#New Wave Vaudeville

[unissonmag]

FLASH: NEW WAVE VAUDEVILLE – SKINNER

Advocating for freedom to quirkiness, Skinnerblends genres and cranks up the saturation for his debut album, New Wave Vaudeville. And it works! Here’s the review. Continue reading FLASH: NEW WAVE VAUDEVILLE – SKINNER

[lightspeedhunter]

New Wave, published in October 2007 by Actuel Panama

A true bible for anyone wishing to know everything about New Wave and its amazing creative energy embracing music, photography, fashion, architecture, etc...

Conceived and published under the supervision of late Jean-François Bizot who is remembered as one of the major enthusiasts/promoters of the New Wave scene.

[newyorkthegoldenage]

The Chelsea Hotel, 222 West 23rd Street, August 12, 1936.

[Edgar Lee] Masters proclaimed in his booming courthouse voice that there was no better home for a writer than the Hotel Chelsea. He urged [Thomas] Wolfe to sign the register and stood by as the younger man grasped the pen, observing with satisfaction Wolfe’s receding hairline and slightly drooping jowls. Wunderkind or not, the author of Look Homeward, Angel needed spectacles to read. But Masters meant what he’d said about the Chelsea. Granted, it lacked the polish of the Algonquin, with its fabled Round Table wits and bow-tied maître d’. The Chelsea had had a run of bad luck ... Still, for people with small bank accounts but big imaginations, a unique and intriguing spirit lingered in the atmosphere. Like a stately ocean liner, the enormous Victorian-era residence had withstood the battering of the district’s successive waves of vaudeville theaters and nickelodeons, oyster houses and seamen’s bars, office buildings and warehouse lofts. Inside the Chelsea, a tradition of tolerance, built into its bones, had allowed its occupants to weather these changes with equanimity. 

    --Sherill Tippins, Inside the Dream Palace: The Life & Times of New York's Legendary Chelsea Hotel (New York: Houghton Mifflin Harcourt 2013)

Photo: Berenice Abbott via Jackson Fine Art

[camisoledadparis]

THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more … December 14

c.530 – Venantius Fortunatus (d.circa 600/609) was a Latin poet and hymnodist in the Merovingian Court, and a Bishop of the early Catholic Church. He was never canonised but was venerated as Saint Venantius Fortunatus during the Middle Ages.

Born in Treviso, near Ravenna in Italy, he spent his time as court poet to the Merovingians. After visiting the tomb of St. Martin of Tours at St. Hilary at Poitiers, he decided to enter a monastery.

He continued to write poetry, some of which have a permanent place in Catholic hymnody, for instance the Easter season hymns "Vexilla Regis" and the "Pange Lingua" (Sing, O my tongue, of the battle). Three or four years before he died he was made bishop of Poitiers. Although never canonized, he was venerated as a saint in the medieval church, and his feast day is still recognized on 14th December each year.

Like Paulinus of Nola, St Venantius's poetry also includes some decidedly secular verse of the romantic sort. That this celebrates male love is clear from its inclusion in the Penguin Book of Homosexual Verse.

"Written on an Island off the Breton Coast" You at God's altar stand, His minister And Paris lies about you and the Seine: Around this Breton isle the Ocean swells, Deep water and one love between us twain. Wild is the wind, but still thy name is spoken; Rough is the sea: it sweeps not o'er they face. Still runs my lover for shelter to its dwelling, Hither, O heart, to thine abiding place. Swift as the waves beneath an east wind breaking Dark as beneath a winter sky the sea, So to my heart crowd memories awaking, So dark, O love, my spirit without thee.

Fortunatus died in the early 600s. He was called a saint after his death, but was never formally canonized.

1901 – King Paul of Greece (d.1964) reigned as king of Greece from 1947 to 1964. He may have been bi-sexual.

Paul was born in Athens, the third son of King Constantine I of Greece and his wife, Princess Sophia of Prussia. He was trained as a naval officer. On 9 January 1938, Paul married Frederika of Hanover at Athens. They had three children.

Before his marriage he is alleged to have invited the homosexual literary muse, Denham Fouts, on a cruise of the Aegean Sea, perhaps because they were lovers. However, Fouts's friend John B. L. Goodwin said Fouts often made up stories about his life, and literary critic Katherine Bucknell thought many of the tales about him were myth.

During most of World War II, when Greece was under German occupation, he was with the Greek government-in-exile in London and Cairo. From Cairo, he broadcast messages to the Greek people.

Paul returned to Greece in 1946. He succeeded to the throne in 1947, on the death of his childless elder brother, King George II.

David Lewis (L) with Producer Irving Pichel

1903 – David Lewis (d.1987 ), born David Levy, was a Hollywood film producer who produced such films as Dark Victory (1939), Arch of Triumph (1948), and Raintree County (1957).

He was also the longtime companion of director James Whale from 1930 to 1952. Although they were separated at the time of Whale's death in 1957, Lewis later released the contents of Whale's suicide note.

Lewis was portrayed in the 1998 film Gods and Monsters by David Dukes.

1915 – The American actor and dancer Dan Dailey was born on this date (d.1978). Dailey was born and raised in New York City and appeared in vaudeville before his Broadway debut in 1937 in Babes in Arms. In 1940, he was signed by MGM to make movies and, although his past career had been in musicals, he was initially cast as a Nazi in The Mortal Storm. However, the people at MGM realized their mistake quickly and cast him in a series of musical films.

He served in the United States Army during World War II, was commissioned as an Army Officer after graduation from Signal OCS at Ft Monmouth, NJ, after which he served with distinction until the war ended. Then returned to more musicals. Beginning with Mother Wore Tights (1947) Dailey became the frequent and favorite co-star of movie legend Betty Grable. His performance in their film When My Baby Smiles at Me in 1948 garnered him an Academy Award nomination for Best Actor. In 1950, he starred in A Ticket to Tomahawk, often noted as one of the first screen appearances of Marilyn Monroe, in a very small part as a dance-hall girl. In 1953, Dailey starred in Meet Me at the Fair. One of his notable roles was in There's No Business Like Show Business (1954) which featured Irving Berlin's music and also starred Ethel Merman, Marilyn Monroe, Donald O'Connor, and Johnnie Ray.

In 1950 the notorious "Confidential" Magazine (the National Enquirer of its day) printed a picture of him wearing female clothing. His studio, 20th Century Fox, rushed to repair the damage; gossip columnists were told that Dailey had simply been snapped on his way to a fancy dress party. But Andre Previn, the composer, tells in his biography No Minor Chords how Dailey turned up drunk and in female clothing for the press screening of It's Always Fair Weather in 1954. In the mid '70s, gossip columnist Joyce Haber was on television promoting a novel about Hollywood. Asked to dish some gossip, she mentioned that one of the top dancer-actors was a closet transvestite with a costly and beautiful wardrobe that many women would envy.

He had three failed marriages with women, but also was known to hang out in Gay bars. After the suicide of his only son, he was an embittered alcoholic. He died three years later, just after he playing boyfriend Clyde Tolson in (the unintentionally hilarious *and bad*) The Private Files of J.Edgar Hoover (1977). He appeared in over 60 films in his career.

1932 – George Furth (d.2008) was an American librettist, playwright, and actor.

Born in Chicago with the name of George Schweinfurth (he dropped the "schwein" on becoming an actor).

Furth made his Broadway debut as an actor in the 1961 play A Cook for Mr. General, followed by the musical Hot Spot two years later. He was also known for his collaborations with Stephen Sondheim: the highly successful Company, the ill-fated Merrily We Roll Along and the equally ill-fated drama, Getting Away with Murder. Furth penned the plays Twigs, The Supporting Cast and Precious Sons, and wrote the book for the Kander and Ebb musical, The Act.

Company has been revived many times over the years, sometimes updated to the Aids era, although requests from producers to give the show a homosexual slant were turned down by the unmarried Sondheim and Furth, although both of them were gay.

Frequently cast as a bespectacled, ineffectual milquetoast, Furth appeared in such films as The Best Man, Myra Breckinridge, Hooper, Blazing Saddles, Oh God!, Shampoo, The Cannonball Run, Young Doctors in Love, Doctor Detroit, Bulworth and Butch Cassidy and the Sundance Kid. His many television credits include Tammy, McHale's Navy, Ironside, I Dream of Jeannie, That Girl, Green Acres, The Monkees, Batman, The Odd Couple, Bonanza, Happy Days, All in the Family, Murphy Brown, L.A. Law, Dr. Quinn, Medicine Woman, Murder, She Wrote, Little House on the Prairie, Love, American Style, Adam-12, F Troop and the made-for-TV film The Scarlett O'Hara War, in which he portrayed famed film director George Cukor. He was a regular in the cast of the short-lived 1976 situation comedy The Dumplings.

He adapted his play Twigs as a 1975 television production, starring Carol Burnett. He also worked as a voice actor in several episodes of the animated television series The Adventures of Don Coyote and Sancho Panda for Hanna-Barbera Productions.

One of Furth's last writing projects was a foray into an area where he had not previously endeavored. Furth penned the lyrics for a musical revue, with music by Doug Katsaros. Furth and Katsaros shaped the work with San Francisco director Mike Ward into "The End - a new musical revue". The piece was performed at San Francisco's New Conservatory Theatre Center during the summer of 2004 and was billed as a "Pre-U.S. Tour Workshop Production". The piece was reworked twice, with the title changing to Last Call and Happy Hour, respectively.

Furth died on August 11, 2008 at the age of 75. The exact cause of death is unknown, although he had been hospitalized for a lung disease at the time.

1955 – Hervé Guibert (d.1991) was a French writer and photographer. The author of numerous novels and autobiographical studies, he played a considerable role in changing French public attitudes to AIDS. He was a close friend and lover of Michel Foucault.

Guibert was born in Saint-Cloud, Hauts-de-Seine, to a middle-class family and spent his early years in Paris, moving to La Rochelle from 1970 to 1973. In his teens Hervé Guibert lied about his age to work at the magazine 20 ans eventually leading to a job with Le Monde. After working as a filmmaker and actor, he turned to photography and journalism. In 1978, he successfully applied for a job at France's prestigious evening paper Le Monde and published his second book, Les aventures singulières (published by Éditions de minuit). In 1984, Guibert shared a César Award for best screenplay with Patrice Chéreau for L'homme blessé. Guibert had met Chéreau in the 1970s during his theatrical years.

Guibert's writing style was inspired by the French writer Jean Genet. Three of his lovers occupied an important place in his life and work: Thierry Jouno, director of an institute for the blind whom he met in 1976, and which led to his novel Des aveugles; Michel Foucault, whom he met in 1977; and Vincent Marmousez, a teenager of fifteen who inspired his novel Fou de Vincent.

In January 1988 Guibert was diagnosed with AIDS. From then on, he worked at recording what was left of his life. In June the following year, he married Christine, the partner of the late Thierry Jouno, so that his royalty income would eventually pass to her and her two children. In 1990, Guibert publicly revealed his HIV status in his roman à clef "À l'ami qui ne m'a pas sauvé la vie" (published in English as To the Friend Who Did Not Save My Life). Guibert immediately found himself the focus of media attention, featured in newspapers and appearing on several television talk shows.

Two more books also detailing the progress of his illness followed: Le Protocole compassionnel (published in English as The Compassionate Protocol) and L'Homme au chapeau rouge (published in English as The Man In The Red Hat), which was released posthumously in January 1992, the same month French television screened La Pudeur ou l'impudeur, a home-made film by Guibert of his last year as he lost his battle against AIDS. Almost blind as a result of disease, he attempted to end his life just before his 36th birthday, and died two weeks later.

1960 – Bob Paris, American bodybuilder and Gay rights advocate, born; The former Mr. Universe, and International Federation of BodyBuilders professional bodybuilder, Bob Paris is a writer, public speaker and civil rights activist. He acknowledged his sexuality in the July 1989 issue of Ironman magazine and has graced the covers of scores of magazines worldwide. After Paris officially came out as a Gay man in the media, he and his then-partner, Rod Jackson, became involved in marriage equality advocacy, started successful non-profits, lectured on a wide variety of Gay civil rights issues, and made many television, radio, newspaper and magazine appearances. The two separated in 1995. Today, Paris lives with his spouse of eleven years, Brian, on an island near Vancouver, British Columbia. Bob and Brian were legally married after Canada equalized the marriage laws in 2003.

In addition to his writing career, Bob Paris remains a committed civil rights advocate as well as a motivational speaker, model and actor. In 1998, he made his New York stage debut, starring at Carnegie Hall opposite Bea Arthur, Sandy Duncan and Tyne Daly in the Broadway musical, Jubilee as the character Mowgli. He is one of the subject of photographer Herb Ritts' gorgeous book, Duo. His official website is: http://www.bobparis.com/

1966 – James Earl Hardy, born in Bedford-Stuyvesant, Brooklyn, New York, is an American playwright, novelist, and journalist.

Generally considered the first to depict same-sex love stories that take place within the hip-hop community, his writing is largely characterized by its exploration of the African-American LGBTQ experience.

Hardy's best-known work is the B-Boy Blues series. The B-Boys Blues series comprises six novels and one short story. B-Boy Blues was adapted into a play in 2013 and into a film, directed and co-written by Jussie Smollett, in 2021.

Hardy attended undergraduate school at St. John's University and afterward went on to graduate from the Columbia Graduate School of Journalism in 1993. From 1992 to 1994, he wrote for Entertainment Weekly as a music journalist.

1968 – Yotam Ottolenghi is an Israeli-English chef, restaurateur, and food writer. He is the co-owner of six delis and restaurants in London, as well as the author of several bestselling cookbooks, including Ottolenghi (2008), Plenty (2010), Jerusalem (2012) and Ottolenghi Simple (2018).

Ottolenghi was conscripted into the Israeli Defense Forces in 1989, serving three years in IDF intelligence headquarters. He then studied at the Adi Lautman Interdisciplinary Program for Outstanding Students of Tel Aviv University, where in 1997, he completed a combined bachelor's and master's degree in comparative literature; his thesis being on the philosophy of the photographic image. While working on his thesis, Ottolenghi served as a night copy editor for Haaretz.

In 1997, Ottolenghi and his then-partner Noam Bar moved to Amsterdam, where he edited the Hebrew section of the Dutch-Jewish weekly NIW and considered getting his doctorate in comparative literature. Instead, he moved to London to study French cooking at Le Cordon Bleu.

Ottolenghi met his partner Karl Allen in 2000; they married in 2012 and live in Camden with their two sons, Max and Flynn. In 2013, Ottolenghi "came out as a gay father" in a Guardian essay that detailed the lengthy process of conceiving Max via gestational surrogacy, an option that he believes should be more widely available to those who cannot conceive naturally.

Ottolenghi served as a pastry chef at three London restaurants: the Michelin-starred Capital Restaurant, Kensington Place, and Launceston Place in Kensington New Town. In 1999, he became head pastry chef at the artisanal pastry shop Baker and Spice, where he met the Palestinian chef Sami Tamimi, who grew up in Jerusalem's Old City. Ottolenghi and Tamimi bonded over a shared language—Hebrew—and a joint "incomprehension of traditional English food".

His debut cookbook Ottolenghi was published in 2008 and has sold over 100,000 copies. Six volumes have followed: the all-vegetable cookbooks Plenty (2010) and Plenty More (2014); Jerusalem (2012); Nopi (2015); the dessert cookbook Sweet (2017); and Ottolenghi Simple (2018).

Ottolenghi's bestselling cookbooks have proven influential, with The New York Times noting that they are "widely knocked-off for their plain-spoken instructions, puffy covers, and photographs [that Ottolenghi] oversees himself, eschewing a food stylist". In 2014, the London Evening Standard remarked that Ottolenghi had "radically rewritten the way Londoners cook and eat", and Bon Appetit wrote that he had "made the world love vegetables".

1988 – The movie version of Harvey Fierstein's play "Torch Song Trilogy" opened in New York.

1989 – Amini Fonua is a Tongan competitive swimmer.

Fonua was born and raised in Ponsonby, Auckland, New Zealand to Tongan lawyer Sione Fonua and British-born mother Julie. He holds dual Tongan and New Zealand citizenship. His family includes two other sisters.

Fonua's swimming career began at the Roskill Swimming Club based at Cameron Pool in Auckland, coached by Sandra Burrow from 1999–2007. He broke numerous Auckland and New Zealand Age Group Records under Burrow's tenure. He then moved to West Auckland Aquatics in 2007, and was coached by Donna Bouzaid. In the Fall of 2008, Fonua enrolled at Texas A&M on a swimming scholarship. While at Texas A&M he was a peer voted Team Captain, Big XII Conference Champion, NCAA All-American, and recipient of The Aggie Heart Award. He graduated with a Telecommunication and Multi-Media degree, with a Minor in Creative Writing in May 2013.

He was the first Tongan swimmer to win a gold medal in international competition, when he took gold in the 50 metre breaststroke at the 2010 Oceania Swimming Championships.

In preparation for the 2012 London Olympics Fonua was trained by New Zealander and designated head coach for Tonga, Jon Winter. He served as his nation's flag-bearer in the 2012 Summer Olympics Parade of Nations. As a swimmer at the 2012 Summer Olympics, he competed in the Men's 100 metre breaststroke, failing to reach the semifinals.

Fonua made an international comeback at the 2015 Pacific Games in Port Moresby, Papua New Guinea. He created history by becoming the first ever Tongan athlete to ever win 3 Gold medals at a Pacific Games by sweeping the Breaststroke events, setting 2 Games Records in the process (50 m and 100 m Breaststroke). He is the only Tongan athlete in history to ever hold dual Oceania and Pacific Games titles.

Fonua is openly gay and an advocate for LGBT rights.

1993 – In Denver Colorado, Judge Jeffrey Bayless ruled Amendment 2 unconstitutional. The amendment to the Colorado state constitution sought to eliminate all gay rights laws in the state and prevent any more from being passed.

[jack-kellys]

notes from december performance post-previews that i somehow just wrote up last night in august 2023 whattt how did that happennn:

the way jack replies to “you’re seeing stars alright” feels way more in response to crutchie’s attitude- and when he talks abt his dad getting stomped on it’s not just a context reveal. it’s jack telling crutchie he’s self-aware, he understands his shit place in the world and his desire to change it. just that it’s nice to dream. ow

“time for dreaming’s done” isn’t said with a smile. btw. if u even care

jack stealing finch’s mirror gets me every time

katherine looks back at jack at his “im crushed!” with a little smile

i get that the only reason buttons helps with a lot of the tricks is because he’s the DC but that doesn’t make it any less sweet… he’s always with splasher lmao

jack is quite uncomfortable with the nuns, he doesn’t look at any of them

never ever over spalsher’s little head tilt after his big flip

oscar grabs race’s collar on “i guess he didn’t take care of me!”

morris goes to hit crutchie again after pushing him to the ground before jack stops him

love when race bounces on his toes when he thinks he says something funny

morris blows his cig smoke into davey’s face when he’s grabbing him the extra paper

henry imitates les with finch as his davey, hobbling up to weasel down on his knees

jack rolls his eyes after telling davey “it’s just business” after shaking les’s hand. like can u believe this guy lmao

“mine taught me not to starve” looking at davey like ‘wtf is wrong with you’ LMAO. like jack’s irked with davey actually judging for something so ingrained into jack’s life fr

“HEY!! who was that guy >:(!”

medda checks on jack’s hair and he giggles mid sentence :) like “mooom in front of my friends??”

kaths look of Disgust when jack goes “i admire smart girls” is soooo done. she’s finished w this mf

katherine stays on the set as it shifts into WWK’s scene, staring at jack’s drawing, totally absorbed. i just think it’s fun how when davey sees jack’s backdrop he’s stunned in the same way kath is at her portrait. anyway

jack goes toward finch during the “our union is hereby formed to watch each other’s backs” after leaving ike and finch sweeeeerves away from him. finch only comes on board when davey does actually

when jack’s on the wagon with the “what if the delanceys come out swinging” etc he does a small laugh when the newsies all yell their response like he’s surprised !!

katherine is positioned right above the world’s door as if she’s. inside. ofc initially we read it as her just observing from above but it’s her literal building too.

“specs, you take queens.” “thank you!”

buttons gives kath a friendly wave and race offers his water cup when katherine comes into jacobi’s. walks right past the water even as race keeps his hand out lmfao

tommy lifts elmer into his arms after kath says they’d make front page

“this is not some little vaudeville im reviewing” felt more significant

“give those kids and me the brand new century and watch what happens” is a Plea.

welliguessitdependsonhowyoulookatitifyoulookandseebrooklynthenthey’rewithushaha! then race guns toward davey to yell at him

davey is not afraid to yell when his nerves get shot —> when the scabs boutta get they shit rocked

“them? or them.” OSCAR WAVES LMFAOOO

piggyback for les from racer

fight time

-morris has it OUT for racer in the pre-cop half. literally think he gets smacked with the bat TWICE. he’s on the ground, watches splasher get smacked from the ground, and BOLTS UP and races over to him shoving past morris. insane

-jack only swings on the rope to make a clear path for davey and les actually bc that action is the only reason they get to that half of the stage

-finch and romeo teammates for LIFE. they fought like the whole thing together fr. only pair that stuck out to me for the whole length of it (and then of course they watch crutchie get taken from the audience ough)

-nah jack Is a good fighter thru this it’s just the seize the day moment w the delanceys that he’s shit at btw

-davey doesn’t fight literally at all the whole time :/ c’mon. uncanonizing this in my mind

-SPECS KICKS ASS !! he’s got a bat and everything!! fuck yeah!!

shut up jack wipes at his eye during santa fe at “guy can catch a break”

^guy who lets out a sigh of relief when the post card is still in his pocket. fuck off

act twooo

kath goes to racer abt where jack might’ve gone and he’s abt to answer before albert pipes up

race flicking davey’s hat to the side>

^also they keep chatting thru tap sequences i love it

kath holding davey’s hand while they talk in the corner during table movement

crutchie holds his side when he sings…

^the only part crutchie gets teary at is when he starts talking abt the boys/family :,)

“and a little something extra, just on account of im gonna miss you so-” sounds like medda broke off bc her voice got watery 🥲

“every newsie—who could walk—was out there selling papes” OW the rephrasing of that line

as soon as jack turns his backdrop around to show the strike painting davey walks away soooo fast to turn away

WWH reprise is such an argument. “WE’RE ALREADY WINNING!!” yell davey yell!!

^jack makes the most fuming, boiling angry face after “y’know why a snake starts to rattle 😌?”

davey initiates the spit shake when jack offers his hand

kath is Mortified watching snyder expose jack’s refuge history AND SHES SO MAD when pulitzer gets between her and jack omfg

“be glad you’re alive, kid” is spoken and cruel asf but wbk

morris’s laugh kills me everytime it’s so fucked in the head. goddamn

jack doesn’t let davey touch him when he enters the rally like he doesn’t want davey to look like he knew abt the betrayal beforehand….

scope runs RIGHT up to jack after spot pushes him and goes to yell at him LMAO… lucky has to drag her away

“is that really what it’s like in there? rats everywhere, and vermin?” is taken as judgement and not concern and jack fuckin jumps on it LMAO

the actual motion of disgust jack makes at “you just double crossed us to your father- your… father.” dead every time he literally flinches

“i just didn’t tell you everything!!” is said at the opposite side of the stage as jack and looking down and away. idk why she’s the only katherine that has ever played this line as guilty but i’m always so glad for it

“i’m not stupid.” “no-” “i know girls like you… don’t wind up with guys.. like me.” heathers voice: i will never shut up abooout this

jack seems very afraid of the word love?? during kath’s entire piece of STBI he stays away from her… and she def thinks she’s fucked up for a sec fr

wah this song is so tender :( they hold each other very softly

“hey! um… it’s good to have ya back.”

clarice’s spot also has a moment with race beside just letting the kids into the cellar together..<3 ik lillie’s has more tho

there is something so personal abt davey jacobs saying “bleeeed ‘eeeem” while looking dead into jack’s eyes

davey’s reckless hug once jack’s made the deal with pulitzer… every timeeee

FINCH CRUTCHIE HUG!! first to get to him and holds him the longest before race and jack come along :)

“new york’s got us. and we’ a family.” is said as such a statement of fact like crutchie just ends any argument right there. he just knows jack so fucking well.

:)

[zal-cryptid]

What's each of the main casts' favorite music genre?

Eleanor - classical, opera; she can play piano

Charlie - jazz, vaudeville

Dolly - ragtime, jazz, swing, musical show tunes (songs from old Betty Boop cartoons and the soundtrack to Raggedy Ann & Andy: A Musical Adventure seem to be among her favorites), as well as country music (with a particular liking to Dolly Parton)

Gabe - classic rock, punk rock, new wave, alt rock, metal, early hip-hop

Pauline - pop rock, pop music, secret love for musicals

Jen - pop music, ska, indie pop, J-Pop and J-Rock (knows all the lyrics to all her favourite anime openings). She also loves musicals

Tammy - same as Jen tbh, except for the musicals. She isn't sure if it's the result of her toy brain or not, but she has also taken a liking to synth and techno

Mel - pop music, indie music, children's songs (definitely the result of her toy brain)

Maria - oh boy, sorta a mix of everyone's on this list. Definitely into rock, pop, indie, grunge, musicals, unironically loves The Nutcracker Suite. She used to play guitar before coming to Toyland

André - pop punk, grunge, really into scene/emo. He used to play drums

[pynkhues]

examples:

“he's extremely fashion forward and wears brighter colors and more adventurous color combinations than his straight black peers, he wears little silk scarves and keeps his nails well groomed which his mother literally calls effeminate, he had a conk and finger waves in the 1910 when most black men at the time wore their natural hair but short, similar to styles we see today like the low taper, his mannerisms like placing his hand on his chest, his hand gestures when he talks, the way he walks and his posture, the tone and cadence he speaks with, the way he sits with his legs crossed at the knee or the ankle, are all traits and behaviors that are seen as feminine in black culture and yet people will dismiss those behaviors as evidence of him being masculine because they will not take the time to think about how the lens of blackness changes gender presentation” source: https://www.tumblr.com/nashvillethotchicken/770145454745911296/people-are-misunderstanding-this-post-so-let-me

tweets such as this thread and the tweets it’s qrting and their replies: https://x.com/gaptoothsupreme/status/1873769507980034438?s=46

jacob basing louis’ mannerisms off of two black women (eartha kitt & grace jones plus david bowie, a gnc man) see - https://x.com/maymayamai/status/1867911021438095557?s=46

plus you have armand clearly mocking louis’ fem mannerism in 2x05, etc…

Thanks! I'm replying to this in good faith, anon, so I hope that you take it that way, but to start with, the costume designer, Carol's talked pretty specifically about the influences for Louis' style, and that person's right, he's very fashion forward and stylish, but the reason he stands out more against the other men on the show is because Carol deliberately dresses the humans down to make them look like livestock and the vampires stand out. She talked about both Louis being stylish and the background actors in this Q&A on the AMC website here. I've included the specific quote about her influences and choices below:

Q: Since there are large time jumps that happen within Season 1, did you earmark certain decade specific fashion statements that you just had to include? A: Yeah, for sure. One of the ways that I approached the vampires was looking at what was going on across the board during that period. New Orleans was a very different slice of life than the rest of the United States. Fashion was coming out of Paris, then even New York was just a step behind Paris, but down in New Orleans they were a few steps behind New York as far as being fashion-forward. One of my concepts for the background actors was to create this feeling that they're all on the menu, they're all basically mammals. So, I cultivated this look for them that, no matter what time period they were in, they always kind of felt like livestock. They always had a very pedestrian look of the day that showed that it was hard living in New Orleans. Their clothes were well-worn. They were kind of sweaty and their life was gritty. There was a very warm and textured reality to them. That allowed our vampires to kind of dance across the top of them as the stars, as the movie stars, as the most elegant. For Louis starting out, he had several iconic looks. His fashion showed how he was struggling between two sides of himself when Lestat found him. He had a Booker T. Washington look, a look that showcases the entrepreneurial spirit and celebration of education and Black business owners, and it was a more austere look. Then for his nightlife look, I was inspired by Black vaudeville. Not what the men were wearing on stage, but what the men were wearing in their lives, which Louis would have been aware of. They were extremely dapper men, and they had a celebrity air to them. In order to survive, Louis has to be impeccable. He has to have a showmanship about him that serves as a layer within his defense mechanisms. There were so many pieces to the puzzle that got us to where we were visually with both of Louis and Lestat. 

Silk scarves were also extremely common for men in the 1910s. There's an article here about men's fashion in this era, if you're interested, which includes an entire section on it, and some examples of men's scarves and tie ads. I've included the pic of the two of them below:

And the point about Louis' hair having fingerwaves or a conk is a really interesting one, but I Googled out of curiosity, and it was apparently popular by the 1920s, which accounts for a lot of the Rue Royale era, even if Louis was an early adopter.

As for the nails, that scene happens after he's turned and he literally has claws? I've always taken that to be less about his grooming and more the fact that he suddenly has long, pointed nails which - - yeah. Further others him from his mother who's clearly already unable to accept the fact that her son is gay and living with another man.

As for the traits and movements, that's pretty hard for me to comment on, because you're asking me to take that post at face value because they're not providing any evidence to back-up what they're saying, and conducting my own research in the last twenty minutes has already shown me that what they've said isn't entirely accurate. But, y'know, if you interpret those traits and movements as femme or indicative of femininity, great, that's a cool read others seem to agree with! I just don't think it's fair to say that things like putting your hand on your chest or crossing your legs can only be indicative of femininity, and it certainly isn't fair to say that by not seeing them as feminine, people are seeing him as a 'brute'.

Louis basing his mannerisms off Eartha Kitt, Grace Jones and David Bowie though (who's absolutely not gender non-conforming, anon, by the way, he adopted a persona as a marketing tool and it worked. You can read about that here) is amazing, and a fact that I love, but my interpretation of that is that all three performers have ways of moving and otherworldly qualities to them that make sense for an actor playing an immortal creature. I've also said this before, but men can and do derive inspiration from women creatively all the time, and I think there's a bit of a dangerous line to walk there to posit the argument that a man inspired by a female artist is, as a result, feminine.

Again though, none of this is a criticism of your reading, this is just me reflecting why I have a different one. I think Louis is an intelligent, sensitive queer man with a lot of different facets to him, and I love that we get to see all the ways Jacob, the show's writers and the artistic teams bring him to life.

[burlveneer-music]

Skinner - New Wave Vaudeville - explicitly inspired by New York No Wave, so I'm in

Skinner is the project of the Dublin-based multi-instrumentalist, singer and producer Aaron Corcoran who was inspired by the New York no wave scene in the late ‘70s/early ‘80s for this debut record. New Wave Vaudeville brings a thrillingly raw energy, inspired by the rebellious spirit of the New York No Wave scene. This album is a defiant mix of no-wave, dance-punk, and post-punk, with tracks like "Calling In Sick" and "When You Live In A Shoe" capturing the frustration and fervor of everyday battles. The album celebrates the outsider, a nod to the chaotic and creative freedom Skinner Released on Faction Records All Music Written & Produced by Aaron Corcoran Vocals, Guitar, Bass, Percussion / Aaron Corcoran Guitar, Tin Whistle / Zachary Stephenson Drums, Percussion / Freddie Trebble Saxophone / Mason McMillen Guitar, Percussion, Extravagant Noises / Rian Trench Artwork by Libby Kane

[tea-ddie]

Something that may or may not be clear about my book, Ballyhoo, on a surface level, is for how long it's been in the works. People who've known me for several years will remember the very first draft of the comic from 2018/2019. That version was specifically made for Webtoon and has been more-or-less scraped for the current version of the story. Because of that, all of Ballyhoo's characters have gone through pretty big changes—not just in their design/my art style evolution/etc, but also in their occupation, some elements of their backstory, and more. I've started working on Book 2 and have been making some new concept art. I realized as I looked to the future of the project, it was a good time to look back. This post will go through three of the main characters: Evelyn, Marjorie, and Oretta, and explain how we got to where we are in Ballyhoo.

Evelyn Golubev

2018: Evelyn was one of the very first characters I ever created for this story. She was originally the femme-fatale-type—her girlfriend had just mysteriously gone missing. She worked at a vaudeville-type club as a dancer and, besides being somewhat hot, ominous and foreboding in the way that a femme-fatale must be, that was about it. I was still definitely trying to understand my art style and struggled a lot with making the hair look as "natural" as I wanted. Her outfits all leaned pretty heavily femme and her makeup was heavy... but uncanny as I didn't fully understand how to color makeup on a face then.

2024: Evelyn Golubev, or better known by her stage name, "Evelyn Gold," still works at a vaudeville club, but beyond dancing, also sings and performs at other bars and clubs across the city of Portapolis. She is the frontwoman of her Baby Blue Band, which is the house-band at local lesbian bar, the Lilac. Although she still holds some of her femme-fatale vibes, I wouldn't necessarily describe her as a "femme" in the queer spaces she occupies. She wears custom blue suits at the club and brings a swagger that would make any girl blush to her performances. In both versions of her character, she holds a few secrets that she protects fiercely, but in the currently version of the story, the consequences of these secrets coming out feels more intense. Overall, I think her character has become more refined and deliberate in the story.

Marjorie Miller

2018: Oh, Marjorie. Her role in the story has shifted pretty significantly from the first drafts of the story—in this earliest drawing, she's pictured singing at what was a lesbian house party. She was always a bit desperate—trying to fit into a space that wasn't really for her. I knew she had grown up outside the city, probably in a more rural area, and was trying hard to fit into more classy and elegant circles. She mostly functioned as a background character in the lesbian scene who held a secret that would help solve the mystery (because of course this story was always a mystery).

2021: This was about at the time I was re-developing the story and laying out the groundwork for a new version of the comic. Despite scrapping the house parties, I wanted to redraw that specific scene... mostly because I liked her dress. Marjorie's hair, similar to Evelyn, was something I became more comfortable drawing with time. In 2021, you can see me trying to separate the way her somewhat messy waves and curls fell. Like I said, at this point I knew the house party scene with Marjorie wasn't going to happen, but I wasn't sure what her exact role would be. Was she a hopeful performer? Someone who performed alongside Evelyn in the Vaudeville club? Something else entirely? What was her life like when she wasn't singing? Well...

2024: Marjorie Miller is a married woman, living her perfect, heterosexual, suburban housewife life with her dearest husband George. This might seem like a hard pivot—it also feels like a hard pivot to her old friends Oretta and Evelyn, both of whom she's mostly fallen out of touch with. Despite the changes in her life, she is content with how it's worked out for her, or at least pretends to be. Still, beneath the picture-perfect surface is a woman who was, in every version of the story, desperate to fit-in and who is living a life that feels out of her depth.

Oretta Adams

2018/19: I don't have a drawing for this, but my earliest ideas for Oretta included her arriving in Portapolis on a train. This was always her introduction and it's how she arrives to the city in Ballyhoo, too. Back then, I knew she was an old friend of Marjorie's and Evelyn's who would open up an aspect of the mystery and story that both of them wanted to keep hidden for whatever reasons. I'm sure this sounds woefully underdeveloped—and that's because at that time, it really was. However, this was around the time where I started to have an inkling that maybe the trio's shared past was in the circus.

2021: Because her introduction was so vivid in my mind, a lot of Oretta's early concept art is her at the train station. Pictured in 2021 is a more relaxed version of Oretta: she smokes, she's dressed very casually and comfortably, and, of course, she has her suitcase. It was important to me that she always dressed for comfort and for herself first and foremost. This is part of why Oretta's outfits in the current story consist of a lot of 40s work-pants and sweaters.

2024: As I started writing the comic in 2021/22, it became shockingly apparently that Oretta was the main character of the story. Her being the factor that opens up secrets multiple people wanted to keep hidden put her in a prime place to act as both outsider and instigator. Oretta, Marjorie, and Evelyn share a background in circus performance and it started to make sense that she would be a writer/playwright, taking her experience in showbiz to a backstage role. And it is her play—possibly inspired by past events—that triggers the main events of the story. Her play is a catalyst for too many things coming out, and everyone seems to have a good reason for wanting to make sure the show will not go on.

In Conclusion...

Ballyhoo has been a long time in the works! I hope this is interesting, or maybe even inspiring for those starting longer stories? Things will take time, but it will be worth it. I'm really happy that Ballyhoo: Book One is out there in the world, and I'm honestly so excited to get to keep working on this project. I might do more posts like this about other characters or other aspects of the story—again, it's been in development for what seems like a pretty long time and I have a lot of thoughts about how different aspects of the story have played out.

[pawooonie]

hai!! i kinda miss using this blog so i've decided to just rebrand!!

for now on, i will post mostly talking heads stuff, maybe other new wave bands i get into that don't fit my active side blog ( @tragic-vaudeville ), some nonband interests, and my art. i probably wont talk or post about oingo boingo much anymore regardless of the outcome of Danny's allegations. i may talk about the other band members and the songs/albums but that's it.

so yea, i hope everyone's cool with that!! <3

[unissonmag]

FLASH: NEW WAVE VAUDEVILLE – SKINNER

Prônant la liberté à l’étrangeté, Skinner mélange les genres et pousse la saturation pour son premier album, New Wave Vaudeville. Et ça marche ! Review. Continue reading FLASH: NEW WAVE VAUDEVILLE – SKINNER

[lightspeedhunter]

German born Klaus Sperber aka "Klaus Nomi".

A gifted opera singer who also portrayed the New Vaudeville sub genre of the New Wave scene.

Klaus Nomi was the charismatic leader of the Expressionist Cabaret movement that emerged in the early 80s.

Sadly Klaus died of AIDS in 1983, but is remembered as the "soprano cold wave electro" ultimate icon.

[super-duper-stupor]

5) ramble about a song, 6) a song for which you like a cover more than the original, 14) an unpopular music opinion

5. Ramble about a song

*takes a deep breath* Hoo boy so...

This song, this song is in my opinion is the most beautiful song in the world. It's sung with the upmost love and vulnerability in Klaus' beautiful German accented countertenor that i can't help but tear up everytime I listen to it. Part of what makes it perfect to me is that it's the perfect conclusion to this album (which was Klaus' debut album). It's been pointed out that Klaus' is not actually singing in any particular language and that it's all just gibberish, however it makes sense tho! Since Klaus is supposed to be an alien from outer space and assuming he didn't known any human languages before coming to earth and just admired the sound of the music here, then of course he'd only sing in gibberish. Sadly tho he didn't spend enough time here on earth to learn any languages anyhow as you could hear at the end of the song his space craft starts up and to the sound of beautiful chaos (if youve listened to it youll know what i mean) it gets ready for lift off before descending into the skies until the sound fades away into nothing. Not since 'Rock n roll suicide' from 'The rise and fall of Ziggy Stardust and the spiders from mars' has there been such a perfect way to end an album. Unfortunately life ended up imitating art in a way in that Klaus Nomi himself would end up leaving this world just over 2 years after the release of 'Klaus Nomi'. Knowing that fact it adds a real sadness to the song that makes you wonder what Klaus would've gone on to become and the music he would have created down the line and also what movies he would've done since Klaus had mentioned in an interview that he wanted to be in many movies, which he shouldve and couldve, the 80s were practically made for him. He was so ahead of his time and by all accounts he was a very sweet, shy and kind man that was taken back to his home planet far too soon💔

There's this quote from his best friend Joey Arias that said about Klaus' performance of this song on The New Wave vaudeville show

"I still get goose pimples when I think about it ... It was like he was from a different planet and his parents were calling him home. When the smoke cleared, he was gone."

6. A song for which you like a cover more than the original

Ewan McGregor's rendition of 'Your song' in Moulin rouge🥺❤️❤️❤️ legit makes my heart skip a beat

14. An unpopular music opinion

Opera is freakin beautiful and I feel sorry for those who think otherwise

[squideo]

Squideo’s Favourites: Gertie the Dinosaur

Released in 1914, this short film was created by Winsor McCay – a vaudeville actor who started producing cartoons in 1911. As one of McCay’s best preserved works, Gertie the Dinosaur has gone down in animation history for its innovative techniques and for a time was counted as the earliest animated film until other records were found.

Despite its short running time of twelve minutes, the piece has inspired countless successive animators from Walt Disney to Max Fleischer. It was chosen for this series by Creative Director Hannah Bales who credits Gertie the Dinosaur with introducing animation techniques still used to this day.

We’re diving into the production behind this animated film, exploring the style and techniques which came together to create this compelling story.

Creating a Story

Winsor McCay started working as an artist before becoming an illustrator and cartoonist for numerous Chicagoan newspapers. In 1911, McCay came to work at the New York American, owned by the infamous William Randolph Hurst. That same year, McCay self-financed and released his first animated film Little Nemo in Slumberland.

It was released in cinemas and McCay used the piece in his vaudeville act – a profession he maintained alongside his newspaper career for several years until Hurst convinced him to prioritise his illustrations. Little Nemo in Slumberland used characters McCay had created for a comic strip at the New York Herald, his former employer, a series McCay used to develop his use of colour and fine hatching. Little Nemo was already popular with audiences, first debuting in 1905 and receiving a stage adaptation in 1907.

Audiences were entranced by the 1911 short film, which became popular enough for McCay to colourise the frames. Sadly, like many of McCay’s early works – including How a Mosquito Operates (1912),  Flip’s Circus (1918) and The Centaurs (1921) – only fragments of the film have survived. Which led to the later Gertie the Dinosaur (1914) becoming McCay’s signature film.

As Gertie the Dinosaur was created for McCay’s vaudeville act, the film is timed to create the illusion that McCay – standing beside the screen – is controlling Gertie. To end the film, McCay walked toward the screen and was replaced with an animated equivalent that Gertie carried away. This use of animation showed audiences what potential this developing medium had, and inspired a wave of new animators to follow in McCay’s footsteps.

William Fox, founder of the Fox Film Corporation, paid McCay to extend the film to include a live-action introduction so Gertie the Dinosaur could be shown in cinemas without McCay’s presence. Despite this success, McCay’s own employer William Randolph Hurst banned their newspaper from mentioning Gertie the Dinosaur. Comic strips were very popular in newspapers and, as one of his most popular illustrators whom he had bought away from the New York Herald, Hurst wanted McCay’s attention at the New York American rather than his own side-projects.

McCay would make ten films in total, an impressive achievement considering he almost entirely worked alone. His post-war release, The Sinking of the Lusitania, in 1917 garnered him additional critical acclaim and cemented McCay as an animation pioneer.

“McCay distinguished his work from that of his contemporaries in the field by the sophistication of his elaborate graphics, the fluid movement of his characters, the attempts to inject personality traits into those characters, and the use of strong narrative continuity.” John Canemaker

In an episode of Walt Disney’s Disneyland in 1955, Disney paid homage to Winsor McCay and Gertie the Dinosaur – inviting McCay’s son Robert to act as a consultant. The influence of Gertie the Dinosaur still lives on at Disney, spanning from its first reference in 1940’s Fantasia, to their animatronic dinosaurs for New York’s World Fair in 1964, and now Gertie’s ice cream stand opened in Disney’s Hollywood Studios at Walt Disney World in 1989.

Animation Style

Created from over 10,000 drawings, Gertie the Dinosaur was a tremendous undertaking almost entirely created by Winsor McCay with his neighbour John A. Fitzsimmons acting as an assistant. Since the film would form part of his vaudeville act, McCay needed a showstopper – and he wanted to indisputably show the world that his animation skills were unrivalled.

When his 1912 film, How a Mosquito Operates, had debuted some audience members thought the mosquito was operated on wires. That same year, McCay announced his intention to create a film about dinosaurs.

Despite the short time frame between both films, Gertie the Dinosaur shows significant progress which left audiences with no doubt that they were watching animation. More details were added to the characters and, importantly, backgrounds were added to the frames.

McCay used fine hatching to add shadows and depth to Gertie’s movement. He established the use of now standard animation techniques, including “key drawings, effective registration of images to prevent “jitters”, and the concept of “cycling” action that reused drawings.”

Using a constructed dinosaur skeleton on display at the New York Museum of History for reference, McCay worked in painstaking detail to make Gertie as realistic as possible. It worked. According to McCay:

“When the great dinosaur first came into the picture, the audience said it was a papier-mâché animal with men inside of it and with a scenic background. As the production progressed they noticed that the leaves on the trees were blowing in the breeze, and that there were rippling waves on the surface of the water, and when the elephant was thrown into the lake the water was seen to splash. This convinced them that they were seeing something new – that the presentation was actually from a set of drawings.” Winsor McCay

McCay’s work continues to have an influence over modern animators, and since 1972 the Winsor McCay Award has been given in recognition of individuals whose work shows outstanding contributions to excellence in animation. Famous recipients include Bill Hanna, Joseph Barbera, Mel Blanc, Otto Messmer, Roy E. Disney, Tim Burton, John Lasseter, Nick Park, Brad Bird and Matt Groening.

Get Started With Your Video

Inspired to create a unique animated video of your own? Watch the video below to get a better understanding of how Squideo can help promote your business, then get in touch with us to find out more!

[oraclelitmag]

they sing the majesty of the circle, loving mother of life and its blood filmy symmetry, an aphrodisiac to the weeping widow, it sells her thin solace and ounces of sunshine balance, it boasts, when waves of moonlight lap against her door, and sends milky chatters over her teeth when she finds her lover’s eyes in the new growth under her rose bush.

this life of mine, however,has followed the jagged temper of the square, silent little renegade a path of straight vein and baobab trunk, this little life ran

and then, the sudden convulsion of turning the first corner

now, under our leathered skin, under the angel statuettes of our mothers across the sea, these little squares sleep

until on a June day, with air akin to clotted blood, we again turn the corner, shiver, wipe  the red trails of dust dripping from our eyes to the east, and continue to sip this red, white, and blue concoctionwe begged for eight years ago

this little child, if asked, will draw her vaudeville of a life as a profound, little square with eight corners, hung with suitcases and Spanish moss.

— Tayla Robinson

[mindfulcuppa]

Dipped in Foreign Lands; An Exercise in Image Storytelling

The beginning of an offering of consolidated thoughts, photos, slices of life in between rocks, more photos, and general going.

Preface.

With an elongated farewell, a month passed before I departed the country. This time wasn’t spent finding accomodation, or sorting bank cards as it probably should have been. No, instead there was lots of relaxing, music, surfing, watching the NBA playoffs and organising of the hoards gathering dust in my parents cupboards. It wasn't until the final 2 days that the urgency of packing life into a bag for the foreseeable future became a priority. 

It was done though, thanks to my loving housemates who provided a ‘jacpac’ for its potential to be filled. 2 jackets, 6 t-shirts, 2 brother-made garments, 2 shirts, 2.5 pairs of shoes, 2 cameras, a recording kit (regrettable now…), synthesiser (also marginal…), 400 leaves of paper, and a whole lot of other possessions that I probably didn’t need to pack. I felt sad to think of time apart from some things, but their absence will drift like the main themes of Toy Story (1998). 

I write this now sitting at a glass dining table enclosed in a small house-in-progress situated on a piece of land in Almagreira. There are dogs barking next door, and many flies darting around the area. It has been 2 weeks since leaving Aotearoa, so I would like to tell you how I have been, and how it’s being seen. Through the lens of a digital camera (and the occasional iPhone pic).

1 Melbourne

As early birds get worms, I had an early flight to Naarm on 01/06/2023. Melbourne waited a bounty of friends, sandwiches, musical sharing, long walks, and pizza. A social extension on a Friday saw our Mouthfull ‘Live at Capers’ residence with a jovial group of deejays providing a space for listening, dancing - and a great meeting point for people to come together over some Mastika & Moussaka worthy of a trophy made of pure 1 million carat gold.

Tyler and I would also have so much fun playing songs on the radio for breakfast over 2 days (links below for listening). For breakfast we ate toast with avocado and tomato, and for breakfast radio we listened to a mixture of jazz, folk, new wave, ambient, worldly music with a sprinkling of a few classic ballads of course.

Sleeping on the sofa was comfortable after some cushion amendments and some wine. We would spend our days walking and talking in Carlton North, relaxing and imagining. Our best meal together was from the Sri Lankan spot, Citrus, where you can find a banquet of vegan smorgasbord for $15.

Once the event was said and done, a recovery in the mornings light was aided with a walk to the felafel shop to meet again with Olive. Hearing of her news in between bites brought great happiness and love.

The following day, I met with Poppy. We were to find a place in Brunswick for a coffee; opting for some breakfast too at Kines. While we were there, I would think of Denzel for his obsession with the cafe. His voice would riddle through echoes from the past. After our breakfast, we walked up and down, crossing Sydney road 3 times, turning corners, and entering discount food stores to browse the obscure flavours of pringles and chocolate. The day was hot and the walk long. Navigating our bodies to Ceres we rummaged through bike parts and found entertainment in a cat in the chicken coup. It was a pleasant walk, except the moderate panic when I left my jacket on a park bench with all money and devices embezzled in the pockets.

After all the catching up, walking, wandering; I caught a train down to Torquay to visit an old friend, Isabelle. It was strange down there considering last time was around 5 years ago staying in a resort not dissimilar to vaudeville. However, we would go for a long walk to discover an amazing mosaic sundial (designed by artist Claire Gittings - whom I have no known lineage to - but am probably related somehow). 

With conversations over a cafe breakfast of my conviction against mining, we would enjoy each others' company in a true taurus manner. I would stay in her house near Marshall and meet her love, and we would have a Spanish soup next to a brazen colour changing fire in a brazier. A casket of red wine was ordered for $10 and delivered promptly, while it wasn't exactly even middle of the road it was a fine drink.

Finally, a pizza evening at Leonado's with Harrison & Andre. Some of the best pizza you will try, the Italian community in Carlton is a reliable source. Twas a welcome carbohydrate to carry forward into the nights digestion on what was to be my last night in Naarm. I bought Tyler a Toblerone to thank him for my stay, and the constant trickling of happy travel wishes would soon be finished with a final embrace.

And so it was, as it was, an extended layover in a city being taken over by sandwich shops and wine bars. It was to be the takeoff point to the north, an expansion to signify the changing of place from previous programming. The world outside was luminous and the air filled with a freshness known to mother nature so much more well than ceiling fans.

o o o o o o o o o o o o o o o o