#*cue the sarah mclachlan music*

[heatherfield]

I mean you got me to watch and you KNOW HOW HARD IT IS FOR ME TO START THINGS

But yes please watch headless my boy deserves all the love

I KNOW AND I LOVE IT SO MUCH!!

And to anyone reading this, PLEASE SAVE A BARD FROM BEING LOCKED OUT IN THE COLD AND WATCH "HEADLESS: A SLEEPY HOLLOW STORY".

Don't be like Baltus.

[rookie-critic]

City of Angels (1998, dir. Brad Silberling) - review by Rookie-Critic

The third stop on my Nicolas Cage weekly movie nights was an odd choice. After two absolutely unhinged films like Con Air and Face/Off, why would my friends' next choice be a rom-com between Cage and Meg Ryan that happens to be a remake of a beloved 80s film by auteur Wim Wenders? The answer was simple: The song "Iris" by The Goo Goo Dolls was written for this movie, and that was intriguing enough to give it a slot, and honestly I'm the kind of person who wants to devour an actor's entire filmography, especially for an actor like Nicolas Cage, so I didn't mind at all. I didn't have super high expectations going into this one, I'd never even heard of it before and, looking at the reviews, they didn't seem too favorable. However, I was pleasantly surprised by how well written, well acted, and just generally well made this was.

Cage and Ryan both give absolutely stellar performances, with Cage actually managing to draw a tear out of me with a line delivered towards the end of the film. Special shout out should also go to Dennis Franz, who is unforgettable as Nathaniel Messinger in the film. While the story may seem a tad ridiculous on the surface; an angel wants to become mortal after falling in love with a human woman, the film does a very good job of bringing that frankly wacky premise down to Earth and making it believable within the rules the movie sets up for itself. I know I've already mentioned that Cage gives a stellar performance in this, but I don't think I've really sold it enough, so I'm going to keep talking about it. This isn't Cage unhinged, this is Cage subdued. It's such a straight-laced, non-bombastic performance that I'm not sure I've ever seen out of him before. Even taking Pig into account, which by all metrics is a more subdued performance from his average outing, still has aspects to it that are wacky, and only one scene in this entire film sees Cage approaching his normal levels of insanity, but even then it fits within the confines of the character. I know that a lot of the charm surrounding Nicolas Cage is his crazed, frantic acting, but when I see him in films like this, like Pig, it makes me a little sad, because I know that he's more than capable of giving a truly incredible performance. One that's memorable for how good his acting is as opposed to how bizarre and bonkers it is, which, again, has its own charm and appeal. I don't necessarily want Cage's reputation as a wildman actor to go away, I don't want his legacy to consider how genuinely talented he is, as well.

While I don't understand the Tomatometer's 57% for this film (inversely to how I don't quite understand Face/Off's 92%), there are aspects of it that don't work for me. For one, while the dialogue is amazing, Ryan and Cage have absolutely no chemistry. Cage is definitely not the rom-com scene partner that Tom Hanks is to Ryan, and it shows. It really is their chemistry because, as I stated earlier, their performances are both stellar, but I just got nothing in the romance department out of them. Another lackluster piece of this puzzle is that it does lean over into overly sappy territory more than once, for sure. A lot of the music cues, while the songs themselves are good, were almost too much. One in particular, when Sarah McLachlan's "Angel" plays during a pivotal romance scene, was actually too much. This very possibly could be because of that song's connection to the ASPCA commercials from the mid-2000s, and if that is that case I can't really hold that against the film, but the on-the-nose nature of the song's titular line and the style of music it is was more of a hindrance than a help, as was the case for the scene where "Iris" plays.

One last thing I'll say in the con category is with a specific scene in the film in which we are shown flashes of black-and-white clips that don't really seem pertinent as well as black-and-white versions of things that had happened earlier in the movie. From what I understand, the black-and-white aspect of this is in reference to original Wim Wenders film, Wings of Desire, in which it is a major plot point that angels can't see color, which is all well and good except for the fact that this had never been established in City of Angels up to that point, which makes it very jarring and confusing as to why that was been presented that way. It also still doesn't answer what those other, unrelated clips were. The closest thing I think for them to be are shots from Wings of Desire that were placed there as a way to homage the original film, but I have no idea if that's true or not, and it still wouldn't make sense as to how they relate to Seth in this film. Regardless, City of Angels was great. It's one of the better genuinely fantastic performances I've seen out of Cage, the writing was awesome despite its leads' lack of chemistry, and most importantly, I had a fun time watching this with friends. What more can you ask for?

Score: 8/10

Currently available for rent/purchase on digital (iTunes, Amazon, Vudu, etc.) and on DVD & Blu-ray through Warner Bros./Regency.

[mysharona1987]

*cue sad Sarah McLachlan music*

[alittlepudge-neverhurtnobody]

Okay so what about david stating to gain alot of weight quickly and everyones kinda worried but he's actually just really happy and comfortable in his relationship + probably finding out hes kinda into it

(And maybe even patrick not knowing so he gets a bit worried too)

Oh I love this!! (As you may know from following me) wg as a sign of recovery/happiness/comfort is one of my favorite tropes of all time so I would love to see this for David!! either gaining weight when he starts getting comfortable with Patrick once they’ve settled the whole barbecue/olive branch debacle, or I could also see like, David waiting until after the wedding bc he has Very Specific Visions of how things should look and also probably has had pieces of that outfit picked out since his old life and where is he going to find a tailor here he can trust to let out the seams without causing irreparable damage? waiting after the wedding and then deciding that he’s not dieting anymore. after the wedding, he can eat whatever he wants, no matter what it is, no matter how much, no matter how often. he gets to eat specifically because he wants to, no more restricting or holding himself back or switching out to a healthier option. and his metabolism is slowing down, his body is settling a little more as he settles down, and so he does gain a lot of weight quickly but he also isn’t worrying about it the way he used to because he feels secure enough to let his body change without fear that his partner is going to reject him for it. 

but of course David has a history of worrying about these things and handling them Uh Pretty Badly, so when he starts plumping up, everyone starts swooping in to check on him. Johnny and Moira trying to ask after his mental health in their own awkward, less-than-helpful ways (”so, son ... you know, sometimes ... when someone isn’t talking about something that’s bothering them ... it comes out in, ah, you know ... other ways, like maybe, ah, a lot of cheeseburgers at the cafe -- I mean, at a cafe -- and, you know, it might help that person to, ah, talk about it!” / “DaViD, I do hope your emotional entanglements are not imposing a hamper on your wellBeInG, lest we reprise your cognitive doldrums of two! thousand! and! fiiiive!”), Alexis fussing over him and offering him a little bit of the high-end moisturizer she treats herself to because it’s infused with sweet orange oil and it’s, like, so good at lifting your spirits, David, like, you will feel like a whole new person with just, like, the teeniest smidge, and suggesting little trips and excursions because she thinks something is wrong and wants to perk him up, despite David not actually ... seeming down. but in the past his weight gains have always been accompanied by a lot of shame and guilt and heartbreak and he guesses he sort of quietly did all the unlearning about that and it didn’t occur to anyone else to do so, because they’re all hovering over him and making kind little offers and trying to help him when he does not need it, thank you very much!!

(cue Stevie in the background having a pleasant but more-than-vaguely threatening conversation with Patrick because if she finds out that, say, he hid something else from David, or he’s upsetting David in some way, well, is Patrick aware that there are bodies buried on the motel grounds that no one has ever found? no? interesting ... ! but Patrick’s a little worried too, because he’s heard David talk about his body in the past and his language isn’t always ... the kindest? so he’s sort of treating David with kid gloves, trying not to patronize him but also not to cause some kind of body-image meltdown. he very carefully doesn’t say anything about food or David’s steadily climbing weight or his snug clothes, but he tries to go heavy on the casual touches and affection so David can at least be secure that Patrick is here for him for whatever’s going on.)

finally Alexis says something while she and David are out browsing at some very sad little indie mall, like, seventeen towns over and the way she says it, it could be about his perceived mental anguish or his weight, and he kind of snaps back at her and tells her he’s very happy with his body, and he’s very happy period, thanks so much, squinty unamused smile, and she just looks him up and down and goes, “well, duh, David, it’s not like getting fat is a bad thing, it’s just historically been a bad thing for you,” and tosses her hair and pushes a sweater into his hands before flouncing away like this is fully how she intended this conversation to go. the sweater is a 3x and not completely awful and David doesn’t even own anything in a 3x yet but somehow she intuited that it would fit perfectly? (in the car on the way home he has Sarah McLachlan on and Alexis hasn’t said a word to complain about it yet, which means something is up, and finally she runs her fingers through the ends of her hair and goes, like there was no break in their conversation at all, “okay but like, I think we all just thought it was, like, the birthday clown thing all over again, and you were just going to go radio silent for like six months and we would all be, like, highkey worried about you even if we only seemed lowkey worried about you or, like, not worried about you at all, and then you’d come out, like, four sizes bigger and be super mean to yourself for like another six months before you lost it all, and, like, none of us want to see that happen again, David. not because of the weight. because we care about you and we don’t want you to go through that again.” she sits back hard in her seat and punches the stereo dial. “also because you’re listening to Sarah what’s-her-name with all those sad puppy commercials and, like, that does not suggest a healthy mental state, David, ugh.” David lets that sink in for a few minutes. He smiles to himself. He lets Alexis change the music.

and when he and Patrick finally talk about it, David tells him that he really doesn’t need to worry, maybe gives him the rundown on the behaviors he actually SHOULD worry about if David ever starts exhibiting (which he can fact-check with Alexis, who’s apparently been keeping the score way more than David has given her credit for). he tells Patrick that it actually feels very freeing, letting himself get bigger and not policing what he eats anymore, and he’s never really been in a situation before where he felt secure and safe enough to be comfortable exploring that, and obviously he would love if Patrick wanted to sort of ... get involved, so to speak?? and even if it isn’t Patrick’s kink the way it’s David’s, Patrick is VERY down to love on David’s body and learn to appreciate it in the Extremely Specific ways David wants it appreciated. he can’t imagine a situation where more David would ever be a bad thing, so it’s super, super exciting to learn that not only does David agree, but plans to make sure that there’s going to be a lot more of him going forward now that they’re both on the same page.

(ALSO i’m really into the idea of David having been heavy before, but by circumstance rather than decision, and now taking this opportunity to explore being fat deliberately instead!! I threw some words together about it a while back and I’m gonna put them under a cut bc it does mention unwanted wg from meds and I’m not sure if that’s a trigger for anyone!)

Trim is relative, of course. He’s gained a whopping thirty-eight pounds since moving here a few years ago, and — it’s fine, he’s made his peace with it, he just likes things to be intentional, his body included. He’d mind those thirty-eight pounds much less if he had gained them by indulging himself, by enjoying treats he had chosen specifically for pleasure, rather than by stress-eating in his motel room.

He’s been heavy before — in his early twenties, he’d tried an antidepressant that hollowed out his appetite and added sixty pounds to his frame. He hadn’t stayed on it long, because it made him sick when he drank and he wasn’t in a place to give up drinking then, or even to cut back, but the weight had lingered for a good six months before he'd managed to shave it off with party drugs and an absolutely punishing workout regimen. It’s intentional, he told people when they asked about the weight, because they did ask and it always disarmed them. And although it wasn’t true, he’d let himself think sometimes about the possibility. He kind of liked being heavy. He kind of liked taking up space. He kind of liked jiggling. It made him feel like some sort of prince, indulgent and luxurious, the picture of wealth, and he thought that maybe he could have more-than-liked it, if it had just been something he’d chosen.

[pjbehindthesun]

behind the sun playlist

courtesy of @gardenofstoney -- one of my very favorite humans, and if you know me, you know how short that list is, so really, she is a top-notch individual in every way. She's also a playlist genius. She imagined the fic so far as a movie and came up with an amazing soundtrack. I hope you enjoy it as much as I do -- here it is. (updated below with titles/youtube links for those without spotify)

1&2: Opening creds/background music. The Modern Lovers - Roadrunner The Replacements - Can’t Hardly Wait

3. Stone never met a girl like Cora Edwyn Collins - A Girl Like You

4. Background music Primitive Radio Gods - Standing Outside a Broken Telephone Booth With Money in my Hand

5. Heard blasting in Lucy's apartment The Pixies - Hey

6. Stoney&Cora Paul Westerberg - Dyslexic Heart

7. Jeff&Lucy Matthew Sweet - I’ve Been Waiting

8. Cora lying awake in Stone's bed PJ Harvey - Beautiful Feeling

9. Stone&Jeff driving ("Ps- since I couldn't go in great detail, there might be greater detail about why I exactly chose these songs but all I will say for now is #9 is like a Tommy Boy moment for Stone and Jeff driving some evening. Jeff picks him up and they're fighting over the radio and they both are like "you can change it if you want" "it's your car..." "I mean I'm okay with it if you are..." "[shrug]" [cue both singing along mid-song]") Natalie Merchant - Carnival

10. S&C Thunderpussy - Torpedo Love

11. S&C R.E.M. - Nightswimming

12. Cora reflection Sarah McLachlan - Possession

13. Stone reflection Cracker - Low

14. S&C The Swell Season - Low Rising

15. End creds Red Hot Chili Peppers - Behind the Sun

[adrimakesart]

Introducing: Sponsor A Sketch!

Trying out something new--I have a ton of unfinished sketches plugging up my hard drive so I want to give these otherwise neglected scribbles a new chance at life *cue sad Sarah McLachlan music*

Above are five uncompleted drawings - some new, some not so new. Each sketch has a corresponding Ko-Fi post where you can pledge money towards it's completion goal of $300. If a sketch reaches its completion goal, it will be inked and fully colored with a rendered background AND posted in high resolution for everyone to download, not just for sponsors! (The only stipulation with this is that you use the image for personal, non-commercial purposes - I still retain the rights to the artwork upon completion.) If you choose to sponsor a sketch (or two or three or all five), please specify in the comment field of your Ko-Fi donation so that I can credit you as a sponsor! Unless you'd rather not be credited - up to you! Also: all of these sketches will remain up indefinitely until they reach their respective completion goal - so no deadline, no pressure ♥

To sponsor Terra Branford, click here: https://ko-fi.com/post/Sponsor-A-Sketch---Terra-T6T7IZ3B

To sponsor Crazy Cafeteria Cat, click here: https://ko-fi.com/post/Sponsor-A-Sketch---Crazy-Cafeteria-Cat-A0A8IZ3H

To sponsor BotW Link, click here: https://ko-fi.com/post/Sponsor-A-Sketch---Link-M4M2IZ3O

To sponsor Omega Flowey, click here: https://ko-fi.com/post/Sponsor-A-Sketch---Omega-Flowey-N4N2IZ3R

To sponsor Buff Shark Lady, click here: https://ko-fi.com/post/Sponsor-A-Sketch---Buff-Shark-N4N6IZ48

[aliceviceroy]

As the child of Baptist missionaries, I spent a multitude of hours in hundreds of churches throughout the United States. Now comfortably unaffiliated, (but spiritual in a sense that Sarah McLachlan would approve of) I don’t want to become the enlightened-former-believer who mocks their strict upbringing upon seeing the secular light. Religion added a lot to my life! (For example. I didn’t take SAT prep classes. I read the King James version of the Bible growing up and miraculously scored a 700 on the reading section. Holla-lujah.)

But, as I grew older, it became clearer that everything I thought I’d miss about being a church-going Evangelical could be replicated in a secular context. In some ways, replicated in an even more satisfying way. Here are a few examples of cherished characteristics of the Christian life one might miss when they leave the flock and ways to fill that hole in your soul.

A moral conscious and inescapable guilt

Watched a “Rated R” movie? Cue guilt. Tried your first beer? Cue guilt. Voted for Obama? Cue guilt. Guilt is one of the defining qualities of being a Christian. As it is written, If you’re a Christian and you pulled the metaphorical lever for the Democratic party, you might have felt a deep pressure in your chest. That’s good. This guilt, Christians argue, is the sign you know you are in good standing with God.

Secular alternative: Volunteering.

Working with underprivileged youth, the poor, the disabled instantly conjures hard questions. Why am I healthy? Why did I have a loving family? It’s hard. Luckily, we can use this guilt as a way for motivation to do something to help someone else. Misplaced guilt doesn’t do anyone any good. And it doesn’t take a spiritual foundation to feel compassion for others.

Now, you might respond that Christians are avid volunteer workers. You’re right. Between raising money for the Boy Scout troop, the new gymnasium, or Deacon Bob’s colonoscopy, Christians are constantly searching for ways to spread the good news. Except, sometimes, their volunteering is a sneaky cover for a more everlasting mission. Want a sandwich, poor person? Take this ham and cheese AND this pamphlet to learn how you can never be hungry. Ever. Again. Which makes it less selfless volunteering and more experiential marketing.

_____

Music: the soundtrack of faith

It doesn’t matter if you profess to be the most fervent disciple of Christopher Hitchens, Richard Dawkins or Pontius Pilate, one cannot hear How Great Thou Artand not be moved. In a congregational setting, it’s pure magic. Whether you prefer the classics of Isaac Watts or Charles Wesley, modern day worship anthems, or a great gospel choir, music is fundamental to the experience of being in church.

Secular alternative: Go to a concert (ideally a Coldplay or Passion Pit concert)

Coldplay’s concerts are meticulously produced to give attendees all the tears, unity, and inspiration of a worship service without asking you to determine the fate of your eternal soul afterward. Speaking in tongues will take new meaning during Viva la Vida, as you chant with thousands mesmerized by your charismatic leader, Chris Martin. Additionally, Passion Pit concerts are the greatest form of pop rave, where hooking up and dancing are about celebrating life and humanity. It’s beautiful. But if you still miss hearing How Great Thou Art, watch the Country Music Awards.

_____

Referencing the word of God

The Bible is a very quotable book. The apostle Paul wrote to his pupil Timothy that the Scripture is useful for doctrine, correction, and understanding. Regardless of whether you believe that the Bible is recalling actual historical events or simply moderately convincing myths, the versatility of the Bible is undeniable. If you’re facing instances where you feel pressured by your wife to procreate with your slave? There’s a verse for that. Find yourself having a dinner party of say, 5,000, and have nothing to serve them? There’s a verse for that too. This ability for the Bible to fit almost every situation makes it an essential addition to hotel rooms, United States court houses, and bookshelves everywhere.

Secular solution: Watch Glee

In many ways, the Glee Club at McKinley High is very much like a local church youth group. Intergroup dating? Check. Life lessons on the dangers of drinking and sex? Check. Singing? Uh, maybe some singing. And ask yourself this. Does the Bible have a verse on the dangers of texting while driving? Maybe in the Gnostic gospels. But we Baptists don’t count those.

_____

Finger Food Fellowships and other casual dining

One of the most passionately followed passages of Scripture is “Thou preparest a table before me.” Between pot-luck dinners, pre-service donuts and coffee, barbeques, church picnics, food is abundant. As it is written, “Where two or three are gathered in My name, there shall be a pizza in their midst.” (RWT) If you hunger and thirst for a great meal as much as you do righteousness, Christianity might be hard to leave.

Secular alternative: None

This is hard. For secularists and non-believers, typically we congregate over coffee, a beer or glass of wine. Maybe wing-night at the local pub. As satisfying as this can be, I’ll be honest. Nothing can beat a great meal with seconds and thirds of Ziti, macaroni and cheese, and Sprite-spiked punch. St. Peter, you win this round.

_____

Fellowship

Perhaps the most important thing people miss upon leaving their church is the sense of community that comes with your. Having someone to call, check on your ailing mother, or someone to pray with, church provides a support system that is invaluable.

Secular alternative: Make a friend

I grew up being taught that there were two kinds of people in the world: people of the “kingdom of light” and people in the “kingdom of darkness”. These people were slaves to Satan. They were sick and in need of saving. Looking at my fellow fifth graders threw such a prism didn’t make me want to invite them to shoot hoops after school. I didn’t know how to make a friend without Jesus making the introduction. And I missed out.

So I understand there is something special about having a prepackaged way to have friends and people to care about. But with a little effort and a more open perspective on the possibilities all people can bring to your life, people to care about can come from any corner of life. Because I now determine the things in life I value, I look for people to share those values too. I don’t need a preordained fraternity to join. Just the choice to share life with one or a few.

[the2devons]

*cue sad Sarah Mclachlan music* 🎶🎶There's a pencil sticking out of his faaaccceee!🎶🎶🎶 Sorry, had a Patrice O'Neal moment 😂 No cats were harmed in the making of this picture 😂 🤦🏽‍♀️ (at I don't know) https://www.instagram.com/p/CHWapaOlpri/?igshid=4cov49o1fnmf

[jmsa1287]

Taylor Swift is Out of the Woods on Surprise Album 'folklore'

a week later and im finally ready to unpack “folklore”

Since her career-defining album "Red" in 2012, Taylor Swift has leaned harder and harder into hyper-glossy pop music. It was on that album that she first toyed with the idea that she could be as big as Rihanna, Lady Gaga and Beyonce; she had one foot planted in the country music roots where she started her career ("All Too Well" and "Begin Again") and the other foot planted in Top 40 radio ("22," "We Are Never Ever Getting Back Together"). With the help of pop producer extraordinaire Max Martin, Swift unsurprisingly found massive success with crossing over into pop stardom, making her best-selling album to date, the super-radio-friendly "1989" in 2014.

"folklore," the eighth studio album from Swift, came as a surprise; huge considering how precisely planned her career has gone, something she detailed in her recent Netflix documentary. The singer announced the project just hours before its release last Thursday. The new music also comes less than a year after her 2019 album "Lover," an album similar to "Red" but in reverse: "Lover" has its share of bops ("Cruel Summer," "The Man") but it also felt like Swift was interested in a different sound ("The Archer," "False God"), that is closer to the music she made at the beginning of her career but still remains own thing. It also lays the groundwork for "folklore."

On "folklore," Swift teams up with Aaron Dessner, a member of the indie-rock band the National. Known for their melancholy lyrics and sullen sound, he produces most of the songs on the album but Jack Antonoff, her longtime collaborator, shows up on a number of tracks. On top of that, Bon Iver (Justin Vernon) is featured on the track "Exile." Swift's production choices — just like the name of her album and its black-and-white imagery — are pointed. Bon Iver's breakout debut album "For Emma, Forever Ago" back in 2007 was noted for being recorded in isolation in a hunting cabin in Wisconsin. Swift wants you to know that she's growing up — using tired tropes and symbolism to broadcast that — but she's finally moving away from her maximalist sound (the less said her 2017 "Reputation" the better) and made that "indie record much cooler than mine."

"folklore" isn't really an indie-sounding album, however. Here, Swift, a gifted songwriter, sounds more like Sarah McLachlan who touches on sounds from '10 indie artists, like Sufjan Stevens ("seven"), Arcade Fire ("this is me trying"), Beach House ("mirror ball") and more (and of course the National and Bon Iver). Swift plays with shoegaze reverb while crafting some of her most clever lyrics; "folklore" is an album that builds upon itself and one that is self-referential. Not only does Swift wink back to songs from her previous albums, "folklore" is a cinematic record (Swift takes cues from Lana Del Rey, who also frequently works with Antonoff, on songs "cardigan" and "seven") with Swift telling stories from different perspectives. "the last great american dynasty" is about Rebekah Harkness, the high society socialite that lived in the Rhode Island house Swift now owns. "august" — one of Swift's best songs in her career — is about a love triangle gone wrong and its sequel, the stunning "betty" finds Swift singing from the male perspective with some noting that she's dabbling in queer songwriting.

Regardless of Swift's influences on "folklore" the best part of the new music is that she still firmly, and confidently, sounds like herself. Though not a powerhouse singer, she has a way of singing and writing music that is undeniably her. The way she emphasizes certain syllables (like in "illicit affairs" and "invisible string") and uses country music phrasing takes a song over-the-top. Swift playing in indie-rock sounds is an exciting new direction for the singer and yet another example of quarantine sparking artists into making some of their best work.

"In isolation my imagination has run wild and this album is the result, a collection of songs and stories that flowed like a stream of consciousness," Swift said of the album on Instagram. "Picking up a pen was my way of escaping into fantasy, history, and memory. I've told these stories to the best of my ability with all the love, wonder, and whimsy they deserve. Now it's up to you to pass them down."

"folklore" is a brilliant album but it more importantly finds Swift in a totally different mode. It's a bit annoying that she uses rock music signifiers to show that her music is now "serious" or more "authentic"; Swift's music has long been soulful, insightful and crushing. Swift is maturing as an artist (she drops the "F" bomb more than once here - a first for the 30-year-old musician!), and "folklore" succeeds because she's able to try something bold and different without losing who she is. "folklore" is a lush album that mostly suits Swift's abilities as an artist, easily becoming one of her best albums to date.

[thebarksy]

BWW Review: Samantha Barks Brings Broadway, Bieber, and Breakups to Feinstein's/54 Below in New York Solo Debut

Friday evening at Feinstein's/54 Below was one unlike any I had experienced in quite a long time. I've been a regular at the intimate midtown venue since it opened its doors over five years ago. I feel that I've blessedly had the chance to see all of the "above the marquee" (aka top-price) talent on my bucket list. Streisand, Bernadette, Liza, Stritch, Stokes, Chenoweth, Osnes, Benanti, Salonga--- hard to top this roster when it comes to an evening of pure vocal perfection and undeniable star-power.

This past weekend, as the Isle of Man's Samantha Barks made her much-anticipated United States solo debut, I saw a performer whose presence and voice created a thrill, if not completely on par with, definitely in the same conversation as what I felt the first time I saw Lea in concert.

Discovered first by UK theatre nerds in 2008 when she came in third place on the OLIVER!casting reality show I'D DO ANYTHING, hers wasn't a name known to the international audience until she landed the plum role of Eponine in the major motion picture adaptation of LES MISERABLES. Rounding out a sizzling ensemble of film stars in the stratosphere, Barks' casting was among the last roles to be filled. Along with a still-not-quite-yet-a-sex-symbol Aaron Tveit, she was easily the least famous person among the principal players. But any good LES MIZ fan already knew from her breathtaking 25th Anniversary Concert performance that "Dear 'Ponine" was to be in good hands.

Following her hauntingly beautiful cinematic debut and numerous head-turning appearances on the red carpet, Barks has gone on to starring roles in major London productions of CITY OF ANGELS, THE LAST FIVE YEARS and HONEYMOON IN VEGAS as well as originated the title role in Berkeley Rep's world premiere of AMELIE.

Long a fan of her powerful, versatile voice, this long-awaited debut was one I was not about to miss. The mood at the venue was energetic, the crowd largely consisting of excited teenagers and Wall Street "bros" who were clearly familiar with Barks' work. She took the stage, greeted by enthusiastic applause, and opened with the pop-folk single "Troublemaker" from her 2016 self-titled solo album.

Not having heard the album or this track before, I was immediately struck by the easy tone of her voice. She didn't sound overly "musical theatre." She didn't sound like a Disney princess. If I had to find a resemblance, I'd say she sounded a bit like Taylor Swift (who was once rumored as a potential Eponine) on a very healthy day. And I mean this as a compliment to both of them. It's no secret that many of the best vocalists out there are steered into pop-country, a medium that benefits greatly from raw talent (hello Rachel Potter!) without the need for fancy auto-tuning and producer sorcery.

Introducing herself to the packed house, and making most of us feel very old, Barks mentioned that 54 Below actually played a part in her upbringing.

"I grew up on an island called the Isle of Man. We had lovely theatre, but being able to watch [YouTube videos] of 54 Below was my cool thing to do. It's where I went to see all of my favorite people, so it's very much an honor to be here tonight."

Not wasting any time, she started "at the very beginning" and delivered a sultry torch version of "As Long As He Needs Me" from OLIVER! Her voice immediately took on a smokey, age-infused quality, an impressive contrast to the younger, lighter vocals demonstrated with her opening tune.

After a pair of breezy anecdotes about her love of "Sex and the City" (complete with unsuccessful attempt at finding her inner Carrie Bradshaw), things got a little bit more country with a stunning arrangement of The Band Perry's "If I Die Young" before leading effortlessly into the riff-heavy, unconventionally anthemic "Hard to Find" from Barks' album. The great Billy Stritch manned the piano the entire evening.

Describing herself as "the ultimate Cupid, responsible now for two marriages," the charming performer recounted the story of her sister's wedding, which "manifested itself in [Barks making] the ugliest face ever" as she ugly-cried in front of friends and family. Cue seamless transition into an old favorite, "dedicated to [her] sister, for ruining her wedding." That favorite: "Summertime."

To which at least one of us in the audience endured a brief moment of, "Do we really need a new rendition of this song?" The answer, it would turn out, is absolutely. Her voice, now at once smooth and raspy, lent itself ideally to what can best be described a heartfelt, gin-soaked tribute to the countless great jazz divas to color the Gershwin classic over the decades.

Going further back into her musical memory, Barks recalled first hearing the next tune on a children's choir album as a youth. It was a seemingly personal discovery and a favorite at a young age... before being informed by her father that, indeed, "Blackbird" was by The Beatles. She followed up a lilting "Blackbird" with her deeply emotional take on Sarah McLachlan's TOY STORY tearjerker, "When He Loved Me." The song has struck a chord with me since Laura Osnes performed it at Café Carlyle in memory of her mother.

At risk of letting the tone get too serious on a Friday night, Barks asked, "Any Justin Bieber fans here tonight?" There were. And I am. There's really not much I can say about what was to follow, except that she led the house in a rousing singalong of "Love Yourself"

At this point, a gentleman in the front row felt compelled to inform Barks that the song is about Selena Gomez. Not breaking her stride, she replied, "Was it? Do you know what? Originally it was a bit ruder, wasn't it? I thought I'd keep it civilized!"

Frome one break-up song to the next, Barks slipped effortlessly back into her clarion-voiced folk-pop dialect, following up the Bieber Break with Burt Bacharach and Katy Perry's respective meditations on lost love, "This House Is Empty Now" and "The One That Got Away."

What struck me most about the evening as a whole is how completely it managed to tell a story of loss, heartbreak and healing almost entirely through song interpretation. With minimal setup and only very essential between-song banter, Barks brought us all out safely on the other side with Joni Mitchell's reverent, introspective "Both Sides Now".

In keeping with the theme (if not necessarily the style) of the evening, Barks closed out her set with yet another breakup-related song, but it was one that leaves everyone in a great mood. Having recently starred in a London production of THE LAST FIVE YEARS, the actress let us know it was time to belt. And it was here that we heard her raw, unadulterated musical theatre power as she made short work of the wildly difficult "I Can Do Better Than That." You might even describe it as fresh, undiluted and pure. It was, as a matter of fact, top of the line.

Speaking personally, Barks' New York solo debut was everything I want in an intimate evening with a top-notch talent at 54 Below. Traversing a varied terrain of genres, she demonstrated a skill set that fully supports my belief that she is one of the most essential musical theatre artists working today.

A pleasant, engaging storyteller, she was clearly enjoying herself and seemed totally at ease from the start. With flowing, succinct anecdotes, glowing smile and quirky, self-effacing humor, Barks' persona is aggressively likable. But in the end it was her powerful, versatile voice and pitch-perfect relationship with her music that steered the ship and created something quite remarkable.

From small British island to reality TV runner-up to West End regular to film star to the New York cabaret stage. We all left the room with only one question: when will it be time for Broadway?

Oh, and she did return to the stage for an encore. "I left one out," she laughed. It was "On My Own." And it was glorious.

[stray-bebe]

Humans r just not cutting it guys, someone cue the Sarah McLachlan music so we can get this show on the road

[nintendoduck-blog]

Romantic Quotes For Your Valentine’s Day Cards

New Post has been published on https://www.vivrelereve.co.uk/romantic-quotes-for-your-valentines-day-cards/

Romantic Quotes For Your Valentine’s Day Cards

Romantic Quotes For Your Valentine’s Day Cards

So you’ve already picked out that perfect Valentine’s Day card, but you need some ideas for what to write inside? You’re in the right place! Here, we offer up inspiration to help you find just the right loving words to add when you sign a valentine. However you use these quotes, we hope our guide adds a little fun to your Valentine’s Day cards writing.

Love is a many splendored thing. Love lifts us up where we belong. All you need is love! – Moulin Rouge

The Eskimos had fifty-two names for snow because it was important to them: there ought to be as many for love – Margaret Atwood

If you live to be a hundred, I want to live to be a hundred minus one day so I never have to live without you  – A. A. Milne

I fell in love the way you fall asleep; slowly, then all at once – John Green

Above all things, I believe in love – Moulin Rouge

I love you. I am who I am because of you. You are every reason, every hope, and every dream I’ve ever had, and no matter what happens to us in the future, every day we are together is the greatest day of my life – The Notebook

When I saw you, I fell in love, and you smiled because you knew – William Shakespeare

You and I are meant to be together. Period. The end. Cue happy-ending music – Dawson’s Creek

Love is like the wind. You can’t see it, but you can feel it – A Walk To Remember

Because of you, I can feel myself slowly but surely becoming the me I have always dreamed of being – Tyler Knott Gregson

You be the anchor that keeps my feet on the ground. I’ll be the wings that keep your heart in the clouds – Mayday Parade

You should be kissed, and often, by someone who knows how –Gone with the Wind

You have bewitched me, body and soul – Mr. Darcy, Pride & Prejudice

Your lips are like wine, and I want to get drunk  – William Shakespeare

The best thing to hold onto in life is each other  – Audrey Hepburn

Yours are the sweetest eyes I’ve ever seen  – Sir Elton John

I belong with you and you belong with me—you’re my sweetheart – The Lumineers

You are a work of art – Morrissey

Love me tender; love me sweet. Never let me go  – Elvis

I love you more than I could ever promise because you take me the way I am – Ingrid Michaelson

Your love is better than chocolate. Better than anything else that I’ve tried – Sarah McLachlan

You must allow me to tell you how ardently I admire and love you – Pride and Prejudice

[rainbowgirl26]

Cue the Sarah McLachlan music 🎹😭💙🐾 #woofwoof #barkbark #unconditionallove #mydogiscuterthanyours #notthiscrapagain #dogsofinstagram #dogstagram #instadog #installove #jakefromstatefarmlab #nofilter https://www.instagram.com/p/Bs6uHf7hjZr/?utm_source=ig_tumblr_share&igshid=1hke2fetb2uku

[destinationturkey-blog]

Am I Dreaming? Cats and Dogs Everywhere

The stray cat and dog population in the city of Antalya is huge. Walk anywhere in the city and pass dogs napping on the sidewalk and cats basking in the sun. You may imagine unkempt mutts looking depressed (cue Sarah McLachlan music). Instead, you see Black Labs, Kangals (native shepherd dogs), and other mixed-breed beauties, along with sweet kitties of every color combination. Mind you – these are not starving, sickly animals. Most look – and are – well-fed and are pretty well taken care of by the locals. Outside of many apartments, businesses, and at bus stops you will find plastic containers filled with water. Several local restaurants or markets give the animals leftovers, and many locals give the animals their scraps or pet food. We recently ate at a local fish restaurant with outdoor seating, and trust me when I say the cats there eat much better than my own pampered kitty.

Parks are also a safe-haven for the cats and dogs of the streets. Several parks feature cat and dog houses, along with food and water bowls. Additionally, there are several signs and posters to make people aware of the consequences of doing anything to damage the well-being of these animals, and the legal actions that can be taken against any individual violating these animals rights.

The Turkish government has chosen to regulate the dog population the best it can by using catch-and-release techniques, as opposed to the common practice of euthanasia of unwanted or unclaimed dogs in the United States. Of course, any city budget only allows for so much, but dogs that are caught are spayed or neutered, receive vaccines, are treated for any illnesses or infections, and receive ear-tags for identification before being re-released to the neighborhood where they were originally found. Several localities attempt to re-home the animals if possible. Others offer the option of giving the animal a “protective family”, who can provide care, but cannot keep the animal in their home.

Unfortunately, from what I can tell, the campaign that seems to be containing the dog population is not in effect, or at least not as effective, for the stray cats. Several of the cats I see on the street are pregnant, and I have come across several new kitten friends at parks and bus stops. I’m going to look further into this, and hopefully can spend some of my time here figuring out a way to help, even in a small way. As much as I adore making new kitty friends, it is important to keep the population at bay in order to continue to take good care of the babes that do live on the streets.

It has been common to have roaming cats and dogs in Turkish culture for hundreds of years. Maybe this is what stems the compassion the animals receive, or maybe it is just our nature to step up when we see a pup or kitty in need. Maybe other countries could consider Antalya, and create – what I consider to be – a much more humane policy for our cat and dog friends living on the streets.  

Check out @sarperduman on Instagram - great pianist from Istanbul who rescues injured street cats 

[pudgy-puk]

♪♪♪

scions of the seventh dawn-writing music! in order: 2.0, 2.55, 3.x.

“the time of the turning (reprise)” by peter gabriel ft. alison goldfrapp

it’s the time of the turning and the old world’s fallingnothing you can do can stop the next emergingtime of the turning, and we’d better learn to say our goodbyes

“sultana” by cornerstone cues

[instrumental]

“world on fire” by sarah mclachlan

still there’s talk ofsaving souls, still the coldis closing in on us

[psychicadviceus]

Feed the Zombies Black, XXXL- $9.99

New Post has been published on http://aopsy.com/index.php/2017/09/16/feed-the-zombies-black-xxxl-9-99/

Feed the Zombies Black, XXXL- $9.99

Sponsor a zombie today*cue Sarah McLachlan music and video panning around sad-eyed zombies* Here at Feed the Zombies, our mission is to provide food and necessities to those turned away by society. Those without life’s essentials. The needy undead. Many…