#— ⟢﹒dolly's darlings: lili !!

[sweetestgirlblogger]

[serene-bambi]

[faerieroyal]

I know I already said this to you, but

I wish you the absolute best for you Dolly 🥳🥳🥳

thank you so much, lili, you’re so sweet ☺️ i wish all the best things for you too !! <3

[hearts4werka]

ᶻ 𝗓 𐰁 Introducing… zombie!chris .ᐟ

Died in the 00’s, some ghost-hunting kids accidentally brought him back to live from the grave, family died many years ago, torn up clothes, scars and sew marks on his limbs, greenish-withered tint to his skin, a specific scar going down his eye he likes to make up stories about how he got it, quite flirty, charming, face card is at max, has a special rotten spot in his heart for innocent!reader, loves how delicate reader’s skin is, compares hand sizes but without a few fingers, even tho he may be undead he does know how to fuck well, doggy style enthusiast, loves classical music, quite a prankster, likes to scare reader whenever her nose is in a book too long, doesn’t want to dress up for Halloween even tho reader wants to match costumes, adores the fuck out of dogs, loves watching reader get flustered when he calls her ma’am darling or sweetheart “Oh cmon, darling, you have to watch your step next time than have your nose stuck in those books”

| ᶻ 𝗓 𐰁 𝐐𝐔𝐎𝐓𝐄𝐒 - things I assume he would say |

🧟‍♂️ - “Do you need a hand, ma’am?” He asks while detaching his arm and waving it around.

🧟‍♂️ - “Fuck… um- could you sew my dick back onto me, please?” He gestured down to the place where his dick is now missing from.

🧟‍♂️ - “I don’t need new clothes, I’m fine with these, they add character to my person!” “But people think you’re dressed up as a zombie all year.” “Well they can go fuck themselves for all I care,”

🧟‍♂️ - “Now do I have to? I have no idea how to bakee…” He whines but you grab his hand and drag him into the kitchen, but try not to be too rough as his arm is pretty flimsy.

ᶻ 𝗓 𐰁 introducing… innocent!reader .ᐟ

A big sweetheart, loving family, virgin, loves all small animals, pink bows, mostly pastel clothes, delicate skin, gentle with anyone & everyone, always wanting to help, books enthusiast, clueless, falls for Chris’s pranks, a scaredy-cat, very lovable, secretly is falling for zombie!chris even tho she shouldn’t, blames all of it on the books, very curious about zombie!chris & tends to ask a lot of questions, adores baking fresh pastry, wants to create her own bakery but is too scared too, soft spot for zombie!chris, feels bad for him, always tries to convince zombie!chris to do something new, forces him to bake with you knowing he secretly enjoys it, bit of a crybaby, hates being mean, cozy like a little cute grandma, very innocent on a lot of topics, “S-stop calling me that, it makes my face feel weird”

| ᶻ 𝗓 𐰁 𝐐𝐔𝐎𝐓𝐄𝐒 - things I assume she would say |

🌸 - “You’re such a unique creature, sometimes I wonder how you’re even real” She cluelessly wonders while she runs a hand through his hair.

🌸 - “Let me just grab my sewing kit and you stay here, ‘mkay honey?” She reassured before getting up from her seat and going into her kitchen.

🌸 - “Can you tell me the story of how you got brought to life again?” She asks curiously, loving to hear how he tells the story each time.

🌸 - “Can we pleasee go bake some cookies? It’ll be great bonding time…” She pleads, giving him the sweet puppy eyes that always make him say yes.

-

𝐍𝐎𝐓𝐄 ! : if anyone has any questions about these two, please ask me them, it can be any questions you have and I’ll gladly provide as much information about that topic as I can, I love talking to y’all and hope y’all have an amazing day wherever you are 💗

𝐀𝐔’𝐒 ! | check out this & this!

𝐆𝐔𝐄𝐒𝐓𝐋𝐈𝐒𝐓 🏷️ | - @sturnsxplr-25 - @strnzzvsp - @luvvs4chriss - @sturniolosweetheart33 - @pussypie456 - @choclatestarfishwithahat - @venusxsturnio - @bagsbyclair0 - @sturnstvs - @dykes4chris - @hoe4matt - @cayleeuhithinknot - @strnilolover - @marrykisskilled - @phone4pills - @emely9274 - @cupiidk1lls - @lily-strnlo - @nicksgirlfriend - @sturniolosiphone - @sophand4n4 - |

| - credits to @bernardsbendystraws for the dolly dividers! They are adorable and tysm for making them 🩷 - |

[ellecdc]

Her darling

I was wondering if I could request Sirius black with a short gf? Something cute and fluffy or generally anything you like to go with because your writing is just immaculate.

(I’m not even sure if 5’3 is counted as short but I’ve always been the shortest among my friends so yeah)

Love you and your wonderful blog 🩵🩵

Hahaha I’m 5’3 too - stopped growing first out of all my friends so that was devastating lol. Thanks for your request babes!! 🫶

Sirius Black x short fem!reader

CW: teasing about height, fluff

Sirius was beginning to regret agreeing with James, Remus, Peter, and Lily to go to the muggle amusement park. Sirius was already one of the shortest amongst his friends, save Pete and Lily who both clocked in at 5’8, meaning most of his day was spent trying to climb onto Remus’ back in order to spot you in the crowd.

“For the love of Merlin, Sirius, I am not that short.” You seethed as you snagged Sirius’ arm, pulling him down (rather roughly) from Remus’ hips.

You could tell Remus didn’t particularly appreciate Sirius using him as a human stepladder, but he couldn’t help but appreciate the teasing opportunity it lent to the group.

“Poor darling,” Lily murmured in faux sympathy, “we’re going to have to find you one of those child leashes that parents attach to their child’s wrists.”

“Sod off, the lot of you.” You groaned and crossed your arms petulantly over your chest.

“Uh oh, almost nap time?” James commented, which earned him a kick in the shin. “Ouch! Okay, okay. Merlin.” He muttered as he moved well out of your kicking range.

“Sorry dollface,” Sirius sung to you, not sounding sorry at all. “I just worry; don’t want to lose you in the crowd.”

You moaned again but didn’t bother gracing him with a response.

You’d been waiting in the summer heat for the newest rollercoaster that was all the rage of this little town when you were nearly at the front of the line.

“Okay, quick. Y/N, stand here – we need to make sure you’re tall enough.” Peter called. And now you were mad – even Peter was taking a go at you!

“Are you- I will not!” You sputtered.

“Ma’am, please step forward.” The bored teenage attendant said, causing everyone in line to turn and look at you.

You burned with shame and more than a little bit of rage as you stepped forward obediently, standing beside the cardboard height measurement tool in the shape of cartoon giraffe which had a speech bubble above him reading “riders must be this tall to ride!”

Sure enough, you were indeed tall enough to ride, and were told to return to your spot in line with the same bored tone as you were beckoned forth in.

You moved back to the group; Remus, Peter, and Lily all looking as if they were about to suffocate under the effort to restrain their laughter, Sirius and James having no such qualms were laughing boisterously.

You spent the rest of the time in line with your arms crossed, pointedly ignoring any of your friends attempts to converse with you.

“Oh my love.” Sirius cooed and stepped up behind you, hooking his head over your shoulder and wrapping his arms around your middle, using his hands to try and pry your own arms from your body. “I’m sorry, dolly. I didn’t think the attendant would join in.”

“You’re an arse.” You muttered back.

“I’m your arse.”

“That’s not a romantic thing to say.”

“What would be a romantic thing to say?”

“That you love me.” You admitted shyly; glad that he couldn’t necessarily see the state of your cheeks, though he could likely feel the heat emanating from them from his place on your shoulder anyways.

Sirius cooed again and turned you in his grasp, peppering kisses all over your face. “I thought that was a given?”

You moaned petulantly again. “No. You’ve been so mean to me.”

“I’m sorry, lovie.” He cooed, sounding slightly more sorry than he had before. “If I was nice to you, that would mean I didn’t love you. That’s why I never make fun of Remus.”

“Oi!”

“I love you.” He proclaimed, ignoring Remus’ outcry. He leaned in closer, whispering so only you could hear it. “I’ll even beat up the attendant for embarrassing you – how about that?”

You considered his offer, eyeing up the bored worker ushering riders through the gates.

“Probably best you don’t – looks like a student’s summer job. You could end up in muggle jail for assaulting a minor.”

Sirius hummed in acknowledgement, lips attached to your forehead. “Worth it to avenge my little lovie.”

“Out of all of us, do you really love me the least?” Remus commented, interrupting your conversation.

“Of course not, Moons. I obviously tease Evans the least.”

“Hey!”

[broadwaydivastournament]

Movie Musical Divas Tournament: FINALE

It all comes down to this. The final round of our Movie Musical Divas tournament includes singer-songwriter, philanthropist, country music queen Dolly Parton, and actress, author, movie musical legend Dame Julie Andrews.

Primarily known for her music career, Dolly Parton nevertheless starred in a select few movie musicals, most notably the fine upstanding brothel owner Miss Mona in the film adaptation of The Best Little Whorehouse in Texas. Conversely, Julie Andrews began her illustrious film career with her Oscar-winning performance as Mary Poppins, the titular character in the film adaptation of P.L. Travers's popular book, and continued starring in well-known musicals like The Sound of Music, Thoroughly Modern Millie, and Victor/Victoria throughout her career.

After weeks of impassioned voting, it's time to crown the Queen of Movie Musicals once and for all. And once again, reminder: this is a movie musical-specific tournament. Thank you.

Julie Andrews (1935- ): Mary Poppins in Mary Poppins (1964) | Maria in The Sound of Music (1965) | Victoria Grant in Victor/Victoria (1982) | Millie Dillmount in Thoroughly Modern Millie (1967) Additional musical/singing roles include: Cinderella (1957), Star! (1968), Darling Lili (1970),

"The QUEEN of the movie musical. Started in so many long lasting favorites. Dressed in drag in Victor/Victoria, thanked the casting director of My Fair Lady in her Oscar Acceptance speech for snubbing her for the role so that she could win an Oscar instead. The voice of so many people’s childhoods and genuinely such an amazing person. Look up the story about her Tony nomination!" - @kingscatt

Dolly Parton (1946- ): The Best Little Whorehouse in Texas (1982) Miss Mona | The Best Little Special in Texas (1982) | Rhinestone (1984) Jake Farris Additional musical/singing roles include: n/a

"Just look at her." - anonymous

This is Round 7 (finals) of the Movie Musical Divas tournament. Add your propaganda and support by reblogging this post.

ALL NEW PROPAGANDA AND MEDIA UNDER CUT

Julie Andrews:

Dolly Parton:

[pupsmailbox]

DOLL︰PUPPET ID PACK

NAMES ⌇ abbie. adelaide. adorablesse. adorablette. aerlyn. alena. alexis. alice. amaia. amaya. andrea. angeline. ankou. annabelle. annie. antoinette. anxiette. anxious. apricot. asaka. ash. asha. aspen. atticus. ava. avel. babette. babydoll. bambi. bambina. bambino. bashfelle. bashful. beau. bellamy. belle. bells. bernadette. blu. blue. bluesse. bluette. blushe. blushesse. blushette. boo. bram. bronach. bronagh. brone. button. buttons. cadel. candace. carmilla. carrie. catherine. cessair. charlie. charlott. charlotte. chelsea. chia. chica. chirella. chirelle. chiwa. chuckie. claeg. coffin. colere. commedia. constance. coquette. cordelia. corelle. corette. corsette. cypress. dahlia. dalia. damon. darling. dawn. dearesse. dearest. dearette. dearie. deidre. demure. desdemona. devin. devon. doilie. doily. doll. dollaintye. dollawie. dollerie. dollesse. dollette. dolleyed. dollie. dolline. dollita. dolly. dolores. dottie. drea. dread. drusilla. dáinn. eeria. eldritche. elissar. eliza. elle. elodie. eloise. emerence. emily. essie. esther. evangela. evangeline. evelyn. eveyln. faith. frill. frillette. genevieve. genoveva. gia. gladys. glorie. glory. gorey. gorie. gracelyn. gregory. gretta. gwen. gwenivive. haldor. haunt. hiccup. hyde. iraia. iresse. irette. itishree. jabez. janelle. janet. jannet. jinx. josie. julie. juniper. juno. kailey. kanani. kewpie. kiva. krak. lace. lacesse. lacette. lacey. lacie. lain. laintess. lakka. lalki. lavender. lea. lefu. letta. letum. libitina. lilac. lillith. lilly. lily. loaela. lola. lolah. loletta. lolita. lolite. lolla. lottie. lovelace. luci. lucius. lulu. lute. lyla. lys. madison. mahina. mandy. mannie. manon. many. mara. maria. marianette. marie. marion. marionette. marionne. marotte. marrionette. marrow. mary. maryjane. marzana. maveth. meek. melanie. melodie. melody. merripen. miel. minuette. mold. moldie. moldy. molly. moonie. moore. morana. morgana. morgue. mors. mort. mot. muriel. murmur. muse. nadine. nadzen. nancy. nanea. nanelle. nanette. nappi. naz. negan. nekane. nelly. nemesis. nettie. nicodème. niegan. nimbus. nina. nuri. olive. oliver. olivia. omega. panchaali. parner. pinkesse. pinkette. pinkie. pinky. pinocchio. pippin. poe. poppet. poppette. poppy. porce. porcelain. porcelynn. prantika. pulau. punthali. pupetta. puppet. puppetear. puppetesse. puppetette. puppette. puppyte. putala. quinn. ravanche. raven. realiteer. rebel. ribbon. ribbonne. riley. rion. robert. rose. rubella. ruby. sacrifette. salem. sasha. satin. scarlet. sebastian. sew. sewine. shivani. shiver. sidney. smierc. smiley. smilie. softesse. softette. softie. solikha. spirit. sprout. statuette. stitches. strings. sweeheart. sweetheart. sweetie. sweetiebelle. sweetine. sychar. teacup. tearie. teddy. tempest. thalia. than. thana. theodora. thorn. trembelle. trista. ultima. ulysses. vanessa. vera. viola. visage. whisp. whisper. willow. winston. wisp. wispera. wrathes. zizi.

PRONOUNS ⌇ adorable/adorable. ae/aer. angel/angel. anger/anger. antique/antique. app/apparition. bell/bell. berry/berry. berserk/berserk. bjd/bjd. bla/black. blank/blank. bliding/bliding. blue/blue. blush/blush. bug/bug. button/button. cake/cake. car/carcasse. cheer/cheer. cloth/cloth. coffin/coffin. control/control. coo/croon. cor/cor. cor/corrupt. core/core. corpse/corpse. coy/coy. crack/cracked. cracked/cracked. cre/creepy. creep/creepy. cu/curse. cu/cute. curse/curse. cute/cute. da/dark. de4/de4d. de/dear. de/demure. dea/dead. dead/dead. dead/death. dear/dear. death/death. decay/decay. delica/delicate. delicate/delicate. demon/demon. despair/despair. dirt/dirty. do/doll. doll/doll. doll/dolly. dolly/dolly. dread/dread. dress/dressup. dress/up. d♡ll/d♡ll. eer/eeerie. elegant/elegant. en/energy. end/end. evil/evil. eye/eye. fabric/fabric. fae/fae. fi/figure. fig/figure. figurine/figurine. flower/flower. fragile/fragile. frail/frail. friendly/friendly. frill/frill. fury/fury. gho/ghost. glass/glass. glo/gloomy. gore/gore.���grave/grave. grief/grief. grim/grimm. grime/grime. gru/grudge. ha/haunt. happy/happy. haun/haunt. hx/hxm. h♡/h♡m. it/it. joint/joint. joint/jointed. joy/joy. ke/ker. kew/kewpie. kill/kill. kor/kor. kor/korrupt. la/lace. lace/lace. lae/lace. lo/love. lo/loved. lolita/lolita. love/love. mad/mad. mae/mae. mari/marionette. marionette/marionette. me/meek. mi/mier. mim/mimic. model/model. morbid/morbid. mu/mutter. mur/murmur. nap/nap. null/null. ny/nym. patch/patch. phan/phantom. pink/pink. pitter/patter. plastic/plastic. play/play. play/playtime. play/time. plush/plush. plush/plushie. por/porcelain. porce/porcelain. porcel/porcelain. porcela/porcelain. porcelain/porcelain. pose/pose. pose/posed. possess/possessed. pup/puppet. puppet/puppet. rea/reality. rest/rest. reven/revenge. rib/ribbon. ribbon/ribbon. rot/rot. scare/scare. scary/scary. seem/seem. sew/sew. sew/sewn. shi/shift. shi/shiver. shx/hxr. sh♡/h♡r. sie/sier. silk/silk. slee/sleep. sleep/sleep. smile/smile. snap/snapped. sneak/sneak. soft/soft. sou/soul. spi/spider. spi/spirit. spo/spook. spook/spook. sta/stalk. sta/stare. statue/statue. sti/string. stitch/stitch. string/string. sweet/heart. sweet/sweet. sweet/sweetdolls sweetie/sweetie. ta/tap. te/teer. tea/teatime. teeth/teeth. thre/thread. thread/thread. thxy/thxm. th♡y/th♡m. ti/timid. to/toy. toy/toy. toy/toytime. trick/trick. un/canny. unca/uncanny. ve/ver. vey/vem. vi/vr. vintage/vintage. vomit/vomit. wan/wander. watch/watch. whi/whisper. white/white. wilt/wilt. wood/wood. wrath/wrath. yarn/yarn. zzz/zzz. ♡/♡. ⚰️ . 🍨 . 🛌 . 🛏️ . 🥀 . 🧸 .

[paralleljulieverse]

Dame Julie Goes to Nashville: The Story Behind Love Me Tender

In a career marked by unexpected turns, Julie Andrews' decision in 1978 to travel to Nashville and record a country album surely stands as one of her most surprising ventures. Her quintessentially British star image, coupled with her refined, classically trained singing style, would seem as far removed as imaginable from the twangy, down-to-earth aesthetic of American country and western music.

When the resulting album, Love Me Tender, finally reached the market in 1983—after more than four years of delays—astonishment was a common reaction. “Nanny Poppins sings Nashville,” declared one incredulous headline, adding: “Could it be? Yes, it is. Julie Andrews detouring from her squeaky-clean singing career, an English rose among the rhinestone cowgirls of Nashville, Tennessee” (Davis, 1983, p. 15).

Ultimately, Love Me Tender failed to make much of an impression and, outside of diehard fans, it has been largely forgotten. Even Julie herself seems to overlook it—the album doesn’t receive a single mention in her recent memoirs (Andrews, 2019). This neglect is unfortunate, as Love Me Tender represents a fascinating, if anomalous, chapter in Julie Andrews' storied career. It also offers a compelling glimpse into a period of professional challenge and reinvention as she sought to recalibrate her image in a rapidly changing world. 

It Was Time: Country’s Rise and Julie’s Retreat

Viewed in historical context, the idea of a Julie Andrews country album may not be as outlandish as it initially appears. The 1970s was a time of profound transformation for country music and Julie Andrews alike. The rise of ‘countrypolitan’—a polished, pop-oriented style of country music—blurred boundaries between traditional country and mainstream genres, bringing Nashville’s sound to a wider audience (Stimeling, 2015). Crossover artists like Dolly Parton, Kenny Rogers, and Willie Nelson achieved mainstream chart success, while pop and rock performers such as The Eagles, Linda Ronstadt, and Olivia Newton-John incorporated country influences into their work (Hill, 2015).

Films and TV shows also reflected this crossover. Movies like Nashville (1975), Urban Cowboy (1980), and Coal Miner’s Daughter (1980), along with shows like The Dukes of Hazzard (1979–1985), helped popularise country music and culture among mainstream audiences (Stimeling, 2015). As the Chicago Tribune noted in 1978, country music had “broken out of the hayseed demographics that used to separate [it] from the urban world and ascended to giddier climes and sales figures” (Hurst, 1978, p. 24). This shift made country music an increasingly cosmopolitan space—one where even an ‘English rose’ like Julie Andrews could plausibly find a foothold.

Meanwhile, the 1970s marked a period of equal change and upheaval for Julie. Professionally, it was not a particularly successful decade. It began with the commercial failure of Darling Lili (1970), followed by the cancellation of two highly anticipated big screen musicals, Say It with Music and She Loves Me. Turning to television, she launched The Julie Andrews Hour in 1972. Though critically acclaimed and the recipient of several major awards, the variety series struggled in the ratings and was cancelled after just one season (Andrews, 2019).

The consensus seemed to be that Julie’s wholesome image and traditional musical style had become culturally passé. “In this the age of ‘hip’ lyrics and braless singers, Miss Andrews' apple-pie songs and antiseptic appearance seem oddly out of step with the times,” observed one commentator (Ferguson, 1972, p. 26). Julie herself reluctantly agreed: “I think I’m a little dated,” she admitted in a 1970 interview. “I’m clearly not where Easy Rider is at, and I think it would be very difficult for me to arrive there” (Siskel, 1970, p. E5).

What followed was a period of professional ‘lean years,’ punctuated by the occasional TV special and a minor film, The Tamarind Seed (1974). By the mid-1970s, Julie had largely faded from the public radar. One journalist facetiously asked, “Whatever happened to Julie Andrews?” (Goodman, 1976, p. 11-A), while another remarked, “Not since Luise Rainer…has any motion picture star risen so fast or fallen so far as Julie Andrews” (Higham, 1977, p. C-1).

For her part, Julie appeared content to step away from the limelight and focus on her family. She and her husband, Blake Edwards, had recently adopted two children and were working to blend their new family. Relocating to Switzerland, Julie embraced her private role as wife and mother (Andrews, 2019).

“I travel as Mrs. Edwards these days,” she remarked in 1975. “My career? I’m afraid that’s up in the air at the moment and will remain so till Blake makes his plans… If it suits his schedule for me to work, then I might do a little something” (Scott, 1975, p. D-12). By 1978, she extolled the virtues of semi-retirement: “I’m only devoting about 20 percent of my time to my career and 80 percent to my family” (Scott, 1978, p. 8C).

The few projects Julie took on during this period were, unsurprisingly, closely tied to Blake. He produced and directed nearly all her film and TV work. He was also the one who persuaded Julie to accept a one-week residency at Las Vegas’ Caesars Palace in 1976. “It wasn’t my idea at all,” she admitted. “Caesars Palace made me a tremendous offer [and] Blake talked me into going ahead” (Higham, 1977, p. C-1).

Love Is A Place Where Two People Fall: Blake’s Push and Butler’s Pull

Blake was also the driving force behind Love Me Tender. A native Oklahoman with a deep affection for the music of the American heartland, he believed the simple melodies and heartfelt lyrics of country music would suit Julie’s voice. As she explained in a British television interview:

“Blake…thought that country music might sit very well on my voice, which is not an easy voice [with which] to sing popular or modern music…It doesn’t adapt to it that easily, and he felt that country music would be good” (Freeman, 1983).

Reluctant at first, Julie considered country music “pretty hokey,” but upon closer listening, she discovered its appeal. “I found that the songs are really terribly pretty,” she said, noting parallels to the English folk music she had loved and sung as a child (Thomas, 1982, p. 1).

Flush with the renewed success of the Pink Panther franchise, Blake even financed the recording sessions under the aegis of his own production company (Beck, 1978, p. 16). Given its private funding and tentative nature, the recording plans were largely kept under wraps.

There were a few passing mentions in the press. A syndicated column in May 1978 noted that Julie was back Stateside with Blake “and their gaggle of children,” adding that she “will cut an album of songs while she’s here” (Eder, 1978, p. 5B). Another report from early 1978 observed:

“Andrews also is working up an album. ‘I love recording. It is like swimming, quiet and personal,’ she said. But because the recording industry has become so complex, she is doing this one through Trellis Enterprises, a company she and her husband formed about a year ago” (Burton Terry, 1978, p. A10).

Contracted to helm the new album was Larry Butler, Nashville’s most celebrated record producer of the time (Cunniff, 1980; Wood, 2012). A multitalented industry veteran, Butler began as a session pianist, vocalist, and songwriter before graduating to producing albums for some of Nashville’s biggest stars, including Johnny Cash, Dottie West, and Kenny Rogers. Widely regarded as a key architect of the crossover “countrypolitan” wave of the 70s, Butler became the only country producer ever to win a Grammy (Leigh, 2012). “Good music is good music,” he averred, “and doesn’t have to be labelled” (Cheever, 1980, p. 12).

Butler’s success drew a diverse range of recording artists to Nashville to work with him, from Don McLean and Sammy Davis Jr. to Kim Carnes, Debby Boone, and Nana Mouskouri (Trever-Burchinger, 2000, p. B3). Confident in his abilities, Butler famously boasted, “With the right song, I can cut a hit record with a janitor” (Hurst, 1978, p. 24).

When I Dream: Warm Reception and Creative Leap

So, it was on 2 June 1978 that Julie Andrews found herself flying to Nashville to enter the recording studio for the first time in nearly five years. Accompanied by her Los Angeles manager, Jerry Nutting, she received a warm welcome from Larry Butler, who greeted her at Nashville Municipal Airport with a bouquet of yellow roses and a stretch limousine (Hance, 1978, p. D10).

That evening, Butler hosted a gala reception at ASCAP headquarters on Music Row to formally welcome Julie to Nashville. Co-hosted by Ed Shea, ASCAP’s regional executive director, the event attracted numerous civic and industry leaders (Browning, 1978, p. 35). Nashville’s mayor, Richard Fulton, declared it "Julie Andrews Day," while Tennessee Governor Ray Blanton made her an honorary citizen, and Sheriff Fate Thompson appointed her an honorary Deputy Sheriff (Carter, 1978, p. 1).

Despite the fanfare, both Julie and Butler were circumspect about their plans. Julie stated that she was “thinking” about recording in Nashville, adding, “We’ll decide over the next few days. That’s really why we’re here – to decide” (Carter, 1978, p. 1). For the first few days, Butler immersed Julie in country music, having her spend hours listening to various records. Together, they compiled a list of potential tracks to try in the studio (Freeman, 1983).

The recording sessions took place at Jack Clement Recording Studios on Belmont Boulevard, which Butler co-owned with his business partner, Al Mifflin. A year later, Butler purchased the studio outright, renaming it Sound Emporium—a name it retains to this day (McNutt, 2000). For the sessions, Butler assembled a stellar lineup of musicians from the famed "Nashville A-Team," including Bob Moore (bass), Hargus “Pig” Robbins (piano), Pete Drake (steel guitar), and Ray Edenton (guitar) (Stimeling, 2020). Overseeing the recordings at the console was Billy Sherrill, one of the most renowned sound engineers in Nashville and a longtime colleague of Butler's.

Butler’s preferred mode was to record in the studio at night which he felt was more conducive to creativity and the free flow of ideas (Butler and Goodenough, 2012, p. 185). “I believe in momentum,” he explained. “When you get an idea, do it!” (Manley, 1981, p. 1B). He also fostered an intentionally collaborative atmosphere in the studio that emphasised trust, teamwork and enjoyment. “I quickly realised that as a producer, the best way…to walk into a studio and come out of there with emotion is to be the opposite of a dictator” (Butler and Goodenough, 2012, p. 185).

Typically, Butler began each session by allowing the musicians and the artist to play around with the material, letting ideas develop organically. After this initial period, he would return to review their progress and refine the arrangement collaboratively. As he described, “The result is a melting pot of emotions from everybody in that room [and] that’s what makes these moments the very best” (Butler and Goodenough, 2012, p. 186).

This organic approach allowed the musicians to move swiftly. A typical night's studio session would run approximately three hours and result in recording up to four songs (Stumbling, 2020, p. 2). Not all of these songs would be used and many would be 'scratch tracks', preliminary versions that would subsequently be re-recorded and/or overlaid with other tracks. However, it exemplifies the efficiency and creative speed that defined the recording process in Nashville.

This rapid, freeform style was a marked contrast to the tightly disciplined approach Julie had experienced on Broadway and in Hollywood, where recordings were meticulously planned and rehearsed. “In Nashville, we were literally making music as we went along,” she recalled. “I had no idea, any night I went into the studio, what I’d end up singing, in what key I’d be singing it…we just made music on the spot” (Hatch, 1983).

Initially hesitant, Julie came to embrace the looser, improvisational Nashville approach. “It was very good for me,” she admitted, “because I’m rather a careful person, and this made me loosen up” (Freeman, 1983). She also discovered a different quality in her voice. In their sessions, Butler encouraged Julie to “drop her voice an octave” and sing with a less classical tone (Barron, 1978, p. S79). She later expressed how singing with this “quiet voice…is very pleasant for me to use because it’s very easy…I don’t have to aim for high notes or a certain kind of purity. It just kind of is” (Freeman, 1983).

Over the course of more than a week, Julie recorded in excess of a dozen tracks, ranging from country classics like Crazy to contemporary crossover hits such as We Don’t Make Love Anymore, and even soft rock staples like You Don’t Bring Me Flowers. Most of these songs had already been recorded by other artists, with some indelibly associated with certain singers. This practice is common in country music, where professional songwriters craft songs that are reinterpreted by various performers, often multiple times (Cusic, 2005). Such a tradition reflects country music’s deep roots in oral storytelling and its communal repertoire, where emotional authenticity takes precedence over originality. Performers bring their unique artistry to familiar songs, transforming them into something distinctly their own (Peterson, 2013).

While Julie was still in the midst of recording, local gossip columnist Bill Hance (1978) reported that industry insiders were predicting big things. “Music Row sources say she is cutting an album so good she played a portion of it over the phone to her husband, film producer Blake Edwards, who was back home in Los Angeles.” Allegedly, Blake was so impressed by what he heard that he flew to Nashville to join Julie (Hance, 1978, p. D5). Hance also noted that her presence in the studio attracted a string of high-profile visitors, including Waylon Jennings, Roy Clark, and Johnny Cash (ibid; Anderson, 1978, p. 23).

Reflecting on this period in his memoirs, Butler described Julie as “one of the sweetest people I have ever met. She was totally unaffected by her success; she had no ego at all” (Butler & Goodenough, 2012, p. 143). One of his favourite anecdotes, frequently recounted in interviews, involved Julie visiting his home one evening. She asked for a sharp knife to trim the wicks of his candles, explaining, “They burn so much better when they are trimmed.” Amused, Butler thought, “I’ve got Mary Poppins trimming my wicks! That was so cool!” (ibid, p. 144). On another occasion, while taking a break during a late-night studio session, Butler proposed something unexpected:

“A friend of mine, nicknamed ‘Skull’ from the show Hee-Haw happened to own a strip club in Nashville’s Printer’s Alley. I said, ‘Julie, have you ever been to a strip club?’ ‘No!’ ‘How’d you like to go?’ With a sparkle in her eye and that delightful British accent came her reply, ‘Let’s do it!’” (Butler & Goodenough, 2012, p. 143-44).

Jimmy Capps, one of the Nashville A-Team session guitarists who worked on the album, has similarly fond memories of Julie:

"She was an international star. But she was a real lady in the studio. She was a class act...During our sessions, Julie hardly spoke at all. She let Larry Butler do all the producing. She didn't want very much input. She let us all play what we wanted, and how we thought was best. And it turned out to be great album" (Capps and England, 2018, p. 130).

You Don’t Bring Me Flowers: Polishing Up and Gathering Dust

Julie completed the main recording sessions by mid-June and returned to Los Angeles, where Blake was busy preparing for the release of The Revenge of the Pink Panther and starting pre-production on 10 (1979), which would mark Julie’s return to the big screen after a five-year absence (Andrews, 2019).

Meanwhile, back in Nashville, Butler began the meticulous process of polishing the recordings. As he described in his memoirs (Butler & Goodenough, 2012), this involved selecting the best takes from the sessions and adding layered tracks to create the signature rich Nashville sound. The legendary Jordanaires and other top Nashville vocalists provided backing vocals, while Bill Justis and Bergen White composed string arrangements performed by the Shelly Kurland Strings and the Nashville String Machine Musicians. With these elements in place, Butler mixed the tracks into their final form, ready for pressing.

Julie and Blake appeared optimistic about the album’s prospects. At the press preview for The Revenge of the Pink Panther, Hollywood columnist Shirley Eder reported that the party’s Western barbecue theme provided a fitting backdrop for Julie to share news of her Nashville venture. Eder wrote, “Mary Poppins singing C&W? Wanna bet she does darn good at it, too?!” (Eder, 1978, p. 15A).

Blake, in particular, was enthusiastic about the project’s potential. Marilyn Beck quoted him predicting significant industry interest: “[T]hree major recording firms are interested in buying it,” he said. “We’re also talking to ABC about using it as the take-off point for a TV special – but Julie says she will only be interested in doing the special if the album is a hit” (Beck, 1978, p. 16). Similarly, Maggie Daly of the Chicago Tribune captured Blake’s excitement: “It’s a new Julie with a whole new musical career in front of her” (Daly, 1978, p. 4-S5).

Despite this optimism, plans for the album ultimately stalled. There were a few murmurs of activity into early 1979. For instance, pre-publicity for 10 included press notes mentioning that “In the weeks just preceding the making of 10, Julie went to Nashville to cut an album which will have a new ‘Julie sound’” (Warner Bros, Inc., 1979, p. 3). After this, however, the project fell silent, and the album would not resurface for another three years.

Another Somebody Done Somebody Wrong Song: Revival and Reinvention

The turn of the decade marked a sharp reversal of fortunes for Julie. Between 1979 and 1982, she starred in four films, culminating in Victor/Victoria (1982), a critical and commercial triumph. The film earned her a Golden Globe Award, an Academy Award nomination, and accolades such as Hasty Pudding’s Woman of the Year and the People’s Choice Award for Favourite Film Actress. As one commentator quipped, “Julie Andrews has arrived. Again!” (McDaniel, 1982, p. 11).

This resurgence rekindled interest in Julie’s shelved country album. By late 1982, reports surfaced of her return to Nashville to collaborate once more with producer Larry Butler. The Tennessean announced: “Nashville producer Larry Butler and songstress Julie Andrews were recording a double album for a British label at the Sound Emporium this week” (Neese, 1982, p. 29). Similarly, Billboard reported: “Julie Andrews is working on her newest LP (a double album)…produced by Grammy Award-winning producer Larry Butler, with Harold Lee engineering” (Morris, 1982; Stein, 1982).

While the new album would draw substantially on tracks recorded in 1978, most reports framed it as a completely fresh venture, omitting mention of the earlier sessions—a likely marketing strategy to present the album as contemporary rather than a dusted-off project. One of the few media reports to acknowledge the earlier sessions appeared in Family Weekly which noted: 

“Julie Andrews…has gone off to Nashville to record with longtime Kenny Rogers producer Larry Butler…. Julie worked with Butler in Nashville in 1978 on similar material and was pleased with the results, but no record label made an offer for the album. Andrews hopes that by adding some new songs a major company may pick up the album” (Ask Them, 1983, p. 2).

Another piece in Country Music magazine quoted Julie’s personal manager, Jerry Nutting, as saying that Julie and Larry Butler “recorded 13 songs in 1978 [and] this year they recorded 12 more songs, and the entire package will be released in a 25-song double album” (Pugh, 1983, p. 17) Among the most notable new additions was a duet with Johnny Cash on Love Me Tender, which became both the album’s title track and, in some markets, a 45rpm single. Local Nashville columnist Red O’Donnell reported:

“Actress Julie Andrews came to Nashville with no advance warning to record a country music album. While in the studio, Johnny Cash dropped into the studio where the recording session was underway and sang a duet with her. ‘I don’t know if it is going to be on the album or not,’ said Cash. ‘Miss Andrews was cutting one of my songs, and I dropped in to thank her for doing it” (O’Donnell, 1982, p. 30).

Promotion for the pending album ramped up in late 1982 and 1983. Syndicated Hollywood correspondent, Bob Thomas, devoted one of his columns to the album:

“Julie Andrews has done it all – British vaudeville, Broadway musical, Hollywood extravaganzas, television series, children’s novels and now a country music album…After a career that has known Everest-like highs as well as a few lows, Julie Andrews at 47 still hunts for new challenges – like the country album…Larry Butler, who has supervised recordings by Kenny Rogers, Tammy Wynette and other country greats, produced the album. It will be released next year” (Thomas, 1982, p. 1)

In November 1982, Julie previewed a song from the album on Bob Hope’s Pink Panther Thanksgiving Gala. Billed as “an all-star spectacular celebrating the 20th anniversary of the Pink Panther films,” the program served as a promotional showcase for Blake Edwards’ projects (Barnes, 1982, p. 2C). Julie’s contributions included a duet with co-star Robert Preston from Victor/Victoria and a performance of Love is a Place Where Two People Fall, the album’s sole original composition, written for her by Larry Butler. Possibly to boost the program’s country appeal, Willie Nelson also appeared as a guest performer.

We Love Each Other: The British Launch

The “British label” that finally secured Julie’s country album was Peach River Records, an independent company established in 1980 by psychedelic folk singer turned music publisher Tim Hollier. Peach River was Hollier’s second venture into record labels, following the short-lived Songwriters Workshop. With distribution support from PLT (formerly PYE), Hollier assembled a small but eclectic roster of artists, including David Knopfler of Dire Straits fame, Papa Rage, and Peter Sarstedt (Larkin, 1998).

Releasing Julie’s album through a small independent label was, as one report noted, “rather unusual for such a well-known artist.” Julie explained: “They’ve given the album the kind of personal attention that I knew it would probably have missed had it been released by a major company” (White, 1983, p. 17). Julie may have been putting an overly positive spin on things, but Hollier certainly invested effort in the album’s UK launch.

The first task was selecting a title. In the early 1980s, duets between artists from disparate genres were popular—think Kenny Rogers and Kim Carnes’s Don’t Fall in Love with a Dreamer or Willie Nelson and Julio Iglesias’s To All the Girls I’ve Loved Before. Following this trend, the album was named after Julie’s duet with Johnny Cash, Love Me Tender.

Although early reports suggested a double-disc release, the album ultimately came out as a single LP featuring 14 tracks. The cover photograph, shot by renowned celebrity photographer Greg Gorman, perfectly complemented the album’s tone. It featured Julie in a cream wool jumper, gazing warmly at the camera with her chin resting on her hand, set against a taupe backdrop. The image exuded a mix of softness, warmth, and intimacy, mirroring the album’s vocal style.

Love Me Tender officially launched in the UK on 1 July 1983, under the catalogue number JULIE 1. Julie arrived in London at the end of June for an intensive promotional campaign, kicking off with a press conference at Burke’s Club on 27 June. Over the next week, she made numerous TV and radio appearances, participated in photo shoots, and gave one-on-one interviews at her suite in the Dorchester (Eborall, 1983, pp. 6–7; Seaton, 1983, p. 6). One photo shoot, featuring Julie beside a flower seller’s cart, evoked her My Fair Lady days as Eliza Doolittle, inspiring headlines like “Country L.P. for an English Rose” (Saturday Profile, 1983, p. 6).

The promotional push paid off handsomely. Love Me Tender initially launched with a 5,000-copy pressing, which sold out within a week. A second pressing of 30,000 copies followed—an exceptional figure for the UK market (Pugh, 1983, p. 17). By mid-July, the album was charting in the UK Top 100, where it remained for over five weeks, becoming Julie’s most successful non-film or non-show recording in the UK (Top 100, 1983, p. 20).

Buoyed by the success, Peach River quickly capitalised. In early August, they released a 45rpm single of the Love Me Tender duet. Later that year, they reissued Julie’s 1975 Christmas LP, The Secret of Christmas under the title Julie Andrews’ Christmas Album, with new cover art referencing the Love Me Tender design (New Albums, 1983, p. 25).

Blanket on the Ground: Global Rollout

One challenge of signing Love Me Tender to Peach River Records was the UK label’s lack of an established global distribution network. As a result, international rights were sub-licensed to various labels, leading to a patchwork of releases across different markets. For instance, the album was distributed by Attic in Canada, Dureco Benelux in the Netherlands, Splash Records in Spain, and Prince in South Africa.

In Australia, Love Me Tender was licensed to J&B Records, a mid-price label specialising in middle-of-the-road artists like Harry Secombe, Max Bygraves, Willie Nelson, and Anne Murray. Released in September, the Australian edition featured 16 tracks -- two more than the UK version. One of these, I Still Miss Someone (featuring Johnny Cash’s backing vocals), had been the B-side of the Love Me Tender single in the UK, while the other, We Don’t Make Love Anymore, was previously unreleased. J&B Records’ regional reach into Oceania and Southeast Asia helped the album achieve strong sales in the Australasian market (Guest & Maloney, 1991).

The Japanese release, however, stood out for its exceptional quality. Licensed to the prestigious Nippon Phonogram Company and distributed on the Philips label, the album was pressed by Victor Company in Yokohama and released in January 1984. Like the Australian edition, it included 16 tracks and featured specially commissioned liner notes by Shigeru Kawabata, a prominent music journalist for Tokyo Shimbun and Weekly Gendai. Kawabata wrote with genuine affection for Julie and the album:

“Even with the contemporary approach [of Love Me Tender], Julie avoids simply copying the standards. Her meticulous interpretation transforms these songs into her own. This care is evident in the way she speaks about the album. We are now holding the most refined and beautiful expression of contemporary standards in our hands. Just as Julie graced Broadway musicals with the elegance of serious musicianship, she has now opened another brilliant chapter with this studio recording. Discovering this gem amidst the overwhelming flow of today’s musical output is a quiet joy. I hope to continue treasuring such beautiful musical encounters in the future” (Kawabata, 1983).

At the opposite end of the spectrum was the album’s release in the United States. Despite being the heartland of country music, the American debut of Love Me Tender was disappointingly lacklustre. Licensed to the small Los Angeles-based Bainbridge Records --founded in 1980 by marketing veterans Stan Marshall and Lee Armstrong to service the middle-of-the-road (MOR) music market -- the label secured US rights in late 1982 but delayed the release until 1984 (Sippel, 1980). When it finally launched, minimal marketing and poor decisions -- such as reducing the track list to just 10 songs -- ensured the album barely made an impact. 

The reasons for the poorly handled US release remain unclear. By 1984, the countrypolitan wave had waned, and both critical and popular sentiment had shifted. Reviewing another Larry Butler-produced album, critic Dave Mulholland (1981) decried it as “Larry Butler’s production [of] standard countrypolitan mediocrity. It represents the worst of the Nashville assembly line” (p. 20).

Country audiences were gravitating back to a more classic sound, heralded by the rise of the neotraditionalist movement with a new breed of singers like Randy Travis, George Strait, and Reba McEntire. Mainstream audiences, meanwhile, had tired of the crossover sound, and by 1984, sales of country albums had dropped to their lowest levels in nearly a decade (Haslam, Haslam, & Chon, 1999, p. 259).

A 1983 Country Music magazine article profiling the UK launch of Love Me Tender reflects the growing skepticism toward pop artists crossing into country:

Twenty years ago, who could have foreseen...one of the most enduring staples of the music scene: the country album by the pop star. With few exceptions, however, most pop-star country albums -- generally conceived as last gasps of a faded career for an artist with little or no connection to country music -- make about as much impact as a bug flying into a windshield.  Now comes the latest to try her hand at the country album game, and one of the most ostensibly unlikely: Julie Andrews. "Julie has sold 25 million copies of soundtrack albums," said Jerry Nutting, her personal manager, "but she has never cut a solo album per se… We don't feel this is a 'gimmick' album. Julie is very sincere in doing it, very enthusiastic during the recordings and very hopeful of making a contribution to country music” (Pugh, 1983, p. 17).

While shifting cultural tides in American music by the mid-1980s were less than ideal for Love Me Tender, the complete absence of marketing effort remains puzzling. Extensive searches of newspaper databases reveal no mentions of the US release—no advertising, no press coverage, nothing. This is particularly odd given Bainbridge Records’ marketing background and stated goal to “renovate” the underserved MOR market (Sippel, 1980, p. 15).

Some Days Are Diamonds: Brickbats and Bouquets

Leaving aside the album’s oddly weak US push, Love Me Tender was generally well received in most other markets. It achieved solid sales and garnered decent airplay. While it didn’t attract extensive critical attention, the reviews it did receive were generally respectable. Some critics questioned Julie Andrews’ fit within the country genre, but others celebrated her versatility and praised the album’s polished production and heartfelt interpretations. Below is a selection of excerpts from reviews around the world:

Daily Mirror (UK): “Amazing – Julie Andrews and Johnny Cash singing Elvis Presley! It’s superb and deserves to be a hit” (Eggar, 1983, p. 19).

The Telegraph (UK): "If I had to put together a list of the Top Ten superstars I'd like to see in concert here, Julie's name wouldn't get written down. Until now that is. The courageous experiment of the star to risk her career in Nashville laying down a hoedown and applejack LP Love Me Tender, all the big names do it inevitably -- has been a huge success and broadened interest in her talents" (MacIlwaine, 1983, p. 11).

Gramophone (UK): “Julie Andrews? You would have to believe it if you heard her duetting with Johnny Cash in Love Me Tender, which has been picking up plenty of radio air play. That track gives us the title of Julie's own contribution to the Nashville  legend…The magic formula is here for all to appreciate once again - Larry Butler in charge of production, Billy Sherrill the engineer (who couldn't produce a bad record if he tried), strings by Shelley Kurland, and even the ubiquitous Hargus "Pig" Robins on piano. Yes, this is a fine recording and no mistake. But the voice is wrong. Frankly, Julie Andrews just isn't at home in Nashville: she is too sweet, too pure, too precise, too English. The few lines of Love Me Tender which the croaking Johnny Cash contributes spell out in a few seconds just what is wrong with the rest of the record. And to hear the very proper Julie Andrews (I'm sorry, but I can't help it if the 'image' sticks in my mind) naughtily singing of the potential pleasures of a Blanket on the ground is just too much for a listener of my sensibilities to take (Chislett, 1983, p. 541).

Manchester Evening News (UK): “It must be one of the most surprising double acts ever – Julie Andrews and Johnny Cash. The two have brought out Elvis Presley’s old classic, Love Me Tender, which was recorded at the home of country music, Nashville, with highly respected producer Larry Butler…Peach River Records say the combination may seem ‘extraordinary’ but it works ‘wonderfully’. To me it works for some of the times, but there are awkward moments and Cash sounds as though he’s singing deeper and deeper as age increases” (Jasper, 1983, p. 19).

Belfast News-Letter (UK): “Julie Andrews and Johnny Cash hoped to jump on the current pop duet bandwagon with a sweet ‘n’ sour version of Elvis Presley's Love Me Tender. But talk about square holes and round pegs! The Sound of Music songstress and the gravelly-voiced country star mix about as well as a one-armed man at a juggling party. For Julie is simply too good a singer and Cash too poor a singer for this oil and water combination to work” (McAdam, 1983, p. 8).

The Age (Australia): "Known for her crystalline voice and impeccable diction, Andrews takes a turn into the realm of country-inspired ballads, proving her versatility and emotional depth as a singer…Fans of her earlier work will appreciate how Andrews carries her trademark poise into this genre, while newcomers may find themselves enchanted by her ability to convey intimacy and sincerity. While some might question her foray into country, Andrews makes it her own, reminding listeners that great singing transcends musical styles" (Walker, 1983, p. 18).

Show Music (USA): "A few months back, we were moaning over the fact that Julie Andrews doesn't make it into the recording studios very often. Well, guess what? Peach River Records, Ltd., in England, has gotten the lady back on record in what is one of her best efforts. It was recorded in Nashville, and Miss Andrews takes to country-flavored songs like a duck takes to water. There are lovely versions of Some Days Are Diamonds, When I Dream, Crazy, We Love Each Other, and even a successful duet with Johnny Cash on the album's title-track. Julie sounds just great, and her sensitive readings of these songs make us hope that her next outing will be a collection of some of the best of recent Broadway material" (Preeo, 1983, p. 29).

The Advocate (Canada):  “Julie Andrews shows her country and pop side on Love Me Tender, an impressive album of soft melodies making the most of her beautiful, timeless voice. Produced in Nashville by Larry Butler, Love Me Tender includes the cream of Nashville’s musical community. Johnny Cash joins Andrews on Love Me Tender. They sound great together. When I Dream shows Andrews’ power to reach the heart of the listener, in this love ballad on loneliness. In this, her 23rd album so far, Andrews again adds to the sound of music around the world. You won't need a spoonful of sugar to make this LP enjoyable” (Kennedy, 1984, p. 34).

Fanfare (Canada):  “He’s out of his mind, they’re saying, he’s off the edge, Julie Andrews for God’s sake! You got it! Love Me Tender (Attic LAT-1189) is apparently her 23rd album, and it's as tasty a batch of country-baked tunes as have come down the pike in years. Lots of last-waltz-style material, which she does easy and effortless and entirely on the money. Larry Butler lavished outstanding Nashville production on it, and the 14 tracks (including a duet with Johnny Cash) are delivered in a warm, clear, wide-eyed voice. Julie Andrews says: ‘The songs aren't easy. They're simple, plain, honest, and that's the hardest thing to sing.’ She shouldn't have worried” (Flegler, 1985, p. 27).

‘The Valley That Time Forgot’: Epilogue

In the four decades since its release, Love Me Tender has been criminally overlooked. Unlike many of Julie’s other works, the album has never been issued on CD or made available in digital formats. Without the efforts of devoted fans to preserve and share tracks online, awareness of the album might have vanished entirely. This lack of visibility is regrettable, given the significant creative effort invested by Julie and the many talented collaborators who worked on the album over four years. From Larry Butler’s meticulous production to the contributions of Nashville’s A-Team musicians, Love Me Tender represents a labour of love that deserves to be remembered and appreciated.

This blog post is a modest attempt to redress the historical amnesia surrounding Love Me Tender and restore at least some recognition to this fascinating piece of Julie Andrews' legacy. It may not have achieved the commercial success or enduring acclaim of her other work, but it stands as a poignant reminder of her courage to embrace the unfamiliar and her dedication to creative exploration. In revisiting Love Me Tender, one is reminded of Julie’s ability to bring grace and sincerity to even the most unexpected of projects.

Sources:

Anderson, B. (1978). Bill Anderson’s Countryside. Nugget Focus. 21 July, p. 23.

Andrews, J. (2019). Home work: A memoir of my Hollywood years. Hachette.

Ask Them Editors. (1983). Ask them yourself. Family Weekly. 16 January, p. 2.

Barron, F. (1978). Soundtrack. The Hollywood Reporter 254(7), 12 July, p. S79.

Barnes, S. (1982). Hope honors Panther pictures. The Gazette. 20 November, p. 2C.

Beck, M. (1978). Seller says ‘Revenge’ is last Panther film. The Telegraph-Journal. 26 August, p. 16.

Beck, M. (1982). Julie Andrews cuts country record in Nashville. The Citizen. 30 June, p. 87.

Browning, G. (1978). They’re throwing a party for Julie. The Tennessean. 26 May, p. 35.

Burton Terry, C. (1978). Julie Andrews knows few limitations. Asbury Park Press. 6 March, p. A10.

Butler, L. & Goodenough, D. (2012). Just for the record: What it takes to make it in the music industry and in life. Indigo River Publishing.

Capps, J. & England, S. (2018). The man in back: Jimmy Capps, the autobiography. England Media.

Carter, W. (1978). Expansive city help greets Julie Andrews. The Tennessean. 3 June, pp. 1

Cheever, D. (1980). ‘Crossover’ artists straddle country-pop fence. Maine Event, 6(19). 8-14 November, p. 12.

Chislett, W. A. (1983). Easy listening: Love me tender. Gramophone. 61(725). October, p. 541.

Cunniff, A. (1980). Special tribute section: The Larry Butler success story. Record World 37(1716), 16 October, pp. 28-56.

Cusic, D. (2005). In defense of cover songs. Popular Music and Society, 28(2), 171–177. 

Daly, M. (1978). 3,000 miles for Shaun’s smiles. Chicago Tribune. 19 July, p. 4-S5.

Davis, V. (1983). Nanny Poppins sings Nashville. Daily Express. 25 June, p. 15.

Eborall, B. (1983). Just popping in…for ever Mary Poppins. Daily Post. 5 July, pp. 6-7.

Eder, S. (1978). Julie Andrews plans new album. Saturday Telegraph and News. 13 May, p. 5B.

Eder, S. (1978). ‘Panther’ party: fun in the sun. Detroit Free Press. 6 July, p. 15A.

Eggar, R. (1983). Rock & pop scene: tips for the top. Daily Mirror. 2 August, p. 19.

Evans, H. (1982). Julie Andrews goes country. The Spokesman Review. 7 November, p. 2.

Ferguson, T. (1972). Television. The Vancouver Sun. 11 September, p. 26.

Flegler, J. (1985). Julie Andrews: Love me tender. Fanfare, 8, p. 27

Freeman, C. (Producer). (1983, June 29). A Plus [Television broadcast]. Thames Television.

Guest, T.J. & Maloney, M. J. (1991). Thirty years of hits, 1960-1990: Melbourne Top 40 research. M.J. Maloney.

Goodman, B. (1976). Julie Andrews in TV spotlight. The Atlanta Journal. 19 October, p. 11-A.

Gold & Sneed. (1982). The music beat… Chicago Tribune. 24 October, p. 2-S1.

Hance, B. (1978). Julie Andrews turns country? The State Journal. 10 June, p. D-10.

Hance, B. (1978). Ray Price eyes comeback. The State Journal. 17 June, p. D-5.

Haslam, G. W., Haslam, A. R., & Chon, R. (1999). Workin' man blues: Country music in California. University of California Press.

Hatch, D. (Producer). (1983, June 6). Gloria Hunniford Show [Radio broadcast]. BBC Radio.

Hill, J. (2015). Country comes to town : The music industry and the transformation of nashville. University of Massachusetts Press.

Higham, C. (1977). The rise and fall – and rise – of Julie Andrews. The New York Times. 21 August, pp. C-1, C-22.

Hurst, J. (1978). Tomorrow’s country-pop superstars. Chicago Tribune Magazine. 26 November, pp. 24-25.

Iley, C. (1983). International dateline: United Kingdom. Cash Box. 3 September, p. 27.

Jasper, T. (1983). Pop parade: At the double. Manchester Evening News. 9 August, p. 19.

Kawabata, S. (1983). Liner notes [Liner notes]. In Julie Andrews, Love Me Tender [Album]. Philips. Japanese release, Catalogue No. 28PP-81.

Kawabata, S. (1991). The Japanese record industry. Popular Music 10(3), October, pp. 327–45.

Kennedy, G. (1984). Album corner: ‘Love Me Tender.’ The Advocate. 25 August, p. 3B.

Larkin, C. (Ed.). (1998). The encyclopedia of popular music (3rd ed.). Muze.

Leigh, S. (2012). Larry Butler: The only country record producer to win a Grammy. The Independent. 25 January, p. 42.

Manley, T. (1981). Hit man. Des Moines Register. 14 January, p. 1B.

McAdam, N. (1983). Rock: round pegs in two square holes. Belfast News-Letter. 5 August, p. 8.

McDaniel, W. (1982). Burying Mary Poppins. Spectrum. 23 April, 1982.

McNutt, R. (2000). Too hot to handle: An illustrated history of American recording studios of the twentieth century. HHP Books.

Morris, E. (1982). Studio track. Billboard, 94(41).16 October, p. 43.

Mulholland, D. (1981). Country style. Daily Herald Tribune. 6 February, p. 20.

Neese, S. (1982). Nashville Notes. The Tennessean. 25 September, p. 29.

New albums. (1983). Music Week. 29 October, p. 25.

O’Donnell, R. 1982. Some country singers picked new names. Johnson City Press. 13 November, p. 30.

Peterson, R.A. (2013). Creating country music: Fabricating authenticity. University of Chicago Press.

Preeo, M.O. (1983). New releases. Show Music 3(2), p 29.

Pugh, J. (1983). Mary Poppins Country. Country Music, 103, September/October, p. 17.

Saturday Profile. (1983, August 13). Country L.P. for an English rose. The Mail. p. 6.

Scott, V. (1975). Julie Andrews’ career is up in the air.’ The Sun-Telegram. 12 March, p. D-12. 

Scott, V. (1978). Semiretirement for Julie. The Sunday News. 25 May, p. 8C. 

Seaton, R. (1983). Julie’s different sound of music. Daily Express. 28 June, p. 6.

Sippel, J. (1980). MOR gets boost on the new L.A. Bainbridge label. Billboard. 22 Nov, p. 15.

Siskel, G. (1970). Julie Andrews an attractive 34 going on 18. Chicago Tribune. 22 March, p. E5.

Sloan, R.A. (1982). Gossip column: Chris Reeve still likes playing a super-hero. The Sun. 7 November, p. C-2.

Stein, S. (1982). Andrews music. Billboard, 94(50). 18 December, p. 28.

Stimeling, T. D. (Ed.). (2015). The country music reader. Oxford University Press.

Stimeling, T. D. (2020). Nashville cats: Record production in Music City. Oxford University Press.

Thomas, B. (1982). Julie Andrews, An over-achiever still in search of challenges – like country music. Variety News Chronicle Magazine. December 17-23, p. 1.

Top 100 Albums. (1983). Music Week. 13 August, p. 20.

Trauelsen, J. (1982). Just a country gal. The Daily Argus. 23 June, p. D1.

Trever Burchinger, E. (2000). He writes the songs that inspired a museum: Award-winning Larry Butler comes back home to Gulf Coast. Pensacola News Journal. 18 August, pp. B1-B3.

Walker, C. (1983). Records. The Age. 12 December, p. 17.

Warner Bros., Inc. (1979). Pressbook: 10. Warner Bros., Inc.

White, C. (1983). English rose blooms again. Music & Video Week. 23 July, p. 17.

Wood, G. (2012). Larry Butler. In P. Kingsbury (Ed.), The encyclopedia of country music (p. 70). Oxford University Press.

© 2024, Brett Farmer. All Rights Reserved.

[sexymonstersupercreep]

Top 16 Favorite Film Gowns

Gold

~~ Gentlemen Prefer Blondes (1953) ~~ The Curse of the Golden Flower (2006) ~~ Marie Antoinette (1938) ~~ Dune (2020) ~~ Darling Lili (1970) ~~ Shakespeare in Love (1998) ~~ The Portrait of a Lady (1996) ~~ Cleopatra (1963) ~~ Dune (1984) ~~ Restoration (1995) ~~ Coming to America (1988) ~~ Coming 2 America (2021) ~~ Hello Dolly (1969) ~~ Coverl Girl (1944) ~~ To Catch a Thief (1955) ~~ Donkey Skin (1970) ~~

[pvppy-flvff]

about . . . 🍎

pvp • they/them • bpd && did

yancore/darlingcore/bpd vent blog

@darling-flvff ❤💛💙

system . . . 🍋

tie-dye, he/they/she, 🕸.exe, 💚.luv

diet coke, he/him, 🌶.exe, ❤️‍🩹.luv

seraphim, she/her, 🪽.exe, 🤍.luv

glitz, he/him, 🐊.exe, 💜.luv

darlings . . . 🫐

buddy, he/him, 🐈.chr >> 💚

tadpole, he/him, 🧇.chr >> ❤️‍🩹

lily, she/her, 🥞.chr >> ❤️‍🩹

roses, they/them, 🥀.chr >> 💙

dollie, they/them, 🦇.chr >> 💜

rainbows, they/them, 🍭.chr >> 💙

[sweetestgirlblogger]

🎀 my rose garden dreams, set on fire by fiends… 🪽

[nityarawal]

4/2/2024

Morning Songs

John Doe

John Doe

John Dear

In Irany

Speak

John Doe

John Dear

Mystery John 

Middle Name John

How Many Names

Have You Got

Dear

Not A Number 

He's My Brother

He's My Father

Can't Be Jealous

Valentine's 

He's My Pope

He's My Father

He's Like God

Greatest Man

I Ever Knew

A Beatle

A President

But It's My Perception

Heart Light Eyes

Of A Daughter

Nothing Is More

Glorious

Then Ones Father

Taint It With

Big Jewish Men

On The Political

Platform

Kushner Kaplan

But Does

He Mollest

Like Daniel's 

Father

Kushner Cohen

What's The Difference 

Second Gentlemen

We Can Only

Vote For Elon

If He Has Better

"Influencers"

Surrounding Him

No Airforce Hookers

No Aliases

For Attys

Branding

No Daddy Dearests

In Backdrop

Thankyou

For The Offers

Darlings

But We Don't Need

Your Services

In Bed

Or Surrogates

But Will Accept X

Gratefully

We're Equipped

With 13 Kids

No Porn

Will Match 

Our Experience

We're Equipped

You Keep Meming

About Robots

At Rewind

No AI Needed

For They Were Made

In Our Likenesses

Like Lightning

Of The Divine

My Dopplegangers

Will Always Rise

Naturally

Katy Cats

Natalie's

Kimmy

Cheers

Paris

Britney

Beyonce

Lily

Anjelina

Mandy

Dolly

Cher

Glow

Because Of

Irany

Purity 

Starlight

But AI Songs

Hurt Our Ears

Slung In The Air

From Planes

Or Tied Under Desks

Enslaved To Lemon

Cars

Hurt Our Ears

With Crass

Football Players

Mentality

Masons Fraternities

That's Not X

For He Loves Me

That's Not X

For He Loves His 

Mother

That's Not X

For He Loves

Aunties

Nannies

And He's Been 

Wondering

When He Could

Bring A Cybertruck 

To Me

Heavens Splashed

Rainbows

X Blew Back

Rockets

Carbon Queen's

Cheered Him On

From Court

But He's So Endearing

Gotta Love Our

Lord No

It's More Fun

To Love Baby Jesus

Baby Buddha

Celebrate J.C.

Mitraism

The Sun

In #CampCalifornia

Like Pagan Natives

Isha

Instead 

Of A J.D.

Please

John Doe

We Know The Army

Language

For Sargeants

Tried To Pick Us Up

Dr's. Sodomising

Thankyou

We're Flattered

8 Years Of Cloying

Queen's Hands

Thankyou

We're Flattered

Evermore

Twitter Was Murdered

Like Two Of My Accounts

Shadowbanned

At Writers 

Expense

No Tips

But What About

The Blackbirds

The Children's

Mothers'

Shadowbanned

Singers

Estranged

Silenced Mothers'

Crying

Rockets Tears

On Rewind

What About Them

The Black Ravens

Won't Let Up

Beyonce Is Doing

A Mash Up

Of Beatles Songs

Blackbird

Who Got The

Job

Jolene

The Cyborg

Puppet Services

Who Got The Job

Planning A 

Beyonce

Britney

Irany Concert

Paris

Kimmy

Who Got The Job

Wanted Beatles 

Orators

Maharishi's Daughters'

T.M.

Lineage

Royals

To Be 

Us

And My

Babies

Of Tehrangeles

Merci

Peace In My

Family

Peace,

Nitya Nella Davigo Azam Moezzi Huntley Rawal 

[faerieroyal]

For the letter song ask game: "R"

ooooh, thanks so much for this, lili !! here’s the list for you:

— right where you left me by taylor swift.

— razzle dazzle from the musical chicago.

— run by maisie peters.

— running with the wolves by aurora.

— rent from the musical rent.

send me a letter and i’ll tell you five of my favorite songs that start with that letter !!

[ladypolitik]

[ellecdc]

Mother what pet names would the boys use for reader? I’m curious 👀

ouu I love this! I think I use pretty common ones in the fandom but here's my take:

James: I've used angel, sweetheart, the odd baby I think

Remus: dove/dovey (duh), love, and I've used lovebug and the odd babylove because...well....I'm a hoe for Remus and want to be called that so bad

Sirius: [in fics where it's just him x reader] I've used love; dollface, babydoll, dolly, baby, gorgeous

Regulus: amour, mon cheri, my love, and I love mon cœur

Barty: all of them, it's chaotic. I've always used Treasure (even when he's not in the ship because he's petty like that and would love the idea of making readers partners squirm knowing how important you are to him), sweetheart, angel, baby, sweetness

Lily: hmm sweetheart, lovie, gorgeous/beautiful (likes to see you blush), darling

[omegathebadbach]

Hay so i’ve decided to do a different one shot today which is a Star Wars au one shot of the bad Bach and it is like a modern au and whit echo he has been injured when he came home form the war and the reason why he wears pads it because some people who are injured like in accidents Thay are innocent which means they may lose control over there toilet which Thay have to wear pads so yeah and y/n she work whit younger clones so what she did was like a nursery nurse charge there nappy’s so pads are like nappy’s and sorry if my writing doesn’t make sense like I said I am autistic.

__________________________________

Hunter (I love this one of hunter and omega)

Me and my darling y/n we was married and we had omega and we decided to adopt a child as my darling wanted to adopt a child as we thought it was nice to have another child so we went to a an adoption centre for children we saw two set of twins a boys and a girls and we decided to adopt them the two boys one was only two and the other girl was two and the boy and girl were only babies and soon as we had signed the adoption papers and we soon took them home and I then went to pick omega up from school whist my darling y/n was at home whit are newest auditions to are family and soon as we got home she was excited to have some siblings and we was a happy family of seven because it was me and my darling y/n omega are two sons Tommy and Bobby and are two girls lily and Bluebell and my brothers were happy at They wear uncles again.

__________________________________

Echo

I was come home for the war I was in the army and I had got injured and I had therapy to help me and counselling and today was the day I was coming home to see my love y/n and my brothers were happy that I was coming home and so with my sister but what I didn’t tell my brothers I wanted to surprise both the girls so I went to see my love she was surprised and I told her that I was home for the army for good and she was surprised to see me different and I told her what happened and I told her at I had therapy and counselling to help me but I told her at I still need therapy and she said she would love to help me and she was made aware that I was now innocent which meant that I had no control of going to the toilet so she then said she would help me as I had to wear pads and she said I don’t mind helping you change them because I love you so so much my lovely echo and I know at if we are out like at the shops or going to the seaside I don’t mind changing your pads whit you my hunny and i was so glad to have my love y/n to help me I am so glad to have her as my girlfriend and soon she and i then then went to Omega high school to pick her up and she was surprised to see me I was a bit upset how they would’ve reacted to seeing me differently but they still loved me for who I was and they said that they would help me even my brothers to get through my new challenges I was so glad to have a family that love me and help me with my new challenges especially my love y/n I was happy to her her as my girlfriend and she was right about me and my pads been changed as she knew form helping clones when They were younger like babies so she worked as a nursery nurse charge there nappy’s so that is what she did whit my pads and I was very grateful for her and I asked her to be my wife so we would be married and I love her.

_______________________________

Wecher

now this big softy of a child was lovely he loved be a big child at heart and he loved you his sweet little baby girl y/n you both love be children you both love watching kids tv show and movies playing kids games and toys and you both had a lot of stuff toys you both had a tonka dolly each his was Lula and your was different colours that represent the different puzzle pieces that represented Autisam and you tonka dolly was called wecher Arthur him he loved it as he brought it for you for your birthday because he saw that it was different colours that represented the different puzzle pieces that made her special because she was to him and y/n she had to agree with him. (and yes before people ask No puzzle pieces are the same and that what autism is too.)

_____________________________________

Tech ( I love this one as he is stemming and stemming is an part of autistic traits that why I love this one)

My dear y/n was at home and I was working at a school wich was also this school at omega was at I was an biology teacher teaching biology and I had omega in my class and I had adhd and my dear y/n has autism and it was a bad one whit my adhd so omega told her class to go out of the class room and she got my phone out and she found my dear y/n number in my phone and call her and my dear explain where my medicine was and she told omega at she would ring hunter to pick her up to come to omega’s school and the school I work for and she told the headteacher about me and my bad day whit my adhd and she took me home and I was soon asleep in are bedroom and omega headteacher was go to take over my lesson and I was giving two weeks off form work at the school and I told Omega I was grateful for her help me whist I work at the school she attend to and I was grateful for her help me with my adhd days and she spot my adhd signs of my foot Tapping constant on the floor which she knew that it was going to cause me a lot of different emotions and she was also good in calling my dear y/n and my dear explaining to her where I kept my adhd medication and I was so I was glad for omega school at I work for to accept my adhd into there school for me working there and I am glad to have a family and a school I understand my adhd.

___________________________________

Crosshair (I love this one of Crosshair whit wecher and Lula it my favourite one)

Me and my doll y/n we had a day at the seaside we had my brothers and sister and fun and secretly I was having fun because I loved see my doll y/n i love her and see her so happy and so calm made me feel really happy and calm that really warmed my heart in the end I decided to have fun my doll y/n with her by building sandcastles and putting my feet in the sea and of course sea was a little bit cold for me and she laughed at the face I pulled she smiled and laughed at my funny face that I pulled and of course I knew that it was due to her autism and see how happy she was later on after the fun day we had at the seaside we all went back to our cars in one car was wrecker hunter echo and Omega in the other car was me and my doll and tech with the stuff we took to the seaside in mine and my dolls car my doll y/n she told tech that he could sit in the Front of the passenger side with me because she knew how he got travel sick and when I got everything packed in the car I looked in the back of the car to see that she was nearly asleep so luckily I had her neck pillow and her blanket in the boot of a car along with one of her soft toys because I knew that the fun day she had she was tired and I knew that she did have not her nap in the arther noon when we was driving home we had to pull over to a pit stop lay by because tech was feeling car sick and I saw him run out of the car and into the mens toilets to be sick whilst we had pulled into this layby I got out a special chair that was of the back of the seat near the passenger side I got my dolls y/n special chair out for her to take her into the disabled toilets she had woken up but I told her that we can put her back in the car and she could go back to sleep but I had to take her to the disabled toilet because of her autism she did not mind use woman toilet but she loved use the disabled toilet because of her autism so I told her I would be back in a minute I was just going to check on my brother to see if he was ok luckily the other car had echo hunter wecher and omega had followed us behind and stopped too I told hunter about tech and he told me at tech would swap cars whit echo so it was agreed I went back to see if my doll y/n was ok she was but she had fallen asleep again but luckily in her special chair so I got her back into the car and echo said I keep an eye on her until you come back form the toilet and I was we went home and she was still asleep so me and her were in are bedroom and I hear her say I love you Crosshair I whisper to her I love you to my dolly y/n and I was soon asleep arther we got home and we enjoy are day at the seaside.

————————————————————

A/n hay so see the top notes