#Matthew Tweedie

[ulkaralakbarova]

On the night of the discovery of a duplicate Earth in the Solar system, an ambitious young student and an accomplished composer cross paths in a tragic accident. Credits: TheMovieDb. Film Cast: Rhoda Williams: Brit Marling John Burroughs: William Mapother Alex: Matthew-Lee Erlbach Maya Burroughs: Meggan Lennon Amos Burroughs: AJ Diana Purdeep: Kumar Pallana Symposium Speaker: Bruce Colbert Symposium Speaker: Paul S. Mezey Symposium Speaker: Ana Valle Symposium Speaker: Jeffrey Goldenberg Symposium Speaker: Joseph A. Bove Kim Williams: Jordan Baker Robert Williams: Flint Beverage Himself (voice): DJ Flava Jeff Williams: Robin Lord Taylor Keith Harding (voice): Rupert Reid Career Counselor: Natalie Carter Himself: Richard Berendzen High School Girl: Shannon Maliff High School Girl: Stephanie Le Blanc High School Girl: Jasmine Andrade High School Girl: Kara Tweedie Claire: Ana Cruz Kayne Television Reporter (voice): Yuval Segal Dr. Joan Tallis: Diane Ciesla Radio Reporter #1 (voice): Robert Phillips Television Anchor (voice): Hollyce Phillips Federico: Luis Vega Radio Reporter #2 (voice): Rich Habersham Nurse: Jennifer Jaramillo Valkana Conspiracy Theorist: Ari Gold Television Interviewer (voice): Steve Giammaria Keith Harding’s Secretary (voice): Rebecca Price Film Crew: Writer: Mike Cahill Producer: Hunter Gray Writer: Brit Marling Producer: Nicholas Shumaker Executive Producer: Tyler Brodie Executive Producer: Paul S. Mezey Casting: James Calleri Casting: Paul Davis Makeup Effects: Aileen Alvarez-Diana Dialogue Editor: Sasha Awn Dolby Consultant: James P. Nichols Sound Re-Recording Mixer: Ryan Price Visual Effects Supervisor: Adam Fanton Visual Effects Supervisor: Darren Fanton Assistant Director: Liang Cai Gaffer: Sonny Plescia Script Supervisor: Marketa Tomanova Sound Effects Editor: Sebastian Henshaw Musician: Phil Mossman Post Production Supervisor: Phaedon A. Papadopoulos Production Design: Darsi Monaco Production Coordinator: Morgan Marling Assistant Production Coordinator: Tomás Diaz Production Sound Mixer: Michael Gassert Art Direction: Brian Rzepka Production Coordinator: James Brettell Assistant Editor: Alice Borrelli Supervising Dialogue Editor: Steve Giammaria Musician: Will Bates Makeup Effects: Marni Giannotti Assistant Director: Marcello Montesanti Digital Intermediate Colorist: Joe Gawler Digital Intermediate Colorist: Zak Tucker Digital Intermediate Editor: Jonathan Sanden Digital Intermediate Producer: Molle DeBartolo Digital Intermediate Producer: Darrell R. Smith Movie Reviews: Andres Gomez: More ambitious than interesting. A story that wants to joint an epic sci-fi moment with a drama. Not really working although seeing the Earth in the sky is quite interesting. Peter McGinn: When I first saw Another Earth several years ago I thought that, like some science fiction out there, it was light on the science and heavy on fiction. Fantasy, maybe. I was okay with that as long as the story and characters were strong. Besides, nowadays it seems like many mainstream physicists are seriously promoting the ideas around multiple universes or perhaps even an infinite number of alternate universes, perhaps science is catching up with the fiction. (Though I still think a planet popping into our galaxy so close to us would cause cataclysmic tides and whatnot.) . In any case, I recently bought and downloaded a digital version of it to watch it again. But Another Earth isn’t about physics or science or what would become of humanity if a twin earth and moon suddenly showed up in our sky. It is about a heart-stopping event that cause a planet full of people to stop what they are doing and look up and wonder. Is that earth different than ours? Am I up there, and if so, is that version exactly like me or have they made different decisions that affect who they have become? Could I have made different decisions, or was this version of me locked into what I decided and thought? And in the case of our lead character, Rhoda, it leads her to a path to seek forgiveness and try to make up for a tragic mistake she m...

[zombeesknees]

#he's a stone cold unblinking nostril-flaring reptile boy #like he probably lives in a terrarium with a heatlamp REPTILE BOY #he's so off the chain off-putting it comes right around to amazing for me again #I'm like ant man's daughter with that creepy bear: 'he's so ugly!! i love him!' #i didn't really care for the book and abandoned the series but like whatever matthew good is doing here has my blessing #the absolute hair-tossing vein-pulsing madman #run and be free in your tweedy unblinking lip-pursing wine-sipping world of wryly arched eyebrows #also i've yet to seen an outfit on diana that i don't immediately covet #it's a collared shirt festival and notched collar coat party #i'm literally getting distracted tagging this looking at the textures on both their sleeves in the close up #i mean wrist-kissing is sacred weirdo art and I appreciate it also tbh

[baospodcast]

Episode #175: Grace & Gratitude with Matthew Tweedy of Tooth & Nail | Adjunct Series

Ottawa's Tooth & Nail is both one of Ontario's most heralded and more underrated breweries at the same time. They've made our Top 10 Breweries in Ontario list every year due to their incredibly well-crafted beers, and it's a crime that we waited three years to catch up with Matty. Cee and Nate chatted with Matt about how they got their initial traction via Vim & Vigor, why he doesn't dry hop Pilsners, why foam is essential in beer, when beer stopped being a hobby, how they came up with their Extra Pale Ale, Matt's desert island beers, his love for Belgian beers and his collab project with Bim of Godspeed, why Centennial might be the GOAT of hops, and the importance of educating the consumer. They got into Grace & Gratitude Whole Cone Saaz Hop Lager, Vim & Vigor Pilsner, Exile Extra Pale Ale, Valor Classic Saison, Rabble Rouser India Pale Ale, and Fortitude Stout. This was impeccable - cheers!

BAOS Podcast

Subscribe to the podcast on YouTube | Website | Theme tune: Cee - BrewHeads

Newest episode of BAOS Podcast!

[mirandamckenni1]

Why Korea is Dying Out Go to https://ift.tt/CsTqhpg to dive deeper into these topics and more with a free 30-day trial + 20% off for the first 200 people! This video was sponsored by Brilliant. Thanks a lot for the support! If you want to support this channel and get something nice in return check out our shop: https://ift.tt/q9Xyxdn Sources & further reading: https://ift.tt/1Qbg0C9 Every two years one million Japanese disappear, China’s population will halve by the end of the century, the median age in Italy has reached 48. All around the world birth rates are crashing – Is humanity dying out? What is going on and how bad is it? OUR CHANNELS ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ German: https://ift.tt/apQjC81 Spanish: https://ift.tt/EzAqve5 French: https://ift.tt/jyGrxDF Portuguese: https://ift.tt/W6rmjbC Arabic: https://ift.tt/wqlgHy9 Hindi: https://ift.tt/VKR1SN8 Japanese: https://ift.tt/jt54J3r Korean: https://ift.tt/hDsg5mI HOW CAN YOU SUPPORT US? ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ This is how we make our living and it would be a pleasure if you support us! Get Products designed with ❤ https://ift.tt/6cthdsQ Join the Patreon Bird Army 🐧 https://ift.tt/FZqIfe5 DISCUSSIONS & SOCIAL MEDIA ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ TikTok: https://kgs.link/tiktok Reddit: https://kgs.link/reddit Instagram: https://ift.tt/qIc860z Twitter: https://ift.tt/WcBuZhi Facebook: https://ift.tt/3lt8riW Discord: https://ift.tt/DclvYUm Newsletter: https://ift.tt/Bh24Ptg OUR VOICE ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ The Kurzgesagt voice is from Steve Taylor: https://ift.tt/TUIxhfE OUR MUSIC ♬♪ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ 700+ minutes of Kurzgesagt Soundtracks by Epic Mountain: Spotify: https://ift.tt/yCDvfuB Soundcloud: https://ift.tt/Nz7CTwE Bandcamp: https://ift.tt/QUEiT8g Youtube: https://ift.tt/AKLpOU7 Facebook: https://ift.tt/S3VE4uM The Soundtrack of this video: Soundcloud: https://bit.ly/46p7FNV Bandcamp: https://bit.ly/3Zy5tkZ If you want to help us caption this video, please send subtitles to subtitle@kurzgesagt.org You can find info on what subtitle files work on YouTube here: https://ift.tt/KZ4d5mH Thank you! 🐦����🐤 PATREON BIRD ARMY 🐤🐧🐦 ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ Many Thanks to our wonderful Patreons (from http://kgs.link/patreon) who support us every month and made this video possible: Rebecca Lin, 金山俊　那須, Britnei Tweedy, Ryan, 슝 김, Tyler, Kathi, Ivan Milani, Rico Aarntzen, Nikita Khlebushkin, Christopher Kyle Horton, Valentin Binotto, Nico Riemann, Jesse Plung, Timothy Dooley, Yasheen Sewnarain, saif samer, Taki Reizen, Dragon force Secret art, Jasper Narvil, Alexander Rajaković, TheDoxy, Martijn Gerritsen, Bogdan, Manuel Berdin, Karen Epstein, Sinjid, Peyton, Adi Wabisabi, Infinitae Aetas, Ruben Iusim, febilly, Reyansh Baralay, Ecunna Versity, Stefan Mermans, Nicholas Fernald, Enrique Gonzalez, Jimmy W, Andrew Keenan Richardson, DeMar M., Jordan, chrisby, Niklas Sommer, Kathi, Jakob, Christina Woodbury, Scientist Keo, Dante Jerlich, NekuSoul, Frivack, Adrian, Robin Z., Zeal, MontanaMonarch, Matthew Watson, 민호 김, Mason Edmonds, Nils Hegenbart, Snail, Israel, Ariel Grucza, The Awkward Yeti, Don B, Andreas Andreas, Xeovis via YouTube https://www.youtube.com/watch?v=LBudghsdByQ

[chrisryanspeaks]

SEE: Alt Rock | RIP Dunes - “In Real Life”

RIP Dunes has excitedly unveiled their inaugural self-titled album, set for release on March 1st. This fresh endeavor is helmed by Matthew Iwanusa of Caveman, a renowned indie group from NYC in the 2010s, remembered for their NPR Tiny Desk Concert, FADER GEN F feature, and Stereogum Progress Report. Caveman gained acclaim touring globally with acts like The War On Drugs, Jeff Tweedy, Ra Ra Riot, Built to Spill, and Frightened Rabbit. RIP Dunes teased a few singles in 2023, and only last week, the upcoming LP was officially announced. With RIP Dunes, Iwanusa embarks on a new musical journey, drawing inspiration from Echo and the Bunnymen, The Church, and The Cure. The album's tracks are richly textured, blending a relaxed vibe with a hint of restless energy, creating an ideal soundtrack for the warm, expectant days of spring just ahead. Among the standout tracks are "In Real Life," a charming early single, the distinctly twangy "Part Of Me" (available at the album link below), and the recently released lead single "I Dare," accompanied by a video from Haoyan of America. Read the full article

[audiofuzz]

SEE: Alt Rock | RIP Dunes - “In Real Life”

RIP Dunes has excitedly unveiled their inaugural self-titled album, set for release on March 1st. This fresh endeavor is helmed by Matthew Iwanusa of Caveman, a renowned indie group from NYC in the 2010s, remembered for their NPR Tiny Desk Concert, FADER GEN F feature, and Stereogum Progress Report. Caveman gained acclaim touring globally with acts like The War On Drugs, Jeff Tweedy, Ra Ra Riot, Built to Spill, and Frightened Rabbit. RIP Dunes teased a few singles in 2023, and only last week, the upcoming LP was officially announced. With RIP Dunes, Iwanusa embarks on a new musical journey, drawing inspiration from Echo and the Bunnymen, The Church, and The Cure. The album's tracks are richly textured, blending a relaxed vibe with a hint of restless energy, creating an ideal soundtrack for the warm, expectant days of spring just ahead. Among the standout tracks are "In Real Life," a charming early single, the distinctly twangy "Part Of Me" (available at the album link below), and the recently released lead single "I Dare," accompanied by a video from Haoyan of America. Read the full article

[matthewtweediehypnosis]

As a result of utilising the mind's power, alternative techniques for personal growth and communication have grown in popularity. One of these techniques, neuro-linguistic programming (NLP), which began as a self-help method based on psychotherapy, can benefit from NLP training.

[joementa]

The Unplugged Sessions

I don’t know where you live, but where I’m at, this past week had some crazy weather.  My parents told me that where they live in Brigantine, people were literally sitting on the beach.  As if it were summer!  I didn’t get outside as much as I’d like this week, but I still got to soak in some rays. This global warming thing might be ruining things for future generations, but don’t worry, it lets me keep my summer tan all year long.

Anyways.  It looks like we are going to get some chilly weather starting TODAY actually.  And not only chilly, but it’s going to rain a ton too.  Which means it’s perfect weather for some acoustic music.  So I put together a playlist of some songs that you probably already know, but some you probably don’t already know.  And some of these songs have been on recent playlists of mine (and you all know how I don’t like to repeat songs!).  But the key here is that all of the songs this week are the acoustic/unplugged versions.  So there’s no sax when you hear “Born To Run”!  No guitar solos in “While My Guitar Gently Weeps”.  But that’s okay.  This kind of weather demands more acoustic-based music.  A few notes on the playlist:

I have no clue why Learning To Flinch isn’t available on vinyl.  It’s criminal.  This is the only album sampled on this week’s playlist that I don’t already have on vinyl!

“In Your Atmosphere” is just an incredible song.  The entire Where The Light Is album is one of the best live albums in my vinyl vault. Your collection needs to have it. Make sure you get the Music On Vinyl pressing: https://www.discogs.com/release/3430867-John-Mayer-Where-The-Light-Is-John-Mayer-Live-In-Los-Angeles

The entire Live At Luther College album is amazing and probably my favorite live Dave Matthews release, of which there are many and all are great.  But this one tops them all.  It’s all about the SOUND here.  Dave and Tim sound like they are next to you in your living room.  The acoustic guitars truly sound acoustic. You can hear their fingers scratching up the guitar neck.  And Dave’s voice is so pure that you want to cry.  And it sounds like he is too on a view songs at this show.  Check out this entire album RIGHT NOW.  Focus on it.  Listen from beginning to end.  Your ears will thank you.

I’m assuming you’re already familiar with the Esher demos, which were thankfully released a few years ago. Woo hoo!

Alice In Chain’s MTV Unplugged.  Your record collection needs it.  It’s an essential album.  Similar with Where The Light Is, you want the Music On Vinyl pressing.  It looks like it might be out of print but still, this album is worth every penny.  https://www.discogs.com/release/2445087-Alice-In-Chains-MTV-Unplugged

The Chimes Of Freedom EP is pretty cool (check out the title track and “Be True”) but I think the coolest thing is just when this EP was recorded.  Bruce and Patti were just getting together on that tour.  The thoughts that one has….

The Unplugged Sessions on Apple Music: https://music.apple.com/us/playlist/the-unplugged-sessions/pl.u-WabZpLjsWRYe83 

The Unplugged Sessions on Spotify: https://open.spotify.com/playlist/6RUwHVJ2mpM4J77h0ROJa0?si=MsLH8NrwRMiaw8NWAsBT_Q

Wait!  There’s more!  In case you do need a little lift me up, here’s the plugged in version of the playlist (unfortunately only 19 songs because there’s no ‘non-acoustic’ version of “In Your Atmosphere”.  At least not that I know of….)

The Plugged Sessions on Apple Music: https://music.apple.com/us/playlist/the-plugged-sessions/pl.u-NpXm60asvL74WM

The Plugged Sessions on Spotify: https://open.spotify.com/playlist/0NPBEm4dkFRFXOovQNpHIN?si=R-sQdaIuRVaSPZ1qcrhlSQ

John Mayer – “In Your Atmosphere” (Where The Light Is: John Mayer Live In Los Angeles)

Warren Zevon – “Splendid Isolation” (Learning To Flinch)

The Pretenders – “Sense Of Purpose” (The Isle Of View)

John Mellencamp – “Small Town” (The Good Samaritan Tour 2000)

The Goo Goo Dolls – “Slide” (Rarities)

Neil Young – “Flying On The Ground Is Wrong” (Carnegie Hall 1970)

Ryan Adams – “New York, New York” (Live After Deaf (Copenhagen))

Jeff Tweedy – “I’m Always In Love” (Together At Last)

The Civil Wars – “20 Years” (Live At Eddie's Attic)

Dave Matthews & Tim Reynolds – “Lover Lay Down” (Live At Luther College)

The Beatles – “While My Guitar Gently Weeps” (The Beatles (Super Deluxe Edition))

Nirvana – “Come As You Are” (MTV Unplugged In New York)

Ruston Kelly – “Dammit” (Dirt Emo Vol. 1)

Bleachers – “Rollercoaster” (MTV Unplugged)

Katy Perry – “Waking Up In Vegas” (MTV Unplugged: Katy Perry)

Prince – “U’re Gonna C Me” (One Nite Alone…)

Pearl Jam – “Black” (MTV Unplugged)

Alice In Chains – “No Excuses” (MTV Unplugged)

The Gaslight Anthem – “American Slang” (The B-Sides)

Bruce Springsteen – “Born To Run” (Chimes Of Freedom EP)        

[inkofamethyst]

February 19, 2022

Every once in a while my sister will text me out of the blue with something like “I took off my mask today to drink some water and some kid from percussion stared at me for ten seconds and told me I look exactly like you” (as she did today) and I know it’s annoying for her because she has to experience it (“wow you look so much like Nina” “omg your sister was so good in theatre” and “seeing Nina’s face again really confused me for a second” being some comments she’s told me about, and then there’s the times where she just gets stared at which I’m sure is massively uncomfortable), but it brings me unreasonable amounts of joy.  I won’t lie: I love the fact that I am remembered.  It must also be said that my sister and I don’t think we look all that much alike.  Alas, we would often (and I mean this would happen often) go out together and cashiers and people would ask if we were twins.  And I would die a little inside as I told them through a forced smile (I’m sure it was very convincing) that I was actually four years older (such is life for those of us with baby faces).  Anyway I don’t actually know how often she experiences this (especially since, after the lockdowns and closures, there’s only one class of students left who knew me in theatre/band).  It’s probably less-so these days.

So yeah.  All of the evidence points to me and my sister looking very, very similar.

ughhhh I really want a WTNV tapestry for my room.  Desperately.  Unfortunately, I haven’t found any good ones, ugh.  ...I wonder... I wonder if I could.. make.. one...

And while I’m thinking about it, a CR tapestry too.  SPEAKING of Critical Role,,,, THE LEGEND OF VOX MACHINA S1 WAS SO FUN I LOVED IT AHHHHHHH.  It was so quick.  Lol I kept hoping that, you know, maybe the acid room betrayal wouldn’t happen because I remember that scene ripping my heart out of my chest during the campaign (I am, of course, glad they left it in because it was GOOD STUFF).  Percy my man my main character my intelligent and well-spoken and well-dressed dude.  Matthew Mercer’s voice for Sylas got me SHOOK.  And like, as much of a villain as Delilah is, I honestly can’t help but feel for how much she loves her husband, and this was something that I’d felt during the campaign too.  The DRAMA.  The FIGHT SCENES.  AGH it must’ve been so fun for them to record this (or I mean I hope it was).  And all the lovely little setups for other characters to have little subplots in the next season (ahem, Grog).

Lowkey,,,,,,,,,,,, I would kind of love it if, like, there was a supercut of all the paralleled scenes from the actual campaign.  I just feel like that could be so cool to watch.  Would I watch it?  Mmm, unsure.  Fight “scenes” alone in DnD take ages (I’d say only a third of fight scenes actually manage to hold my attention fully (like the Philip fights, some of the dragon fights, the... I think in general I was more engaged in the C1 fights)) so idk.

Got my trousers in today... they are far too large.  Perhaps by a size or two.  The coloration is tweedy and quite lovely, so I may keep them anyway.  I do know how to alter the waist, as I’ve done that before, but I will also need to shorten the length.  I’m kind of swimming in them too, so I may go in and taper the legs as well, and there’s a weird piece of hardware that I might seam rip from the back altogether.  Wayy more work than anticipated :/  But, as I have recently discovered, sometimes putting work into items I’ve thrifted turns them into favorites.

On the flip side... I might want to consider investing a bit more into pieces that I thrift to minimize getting items that end up being not-all-that-great at too-good-to-be-true prices.  It just pains me to think that I might have to spend $40 for some good lookin brown trousers that fit??  At that price I might as well just buy new??

And lastly, I just wanna revisit Dune which I watched earlier this week (instead of studying for biochem (though I did study both before and after the film so)) since my initial “review” of it was brief due to the whole studying thing.  Watching the movie made me wanna read the book!  The world felt so rich.  With the Benne Gesset or whatevers and the costumes obviously and the powers and just AGH yes.  It gave me that same type of feeling that I get when watching Star Trek.  And I can’t forget how my breath hitched every time I saw bigtime hottie Jason Momoa.  It had the perfect amount of violence for me to stand: enough was suggested to make the world exciting, but it wasn’t anywhere close to being overly gruesome to the point of distraction.

Today I’m thankful for the rest I got today.  Did I intend to do more work?  Yes.  But it’s okay.  I’ll get things done tomorrow.

[whatdoesshedotothem]

Saturday 21 November 1835

8 55

11 40

No kiss Rainy windy wild morning - no workmen here but Mallinson and his son - Firth’s son the glazier came to tell me he had met Robert Mann and co. who wished him to tell me they could do nothing - downstairs at 9 50 - in spite of stocking washing after cousin - Told Firth junior I wanted 30 yards more pipe - 32 yards already come - had had it offered (laid) at 2 1/2d. a lb. - the additional pipe to be done if possible on Tuesday night, and be laid, if fine enough for the puddles to work, on Wednesday - breakfast at 10 in ½ hour - then ½ hour with my father and Marian and then a little while with my aunt in the drawing room - out about 11 ½ - a long while talking to Mallinson in the work shop - he tells me the new houses at the top of the town Brunswick street etc opening into King X Lane left for £12 a piece those consisting of 2 low rooms and 2 chambers and one cellar under one of the low rooms - came in to Mr Jubb at 1 ½ - asked what rent he paid for Mr Sunderland’s house in Lord street £85 per annum - thinks the next house lately occupied by Mr Craven solicitor (now by Mrs Sunderland herself) was let for £28 or £30 but is worth £40 per annum - Dr Moulson pays £50 but Mr Sunderland had laid out a good deal of money in making the house exactly to Dr M-‘s fancy - Mr Jubb’s late house in Northgate on 10 years lease at £50 but Mr J- had laid out a great deal of money made the stable and water closet etc had sold the remainder of the lease to Mr Johnson everybody thought the house now worth £60 per annum - the house at Ward’s end for several years occupied by Mrs Catherine Rawson let to her at £85 - the house Dr Gervase Alexander used to live in at Ward’s end let for £60 (I think) - the house built by Lowe the tailor (who makes £1500 a year by his tailoring and mercer’s shop) at the top of Mr Shaws’ field King X Lane let to Mr Tweedy for £70 and now to Mr Edward Alexander (because he had laid out a good deal upon it) at £60 per annum - Mackintosh, of Manchester, who sells the waterproof (Indian rubber) cloaks pays Mr Ackroyd £30,000 a year for Camlet to lime them with - asked Mr Jubb what percentage he thought I should have for building answer 7 or 8 - said I thought I should have 10pc. for money laid out at Northgate on shops and private houses including the value of the ground - this he thought fair - said I had an application from a medical man whom he knew very well (did not mention the name, Bramley) rent no object - did not understand this had therefore asked him (Mr Jubb) so many questions respecting rents in H-x - Mr J- advised that before agreeing to build there should be a written agreement specifying the plan of the house to be built and the percentage to be paid - good advice - my aunt and father pretty well - the old sore or the leg of the former not much increased these last 2 or 3 months - out again about 2 having been a little while with A- - chiefly in the saddle room barn and stabling and about - Had Joseph and Robert Mann about iron rails etc and Charles H- with his bill for last week and this - paid the latter it being charged by the job - 1st time - left the other to be settled when I paid him the balance for Barraclough Lane cottage - came in at 5 (had had the other men in the saddle to avoid dirtying the hall on a Saturday after cleaning - the men therefore to be paid on a Friday night) - had Nelson junior and paid him for the job done in the house and the cistern - dressed - wrote one page to ‘Mademoiselle Pierre 89 Marin Parade Brighton’

SH:7/ML/E/18/0132

put my letter into the bag for tonight’s post, and dinner at 6 ½ - told Mademoiselle P- that except what I had heard from herself heard nothing of E- since she left me but that on going away she and Matthew spent 2 or 3 days at a little Inn 4 or 5 miles distant - merely concluded she was married supposing that for the sake of character she would hasten the marriage as much as she could - she herself by a complaint against my own footman the sole cause of the explanation which led to herself and Matthew’s dismissal - ‘she left, because I did not think her conduct respectable - because I could place no dependence upon her speaking the truth - and because it is not my intention to keep any servant who acknowledges sending out to buy wine, gin and brandy and, who is, with my apparent reason, suspected of getting them by more exceptionable means’..... ‘she is a good dress-maker, and hair-dresser, and getter -up of fine things; - she is clever as a lady’s maid, and is very capable of getting her own living; but if any guarantee of good conduct is required, I am very sincerely sorry that I am not the person who can conscientiously give it’ - dinner at 6 ½ - coffee - A- and I 50 minutes with my father and Marian during which time skimmed over the paper then wrote the above of today - 20 minutes with my aunt till 10 10 - rainy windy stormy morning fair from about 1pm but high wind and boisterous afternoon and evening F51 ½° now at 10 25 pm - very kind letter tonight from Highcliffe franked by Lord S- de R- 1 letter paper sheet full and 1 page of ½ sheet ditto ditto - quite hurt I should think it possible she could have forgotten me - still at Highcliffe talks of going to Whitehall for a few weeks before going to lady VC- repairing and painting the small house adjoining her own at Whitehall - wishes I could be her tenant and eat with her if I liked and do as I liked - this cannot be or I should like it very much for a little while - sends me a sketch of the alterations at Highcliffe - the new hall 52ft long and 52 ft high - Everybody astonished at the Disbowe’s getting the appointment to the Hague and the Fosters much disappointed.

[thelastuniverse]

GRAMMYs Awards 2021

GENERAL FIELD

Record Of The Year: ‘EVERYTHING I WANTED’ — Billie Eilish Finneas O’Connell, producer; Rob Kinelski & Finneas O’Connell, engineers/mixers; John Greenham, mastering engineer

Album Of The Year: ‘FOLKLORE’ — Taylor Swift Jack Antonoff, Aaron Dessner & Taylor Swift, producers; Jack Antonoff, Aaron Dessner, Serban Ghenea, John Hanes, Jonathan Low & Laura Sisk, engineers/mixers; Aaron Dessner & Taylor Swift, songwriters; Randy Merrill, mastering engineer

Song Of The Year: ‘I CAN’T BREATHE’ — Dernst Emile II, H.E.R. & Tiara Thomas, songwriters (H.E.R.)

Best New Artist: Megan Thee Stallion

POP

Best Pop Solo Performance: ‘WATERMELON SUGAR’ — Harry Styles

Best Pop Duo/Group Performance: ‘RAIN ON ME’ — Lady Gaga with Ariana Grande

Best Traditional Pop Vocal Album: ‘AMERICAN STANDARD’ — James Taylor

Best Pop Vocal Album: ‘FUTURE NOSTALGIA’ — Dua Lipa

DANCE/ELECTRONIC MUSIC

Best Dance Recording: ‘10%’ — Kaytranada Featuring Kali Uchis Kaytranada, producer; Neal H. Pogue, mixer

Best Dance/Electronic Album: ‘BUBBA’ — Kaytranada

CONTEMPORARY INSTRUMENTAL MUSIC

Best Contemporary Instrumental Album: ‘LIVE AT THE ROYAL ALBERT HALL’ — Snarky Puppy

ROCK

Best Rock Performance: ‘SHAMEIKA’ — Fiona Apple

Best Metal Performance: ‘BUM-RUSH’ — Body Count

Best Rock Song: ‘STAY HIGH’ — Brittany Howard, songwriter (Brittany Howard)

Best Rock Album: ‘THE NEW ABNORMAL’ — The Strokes

ALTERNATIVE

Best Alternative Music Album: ‘FETCH THE BOLT CUTTERS’ — Fiona Apple

R&B

Best R&B Performance: ‘BLACK PARADE’ — Beyoncé

Best Traditional R&B Performance: ‘ANYTHING FOR YOU’ — Ledisi

Best R&B Song: ‘BETTER THAN I IMAGINED’ — Robert Glasper, Meshell Ndegeocello & Gabriella Wilson, songwriters (Robert Glasper Featuring H.E.R. & Meshell Ndegeocello)

Best Progressive R&B Album: ‘IT IS WHAT IT IS’ — Thundercat

Best R&B Album: ‘BIGGER LOVE’ — John Legend

RAP

Best Rap Performance: ‘SAVAGE ‘— Megan Thee Stallion Featuring Beyoncé

Best Melodic Rap Performance: ‘LOCKDOWN’ — Anderson .Paak

Best Rap Song: ‘SAVAGE’ — Beyoncé, Shawn Carter, Brittany Hazzard, Derrick Milano, Terius Nash, Megan Pete, Bobby Session Jr., Jordan Kyle Lanier Thorpe & Anthony White, songwriters (Megan Thee Stallion Featuring Beyoncé)

Best Rap Album: ‘KING’S DISEASE’ — Nas

COUNTRY

Best Country Solo Performance: ‘WHEN MY AMY PRAYS’ — Vince Gill

Best Country Duo/Group Performance: ‘10,000 HOURS’ — Dan + Shay & Justin Bieber

Best Country Song: ‘CROWDED TABLE’ — Brandi Carlile, Natalie Hemby & Lori McKenna, songwriters (The Highwomen)

Best Country Album: ‘WILDCARD’ — Miranda Lambert

NEW AGE

Best New Age Album: ‘MORE GUITAR STORIES’ — Jim “Kimo” West

JAZZ

Best Improvised Jazz Solo: ‘ALL BLUES’ — Chick Corea, soloist Track from: Trilogy 2 (Chick Corea, Christian McBride & Brian Blade)

Best Jazz Vocal Album: ‘SECRETS ARE THE BEST STORIES’ — Kurt Elling Featuring Danilo Pérez

Best Jazz Instrumental Album: ‘TRILOGY 2’ — Chick Corea, Christian McBride & Brian Blade

Best Large Jazz Ensemble Album: ‘DATA LORDS’ — Maria Schneider Orchestra

Best Latin Jazz Album: ‘FOUR QUESTIONS’ — Arturo O’Farrill & The Afro Latin Jazz Orchestra

GOSPEL/CONTEMPORARY CHRISTIAN MUSIC

Best Gospel Performance/Song: ‘MOVIN’ ON’ — Jonathan McReynolds & Mali Music; Darryl L. Howell, Jonathan Caleb McReynolds, Kortney Jamaal Pollard & Terrell Demetrius Wilson, songwriters

Best Contemporary Christian Music Performance/Song: ‘THERE WAS JESUS’ — Zach Williams & Dolly Parton; Casey Beathard, Jonathan Smith & Zach Williams, songwriters

Best Gospel Album: ‘GOSPEL ACCORDING TO PJ’ — PJ Morton

Best Contemporary Christian Music Album: ‘JESUS IS KING’ — Kanye West

Best Roots Gospel Album: ‘CELEBRATING FISK! (THE 150TH ANNIVERSARY ALBUM)’ — Fisk Jubilee Singers

LATIN

Best Latin Pop or Urban Album: ‘YHLQMDLG’ — Bad Bunny

Best Latin Rock or Alternative Album: ‘LA CONQUISTA DEL ESPACIO’ —Fito Paez

Best Regional Mexican Music Album (Including Tejano): ‘UN CANTO POR MÉXICO, VOL. 1’ — Natalia Lafourcade

Best Tropical Latin Album: ‘40’ — Grupo Niche

AMERICAN ROOTS MUSIC

Best American Roots Performance: ‘I REMEMBER EVERYTHING’ — John Prine

Best American Roots Song: ‘I REMEMBER EVERYTHING’ — Pat McLaughlin & John Prine, songwriters (John Prine)

Best Americana Album: ‘WORLD ON THE GROUND’ — Sarah Jarosz

Best Bluegrass Album: ‘HOME’ — Billy Strings

Best Traditional Blues Album: ‘RAWER THAN RAW’ — Bobby Rush

Best Contemporary Blues Album: ‘HAVE YOU LOST YOUR MIND YET?’ —Fantastic Negrito

Best Folk Album: ‘ALL THE GOOD TIMES’ — Gillian Welch & David Rawlings

Best Regional Roots Music Album: ‘ATMOSPHERE’ — New Orleans Nightcrawlers

REGGAE

Best Reggae Album: ‘GOT TO BE TOUGH’ — Toots & The Maytals

GLOBAL MUSIC

Best Global Music Album: ‘TWICE AS TALL’ — Burna Boy

CHILDREN’S

Best Children’s Music Album: ‘ALL THE LADIES’ — Joanie Leeds

SPOKEN WORD

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling): ‘BLOWOUT: CORRUPTED DEMOCRACY, ROGUE STATE RUSSIA, AND THE RICHEST, MOST DESTRUCTIVE INDUSTRY ON EARTH’ — Rachel Maddow

COMEDY

Best Comedy Album: ‘BLACK MITZVAH’ — Tiffany Haddish

MUSICAL THEATER

Best Musical Theater Album: ‘JAGGED LITTLE PILL’ — Kathryn Gallagher, Celia Rose Gooding, Lauren Patten & Elizabeth Stanley, principal soloists; Neal Avron, Pete Ganbarg, Tom Kitt, Michael Parker, Craig Rosen & Vivek J. Tiwary, producers (Glen Ballard, composer; Alanis Morissette, composer & lyricist) (Original Broadway Cast)

MUSIC FOR VISUAL MEDIA

Best Compilation Soundtrack For Visual Media: ‘JOJO RABBIT’ — (Various Artists) Taika Waititi, compilation producer

Best Score Soundtrack For Visual Media: ‘JOKER’ — Hildur Guðnadóttir, composer

Best Song Written For Visual Media: ‘NO TIME TO DIE [FROM NO TIME TO DIE]’ — Billie Eilish O’Connell & Finneas Baird O’Connell, songwriters (Billie Eilish)

COMPOSING/ARRANGING

Best Instrumental Composition: ‘SPUTNIK’ — Maria Schneider, composer (Maria Schneider)

Best Arrangement, Instrumental or A Cappella: ‘DONNA LEE’ — John Beasley, arranger (John Beasley)

Best Arrangement, Instruments and Vocals: ‘HE WON’T HOLD YOU’ —Jacob Collier, arranger (Jacob Collier Featuring Rapsody)

PACKAGE

Best Recording Package: ‘VOLS. 11 & 12’ — Doug Cunningham & Jason Noto, art directors (Desert Sessions)

Best Boxed Or Special Limited Edition Package: ‘ODE TO JOY’ — Lawrence Azerrad & Jeff Tweedy, art directors (Wilco)

NOTES

Best Album Notes: ‘DEAD MAN’S POP’ — Bob Mehr, album notes writer (The Replacements)

HISTORICAL

Best Historical Album: ‘IT’S SUCH A GOOD FEELING: THE BEST OF MISTER ROGERS’ — Lee Lodyga & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Mister Rogers)

PRODUCTION, NON-CLASSICAL

Best Engineered Album, Non-Classical: ‘HYPERSPACE’ — Drew Brown, Julian Burg, Andrew Coleman, Paul Epworth, Shawn Everett, Serban Ghenea, David Greenbaum, John Hanes, Beck Hansen, Jaycen Joshua, Greg Kurstin, Mike Larson, Cole M.G.N., Alex Pasco & Matt Wiggins, engineers; Randy Merrill, mastering engineer (Beck)

Producer Of The Year, Non-Classical: ANDREW WATT

• Break My Heart (Dua Lipa) (T) • Me And My Guitar (A Boogie Wit Da Hoodie) (T) • Midnight Sky (Miley Cyrus) (S) • Old Me (5 Seconds Of Summer) (T) • Ordinary Man (Ozzy Osbourne Featuring Elton John) (T) • Take What You Want (Post Malone Featuring Ozzy Osbourne & Travis Scott) (T) • Under The Graveyard (Ozzy Osbourne) (T)

Best Remixed Recording: ‘ROSES (IMANBEK REMIX)’ — Imanbek Zeikenov, remixer (SAINt JHN)

PRODUCTION, IMMERSIVE AUDIO

Best Immersive Audio Album: Due to the COVID-19 pandemic, the Best Immersive Audio Album Craft Committee was unable to meet. The judging of the entries in this category has been postponed until such time that we are able to meet in a way that is appropriate to judge the many formats and configurations of the entries and is safe for the committee members. The nominations for the 63rd GRAMMYs will be announced next year in addition to (and separately from) the 64th GRAMMY nominations in the category

PRODUCTION, CLASSICAL

Best Engineered Album, Classical: ‘SHOSTAKOVICH: SYMPHONY NO. 13, ‘BABI YAR’ — David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra)

Producer Of The Year, Classical: DAVID FROST

 Beethoven: Piano Sonatas, Vol. 9 (Jonathan Biss) • Gershwin: Porgy And Bess (David Robertson, Frederick Ballentine, Angel Blue, Denyce Graves, Latonia Moore, Eric Owens, Metropolitan Opera Orchestra & Chorus) • Gluck: Orphée & Eurydice (Harry Bicket, Dmitry Korchak, Andriana Chuchman, Lauren Snouffer, Lyric Opera Of Chicago Orchestra & Chorus) • Holst: The Planets; The Perfect Fool (Michael Stern & Kansas City Symphony) • Muhly: Marnie (Robert Spano, Isabel Leonard, Christopher Maltman, Denyce Graves, Iestyn Davies, Janis Kelly, Metropolitan Opera Orchestra & Chorus) • Schubert: Piano Sonatas, D. 845, D. 894, D. 958, D. 960 (Shai Wosner) • Shostakovich: Symphony №13, ‘Babi Yar’ (Riccardo Muti, Alexey Tikhomirov, Chicago Symphony Orchestra & Chorus)

CLASSICAL

Best Orchestral Performance: ‘IVES: COMPLETE SYMPHONIES’ — Gustavo Dudamel, conductor (Los Angeles Philharmonic)

Best Opera Recording: ‘GERSHWIN: PORGY AND BESS’ — David Robertson, conductor; Frederick Ballentine, Angel Blue, Denyce Graves, Latonia Moore & Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

Best Choral Performance: ‘DANIELPOUR: THE PASSION OF YESHUAH’ — JoAnn Falletta, conductor; James K. Bass & Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann & Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus & UCLA Chamber Singers)

Best Chamber Music/Small Ensemble Performance: ‘CONTEMPORARY VOICES’ — Pacifica Quartet

Best Classical Instrumental Solo: ‘THEOFANIDIS: CONCERTO FOR VIOLA AND CHAMBER ORCHESTRA’ — Richard O’Neill; David Alan Miller, conductor (Albany Symphony)

Best Classical Solo Vocal Album: ‘SMYTH: THE PRISON’ — Sarah Brailey & Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)

Best Classical Compendium: ‘THOMAS, M.T.: FROM THE DIARY OF ANNE FRANK & MEDITATIONS ON RILKE’— Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer

Best Contemporary Classical Composition: ‘ROUSE: SYMPHONY NO. 5’ — Christopher Rouse, composer (Giancarlo Guerrero & Nashville Symphony)

MUSIC VIDEO/FILM

Best Music Video: ‘BROWN SKIN GIRL’ — Beyoncé, Blue Ivy & WizKid , Beyoncé Knowles-Carter & Jenn Nkiru, video directors; Astrid Edwards, Aya Kaida, Jean Mougin, Nathan Scherrer & Erinn Williams, video producers

Best Music Film: ‘LINDA RONSTADT: THE SOUND OF MY VOICE’ — Linda Ronstadt, Rob Epstein & Jeffrey Friedman, video directors; Michele Farinola & James Keach, video producers

[mia-soufi2018]

Mind the bump! Pregnant Pippa Middleton scooters around London with son Arthur, two, after mother Carole confirms her daughter is expecting second child with James Matthews

By Jo Tweedy For Mailonline - March 10th 2021, 10:00:13 am

Pippa, 37, and Arthur, two, were spotted scooting along the pavements of SW3 this week, with Pippa's blossoming bump on display. The sporty mum wore a cream wool jacket and skinny jeans.

[papermoonloveslucy]

THE GOLDEN TOUCH

January 17, 1951

“The Golden Touch" is a modern re-telling of the King Midas story with Jack Benny and his friends as King Midas and his court. It was directed by Robert F. Mansfield, written by Robert Hugh O���Sullivan and with Harry Zimmerman as the composer / conductor. 

“Family Theater” was a weekly half-hour dramatic anthology radio program which aired on the Mutual Broadcasting System (MBS) from February 13, 1947, to September 11, 1957. The show was produced by Family Theater Productions, a film and radio studio extension of the Family Rosary Crusade founded by Father Patrick Peyton as a way to promote family prayer. The motto of the the Holy Cross Family Ministries is, "The family that prays together, stays together." 

Although the program had no commercial sponsor, Father Peyton arranged for many of Hollywood's biggest stars to appear including James Stewart, Bob Hope, Lucille Ball, Raymond Burr, Jane Wyatt, Charlton Heston, Bing Crosby, Jack Benny, Gene Kelly, William Shatner, and Chuck Connors. 

A total of 540 episodes were produced. The program featured not only religious stories but half-hour adaptations of literary works such as A Tale of Two Cities, Moby-Dick and Don Quixote.

Synopsis ~ Lucille Ball is the hostess and Jack Benny stars as the King obsessed with his gold and counting it. The Queen and her daughter get a Genie to sort the King out. The Genie grants the King one wish and the King tells the Genie that he can always use more gold and asks that everything he touches will turn to gold. Of course this seems exciting at first until he turns the Queen and his daughter in to solid gold.

The program was repeated on May 23, 1951.  

King Midas is popularly remembered in Greek mythology for his ability to turn everything he touched into gold. This came to be called the golden touch, or the Midas touch. 

CAST

Jack Benny (King Midas) was born on Valentine’s Day 1894. He had a successful vaudeville career, and an even greater career on radio with “The Jack Benny Program” which also became a successful television show. His screen persona was known for being a penny-pincher and playing the violin. Benny was a Beverly Hills neighbor of Lucille Ball’s and the two were off-screen friends. Benny appeared on “The Lucy Show” as Harry Tuttle (a Jack Benny doppelganger) in “Lucy and the Plumber” (TLS S3;E2), later did a voice over cameo as himself in “Lucy With George Burns” (TLS S5;E1), and played himself in “Lucy Gets Jack Benny’s Account” (TLS S6;E6). He was seen in four episodes of “Here’s Lucy.” Benny and Ball appeared on many TV variety and award shows together. He died in 1974, a few weeks after taping “An All-Star Party for Lucille Ball.”

Lucille Ball (Hostess) was concurrently starring in her own radio comedy “My Favorite Husband” having starred in films from 1933.  In the fall of 1951, Ball and her husband Desi Arnaz launched their iconic television series, “I Love Lucy.”  After her divorce from Arnaz in 1960, Ball starred in two subsequent television series’ - “The Lucy Show” and “Here’s Lucy.” After a series of TV specials, she did one more series in 1986, which was not successful. She died in 1989. 

Ted de Corsia (Harvey Benson, Reporter from The Daily Telegram) was an actor in touring companies and on radio before making a memorable film debut as the killer in The Lady from Shanghai (1947). De Corsia's New York street demeanor and gravelly voice assured him steady work playing street thugs, gang leaders or organized-crime bosses. On radio he starred in the CBS series "Pursuit" (1949-50). Two years before he was heard on an episode of “My Favorite Husband” with Lucille Ball.

Barbara Eiler (Princess Imogene) started acting as a teenager and appeared regularly on the radio programs “The Life of Riley,” “A Day in the Life of Dennis Day,” “The Fabulous Dr. Tweedy” and “Glamor Manor." She did a 1948 episode of “My Favorite Husband” with Lucille Ball. 

Eleanor Audley (Queen Midas) played Lucille Ball’s mother-in-law on “My Favorite Husband.” She would later play Eleanor Spalding, owner of the Westport home the Ricardos buy in “Lucy Wants To Move to the Country” (ILL S6;E15) in 1957, as well as one of the Garden Club judges in “Lucy Raises Tulips” (ILL S6;E26).

Alan Reed (Matthew the Butler / Tony the Cook) is probably best remembered as the voice of Fred Flintstone. He started his acting career in 1937. He acted opposite Lucille Ball in a 1963 episode of “The Lucy Show” (ILL S1;E25). In 1967, he made an appearance on the Desi Arnaz series “The Mothers-in-Law”. He died in 1977 at the age of 69.

Reed uses an English accent as Matthew and an Italian accent as Tony.

Verna Felton (Molly, Kitchen Help) received two Emmy nominations for her role in the Desilu series “December Bride,” playing Hilda Crocker from 1955 to 1959. She did two episodes of “I Love Lucy,” including playing Lucy’s stern maid, Mrs. Porter. Felton voiced many characters for Disney.

Felton uses an Irish accent as Molly.

Howard McNear (Ipsuda, Magician) played Mr. Crawford, Little Ricky’s music teacher on “I Love Lucy.” McNear went on to play Floyd the Barber on “The Andy Griffith Show” from 1961 to 1967, filmed on the Desilu backlot. He was also seen in Lucy and Desi’s 1953 film The Long, Long Trailer.

Frank Nelson (Genie / Mr. Gene Blue) was born on May 6, 1911 (three months before Lucille Ball) in Colorado Springs, Colorado. He started working as a radio announcer at the age of 15. He later appeared on such popular radio shows as “The Great Gildersleeve,” “Burns and Allen,” and “Fibber McGee & Molly”. This is one of his 11 performances on “My Favorite Husband.”  On “I Love Lucy” he holds the distinction of being the only actor to play two recurring roles: Freddie Fillmore and Ralph Ramsey, as well as six one-off characters, including the frazzled train conductor in “The Great Train Robbery” (ILL S5;E5), a character he repeated on “The Lucy Show.”  Aside from Lucille Ball, Nelson is perhaps most associated with Jack Benny and was a fifteen-year regular on his radio and television programs.

Howard Culver (Jake Workman, Ice Man) was best known as hotel clerk Howie Uzzell during the entire run of TV's “Gunsmoke.” On radio he starred in the title role of the Western adventure series “Straight Arrow” which aired on Mutual from 1948 to 1951.   

Tony La Frano (Announcer) was the regular announcer for “Music Depreciation” (1945) and every episode of “Family Theatre” (1947-1957). 

EPISODE

Hostess Lucille Ball introduces the show, which was broadcast in front of a live audience. Lucille urges listeners to pray together as a family. She then introduces Jack Benny as the King, to great fanfare. 

Instead of Benny, the show opens with Imogene on the telephone of a busy office in the Kingdom of Midas. Harvey Benson, an American reporter, arrives to see the Queen, who thinks he is there for money, but he wants the story of something that happened there recently. She tells the story in flashback...

A month ago, King Midas is at breakfast with his family. Imogene complains about having cornmeal mush for breakfast again, but Midas reasons that they have a 752 pounds of corn (thanks to the foresight of his father), so they must eat it!  

Matthew, King Midas’ butler, suddenly quits after 32 years! He is tired of carrying the King’s gold. He is also tired of the mush. Because of an ancient decree, the help must eat whatever the King eats. 

Imogene and the Queen insist King Midas counts his money too much - 80 million dollars a day!  Once the King is gone, the Queen sends Imogene on a mission to see a magician named Ipusda to buy a genie. 

At Ipsuda’s shop, Imogene has her pick of genies - even ones vacuum packed in cans (only for tourists)!  She buys the blue bottle special for 5 gold pieces - plus a small deposit on the bottle!   Imogene brings the magic blue bottle back to the Queen, who says the magic words: “Genie out and at attention!  Do the chores which I will mention!”  The giggling Genie immediately appears, talking in rhyme, very amused at his own cleverness.  They promise the Genie his freedom if he does as bid.  The Queen whispers the orders to the Genie, without letting Imogene know.

Next morning, Imogene and the Queen introduce Midas to his new servant - the Genie!  At their bidding, he conjures up bacon and eggs. Midas hates the Genie’s rhyming. He asks Midas what one wish he wants more than anything else in the world.  Naturally, he wants more gold. 

The Genie grants him with the skill to turn everything he touches to gold!  The Genie pops back into the bottle. Imogene notices his utensils have turned to gold - then his eggs - then his coffee.  

Before he can stop himself, he turns his own daughter to gold! Midas demands the Queen bring the Genie back, but she refuses and storms off. 

Midas hears the kitchen servants Tony and Molly arguing in the next room. Tony goes to shake his hand, but he turns to gold! He touches Molly and she, too, turns to gold. 

The ice man arrives and sees the two golden servants. Signing for the ice, the King tries to give him the golden pencil as a tip! Midas explains his problem - everything he touches turns to gold. Jake is about to phone his brother-in-law, Ipsuda, but when he learns that it was the work of a genie, he hangs up. All they can do is wait for the Queen to return to get the Genie out of the bottle! 

Time passes and Jake reveals that the King is not as highly regarded in the Kingdom as he thinks.  The King admits to being money mad. Midas decides to start giving his money away - starting now!

The Queen arrives and she Midas admits that he never wants to see gold again as long as he lives. After accidentally turning Jake to gold during a hug, the Queen summons the Genie to change the King back - in return for his freedom and a good job. The Genie removes the curse. 

Flash forward to the Queen’s interview with newspaper reporter Harvey Benson. Mr. Gene Blue, the president of the relief organization, enters. He makes a joke about his name sounding like “Benson Burners.” He laughs hysterically as the music swells. 

Lucille Ball closes the show by asking if the audience knows how Hedda Hopper makes a hat, comparing it to how scientists make a concoction out of ordinary things to create something incredible: jewels out of sawdust, perfume out of coal tar, medicine out of weeds or mold. She says the power of prayer, just like the ordinary things that create something magical, are there all the time, but must be used to get benefits: the jewel of a happy home life, the perfume of uplifted hearts, medicine for a sick world.

LUCILLE BALL: “The family that prays together, stays together.” 

Announcer Tony Lo Frano reads the credits and says that next week’s program Walter Brennan and Bette Lynn in “A Star for Helen” with the honorable Frank Walker as host.  

[bookclub4m]

Episode 113 - Seeking Book Recommendations

This episode we’re Seeking Book Recommendations! We’ve each picked some topics and we’re going to perform Readers’ Advisory interviews to help figure out what titles to suggest to each other.

You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts, Stitcher, Google Podcasts, Spotify, or your favourite podcast delivery system.

In this episode

Anna Ferri | Meghan Whyte | Matthew Murray | RJ Edwards

Recommendations Wanted!

RJ

An indie tabletop game

Sci-fi/fantasy set in contemporary real world, but the sf/fan elements are NOT secret/hidden/underground

Fiction set at Christmastime/non-fiction about Christmas

Matthew

Slavic/Eastern European Folklore

Horror

Space Opera

Anna

Humanism in/of healthcare

Urban fantasy

Feminist Essay Collection

Meghan

Fiction (not a thriller) that surprises

Poetry

Russian language learning materials

Media We Mentioned

Shadowrun (Wikipedia)

Sleepaway

FATE

GURPS

God's Hotel: A Doctor, a Hospital, and a Pilgrimage to the Heart of Medicine by Victoria Sweet

The Soul of Care: The Moral Education of a Husband and a Doctor by Arthur Kleinman

Black Man in a White Coat: A Doctor's Reflections on Race and Medicine by Damon Tweedy

Drive Your Plow Over the Bones of the Dead by Olga Tokarczuk

Your Republic is Calling You by Kim Young-Ha

Meghan discusses this book in Episode 013 - Spies and Espionage

Tell the Machine Goodnight by Katie Williams

Curse Workers series by Holly Black

Uzumaki by Junji Ito

Solaris by Stanisław Lem

Solaris (1972 film) (Wikipedia)

The Stand by Stephen King

Hellboy, Vol. 1: Seed of Destruction by Mike Mignola, John Byrne

SCP

Document 050 - "The Great Researcher Prank War of '██"

SCP-087 - “an unlit platform staircase”

SCP-2521

We Need To Talk About Fifty-Five

Top Rated Pages

IRL by Tommy Pico

Fragile Things: Short Fictions and Wonders by Neil Gaiman

The Day the Saucers Came

Mass Effect (Wikipedia)

The Dispossessed by Ursula K. Le Guin

Ancillary Justice by Ann Leckie

The Long Way to a Small, Angry Planet by Becky Chambers

A Big Ship at the Edge of the Universe by Alex White

Links, Articles, and Things

Desert Bus for Hope

Gritty (mascot)

Hark! Podcast

Cyrillic script (Wikipedia)

20 Religious Non-Fiction Books by BIPOC (Black, Indigenous, & People of Colour) Authors 

Every month Book Club for Masochists: A Readers’ Advisory Podcasts chooses a genre at random and we read and discuss books from that genre. We also put together book lists for each episode/genre that feature works by BIPOC (Black, Indigenous, & People of Colour) authors. All of the lists can be found here.

Decolonial Christianities: Latinx and Latin American Perspectives edited by Raimundo Barreto and Roberto Sirvent

God is Red: a Native View of Religion by Vine Deloria

Orishas, Goddesses, and Voodoo Queens: The Divine Feminine in the African Religious Traditions by Lilith Dorsey

Tears We Cannot Stop: A Sermon to White America by Michael Eric Dyson

That Can Be Arranged: A Muslim Love Story by Huda Fahmy

The Color of Love: A Story of a Mixed-Race Jewish Girl by Marra B Gad

We Have Always Been Here: A Queer Muslim Memoir by Samra Habib

Lovesong: Becoming a Jew by Julius Lester

Stalking God: My Unorthodox Search for Something to Believe In by Anjali Kumar

Her Name Is Kaur: Sikh American Women Write about Love, Courage, and Faith edited by Meeta Kaur

See No Stranger: A Memoir and Manifesto of Revolutionary Love by Valarie Kaur

In Love With the World: A Monk's Journey Through the Bardos of Living and Dying by Yongey Mingyur, with Helen Tworkov

The Heart of the Buddha's Teaching: Transforming Suffering into Peace, Joy, and Liberation by Thich Nhat Hanh

The Four Sacred Gifts: Indigenous Wisdom for Modern Times by Dr. Anita Sanchez

Why I am a Hindu by Shashi Tharoor

The Color of Compromise: The Truth About the American Church's Complicity in Racism by Jemar Tisby

Unashamed: Musings of a Fat, Black Muslim by Leah Vernon

Embers: One Ojibway's Meditations by Richard Wagamese

I Bring the Voices of My People: A Womanist Vision for Racial Reconciliation by Chanequa Walker-Barnes

New World A-coming: Black Religion and Racial Identity During the Great Migration by Judith Weisenfeld

Give us feedback!

Fill out the form to ask for a recommendation or suggest a genre or title!

Check out our Tumblr, follow us on Twitter or Instagram, join our Facebook Group, or send us an email!

Join us again next week, on Tuesday, November 24th as we give each other the Book Recommendations we asked for this week.

Then on Tuesday, December 1st we’ll be discussing the genre that you chose for us to read, New Weird Fiction!

Finally, on Tuesday, December 15th it’ll be our Best of 2020 episode!

[affairesasuivre]

Lambchop reprend "Reservations" de Wilco

Après "This (Is What I Wanted To Tell You)" Kurt Wagner et son combo de Nashville arrivent avec l'album "Trip", une collection de covers de George Jones, Mirrors, Stevie Wonder, The Supremes ou Yo La Tengo.

En 2016 les vétérans alt-country ajoutaient des sonorités électroniques à leurs ballades orchestrales mélancoliques sur l'album Flotus, une orientation musicale confirmée l'an dernier avec This (Is What I Wanted To Tell You). Plutôt que de se lancer dans une nouvelle tournée sans fin, Kurt Wagner a proposé aux membres de Lambchop de réaliser un album de reprises et demander à chacun d'eux de choisir un titre. S'effaçant de son rôle de leader, le chanteur a laissé aux musiciens le soin de diriger la session d'enregistrement des covers réunies sur l'album Trip, attendu le 13 novembre sur le label City Slang. Le batteur Matthew McCaughan a choisi de réinterpréter Reservations du groupe de Jeff Tweedy, Wilco, proposant une version lunaire de treize minutes du morceau phare de l'album Yankee Hotel Foxtrot sorti en 2002.

"Comme pour toutes les reprises de Trip, la reprise de Reservations a été choisie non pas tant pour son contenu ou comme un hommage à l'original mais pour ce que notre groupe a pu faire ressortir dans l'enregistrement de celui-ci" explique Kurt Wagner. Enregistré en quelques jours en décembre dernier, Trip propose une cover de Where Grass Won’t Grow popularisé par George Jones, Shirley du groupe de synthpop anglais Mirrors, Golden Lady de Stevie Wonder, Love Is Here And Now You’re Gone popularisé par The Supremes et Weather Blues de James McNew bassiste de Yo La Tengo.

[dendre]

Hanglemez 2019/04

Holly Herndon: Proto  9.0  (kísérleti elektronika) PJ Harvey: All About Eve  9.0  (színpadi zene, de úúdeszép) Callum Easter: Here Or Nowhere  8.5  (szellemjárta, másvilági lofipop) Kornél Kovács: Stockholm Marathon  8.5  (housepopdeepoutside) Rev Magnetic: Verses Universe  8.5  (electro shoegaze) The Caretaker: Everywhere At The End Of Time - Stage 6  8.5  (dark ambient) These New Puritans: Inside The Rose  8.5  (posztpop)  96 Back: Excitable, Girl  8.5  (nu-electro) Georgia: Time 8.5  (absztrakt elektronika) Billie Eilish: When We Fall Asleep, Where...  8.5  (pop) Minor Poet: The Good News  8.5  (00′s indierock) Henning: Natter Utan Dagar  8.5  (softrock, “markknopflerwave”) Fennesz: Agora  8.5  (ambient) Ohtis: Curve Of Earth  8.5  (folkamericana) Tree: We Grown Now  8.5  (hiphop) Lafawndah: Ancestor Boy  8.5  (keleties altr&b, deconstruct tribal glitch bass)

Avey Tare: Cows On Hourglass Pond  8.0  (neopsychfolktronica) The Fat White Family: Serfs Up!  8.0  (neopsych) Sote: Parallel Persia  8.0  (elektroakusztikus perzsa klasszikuszene) Anderson .Paak: Ventura  8.0  (neosoulfunk) Intellexual: Intellexual  8.0  (neosoul-jazz) Visible Cloaks+Yoshio Ojima+Satsuki S: serenitatem  8.0  (ambient) Smallpeople: Afterglow  8.0  (deep house) Central: Om Dans  8.0  (tech house) Kristín Anna: I Must Be The Devil  8.0  (avantfolk) Nilüfer Yanya: Miss Universe  8.0  (gitárpop-pop) Aldous Harding: Designer  8.0  (indiefolkpop) Weyes Blood: Titanic Rising  8.0  (carpenters-pop) Kronos Quartet & Marja & Mahsa Vahdat: Placeless  8.0  (perzsa kamarafolk) Rico Nasty & Kenny Beats: Anger Management  8.0  (hiphop) Romeo Santos: Utopía  8.0  (bachata) DJ Spider: Democide  8.0  (dark techno) Duke: Uingizaji Hewa  8.0  (singeli) Beth Gibbons & TPNRSO: Górecki Symphony No. 3.  8.0  (modern klasszikus) Lucinda Chua: Antidotes 1 EP  8.0  (csellós kamara-r&b-szofiszti-ambient pop) Prins Thomas: Ambitions  7.5  (baltibeat) Jayda G: Significant Changes  7.5  (akadémikus disco) The Chemical Brothers: No Geography  7.5  (dancepop) Fontaines D.C.: Dogrel  7.5  (posztpunk) Caroline Shaw+Attacca Quartet: Orange  7.5  (kamarazene) Kelsey Lu: Blood  7.5  (hibrid artpop, csellóval) C Duncan: Health  7.5  (szofiszti-kamarapop) Nihiltoxica: Biiri EP  7.5  (bugandian techno) Jeff Tweedy: Warmer  7.5  (folkrock) Jenny Lewis: On The Line  7.5  (soft americana pop) Otoboke Beaver: Itekoma Hits  7.5  (punk, popnoise) Ifriqiyya Électrique: Laylet el Booree  7.5  (sufi rock) Umut Adan: Bahar  7.5  (anatolian psychrock) Altin Gün: Gece  7.5  (anatolian rock) Flume: Hi This Is Flume  7.5  (wonky mixtape) Stealing Sheeps: Big Wows  7.5  (electropop) Marina: Love + Fear  7.5  (pop) Beyoncé: Homecoming  7.5  (koncertlemez) The Flaming Lips: King’s Mouth  7.5  (pszichpop-ambientpop) Mini Dresses: Heaven Sent  7.5  (lofi dreampop) PUP: Morbid Stuff  7.5  (punkrock) Spiral Stairs: We Wanna Be Hyp-No-Tize  7.5  (heartland rock) Craig Finn: I Need A New War  7.5  (heartland altcountry) Bruce Hornsby: Absolute Zero  7.5  (heartland softrock) Quelle Chris: Guns  7.5  (abstract hiphop) Kevin Morby: Oh My God  7.5  (indie folkrock) Matthew Herbert Brexit Big Band: The State Between Us  7.5  (bigband-dance) Christian Scott aTunde Adjuah: Ancestral Recall  7.5  (trombitás-spokenes jazz)

Ex Hex: It’s Real  7.0  (powerpop, garagesoftrock) Rozi Plain: What A Boost  7.0  (indie artpop) Idlewild: Interview Music  7.0  (hymndie rock) Lambchop: This (Is What I...)  7.0  (indietronica) Bibio: Ribbons  7.0  (folktronica) Billy Woods + Kenny Segal: Hiding Places  7.0  (abstract hiphop) Pivot Gang: You Can’t Sit With Us  7.0  (jazzrap) Angelique Kidjo: Celia  7.0  (afrocuban) Joni Void: Mise en Abyme  7.0  (hangkollázs-elektronika) Refugees For Refugees: Amina  7.0  (worldmusic) Mdou Moctar: Ilana  7.0  (tuareg desert blues) Martha: Love Keeps Kicking  7.0  (power indiepop) Control Top: Covert Contracts  7.0  (queercore) Big Thief: UFO-F  7.0  (indierock, indiefolk) Priests: The Seduction Of Kansas  7.0  (punkpopindie) Bogdan Raczynski: Rave ‘Till You Cry  7.0  (idm) DJ Nate: Take Off Mode  7.0  (footwork) Lizzo: Coz I Love You  7.0  (popsoulrap) Bill Mackay: Fountain Fire  7.0  (americana, instru gitárzene) Foxygen: Seeing Other People  7.0  (retropoprock) The Ninth Wave: Infancy Part 1  7.0  (pomp new wave) Jab: Erg Herbe  7.0  (new age-space ambient) Shana Cleveland: Night Of The Worm Moon  7.0  (psychfolk-dalszerző-előadó) Patio: Essentials  6.5  (posztpunk) American Football: American Football (LP3)  6.5  (midwest emo, dreampostrock) Cinematic Orchestra: To Believe  6.5  (background pop) Tiger And Woods: AOD  6.5  (summery discopop) Kel Assouf: Black Tenere  6.5  (desert blueselectrorock) Citizen Bravo: Build A Thing Of Beauty  6.5  (geek indiepoprock) Faith Eliott: Impossible Bodies  6.5  (indiefolk) Girl Unit: Song Feel  6.5  (pop bass) Insignificant Other: I’m So Glad...  6.5  (twee-indiepoppunk) Kap Bambino: Dust, Fierce, Forever  6.5  (electroclash) HVL: Rhythmic Sonatas  6.5  (acid techno) Deafkids: Metaprogramacao  6.5  (tribal noiserock)

Logos: Imperial Flood  6.0  (weightless, ambient grime) Paws: Your Church On My Bonefire  6.0  (indierock) Wand: Laughing Matter  6.0  (neopsych artrock) Dis Fig: Purge  6.0  (posztindustrial power noise) Alberich: Quantized Angel  6.0  (posztindustrial power noise) Kinbrae: Landforms  6.0  (electronic ambient posztrock) Brutus: Nest  6.0  (dallamos poszthc) Real Life Buildings: Ohio And West  6.0  (tweepop) Emily Reo: Only You Can See It  6.0  (artsypop) Laura Stevenson: The Big Freeze  6.5  (indiefolk) Frankie Cosmos: Haunted Items 6.0  (piano indiefolk) The Gotobeds: Debt Begins At 30  6.0  (posztpunk-indierock)      Angel Du$t: Pretty Buff  6.0  (poppunk) Tommy Four Seven: Veer  6.0  (indusztri techno) Gesaffelstein: Hyperion  6.0  (electropop-synthwave) Minimal Violence: InDreams  6.0  (’91 style ravetechno) Lamb: The Secret Of Letting Go  6.0  (trippop) Las Hermanas Caronni: Santa Plastica  6.0  (argentin-francia kamarafolkjazz) Adam Stafford: The Acid Bothy  5.5  (psychedelic synth jams) Tamaryn: Dreaming The Dark  5.5  (dreamy synthpop) Apparat: LP5  5.5  (artsypop) Khalid: Free Spirit  5.5  (pop) Gary Clark Jr.: This Land  5.5  (retrosoulrock)

+++ Floating Points: LateNightTales  8.5  (válogatás obskúrus souljazzambientből) Laurel Halo: DJ-Kicks  8.5  (mixlemez, nagyon jó tech-outsider-electrohouse) Marvin Gaye: You’re The Man  8.0  (posztumusz lemez 1972-es felvételekből és azok remixeiből, néha nagyon jó, néha kislemez b-oldal-minőség) Vatican Shadow: Berghain 09  8.0  (dj-mix industri dark techno) Válogatás: Eminent Domain  7.0  (noise-techno)

(Ezeken kívül még sok lemezbe belehallgattam, és maximum 10 percet töltöttem velük, mert annyira nem nekem szóltak vagy szimplán borzasztóak voltak, ezeket nem sorolom. És igen, ez amolyan laza sorrend.) 

Január     Február    Március  

Április első fele elszállt anélkül, hogy esélyem lett volna zenét hallgatni, úgyhogy márciushoz hasonlóan ez is egy félhónap volt ilyen szempontból. Nem is hallgattam meg mindent, amit szerettem volna (de még hiszek benne, hogy májusban utol tudom érni magam). Inkább leginkább azokat, amik érdekeltek, amiktől jót reméltem, és pont ezért talán némileg aránytalanul sok a jobb lemez (7.5-8-as), mint a közepes-átlagos-rossz - mert persze inkább többen, mint kevesebben szállították is a reményeknek megfelelőt. (Amúgy meg kicsit azt érzem, végignézve most a lemezeken, hogy megengedőbb voltam a pontszámokkal, de sebaj.)

Legjobban Holly Herndon albuma tetszett áprilisban. Lehet, az is segítette az első helyre, hogy úgy egy hete hallgatom, szóval az élmény is a legfrissebbek közé tartozik. Herndon folytatja a Platformon megkezdett utat, a mesterséges intelligencia humanizálásának vizsgálatát, ezúttal nagyon sok emberi hanggal, énekkel, kórussal, továbbra is elvarázsoltan, behatárolhatatlanul. Tudom, kiszámítható is vagyok, ha PJ Harvey csinál valamit, azt ájultan rajongom. Persze eskü, nem akarok én így tenni, de hát mennyire gyönyörű színpadi zene ez is. Mennyire nem írtak róla szinte sehol. Amilyenek a dalai, olyat tud kamarahangszerelésben is. Éjszaka a tökéletes hallgatni. 

Callum Easter egy edinburgh-i underdog, nem lesz belőle sztár, de harmonikás, szabálytalan kamara-indiepopja tök élvezetes anyag. Kornél Kovács mifiúnk második lemeze is telitalálat, sőt, jobb mint az első, annyira nincs párja manapság játékos, humoros, sablonoktól eltérő house-ban. Még egy ilyen szintlépés, plusz egy szégyentelen gigasláger és világsztár lehetne, ha akarna. Azt hiszem, nem akar. Rev Magnetic: nem tudok róluk szinte semmit, ők is skótok, és eszetlen jó shoegaze-lemezt csináltak, jövő héten jelenik meg, de pár dal már hallgatható róla. (Sokat hallgattam áprilisban, úgyhogy ide tettem, még pár hasonló promo-esettel együtt.) The Caretaker: nem mondom, hogy hallottam az összeset ebből a sorozatból, mert nem - és hogy nem kellett hozzá egy megfelelő pillanat, mert de. Simán elfogadom, ha ezt valaki fasságnak tartja, de ha annak a valakinek van egy olyan pillanata és végighallgatja, akkor garantáltan agyeldobás, még a híres lemezénél is jobban. Igazából annyira nagy és szokatlan élmény, hogy több pontot is érdemelne, de még csak egyszer hallottam. Állítólag ez a sorozatzáró egyúttal a Caretaker alteregó befejezése is. A These New Puritansek kezdettől drukkere vagyok, mindegyik lemezt szerettem, de egyik se olyan jó, amilyent elképzelek, hogy tudnának. Ez se. Az első üdítő volt 2008-ban, a Hidden majdnem megcsinálta 2010-ben, a Field Of Reeds tök jól kanyarodott 2013-ban, de egyik sem ért oda, ahova hallani szeretném. Most meg fenét csináltak poplemezt, de Mark Hollis-tisztelgést se rendesen. Igazából kicsit mérges vagyok rájuk. 

Kétségtelen, hogy az electro most nagyon megy, 96 Back is egy gyönyör annak, aki bírja az ilyesmit. Meg persze megy a ‘91 rave és az acid is, de nekem azokban nincs annyi, hogy érdemes legyen újra olyan lemezeket csinálni. Vagy csak nem hallottam még olyat, ami megfogott volna. Az electróval meg még mindig lehet mit kezdeni. New York kínai negyedében élő producerpáros a Georgia és ez ordít debütlemezükről, ami nagyon fülbizsergető, izgága absztrakt elektronika. Billie Eilish-ről itt írtam, fenntartom, nagyon jó ívű poplemez. A Minor Poet fura zárvány, olyan, mintha 2004-es indierockot akarna játszani, de a Champs eszközkészletével. Annyira fülbemászó, hogy a rövid minialbum már több, többórás autóúton nem akart kijönni a cd-játszóból. Henninget úgy ajánlotta Klág Dávid, hogy ő a csúcs a svéd markknopflerwave-ben és tényleg. Mármint aki kicsit is el tud felejtkezni a Dire Straitsben, annak ez egy örömóda. Fennesz előző két lemeze nem annyira kapott el, ez meg igen. Az Ohtis első rendes albuma 17 évig készült, csak közben a trió egyik tagja heroinfüggő lett, meg ezek az illinois-i fiúk amolyan klasszik slackernek tűnnek, akik itt ragadtak a kilencvenes évekből, szóval nem csoda, hogy nem kapkodtak. Viszont cserében van néhány nagyon szép daluk. Hiphopból Tree tetszett a legjobban, ennek az LP-nek tényleg pazar a flow-ja. És még Lafawndah-t hallottam izgalmasabbnak a sokan másoknál.

De amúgy még valóban sok jót hallottam, eddig ez volt az év hónapja. Az új Avey Tare a legjobb az Animaltől, vagy bármelyik Animaltől a Merriweather óta, a Fat White Family sokat javított az előzőhöz képest, ez egy koherens, jó LP. Nem folytatom, ott vannak, a 8.0-asok mind tetszettek. Mégha Harding kicsit kevésbé is, mint az előző, mert az nagyon. És Weyes Blood is picit kevésbé, mint igazából bármelyik eddigi. Végighallgattam az új után mindet, és egyértelműen az előzővel volt a csúcson, ez pedig kicsit olyan, mint Julia Holter 2015-ös lemeze, hogy akkor megmutatja, hogy az addigiakat tudja széles körben is könnyebben befogadhatóan, csak Holternek tökéletesen sikerült a mutatvány, a friss Weyes-LP meg egy kicsit túlpolírozott lett és ez lehet a foxygenes mifúnk, Rado hibája, plusz persze a Carpenters-tribute is kissé túlcsordul, de ez persze csak szőrözés, jó lemez az. Na jó, még Beyoncéról. Hát nyilván agyeldobás, rocktörténeti mérföldkőkoncert lehetett ott helyben, meg képpel biztosan jobb élmény (nem néztem még meg), de ez a 110 perces monstrum élő album ne legyen már az év lemeze. Egyrészt sokkal több az üresjárat, mint a többi korszakos, örök klasszik koncertlemezeken, mert azokon ki merték azokat vágni, itt meg muszáj megkapnunk az egészet, néha végtelenül egyszerű összekötő szövegekkel, amik másodszorra már semmiképp nem érdekesek. Sőt, a tényleg jó zenei részek úgy 50 percet tesznek ki, ha annyi a lemez, sokkal-sokkal hatásosabb. Khalid albuma viszont minden szempontból tök csalódás, az elsőt nagyon bírtam. Na mindegy van itt helyette bőven más.

És akkor most meghallgatom az új Vampire Weekendet.

Ezek tetszettek a legjobban áprilisban. A második kupacban (és harmadik elején) még olyanok vannak, amiket szerintem abszolút érdemes meghallgatni annak, aki bírja az adott stílust, a harmadik-negyedik adagban viszont már azok szerepelnek, amikhez rajongónak kell lenni és úgy sem kizárt a csalódás.