#Anton Kelly

[skywasyellowsunwasblue]

I stumbled on this book in 1975.

Nine years prior, Alton Kelley literally lifted (pocket knife) the lithograph from a copy in the SF Public Library, rare book collection. Kelley and Stanley (Mouse) Miller used it in the famous Avalon Ballroom concert poster.

https://www.rollingstone.com/music/music-features/grateful-dead-original-art-logo-1316160/amp/

Lots of great quatrains about life and death, and many great illustrations.

Great condition. Published nearly 90 years ago.

Make an offer. Not me saw this posted.

[resplendentoutfit]

Girls in white dresses...

because summer's not yet over, right?

Regency Era

Rolinda Sharples (British, 1793-1838 ) • Portrait of the Artist • 1814 • Bristol Museum and Art Gallery

Victorian Era

Anton Einsle (Austrian, 1801–1871) • Portrait of a Lady in a Hat • c. mid 19th century

Edwardian Era

Frank Dicksee (British/English, 1853–1928) • Lady Hillingdon • 1905

Roaring 20s

Gerald Festus Kelly (British, 1879–1972) • The Countess of Lisburne • 1926 • Ferrens Art Gallery, Yorkshire, UK

[underwaterlobster]

Carla Jean!!!!<3 and the silly

Where are my ncfom enjoyers at?!

[pedroam-bang]

No Country For Old Men (2007)

[dustedmagazine]

Dust Volume 10, Number 11

Photo of Alan Licht by Stu Lax

One of the oddest, most disturbing developments in recent years is the devaluation of expertise. If a souped up auto complete program can write a screenplay, who needs writers? If scientific guidelines about how to stave off a plague make us angry or confused, who wants them? Anybody can be anything, given enough cash in their pockets, thought, evidence and fact be damned. So, it is somewhat unfashionable that Dusted continues to seek out artists who are good at what they do, whether they are conservatory trained or DIY, steeped in historical tradition or trying something new. Our monthly Dust highlights another batch of them. Bill Meyer, Andrew Forell, Tim Clarke, Jennifer Kelly, Jonathan Shaw, Ian Mathers and Bryon Hayes contributed.

John Butcher / Florian Stoffner / Chris Corsano — The Glass Changes Shape (Relative Pitch)

This autumn, English saxophonist John Butcher celebrated his 70th birthday. For the occasion his fellow musicians donned t-shirts proclaiming, “You can only trust yourself and the first ∞ John Butcher albums.” Yes, he puts out quite a few, and no, I’m not up to date. The completist’s task is even more daunting when one considers just how much music is packed into each of the nine improvisations on this concert recording, his second with guitarist Florian Stoffner and percussionist Chris Corsano. Timbres, volumes and modes of attack change from second to second, living up the album’s title; not even the music’s form I fixed. No one’s resting on laurels here. Corsano plays with rare spaciousness, and Butcher often seems to be playing up the contrasts between his horns’ tonal fluidity and the jagged edges of Stoffner’s contribution. Pardon the paradox, but each track is a subdivision of ∞, and there’s no end to the time you could spend getting profitably lost in one.

Bill Meyer

Cybotron — Parallel Shift (Tresor)

in 2019, legendary Detroit producer Juan Atkins rebooted his 1980s electro project Cybotron with Laurens van Oswald (nephew of Basic Channel founder Moritz) and Tameko Williams (Detroit In Effect). Atkins takes the technological matrices of his hometown’s now largely defunct manufacturing plants and Kraftwerk’s “Autobahn” and twists them through an afro-futurist wormhole. The trio’s latest 12” single “Parallel Shift” sets Atkins’ robotic vocals and lockstep machine beats against melodic synths and warm bass tones. As Atkins insists on a “parallel shift”, smuggled elements of Clintonesque funk and drifting reverie suggest subversion of strictly linear time. The B-side “Earth” is a more straightforward piece of electro with the emphasis on syncopation. The track flickers with sci-fi synths as Atkins posits human rhythms as a form of cosmic consciousness. Volume up and eyes closed, you will be transported.

Andrew Forell

Dean Drouillard — Mirrors and Ghosts (self-released)

This instrumental solo album by Canadian guitarist Dean Drouillard is a series of hazy noir scenes. At its brightest and most melodic, as in “Portland” and “Gorgasuke,” it’s reminiscent of the vivid, playful miniatures of Opsvik & Jennings’s A Dream I Used to Remember. Elsewhere, the album is decidedly more atmospheric and ambient, akin to the widescreen explorations of Daniel Lanois’s Flesh and Machine. The album’s largely introspective nature is no surprise when you learn Drouillard played and recorded all the instruments himself. His guitar playing in particular is evocative and tastefully restrained. At once intimate and widescreen, Mirrors and Ghosts feels both eerily melancholic and gently uplifting.

Tim Clarke

Fievel Is Glauque — Rong Weicknes (Fat Possum)

Though Fievel Is Glauque are technically a duo — songwriters Zach Phillips (Blanche Blanche Blanche) and Ma Clements on keys and vocals, respectively — for new album Rong Weickes they assembled a crack team of six other players. Musicians on drums, bass, electric guitar, woodwinds and brass flesh out a dizzyingly complex and gratifyingly daft soundworld. Think 1970s prog-folk; think Napoleon Murphy Brock–era Frank Zappa; think Julia Holter spiraling down a jazz-fusion black hole. Rong Weicknes is a LOT. Tellingly, many of the album’s most accessible songs, including singles “As Above So Below” and “Love Weapon,” plus the beautiful and relatively calm “Toute Suite,” arrive early in the track list. Opener “Hover” is perhaps the best example of the band’s bonkers “live in triplicate” working method, in which multiple takes are stacked one on top of another, then chiseled down to reach a final mix. It’s chaotic, like multiple candy-colored Escher staircases spiraling off in different directions at once. In this realm of music-making, too much is never enough, and the line between virtuosic brilliance and over-the-top absurdity bends and blurs. Given the chaos is cumulative, listening to the album from front to back tends to result in ear fatigue during the second half, no matter how many brave attempts it takes to tackle it all in one go.

Tim Clarke

Helena Hauff — Multiplying My Absurdities (Tresor)

Hamburg DJ and producer Helena Hauff’s debut EP for Tresor is three tracks of full-on throwback acid trance. Expertly structured over 22 minutes of build, crescendo and release, Hauff combines thumping beats and bass tones with a detached darkwave cool and a healthy smear of analogue soot. Think Roland drum machines & 303 bass, squelching synths, arpeggio runs and all nature of odd grimy ghosts grumbling in the machines. Hauff reaches her apotheosis on “Punks in the Gym”, named for an Australian rock climb known as the hardest in the world (and now closed as an Indigenous Heritage site). It starts hard, with the bass in the red zone and the drums not far behind, and arpeggiated synths screaming like a drill sergeant. The plateaus, when they come, are mere toeholds for the next ascent. It’s a relentless, punishing piece. And when, near the end, Hauff drops everything but the kickdrum, it’s like watching the sun rise at an outdoor rave to, hearing nothing but your beating heart.

Andrew Forell

Rafael Anton Irisarri — Façadisms

Rafael Anton Irisarri creates music with the grandeur of a vast, wasted landscape. He brings his experience as a mastering engineer to bear on all his recordings, rendering them dense and immersive, stacked high with thick waves of guitar and synthesizer tone. Façadisms is no exception and features two highlights. “Control Your Soul’s Desire For Freedom” features searing cello from Julia Kent and angelic vocals by Hannah Elizabeth Cox, and “Forever Ago is Now” features string arrangements from T.R. Jordan, which carry the album’s most anthemic chord progression. Façadisms’ blasted textures are never less than compelling, but these tracks are twin peaks within the record’s glowering sonic geography.

Tim Clarke

Charlotte Jacobs — Atlas (New Amsterdam)

Charlotte Jacobs’s songs are a little shy. They lurk in corners and grow up from cracks. They venture fluidly out of empty space, eddying and cascading through echoing caverns, with just a little glitch beat or a surge of synth tones to ground them. Jacobs is a conservatory Belgian composer and singer here making her first solo album. Her voice comes in breathy flutters, a little like Mirah at her most acoustic and spare, but she hedges that fragile bloom in masses of digital sound. A devotee of Ableton, she makes the synth sound like all kinds of instruments, a quacking oboe in “Celeste,” a ghostly choir in CYTMH.” Records seldom sound simultaneously this bare and this layered. There are many elements in play, but all scrubbed clean and hemmed in by silence.

Jennifer Kelly

Alan Licht — Havens (VDSQ)

With Havens, Alan Licht flips the attack-decay-sustain-release envelope of the guitar on its head, folding notes and chords over each other in waves. He does this with a heft to his tone, so that chord progressions become waterfalls and melodies emerge like vine-like shoots, growing in many directions simultaneously. Licht’s songs mesmerize with repetition, but the tones resonate such that they fold back on themselves, creating entirely new patterns for us to discern. The cover art reflects his steel string sorcery, as a dull-colored house surrounded by twilit swirling clouds emits beams of red, yellow, and orange light from its many orifices. A variety of energy levels and frequencies are represented here, and they reveal themselves in surprising ways. Throughout his career, Licht has straddled the worlds of indie rock and the avant-garde, and Havens tugs at both sides, creating a new universe entirely: one where resonance rules over everything else.

Bryon Hayes

Longobardi + Cecchitelli — Maloviento (LINE)

Italian sound artists Ernesto Longobardi and Demetrio Cecchitelli create minimalist environmental works built from droning sub-oscillations that emerge from a haze of white noise. The four pieces on Maloviento, titled by duration, are arctic. Slow, evocative of shifting ice and wind swirling across bleak landscapes.. 14’24” is frigid amalgam of staticky cracks and sheets of white noise that rise and fall with increasing intensity. The duo intersperses these with sounds of dripping stalactites and pings of some distant beacon signaling into the abyss. It immerses the listener in an alien and alienating environment in which you find yourself clinging to these noises as the only way to get your bearing. 21’18” is slightly kinder. More recognizably human sounds emerge. Breath labored by cold, a trudge of footsteps and a muttering voice culminating in the introduction of a flute. Tentative at first, it gathers strength and warmth before being absorbed into the ice. Riveting stuff.

Andrew Forell

Man/Woman/Chainsaw — Eazy Peazy (Fat Possum)

Young London sextet Man/Woman/Chainsaw emerged from the scene that includes bands like Black Midi and Black Country, New Road with whom they share a similar omnivorous musical DNA. Vocalists, bassist Vera Leppanen and guitarist Billy Ward have been playing together since they were 14. Now approaching 20, and joined by contemporaries Emmie-Mae Avery on keys, violinist, Clio Harwood violin, Ben Holmes on guitar and drummer Lola Waterworth, M/W/C play punk infused theatrical rock, not quite as knotty as their near contemporaries, but fully embracing the chaotic energy of musicians pushing themselves to fit all their ideas into songs that dance delicate and furious. The acutely observed kitchen sink dramas of “The Boss” and “Sports Day” burst from the speakers, withering in word, and balanced by Harwood’s sawing violin and Avery’s delicate keys. Leppanen a powerhouse on the former, Ward all snarling self-deprecation on the latter. In contrast “Grow A Tongue In Time” is almost dainty with its curlicue of violin, bass, and keys tempered by Leppanen’s rasp that speaks of a desperate frustration echoed in the washes of cymbals that swarm towards the end. A band with space to grow and one to watch out for.

Andrew Forell

The Modern Folk — Primitive Future III (Practice)

This expansive collection spans 20 songs and nearly as many years for the folk centric but ambi-curious guitarist Joshua Moss (who, full disclosure, recently started writing for Dusted). His music here takes many forms, from the blues rock chug of “Shiver Shaker,” which could pass for an alternate universe outtake from Jon Spencer’s Heavy Trash to the cosmic twang of “Hippy Sandwich,” running closer to Ripley Johnson’s Rose City Band or the Heavy Lidders or whatever Matt Valentine is doing this week. There’s room, too, for lucid, radiant blues-folk picking, twined with bowing in “Braided Channels” or abetted in shimmery gossamer by Jen Powers on dulcimer on “You’ll Have That,” or left to strike out unadorned on luminous (and aptly titled) “Subdued.” Some artists try something different to prove they can. Moss lets the change grow out of old roots, supple, green and lovely. One other item of note: all proceeds are earmarked for hurricane relief.

Jennifer Kelly

Paprika — S/T (Iron Lung)

Paprika had already released the excellent, caustic Let’s Kill Punk LP this year, so this new EP is an unexpected November surprise. Are you thankful? It’s pungent and nasty stuff — Paprika sounds like the grittiest elements of NYC punk rawk, c 1976, partying with the hepped-up hardcore of Government Issue or Dirty Rotten EP-period DRI. If that sounds like fun, it sort of is, if you can listen past the nihilistic sentiments expressed in tunes like “Catatonic Pisser” and “Wasting Time.” This reviewer especially likes the self-lacerating qualities of “Supply Chain Wallet,” which explores the ways in which even filthy, greasy punks have a variety of fashion sense, implicating them in capital’s machinery. The band is more direct: “I’m chained to my wallet / Don’t you fuckers know? / Money is dirt.” Word.

Jonathan Shaw

Rock Candy — Swimming In (Carbon)

Rock Candy is Krysi Battalene (Mountain Movers, Headroom) and Emily Robb. Both are guitarists of just renown who, if they decided to open up an optical shop, would specialize in third-eyewear. Together, they refrain from six-string calisthenics in order to focus on nuanced expressions of motion. “Swimming In” is all about drift, albeit with enough surface tension for a stuttering guitar figure to loom over the undulating organ-scape. “Across A Mirage” sets slide vs. reverb, each fighting for footage on a mechanical Clydesdale beat. The cost of vinyl being what it is, some folks might question the point of picking up singles. This year, Rock Candy is the angle that dispels such faithless notions.

Bill Meyer

Sif — Aegis of the Hollowed King (self released)

If you were going to make solo instrumental doom metal about video games, Dark Souls is certainly one of the few that feels like it actually fits. What makes the second LP from New Orleans-based Sif work as well as it does, though, is how much Aegis of the Hollowed King engages with what’s actually compelling about the FromSoftware series beyond any surface level trappings of swords, monsters and boss fights. Here focusing on what even they admit is an “understandably maligned masterpiece,” Dark Souls II, these four tracks don’t try to overwrite the game’s fantastic actual soundtrack (by Motoi Sakuraba and Yuka Kitamura). Instead they invoke how much of the experience of painstakingly making your way across Drangleic is suffused with melancholy horror (yes, occasionally leavened with moments of brutally-won success). That atmosphere has been translated into a doom metal idiom, but that just means even the most elegiac elements here continue to crush.

Ian Mathers

Sulida — Utos (Clean Feed)

The phrase “good old-fashioned free jazz” could be applied to this Norwegian trio’s album, no disrespect intended and none dealt. Marthe Lea’s gruff tenor sax balances the unbridled emotion and considered poise of Ayler and Tchicai, and Jon Rune Strøm and Dag Erik Knedal Anderson negotiate points of structure vs. flow in ways that would do Hopkins and McCall proud. There are also moments that bring to mind Don Cherry if he had given full allegiance to the Swedish woods instead of the world. And yet, the character of each musician shines through, so that this music feels alive rather than merely reanimated. Ready to rumble by unfailingly lyrical, Utos is a friend in unfriendly times.

Bill Meyer

[friendo]

Nobody on this planet understands how badly I want to be all three of them

[radedneko]

Predictions have no power on their own, but if someone should appear who has the power to make those predictions come true, we could do the most spectacular things together.

~A Magical Girl Retires by Park Seolyeon; trans. Anton Hur

[masoncarr2244]

Florida Panthers at. Ottawa Senators 10/01/23/

[abriefingwithmichael]

Screengrabs from:

Episode 45

Episode 46

Episode 47

Episode 48

Episode 49

Episode 50

Episode 51

[akaanuar]

El regreso definitivo a México: Depeche Mode + Kelly Lee Owens @ Foro Sol, CDMX

Memento Mori (“Recuerda que morirás”) es una frase latina surgido en la Antigua Roma que nos recuerda la mortalidad del ser humano y lo breve que puede ser la vida y nuestra estancia en este plano. Memento Mori es también el título del décimo quinto álbum de estudio de una de las bandas más grandes e importantes del planeta, Depeche Mode, lanzado en marzo de este año y el primero sin el…

[badmovieihave]

Bad movie I have Dirty Dancing 1987

[salemoleander]

solving counting sheep webweave

MCYTblr AU Fest Summer 2023 // sources under readmore

Created as a treat for the absolutely stunning fic by @theminecraftbee!

What is a webweave? Previous art: Third Life | Void Falling | Attempt 33 | Martyn | Limited Life | Nightingale Chapter 1 | Chapter 2 | singing songs to the secrets behind my eye | A Hundred Things We Had Not Dreamed Of

Pt. 1: The Specialist’s Hat, Stranger Things Happen p.63  / Kelly Link ◆ Requiem Angel / Daniele Valeriani via @satanasaeternus ◆ Maschera Venetian Joker Mask / Atelier Marega Mask ◆ Macbeth 1.5.57-61 / Shakespeare ◆ Watch / Carol Milne ◆ Excerpt from Salt Is For Curing / Sonia Vatomsky via @geryone ◆ Carved Damascus Steel Bird Knife / Robert Mayo ◆ Excerpt from STOP ME IF YOU’VE HEARD THIS ONE BEFORE, Calling a Wolf a Wolf / Kaveh Akbar ◆ off to finish it at the source / @catcrumb ◆ Excerpt from The War of Vaslav Nijinsky / Frank Bidart ◆ Having a cat is great tweet / @premeesaurus ◆ Secrete / Kate MccGwire via @snailspng

Pt. 2: I am asking you to endure it. / @intactics (Deactivated 12.31.21) ◆ Hi! You have great eyes / @illness (Deactivated 3.25.18) ◆ Taste for Independence Cat / @alisonzai ◆ Support Mental Health pin / @snailspng ◆ A Barn at Kronetorp, Skåne / Gustaf Rydberg ◆ Living: There is a period when it is clear... / Jenny Holzer via @funeral ◆ Neighborhood Plague, Fjords I / Zachary Schomburg ◆ Ugly, Bitter, and True / Suzanne Rivecca ◆ It just keeps happening / @mothcub ◆ Shepherd with Flock of Sheep / Anton Mauve ◆ No Longer Evil cat / @b0nkcreat ◆ Excerpt from All Our Futures / Jody Chan via @geryone ◆ Speak Softly and Carry a Big Stitch / Carol Milne via @knithacker ◆ Deep Dark Fear (9.29.2013) / Fran Krause @deep-dark-fears

Pt. 3: Read more pop-up / @screenshotsofdespair ◆ Combination of Painter Javier Palacios and Enoch 18:14 /  @mountainqoats ◆ Wandering Albatross ◆ Diomedes ◆ Forgive dead players: OFF / @screenshotsofdespair ◆ Inktober52 Angel / @lastmousequeen-blog ◆ The Heavenly Host / Violet Oakley ◆ Excerpt from No Rush / Todd Dillard ◆ I will not go gentle magnets / @carpethedamndiem ◆ Excerpt from cain / José Saramago via @ilumark (Deactivated 2.5.22) ◆ Excerpt from Salt Is For Curing / Sonya Vatomsky via @geryone ◆ Purple / @ungfio via @sosuperawesome ◆ Excerpt from Lessons on Expulsion / Erika Sánchez via @geryone ◆ The Practical Companion to the Work-Table, Containing Directions for Knitting, Netting, & Crochet Work / Elizabeth Jackson via @knittinghistory

Pt. 4: Excerpt from A Ghost is a Memory / GennaRose Nethercott via @tolerateit ◆ What’s done is done / @thatsbelievable ◆ Excerpt from Ante body / Marwa Helal via @geryone ◆ Minor Resurrections / Elisa Gonzalez ◆ Mirror ◆ Coming back / @ungfio ◆ Candlestick ◆ Flame

[short-wooloo]

What Spartans Remain?

Because I went down the Halopedia rabbit hole and I'm an obsessive nut, I've put together a list of all the Spartan-IIs, just to figure out who's alive, who's dead, who's missing, and the numbers which are unaccounted for

Alright so, there were at least 150 candidates considered for Spartan-IIs, half were conscripted, and of that 75, we have at least 50 named (or at least numbered) individuals

Alive (when last we saw them):

Jai-006

Naomi-010

Leon-011

Serin-019 (washout)

Robert-025

Douglas-042

Linda-058

Maria-062 (semi-retired)

Cassandra-075 (washout)

Fhajad-084 (washout)

Kelly-087

Jerome-092

Musa-096 (washout)

August-099

Fred-104

Adriana-111

John-117 (duh)

Michael-120

Alice-130

Definitely Dead:

Li-008 (2552)

Daisy-023 (unknown date during war, 2526-2552)

Joshua-029 (2552)

Otto-031 (2557)

Samuel-034 (2525)

Randall-037 (2556)

William-043 (2552)

Anton-044 (2552)

Kurt-051 (2552)

Jorge-052 (2552)

Margaret-053 (2557)

Malcolm-059 (2552)

Sheila-065 (2544)

Solomon-069 (2544)

Spartan-073 (2525)

Arthur-079 (2544)

Grace-093 (2552)

Victor-101 (2557)

Ralph-103 (unknown date during war, 2526-2552)

Oscar-129 (2525)

Cal-141 (2544)

Roma-143 (2557)

Unidentified Trainee (2525)

Unidentified Spartan (2531)

Maybe Dead:

James-005 (2552)

Vinh-030 (2552)

Isaac-039 (2552)

Beta-Romeo Actual (2552)

Red Fifteen (2552)

Red Four (2552)

Red Nineteen (2552)

Status unknown:

Kirk-018 (washout, possibly rehabilitated)

Keiichi-047 (alive as of 2531)

Soren-066 (alive as of 2527)

Rene-081 (washout, possibly rehabilitated)

Joseph-122 (alive as of 2525)

Carris-137 (alive as of 2520)

Spartans-116, 118, 119, 121, 123, and 124 (possibly the unidentified trainee and Spartan, as well ass Beta-Romeo Actual, Red-Fifteen, Red Four, and Red Nineteen)

Missing numbers:

Spartans number 001, 002, 003, 004, 007, 009, 012, 013, 014, 015, 016, 017, 020, 021, 022, 024, 026, 027, 032, 033, 035, 036, 038, 040, 041, 045, 046, 048, 049, 050, 054, 055, 056, 057, 060, 061, 063, 064, 067, 068, 070, 071, 072, 074, 076, 077, 078, 080, 082, 083, 085, 086, 088, 089, 090, 091, 094, 097, 098 (according to the silver timeline, Spartan-098 is named "Nora"), 100, 102, 105, 106, 107, 108, 109, 110, 112, 113, 114, 115, 126, 127, 128, 131, 132, 133, 135, 136, 138, 139, 140, 142, 145, 146, 147, 148, 149, 150 (I'm sure I messed up somewhere)

obviously given that not all 150 candidates were recruited, some (about 70) of these numbers did not actually become Spartans, trainees or otherwise, such as Caleb-095, the father of Olympia Vale

Additionally, Spartans-028 (Riz), 125 (Kai), and 134 (Vanak) do exist per 343's internal documentation, but as of yet have not appeared in the Prime timeline

therefore there are about 19 confirmed living Spartans, 24 confirmed dead, 7 possible dead, and 12 unknowns, for a total of 62 (or 65 counting the silvers), so there are at least 10-13 other Spartans we have not met, be they active, retired, washout, dead, or missing

[glassprism]

hey there! i just read your post about musical bootlegs, and you mentioned that some filmers just disappeared. do you have any examples? i'd love to learn more about the history of bootlegging

Oh, that would probably be a really long list. I'll just note some of the most well-known ones that occurred during my time trading (so post-2011), whether within the trading community or in Phantom. Keep in mind too that some filmers disappear for a long while only to make a return; I won't be listing them since they're still around in some form. I'm also not going to name many of them because, well, safety, but you might be able to tell who they are based on the bootlegs I list as theirs.

One of the first is a filmer who filmed, among other things, the last show of Phantom's 3rd national tour, the video of Chris Mann and Katie Travis in Phantom, and the complete video of Dallas's modernized version of Les Miserables. They're well known to me because they actually posted their releases on Tumblr for a time, only to get harassed out because people kept yelling at them for bootlegging or selling bootlegs. They disappeared shortly thereafter; not sure if it's related to what happened to them on Tumblr, but it was a loss because I believe they were situated on the West Coast, whereas most other US filmers are in the East Coast, around Broadway, so we lost someone who could film productions in LA, San Francisco, and the tours.

Another who disappeared shortly thereafter was someone who was, well, a prolific filmer of many shows on Broadway and occasionally tours all over the US and was active since at least the mid-2000s. If you've watched, I don't know, the Cooper Grodin restaged tour videos, the original Broadway cast of Hamilton, the original Broadway cast of the 2nd revival of Les Miserables, any of those, you've seen their videos. From what I've gathered, they experienced some personal issues that caused them to take a break from filming and they have not returned since.

Also happening around the same period of time was another, mainly Broadway-based filmer who also did a few videos on the West End. (They filmed a video of Ben Crawford with Ali Ewoldt as well as the video of David Thaxton and Kelly Mathieson.) My recollection is that this person experienced a lot of leaks of their videos, causing them to take stricter and stricter measures in an effort to stop that, which culminated in them leaving altogether. Them leaving along with the two above contributed in some part to the dearth of bootlegs you see in the... late 2010s or so, at least with Phantom, because they were some of the most prolific filmers around. It wouldn't be until after COVID-19 that I saw a resurgence of filmers on Broadway.

Going back in time a bit! If you ever look at trading lists, you might see that there are a lot, and I mean a lot, of videos from the Broadway production of Phantom from 2012-2015 or so. That's almost entirely due to two filmers who were also very active on Tumblr and were based in NYC and went quite often to catch various understudies, swings, and unusual cast combinations. Both have since left filming, though in their case, it's at least partially because they're working in the theater industry in some capacity now.

And onto more depressing cases... there were a couple of filmers based in Europe, I think Germany or Austria, though they definitely made trips to other countries. They filmed several of the Phantom Hamburg revival videos, a lot of Elisabeth videos, and a number of the West End Les Miserables videos (if you see one that's heavily focused on Anton Zetterholm - yeah, that's one of theirs, that filmer was a fan). Unfortunately both were... I think either arrested or had their homes raided (or both) and collections confiscated, and while I think they were released, you can bet that put them off filming.

Finally and most recently, that I know of, the filmer who got the one complete video of Jonathan Roxmouth in the World Tour was caught and has not done any filming since, obviously. That was a shame as well because they had been planning to get more videos of the World Tour with the various alternates and understudies, but of course that never happened.

So that's a few, there's way more around, but I was just trying to think of some of the most prolific recorders around.

[alex-guerin]

God I forgot how much I love the Kelvin Timeline movies.

The first one has SO MANY great lines!!

Chris Pine was so fucking pretty.

Zachary Quinto being able to make "Live Long and Prosper" come out like, "Fuck Off and Die."

Karl Urban being practically possessed by the spirit of Dee Kelly he played Bones so well.

Baby Anton. Nuff said.

Simon Pegg bringing a whole new comedic flair to Scotty that made it his own and yet was still true to the original.

Zoe Saldana giving all the sass and sex appeal, but could still kick your ass and you'd THANK HER for it.

John Cho being an unassuming BAMF while still being adorable and squee.

How did Eric Bana make, "Hi, Christopher. I'm Nero..." sound like a gay pick up line???

Seriously. I fuckin' LOVE this damn movie and timeline and am SO SAD that it was cut short. But at the same time, so glad that they decided not to go forward with more movies and have to either write out Chekov or recast, cuz both would have been so wrong.