#Donna Jean Young

[oldshowbiz]

A new-to-the-internet episode of Funny You Should Ask (1969)

[travsd]

On Donna Jean Young and "Vaudeville"

Today we treat of two separate but very much related topics of roughly equal obscurity. I can’t recall which one I learned about first, but we start with comedienne Donna Jean Young (1936-2010) because May 29 was her birthday. And this will be one of those happy occasions where Travalanche is your best, very nearly ONLY source of centralized info. As the 1969 record album cover above more than…

[thisiseditsandstuff]

"I am life, Charles. I am fire. I am the Phoenix. I am not a priest. I have no absolution to offer you." — "I had become the sum total of all my selves, each of my lives — unique in all creation a living connection to every universe that had ever existed."

The Return of Donna Troy / Rise of the Powers of X / Artemis by Aurora / The Calling by The Amazing Devil / The Gods Show Up by Michael Kinnucan / JLA / 奈落の花 (Naraku no Hana) by Eiko Shimamiya / Uncanny X-Men / Fire by Barns Courtney / Titans/Young Justice: Graduation Day

[batcavescolony]

Minding my own business, watching so tv. I put on some cake wars and who do I see? GEOFF FUCKING JOHNS MY COMIC BOOK NEMESIS!

[krispyweiss]

Quarter Notes: Blurbs & Briefs from Sound Bites

- In this edition: Oasis; Stephen Stills; Grateful Dead; & Bruce Springsteen and the E Street Band

OASIS WILL DEFINITELY MAYBE PLAY IN 2025: After a 15-year public pissing match, Liam and Noel Gallagher plan to reunite as Oasis for a 2025 tour of the U.K. and Ireland.

“The guns have fallen silent,” they said. “The stars have aligned. The great wait is over. Come see. It will not be televised.”

STEPHEN STILLS ENDORSES KAMALA HARRIS FOR PRESIDENT: Stephen Stills endorsed Kamala Harris for president and pledged “to lend any assistance I can to the campaign.”

“I am greatly encouraged by the extraordinary energy and vibrancy that has followed” the Democratic National Convention, Stills said in a statement.

GRATEFUL FOR DEAD LESSONS: “Grateful Dead Hour” host David Gans will teach Did It Matter? Does It Now? The Music and Culture of the Grateful Dead. The eight-week course begins Oct. 3 at Stanford University.

SPRINGSTEEN WILL NOT RETIRE: Bruce Springsteen told an audience in Philadelphia he and the E Street Band will not retire.

“We’ve been around 50 fucking years, and we ain’t quitting,” he said. “We ain’t doing no farewell tour bullshit. No farewell tour for the E Street Band. Farewell to what? A thousand people screaming your name? Get the hell out.”

8/27/24

[deadbeetleblog]

the batkids finds a box with shitton of VHS so they plug them in and to their surprise is just a bunch of Christmases,birthdays,graduations, party's,etc that Bruce recorded

the first one is dicks 10 birthday (none of this is chronological or anything I'm making shit up as I want)the camera quality was shit all grainy,it was in the manor and part of the league were there and Donna,Roy,wally,Garth are there with their mentors plus superman and the gordons and there's like this cheesy decoration and theres gifts bags for the kids and ice cream and I'm thinking dick is going to have a mj obsession so all of micheal Jackson's songs are playing on the background and the kids are all trying to do the beat it dance

then there's a shot of Dickies small kid face covered in cake and ice cream and he looks gross,off camera a voice says (Bruce) "you're liking your party lad?" his voice is so soft and young and so dad "yeS! thank you Bruce this is the best party ever!!" and he goes away running to superman,he looks young too, mullet and all as he catches Dickie laughing. the video ends, the next tape rolls

It's Christmas,it seems like Bruce is hiding while he records, the tv is on, "can't touch this" is playing and a young Jason Todd is clumsily trying to do the dance, you can hear Bruce's giggles as he watches the kid, he stops hiding and enters the room, Jason looks at him,his smile wide "look! dad look! I'm doing it!!" he isn't doing it but Bruce claps anyways "good job Jaylad!! you look just like hammer!" Jason squeaks, the video ends.

this time tim is on view,he's in the cave doing his homework on the floor, he looks like he's 13-15 at least all sparred on baggy jeans and a too big shirt,this was from a digital camera very clearly, the quality much better, on a monitor of the batcomputer, Britney spears was singing,he was humming along softly, Bruce made his presence clear Clark In front of him with a cake, singing softly "happy birthday to you....happy birthday to you.... happy birthday dear Timmy,happy birthday to you" Tim looked back a bit shocked before smiling wide,his braces all clear for the camera

next tape was toddler damian bouncing and clapping while watching toy story 3 bruce giggling as he danced, "dami,dami, I love youu" his voice was so incredibly soft "I uv yu" Bruce awed as baby damian talked, all chubby limbs and big green eyes,"Dami papa loves you" bruce keep repeating and he keep getting i love yous back when a new set of footsteps interrupted him "hey sugar" clarks midwester accent break through the quiet ambience "hey you" Bruce focused the camera on him "got anything to say to your baby?" Bruce asked humourous,Clark had a tiny baby strapped to his chest ,Damian squeaked loudly getting Bruce's attention back on him "I'm here baby no need to spit" Clark laughed and the video ended

they watched the black screen for a while, it was heartwarming in a way,dick no longer danced thriller on Halloween with his friends, Jason no longer tried to copy vanilla ice, tim no longer had a fringe or a myspace account and Damian was no longer a baby. Bruce was getting older and older and the only thing left of those days were these videos.

the complication of videos grows bigger and bigger with dukes graduation,Cass first recital, Barbara's wedding, Steph's birthday, and eventually they found two curious videos

one was marked "olly,lexie and brucie 72" and the other "happy together 81", turns out lex Luther not only had a beautiful head of red locks but he also had a complete disco choreography with oliver queen and bruce wayne for their graduation, Bruce had the most adorable crooked teeth and straight nose,he really changed with none of his original teeth and multiple rhinoplasties.

the other one was a short video of Bruce combing his hair, humming softly until he caughts the cameraman, he turns with a smile " if we're late for your fault I'm going to be so pissed" the cameraman laughed warmly, "I just have to get my shoes on, I'm waiting for you,it's been an hour you don't need to comb that much" Clarks voice bombed through the speakers "it's my wedding Clark,of course I have to comb that much","you know I love your hair no matter how it is" Bruce pouted and turned pissed, going to the bathroom "Bruce please, don't get pissed" the video ended.

[misseviehyde]

PIERCE ME

"You are not getting your belly pierced young lady, whatever you may say - this is the end of the story!"  

Hannah pouted as her Mother screamed at her for the third time that day.  She had been nagging her Mom for hours now, but all it had succeeded in doing was to antagonize Linda and make it even less likely Hannah would get what she wanted.  

"That's so unfair. Donna's Mom let her get one. All my friends are getting them!"  

"Donna's Mom may not mind her daughter looking like a little slut - but I do.  You will have to wait till you are old enough to get one with your own consent. I want nothing to do with this," scowled Linda with her hands on her hips.

Stomping her foot, Hannah tossed back her head with a scream of rage and stormed out of the living room. On the way, she nearly bumped into a smirking figure by the door who was enjoying the show.

Hannah scowled as her little brother Eddie laughed at her. He loved watching her get into trouble and was such a goody two shoes. Pathetic little boys like him needed to stay out of her way.

She went to push him out of the way, but he ducked out of the way and stuck his tongue out at her.

What a little shitbag...

She'd show him to mess with her... him and her Mom!

***

Hannah decided she would get a piercing anyway. Once she had her belly pierced it would be too late for anyone to do anything about it and she didn't care if she got grounded so long as she got what she wanted.

She put on makeup and clothes to make herself look older and stormed down to the mall - but as she was too young to provide an I.D - no one was fooled enough to help her.

Sobbing outside a tattoo parlour, her mascara running, Hannah grit her teeth hard. Life was so UNFAIR. Why couldn't she just do what she wanted?

Suddenly she heard a laugh. A cool looking woman with pink hair and tattoos and piercings was leaning against the side of the shop eyeing her up.

"You gonna give up that easily bitch? I've been watching you all morning trying to get a piercing and failing. I was starting to admire your determination but now I see you're just pathetic."

Hannah stormed to her feet. "Fuck you! I'll get a piercing even if I have to do it to myself!"

The woman's eyes flashed with amusement and partial admiration. "Yes! That's more like it girl. Take what you want. Don't let anyone stand in your way. Bully and manipulate others to always get what you want. Sluts ALWAYS win."

Hannah gawped at her.

"I can see some real potential in you, so I'm gonna help you get EVERYTHING you ever wanted. I can give you an slutty magic piercing. Use it when you get home and it will turn you into a sexy eighteen year old bitch.  No one will even remember the old you - it will be like you have always been a hot popular slut. Your Mom will never be able to stop you again. You'll finally be the assertive, bullying, spoiled slut you dream of being and you will be able to get as many tattoos and piercings as you like. No one will ever stop you again."  

The woman produced a piercing from between her fingers and tossed it to the surprised Hannah. "Just put this into your belly button and let it bond with you. All your dreams will finally come true. Trust me."

Hannah slipped the piercing into her jeans pocket and with a muttered 'thank you' stumbled away whilst the woman watched with a smirk. Hannah truly believed what she had been given was really magic. There was just something so convincing about the woman.

The pink haired woman watched Hannah run excitedly away then turned and walked back into her tattoo parlour. "Evie's Place."

What happened next really wasn't her problem, she just hoped the girl enjoyed the gift she'd been given...

***

Hannah couldn't believe her luck. She wanted to believe in the magic so badly and be a hot older girl. The urge to put the ring in straight away was almost irresistible, but she wanted somewhere private to transform where she could enjoy her transformation. "Soon I'll be a slutty popular bitch and then NO ONE will stop me."

Hannah ran excitedly home, her heart pounding. She couldn't wait to try the magic piercing and get older and hotter.

Once she was a slutty eighteen year old she could fuck boys, drink alcohol and smoke. She would have a body that would make others jealous and would do whatever she wanted. She couldn't wait to be a slutty, spoiled bully and torment her Mom and stupid brother.

She could already imagine wearing the hottest skimpiest clothes, swearing and belittling people... getting tattoo's and maybe even her nipples pierced. It was going to be so fucking hot!

Bursting through the door to the house, Hannah grabbed the piercing and leapt up the stairs. A few more seconds and her dreams would come true.  She quickly ran up to her room, but in her haste failed to notice her brother Eddie was once again in the way.

This time he was too slow to avoid her and they collided, Hannah bouncing backwards and Eddie hitting the wall with an 'oof'. The impact caused her to fall onto her backside and the piercing leapt out of her hand and spinning in the air bounced onto the carpet in front of Eddie. Recovering quickly, he pushed himself off from the wall and he picked up the piercing triumphantly.

"Haha, Mom said you couldn't have one of these. I'm telling. You're gonna be in SO much trouble." Eddie was gloating, he loved having something to hold over his stupid sister.

Seeing the piercing glittering in her brothers fingers, Hannah suddenly felt the icy grip of fear. She had to get the piercing back at once from him, but she needed to play it down. If he thought for one moment it was really important, she'd never get it back. Taking it by force could be an option, but was risky. No... the subtle approach was best.

"It's a fake one you douche. Mom says I couldn't have a real piercing so I bought a fake one that stays in your belly without a pin. It's actually a worthless, cheap piece of shit. You're wasting your time, she isn't gonna care about it." Hannah tried to keep her voice calm.

"No! I don't believe you. I'll prove to Mommy you disobeyed her. Look - it doesn't stay in," sneered Eddie, sliding the piercing into his belly button to prove his sister wrong. 

"Noooooo" screamed Hannah - but it was too late as the piercing bit into Eddie's belly button and eagerly took root. He instantly transformed - a rippling wave of energy spreading out from the piercing and turning Eddie from a good boy into a nasty little slut and altering reality to create Hannah's bitchy older sister Ella.  

Bones cracked and skin tightened - his flesh tanning slightly as Eddie moaned and stretched pleasurably. It felt good to become a girl and he offered no resistance as big tits pushed out of chest, causing his top to balloon out and his little boy dick sucked away to become a tight eighteen year old pussy.  

Lying on the floor, Hannah stared up in horror at her transforming brother as his ass pushed out and he grew taller and sexier than she could ever hope to be.

Slutty white expensive nails sprang from each finger tip and every inch of hair on his body melted away to leave smooth tannedfemale flesh.

The girl above her was moaning and giggling in pleasure as her voice became rich and bratty.

"Oooooh what's happening... mmmmhhh it feels so good," she moaned as her short hair lengthened and grew out. Thick slutty makeup coated Eddie's once innocent face and naughty pink lips curved into a surprised look as his insides churned and he became physically fully female.  

"Ohhhh shit, I can mmmmh almost feel my ahhhh new uterus in there... oooh I'm a fucking girl and I like it! I feel so feminine. I can FEEL the estrogen pumping around me. Making me girly, making me like boys. Mmmmh."

Thick black lashes fluttered in pleasure as sexy blonde hair fell down around her shoulders and naughty blue eyes twinkled with the desire for sex.

This girl needed a new outfit and Eddie's shorts became a pair of tight white hot pants as his big tits were encased in a slutty pink top. Gold hooped earring dropped from his ears as his trainers turned into bitchy pink cowboy boots - just perfect to get fucked in.

As his clothes changed - Ella's personality rose inside him to take control. A bitchy voice giggled in his head and Eddie allowed it to re-write his thoughts, mind and personality.

Sinking into Ella felt good. Being older and sluttier felt so amazing. The piercing was making HIM the naughty bitch of the family. He wanted it all.

Hey little Eddie. Time to become me... mmmh time to be a bad, bad girl. You're gonna love having my pussy and tits and being a naughty little cock-sucking slut. Let me fill your head with memories of all the boys we gave blow jobs to and all that cock we swallowed.  Mmmh you love cum now don't cha bitch?  And getting fucked by a big cock... feeling it deep in that tight pussy. Mmmh you live for that now! Yes thats it... you're becoming me... ahhhhh good boy. Now cum and become me fully...

Shuddering in pleasure, Ella creamed her panties and the once pure and innocent boy became a spoiled bitch. His bad girly side was now dominating their body. Eddie was dead.

"Oh fuck  yeah - I am sooooo totally a slut now and I fucking love it. Yessss!" 

Giggling madly, Ella grabbed her tits and squeezed. She felt amazing. Being a naughty whore was such fun and she was never going to take the piercing off.  

Hannah shook her head like she was in a dream. The events of the last few hours were fading as reality changed so that she remembered nothing of her brother.

Looking at her slutty sister, Hannah felt nothing but disgust. "Eugh - why are you always acting like such a slut?", muttered Hannah darkly as she watched Ella play with herself.

Her sisters new personality had slotted into her own life and having grown up embarrassed and disgusted by her exhibitionist sister, Hannah was now a quiet little nerd girl. She no longer remembered she ever had a brother or that she had even wanted the piercing for herself.  

Ella did remember though - it amused her to think she had woken up this morning as a little boy. Being a hot bitchy slut was loads better and she giggled joyously. "Whatever sis. I'm off to my room for some real fun. You're SUCH a fucking loser."

Hannah had just picked herself up. She now had bottle top glasses and a preppy outfit on. Laughing, Ella tore the glasses off her face and ground them under a booted heel - then she pushed her blinded sister over again.

"Ohhh but before I go, if you ever call me a slut again in front of Mom and Dad I'll do worse than this you little bitch. Don't forget it."

***

Changed into something more casual and easy to rip off - Ella excitedly examined her room. It was a boudoir fit for a princess.

Calling her latest boyfriend on her expensive mobile phone, Ella examined her new bedroom as he made his way over. It was pink now. Pink, girly and slutty - just the way she likes.

She played with her blonde hair and admired her sexy new grown up body, lusting after herself.  Fuck she was hot.

When her bad boy boyfriend Jason arrived she didn't waste anytime. "Baby - I am so horny. I want you to fuck me... hard." 

Ella moaned and squealed as Jason threw her onto the bed and ripped off her clothes. His hand closed round her throat as he pushed deep into her tight bare pussy and began to pound her - causing Ella to moan and groan in pure ecstasy.  This was how she liked it... to be used like a whore.

"Yes... fuck me you stud! Pound my body with that big cock! I want it deeper... OHHHH YES"  

Ella loved being fucked rough. She watched her piercing glitter in her navel as Jason stretched her pussy out good. His cock slid in and out of her tight clinging pussy lips and her big tits shook as he fucked her hard. She wrapped her tanned legs around his strong waist.

"Cum in me baby... I wanna feel it fill me up."

Turning her head Ella giggled as she saw her door was ajar and the tear streaked squinting face of Hannah was watching her. It was so fucking hot to rub her sisters face in it. Hmmm maybe she should make the little bitch eat Jason's cum when he creampied her?

"Cum in me. Ohhhh fuck yessssssss." She groaned as he pumped so much into her it instantly flooded out down her tanned thighs.

Being a slut felt so fucking good...

***

THREE MONTHS LATER

"What's the matter loser?" laughed Ella as she pulled up next to Hannah on the sidewalk. "No friends to walk home with? I'd give you a lift but I'm on my way to the mall."

Of course Hannah had no friends. Ella had seen to that by bullying them all.

Since becoming a slut Ella had transformed her life and other peoples. She was now a spoiled toxic girly girl and so long as she had her magic piercing, no one could stop her. But her desire to corrupt others was now growing.

"I'm on my way to Evie's Place to buy some more piercings. I was thinking it's time to get Mom and Dad a present too. You know... I think Mom might enjoy a clit piercing. Once I get it onto her, she'll become the fake plastic neighbourhood homewrecker I know she can be. For Daddy - a cock ring and a cage. I can't wait to turn him into a simp."

Lauging, Ella threw some wrappers and trash she didn't want out of her car and into her sisters face. The shutting the door she drove on.

It was time to see what else Evie's Place had to offer...

[fantastic-nonsense]

I have a fun [citation needed] hypothetical for you. Say you have been granted the authority to make FIVE editorial directives for DC comics that will be followed for at least the next five years. What are you demanding?

No company events.

No major events with ten thousand tie-in comics.

No big crossover events.

No big gimmick events.

No event comics.

Okay, I kid, but only slightly. I'm actually going cheat slightly and give you five plus an extra one that needs a bit more explanation:

No company-wide crossover events or gimmick events that derail major ongoing stories in individual books shall be made. If an event comic is published, any tie-ins will be published separately from the character's ongoing/mini (for reference: like the Blackest Night tie-in specials).

Institute a lore consistency team within the Archives department. Mandate that every single creative team MUST read and utilize a character/story bible before writing any scripts. The scripts will be looked over by a member of the lore team as well as the book editor before being approved for publication.

The Young Justice generation is finally allowed to grow up and, where necessary, get new hero names. In particular, Tim Drake finally gets to age and stop being Robin. He picks 'Blackbird' as his new name, gets a cool new red-and-black costume, and stars in a rebooted Young Justice book alongside his friends.

Barbara Gordon has to formally retire from the Batgirl role and become Oracle full time again. This is handled in a way that is respectful of her character and her disability. Cassandra Cain will be Batgirl full-time again while Stephanie Brown goes back to Spoiler; Cass gets a Batgirl solo ongoing while Steph would join a rebooted Gotham Knights team book that includes her, Kate, Helena, Luke Fox, and Jean-Paul Valley.

Wonder Woman's established lore is acknowledged, respected, and re-emphasized. Diana is a clay baby again, Cassie is Zeus's daughter again, The Return of Donna Troy is acknowledged as the definitive explanation of Donna's multiple-choice backstory (while the fire origin stays the definitive origin), Artemis gets her original origin back, etc. Full acceptance of the Rucka Rebirth retcon to reset Diana's origins and childhood back to the post-Crisis status quo. No references to the Zeus origin or the New 52 Amazons are allowed to be made except in context of Rucka's "it was a lie" explanation.

In priority order, those editorial mandates probably fall out to be something like 2>1>5>3 and 4 in a tie; 3 and 4 are kinda interchangable since they collectively would fix a wide swath of what's wrong with the Bat books right now.

My "extra" mandate would be that writers must utilize existing characters where possible for their stories. No new "major" heroes are to be introduced unless a writer can prove that a book needs a new character to fill an identified gap. Prioritization should go to a) characters who used to be used on a regular basis in a given book but have not been seen in 10+ years and b) characters introduced within the past 5-7 years.

I'd want this one for two reasons: one, there's a ton of pre-existing characters who used to be staple or regularly recurring characters who have failed to get regular appearances since 2011, for a variety of reasons. Forcing writers to use them instead of creating new characters would allow DC to rebuild some continuity, bring back old favorites, and provide closure to lingering storylines that were cut short or never followed up on. Two, there's a hell of a lot of new characters have been introduced and discarded without actually building them out properly the last few years. I would honestly only put this one in place for around 3 years...long enough to force DC to actually flesh out the underutilized newbies and provide some closure and new beginnings for some old favorites.

[dc-tournaments]

The List of Runners-Up

This is the list of everyone who made it through five rounds of tournaments only to get knocked out in the finale. Mainly tracked because I think this will be interesting data. Like with the list of winners, if you are viewing a reblog, you might want to consider checking the original post for edits.

The Villain of All Time: Poison Ivy | Dr. Pamela Isley

Worst Costume: New 52 Duela Dent

Queerest "Cishet": Blue Beetle | Ted Kord

The Incompetency Awards: Cluemaster | Arthur Brown

Fuck This Guy in Particular: David Cain

Most Unhinged: Young Justice

SexyWOMAN #Feminism: Death of the Endless

Super Animal Illegal Fight Ring: Krypto the Super Dog

Most Adorable Littlest Baby Heroling: Robin | Dick Grayson

Deadest Corpse: John & Mary Grayson

Transgender Swag Award: Alysia Yeoh

Platonic Soulmates Award: Dick Grayson & Donna Troy

Autism Creature Incarnate: Robin | Damian Wayne

Mental Stability Award: Blue Lantern | Saint Bro'Dee Walker

DC's Next Top Fashionista: Fire | Beatriz da Costa

The MILF Ever: Lois Lane

Egregious Tax Evader: John Constantine

Disability Pride Award: Jericho | Joey Wilson

Pathetic Wet Cat: Azrael | Jean-Paul Valley

Most Androgynous Ever: Wonder Girl | Cassie Sandsmark

Asexuality Award: Jughead Jones

[justforbooks]

Alfa Anderson

American singer best known as a vocalist with the 1970s disco group Chic whose hits included Le Freak

Among the disco goddesses – the Donnas, Glorias, Evelyns, Gwens, Candis and Anitas – who serenaded the dancers of the hedonistic 1970s in such celebrated joints as New York’s Studio 54 and London’s Heaven, it seems likely that only Alfa Anderson’s destiny included leaving show business to resume her studies and eventually become a high school principal.

Anderson, who has died aged 78, had been one of the featured singers with Chic, the high-fashion disco ensemble whose chart-topping hits included Le Freak. Emerging from the ranks of backing singers in the Manhattan recording studios, she had been spotted by Luther Vandross, then a star-to-be, who introduced her in 1977 to the guitarist Nile Rodgers and the bassist Bernard Edwards, Chic’s ambitious young founders and songwriters.

The duo’s ambition was to create an upscale dance music blending funky dancefloor rhythms with the sophisticated style of an English band they much admired, Bryan Ferry’s Roxy Music. By comparison with their disco rivals, Chic were cool and restrained, their musicianship impeccable, their female singers conveying a matching sense of class.

On the sleeve of C’est Chic (1978), their second album, designed to look like the cover of a fashion magazine, it was Anderson who reclined in a white silk blouse and old-gold skirt against an expensive sofa in the garden room of a country house, while the other core members of the group struck suitably soigné poses. The message was unmissable: a dream of upward mobility which their audience was invited to share.

On another of their hits, I Want Your Love (like Le Freak, included in C’est Chic), Anderson took the solo lead, her voice finding a sinuous path between Edwards’s pulsing bass, Tony Thompson’s implacable drums, Rodgers’s flickering rhythm guitar, the cushion of strings, the syncopated trumpet figures and – in a typically imaginative touch – tubular bells prominently doubling the melody on the chorus.

The eldest of four children, Alfa Anderson was born in Augusta, Georgia, and named after the first letter of the Greek alphabet, its spelling varied to match the Christian name of her father, Alfonso Anderson, an employee of the US Postal Service. Her mother, Essie, was a social worker and Girl Scout troop leader.

Interested in music from a very early age, Alfa grew up singing in church and with the Girl Scouts, and learned the saxophone, flute and piccolo at Lucy C Laney high school. A degree in English at Paine College in Augusta was followed by a move to New York, where she settled in Harlem while studying for a master’s degree at the Teachers College at Columbia University and singing in the college choir.

She received her first significant public exposure through a role in Big Man, a play with music by the jazz saxophonist Julian “Cannonball” Adderley and based on the legend of the Black railroad worker John Henry. Attending its sole performance at Carnegie Hall in 1976, her churchgoing mother was shocked to discover her daughter singing the part of a “whore” called Maggie.

Her next professional appearance was at Lincoln Center, singing a solo piece called Children of the Fire, written by the trumpeter Hannibal Marvin Peterson as a protest against US involvement in the Vietnam war.

She also appeared on the soundtrack album of the hit musical The Wiz, produced by Quincy Jones.

In the daytime she was teaching at Hunter College, the public university on Park Avenue, New York, and music was still a part-time occupation when she met the founders of Chic. Arriving early at the studio to sing background parts on their first album, she was discovered marking her students’ papers while waiting for the session to start, much to the other musicians’ amusement.

When the lead singer, Norma Jean Wright, left in 1978 to pursue a solo career, Anderson was invited to take her place. Giving her notice to Hunter College, she shared the lead role first with Diva Gray on Le Freak, which became a Studio 54 anthem, and then on the road and in the studio with Luci Martin.

Most memorably, her voice was also featured on At Last I Am Free, a spellbinding ballad tucked away on C’est Chic. It caught the ear of the English rock musician Robert Wyatt, who released his characteristically plaintive version as a single in 1980.

After Chic disbanded in 1983, Anderson toured with Vandross, whose solo career had taken off. Her session work included a contribution to Bryan Ferry’s Slave to Love, a hit single also featuring Rodgers on guitar, its success boosted by its appearance in the 1986 film 9½ Weeks.

While with Vandross she met his bass guitarist, Eluriel “Tinker” (sometimes “Tinkr”) Barfield, who became her husband. Leaving the road and the studios in 1987, she went back to college, taking a second master’s degree, in educational leadership, at Bank Street College of Education, before joining the El Puente Academy for Peace and Justice in Brooklyn, first as a teacher and then as principal.

Although Chic later re-formed with other singers, there were occasional musical reunions with Norma Jean Wright and Luci Martin.

She and her husband also formed a group called Voices of Shalom, which released two albums of spiritual songs, Messages (1999) and Daily Bread (2005). Returning to secular music, in 2013 she released a single, Former First Lady of Chic, and in 2017 Barfield produced her solo album, Music from My Heart, featuring a song titled Perfectly Chic, which precisely recreated the sound of that most exquisite of disco ensembles.

She is survived by her husband and two stepsons.

🔔 Alfa Karlys Anderson, singer, born 7 September 1946; died 17 December 2024

Daily inspiration. Discover more photos at Just for Books…?

[bitter69uk]

Recently watched: made-for-TV movie Death at Love House, originally broadcast on ABC 3 September 1976. Joel and Donna Gregory (Robert Wagner and Kate Jackson) are a husband-and-wife writing duo collaborating on a biography of the doomed Hollywood star Lorna Love, who died tragically young in 1935. (Coincidentally, Joel’s artist father had an impassioned affair with Lorna and painted a portrait of her). And for reasons never fully explained, the couple move into Love’s totally intact Hollywood mansion to research their book (Love House was shot on location at the former estate of silent movie star Harold Lloyd). Creepily, Lorna’s perfectly preserved, eternally youthful corpse is on permanent display – Snow White-style - in a shrine on the premises. Strange occurrences immediately start happening. Who is the ethereal “woman-in-white” Donna glimpses in the garden? Why are there macabre occult symbols everywhere? Who was Father Eternal Fire, Lorna’s satanic looking “spiritual advisor”? Obviously, almost anything produced by Aaron Spelling is bound to be campy fun. With its emphasis on occultism and lurid showbiz tragedies (Lorna is clearly inspired by Jean Harlow), Love House suggests a page torn from Kenneth Anger’s Hollywood Babylon. It will also remind you of other, superior movies: Sunset Boulevard (1950), The Legend of Lylah Clare (1968), Fedora (1978). And like 1944 film noir Laura, characters spend a lot of time staring, mesmerized, by an oil painting of a dead woman. For verisimilitude, supporting parts are played by actual classic Hollywood veterans like Sylvia Sidney, Joan Blondell, Dorothy Lamour and John Carradine. (The Gregorys’ literary agent is played by Bill Macy - Walter from Maude!). Less happily, zero effort is taken to make Lorna 1930s “period appropriate”. (She’s seen in flashbacks portrayed by Marianna Hill - cult movie fans will recognize her from The Baby and Messiah of Evil – with a feathered blow-dried 70s coiffure). And the ending is worthy of an old episode of Scooby-Doo! Smudged, murky prints of Love House are easy to find on YouTube.

[doctorstrangehands]

Stevie (Pilot Chapter)

note: this will go to ao3 at some point

Tuesday, November 18, 1997

Stephen Strange woke to the sound of his mother’s soft voice carrying through the haze of sleep. “Stevie, sweetheart, time to wake up,” Beverly called, her tone warm and soothing as the faint creak of the old farmhouse’s wooden floors announced her presence. “Happy birthday, darling. Seventeen today.”

Stephen groaned, burying his face deeper into his pillow. His mother’s words were meant to comfort and celebrate but only reminded him of the weight that pressed against his chest every waking moment—especially on mornings like this. He didn’t want to be seventeen. Didn’t want to face the milestone without her.

“Stevie, don’t make me come in there. Breakfast is almost ready, and you’ve got chores before school.” Beverly’s voice held a playful tone, though Stephen could hear the tinge of annoyance in her voice.

“I’m up,” he mumbled into the pillow.

“Good,” she replied with a satisfied hum before her footsteps retreated down the hallway.

Stephen sat up reluctantly, the thin morning light filtering through the curtains of his bedroom. He rubbed the sleep from his eyes, but no amount of effort could dispel the heaviness that lingered. Today was supposed to be a celebration, but all it felt like was a cruel reminder of everything he’d lost.

It had been almost ten years since Donna died. Almost a decade since that bright, laughing girl had been taken from him. His baby sister, his partner-in-crime, the one person who had made this lonely, dusty farm feel like home. Gone, just like that and yet he was still here.

He ran a hand through his dark hair and swung his legs over the edge of the bed. The cold floorboards sent a shiver up his spine. But the shame and guilt that simmered inside wouldn’t be so easily dismissed. He’d been the one who had lived, and every year that passed without her felt like another year stolen from her memory.

Stephen glanced at the framed photograph on his nightstand. Donna, grinning ear to ear, her arm slung around his neck as they both beamed at the camera. They couldn’t have been more than six and seven, their faces smudged with dirt from a day spent exploring the woods behind the farm.

“You should have taken me,” he whispered, his voice breaking as he stared at her frozen smile. “Not her. Me.”

He’d screamed them at the sky so many times, cursed a God he wasn’t sure he believed in. If God was real, then why had He let Donna die? Why had He taken the best part of Stephen's life and left him with this aching emptiness?

“Stevie, come on!” Beverly’s voice called again.

Stephen forced himself to stand, dragging his feet as he crossed the room to pull on his jeans. He twisted around to throw on an old band t-shirt and flannel shirt. He caught his reflection in the small mirror by the dresser. Haunted eyes stared back at him, too tired for someone so young. 

“I should’ve died,” he muttered, the words bitter on his tongue. His throat tightened, and he swallowed hard, glaring at his reflection. “God, you’re cruel. You took her and left me. Why? What’s the point of this?”

He turned away quickly and was unable to bear the sight himself. As he headed downstairs, the smell of frying bacon and fresh coffee wafted through the air. The familiar scents tugged at something inside him, a faint reminder of what he still had, but it wasn’t enough to fill the void. Nothing ever was.

The kitchen smelled of butter and toast, a warmth that should have felt comforting but didn’t quite reach Stephen. He stepped into the small,cozy room and was immediately greeted by his mother, who pressed a kiss to his cheek.

“Happy birthday, Stevie,” Beverly said softly, with a smile. Her hazel eyes sparkled with affection, though there was a shadow of worry behind them, as there always was these days.

“Thanks, Ma,” he replied, his voice barely above a murmur. He slipped into his usual seat at the table, keeping his eyes downcast.

Eugene Strange sat across from him, his presence as heavy and still as a stone. He held a cup of coffee in silence, the lines on his face deepened by years of sorrow and bitterness. He didn’t look up and didn’t acknowledge Stephen’s arrival.

Victor, who was sitting beside their father was busy fiddling with a fork, his youthful energy barely contained. At thirteen, he still had the roundness of a child’s face, but his sharp blue eyes seemed to take in everything. When he noticed Stephen sit down, he smiled faintly. “Happy birthday, Stevie.”

Stephen gave him a small smile in return. “Thanks, Vic.”

Beverly set a plate of eggs and toast in front of him with a carefulness that felt almost ceremonial. “There you go, sweetheart. Eat up. And happy birthday again. I love you, Stevie,” she said, giving him a kiss on the cheek.

“Love you too, Ma.” Stephen said quietly,staring down at his plate.

The scrape of Eugene’s fork against his plate was sharp in the silence. Stephen’s shoulders tensed, waiting for the usual wave of resentment to come crashing down. His father didn’t speak, but the way he stared briefly at Stephen—hard, cold, accusing—was enough.

Eugene hadn’t forgiven him. Stephen doubted he ever would.

He remembered the day Donna died as if it were yesterday. The shattering of the ice, the water, his frantic screams, the overwhelming helplessness as he fought to save her and failed. He had done everything he could, but it hadn’t been enough. Eugene… Eugene saw it as failure.

Beverly moved around the kitchen, humming softly as she worked. She was the glue holding the family together and the only one who still spoke of Donna with warmth instead of blame.

“Don’t forget to pick up the mail after breakfast, Stevie,” Beverly said as she poured herself a cup of coffee. “And maybe take Victor with you. ”

Victor nudged him under the table with his foot, grinning. “I’ll race you to the mailbox.”

For a brief moment, Stephen let out a small chuckle. “You’ll lose,” he said, trying to match his little brother’s energy.

Eugene’s fork clattered against his plate as he stood, the legs of his chair scraping harshly against the floor. He didn’t say a word as he left the kitchen, his presence vanishing like a storm cloud.

The silence he left behind was suffocating. Beverly’s hum lowered for a moment before she regained it, her back turned as she tidied the counter.

Victor looked at Stephen again, his smile dimming. “Don’t worry about him,” he said in a low voice.

Stephen forced another smile, but it didn’t reach his eyes. “Yeah, don’t worry about him,” he whispered.

As he picked at his breakfast, Stephen’s thoughts drifted to Donna again. To her laugh, her bright eyes, the way she used to call him Stevie and jump on his back. He missed her so much it hurt, and that hurt only deepened the rift between him and his father.

Beverly sat down beside him, her hand brushing his. “You’re a good boy, Stevie,” she said softly, her voice was full of a mother’s love. He had the unshakable belief he didn’t feel he deserved it.

“Thanks, Ma.” he said, his voice barely above a whisper.

[thenardierfamilytherapy]

LES MUPPETS MISÉRABLES

CAST

JEAN VALFROG - Kermit the Frog

MYRIEL, BISHOP OF DIGNE- Rowlf the Dog

FANTINE - Fozzie Bear

BAMATABOIS - Clifford

JAVERT - Miss Piggy in drag

CHAMPMATHIEU - ‘original Kermit’ (see below)

MUPPETTE (child) - Baby Miss Piggy

ÉPONINE (child) - Baby Janice

MME. THÉNARDIER - Waldorf

M THÉNARDIER - Statler

MONTFERMEIL INN GUESTS - Dr. Teeth and the Electric Mayhem band, dressed as a funk band

GAVROCHE - Animal

ENJOLRAS - Gonzo

GRANTAIRE - Rizzo the Rat

LES AMIS DE L’ABC - Beaker (de Courfeyrac), Dr. Bunson Honeydew (Combeferre), Pepe the King Prawn (Joly), Bean Bunny (Jehan Prouvaire), Beauregard (Feuilly), and Scooter (Bahorel)

MARIUS - Robin the Frog

MUPPETTE (adult) - Miss Piggy

ÉPONINE (adult) - Janice

PATRON-MINETTE - Electric Mayhem band again, now dressed as a punk band: Floyd Pepper (Claquesous), Zoot (Babet), Lips (Geuelemer), and Dr. Teeth (Montparnasse)

BARRICADE GIRLS - Camilla and the Chickens

FARMER - Farmer

FAUCHELEVANT - Dr. Julius Strangepork

FRENCH NATIONAL GUARD - Sam Eagle, Link Hogthrob, the Swedish Chef, Bobo the Bear

ENSEMBLE - Dancers

NOTES

- Fantine’s co-workers in the factory are French poodles; the Lovely Ladies are shaved poodles. Fantine’s ‘hair cutting’ is more a ‘fur shearing’ which leaves him bald. Please imagine for a moment a bald Fozzie Bear in drag, sitting down to a piano with a somber, solo spotlight to sing ‘I Dreamed a Dream.’

- Now please imagine Kermit the frog consoling a shaved dying drag Fozzine Bear that he will look after her darling child, Muppette.

- Honestly Kermit as JVJ is a no brainer to me, apart from simply being the male protagonist, but just imagine Valjean’s solos sung with as much gusto as permitted by Kermit’s little voice. ‘Who am I? Jean ValFrog!!!’

- Some of the Muppets playing Les Amis canonically cannot speak but instead make noises that others understand as speech (i.e. Beaker as Courfeyrac); this is reflected in their versions of ‘Red and Black’, ‘Drink with me’, and ‘Do you hear the people sing?’

- Likewise with the Swedish chef’s portrayal of a French national guardsman, and Animal as Gavroche, both of whom are just barely comprehensible. Animal’s Gavroche is a feral child.

- The Robbery scene transition where Kermit and Piggy as Jean Valfrog and Muppette run offstage now occurs not only to follow the plot, as scripted, but also for the practical reason that Miss Piggy must appear dressed as Javert almost immediately as soon as she disappeared dressed as Muppette.

- Miss Piggy’s double casting is due to a backstage conflict: Piggy has insisted upon playing Muppette despite already having been cast as Javert, with all of the others agreeing that none of them but Piggy have the imposing presence necessary to play him. This is true: she takes both rôles.

Picture: Miss Piggy on stage with mutton chops and a black overcoat and hat, acting as a sort of obsessed parole officer to Kermit. Now picture (Baby) Miss Piggy as the iconic Cosette illustration from the 80s posters, wistfully sad and baby faced with that giant brush. I could be convinced of a different casting for Javert (Sam Eagle comes to mind as an obvious choice), but imo Piggy has to be Muppette. Muppette is a particular kind of Cosette: one played by a prima donna who has strong-armed the production behind the scenes, an angelic soprano with a barely suppressed, explosive rage. Also,

- Casting the Baby Muppets as young ‘Muppette’ and young Éponine works particularly well, coincidentally, due to the canon of Baby Muppets, in which baby Janice happens to be the only one who can read. Janice’s Éponine accompanies herself on electric guitar (as she did as a member of Electric Mayhem) during ‘On My Own.’

- Behold, Champmathieu, the man mistaken for Valjean, who is portrayed by the original ‘abstract lizard’ design of Kermit the Frog (i.e. before he got his feet, collar, and explanatory epithet):

‘Jean Valfrog’ with ‘Champmathieu’:

Fin.

(Credit to @gutsofgold for casting statler and waldorf as the thénardiers; possibly others have done this already, I’d love to compare notes!)

[nevereclipse]

Harvey Specter – Clothing + Costume Design in Suits

So, a couple days ago, I made a post about this essay, and I've gotten a lot of requests to drop it, so... here it is.

Please be aware, this is decidedly NOT edited.

Harvey Specter is a pivotal character in the 2011 legal drama Suits. He often describes himself as the “best closer in [New York]” and is Jessica Pearson’s (the managing partner of Pearson Hardman, as of the Pilot episode) right hand man. During the shows Pilot, he is promoted from Junior Partner to Senior Partner, causing him to hire Mike Ross, a young, fraudulent attorney as his associate, creating the overarching plot of the show. Throughout the show, particularly in earlier seasons, Harvey is shown to be unfeeling and cold, constantly preaching about how he has no emotions, and, “…doesn’t care about [his] clients.” However, as the show progresses and his character develops, it’s eventually shown that he does care deeply about, “…the people [he] works with… the people [he] works for and… every one of [his] clients.” (As described by Jessica Pearson, during the Season 2 mock trial.)

In the early episodes of the show, Harvey frequently lectures Mike about the importance of dressing well and maintaining a respectable appearance. He insists that Mike buys some new suits before he begins working with Harvey at Pearson Hardman, saying that, “…people respond to the way [they] are dressed,” and that it is therefore important for them to always be dressed well. When Mike says that this suggests Harvey cares about him, he denies it, saying that Mike is simply a reflection of Harvey, and he, “…absolutely [cares] about [himself.]” Due to Harvey’s relentless pushing, Mike eventually gives in and buys new suits. However, the important of clothing in the show, is far from over, particularly in relation to Harvey’s character. Throughout the shows nine seasons, clothing is used to show Harvey’s relationships and emotional connections with other characters. This is demonstrated through how casual his clothing is, how ‘professional’ his attire, even down to the colour of his clothing. This is particularly obvious when looking at the characters of Zoe Lawford, Dana “Scottie” Scott, Dr Paula Agard, Mike Ross, and Donna Paulsen.

Zoe Lawford:

Zoe Lawford was Harvey’s first main love interest in the show. She worked at Pearson Hardman while Harvey was still and associate, where she worked in escrow and tax law. The pair developed feelings for each other, but ultimately nothing came of the relationship. However, in season 2 of Suits, Zoe is reintroduced as outside council during the Tanner lawsuit. Harvey convinces Jessica to hire her, despite Jessica being initially against the idea. As Zoe is Harvey’s first serious love interest, she is also one of the earliest examples of Harvey letting down his walls and showing emotionally vulnerability. Zoe’s character introduction takes place at a bar, during episode 7 of season 2. She and Harvey are playing pool together at said bar. During this scene, Harvey tries to recruit Zoe to come represent Pearson Hardman in the Tanner suit. Harvey is shown to be wearing a black crew neck top and dark jeans. This reveals the fact that Harvey already has an emotional connection with Zoe, due to their extensive romantic history. Both the casual attire and the dark/black colouring of Harvey’s outfit highlights the fact that he trusts Zoe. Additionally, Harvey is seeking Zoe out in a time of vulnerability, as he needs help with the Tanner suit, making the lack of a suit (Harvey’s ‘armour’) particularly important.

 Later in the season, Harvey and Zoe go on two dates. On the first date, Harvey arrives at Zoe’s apartment wearing a black suit jacket, and a button up shirt. However, unlike his usual formal attire, he isn’t wearing a tie, and the first few buttons are undone. This creates a more casual outfit, demonstrating Harvey’s trust in Zoe, and how he feels comfortable being more ‘relaxed’ around her. This is the first time that Harvey and Zoe sleep together, which is a major step for their relationship, as Harvey had been angling to sleep with her since she worked at the firm years ago. On this date, Harvey also meets Zoe’s niece, and ends up spending a significant amount of time with her in the evening. While this was an emotionally significant moment for Harvey, it is not the most important event in his relationship with Zoe, which is highlighted by the contrast in Harvey’s outfit between this date and his attempted second one.

Only a few days after their first date, Harvey once again shows up at Zoe’s apartment. This date, however, does not end as successfully as the last one. Harvey arrives with the intention of taking Zoe away on a weekend trip to his cabin in the Berkshires, however, she rejects him. Her brother is dying of cancer, and she must take over care of his kid, whom Harvey met on their previous date. Unfortunately, due to this, the relationship doesn’t progress past this. During this interaction, Harvey is once again wearing a partially undone button up shirt, however this one is made of a dark grey linen. He is also wearing an open black jacket, made of what looks like denim. This outfit is remarkably similar to the one he wore on the last date with the main difference being that it’s made of different materials. This reveals how, while both events are significant to Harvey and Zoe’s relationship, this one has a larger effect on Harvey himself. The outfit also highlights the lack of boundaries Harvey is setting between himself and Zoe and is showing the trust he is putting in her. Furthermore, Zoe’s rejection is an emotionally charged moment which upsets Harvey immensely. His clothing choices are used to show his emotional connection to Zoe, and further highlight the vulnerability his is showing by both engaging with her niece, and inviting her to go away with him, which ultimately ends in heartbreak.

Dana “Scottie” Scott:

 Dana “Scottie” Scott is Harvey’s next significant love interest. While she is introduced prior to Zoe, she doesn’t become a major interest until season 3. Scottie and Harvey were in the same class at Harvard Law where Harvey was 5th in his class, and Scottie was 1st. Due to this, throughout the show, they have an intense rivalry. Whenever the pair are working on the same suit, they have a rivals-with-benefits arrangement, something that started while they were still at Harvard. Scottie’s character is introduced in season 1, where she is the opposing council on a merger Harvey is working on. During her introduction, Harvey is seen to be wearing a black suit jacket, which is buttoned up. The black jacket indicates that he and Scottie have some history, and that there is already an emotional connection between them. However, the buttoned-up jacket can be considered a physical representation of Harvey’s refusal to emotionally open up to Scottie and keep their relationship purely physical and professional.

Scottie has been in love with Harvey since they were in law school together, something Harvey only realizes when Donna Paulsen, his secretary, outright tells him. When Scottie is reintroduced in Season 3, during the Pearson Darby merger, it is as a major love interest. When the Pearson Darby merger is dissolved, and replaced by Pearson Specter, Scottie is set to return to London, where she worked previously. However, Harvey, having realized and accepted that his is interested in her in a romantic way, as opposed to just physically, tries to get her to stay in Manhattan and work for him at Pearson Specter. He tells Scottie that, “…[he] wants [her] in [his] life,” and all but begs her to stay with him. During this pivotal conversation, Harvey is wearing a partially unbuttoned shirt, with the sleeves rolled up. It also takes place in his kitchen, adding another layer of emotional intimacy. The fact that Harvey is still in ‘professional’ attire further emphasizes how he, while breaking down some of his walls for Scottie, is still barricading himself to a degree. Nevertheless, this is still an important moment for Scottie and Harvey’s relationship and shows Harvey in a very emotionally vulnerable position.

Further into the relationship, Scottie and Harvey start having issues, because Harvey isn’t opening up to Scottie emotionally (a common theme in his relationships) and isn’t telling her the things she wants to know. During a particularly emotional moment, Scottie begs Harvey to start opening up to her, telling him that, “…[they] need to start being honest with each other,” and telling each other everything. Despite his protests, and the fact that he can’t tell Scottie about Mike’s fraud, Harvey promises that he will start opening up emotionally, and being honest with Scottie. During this encounter, Harvey is wearing a simple grey tee shirt. This is easily the most casual outfit Harvey is shown in for the entirety of season 3, which demonstrates how this is an incredibly important moment in Harvey and Scotties relationship.

Eventually, however, Scottie and Harvey’s relationship comes to an emotionally devastating end. Scottie, refusing to continue to be with Harvey when he is hiding things from her and not opening up to her, decides to leave both Harvey and Pearson Specter. Harvey, while knowing he won’t be able to change her mind, decides to tell her the truth about Mike, as his secret has been a key factor in the failure of Scottie and Harvey’s relationship. During this scene, Harvey is wearing a black suit and tie, with the jacket buttoned up. Black, being the colour of emotional intimacy in Harvey’s wardrobe, showcases how he is trying to tell Scottie the truth in a last-ditch attempt to get her to stay. He even goes to far as to tell her that he’s, “…tired of lying to the people [he loves].” Similarly, when Harvey talks to Scottie for the first time after their breakup for the first time, he is wearing practically the same suit. This highlights how his interaction with Scottie is emotionally charged, and Harvey is particularly vulnerable, as he is coming to Scottie to desperately request her help.

Dr Paula Agard:

Dr Paula Agard is both Harvey’s therapist during season 5, and his primary love interest in season 7. Harvey initially starts seeing her when he begins having panic attacks after Donna leaves his desk to go and work for Louis. She is prominently featured during season 5 as a clinical psychiatrist and talk therapist, and later returned to the show as a love interest in season 7. While she is ultimately helpful to helping Harvey overcome his panic attacks, and is a significant factor in his reconciliation with his mother, he ultimately stopped seeing her during season 6, presumably due to Mike’s trial and prison sentence.

The first time Paula is introduced is also one of the first times Harvey is shown to have a panic attack. After speaking with Donna, and all but receiving confirmation that she wouldn’t be leaving Louis and returning to him, he has a panic attack. Interspersed throughout this attack, are scenes of Harvey and Paula discussing it, and talking about what exactly caused it. During this scene, Harvey is being very open with Paula as he described the attack. He relates it to, “…feeling like [he] was under water,” and that he, “…couldn’t breathe,” and, “…couldn’t think.” As he discusses this, Harvey is wearing a dark black three-piece suit. The dark black represents Harvey’s emotional connection to Paula, which, when paired with the unbuttoned/open suit jacket, demonstrates how he is willing to open up emotionally to her. While there are more occasions of this occurring during Harvey’s time as a patient of Dr. Agard’s, I am going to focus further on his romantic relationship with her in season 7.

 The season 7 opening shows Harvey arriving at Paula’s house in an expensive car and asking her out on a date. While Paula is originally opposed to the idea, Harvey manages to convince her. He gives her a massive speech about how he has changed – he’s, “…reconnected with [his] mum… gotten [his] old associate back, and… became Managing Partner of [his] firm.” This speech is an important moment in their relationship, as it shows Paula how Harvey has emotionally matured since they last met, and that he is willing to be vulnerable around her, something he struggled with in his past two significant relationships. Whilst this is happening, Harvey again wears a black suit, further showcasing the use of black to show emotional vulnerability and trust in Harvey’s relationships.

Additionally, Paula is the first of Harvey’s romantic partners who he introduces to his mother. After his reconciliation with his mother, Harvey invites her to join him and Paula for dinner. This is an incredibly important moment for Harvey, as we are led to believe that Paula is the only romantic partner so far that Harvey has introduced to his mother. In this scene, Harvey once again wears a black suit, one that is immensely similar to the suit he wears when he breaks things off with Paula only a week or so later. Both suits have both black jackets and ties. The most significant difference between the suits, is that while at dinner, Harvey leaves his suit jacket unbuttoned, indicating that he is opening himself up to both Paula and his mother. Contrastingly, when Harvey breaks up with Paula, his jacket is buttoned up, showing that, through ending their relationship, he is closing himself off from her in any emotional or intimate capacity.

Finally, between these moments, Paula confronts Harvey about his relationship with Donna. During the dinner, Harvey’s mother thanked Paula for being the ultimate reason that Harvey chose reconciliation with her, not realizing that it was actually Donna who caused this. Due to her own traumas from past relationships, Paula confronted Harvey about this, and told him that he would need to choose between having her in his life, or having Donna. This conversation takes place almost directly after the dinner with Harvey’s mother. Harvey, interestingly, is the one who initiates this conversation, wishing to reassure Paula of the fact that, “… [she was] the special woman in [his] life now.” During this scene, Harvey has changed out of his black suit into a simple black sleep shirt. This shirt is remarkably similar to the one he wears during his ‘honesty conversation’ with Scottie, although this shirt is darker. Again, it represents how he is laying himself completely bare for Paula, and opening himself up to her emotionally in a way that he wouldn’t usually.

Mike Ross:

Mike Ross, a character almost as pivotal as Harvey himself. The premise of the entire show relies on Harvey and Mike’s relationship, and immediate connection with each other. Without their connection, Harvey would never have hired Mike whilst knowing he was a fraud, and there would be no show. While the pair never have an explicitly stated romance, they clearly share an extremely deep emotional connection, which could easily be seen as romantic. The first time Mike and Harvey meet, during the Pilot episode, Harvey is seen to be wearing a black suit. It’s extremely uncommon for Harvey to be wearing black when he first meets a character, as it is usually used to show his emotional connection to that person. This only serves to highlight the immediate and vital connection that Mike and Harvey have, which is drastically important to the show’s existence.

A significant moment in Mike and Harvey's relationship is when Harvey goes to Mike's apartment after his grandmother dies. The pair proceeds to get high together, and Harvey opens up to Mike about his childhood, and his relationship with his mother. This is a massive step for Harvey, as he usually is very secretive about his childhood, especially in regard to his mother and her infidelity. In this moment, Harvey is wearing a black suit jacket and a grey tie. The black jacket is unbuttoned and sitting open, representing Harvey’s openness and willingness to share personal information with Mike. Additionally, his tie is pulled loose, a noticeable difference to how put-together he usually is. Wearing or being seen in casual clothing, or simply taking off the ‘armor’ of his suits, is a significant indicator that Harvey has an emotional connection with someone and that he trusts them. Harvey’s unbuttoned jacket and undone tie reveal the deep trust that he has in Mike, even at such an early stage in their relationship.

During their time working together, Harvey and Mike fight frequently. Perhaps the most significant fight they have is when Mike ‘betrays’ Harvey after Jessica blackmails him. This ends with Harvey firing Mike, and all but saying that he’s dead to him. After this fight, Mike confronts Harvey in the lobby of Pearson Hardman. Harvey yells at Mike, expressing his hurt and betrayal as he tells him that he should’ve come to him about the threat. He declares that if anyone, “…comes at [him] with any threat at all,” he should tell Harvey, because “…that’s what goddamn loyalty is.” During this confrontation, Harvey is wearing a black suit jacket and tie. The jacket is buttoned up, effectively barricading Harvey from being emotionally vulnerable, or trusting of Mike. However, the dark colour suggests that there is still an emotional connection there, and that this is an important moment for both Harvey, and his relationship with Mike. Similarly, when Mike tells Harvey he’s leaving him to go work for Jonathan Sidwell, Harvey is wearing an almost identical suit. Harvey is visibly upset by this news, and the buttoned-up suit jacket can be seen as a physical representation of his attempt to ignore the pain he is in, due to Mike’s leaving. Additionally, during the entire showtime where Mike works at Sidwell Investment Group, Harvey isn't seen in casual clothes, a clear representation of the damage done to their relationship when Mike leaves Pearson Specter.

After finding out that Rachel cheated on him, Mike went to Harvey’s condo, seeking comfort. When Mike shows up, Harvey is wearing an untucked, partially unbuttoned shirt, and black trousers. The casual outfit demonstrates the connection between Mike and Harvey, as Harvey is the person Mike immediately went to when he needed support. Harvey is obviously trying to help Mike, and he uses their emotional connection to do so, which is shown through his clothing. Additionally, the next day, when Harvey is comforting Mike, and giving him advice on how to deal with the Rachel situation, he wears a black tie. During this scene, Harvey suggests that Mike goes home to Rachel, essentially closing himself off slightly from Mike, hence the grey suit. However, he ensures Mike that he can stay with him for longer if he needs, showing that he still wishes to help and comfort Mike, hence the dark black tie.

Mike going to prison is one of the most emotionally devastating things to happen to Harvey in the shows duration. During Mike's trial and the time he spent in jail, Harvey started having panic attacks again, something he had only been having while Donna had been working at Louis's desk. Mike's arrest sends Harvey into a desperate spiral of trying to keep him out of prison, and he is devastated when he realizes he 'failed' to do so, after Mike sacrificed himself. During one scene, Harvey tells Donna that Mike going to prison is, "…all [his] goddamn fault." As he speaks, he is in near tears and obviously distressed. In that moment, he is wearing a dark, unbuttoned black suit jacket, showing the emotional connection he has with both Mike and Donna. His shirt is also partially unbuttoned, which, paired with the unbuttoned jacket, demonstrates how he is opening himself up to the devastating emotions he's feeling in response to Mike's trip to prison. Finally, both Harvey's suits when he takes Mike to prison, and when he gets out, are all black, worn buttoned up to shield himself from the pain of losing what is probably the most important person in his life.

Donna Paulsen:

Donna Paulsen is Harvey’s final love interest. The pair met when Harvey was still working at the DA’s office, and Donna was still an aspiring actress. She quickly became one of the people Harvey trusted most, and has had a significant effect on his life, whether that be by simply helping him understand his emotions, or by urging him to reconnect with his mother. Harvey has gone so far as to say that he, “…can’t be [himself] without [her],” and refused to return to Gordon, Shmidt and Van Dyke (as it was known then) without Donna joining him. The pair has many ups and downs throughout the show, including Donna leaving Harvey to go work for Louis, Donna watching Harvey flit through lovers and partners and countless times where one has put themselves on the line for the other.

Throughout their time together at the DAs office, it is no secret that Harvey and Donna constantly flirt. Despite this, Donna refuses Harvey’s attempts to progress their relationship past flirting, due to the fact that she won’t sleep with someone she works with. Even later in the show, Donna tells Rachel Zane that once you cross that boundary, “…you can never go back.” However, in the brief moment between when Harvey leaves the DAs office and returns to Gordon, Shmidt and Van Dyke, he and Donna do sleep together. Harvey shows up to Donna’s apartment wearing with a white, partially unbuttoned shirt (with black pinstripes – noticeably very similar to the suit he wears in the Pilot) and a black suit jacket. While, for Harvey, “a serial womanizer” sex isn’t necessarily an emotional thing, it is still an important step in his relationship with Donna, one that he finds it near impossible to come back from.

When Donna returns to work for Harvey at Gordon, Schmidt, and Van Dyke, they vow that what happened “that night” can never happen again. However, Harvey never truly recovers from his feelings for Donna, only falling for her deeper. After a scare where Donna almost ended up in jail, she and Harvey spend time at her apartment together. Harvey opens up to Donna about how he doesn’t care if anyone loses faith in him, but, “…with [her] it’s different.” Right before he leaves, he tells Donna that he loves her. This is one of the few times in the show that Harvey has explicitly stated to a love interest that he loves them. While this is happening, Harvey is wearing a black three-piece suit, however, the suit jacket is removed, leaving only the vest and tie. Interestingly, for that entire episode, Harvey is shown almost exclusively in black, or mostly black suits. This is a clear demonstration of Harvey’s emotional connection with Donna, and how much he values having her in his life. Interestingly, in the scene where Harvey confesses his love for Donna, she is also wearing all black, in the same fashion as Harvey. This further demonstrates that the pair have an unbreakable bond, and that their emotional connection is reflected and shared equally.

However, due to his unwillingness to commit, Donna essentially rebuts Harvey, and leaves his desk to go work as Louis’s secretary. This triggers Harvey to start having panic attacks (and eventually see a psychiatrist) and leaves him feeling incredibly betrayed. During the moment where Donna informs Harvey of her decision to leave his desk, Harvey again wears an all-black suit, including a black pocket square. While at the start of the scene, Harvey is open and receptive to Donna, shown through his suit jacket being unbuttoned, when she tells him that she’s leaving him, he quickly fastens the jacket, highlighting his immediate desire to close himself off to her, because of this perceived “betrayal.”

Interestingly, the night Harvey finally makes the decision to commit himself to Donna, permanently, he isn’t wearing all black, instead he wears a dark grey suit with only a black tie. While his suit jacket is still unbuttoned (and he doesn’t stay in the suit for long) it is interesting to note the change in his attire, as opposed to how his connection to Donna is usually shown.

Throughout the duration of Suits, Harvey Specter has many relationships, both professional, romantic, and platonic. Many of these relationships overlap, progressing from one, to another, back to something else. However, the common denominator of these relationships, is that Harvey struggles to express himself emotionally. He even goes so far as to describe himself as “…emotionally unavailable,” even as early as season 2. Where Harvey cannot express how much he values, trusts or cares about a character, his clothing, the colouring of his suits, and how casual his outfits are, express this for him, time and time again. While there are examples of this with almost every character whom Harvey is close to, it is most clearly shown through Zoe, Scottie, Paula, Mike, and Donna.

*mic drop*

TAGS: @bewarethesmirk, @vettelmeisterr, @theactressstaringinyourbaddream, @huneyism and @alinanvjsmom-blog

[hoodienanami]

in the first of what will hopefully become an annual tradition, i've decided to make a post to commemorate my favorite books, movies, and music that i experienced for the first time this past year!

my schedule was pretty packed with both the personal and professional but the art lover grind never stops. not even when a branch went through my roof! so here's my favorites of 2024 in no particular order:

books

the devil finds work (1976) - james baldwin

the heebie-jeebies at cbgb's (2006) - steven lee beeber

the secret public (2024) - jon savage

how to hide an empire (2019) - daniel immerwahr

as usual my favorites are all nonfiction with three out of four of them focusing on pop culture. i'm always eager to listen when brilliant people talk about music and movies. baldwin, beeber, and savage provide great insights into some of the 20th century's best (and worst) art and artists through the lens of racial and sexual politics. immerwahr's history of the american empire was also fascinating and a real eye-opener for me. thank you @chateauofmymind for recommending it to me, it's an essential piece for anyone living in the usa

hopefully i'll read more fiction in 2025. and more books by women

movies

young soul rebels (1991) - isaac julien we are the best! (2013) - lukas moodysson swing girls (2004) - yaguchi shinobu the living dead girl (1982) - jean rollin

once again i have to thank @chateauofmymind as they're the reason i watched all four of these fantastic movies. young soul rebels, we are the best!, and swing girls rocketed up into my favorite movies of all time list incredibly easily, they're just so infectious and so damn good. young soul rebels in particular is the best punk movie i've ever watched. the living dead girl was also lovely, i should have watched it way sooner

a special shoutout to martin (1977) by george romero. it's a truly wonderful picture but it's not on the list because i feel like i need to give it another watch as i was a bit too depressed while watching it the first time to give it the focus it deserved

music

fine art (2024) - kneecap megan (2024) - megan thee stallion carnival (2024) - sheena ringo the doors (1967) - the doors

i finally listened to the doors self titled all the way through and goddamnit it's really good. light my fire nearly made it onto my spotify top five most listened list. goddamnit jim morrison. anyway, 2024 was a fantastic year for three of my favorite modern artists. kneecap's fine art was definitely the highlight, what an amazingly put together album. megan and ringo's albums blew me away too, it's been very exciting to keep up with them and see where they're headed musically

another special shoutout to i'd much rather be with the girls by donna lynn/i'd much rather be with the boys by the rolling stones and i wanna o.d. by the demolition doll rods. they're singles not albums but they deserve a mention due to how much i love them

well that's about it! happy new year and here's to enjoying more books, movies, and music in 2025!!

i've got a few things planned for this new year that you guys should get excited for...no spoilers though, you'll have to wait and see what's in store. until then, hoodie says mwah! love you all!

[canonrpfinder]

✨✨ hey there! 18+ writers only please. i'm looking for someone who'd be willing to write canon female characters! mainly, i'm looking for someone to write / plot or headcanon around some canon characters with, with some of my favorites specified below.

i’ve got more than a few characters i’d looove to write opposite, of course —— these are just a few:

dc

talia al ghul, donna troy, cheshire / jade nguyen, artemis crock (young justice), black canary, zatanna, yara flor, lois lane, huntress / helena bertinelli, carol ferris, jessica cruz, catwoman / selina kyle (comics or zoe kravitz), wonder woman, ravager / rose wilson, starfire / koriand’r, lilith clay, dawn granger (titans tv), mera, punchline, poison ivy, hawkgirl, lady shiva, supergirl, sofia falcone (reevesverse), arrowverse girls (sara lance, laurel lance, thea queen, iris west, dinah drake, mia smoak), etc.

marvel

elektra, emma frost, jean grey, psylocke, rogue, susan storm, kate bishop, felicia hardy, wanda maximoff, carol danvers, mary jane watson, gwen stacy, hope van dyne, claire temple, agatha harkness, gamora, etc

a song of ice and fire (game of thrones / house of the dragon)

cersei lannister, daenerys targaryen, margaery tyrell, melisandre, alicent hightower, rhaenyra targaryen, alys rivers

star wars

rey or leia

video games

ashe or kiriko (overwatch) / tifa, aerith, or jessie (final fantasy 7) / ellie williams (the last of us, part 2) / max caulfield, chloe price, juliet watson (life is strange)

disney

jasmine (aladdin), colette (ratatouille), cinderella, helen parr, tinker bell, kim posible or shego, elsa, alex russo, teddy duncan

other

starlight (the boys) / gwen tennyson (ben 10, alien force version only) / daphne blake (scooby-doo) / heather, gwen, courtney (total drama) / betty cooper (riverdale) / yennefer (the witcher show) / jessica rabbit (who framed roger rabbit?), etc.

these are just a few of the characters i’m looking for tbh, or the main ones at least. there’s quite a lot that i’d love, tbh.

as for who i'd play, i'm fine with most anyone, be it canons or crossovers or whatever. it depends on the pairing or plot, we can talk about it!

i'm fine with most themes and plots, and definitely most pairings. no real limits!

if any of this interests, like this and i‘ll message you! i mainly write through discord.

✒