara La Marr (with whom he had a romance before his marriage to Joy), Lila Lee and Bebe Daniels. Gilbert and Joy had a daughter, Leatrice Gilbert (later Fountain; 4 September 1924 – 20 January 2015). Joy was granted a divorce in May 1925.

In 1929, Gilbert eloped with actress Ina Claire to Las Vegas. They separated in February 1931 and divorced six months later. Gilbert's fourth and final marriage was on August 10, 1932, to actress Virginia Bruce, who had recently costarred with him on the MGM film Downstairs. The entertainment trade paper The Film Daily reported that their "quick" wedding was held in Gilbert's dressing room on the MGM lot while Bruce was working on another studio production, Kongo. Among the people attending the small ceremony were the head of MGM production Irving Thalberg, who served as Gilbert's best man; screenwriter Donald Ogden Stewart, whose wife Beatrice acted as Bruce's matron of honor; MGM art director and set designer Cedric Gibbons; and his wife, actress Dolores del Río. Bruce retired briefly from acting following the birth of their daughter Susan Ann; however, she resumed her career after her divorce from Gilbert in May 1934.

Before his death, Gilbert dated actress Marlene Dietrich as well as Greta Garbo. When he died, he had recently been slated to play a prominent supporting role in Dietrich's film Desire.

By 1934, alcoholism had severely damaged Gilbert's health. He suffered a serious heart attack in December 1935, which left him in poor health. Gilbert suffered a second heart attack at his Bel Air home on January 9, 1936, which was fatal.

A private funeral was held on January 11 at the B.E. Mortuary in Beverly Hills. Among the mourners were Gilbert's two ex-wives, Leatrice Joy and Virginia Bruce, his two daughters, and stars Marlene Dietrich, Gary Cooper, Myrna Loy, and Raquel Torres.

Gilbert was cremated and his ashes were interred at Forest Lawn Memorial Park, Glendale in Glendale, California.

Gilbert left the bulk of his estate, valued at $363,494 (equivalent to $6.7 million in 2019), to his last ex-wife Virginia Bruce and their daughter, Susan Ann. He left $10,000 to his eldest daughter Leatrice, and other amounts to friends, relatives and his servants.

For his contribution to the motion picture industry, Gilbert has a star on the Hollywood Walk of Fame at 1755 Vine Street. In 1994, he was honored with his image on a United States postage stamp designed by caricaturist Al Hirschfeld.

#john gilbert #silent era #silent hollywood #silent movie stars #golden age of hollywood #classic movie stars #classic hollywood #old hollywood #1910s movies #1920s hollywood #1930s hollywood

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myowntrust · 2 years ago

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1967 pontiac tempest

It shared sheet metal with the Oldsmobile F-85, the first-generation Tempest had several features that differentiated it from the other compact GM cars. Road & Track praised the Tempest as "exceptionally roomy" and "one of the very best utility cars since the Ford Model A." In hindsight, DeLorean admitted that the Tempest was "less than successful," adding, "there was no mechanical problem, but the car rattled so loudly that it sounded like it was carrying half-a-trunkful of rolling rocks." The Tempest was Motor Trend magazine's 1961 Car of the Year. His objective was for the new model to be more than just an ordinary compact car. DeLorean, Pontiac's chief engineer and general manager, went to work on a car that would meld components GM already produced. The division wanted to produce a clone of the Corvair, but instead GM gave Pontiac the lead to develop a new car in an interdivisional program coded named "X-100." John Z. The Tempest was a decision by the Pontiac division to enter the compact car market following the success of the Chevrolet Corvair. South Gate Assembly South Gate, California In Canada, Pontiac also marketed a rebadged version of the compact L-body Chevrolet Corsica under the name Tempest from 1987 to 1991. The GTO was subsequently split off as its own model line in 1966. By 1964 the Tempest, Tempest Custom and Lemans are separate models in the new GM A-body platform. The line offered the optional LeMans trim upgrade, beginning with a few 1961 LeMans coupes and adding a performance aspect in 1962. An innovative design, it shared the new unibody Y platform, GM's first, with the Buick Special/ Skylark and Oldsmobile F-85/ Cutlass, and featured the "Trophy-4" four-cylinder engine with a flexible drive shaft to a two-speed rear-mounted transaxle automatic transmission. The Tempest was introduced as an entry-level compact in October 1960 at the Paris Auto Show for the 1961 model year. The Pontiac Tempest is an automobile that was produced by Pontiac from 1960 to 1970, and again from 1987 to 1991.

#1967 pontiac tempest

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prettylittlegossipgleek · 6 years ago

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It’s that time of the year again! On Sept. 6, 2018, people from all over the world flocked to New York to kick off the annual event, New York Fashion Week. Designers showed off their Spring/Summer 2019 lines, while the world’s biggest fashionistas sat front row.

Now, the reason I love NYFW is because I love to see what my favorite celebrities are wearing for the Pre-Fall season. Here are the top 5 celebs I was on the lookout for:

Jamie Chung

I look for Jamie Chung at NYFW every year because she’s one of my fashion inspirations. Due to some scheduling conflicts, she had a shorter trip this year and only made it to a few events and runway shows. But someone has to play Blink on Fox’s The Gifted and Jamie’s on it!

Jamie kicked off the week at the opening of Refinery29’s 29 Rooms pop-up exhibit with this years theme, Expand Your Reality. She chose to wear a two-piece tartan outfit by PAPER London. Jamie can pull off anything and she confidently did it with this outfit and was even spotted doing some high kicks in one of the rooms! | Photo Source: Astrid Stawiarz/Getty Images North America via Zimbio |

The next day Jamie made a little stop to the Shopbop Diner with a super cute asymmetric skirt and polka dotted blouse. | Photo Source: Lars Niki/Getty Images North America via Zimbio |

One of Jamie’s last stops at NYFW was the Nicole Miller Spring 2019 Runway Show. She killed it with a black and white striped boyfriend blouse paired with a metallic maxi skirt. | Photo Source: Nicole Miller Instagram |

Bonus Look: Jamie popped up at the 2018 Toronto International Film Festival (TIFF) with a look that I absolutely adored. She wore a pajama striped Smythe pant suit. I love PJ inspired looks. They look so comfortable, but chic at the same time! | Photo Source: Steve Blackburn/Getty Images North America via Zimbio |

Shay Mitchell

Shay Mitchell has proven to be a fashion force to reckon with over the past few years. The former Pretty Little Liars star took a few days off from promoting her new Lifetime mini-series You and kicked off fashion week at one of the most prestigious events, the Harper’s Bazaar “ICONS” Event.

She stepped out in a beautiful gold and silver Julien MacDonald gown from his Spring 2018 RTW line. She was stunning and accessorized perfectly with her jewelry and a gold clutch. In my opinion, she was the best dressed that night. | Photo Source: Dimitrios Kambouris/Getty Images North America via Zimbio |

A few days later, Shay sat front row at the Zimmermann show and wore a dress from the Fall 2018 RTW Collection: Tempest Tucked Contour Mini. Shay has a great style team behind her! | Photo Source: Theo Wargo/Getty Images North America via Zimbio |

On Sept. 12, Shay sat front row at Michael Kors among several other Hollywood actresses. She showcased her support for the designer in a black charmeuse and lace dress. | Photo Source: Dimitrios Kambouris/Getty Images North America via Zimbio |

Later that night, Shay rocked a bolder look, busting out some bangs at the Vanity Fair x Saks Fifth Avenue Best Dressed event. She showed off some leg in a mini Dundas dress and some Barbara Bui pumps.| Photo Source: Ben Gabbe/Getty Images North America via Zimbio |

Gemma Chan

With the success of Crazy Rich Asians, Gemma Chan is the new star to keep an eye out on! Just like her character, Astrid, she is proving to be a fashion icon. Gemma made her fashion week debut at the Tory Burch fashion show in a pink pant suit and I think Astrid Leong would be very proud. | Photo Source: Cindy Ord/Getty Images North America via Zimbio |

A few days later, she reunited with her CRA co-star Awkwafina at the Prabal Gurung fashion show. Prabal Gurung was one of the designers she wore during press for Crazy Rich Asians. During NYFW she was a vision in red as she showed support for the Asian American designer. | Photo Source: Jamie McCarthy/Getty Images North America via Zimbio |

Heart Evangelista

Heart Evangelista is the Philippines’ sweetheart. She has been an actress in the Philippines since she was in her teen years and has grown into one of the country’s biggest fashionistas. Ever since I was young, I watched Heart on The Filipino Channel (TFC) and now on the GMA Network, and she’s still one of my favorite TV personalities. As a Filipino American, I’m so proud to see her making waves in the international fashion world.

Heart was first seen at the Tory Burch show rocking a Tibi power suit. The gingham get up is part of their Pre-Fall 2018 line. She also accessorized with a Tory Burch tote bag and add a pop of color with some red Louboutins. | Photo Source: Anna Webber/Getty Images North America via Zimbio |

She then changed into a different ensemble for the Kate Spade presentation. She was head to toe in Kate Spade and with the white/blue dress and red shoes, I was getting some serious Dorothy vibes. | Photo Source: Instagram @iamhearte |

She ended her night at the Harper’s Bazaar “ICONS” Event in a beautiful custom made Mark Bumgarner gown, showing her support for local designers. It was such a beautiful dress. She fit in perfectly. | Photo Source: Dimitrios Kambouris/Getty Images North America via Zimbio |

Before leaving to go back to the Philippines, Heart made a stop at the Prabal Gurung show in another power suit. The hot red suit was from the designer’s Resort 2018 line. | Photo Source: Jamie McCarthy/Getty Images North America via Zimbio |

Blake Lively

We all know Blake Lively is a huge fashion icon. She styles herself and rocks whatever she has on. So many people get on her about some of her fashion choices, but those opinions do NOT matter because Blake can hold her own.

She has been pretty busy promoting her latest movie, A Simple Favor, but she made some time in her busy schedule to attend the Ralph Lauren fashion show. She rocked a chic, black and white suit alongside her co-star Henry Golding and director Paul Feig. | Photo Source: Rob Kim/Getty Images North America via Zimbio |

—

Here are some honorable mentions:

Dianna Agron, one of my favorite Glee stars, came out from the shadows for NYFW. She attended both the Oscar De La Renta and Michael Kors shows wearing floral dresses from each designer.

Hailee Steinfeld looked fierce at the Tom Ford presentation and went tartan from head to toe at the Michael Kors show.

Barbara Palvin was spotted all over NYFW with boyfriend, Dylan Sprouse. I think it’s safe to say that they are quite the fashionable couple. They made their red carpet debut at the Harper’s BAZAAR ‘ICONS’ event and ended NYFW at the Vanity Fair’s Best-Dressed 2018 party.

xoxo,

Adele

You know the drill! Subscribe, share, like, or comment!

Twitter: @itsadeleee / @adeleLIVETWEETS Instagram: @itsadeleee / @prettylittlegossipgleek Tumblr: @prettylittlegossipgleek YouTube: @ahhhduhhhleee

Looks I Love: NYFW 2018 It's that time of the year again! On Sept. 6, 2018, people from all over the world flocked to New York to kick off the annual event, New York Fashion Week.

#Barbara Palvin #Blake Lively #celebrity #Dianna Agron #entertainment #Fashion #Gemma Chan #Hailee Steinfeld #Heart Evangelista #hollywood #jamie chung #new york fashion week #NYFW #Shay Mitchell #Style

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lost-boy-grey0 · 7 years ago

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I. My first thought was, he lied in every word, That hoary cripple, with malicious eye Askance to watch the workings of his lie On mine, and mouth scarce able to afford Suppression of the glee, that pursed and scored Its edge, at one more victim gained thereby. II. What else should he be set for, with his staff? What, save to waylay with his lies, ensnare All travellers who might find him posted there, And ask the road? I guessed what skull-like laugh Would break, what crutch ’gin write my epitaph For pastime in the dusty thoroughfare. III. If at his counsel I should turn aside Into that ominous tract which, all agree, Hides the Dark Tower. Yet acquiescingly I did turn as he pointed, neither pride Nor hope rekindling at the end descried, So much as gladness that some end might be. IV. For, what with my whole world-wide wandering, What with my search drawn out through years, my hope Dwindled into a ghost not fit to cope With that obstreperous joy success would bring, I hardly tried now to rebuke the spring My heart made, finding failure in its scope. V. As when a sick man very near to death Seems dead indeed, and feels begin and end The tears and takes the farewell of each friend, And hears one bit the other go, draw breath Freelier outside, (‘since all is o’er,’ he saith And the blow fallen no grieving can amend;’) VI. When some discuss if near the other graves be room enough for this, and when a day Suits best for carrying the corpse away, With care about the banners, scarves and staves And still the man hears all, and only craves He may not shame such tender love and stay. VII. Thus, I had so long suffered in this quest, Heard failure prophesied so oft, been writ So many times among ‘The Band’ to wit, The knights who to the Dark Tower’s search addressed Their steps - that just to fail as they, seemed best, And all the doubt was now - should I be fit? VIII. So, quiet as despair I turned from him, That hateful cripple, out of his highway Into the path he pointed. All the day Had been a dreary one at best, and dim Was settling to its close, yet shot one grim Red leer to see the plain catch its estray. IX. For mark! No sooner was I fairly found Pledged to the plain, after a pace or two, Than, pausing to throw backwards a last view O’er the safe road, ‘twas gone; grey plain all round; Nothing but plain to the horizon’s bound. I might go on, naught else remained to do. X. So on I went. I think I never saw Such starved ignoble nature; nothing throve: For flowers - as well expect a cedar grove! But cockle, spurge, according to their law Might propagate their kind with none to awe, You’d think; a burr had been a treasure trove. XI. No! penury, inertness and grimace, In some strange sort, were the land’s portion. ‘See Or shut your eyes,’ said Nature peevishly, It nothing skills: I cannot help my case: ‘Tis the Last Judgement’s fire must cure this place Calcine its clods and set my prisoners free.’ XII. If there pushed any ragged thistle-stalk Above its mates, the head was chopped, the bents Were jealous else. What made those holes and rents In the dock’s harsh swarth leaves, bruised as to baulk All hope of greenness? Tis a brute must walk Pashing their life out, with a brute’s intents. XIII. As for the grass, it grew as scant as hair In leprosy; thin dry blades pricked the mud Which underneath looked kneaded up with blood. One stiff blind horse, his every bone a-stare, Stood stupefied, however he came there: Thrust out past service from the devil’s stud! XIV. Alive? he might be dead for aught I knew, With that red gaunt and colloped neck a-strain. And shut eyes underneath the rusty mane; Seldom went such grotesqueness with such woe; I never saw a brute I hated so; He must be wicked to deserve such pain. XV. I shut my eyes and turned them on my heart, As a man calls for wine before he fights, I asked one draught of earlier, happier sights, Ere fitly I could hope to play my part. Think first, fight afterwards, the soldier’s art: One taste of the old time sets all to rights. XVI. Not it! I fancied Cuthbert’s reddening face Beneath its garniture of curly gold, Dear fellow, till I almost felt him fold An arm to mine to fix me to the place, The way he used. Alas, one night’s disgrace! Out went my heart’s new fire and left it cold. XVII. Giles then, the soul of honour - there he stands Frank as ten years ago when knighted first, What honest man should dare (he said) he durst. Good - but the scene shifts - faugh! what hangman hands Pin to his breast a parchment? His own bands Read it. Poor traitor, spit upon and curst! XVIII. Better this present than a past like that: Back therefore to my darkening path again! No sound, no sight as far as eye could strain. Will the night send a howlet or a bat? I asked: when something on the dismal flat Came to arrest my thoughts and change their train. XIX. A sudden little river crossed my path As unexpected as a serpent comes. No sluggish tide congenial to the glooms; This, as it frothed by, might have been a bath For the fiend’s glowing hoof - to see the wrath Of its black eddy bespate with flakes and spumes. XX. So petty yet so spiteful! All along, Low scrubby alders kneeled down over it; Drenched willows flung them headlong in a fit Of mute despair, a suicidal throng: The river which had done them all the wrong, Whate’er that was, rolled by, deterred no whit. XXI. Which, while I forded - good saints, how I feared To set my foot upon a dead man’s cheek, Each step, of feel the spear I thrust to seek For hollows, tangled in his hair or beard! - It may have been a water-rat I speared, But, ugh! it sounded like a baby’s shriek. XXII. Glad was I when I reached the other bank. Now for a better country. Vain presage! Who were the strugglers, what war did they wage, Whose savage trample thus could pad the dank soil to a plash? Toads in a poisoned tank Or wild cats in a red-hot iron cage - XXIII. The fight must so have seemed in that fell cirque, What penned them there, with all the plain to choose? No footprint leading to that horrid mews, None out of it. Mad brewage set to work Their brains, no doubt, like galley-slaves the Turk Pits for his pastime, Christians against Jews. XXIV. And more than that - a furlong on - why, there! What bad use was that engine for, that wheel, Or brake, not wheel - that harrow fit to reel Men’s bodies out like silk? With all the air Of Tophet’s tool, on earth left unaware Or brought to sharpen its rusty teeth of steel. XXV. Then came a bit of stubbed ground, once a wood, Next a marsh it would seem, and now mere earth Desperate and done with; (so a fool finds mirth, Makes a thing and then mars it, till his mood Changes and off he goes!) within a rood - Bog, clay and rubble, sand, and stark black dearth. XXVI. Now blotches rankling, coloured gay and grim, Now patches where some leanness of the soil’s Broke into moss, or substances like boils; Then came some palsied oak, a cleft in him Like a distorted mouth that splits its rim Gaping at death, and dies while it recoils. XXVII. And just as far as ever from the end! Naught in the distance but the evening, naught To point my footstep further! At the thought, A great black bird, Apollyon’s bosom friend, Sailed past, not best his wide wing dragon-penned That brushed my cap - perchance the guide I sought. XXVIII. For, looking up, aware I somehow grew, ‘Spite of the dusk, the plain had given place All round to mountains - with such name to grace Mere ugly heights and heaps now stolen in view. How thus they had surprised me - solve it, you! How to get from them was no clearer case. XXIX. Yet half I seemed to recognise some trick Of mischief happened to me, God knows when - In a bad dream perhaps. Here ended, then Progress this way. When, in the very nick Of giving up, one time more, came a click As when a trap shuts - you’re inside the den. XXX. Burningly it came on me all at once, This was the place! those two hills on the right, Crouched like two bulls locked horn in horn in fight; While to the left a tall scalped mountain ... Dunce, Dotard, a-dozing at the very nonce, After a life spent training for the sight! XXXI. What in the midst lay but the Tower itself? The round squat turret, blind as the fool’s heart, Built of brown stone, without a counterpart In the whole world. The tempest’s mocking elf Points to the shipman thus the unseen shelf He strikes on, only when the timbers start. XXXII. Not see? because of night perhaps? - why day Came back again for that! before it left The dying sunset kindled through a cleft: The hills, like giants at a hunting, lay, Chin upon hand, to see the game at bay, - ‘Now stab and end the creature - to the heft!’ XXXIII. Not hear? When noise was everywhere! it tolled Increasing like a bell. Names in my ears Of all the lost adventurers, my peers - How such a one was strong, and such was bold, And such was fortunate, yet each of old Lost, lost! one moment knelled the woe of years. XXXIV. There they stood, ranged along the hillsides, met To view the last of me, a living frame For one more picture! In a sheet of flame I saw them and I knew them all. And yet Dauntless the slug-horn to my lips I set, And blew. ‘Childe Roland to the Dark Tower came.’

#poetry #words #roland #the dark tower #robert browning

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allbestnet · 8 years ago

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The 5000 Best Books of All-Time

Book 251–499 (go to book 1 to 250)

251. All the King’s Men (1946) by Robert Penn Warren 252. The Maltese Falcon (1930) by Dashiell Hammett 253. The Adventures of Tom Sawyer (1876) by Mark Twain 254. Ouran High School Host Club by Bisco Hatori 255. Plague (1947) by Albert Camus 256. Jurassic Park (1990) by Michael Crichton 257. The Stormlight Archive by Brandon Sanderson 258. Shogun (1975) by James Clavell 259. A Town Like Alice (1950) by Nevil Shute 260. Ambassadors (1903) by Henry James 261. Blood Meridian (1985) by Cormac McCarthy 262. No Country for Old Men (2005) by Cormac McCarthy 263. The Castle (1926) by Franz Kafka 264. Phantom of the Opera (1910) by Gaston Leroux 265. Middlesex (2002) by Jeffrey Eugenides 266. The Book of the New Sun (1994) by Gene Wolfe 267. Vanity Fair (1848) by William Makepeace Thackeray 268. Heidi by Johanna Spyri 269. Bluest Eye (1970) by Toni Morrison 270. Seabiscuit by Laura Hillenbrand 271. Pippi Longstocking (1945) by Astrid Lindgren 272. The French Lieutenant’s Woman (1969) by John Fowles 273. North and South (1855) by Elizabeth Gaskell 274. Percy Jackson & the Olympians (2005) by Rick Riordan 275. Gilgamesh by 276. The Infernal Devices by Cassandra Clare 277. Millennium series by Stieg Larsson 278. Cat’s Cradle (1963) by Kurt Vonnegut 279. Northanger Abbey (1817) by Jane Austen 280. The Secret History (1992) by Donna Tartt 281. Screwtape Letters (1942) by C.S. Lewis 282. Twelfth Night by William Shakespeare 283. The World According to Garp (1978) by John Irving 284. A Confederacy of Dunces (1980) by John Kennedy Toole 285. Birdsong (1993) by Sebastian Faulks 286. Dandelion Wine (1957) by Ray Bradbury 287. Light in August (1932) by William Faulkner 288. The Glass Castle (2005) by Jeannette Walls 289. People’s History of the United States (2010) by Howard Zinn 290. Lamb by Christopher Moore 291. Water for Elephants (2006) by Sara Gruen 292. Moneyball (2003) by Michael Lewis 293. Three Men in a Boat (1889) by Jerome K. Jerome 294. Jungle (1906) by Upton Sinclair 295. The Forever War (1974) by Joe Haldeman 296. Le Pere Goriot by Honore de Balzac 297. Number the Stars (1989) by Lois Lowry 298. Siddhartha (1951) by Hermann Hesse 299. Streetcar Named Desire by Tennessee Williams 300. Misery (1987) by Stephen King 301. Calvin and Hobbes (1993) by Bill Watterson 302. I Am Legend (1954) by Richard Matheson 303. Tuesdays With Morrie (1997) by Mitch Albom 304. Medea by Euripides 305. The Witches (1983) by Roald Dahl 306. The Naked and the Dead by Norman Mailer 307. Where the Red Fern Grows (1961) by Wilson Rawls 308. Fear and Loathing in Las Vegas (1971) by Hunter S. Thompson 309. Robinson Crusoe (1719) by Daniel Defoe 310. Angela’s Ashes (1996) by Frank McCourt 311. One Day in the Life of Ivan Denisovich (1963) by Aleksandr Solzhenitsyn 312. Howl’s Moving Castle (1986) by Diana Wynne Jones 313. Go Tell It on the Mountain (1953) by James Baldwin 314. Tinker, Tailor, Soldier, Spy (1974) by John le Carre 315. Silmarillion (1977) by J.R.R. Tolkien 316. Breakfast at Tiffany’s (1958) by Truman Capote 317. The Boy in the Striped Pyjamas (2006) by John Boyne 318. I Know Why the Caged Bird Sings by Maya Angelou 319. High Fidelity (1995) by Nick Hornby 320. Parade’s End (1928) by Ford Madox Ford 321. Kim (1901) by Rudyard Kipling 322. Snow Crash (1992) by Neal Stephenson 323. Works by William Shakespeare 324. Song of Solomon (1977) by Toni Morrison 325. Satanic Verses (1988) by Salman Rushdie 326. Ready Player One (2011) by Ernest Cline 327. Starship Troopers (1959) by Robert A. Heinlein 328. Mahabharata by Vyasa 329. Journey to the Center of the Earth (1864) by Jules Verne 330. The Day of the Locust (1939) by Nathanael West 331. The Day of the Triffids (1951) by John Wyndham 332. My Antonia (1918) by Willa Cather 333. Swiss Family Robinson (1812) by Johann Wyss 334. I Capture the Castle (1948) by Dodie Smith 335. Oh, the Places You’ll Go! (1990) by Dr. Seuss 336. Sirens of Titan (1959) by Kurt Vonnegut 337. The Shawshank Redemption by Stephen King 338. The Golden Notebook (1962) by Doris Lessing 339. Tempest by William Shakespeare 340. Prophet (1923) by Kahlil Gibran 341. Mary Poppins by P.L. Travers 342. Everything is Illuminated (2002) by Jonathon Safran Foer 343. The New York Trilogy (1987) by Paul Auster 344. The Host (2010) by Stephenie Meyer 345. How to Win Friends and Influence People (1936) by Dale Carnegie 346. Brief History of Time (1988) by S.W. Hawking 347. Extremely Loud and Incredibly Close (2005) by Jonathan Safran Foer 348. One Thousand and One Nights by 349. Winesburg, Ohio (1919) by Sherwood Anderson 350. Ivanhoe (1820) by Sir Walter Scott 351. Farewell to Arms (1929) by Ernest Hemingway 352. Awakening by Kate Chopin 353. Little House by Laura Ingalls Wilder 354. Fun Home (2006) by Alison Bechdel 355. USA by John Dos Passos 356. The Shadow of the Wind (2001) by Carlos Ruiz Zafon 357. Ramayana by Valmiki 358. Autobiography of Malcolm X (1965) by Malcolm X 359. The Alchemist (1986) by Paulo Coelho 360. The Power of One (1989) by Bryce Courtenay 361. Aesop’s Fables by Aesop 362. The Virgin Suicides (1993) by Jeffrey Eugenides 363. Darkness at Noon (1940) by Arthur Koestler 364. Love You Forever (1986) by Robert Munsch 365. Batman by 366. Story of Ferdinand (1936) by Munro Leaf 367. Scott Pilgrim (2010) by 368. Seven Habits of Highly Effective People (1989) by Stephen R. Covey 369. Divergent (2011) by Veronica Roth 370. Outliers (2008) by Malcolm Gladwell 371. Childhood’s End (1953) by Arthur C. Clarke 372. A Doll’s House by Henrik Ibsen 373. Hunchback of Notre Dame (1831) by Victor Hugo 374. Thirteen Reasons Why (2007) by Jay Asher 375. Polar Express (1985) by Chris Van Allsburg 376. The Decameron by Giovanni Boccaccio 377. The Neverending Story (1979) by Michael Ende 378. Sun Also Rises by Ernest Hemingway 379. Jungle Book (1894) by Rudyard Kipling 380. Shantaram (2003) by Gregory David Roberts 381. Alexander and the Terrible, Horrible, No Good, Very Bad Day by Judith Viorst 382. Light in the Attic (1981) by Shel Silverstein 383. The Invention of Hugo Cabret (2007) by Brian Selznick 384. Scarlet Letter (1850) by Nathaniel Hawthorne 385. Jude the Obscure (1895) by Thomas Hardy 386. Mrs. Frisby and the Rats of Nimh by Robert C. O’Brien 387. Ringworld (1970) by Larry Niven 388. The Discworld Series by Terry Pratchett 389. Redeeming Love (1991) by Francine Rivers 390. The Shipping News (1993) by E. Annie Proulx 391. Like Water for Chocolate by Laura Esquivel 392. Thus Spake Zarathustra (1885) by Friedrich Nietzsche 393. Tale of Peter Rabbit (1902) by Beatrix Potter 394. Persepolis by Marjane Satrapi 395. The Once and Future King (1958) by T.H. White 396. Little Dorrit (1857) by Charles Dickens 397. Mythology by Edith Hamilton 398. Gulag Archipelago (1973) by Aleksandr Solzhenitsyn 399. Invisible Cities (1972) by Italo Calvino 400. The Walking Dead (2003) by Robert Kirkman 401. Hush, Hush (2009) by Becca Fitzpatrick 402. Bridge to Terabithia (1977) by Katherine Paterson 403. From the Mixed Up Files of Mrs. Basil E. Frankweiler (1967) by E.L. Konigsburg 404. Paradise Lost (1667) by John Milton 405. Moonstone (1868) by Wilkie Collins 406. Adventures of Huckleberry Finn by Mark Twain 407. Lovely Bones (2002) by Alice Seybold 408. Paper Towns (2008) by John Green 409. The Book of Mormon by Joseph Smith Jr. 410. Underworld (1997) by Don DeLillo 411. Where the Sidewalk Ends (1974) by Shel Silverstein 412. Battle Royale (1999) by Koushun Takami 413. The Haunting of Hill House (1959) by Shirley Jackson 414. Cry, the Beloved Country (1948) by Alan Paton 415. Flowers of Evil by Charles Baudelaire 416. Waiting for the Barbarians (1980) by J.M. Coeztee 417. The Left Hand of Darkness (1969) by Ursula Le Guin 418. Les Liaisons Dangereuses (1782) by Pierre-Ambroise-Francois Choderlos de Laclos 419. Bridget Jones’s Diary (1996) by Helen Fielding 420. Kane and Abel (1979) by Jeffrey Archer 421. Martian Chronicles (1950) by Ray Bradbury 422. Delirium (2011) by Lauren Oliver 423. Borrowers (1952) by Mary Norton 424. Origin of Species (1977) by Charles Darwin 425. Steve Jobs (2011) by Walter Isaacson 426. The Mayor of Casterbridge (1886) by Thomas Hardy 427. Killer Angels (1974) by Michael Shaara 428. The Poisonwood Bible (1998) by Barbara Kingsolver 429. Guns, Germs, and Steel (1997) by Jared Diamond 430. Bury My Heart at Wounded Knee (1970) by Dee Alexander Brown 431. Book of Job by God 432. The Dark Tower by Stephen King 433. Under the Dome (2009) by Stephen King 434. The Moon Is a Harsh Mistress (1966) by Robert A. Heinlein 435. Stories (1971) by Franz Kafka 436. Connecticut Yankee in King Arthur’s Court (1889) by Mark Twain 437. Joy Luck Club (1989) by Amy Tan 438. The Sneetches and Other Stories (1989) by Dr. Seuss 439. The Blind Assassin (2000) by Margaret Atwood 440. The Graveyard Book (2008) by Neil Gaiman 441. A Suitable Boy (1993) by Vikram Seth 442. Sister Carrie (1900) by Theodore Dreiser 443. Constitution by United States 444. Notebook (1996) by Nicholas Sparks 445. Silas Marner by George Eliot 446. The Omnivore’s Dilemma (2006) by Michael Pollan 447. Fried Green Tomatoes at the Whistle Stop Cafe (1987) by Fannie Flagg 448. Death Note by Tsugumi Ohba 449. The Last Song (2009) by Nicholas Sparks 450. The Big Sleep (1939) by Raymond Chandler 451. Unwind (2007) by Neal Shusterman 452. A Walk to Remember (1999) by Nicholas Sparks 453. Republic by Plato 454. Little House in the Big Woods (1932) by Laura Ingalls Wilder 455. The Sandman (1996) by Neil Gaiman 456. Speak (1999) by Laurie Halse Anderson 457. The Selfish Gene (1976) by Richard Dawkins 458. Lorna Doone (1869) by R.D. Blackmore 459. The Far Pavilions (1978) by M.M. Kaye 460. Gargantua and Pantagruel by Francois Rabelais 461. The Maze Runner (2009) by James Dashner 462. Bonfire of the Vanities (1987) by Tom Wolfe 463. Glass by 464. House at Pooh Corner (1928) by A.A. Milne 465. Tawny Man by Robin Hobb 466. Kafka on the Shore (2002) by Haruki Murakami 467. Portrait of a Lady (1881) by Henry James 468. Good Earth (1931) by Pearl S. Buck 469. Tuck Everlasting (1975) by Natalie Babbitt 470. Make Way for Ducklings (1941) by Robert McCloskey 471. Red Harvest (1929) by Dashiell Hammett 472. The Andromeda Strain (1969) by Michael Crichton 473. Naked Lunch (1959) by William Burroughs 474. If You Give a Mouse a Cookie (1985) by Laura Joffe Numeroff 475. The Other Boleyn Girl (2001) by Philippa Gregory 476. Angle of Repose (1971) by Wallace Stegner 477. Hunger (1890) by Knut Hamsun 478. The Beach (1996) by Alex Garland 479. Hansel and Gretel by Engelbert Humperdinck 480. The Last Lecture (2008) by Randy Pausch 481. Power and the Glory (1940) by Graham Greene 482. Pygmalion (1912) by George Bernard Shaw 483. My Name Is Asher Lev (1972) by Chaim Potok 484. The Absolutely True Diary of a Part-Time Indian (2007) by Sherman Alexie 485. Cold Mountain (1997) by Charles Frazier 486. Horton Hears a Who! (1982) by Dr. Seuss 487. The Murder of Roger Ackroyd (1926) by Agatha Christie 488. Berlin Alexanderplatz (1929) by Alfred Doblin 489. Cider House Rules (1985) by John Irving 490. Goedel, Escher, Bach (1979) by Douglas Hofstadter 491. The Stars My Destination (1956) by Alfred Bester 492. Twenty Thousand Leagues Under the Sea (1870) by Jules Verne 493. The English Patient (1992) by Michael Ondaatje 494. Outlander (1991) by Diana Gabaldon 495. Sentimental Education (1869) by Gustave Flaubert 496. Marley & Me (2005) by John Grogan 497. Oedipus Rex by Sophocles 498. Possession: A Romance (1990) by A.S. Byatt 499. As You Like It by William Shakespeare

#books #reading #literature

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gcldcnhour-a · 2 years ago

Conversation

--> tempest

ford: hey, are you awake?

ford: i'm just staring at my ceiling, i think there's a bunny, a cat, and a face in it.

#idk what this is #but its really his version of a u up? text #[[ ford -- texts ]]#[[ ford x tempest ]]#loveisliquor

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loveisliquor · 2 years ago

Photo

“Falling for someone is like pulling a loose thread. It happens stitch by stitch. You feel whole most of the time even while the seams pop, the knots loosen, everything that holds you together coming undone. It feels incredible, this opening of yourself to the world. Not like the unraveling it is. Only afterward do you glance down at the tangle of string around your feet that used to be a person who was whole and self-contained and realize that love is not a thing that we create. It's an undoing.” ― Leah Raeder, Black Iris

moodboard for ford & tempest (@gcldcnhour)

#they need a tag!!#ford x tempest #tempest:headcannon

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alystayr · 8 years ago

Text

Playlist musicale 2017 (1/2)

Liste des chansons (playlist 2017 - part. 1)

Mise à jour : 1e juillet 2017

playlist 2019 (part. 1)

playlist 2018 (part. 2), playlist 2018 (part. 1)

playlist 2017 (part. 2), playlist 2017 (part. 1)

playlist 2016 (part. 2), playlist 2016 (part. 1)

playlist 2015

0-9 #

A Perfect Circle - Judith (2000)

AC/DC - Thunderstruck (1990)

Jeanne Added - Miss It All (2015)

Alice In Chains - Voices (2013)

Antony and the Johnsons - Fistful of love (2005)

Arcade Fire - The Suburbs (2010)

Archive - Feel It (2015)

Asaf Avidan - Your Anchor (2016)

Audioslave - Show Me How to Live (2002)

Awolnation - Sail (2011)

Angelo Badalamenti - Twin Peaks Intro (1990)

Erykah Badu - Window Seat (2010)

Chet Baker - My Funny Valentine (1937)

Daniel Balavoine - Vivre ou survivre (1982)

Alain Bashung - Résidents De La République (2008)

Beastie Boys - Sabotage (1994)

The Beatles - Penny Lane (1967)

The Beatles - While My Guitar Gently Weeps (1968)

Beck - Where It's At (1996)

Bénabar - Je suis de celles (2003)

Michel Berger - Le Paradis Blanc (1990)

Chuck Berry - Roll Over Beethoven (1956)

Black Mountain - Old Fangs (2010)

Black Rebel Motorcycle Club - Rival (2013)

The Black Keys - Dead and Gone (2011)

The Black Keys - Too Afraid To Love You (2010)

The Blues Brothers - Everybody Needs Somebody To Love (from The Blues Brothers - 1980)

Blur - Song 2 (1997)

Tracy Bonham - The One (1996)

Benjamin Booker - Have You Seen My Son? (2014)

Booker T. & The M.G.'s - Green Onions (1962)

David Bowie - Wild Is The Wind (1976)

The Buggles - Video Killed The Radio Star (1979)

Nick Cave & The Bad Seeds - Wide Lovely Eyes (2013)

Tracy Chapman - The Promise (1995)

Louis Chedid - On ne dit jamais assez aux gens qu'on aime qu'on les aime (2011)

The Clash - Rock the Casbah (1982)

Joe Cocker (cover Wayne Carson Thompson) - The Letter (1970)

CocoRosie - Fairy Paradise (2010)

Coldplay - God Put A Smile Upon Your Face (2002)

The Commitments (cover Otis Redding) - Try a Little Tenderness (1991/1966)

Chris Cornell - You know my name (from Casino Royale - 2006)

The Cranberries - Dreams (1993)

Sheryl Crow - My Favorite Mistake (1998)

The Cure - Lullaby (1989)

Miles Davis - So What (1959)

Dead Meadow - What Needs Must Be (2008)

Depeche Mode - Where's the Revolution (2017)

Alela Diane - Rose and Thorn (2012)

Dire Straits - Sultans Of Swing (1978)

The Dø - Slippery Slope (2011)

Peter Doherty - Kolly Kibber (2016)

The Doors - Roadhouse Blues (1970)

Nick Drake- River Man (1969)

Bob Dylan - Things Have Changed (from Wonder Boys - 2000)

Eels - Susan's House (1996)

Mylène Farmer - Je Te Dis Tout (2012)

Fatboy Slim - Praise You (1998)

Lee Fields and the Expressions - Faithful Man (2012)

Florence + The Machine - Drumming Song (2009)

Tennessee Ernie Ford - Sixteen tons (1955)

Franz Ferdinand - Love Illumination (2013)

John Fullbright - Gawd Above (2012)

Peter Gabriel - In Your Eyes (1986/1994)

Serge Gainsbourg - L'Eau à La Bouche (1960)

Serge Gainsbourg - La chanson de Prévert (1961)

Garbage - Only Happy When It Rains (1995)

Girls in Hawaii - Misses (2013)

Gossip - Eyes Open (2006)

Gotan Project - Santa Maria (Del Buen Ayre) (2001)

Gotye (feat. Kimbra) - Somebody That I Used To Know (2011)

Guns N' Roses - Welcome To The Jungle (1987)

Johnny Hallyday - Noir C´est Noir (1977)

Anthony Hamilton & Elayna Boynton - Freedom (from Django Unchained - 2012)

Herman's Hermits - No Milk Today (1966)

Jacques Higelin - Champagne (1979)

Eddie Holman - I Love You (1969)

How To Destroy Angels - How Long? (2013)

Romain Humeau – Amour (2016)

IAM - Grands rêves, grandes boîtes (2017)

Izia - So Much Trouble (2011)

JBM - Winter Ghosts (2012)

Jet - Are You Gonna Be My Girl (2003)

Elton John - Sorry Seems To Be The Hardest Word (2002/1976)

The Jon Spencer Blues Explosion - Bag of Bones (2012)

Michel Jonasz - La boîte de Jazz (1985)

Norah Jones - Don't Know Why (2002)

Janis Joplin - Kozmic Blues (1969)

Gary Jules (cover Tears for Fears) - Mad World (2001)

Kasabian - You're In Love With a Psycho (2017)

The Killers - Andy you're a star (2004)

The Kinks - You Really Got Me (1964)

Lake Street Dive - You Go Down Smooth (2013)

Bernard Lavilliers - Noir Et Blanc (1986)

Maxime Le Forestier - San Francisco (2002/1972)

Led Zeppelin - Communication Breakdown (1969)

The Libertines - You're My Waterloo (2015)

London Grammar - Rooting For You (2017)

Louise Attaque - Ton invitation (1997)

Lynyrd Skynyrd - Simple Man (1973/2015)

M, Toumani Diabate, Sidiki Diabaté, Fatoumata Diawara - Manitoumani (2017)

Paul McCartney - My Valentine (2012)

Marilyn Manson (cover Depeche Mode) - Personal Jesus (2004/1989)

Manu Chao - Me Gustas Tu (2000)

Massive Attack (Feat. Hope Sandoval) - The Spoils (2016)

MGMT - Time To Pretend (2007)

Eddy Mitchell - La dernière séance (1976)

Monster Magnet - Space Lord (1998)

The Moody Blues - Nights In White Satin (1967)

Morcheeba - Slowdown (2002)

Muse - Plug In Baby (2001)

Israel Nash - Rain Plans (2013)

Nazca - For the Braves (2016)

Nine Inch Nails - Burning Bright (Field On Fire) (2016)

Nirvana - Lithium (1991)

Noir Désir - Un Jour En France (1996)

Angel Olsen - Not Gonna Kill You (2016)

Orchestral Manoeuvres In The Dark - Enola Gay (1980)

Opeth - Windowpane (2003)

Pink Floyd - Time (1973)

Antonio Pinto - Warlord (from Lord Of War) (2005)

Placebo - Every You Every Me (1998)

The Police - Walking On The Moon (1979)

Pony Pony Run Run - Hey You (2009)

Iggy Pop (Feat. Kate Pierson) - Candy (1990)

Iggy Pop & Goran Bregović - In The Death Car (from Arizona Dream - 1993)

Portishead - Numb (1994)

The Pretty Reckless - Take Me Down (2016)

Denez Prigent (Feat. Lisa Gerrard) - Gortoz a ran (2000)

Public Enemy - Can’t Truss It (1991)

Queen - Don't Stop Me Now (1978)

Queens Of The Stone Age - Little Sister (2005)

The Raconteurs - Level (2006)

Gerry Rafferty - Get It Right Next Time (1979)

Rage Against The Machine - Killing In the Name (1992)

Lou Reed - Walk on the Wild Side (1972)

Renaud - C'est quand qu'on va où (1994)

Rival Sons - Tied Up (2016)

The Rolling Stones - Angie (1973)

Shaka Ponk - I'm Picky (2011)

William Sheller - Un Homme Heureux (1991)

Simon & Garfunkel - The Sound of Silence (1964)

Skye | Ross - Light of Gold (2016)

Skunk Anansie - Brazen (Weep) (1996)

Patti Smith - Dancing Barefoot (1979)

Snow Patrol - Run (2003)

Soan - No Pasa Nada (2013)

Sonic Youth (cover The Carpenters) - Superstar (1994/1971)

Alain Souchon - La ballade de Jim (1985)

Soundgarden - Black Rain (2010)

Soundgarden - Blow Up The Outside World (1996)

Soundgarden - Superunknown (1994)

Regina Spektor - Small Bill$ (2016)

Spin Doctors - Two Princes (1991)

Bruce Springsteen - Born to Run (1975)

Fredrika Stahl - The World to Come (from Demain - 2015)

Sting - 50,000 (2016)

The Stranglers - Always The Sun (1986)

The Strokes - Under Cover of Darkness (2011)

Stromae - Tous Les Mêmes (2013)

Didier Super - Comme un enfant au Brésil (Les enfants faut les brûler) (2008)

System Of A Down - Chop Suey! (2001)

T. Rex - Bang a Gong (Get It On) (1971)

Téléphone - Un autre monde (1984)

Kate Tempest - Europe Is Lost (2016)

Texas - I Don't Want A Lover (1989)

Thievery Corporation - Amerimacka (2016)

Tricky - Hell Is Round the Corner (1995)

U2 - With Or Without You (1987)

US3 - Cantaloop (Flip Fantasia) (1993)

Suzanne Vega - Crack In The Wall (2014)

The Velvet Underground - I’m Waiting For The Man (1967)

Tom Waits - Hold On (1999)

Weezer - Say It Ain't So (1994)

Jack White - Love Interruption (2012)

The White Stripes - Jolene (2004)

The Who - Won't Get Fooled Again (1971)

Woodkid - Iron (2011)

Wovenhand - Corsicana Clip (2014)

Shannon Wright - The Thirst (2017)

Shannon Wright - With closed eyes (2004)

The xx - Angels (2012)

Yeah Yeah Yeahs - Date With The Night (2003)

Neil Young - Old Man (1972)

Zebda - Tomber La Chemise (1998)

#Musique #Listes #Playlist #2017

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