#Joanna Shaw

[mostlybrunettes]

[nubesiclaros]

[antronaut]

Fantasies of the Library

[tournament-of-x]

The Tournament of X

Contestants Index

[fandomtrash0509]

I had a friend once, long ago, who, when I told him I liked girls too, was so disgusted he turned from me. We never spoke again. Hate burned real cold. There was a woman once who said to me when I said I was bi 'It's just a phase this kissing girls. It's cute and you know it brings the boys around.' How wrong she was. Only her perspective she believed was possible. That's not me. But worst of all came recently. I met a girl I really liked and I told her I was bi 'Sorry' she said. 'That's not a thing. I'm really gay so I guess this is goodbye.' 'That's not the way this works!' I cried 'Will you shut this door too? Of all the people in the world I expected more from you.' I've loved men and I've loved women I've loved those who're somewhere in-between It's not the junk that matters It's what you think and what you feel.

Bisexual — Joanna Harker Shaw

[dustedmagazine]

Dust Volume 9, Number 2

Joanna Mattrey

This month’s Dust comes as winter withers, as shirt-sleeves days alternate with last ditch blizzards, as the grey gives way to watery patches of sunlight. We find, as always, a bit of solace in the music that comes our way, this month including improvised jazz from Portugal, side projects from indie mainstays, pristine indie pop and blistering noisy metal. Bill Meyer, Tim Clarke, Ray Garraty, Chris Liberato, Jonathan Shaw, Jim Marks, Ian Mathers, Andrew Forell, Bryon Hayes and Jennifer Kelly contributed.

The Attic — Love Ghosts (No Business)

Love Ghosts by The Attic - Rodrigo Amado / Gonçalo Almeida / Onno Govaert

Portuguese tenor saxophonist Rodrigo Amado is a reliably robust improviser, but a chief pleasure of his work in The Attic is how relaxed he sounds. The trio, which also includes bassist Gonçalo Almeida and drummer Onno Govaert, has the patience to let a performance wander and pause, and the purposefulness to reward your attention by getting you to a destination as appealing as the views you caught along the way. Govaert’s cymbal surges carry Almeida and Amado through some probing exchanges, their lines twisting and curling around each other, but even when they pull the strands taut, there’s room to savor the rich complexity of their tones and they unencumbered logic of their ideas.

Bill Meyer

 David Brewis — The Soft Struggles (Daylight Saving)

The Soft Struggles by David Brewis

David Brewis of Field Music’s prior solo outings have been released under his School of Language moniker. The Soft Struggles is the first album under his own name, the distinction being that this is a much more mellow affair than his usual Prince-indebted funky guitar-pop. The best points of comparison here are probably Van Morrison’s Astral Weeks and Nick Drake’s Bryter Layter, the stately, elegant songs enriched by strings, woodwinds and upright bass. When it works it’s beautiful, such as waltz-time single “Surface Noise,” and “When You First Meet,” which features Eve Cole on vocals. “Start Over,” in contrast, feels self-consciously saccharine and stiffly well mannered. There’s no denying this is an interesting and compelling new direction for Brewis, but one that needs a bit more wearing in before it’s burnished to its best.

Tim Clarke

  Chasmdweller — Blood Vortex (self-released)

Blood Vortex by Chasmdweller

These Canadian gutter freaks play old school death metal and get it right. It’s not too fast but also not slow enough to let the doom to slip in. It’s dirty but not too much. There is also nothing new. The cover art is excellent, but the vocalist lacks English; he makes a single guttural sound throughout the whole CD. Is he even human? It sounds as if he’s an entity from hell. With this type of music that only makes it better.

Ray Garraty 

 CVS — Ad Hoc (Feeding Tube)

AD HOC by CVS

Who can resist a little corporate trolling when your mailing address is in Barcelona and the surnames of your combo’s members are Cunningham, Volt and Serra? With luck, they’ll be able to construct the covers of future releases from defied cease and desist letters. Shenanigans aside, the three musicians make a sound you may want to hear more of. Mark Cunningham (Mars, Blood Quartet) takes his processed trumpet sound into more amorphous territory with assistance from Pablo Volt’s looped trumpet and Andy Serra’s guitars and tenor saxophone. Each of the tape’s six tracks stakes out an eerie vibe, which gets less comfortable as the sounds recede multiply; this is the acid bath you won’t be able to refuse.

Bill Meyer

Dignan Porch — Electric Threads (Repeating Cloud)

Electric Threads by DIGNAN PORCH

On Dignan Porch’s fourth LP, Joe Walsh brings his blurry bedroom psych-pop into sharper focus. Since arriving on the scene in 2010, his mostly home-recorded, mostly solo project has often been accused of having a muddled sound and songs that aren’t distinct enough. The kind of music that “you half remember liking when it was playing in a friend's car,” as one reviewer put it, but which fails to leave a lasting impression. This isn’t an issue on Electric Threads. The album’s ten songs — a mix of chuggers and janglers, squawking motorik fuzzouts and one distinctly Lennon-esque ditty — are easily Walsh’s most immediate to date, sailing on their big hummable melodies and plentiful, vaguely sad hooks. Electric threads, besides being the title of the album, is also a good phrase to describe the lead guitar and organ lines, irresistible whenever they surface. Like on the title track, for instance, where a quivering light beam of a riff, evoking Only Life-era Feelies, periodically rises out of the mix and hovers there for a few moments before deferring to the crunchy rhythm action below. This brings up one small bone to pick: at times it feels like Walsh is holding the reins a little too tightly on his otherwise brilliant guitar work, and not letting it drift to the places it feels like it wants to go to. Because when he does cut his playing a little slack on closer “Ancestral Trail,” the album reaches its most gorgeous high note.

Chris Liberato 

 Isolant — Drain (Sentient Ruin Laboratories)

Drain by ISOLANT

Isolant’s new mini-LP Drain features a hybrid of doom and industrial metal that may have you flashing on Godflesh, c. Streetcleaner — or, depending on your ears and the depth of your catalog, on Justin Broadrick’s earlier, underappreciated band Head of David. That’s a good thing, and so is the fact that Isolant’s founding member Max Furst is a little less isolated, having recruited vocalist Mattia Alagna and noisenik Miguel Souto into the project. The songs on Drain are piercing and crunching mechanisms of misery, and Alagna adds a layer of organic dread with his growls and groans (he sounds almost as bummed out on Drain as he did on Abominion, the most recent LP from Bay Area crusty doomsters Abstracter). There are also some strangely Goth, dark-romantic passages; see the second half of “Death Pulse” and the rumbling, foreboding tonality of “Lamentation.” Isolant is at its best, though, when the band lets Furst’s guitar create its heaviest textures. Opening track “The End Begins Me” is a steamroller, flirting with melody even as an implacable sense of dread squeezes the life out of the song.

Jonathan Shaw

 Isik Kural — Peaches (RVNG Intl.)

peaches by Isik Kural

Last year, Isik Kural, a Turkish sound designer and musician based in Glasgow, released the gauzy, loop-based synth-pop full-length in february. This new ep presents some of the instrumental tracks from in february with the vocals removed (mostly) and found sounds pared back. The resulting lean quarter-hour of music, by chance, provides an antidote to the tragedy currently unfolding in Kural’s homeland. The beauty of that land is well captured by the video for a live version (recorded in a field in northern Turkiye) of the track “lo si aspetta,” in which birdsong and other environmental sounds blend with what seem like the plucks of a stringed instrument over keyboard effects. Fitting together like a suite, the tracks have distinct touches, such as the frog-like glitches in the title track and the Andean string sounds in “montevideo” with a neat slide at the halfway point. Gentle and thoughtful, peaches offers a welcome respite and a fresh perspective on Kural’s work.

Jim Marks  

 Lantana — Elemental (Cipsela)

Elemental by Lantana

Everyone in this Portuguese sextet is female, and if you’re thinking one should refrain from commenting upon their gender homogeneity, think twice; Joëlle Léandre’s liner notes celebrate the fact. Maria Radich’s dynamic vocals may steer the listener’s associations towards symbols and ceremonies, but be sure to listen to the folks stirring the sounds that swirl around her. The electronically enhanced three-strings, one-trumpet line-up unravels the melodic implications of her post-linguistic forays and weaves them into a multihued sonic cloak. Aughts-era freak-folk followers who wonder where cellist Helena Espvall went after Espers disbanded, wonder no more; she’s now well situated in Lisbon’s improvised music scene.

Bill Meyer

Joanna Mattrey & Steven Long — Strider (Dear Life Records)

Strider by Joanna Mattrey & Steven Long

This long-standing duo’s first full recording together began with the idea to make ambient songs, avoiding the longer and less structured approach taken with some ambient music. Mattrey (credited with the Stroh violin and field recordings) and Long (credited with “Organ, Stove, Barometer, Synth, Short-wave Radio”) have succeeded in one sense, with each of these eight pieces sticking to the melodic yet static framework they were aiming for. But if you’re thinking of Eno’s “it must be ignorable as it is interesting” dictum then much of Strider might not count as ambient, because if anything it’s a little too attention grabbing. The horn on the Stroh’s violin gives the string lines here a plangent, piercing (and yeah, faintly old-timey) quality and Mattrey is unafraid to explore its harsher ranges. Whether it’s paired with an icy river breaking up (“Eyes”), echoing synth beeps (“Retro”) or what sounds a bit like an attempt to replicate an ambulance siren (“Host”) the results are an unusually compelling mix of meditative focus and the aural equivalent of a smack upside the head. Ambient, then, specifically for anyone worried the genre is at risk of lapsing into wallpaper pleasantries.

Ian Mathers  

 Mal Sed / Scy1e— Mal Sed / Scy1e (Weird Ear)

Mal Sed / Scy1e by Mal Sed / Scy1e

Settle down and stop worrying about your influences. That’s the message of this project, whose circuitous production process is inseparable from its sounds. Peter Lamons, whose recording handle is Mal Sed, bought some Giuseppe Ielasi from Weird Ear proprietor Raub Roy, and then shared his own sounds inspired by Ielasi’s chopped and glued treatment of grooves. Roy liked what he heard enough to reactivate the label and make a cassette. When the proposed cover art came in, its design instigated him to make some music of his own, and the project became a split release. Mal Sed’s rhythms are a bit more fluid and less crammed-together than Ielasi’s, but his wheels still bump at each corner. Roy, who tags himself Scy1e when he hits record, matches Mal Sed’s peg-legged beats and raises him several barrages of squelchy electronics. Niches have cracks, and there’s no telling how deep they go.

Bill Meyer

 Pacific Walker — Pacific Walker (Bluesanct)

Pacific Walker by Pacific Walker

Pacific Walker is the new project from the respawned creative partnership of Michael James Tapscott and Isaac Edwards, who previously recorded as Odawas. For this venture, they’ve enlisted the services of Raphi Gottesman, who drums in Tapscott’s folk-rock outfit China. This sounds nothing like either of those projects, rooting itself instead in drones, field recordings and guitar arpeggios. The A side of the cassette comprises one long multi-part piece entitled “Mycelium Ab Astris Ad Astra,” a patchwork panoply of throat singing, astral ambient atmosphere and dusky desert melodies. Over on the other side, the trio offer up poignant frescoes of twilit synths, guitars and samples that gallivant through the outer reaches of the human psyche. Odawas aficionados will miss Tapscott’s fluid lyricism and upper register vocal range, as there’s not a word sung here. Fret not, sonic adventurers; Pacific Walker are after those parts of your brain that are amenable to unexplored sonic phenomena. Open your ears and let them inside.

Bryon Hayes

 Ivo Perelman / Matthew Shipp — Fruition (ESP-Disk’)

Fruition by Ivo Perelman/Matthew Shipp

While the title implies some sort of culmination, don’t think for a minute that these guys are done with each other. This is their 18th duo recording, and while a full accounting of their trios and quartets will have to wait for another review, suffice to say that the next one, a CD with North Carolinian drummer Jeff Cosgrove, has already been announced. Tenor saxophonist Ivo Perelman and pianist Matthew Shipp have become each other’s most enduring partners, and their rapport is undeniable. Shipp knows exactly when and where to place a stone in the harmonic foundation that his partner needs to formulate and elaborate upon his imploring melodies, and the quavers in Perelman’s ascending queries accentuate the gothic bleakness of the pianist’s heavy chords and ruminative asides. Do you need this one? That all depends on how unacquainted or acquisitionist you are. If you need them all, well, you already have it, right? If you haven’t heard them at all, and you are open to cosmically inclined improvised music, Fruition is an excellent point of entry.

Bill Meyer

Santa Muerte — Eslabón (Hyperdub)

Eslabón EP by Santa Muerte

As Santa Muerte (Our Lady of Holy Death), Houston-based Mexican producer Panch Briones makes bass heavy club music grounded in the culture and mythology of his homeland. The title of his debut EP for Hyperdub, Eslabón translates as “link” and the four tracks make explicit his cross-cultural influences with a mix of IDM and traditional beats under effervescent synths, snatches of µ-Ziq influenced melody and indigenous spoken word samples. The music skips lightly, radiating concentric circles of euphoria across a surface beneath which you hear the bustling tension of living within two worlds. Briones works plenty into these short pieces and leaves you looking forward to what he might do in a longer format.

Andrew Forell 

 Philip Selway — Strange Dance (Bella Union)

Strange Dance by Philip Selway

Strange Dance is the third solo album by Radiohead drummer Philip Selway. While previous albums Familial and Weatherhouse were pleasant enough, they suffered from feeling a little safe and pedestrian, especially compared to Radiohead’s more adventurous work. On Strange Dance, Selway is branching out, collaborating and taking more risks. At best, on singles “Check for Signs of Life” and “Picking Up Pieces,” Selway explores possibilities with growing confidence. On the latter in particular, intricate rhythmic beds are buffeted by swooping strings and dissonant guitar lines from Portishead’s Adrian Utley. At its weakest, such as “The Other Side,” major-key piano melodies unfold sweetly but predictably. However, the main issue with Strange Dance is Selway’s lyrics, which frequently lapse into platitudes.

Tim Clarke

 Shame — Food for Worms (Dead Oceans)

Food for Thought continues a run of albums on which all the elements seem to be in place but never quite gel. Charismatic front man? Check. Bruising rhythm section? Yes. A couple of exciting guitar slingers? Sure. A zeitgeisty sound? OK. Decent songs? Some. So, what’s the problem? Three albums in and Shame seem unsure who they are. They’ve devolved into The Libertines redux without the cocksure attitude that made them kind of fun for five minutes. There’s plenty of earnest belting but the overall tone of Charlie Steen’s sometimes terrific delivery is irritability, and rest of band hit enough highs to make the missteps more noticeable. “Alibis” for instance, burns with righteous fury but the petulance of “Yankees” and sanctimony of “Adderall” grate. “The Fall of Paul” harnesses the band’s energy and dynamism to great effect but is followed by the meandering “Burning by Design” which sucks the air out of the room before attempting to resuscitate itself at the end. Food for Thought is disappointing, there’s enough here to pique the interest but not to sustain it.

Andrew Forell 

 Sluice — Radial Gate (Ruination)

Radial Gate by Sluice

Justin Morris’ songs as Sluice start spare and pick up weight as finger-picked precision gives way to the rich sustaining drone of string, the howl of untrammeled feedback. This second album from the North Carolina based musician starts in a tremble of immanence as tape hiss shushes and banjo notes tangle in the distance. Bowed notes waft in, glimmering like the bright line in the east when the sun’s just about to rise. This intro piece “Ostern” assembles all the sounds that Morris will incorporate in a humming cloud of sensation. Later, he will separate them out and surround them with space. In “Centurion,” for instance, where his warm spoke-sung delivery sounds a bit like Bill Callahan, as a guitar jangle sidles up into the foreground. Drums clatter in, a violin saws up out of white space, and finally pedal-screeching guitar builds up like a giant wave in previously serene water. It’s indie-folk, sure, but tapped into strong, unruly undercurrents. Or what about the existential inquiry that is “Fourth of” where memories of hot summers past and present cleave together in layers, and swimming hole becomes a metaphor for the connection of all things. (“I am the rock, I am the eddy, I am my roommates in love, I am blackberry jelly, I am the weir, I am the spillway.”) Morris enlists a whole orchestra’s full of capable player to flesh his songs out with mournful arcs of pedal steel, surging tides of stringed instruments and warm communal singing. Hold on for the end with “New Leices” grows from lyric interior musing to bright harmonized concord. Really lovely, this, like acoustic Akron/Family but simpler.

Jennifer Kelly

 Son of Dribble — Son of Drib Against the Wind (Minimum Table Stacks)

Son of Drib Against the Wind by Son of Dribble

New Jersey’s Minimum Table Stacks has a sixth sense about which arcane or overlooked sonic gems deserve the vinyl reissue treatment. Take Son of Drib Against the Wind, for instance. It originally took shape as a limited run cassette, self-released by Columbus, Ohio trio-turned-quartet Son of Dribble in mid-2022. The band’s fuzzy yet morose Velvets-meets-Joy Division garage rock clamor practically screams out for a wider audience and a more robust pressing, so it’s great that the label took the bait. Vocalist Andy Clager, with his handsome blend of Jonathan Richman baritone and Julian Casablancas croon, is the perfect front man. You’re not sure what he’s singing about, but you know it’s poignant. For added effect, the band tips its hat to an eclectic assortment of genres. Doo wop harmonies, proto-punk stomp, and arty synths all make an appearance. It’s as if Son of Dribble are the smarter, edgier, and grumpier cousins to fellow Columbusites Kneeling in Piss. Clager and crew picked the better band name, at least.

Bryon Hayes 

 Spiral Joy Band — In the River (Feeding Tube Records)

In The River by Spiral Joy Band

There are certain varieties of drone music that give credence to the notion that music is always out there somewhere, and humans don’t make it up, they just get to turn the cosmic tap on and off. Patrick Best and Mikel Dimmick are both members of Pelt, so it goes without saying that they are already well practiced at operating the tap. But since Pelt can go for years without a gig, they’ve sometimes run a side hustle in similarly expansive sound named the Spiral Joy Band. The two quarter-hour examples of said endeavor that can be heard on this LP come from a time, about a dozen years ago, when they both lived near Madison, Wisconsin, and had the empathetic assistance of a third string scraper named Troy Schafer. The combination of violin, viola, and harmonium guarantees access to a continuous, pulsing expanse of rich aural texture, which they show no compunction about cashing in. Locked grooves at the end of each side make this the record of choice when you don’t know if you’re going to be awake by the end of the side, but you know how you’re going to want to feel when you wake up.

Bill Meyer 

 Spitting Image — Full Sun (Slovenly)

SPITTING IMAGE "Full Sun" LP by SPITTING IMAGE

“Black Box” careens around the corners on car-crash riffs, drums spiking out of the infinitesimal pause between one hurtling phrase and another. Shouted lyrics slash in and out of the mix. At one point, late in the cut (which is only a minute and a half long so not that late), two people shout the title at each other. It is hard not to picture them, separated by inches, screaming in each other’s faces. This cut, and the harder, faster ones like “Spirit Trouble Flash” have a good bit of Big Black’s punk ferocity, a little of Shellac’s uncompromising angularity, though less complicated, more garage punk than noise art. Spitting Image, out of Reno, Nevada, have been around for a little more than a decade, grinding out an underground, basement show existence with, before this, just a handful of EPs, singles and one cassette release to show for it. This first full-length sounds, to me, a lot like the Xetas, which is to say it bangs pretty hard, until it doesn’t. The last three songs are disconcertingly down-tempo, lyrical and pensive, and I’m not sure that works, but the rest is pretty good.

Jennifer Kelly

 Tanukichan — Gizmo (Company)

GIZMO by Tanukichan

Tanukichan lays translucent, ethereal textures over buzz saw bass and rupturing drums, in an ice cream swirl of indulgence and crunch. “Don’t Give Up” vibrates like a mirage on heat-soaked asphalt, tremulous, idealized and gut-shocked with an underpinning rock and roll roar. Gizmo is the second soft-focus shoegaze pop album from Oakland’s Hannah van Loon, following Sundays in 2018. It takes its name from her pandemic pup, and, like the first, enlists the support of her friend Chaz Bear, better known as Toro & Moi. Some cuts play up the dreamy sweetness of van Loon’s murmuring soprano; others turn up the wrenching abrasion of rock sounds. “Thin Air” pairs van Loon with Enumclaw, another Oakland artist with a wry, slant on indie anthemry. These are lullabies buzzing with enough TNT to blow down buildings. More of this, please.

Jennifer Kelly

 Tithe — Inverse Rapture (Profound Lore)

Inverse Rapture by TITHE

This reviewer is unsure how an “inverse rapture” might work: will the sinners go to heaven? Will the believers be left behind? In either case, count me out — but count me in for more music from Tithe. The grim gang in the Portland-based band generates a convincingly pissed-off hybridization of grind and black/death, and the resulting songs are as unhinged as you might expect. The gloriously filthy guitar tone is best appreciated when Tithe slows to a trot, or a menacing shamble, as they do in passages of seven-minute-long “Killing Tree.” Still, the short songs have the greatest impact; “Demon” and “Pseudologia Fantastica” clock in well under three minutes, which may be the ideal length for this sort of whirling, battering chaos. Yikes. Beyond the religious symbolics of the band’s name and most of the song titles, it’s hard to say what all shouting and howling concern. One imagines it’s the usual stuff: Christianity is oppressively awful; in its name, people do lots of horrible things to one another; thus, evil and violence (symbolic or otherwise) are the only adequate responses. So why not let the Christian Rapture go off as originally planned? The True Believers will exit the earthball, and the rest of us can hang around and do our thing. Which will likely include turning this record up even louder.

Jonathan Shaw

 Ulthar — Anthronomicon (20 Buck Spin)

Anthronomicon by Ulthar

Fewer things seem riper for black/death musical fixation than H. P. Lovecraft’s fiction and cultural profile. His supernatural imaginary is suffused by the Empire of Slime, an accretion of repulsive, tentacular forms, sanity-shredding powers, and by his mandarin, aristocratic aesthetic sensibilities. Bay Area band Ulthar has embraced the fixation across their recorded output, which has now spread — like a cosmic fungus — onto two new paired LPs, Helionomicon and Anthronomicon, for about 70 total minutes of involuted black/death. By any measure, that’s a whole lot of Ulthar. Anthronomicon is the better LP of the pair, full of spurting pseudopodia and corkscrews of sound, and also imbued with an aggro, blackened hostility. “Saccades,” named for a variety of rapid eye movement, is a strong example of the record’s vibe. The nod to REM sleep evokes the surrealism just underneath the band’s noise and bluster. Check out the riff that emerges around the 2:20 mark; it’s brief lived, but it snaps the song into focus, sending it into the headlong tumble that dominates its second half, during which whirling chaos struggles with downhill momentum. It’s an exciting song.

Jonathan Shaw

 Ed Williams — Decomposition Study (Insub)

Decomposition study by ED WILLIAMS

Do you suppose that the old saying that too many cooks spoil the soup was first uttered by a chef who didn’t want to take questions or orders? Composer Ed Williams takes a different approach on Decomposition Study, one that admits multiple inputs from the distant past as well as the moment of performance. He devised a canon in a form favored 600 years ago by composers of madrigals and handed it to two musicians playing upon one arciorgano, a sixteenth century, bellows—operated organ with two keyboards. As they played the piece, four more musicians intervened at will, and Williams mixed the results, which were projected through a cube speaker. Clearly, there’s still some hierarchy shaping the results, but also a degree of democracy rarely heard in classical pieces for organ. While the antique keyboard’s gentle voices bring a whiff of older times, the performance’s exploration of tonal extremes and clashes feels more in tune with the past half century of psychedelic musical pursuits. Sign up for the novelty, stay for the disorientation.

Bill Meyer

[theretirementhome]

Fall Mix #2: Fickle Fall

Autumn is capricious at best, tempestuous at worst. She's warm, then cold. Light and breezy one moment, totally depressing the next. Sometimes all of it at the same damn time. You can't pin her down so be prepared for whatever she gives you.

Art: The Mirror, Fairfield Porter

Tracklist:

Joanna Brouk - Maggi's Flute - Lifting Off

Claire Hamill - Autumn: Harvest

Slapp Happy - Blue Flower

Annie Haslam - If I Loved You

Judee Sill - Crayon Angels

Arlen Hlusko - Nineteen Movements for Unaccompanied Cello: IV ˜

Norma Tanega - I'm Dreamin' A Dream

Connie Converse - We Lived Alone

All In One - Face It Girl, It's Over

Kathy Heideman - Sleep A Million Years

Bonnie Guitar - Dark Moon

Linda Cohen - Arroyo

Nailah Hunter - Talk Show Host

Evolution Control Committee - Stairway to Britney

Faye Wong - Dream Person

Broadcast - Come On Let's Go

Tara Clerkin Trio - The Turning Ground

TIRZAH - Fine Again

L'Rain - Need Be

Caroline Shaw & Attacca Quartet - Plan & Elevation: V. The Beech Tree

Soul Revivals - If You Miss Me

[katarinas-redemption]

The mystery of Red’s connection to Elizabeth Keen was solvable in Season 4. The key episodes are Mato, Adrian Shaw Conclusion, and Requiem.

The Blacklist first look: Mr. Kaplan's ties to Red revealed — first look

Source: Entertainment Weekly, Natalie Abrams

“In the episode titled ‘Requiem,’ we get to step back in time and see Reddington through the lens of what is essentially an origin story,” executive producer Jon Bokenkamp tells EW. “It’s a really compelling hour that involves Young Liz, her mother Katerina, her adopted father Sam Milan and, of course, Mr. Kaplan. In this photo, we see Mr. Kaplan putting on her ‘cleaner gloves’ for the very first time.”

The Blacklist unveils a shocking amount of backstory

Source: Entertainment Weekly, Natalie Abrams

"It turns out, Kaplan was more than just a cleaner for Red, but once acted as the caretaker for a young Masha, a.k.a. Liz Keen (Megan Boone), working for Katarina Rostova (Lotte Verbeek) and eventually uncovered that she's a Russian spy and becoming her cleaner."

In 4.02 we learned for the first time that Mr. Kaplan’s history with Red went as far back as to when Liz was just an infant. This was the episode where Red shoots Kate for betraying him. During the episode and before he shoots her which she knows is coming… Mr. Kaplan explains to Red that she only betrayed him because of an agreement they had made back when Liz was a baby for which Red insisted she always put Liz first. She mentions an incident that happened with “Annie” way back when. At one point Red tells Kate that he “was away”. All of this backstory dialogue was pretty vague and didn’t give too much insight. But in the episode Requiem, all of this is explained. We get to see Baby Liz in Kaplan’s arms. We see the promises made to keep Liz safe. We saw the incident with Annie and Kate. We learned how Mr. Kaplan got her name. We saw Katarina call Kate from Cape May to tell her she was going "away". Etc...

In short, the episode of Requiem will MOSTLY feature Katarina and Mr. Kaplan. The younger Mr. Kaplan is played by Joanna Adler. Susan Blommarert of course plays the Mr. Kaplan we all know.

Susan Blommaert 

And just like the episode of Nachalo, the story in Requiem is ABOUT RED in the flashbacks but who we see onscreen is Katarina played by Lotte Verbeek. This is because Red was formerly Katarina Rostova who took on the identity of Raymond Reddington.

The lines:

4x02 - Mr. Kaplan: Do you remember what I looked like that night? Lying in the street, my head torn open… Annie’s body in front of me. Red: You know I don’t know what you looked like. I was away.

The explanation: 1. The episode Requiem will introduce the story of Annie and how Kate met her. The episode will feature the very scene that Kate referred to. We see her lying in the street, head torn open… Annie’s body in front of her. Bonus: We finally learn how Kate got her name “Mr. Kaplan”. We are also shown the tragic scene of both Annie and Kate being shot. Annie dies. 2. Red’s line about him being away is explained by the scene where Katarina calls Kate at the motel from Cape May and tells her she is “going away”.

4x02 - Kate: Do you remember…? Red: You know I don’t know what you liked like….

When Kate said: Do you remember…? Red’s response wasn’t that he did not know her back then. Instead, he told her he was away. They knew each other. Also, there is no reason for Kate to ask Red in the first place if he remembers anything unless she knew Red during this time frame. What is important here is that the event of Annie and Kate getting shot at Little Nikkos happened BEFORE Red approached Mr. Kaplan to work for him. And yet: Kate to Red: Work for you? I don't know you. She thought he was the real RR. But anyway, the part where Red said he was away is explained by the phone call from Katarina to Kate from Cape May. She tells Kate she's going away.

4.17 Mr. Kaplan: Work for you? I don’t know you.

Red: I’m not as unknown as you might like to believe, Ms. Nemec.

Kate believes that Red is the real Raymond Reddington. That is who he is presenting himself as after all. The explanation for Red’s line that he’s not as unknown as she might like to believe means that Kate does not yet know that Red is Katarina disguised. Red is known to her. Afterall he did put Baby Liz in her arms 10 years prior.

4x02 - Kate: I’m not sorry for what I did. I betrayed you for the same reason I just betrayed Nikos– to keep Elizabeth safe, just like you asked me to all those years ago, when you first put her in my arms as a baby girl, only now she has a baby girl of her own, and your existence in their lives puts them in constant danger.

- to keep Elizabeth safe, just like you asked me to all those years ago, Requiem explains this line in the scene where Mr. Kaplan is in the nursery with the baby and Katarina walks in. 1. Note: that the song Kate is singing has the lines: You are safe, you are loved. You are wise. I think this was an intentional little nugget by the writers. 2. The scene ends with Kate telling Katarina that she would do anything to protect her baby. Kathryn: I told you. I have a pact with your daughter. I will do everything in my power to keep her safe. And her mother.

- “And her mother”: aka Red. 

- when you first put her in my arms as a baby girl, This line is explained by the same scene when Mr. Kaplan is in the nursery. Though we do not see Katarina handing the baby to Mr. Kaplan's arms and asking her to keep her safe, (that would be TOO obvious). Perhaps the show decided to do the reverse as a clever clue to cover the handling of the baby. That said, in the scene, they do show Baby Liz in Kaplan’s arms. In the scene, Mr. Kaplan even mentions “in my arms”. 

- Baby Girl, We can infer by Mr. Kaplan’s reference [“only now she has a baby girl of her one”] to Agnes being a baby that Liz was not a little girl but a baby when Red put her in Mr. Kaplan’s arms.

The timeline

30 years

Mr. Kaplan: Wrong. You have me. Raymond thinks he out maneuvered me today, but he underestimated my commitment. I’ve been his cleaner, keeper, and confessor for 30 years, and I’m prepared to tell you everything you need to know in open court.

(2017 - 30 = 1987. Liz was born in 1985 though she looks under a year old in Requiem.)

Two decades

Mr. Kaplan: For the last two decades of my life, you had me convinced I was helping keep Elizabeth safe. But in reality, I was helping you become a monster.

(2017 - 20 = This is when she started working for Red.)

This wasn't a part of Mato but the messy situation Red talked to Kate about in Requiem is about the "mess" in the kitchen. Red knows about it because he's Katarina.

Also not a part of Mato but Requiem revealed Katarina was burned on her back.

“Ultimately this is a ‘chosen one’ story. Elizabeth Keen is clearly incredibly important to Red. Why? That’s what we’re slowly revealing over time, and trust me, the answers are all there. - Jon Bokenkamp interview with EW post episode 4.08;

[bestmusicalworldcup]

Concord Theatricals Recordings will release a live album of My Favorite Things: The Rodgers and Hammerstein 80th Anniversary Concert, which played London's Theatre Royal Drury Lane last year.

The album releases May 31st on streaming and CD and features 42 tracks (the full tracklist is in the article).

The concert starred Audra McDonald, Marisha Wallace, Daniel Dae Kim, Patrick Wilson, Aaron Tveit, Julian Ovenden, Maria Friedman, Michael Ball, Lucy St. Louis, and Joanna Ampil, along with Anna-Jane Casey, Lily Kerhoas, Jonny Labey, and Jordan Shaw.

The concert also featured Jade Albertsen, Alex Louize Bird, Matthew Caputo, Dan Cooke, Barry Drummond, Harry Francis, Matt Gibson, Bethany Huckle, Brenda Newhouse, Emily Ann Potter, Sophie Pourret, Stephen Quildan, and Rachel Wang-Hei Lau.

[missyourflight]

some stuff i read and watched in november:

taskmaster (s16): what a delight!! what a fucking charming bunch of weirdos, sam campbell somehow everything to me now?? if you think susan wokoma is hot you should watch bbc CHEATERS etc

black swan: first rewatch for ages and it still goes so hard, Love the score, natalie as ever at her best when you can see the gears going in her head, she was perfect!!

the girl with the dragon tattoo: it's been fincher season on blank check, rewatched this for i think the first time since i saw it at the pictures and liked it much more, especially the mara/craig chemistry and all the snow and knitwear etc. it's great when she's like put your hand back in my shirt and he does it

anatomy of a fall: more snow - really liked this - between this and saint omer it's the year of french legal dramas etc. her lawyer with the hair and the chemistry and that other lawyer from 120 bpm!

saltburn: UGH. i'd heard such mixed things and i was actually having fun up until the Turn (although if they're freshers in 2006 they're not the class of 2006 are they emerald) but the ending is So stupid that it made me hate the whole thing lol. imo it's fine to criticise posh people for making shit art!! some of them make interesting art but not emerald fennell!!

the eternal daughter: meanwhile joanna hogg said posh filmmaker rights actually! i loved this, so quiet and haunting and the costumes and the hotel of it all. you can't know your parents really ever!! when i'm old nobody's going to be around to take care of me!! and so like aching as an extension of the souvenir project plus back to the evergreen joanna hogg theme of rich people having an awful time on holiday etc

napoleon: had way too much fun with this, was not prepared for it to be so funny and so full of Guys - paul rhys! tom godwin! sam troughton as robespierre??? mr segundus himself aka edward hogg!!! great year of looking at vanessa kirby's feline face between this and mission impossible. aren't we all just trying to enjoy a succulent breakfast etc

may december: my favourite thing i've seen this year maybe?? natalie and julianne having so much fun with like the monstrous performance mirrors meanwhile charles melton's performance is entirely heartbreaking?? so deeply deeply sad and moving?? goddamn todd haynes

yentl: every talks about how hot young mandy patinkin is in yentl and yet i was Entirely unprepared my god

miami vice: loved this!!! like yes it's mumble city and who knows what's going on but colin farrell and gong li going to havana in a go fast boat to drink mojitos and dance salsa and fall in love??? it's digital cinema and it's very tender!!! brb listening to numb/encore again etc

robert macfarlane, underland: a deep time journey: macfarlane is like my favourite writer on like nature and our environment and this was just so cool, caves and catacombs and nuclear waste under the ice

victoria gosling, bliss and blunder: look, some of us were deeply into and forever changed by the merlin fandom, and that's okay! this was a sort of fun modern take on arthurian legend - parts of it worked much better for me than others (morgan, wayne/gawain) but like where was merlin??? could have done with a bit more allusion to like The Past and The Myth and The Cycle but eh

anne enright, the gathering: can't think of like a better marriage of audiobook and narrator than fiona shaw's performance of this tbh - just pitch perfectly sharp and wounded. families!

michael mann & meg gardiner, heat 2: lol i had a blast with this. like the michael mann bro equivalent of an extremely purple romance novel i guess? audiobook again and the narrator does a fantastic pacino

just a note that i'm taking a bit of a step back from social media stuff for the time being due to continued bad brain/feelings about fandom/writing/self etc and also in a concerted effort to spend a lot less time staring directly into the portal. love you pals 💕

[joanna-murphy]

Who: @camilowylders Where: Fire and Ice Charity Ball

Turning on her seat and readying to move away from the table she was seated at, having just had a lengthy conversation with her neighbours about their current issues with events being thrown in Tonopah -- despite attending them, Joanna was making a quick beeline to escape. Spotting a familiar face she smiled politely, "Mr. Wylders..." she begins, more to make it obvious to the Shaw's behind her that she was talking to another. "You're looking smart this evening."

[grandhotelabyss]

What kind of music do you typically listen to? Are there any musicians that have inspired or influenced your work in any way?

I pretty much answered this one here back at the end of 2023. For an update and more specific answer to your question about inspiration: lately, I've been trying to listen to at least period-specific music as I work on the Invisible College research and preparation, like Beethoven and Chopin paired with the Romantics, some Wagner with Shaw, Rachmaninov with Conrad, etc. I'll make an attempt at Schoenberg when I get to Beckett for the full Adorno trip. The algorithm has really been insisting on Sibelius lately, however, which I'm guessing Adorno would call fascist. (I never read Adorno's music criticism, though I studied—mainly visual art and literature—with one of its distinguished translators.) Also, speaking of fascism, even though I gave Dune: Part Two a bad review, I have been listening to that soundtrack for better or worse; this is a plebeian taste, I'm sure, or maybe "Reddit" or whatever other insult, but I like a lot of the ambient soundtrack music popular on YouTube: Zimmer, Einaudi, Richter, that style of material. For some reason, maybe also algorithmic, I lately went back to that electronica group I remembered from the '90s, VNV Nation, and was interested to see they had some new material; this has been a recent favorite, somewhat relatable lyrics if you ask me. Speaking of the '90s or even the '80s, I listened to a lot of music from that era when I was writing Major Arcana last year to create the appropriate late-20th-century Dark-Age-of-Comics mood, everything from Joy Division and The Smiths up through Portishead and Massive Attack and the like, and Americans, too, my melodramatic preference for Tori Amos and the Smashing Pumpkins being well-known to my regular readers, as well as "Malibu"-era Hole (even if she [allegedly] did kill Kurt, I like "Malibu" better than any of his stuff). That and some of the jazz favored by my character Ellen Chandler, especially Sketches of Spain and A Love Supreme, which are thematically crucial to the novel. What else? I'm excited for the apparent Joanna Newsom revival-comeback. She might be the most inspirational musical artist of my generation just by her example: create your own strange world, and listeners will come. (I wrote a little tribute to her on here a few years ago.) The aforementioned algorithm knows I compared Lana to Shakespeare 10 years ago—she had to forgive the rest of you for how you treated her; she didn't have to forgive me!—so I usually happily let it give me all the visionary "sad girls" past and present. But, and just in case this was a subtext of your question, there being so few ways nowadays to draw the line between macroculture and meso- and microcultures, I must halt at the frontier of Ms. Swift's empire.

[nem0c]

Vietnam War - Galaxy Science Fiction Magazine, June 1968

Sourced from: http://natsmusic.net/articles_galaxy_magazine_viet_nam_war.htm

Transcript Below

We the undersigned believe the United States must remain in Vietnam to fulfill its responsibilities to the people of that country.

Karen K. Anderson, Poul Anderson, Harry Bates, Lloyd Biggle Jr., J. F. Bone, Leigh Brackett, Marion Zimmer Bradley, Mario Brand, R. Bretnor, Frederic Brown, Doris Pitkin Buck, William R. Burkett Jr., Elinor Busby, F. M. Busby, John W. Campbell, Louis Charbonneau, Hal Clement, Compton Crook, Hank Davis, L. Sprague de Camp, Charles V. de Vet, William B. Ellern, Richard H. Eney, T. R. Fehrenbach, R. C. FitzPatrick, Daniel F. Galouye, Raymond Z. Gallun, Robert M. Green Jr., Frances T. Hall, Edmond Hamilton, Robert A. Heinlein, Joe L. Hensley, Paul G. Herkart, Dean C. Ing, Jay Kay Klein, David A. Kyle, R. A. Lafferty, Robert J. Leman, C. C. MacApp, Robert Mason, D. M. Melton, Norman Metcalf, P. Schuyler Miller, Sam Moskowitz, John Myers Myers, Larry Niven, Alan Nourse, Stuart Palmer, Gerald W. Page, Rachel Cosgrove Payes, Lawrence A. Perkins, Jerry E. Pournelle, Joe Poyer, E. Hoffmann Price, George W. Price, Alva Rogers, Fred Saberhagen, George O. Smith, W. E. Sprague, G. Harry Stine (Lee Correy), Dwight V. Swain, Thomas Burnett Swann, Albert Teichner, Theodore L. Thomas, Rena M. Vale, Jack Vance, Harl Vincent, Don Walsh Jr., Robert Moore Williams, Jack Williamson, Rosco E. Wright, Karl Würf.

We oppose the participation of the United States in the war in Vietnam.

Forrest J. Ackerman, Isaac Asimov, Peter S. Beagle, Jerome Bixby, James Blish, Anthony Boucher, Lyle G. Boyd, Ray Bradbury, Jonathan Brand, Stuart J. Byrne, Terry Carr, Carroll J. Clem, Ed M. Clinton, Theodore R. Cogswell, Arthur Jean Cox, Allan Danzig, Jon DeCles, Miriam Allen deFord, Samuel R. Delany, Lester del Rey, Philip K. Dick, Thomas M. Disch, Sonya Dorman, Larry Eisenberg, Harlan Ellison, Carol Emshwiller, Philip José Farmer, David E. Fisher, Ron Goulart, Joseph Green, Jim Harmon, Harry Harrison, H. H. Hollis, J. Hunter Holly, James D. Houston, Edward Jesby, Leo P. Kelley, Daniel Keyes, Virginia Kidd, Damon Knight, Allen Lang, March Laumer, Ursula K. LeGuin, Fritz Leiber, Irwin Lewis, A. M. Lightner, Robert A. W. Lowndes, Katherine MacLean, Barry Malzberg, Robert E. Margroff, Anne Marple, Ardrey Marshall, Bruce McAllister, Judith Merril, Robert P. Mills, Howard L. Morris, Kris Neville, Alexei Panshin, Emil Petaja, J. R. Pierce, Arthur Porges, Mack Reynolds, Gene Roddenberry, Joanna Russ, James Sallis, William Sambrot, Hans Stefan Santesson, J. W. Schutz, Robin Scott, Larry T. Shaw, John Shepley, T. L. Sherred, Robert Silverberg, Henry Slesar, Jerry Sohl, Norman Spinrad, Margaret St. Clair, Jacob Transue, Thurlow Weed, Kate Wilhelm, Richard Wilson, Donald A. Wollheim.

[chocolatehideoutpirate]

Here's a tribute edit for Isabella Nardoni to say I'm sorry that whatever happened to all of the innocent kids gone so soon and Angels they became to be in heaven to Beatriz Mota to Saffie Rose Roussos to JonBenèt Ramsey to Makayla Lynn Brewster to Junko Furuta to Rachel Joy Scott to Destiny Riekeberg to Destiny Norton to Destiny Marie Champagne to Lily Peters and Olivia Pratt Korbel to Olivia Engel to Emilie Parker to Yvonne Süskind to SISTERS EVA AND LIANE MÜNZER to Suzan and Sidra Hassouna to Anna Janáčová Tomíková to Jeannette Dawidowicz to Liliane Dawidowicz to Dora Poznanski to Rene Spiner to Jesse Layne Holland to Alexandria "Lexi" Rubio to Sarah Haley “HaleyBug” Foxwell to Baylor Arlene Nichols to Ava Cole Nichols to birgit ruth berkowitz to Sophie Jane “Soph” Lockwood-North to Charlotte Figi to Charlotte Bacon to Charlotte Louise Dunn to Rose Isabelle Pizem to Calla Adelaide Andrus to Calla Adelaide Woods to Joanna Arlene Mullin to Semina Halliwell and Ava Jordan Wood to Reta Shaw to Sandra Cantu to Jessica Lunsford to Makenna Lee Elrod to Jayce Carmelo Luevanos to his cousin Jailah Nicole Silguero to Eliahna Torres to Nevaeh Alyssa Bravo to Layla Salazar to Jackie Cazares to Anicka Anna Janatkova to Anna Glinberg to Larisa Ratmanski to Mania Halef to Nelly Tarszis to Yvonne Suckind to Anne and Margot Frank to Madeleine Hsu to Sara Sharif to Elizabeth Shelley to JoAnna Frances VanOstrand to Sherin Mathews to Jane Withers to Shirley Temple Black 1928-2014 to Alicia Lynn Clark to Maite Rodriguez, Leiliana Wright, Catherine Hubbard, Adriana Dukic, Mercedes Losoya, Skylar Annette Neese, Tristyn Bailey, Shinzo Abe, Star Hobson, Stevie Stock, Colby Curtin, Pauline Adelaar and Peter Fuchs, Helena Abram, Soren Chilson and Caylee Marie Anthony, Sierra Newbold, Natalynn Lea Miller, Amanda Todd, Bianca Devins, Gabriella Green, Moa Leontine Björk, Sloan Mattingly and Audrii Cunningham, Bella Claire Callaway, Joanna Mullin, Meika Jordan, Kristen Lee Dutton, Mikaela Renee Lynch, Avielle Richman, Eva Friedman, Magda Weisberger Willinger, Gracie Perry Watson and Inez Clarke Briggs, Jersey Dianne Bridgeman, Macie Hill, Caroline and Madison King and Madyson Middleton

[jeanne-darc-tournament]

List of Jeanne media submitted so far

Note that not all may appear in the final bracket.

Puella Magi Madoka Magica / Puella Magi Tart Magica / Magia Record: Puella Magi Madoka Magica Side Story

Figaro Illustré magazine illustration by Albert Lynch

Gerard Way himself

The Black Parade album cover

Johanne comic by Gerard Way, Marley Zarcone and Hi-Fi

The Lark

Fate series / Fate/Grand Order / Fate/Apocrypha

Joan of Arc Saved France--Women of America Save Your Country--Buy War Savings Stamps poster

Jeanne d'Arc (PSP game) by Level-5

Miraculous: Tales of Ladybug & Cat Noir

Pieśń - Studium do obrazu Joanna d`Arc by Jan Matejko

A sketch in the Register of the Parlement of Paris by Clément de Fauquembergue

"Joan of Arc: What Did She Look Like?" YouTube video

Secrets of the Immortal Nicholas Flamel

RWBY

Requiem of the Rose King/ Baraou no Souretsu

Hetalia: Axis Powers

The Simpsons: episode "Tales From The Public Domain"

Clone High

Genkaku Picasso

Ikemen Vampire Otome Games

Granblue Fantasy

Sid Meier's Civilization III

Joan of Arc song by Madonna

Afterschool Charisma

Joan of Arc by Arcade Fire

Majo Taisen

Drifters

Dragon Age

Bill and Ted’s Excellent Adventure

Joan of Arcadia

Zendaya's 2018 Met Gala costume

Age of Empires II

Unicorn: Warriors Eternal

The Genesis of Misery

Maude Adams as Joan of Arc by Alphonse Mucha

Jeanne d'Arc by Georges Méliès

Jehanne 1429 by Arnaud Courlet de Vregille

Joan of Arc by Gari Melchers

Joan of Arc by Charles Amable Lenoir

Jeanne d'Arc by Roger de La Fresnaye

Johan of Arc - Archives nationales (France) - AE-II-2490 by Vinzez Sozvr Zovzanza

Inazuma Eleven Go

Dragalia Lost

Digimon

Yu-Gi-Oh!

Night at the Museum: Kahmunrah Rises Again

Kamikaze Kaitou Jeanne

The Who Was? Show

The Inquisitor's Tale

Vanitas no Carte

Saints (Boxers and Saints)

Joan by Heather Dale

#COMPASS

Saint Joan by George Bernard Shaw

Living Scriptures Animated Hero Classics: Joan of Arc

The Passion of Joan of Arc by Carl Theodor Dryer

Joan of Arc stamp, 1975, Seychelles, for International Women's Year

重奏オルレアン/Chamber Music for Orleans

Johanna von Orleans (Originaltitel The Messenger: The Story of Joan of Arc)

Joan of Arc by Regisseur Christian Duguay

Statue of Joan of Arc Paris by Emmanuel Frémiet

B&G Foods's Joan of Arc canned beans

[the-cat-at-the-theatre-door]

Something I've been wondering since a lot of the older cats tend to get cast younger and younger recently - are there any performers you could plausibly see as "real" younger versions of those characters?

Anon, that is actually a super interesting question (and I hope I'm understanding what you're asking for; apologies if I misunderstood - if you are asking whether there are performers who have not played the role but played others and can get away with playing them, honestly I'm not a big proponent of having all super young swings and understudies, and I've spoken at length about that before), but there *are* actually a handful of performers of past (which means that they *were* young when they initially took the role and looked it) and present that I could feasibly see as younger (and by "younger" I mean like more in the 20s) faceclaims or "versions" of my beloved older cats (and that I often will note back too when I'm trying to picture them in my mind).

From what I have heard and seen of them, they also give off more of a younger vibe, either due to the lack of maturity in their voices, or their general dispositions, that I think works well as these characters but younger. Imagine a different bunch of teenagers and gapped teeth babies running around the Junkyard hollering at one another and whining at their parents before *they* became the parents, ahaha.

I can give you some of my favourites to avoid wasting too much space. I can do a Part 2 with Asparagus/Gus, Old D and Grizabella if you're interested:

Skimbleshanks:

Matthew Gould (on his first go around; he aged into it much better the second go - Ross Finnie could technically also take this spot)

Philip Bertioli (and this is a costume thing but his vest always looked too big for him which just amped up the baby vibe)

Giovanni DiGabriele

Hayden Baum (specifically his first go around - that is a baby)

Tyler Keller (who looks *particularly* old photo like in this shot with the filter and expression - slap a black and white or sepia filter over that and tell me that's not an old photograph)

Taylor Scanlan (also *very* baby and *very* pretty*).

(Others for consideration if these don't tickle your fancy: Sandy Rass, Sean McManus, Shaun Henson, Jon-Paul Christensen, Philip Comley, Dann Dunn, Brian O'Muiri, Billy Mahoney, Jarryd Nurden, Park Seong-ryong, Bryan Mottram

Jellylorum:

Catrin Darnell

Susan Powers

Joanna Beck

Lindsay Dyett

Jeanne Montano

Erin James

Annemarie Rosano

(Others: Liz Izen, Louise Tomkins, Bonnie Simmons, Nina Hennessey, Marcy DeGonge, Jennifer Vaden, Thea MacNeil, Lisa-Marie Parker, Carrie Willis, Megan Arseneau, Taila Halford, and Alice Batt. S/O to Pia Douwes who toed the baby line, and nearly all Jellylorums in the Shiki production and a good chunk of the US Tour 5 who are and were - more often than not - quite young and look it)

Jennyanydots:

Stephanie Johns

Lisbeth Brittain

Laura Darkins

Lucinda Shaw

Erica Leigh Hansen

Ellie Nunan

(Others: Mary Trainor, Renée Knapp, Kati Farkas, Jennifer Cohen, Amanda Bay, Laura McCulloch, Melina Charles, Hanny Aden, Alice Redmond, Abigail Dever, Sarah-Marie Maxwell kinda sorta but tbh I think it's the makeup, Eloise Kropp, Maria Briggs - who is like elementary school Jenny -, Emily Jeanne Phillips, Ayumi Kato, and Megan Carton)