#dorothys house studios

[cartermagazine]

Today In History

Hazel Dorothy Scott, famed pianist and singer, was born in Trinidad on this date June 11, 1920.

She was active as a jazz singer throughout the 1930s and 1940s. In 1950, she became the first black American to host her own TV show, The Hazel Scott Show.

Scott is famous for her use of “swing” in classical music. She was an outspoken critic of racial discrimination and segregation. Scott used her influence to improve the representation of Black Americans in film.

Hazel Scott was not only the first Black American woman to host her own television show, but she also bravely stood up to the House Un-American Activities Committee and the Hollywood studio machine. The gifted and popular performer dazzled audiences in the U.S. and abroad with her jazzy renditions of classical works.

CARTER™️ Magazine

[hooked-on-elvis]

Hi!! Hope you're doing well :)

I was just wondering if you know where to watch 'It happened at the world's fair' ?? I've been wanting to watch it for a WHILE🤧

I don't know if you already posted about it but if you have, feel free to just send me the post!

Hello, dear <33

I'm sorry taking long to reply. I moved in a new home this last weekend and everything's a mess around the house, the wi-fi was installed just yesterday and I wasn't much online the past few days because of that.

You know, I'm looking at the pictures from the production period for this movie and it's so interesting seeing so much we know plenty about Elvis happening in a single movie set... Elvis motorcycle riding, Elvis and karate, the Memphis Mafia Guys all together, the cap hats, Scatter... Funny.

I'm gonna take advantage of the cue and watch the movie myself. It's been a while for me. Here you go:

It Happened At the World's Fair (1963) -- WATCH HERE [vk.com]

It Happened At The World's Fair (MGM 1963) | Dir. Norman Taurog. Produced by Ted Richmond and written by Si Rose Seaman Jacobs.

Opening credits song: "Beyond The Bend" by Elvis Presley.

Elvis Presley as Mike Edwards, Vichy Tiu as Sue-Lin - a young girl whom Mike befriended - and Yvonne Craig as Dorothy Johnson - one of Elvis' character love interests in the film; Yvonne also would work with Elvis a couple of years later in "Kissin' Cousins", another MGM movie, released in 1964.

It Happened At The World's Fair (MGM 1963) production time, late 1962. Production started (including wardrobe fittings, publicity shots and in location (Washington, DC) + MGM studio shootings (Hollywood, CA) from August 28 to November 9, 1962. The movie was released in April 3, 1963.

Elvis Presley, late 1962.

[strathshepard]

via lostcanyonsla on instagram:

"A 19-year-old Prince took this mirror selfie while staying in a rented house in Nichols Canyon in January 1978 when he was in LA to do the final mix on his debut album “For You” at Sound Lab studio in Hollywood. Prince’s connection to the music of the LA canyons began when he discovered Joni Mitchell in his teens and was hugely inspired by her songwriting and guitar playing, once telling a journalist in 1986 (who asked what contemporary albums he liked) that “the last album I loved all the way through was Joni Mitchell’s ‘The Hissing of Summer Lawns.’”   "According to a 2005 interview with New York Times Magazine, Mitchell had also noticed the teenage Prince, once spotting him in the crowd at one of her concerts in Minnesota in 1976. “I remember seeing him sitting in the front row when he was very young,” she said. “He must have been about 15. He was in an aisle seat and he had unusually big eyes. He watched the whole show with his collar up, looking side to side. You couldn’t miss him - he was a little Prince-ling.” Mitchell goes on to say that Prince even wrote to her, although his declarations of admiration didn’t get past her publicity team at the time. “Prince used to write me fan mail with all of the U’s and hearts that way that he writes,” she recalled. “And the office took it as mail from the lunatic fringe and just tossed it!   "Over the years Prince referenced Mitchell many times including in his song “The Ballad of Dorothy Parker,” thanking her in the notes of his album “Dirty Mind,” adding her name amongst the newspaper clippings on the cover of “Controversy” and famously recording a version of her of song “A Case of You” on his album “One Nite Alone…” which he continued to play live up until his death in 2016. Prince even gave Mitchell one of his songs “Emotional Pump” to record in 1986, but unfortunately it proved to be too risqué for Mitchell. “I called him back and said, ‘I can’t sing this,’” Mitchell recalled. “I’d have to jump around in a black teddy. You think I should be jumping around in a black teddy?’” 

[peakyblindas]

History Repeats.

Taglist: @zablife @evita-shelby

Theodore Dormer was the eldest son, he was aware of the burden that lay upon his shoulders, to carry on the Dormer name, to be the shining example of the family, to create a legacy. 

His parents never forced his burden upon him, he was in truth, his Mother’s third child and his Father’s second, if you included his adopted elder sister Melody, but he was his Father’s first born biological child, and he wanted to make his Father proud more than anything.

Matthew Dormer was a good parent, he was kind and relaxed, not as strict as other Father’s, if the stories the boys in his school told were true, never once had his Father shouted or struck him, he was always supportive.

Which is why what Theodore was about to tell him was so difficult.

He lingered in the doorway of his Father’s studio, watching as he painted a landscape on a large canvas, completely unaware of the world around him.

It was now or never.

“Dad?” He asked, entering the room, it took a few moments for his Father to notice him, his gray blue eyes looking over at him from the painting.

“Theo!” He beamed, putting his paintbrush down “My boy I missed you at breakfast, your Mother said you had gone into town.” 

“Yes, I met up with some friends actually..”

He fiddled with his cardigan buttons

“We’ve all signed up.”

The smile momentary disappeared from his Father’s lips, before returning

“Good lad.” 

His Father walked away from his easel, and clapped a hand on Theodore’s shoulder. 

“You aren’t angry at me?”

“Why on earth would I be angry?” 

“Mum’s gonna hit the roof.”

“Never mind your Mother, I can talk to her, make her see sense.” 

“Good luck, sense has never been Mum’s strong point.”

His Father laughed and squeezed his shoulder before releasing it “I’m proud of you, son, I missed the last war, I was too sickly and I feel everyday that I was a coward, left at home while my peers risked everything..”

“I’d never call you a coward.”

“Then you are kinder than most.” 

A flash of sadness appeared in his Father’s eyes, Theodore ignored it. If it was a topic he wished to discuss it he would bring it up, that was the way in this house, never poke or prod, if you should know something, you’ll be told it. 

His Father turned around and went back to his painting, this conversation was over, no more needed to be said, there was no point drawing it out.

Now he just had to tell his Mother.

XX

Dinner was uneventful, Apart from the glare of his Mother every so often,Fionnuala Dormer could sink a battleship with her glare, but when the twins Enola and Juilius, only ten years of age, and joined at the hip were herded to bed did Theodore notice the atmosphere, only the adults were awake now, time for the serious topics.

Dorothy stoked the fire, Melody was reading her book, but both were looking from Theodore, to their Mother and then each other, they were waiting for the shoe to drop.

“Your Father tells me you’ve signed up for the army.” His Mother’s voice was level, never a good sign. 

“Yes.”

“And you didn’t think to discuss it with any of us?”

“I had talked it over with my friends, we all agreed it was the bes-”

“What do your friends know? You’re all barely off the tit!”

“I’m not a child!” 

Theodore was on his feet before he realized, which in turn made his Mother stand up, she wasn’t a tall woman, in fact he was a head taller than her but she always seemed ten foot tall, her anger made her bigger.

“No you’re not, I would’ve thought you were smart enough to not do this, Theo.” 

“What is the smart thing, To stay home and let others die?” Theodore looked to his sisters “To let the Nazis march across Europe spouting their hate? What if one of them went after Mel?”

“Your sister has dealt with her bigotry, Don’t drag her into this.”

“Fi, don’t make a deal out of this, what's done is done.” His Father stood up for him, not moving from his chair 

“No I will make a fuckin’ deal out of this!”

Oh God, Mother’s accent was coming out, the shift from Posh to Brummie was always a warning sign, like black clouds before a storm.

“I saw what the war did to the last lot who went off…” His Mother sat back down “Danny Whizbang screaming at invisible Germans…Arthur drinking himself half to death, Tommy’s nightmares..”

Theodore didn’t know who Danny Whizbang was, but he knew his Uncle Arthur and Uncle Tommy never spoke about the great war, they never wore their medals, even when his Uncle Tommy went to remembrance day for his MP duties, If it wasn’t for his Mother, he’d never even known they had fought at all.

“This war is different..”

“Different?” His Mother met his eyes, she wasn’t angry as her voice wanted you to believe, she looked sad “All war is the same, all war is death.”

Theodore felt light headed suddenly and left the room, his legs again were working on their own, all too soon he was collapsing into his bed, face in the pillows, he took a long shaky inhale of breath. 

He had made the right choice.

Hadn’t he?

[myloveforhergoeson]

2, 15, and 20 for daisy! 🌼

HELLO so sorry this got lost in the ask box somehow <3

2 for daisy is answered here butttt

15. Have they ever dressed up for Halloween? What's their favorite costume?

daisy did dress up for halloween when she was younger, mostly her parents/grandparents putting her in cute little baby and toddler outfits like a little jack o lantern and dorothy from the wizard of oz, but once she reached her pre-teen stage and started to have her first manifestations of social anxiety, she started making up excuses to not go trick or treating with her brother, so she hasn't dressed up since then. she can't remember many of her costumes from her childhood, but really likes the pictures of her in her dorothy outfit and her brother in a cowardly lion outfit!

20. What family traditions do they remember from their childhood?

easter/christmas are really big in her household, daisy is raised Christian by her grandparents so things like going to church, prayer, sunday school and other things of that nature stand out to her about her childhood. but in addition, simply spending time with her family at home during these holidays, spending time with nana and jay-jay in the kitchen to prepare nice meals for holidays are also some of her favorite memories surrounding traditions.

she, her grandparents, and her brother usually get together and read toward the end of the night in the study of their house, which is another family tradition daisy adores and happens on the regular. sometimes she'll follow her grandpa to his art studio and draw with him when she has time off from school. nana takes her to the library every other saturday (on top of daisy going there after school). daisy and jay-jay like to go hiking together :)

[allylikethecat]

would you consider putting kiss prompts on ao3? they are so good, they deserve to be kudosed and commented on

i would love 10 or 20 (thinking of g’s broken collarbones 🥹)

The more and more I think about it, the more I think that I will eventually move these prompts over to AO3 so that I can have them all in one place! I'm going to hold you to the commenting on them thing when I do though 😂 I'm so happy that you're enjoying them and think that they're worthy of being posted on AO3! I've filled #20 twice so far, and at the moment I am out of idea for that one. The previous fills can be found here and here. However, I hope you like my interpretation of #10! Thank you so much for reading and for sending in this request!

❤️Ally

10. Kiss ... desperately

George heard the key turn in the lock and was on his feet, rushing towards the front door before his brain could catch up to the fact that he was acting over eager. He slowed his pace, and took a deep breath. It had only been a week, Matty had only been gone a week. He tried not to think about how this was the longest they had been apart since Matty had gone to rehab.

He tried not to think about how those seven weeks had nearly broken him. How they had left him laying in their too big bed, crying himself to sleep each night. How he woke up alone each morning, and made two cups of coffee, before pouring the cup meant for Matty down the drain. How he went into the studio, and worked on client records as if nothing was the matter. How he turned down invitations to go out in favor of tearing their home apart, looking for each and every hiding place Matty might have had, and flushing his stash. Assuring his friends, assuring their brothers, that he was fine even as he sat alone, picking at a frozen dinner in front of a blackened TV screen like a ship lost at sea. 

He knew Matty had been sick, he knew that Matty needed to leave so that he could get better. He knew that to protect Matty’s dignity it wasn’t something that had been broadcast outside their inner circle. When Matty’s plane touched back down in London, George felt like he could breathe for the first time. He felt like had been watching the world pass him by in black and white, but with Matty’s return he was thrust back into tricolor, like Dorothy waking up in Oz. He had clutched him to his chest on the tarmac, his smaller body, while no longer frail, still fit perfectly against George’s own. He had breathed in the familiar scent of his hair, eucalyptus and peppermint mingled with cigarette smoke and the stale recycled airplane air. 

He hadn’t even realized he had been crying until Matty called him out on it, giving him a crooked, lopsided smile, full of false bravo and a “you missed me that much?” That had George slamming their mouths together desperately as if he could consume Matty with his love. In the six years that followed, they hadn’t been apart for more than forty eight hours. 

Matty had only been gone a week this time. He had been in New York, writing with Jack and Taylor. George had been invited, but had declined, Taylor was Matty’s friend, not his, and he had his own projects keeping him in London. It was good, it was healthy for them to have different friends, for them to spend time apart. He didn’t want to tell his therapist that being apart made him feel as if he was being torn to pieces from the inside out. He didn’t want to tell her that he missed Matty by his side like he missed a limb, phantom pains were Matty should have been riccoating through his heart. He was a big boy, he could handle his boyfriend leaving him for a week. It hadn’t even been a full week. Six days between Matty kissing him goodbye on the doorstep, and the sound of the key turning in the lock. 

The first day George had deep cleaned the house, eager to scrub and organize without Matty underfoot. The second day had been too quiet. The third day he let Mayhem up on the couch, digging his fingers into the dog’s scruff while he watched Drag Race rerun, wishing that it was Matty pressed into his side. The fourth day he slept in the guest room, hating the way he would reach out to Matty’s side of the bed and he wasn’t there. The fifth day he had gotten a pint with Ross, who started to tease him about missing his Missus, before he back tracked quickly when he saw the way George’s lip quivered.

Today was day six and Matty was on the doorstep, fumbling to get his key in the lock, it was raining and he was sure Matty hadn’t brought a coat, his wet fingers making the key slippery as he tried to twist the metal. The latch always stuck and Matty didn’t have the patience to jiggle it in just the right way. 

The door opened and Mayhem jumped off the couch he wasn’t supposed to be on, whizzing past George, barking happily as he slammed a hundred twenty pounds into Matty’s legs. He knew better than to jump but still knocked Matty off balance as he shook out his damp curls, causing him to bump into his suitcase, ending up in a heap on the floor, Mayhem licking his face. 

“Did you miss me buddy?” Matty asked, petting the dog enthusiastically before looking up at George with bright mischievous eyes. 

“Did you miss me?” he asked George, spying him lurking in the hallway like he had been waiting for his return. He looked up through his eyelashes and George closed the distance between them, shooing Mayhem away with his foot to haul Matty to his feet, pressing their lips together in a desperate, pressing kiss, backing Matty up against the wall, digging his fingers into his sides as he licked into his mouth as if he tried hard enough he could climb inside and they could become one. 

Matty chuckled, the sound vibrating in his chest as Georged kissed his neck, licking and biting and sucking as if to mark him up, as if to show the world who he belonged to. 

“Something like that,” George said, pulling away from the underside of Matty’s jaw to press another kiss to his lips. “Something like that.”

[healerqueen]

50 Favorite Children’s Books

Inspired by Studio Ghibli director Hayao Miyazaki’s list of his earliest literary influences. This list is limited to books I read in childhood or youth. 50 Childhood Favorites

Caddie Woodlawn and sequel by Carol Ryrie Brink

Winter Cottage by Carol Ryrie Brink

The Saturdays, The Four-Story Mistake, and sequels by Elizabeth Enright

Enemy Brothers by Constance Savery

The Reb and the Redcoats by Constance Savery

Carry On, Mr. Bowditch by Jean Lee Latham

Derwood, Inc. by Jeri Massi

A Little Princess by Frances Hodgson Burnett

The Secret Garden by Frances Hodgson Burnett

Little House series by Laura Ingalls Wilder

Heidi by Joanna Spyri

Little Women by Louisa May Alcott

Understood Betsy by Dorothy Canfield Fisher

The Wheel on the School by Meindert De Jong

All-of-a-Kind Family by Sydney Taylor

Family Grandstand by Carol Ryrie Brink

Baby Island by Carol Ryrie Brink

Cheaper By the Dozen and sequel by Frank B. Gilbreth, Jr. and Ernestine Gilbreth Carey

Rebecca’s War by Ann Finlayson

The Lost Baron by Allen French

Snow Treasure by Marie McSwigan

Number the Stars by Lois Lowry

The Winged Watchman by Hilda Van Stockum

A Single Shard by Linda Sue Park

By the Great Horn Spoon by Sid Fleischman

Captive Treasure by Milly Howard

Toliver’s Secret by Esther Wood Brady

Silver for General Washington by Enid LaMonte Meadowcroft

Emil’s Pranks by Astrid Lindgren

Mrs. Frisby and the Rats of NIMH by Robert C. O’Brien

Hitty: Her First Hundred Years by Rachel Field

Twenty-One Balloons by William Pene du Bois

Freddy the Detective and Freddy the Pig series by Walter R. Brooks

The Cricket in Times Square by George Selden

Mr. Popper’s Penguins by Robert Lawson

Charlotte’s Web by E.B. White

The Borrowers by Mary Norton

The Wombles by Elisabeth Beresford

Homer Price by Robert McCloskey

The Westing Game by Ellen Raskin

Winnie-the-Pooh by A.A. Milne

Sir Cumference and the Dragon of Pi by Cindy Neuschwander and Wayne Geehan

Tuesdays at the Castle by Jessica Day George

The Bridge and Crown and Jewel by Jeri Massi

The Chronicles of Narnia by C.S. Lewis

The Gammage Cup by Carol Kendall

Ella Enchanted by Gail Carson Levine

The Hobbit by J.R.R. Tolkien

The Mysterious Benedict Society by Trenton Lee Stewart

The City of Ember by Jeanne DuPrau

Young Adult:

The Eagle of the Ninth and other books by Rosemary Sutcliff

The Bronze Bow by Elizabeth George Speare

The Lord of the Rings by J.R.R. Tolkien

Ranger’s Apprentice by John Flanagan

Dragon Slippers by Jessica Day George

Buffalo Brenda by Jill Pinkwater

The Arrival by Shaun Tan

Small Steps: The Year I Got Polio by Peg Kehret (a nonfiction memoir)

Picture Books:

Make Way for Ducklings and other books by Robert McCloskey

Go, Dog, Go by P.D. Eastman

Sam and the Firefly by P.D. Eastman

Robert the Rose Horse by Joan Heilbroner

Ice-Cream Larry by Daniel Pinkwater

Mr. Putter and Tabby by Cynthia Rylant

Discovered as an Adult: Seesaw Girl by Linda Sue Park

The Ordinary Princess by M.M. Kaye

The Armourer’s House by Rosemary Sutcliff

Urchin of the Riding Stars and the Mistmantle Chronicles by M.I. McAllister

Princess Academy by Shannon Hale

Johnny Tremain by Esther Forbes

Escape to West Berlin by Maurine F. Dahlberg

Listening for Lions by Gloria Whelan

The Angel on the Square by Gloria Whelan

Courage in Her Hands by Iris Noble

Knight’s Fee by Rosemary Sutcliff

Victory at Valmy (Thunder of Valmy) by Geoffrey Trease

Word to Caesar (Message to Hadrian) by Geoffrey Trease

The Letter for the King by Tonke Dragt

The Thief by Megan Whalen Turner

The Reluctant Godfather by Allison Tebo

Seventh City by Emily Hayse

Escape to Vindor by Emily Golus

Valiant by Sarah McGuire

The Secret Keepers by Trenton Lee Stewart

[the-reconstructor]

During the first two years of his so-called House Husband Period, John Lennon wrote or demoed twelve songs in varying degrees of quality and completion. Three of them, "Free as a Bird", "Real Love" and "Now and Then" were later resurrected by the other three Beatles for use in the Anthology project, becoming the three final Beatles tracks.

But what if John had given other use to them? What if he had recorded an album in between Rock and Roll and Double Fantasy? In this reconstruction, we will be imagining a 1977 studio album where Lennon recorded and released all he'd worked on in the previous two years. Here's what I ended up with, as posted over at The Reconstructor:

JOHN LENNON - NOW AND THEN (1977)

Real Love (Between the Lines) Everybody (Between the Lines) She is a Friend of Dorothy's (Between the Lines) Whatever Happened To? (Between the Lines) Mucho Mungo (Between the Lines) Tennessee (Between the Lines) Free as a Bird (Between the Lines) One of the Boys (Between the Lines) Mirror, Mirror (Between the Lines) Cookin' in the Kitchen of Love (Between the Lines) Sally and Billy (Between the Lines) Now and Then (Between the Lines)

[fallensanitywrites]

Unwanted Witness

Lost City was a nicely populated space in Joey Drew Studios. It had a movie theater, shops, a supermarket, and housing for its many residents. Just down the street, the Gent building was getting torn down and reshaped into something less hostile.

One peaceful evening after a nice dinner of bacon soup and beans, Dorothy heard a knock on the front door. She put the dish she was cleaning on the rack and ventured to the entry hall to see who it was. As she peeped out the window, she got a chill down her spine.

"Dorothy?" Her husband Earl entered the room and made a beeline for the door. "Why haven't you opened the door yet? The poor soul's been waiting-"

He cut off suddenly as he opened the door, and Dorothy joined him with a dejected sigh. "Sammy, dear, we've already seen you twice this cycle-"

The mask snapped towards her, and she felt pinned down by its owner's empty stare. "Good evening. Do you have time to talk about our Lord and savior, the Ink Demon?"

"Sammy," Earl said, trying to keep his composure, "we've had this discussion already. We don't want to-"

Sammy's grip on his fiddle tightened ever so slightly, and Dorothy imagined for a moment that the crazed Lost One would go on a rampage with the instrument. "My lord is not to be dismissed so easily. He has risen, and he will set us free! The disbelievers will be left to rot! And I, among the believers and faithful, will be free-"

Earl shut the door and sighed. "Thank goodness. That could've gotten out of hand."

Dorothy nodded weakly. "Oh, Earl. I don't know if I can take another visit from him. He scares me so."

"I know, dear. Say, I'm about to head out-"

"Not to play that ridiculous fantasy game, I hope."

Earl shook his head. "Of course not. I told you I kicked the habit, remember?"

"What you say and what you do are two separate things, Earl. I just don't want you to end up like poor Albert."

Earl nodded and kissed her forehead. "I won't. I'll be back in a blink."

"Goodbye, dear."

Earl slipped outside, ready for the weekly game.

[joemuggs]

Winging It

Thirty years ago today, one of the greatest albums of the 90s came out. I wrote about it for MOJO in 2018, including some hilarious words from the sadly missed Andrew Weatherall.

👇🏻

The album that soundtracked the end of the acid house honeymoon – for the select few that loved it – has a suitably decadent beginning.

“I was playing at a club in Rimini as part of some Balearic charabanc,” says DJ / producer Andrew Weatherall, “and at about 6am when it finished the owner opened up the back of the club onto the beach and said we'd be carrying on on his yacht. Not quite a Roman Abramovic superyacht, but sound enough – and off we went. So there I was, spangled and enjoying the view, and a young lady came up and started singing in my ear. 'I'm Dorothy Allison and I've got a band in Glasgow,' she said. Then we landed and stumbled back up the beach, terrifying the tourists.”

Her band was called Dove, a trio of Allison, Jim McKinven (formerly of Altered Images and Berlin Blondes), and Ian Carmichael (producer and occasional keyboardist for Sarah Records janglers The Orchids). They'd only released one song, “Fallen”, on Glasgow's Soma label – but that song's dub space, insinuatingly whispered vocal and harmonica lifted from a Supertramp record had captured the bittersweet mysteries of the morning after the rave better than almost any, and caused quite a stir. Weatherall, meanwhile, was on a high in every sense having – despite next to no studio experience – just marshalled Primal Scream into completing Screamadelica.

The first collaboration to come out of the yacht introduction was reworking “Fallen” for the renamed One Dove. “I was nervous!” says Carmichael. “Andy [Weatherall] came to my studio in Glasgow and I was late meeting him so he was waiting outside when I got there. I thought he'd be really pissed off, but the reviews for Screamadelica had just come out, so he was reading the papers on the doorstep and was obviously delighted.” The remix happened quickly. “It was instinctive and spontaneous,” says Carmichael “The whole time I was watching recording levels on my old Revox 1/4” bouncing into the red, and splicing lots of sections of tape together with shaking hands; it was terrifying for me. I thought the whole thing would be a mess, but when we played it back at the end and heard his version of 'Fallen' it was miraculous.”

This quickly developed into a slick working relationship, releasing on Weatherall and friends' Boys Own Productions. The three would write, send tracks to Weatherall, who brought in associates like Jah Wobble and Primal Scream's Andrew Innes for embellishment. Surprisingly rapidly given the fervid times – “I remember next to nothing of the process, I'm afraid” says Weatherall, “or indeed of those years” – it fell together into an extraordinarily coherent whole. “Every song we came up with went on the album,” says Carmichael, “we were buzzing the whole time as each one came together.” The sound blended the ambient dub of the time with a rich streak of country heartbreak (something they'd nod explicitly to by covering “Jolene” on a b-side), everything covered in sonic velvet to match the purity of Allison's softly breathed mysteries. “There were no histrionics,” says Weatherall; “it was the antidote to the wailing diva thing we'd all embraced in house music.”

It's a gorgeous, lingering dream of an album with a dark heart, and it's a perennial puzzler why it didn't sell like hot disco biscuits; after all, Boys Own now had the backing of major label London. “It's easy to blame the record label,” says Weatherall, “so let's do just that. The album came together nice and quickly – if they'd just have put it out, said 'here's a cool new band' and let them get on with it, one suspects the second album would have been where they got big.” But London kept Morning Dove White in limbo for a year, insisting on more pop mixes of the album's singles by Stephen Hague, and pushing for quick fix success. In fact those single mixes are gorgeous, but, Carmichael says “maybe they put a lot of the hardcore Weatherall fans off.” William Orbit remixed too, sonically prefiguring his work with Madonna and All Saints.

Despite promising performance from the singles, MDW didn't become the hit London wanted, and the stress took its toll. The second album – made without Weatherall – was painful, the band's relationship disintegrated, their “failure to become the new Eurythmics” led to the label shelving the album, and they split in 1996. Allison would go on to make some great solo records, working with everyone from Death In Vegas via Pete Doherty to Scott Walker. McKinven still plays and DJs in Glasgow, and has released with occasional projects including the fantastically moody electro guises Organs Of Love and WomenSaid on the connoiseur's imprint Optimo Music. Carmichael worked with trip-hoppers Lamb for some time, produced for the likes of Bis and The Pastels, and maintains an ongoing relationship with The Orchids – as well as being a director of the School of Sound Recording. MDW, a couple of b-sides and some leaked second album demos on Soundcloud remain the only remaining monument to their time together: just a glimpse of what might have been, and as such perfectly evocative of the “Transient Truth” of the pleasures and regrets of its era.

[krispyweiss]

Sound Bites Presents His Favorite Live Albums of 2022

Neil Young used “Union Man” to declare: live music is better.

That can sometimes apply to albums as well. And the year almost over featured a slew of terrific in-concert recordings.

What follows are Sound Bites’ favorites, going all the way back to Son House in 1964 and coming all the way up to Aoife O’Donovan in 2022.

The Beatles - Get Back - The Rooftop Performance - The 40-minute concert - remixed in stereo by Giles Martin and Sam Okell - is finally out as the digital-only Get Back - The Rooftop Performance. And though the Beatles had spent the previous few years proving themselves masters of the studio with LPs like Revolver and Sgt. Pepper’s Lonely Hearts Club Band, Rooftop provides a glimpse of what a force they could’ve become as a live act. Full review here.

Aoife O’Donovan and the Age of Apathy Band - Live from the Hi•Fi - When O’Donovan says “We’re on fire up here,” after she and the Age of Apathy Band finish “Elevators,” she is referring to the weather. But she might as well have been talking about the music. Review.

The Jerry Garcia Band - GarciaLive Volume 19 - To call the Oct. 31, 1992, concert that comprises GarciaLive Volume 19 life-affirming is an understatement along the lines of saying Jerry Garcia enjoyed drugs. Review.

Todd Snider - Live: Return of the Storyteller - Few live albums - including 2011’s Live: The Storyteller - capture the essence of a performer the way Return of the Storyteller captures the essence of Todd Snider. Review.

Hot Tuna - 2021-12-29, Freight & Salvage, Berkeley, CA - This album is beautiful for many reasons. Not only because of the low-key, American-blues music, but because of the deep bonds of friendship between the players and the invisible thread that runs from the stage to the seating area and back. Review.

Creedence Clearwater Revival - At the Royal Albert Hall (April 14, 1970) - Fifty years after their breakup, Creedence Clearwater Revival remain so ubiquitous they - and their music - are often taken for granted. But as At the Royal Albert Hall reminds us, the band had not only a passel of stone classics, it was an outstanding concert act. Review.

Neil Young OBS 3: Dorothy Chandler Pavilion, 1971, and OBS 4: Royce Hall, 1971 - Recorded two nights apart in 1971 and released on the same day in 2022, Neil Young’s Official Bootleg Series Nos. 3 and 4 are very much the same - from setlists to warm, you-are-there sound. They’re aural time machines to the days when Young’s songbook was relatively thin and virtually no one had heard “Old Man.” Reviews.

Son House - Forever on My Mind - Only 50 or so people attended Son House’s Nov. 23, 1964, concert at Wabash College in Indiana. Although virtually one heard it at the time, everyone can hear it now. And they should. Review.

Grateful Dead - Madison Square Garden, New York, NY, 3/9/81 - Cocaine as rocket fuel. Review.

Zero - Naught Again - Despite the paucity of vocals and the long runtimes, these songs are intricately composed with tension and release where choruses and bridges would otherwise dwell. The tuned-in audience reacts accordingly and the result is an album that damn near succeeds in time travel and space-shifting. Review.

Mavis Staples and Levon Helm - Carry Me Home - Carry Me Home is at its core a religious album that doesn’t require religious ears for enjoyment. Yet, it’s so convincing, those ears may be halfway to the baptismal before the stylus hits the runout groove. Review.

Kris Kristofferson - Live at Gilley’s - Pasadena, TX: September 15, 1981 - Fans who weren’t there can now kinda be there with the release of Live at Gilley’s. The partial-show LP has just enough crowd noise to capture the excitement of the evening and the music proves Kristofferson was one of the rare artists not to fall victim to 1980s production and arrangement values. Review.

12/28/22

[cartermagazine]

Today In History

Hazel Dorothy Scott, famed pianist and singer, was born in Trinidad on this date June 11, 1920.

She was active as a jazz singer throughout the 1930s and 1940s. In 1950, she became the first black American to host her own TV show, The Hazel Scott Show.

Scott is famous for her use of “swing” in classical music. She was an outspoken critic of racial discrimination and segregation. Scott used her influence to improve the representation of Black Americans in film.

Hazel Scott was not only the first Black American woman to host her own television show, but she also bravely stood up to the House Un-American Activities Committee and the Hollywood studio machine. The gifted and popular performer dazzled audiences in the U.S. and abroad with her jazzy renditions of classical works.

CARTER™️ Magazine carter-mag.com #wherehistoryandhiphopmeet #historyandhiphop365 #cartermagazine #carter #staywoke #hazeldorothyscott #blackhistorymonth #blackhistory

[girlhaggard]

i wanna be a mid century modern house backyard garden vintage handmade furniture anthropologie wearing original art prints as decor paint stained overalls kind of woman. reading joan didion and dorothy parker and doing the new york times crossword painting studio in the shed kind of woman. chevy s10 fiona apple and miles davis and steely dan on cd. simple sophisticated welcoming comfortable and loving

[mi4011dilumwarakagoda]

VIII. Story of Charles Martin Jones For Task 1

For a long time, the public believed erroneously that Leon Schlesinger was the one who created Bugs Bunny. There was no mention of the Artist who did all the animations. It would've been a while until the artist would get recognition from inside and outside the studio. The Artist has been honing his skills since he got his director's chair in the 30s and later in the 40s he made some of the best animations there were. The 1950s would belong to one man and that man only, Chuck Jones.

Born on September 21, 1912, Charles Martin Jones, aka Chuck Jones, had the right parents who encouraged him and his siblings to draw. They had a father who was always going into new businesses and when the business failed, his father would quietly turn the huge stacks of useless stationery and pencils over to his children, requiring them to use up all the material as fast as possible. Armed with an endless supply of high-quality paper and pencils, the children drew constantly. The house was filled with books, which Chuck and his siblings read, getting a good sense of the world and never needing to go to school. Because of his Unhappiness about his time in high school, his father put him into an art school, Chouinard Art Institute.

He had seen some work of animators but never knew how they did it. After graduating from art school, he was doing portraits and selling them on the street. Later he was hired in Ub Iwerks's studio to become a cell washer. From the bottom to the top, he made his way into becoming an animator, learning all the way on his journey. Later he absorbed Warner Bros' wackiness over the years making films here and there along the way. While at Iwerks, he met a cel painter named Dorothy Webster, who later became his first wife.

He had also directed the draft horse and from that point on he knew that he could get laughs from the audience. He once directed an animation called Presto Chango, where they used a white rabbit with no name or dialogue. With Chuck's help, that character evolved into Bugs Bunny.

Later in his years, Jones's final Looney Tunes cartoon was From Hare to Eternity, which starred Bugs Bunny and Yosemite Sam, with Greg Burson voicing Bugs. The cartoon was dedicated to Friz Freleng, who died in 1995. Jones died of congestive heart failure on February 22, 2002, at his home in Corona del Mar, Newport Beach at the age of 89. He was cremated and his ashes were scattered at sea.

[donnahinkleystaceytroy]

The Wicked Witch of the West Hourglass -- the Most Famous and Recognizable Timepiece in Film History.

Margaret Hamilton "Wicked Witch of the West" Hourglass fromThe Wizard of Oz(MGM, 1939)."Do you see that[the hourglass]?That's how much longer you've got to be alive! And it isn't long, my pretty! It isn't long! I can't wait forever to get those shoes!"

From what is regarded as "the best loved motion picture of all time," the Witch's Hourglass remains as the most recognizable signature prop from the film, in addition to being a crucial plot-driving device. The scenes at the Witch's Castle, where the Hourglass is used, are among the most memorable in the film. After Dorothy (Judy Garland) is captured from the Haunted Forest, the winged monkeys bring her to the Wicked Witch, who holds the hourglass and exclaims, "You see that [the hourglass]? That's how much longer you've got to be alive! And it isn't long, my pretty! it isn't long! I can't wait forever to get those shoes!"

From this moment forward, the pace of the film quickens, as Dorothy's three friends race against time to save her from the Wicked Witch of the West. Periodic closeups of the Hourglass remind the audience of how little time remains before Dorothy's demise. When the Scarecrow, Tin Man and Cowardly Lion finally reach the castle tower where Dorothy is held captive, they break down the door as Dorothy cries out, "Oh, hurry, please hurry! The hourglass is almost empty!" While making their escape, our four heroes are cornered by the Winkie Guards. From the balcony above, the Wicked Witch asks, "Going so soon? I wouldn't hear of it. Why, my little party is just beginning." The Witch then holds the hourglass above her head and throws it. At this point, the camera cuts to a different "stunt" Hourglass that is guided to the stage floor by wires and bursts into a cloud of flame and smoke. As with any signature prop from a major studio production, multiple versions of the Hourglass were created, including a resin and wood version, as well as lighter versions crafted of wood and papier-mâché, like this example, which was used for the epic, climactic sequence when the Wicked Witch of the West holds the Hourglass above her head in defiance of our heroes.

Measuring 20" tall x 11.5" wide, the Gothic frame is expertly crafted by studio artisans of wood and papier-mâché with winged gargoyles perched atop three spiraled columns. The glass element is crafted of hand-blown glass filled with red glitter (added later for display, as the glitter does not flow through the narrow neck of the glass). Following its use on The Wizard of Oz, MGM used this famous Hourglass in subsequent productions, including Babes on Broadway (1941), Diane (1956), and 7 Faces of Dr. Lao (1964). Hourglass frame is asymmetrical and exhibits expected age and wear from production use, including scuffing and cracking to paint on the gargoyle pillars as well as scuffing, wear with some wood loss on the knobs on both bases (top and bottom). There is evidence of studio repair, including pegs installed to secure the gargoyle ears to the base. This incredibly famous film artifact presents beautifully and has been featured in three museum exhibitions: Los Angeles Public Library's Getty Gallery (2000); Farnsworth Art Museum, Rockland, Maine (2014), and Figge Art Museum, Davenport, Iowa (2016).

Provenance: 1970 MGM David Weisz Auction; later sold by Camden House Auctioneers Vintage Film Posters & Entertainment Memorabilia sale, June 6-7, 1992, lot 510.

https://tinyurl.com/3nzf3zb8

[albertanimation]

Silly Symphonies - The Three Little Pigs 1933 - Dir. Burt Gillett

The 36th in Disney's Silly Symphony series, Three Little Pigs was one their most successful productions so far, to the point where it is today considered one of the best-received animated shorts of all time, likely due in no small part to its release during the Great Depression.

Cover from the Comic Adaptation of Three Little Pigs

Though not the first Silly Symphony to be filmed in colour, that being 1932's Flowers and Trees, the Disney studio at this point had cornered the market on coloured animation by making a 5-year deal with the Technicolor Production company. Technicolor's process by this point used a "three strip" process; their specialty camera exposed three strips of black and white film, each attuned to a different colour of the spectrum. This allowed them to produce a broad range of colour, far more effective than their previous methods, and this lively use of colour likely contributed to the short's success during a depression.

This use of colour helped to distinguish the personalities of the Three Little Pigs through their costuming. However, the short was primarily well received for its animation acting; the pigs were strongly characterized through posture and movement. As stated by Chuck Jones, "That was the first time that anybody ever brought characters to life. They were three characters who looked alike and acted differently." This is likely due to the Disney studio's implementation of a story department, a relative rarity for animated productions at the time, employing storyboard artists to fully plan out important plot and character beats during pre-production.

Dorothy Compton, Mary Moder and Pinto Colvig recording "Who's Afraid of the Big Bad Wolf?", Frank Churchill on instruments

The short is a mostly faithful adaptation of the classical (dating before 1840) fable, but is notable for a few major exceptions. The first is the original song produced for the film, "Who's Afraid of the Big Bad Wolf?", composed by Disney collaborator Frank Churchill. The song was Disney's first hit song, becoming exceptionally popular and providing an upbeat tune to aid the dour mood during the crushing economic depression of the 30s. The titular Wolf, voiced in the short by comedian Billy Bletcher, became emblematic of the depression itself, and later even Adolf Hitler with the advent of the second world war.

The second notable exception is more unfortunate. Similarly to the Mickey Mouse short I mentioned in my last journal, The Opry House, Three Little Pigs involves a staggeringly misguided portrayal of a Jewish stereotype, with the Wolf disguising himself as a "peddler" in order to try to wheedle his way into one of the pig's homes, complete with a thick Hebrew accent and Yiddish music accompaniment. Even for the time in which it was released, this was considered in poor taste and the Rabbi JX Cohen, leader of the American Jewish Congress wrote his displeasure to Disney, calling the film "vile, revolting and unnecessary as to constitute as direct affront on Jews". Later re-releases of the short would heavily censor this scene, as seen above. Still, these hateful elements are shocking compared to its otherwise light and comical tone.

In spite of this, however, Three Little Pigs was remarkably successful with audiences. It premiered at the Radio City Music Hall in New York City on May 25th 1933, before the First National Pictures film Elmer, the Great, and continued to have an extensive run in theatres following this, with its promotions on theatre marquees often above the films it preceded, a rarity with animated shorts. The surprising popularity of the short led to a rush of merchandising, including storybooks, figurines, soap, and countless others. It also inspired many animators, including the aforementioned Chuck Jones as well as Ward Kimball, Milt Kahl and Marc Davis. Pigs even took home an Academy Award for Best Animated Short.

Today, the film is still fairly well regarded, although considered a fairly experimental turn for the fledgling Disney studio and marred somewhat by its original uncensored antisemitism. In 1994 it was voted Number 11 of the 50 Greatest Cartoons of all time by professionals in the animation field, and in 2007 was selected for preservation by the Library of Congress in the US National Film Registry for its "cultural, historical, or aesthetic significance". Today on Disney+, only its censored re-release version can be seen, and one must search elsewhere for its original misguided racial humour.

References: https://cartoonresearch.com/index.php/walt-disneys-three-little-pigs-1933/

https://cartoonresearch.com/index.php/big-bad-blockbuster-the-90th-anniversary-of-disneys-three-little-pigs/

https://www.sensesofcinema.com/2003/cteq/3_little_pigs/