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billboard-hotties-tourney · 5 months ago

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Okay, folks, the mini-tourney is inching closer to the finals, so I'm going to give a list of the competitors in the Miss Billboard Tourney in order to give everyone a chance to submit more propaganda. The nominees are:

Lale Andersen

Marian Anderson

Signe Toly Anderson

Julie Andrews

LaVerne Andrews

Maxene Andrews

Patty Andrews

Ann-Margret

Joan Armatrading

Dorothy Ashby

Joan Baez

Pearl Bailey

Belle Baker

Josephine Baker

LaVern Baker

Florence Ballard

Brigitte Bardot

Eileen Barton

Fontella Bass

Shirley Bassey

Maggie Bell

Lola Beltran

Ivy Benson

Gladys Bentley

Jane Birkin

Cilla Black

Ronee Blakley

Teresa Brewer

Anne Briggs

Ruth Brown

Joyce Bryant

Vashti Bunyan

Kate Bush

Montserrat Caballe

Maria Callas

Blanche Calloway

Wendy Carlos

Cathy Carr

Raffaella Carra

Diahann Carroll

Karen Carpenter

June Carter Cash

Charo

Cher

Meg Christian

Gigliola Cinquetti

Petula Clark

Merry Clayton

Patsy Cline

Rosemary Clooney

Natalie Cole

Judy Collins

Alice Coltrane

Betty Comden

Barbara Cook

Rita Coolidge

Gal Costa

Ida Cox

Karen Dalton

Marie-Louise Damien

Betty Davis

Jinx Dawson

Doris Day

Blossom Dearie

Kiki Dee

Lucienne Delyle

Sandy Denny

Jackie DeShannon

Gwen Dickey

Marlene Dietrich

Marie-France Dufour

Julie Driscoll

Yvonne Elliman

Cass Elliot

Maureen Evans

Agnetha Faeltskog

Marianne Faithfull

Mimi Farina

Max Feldman

Gracie Fields

Ella Fitzgerald

Roberta Flack

Lita Ford

Connie Francis

Aretha Franklin

France Gall

Judy Garland

Crystal Gayle

Gloria Gaynor

Bobbie Gentry

Astrud Gilberto

Donna Jean Godchaux

Lesley Gore

Eydie Gorme

Margo Guryan

Sheila Guyse

Nina Hagen

Francoise Hardy

Emmylou Harris

Debbie Harry

Annie Haslam

Billie Holiday

Mary Hopkin

Lena Horne

Helen Humes

Betty Hutton

Janis Ian

Mahalia Jackson

Wanda Jackson

Etta James

Joan Jett

Bessie Jones

Etta Jones

Gloria Jones

Grace Jones

Shirley Jones

Tamiko Jones

Janis Joplin

Barbara Keith

Carole King

Eartha Kitt

Chaka Khan

Hildegard Knef

Gladys Knight

Sonja Kristina

Patti Labelle

Cleo Laine

Nicolette Larson

Daliah Lavi

Vicky Leandros

Peggy Lee

Rita Lee

Alis Lesley

Barbara Lewis

Abbey Lincoln

Melba Liston

Julie London

Darlene Love

Lulu

Anni-Frid Lyngstad

Barbara Lynn

Loretta Lynn

Vera Lynn

Siw Malmkvist

Lata Mangeshkar

Linda McCartney

Kate McGarrigle

Christie McVie

Bette Midler

Jean Millington

June Millington

Liza Minnelli

Carmen Miranda

Joni Mitchell

Liz Mitchell

Marion Montgomery

Lee Morse

Nana Mouskouri

Anne Murray

Wenche Myhre

Holly Near

Olivia Newton-John

Stevie Nicks

Nico

Laura Nyro

Virginia O’Brien

Odetta

Yoko Ono

Shirley Owens

Patti Page

Dolly Parton

Freda Payne

Michelle Phillips

Edith Piaf

Ruth Pointer

Leontyne Price

Suzi Quatro

Gertrude Rainey

Bonnie Raitt

Carline Ray

Helen Reddy

Della Reese

Martha Reeves

June Richmond

Jeannie C. Riley

Minnie Riperton

Jean Ritchie

Chita Rivera

Clara Rockmore

Linda Ronstadt

Marianne Rosenberg

Diana Ross

Anna Russell

Melanie Safka

Buffy Sainte-Marie

Samantha Sang

Pattie Santos

Hazel Scott

Doreen Shaffer

Jackie Shane

Marlena Shaw

Sandie Shaw

Dinah Shore

Judee Sill

Carly Simon

Nina Simone

Nancy Sinatra

Siouxsie Sioux

Grace Slick

Bessie Smith

Mamie Smith

Patti Smith

Ethel Smyth

Mercedes Sosa

Ronnie Spector

Dusty Springfield

Mavis Staples

Candi Staton

Barbra Streisand

Poly Styrene

Maxine Sullivan

Donna Summer

Pat Suzuki

Norma Tanega

Tammi Terrell

Sister Rosetta Tharpe

Big Mama Thornton

Mary Travers

Moe Tucker

Tina Turner

Twiggy

Bonnie Tyler

Sylvia Tyson

Sarah Vaughan

Sylvie Vartan

Mariska Veres

Akiko Wada

Claire Waldoff

Jennifer Warnes

Dee Dee Warwick

Dionne Warwick

Dinah Washington

Ethel Waters

Elisabeth Welch

Kitty Wells

Mary Wells

Juliane Werding

Tina Weymouth

Cris Williamson

Ann Wilson

Mary Wilson

Nancy Wilson

Anna Mae Winburn

Syreeta Wright

Tammy Wynette

Nan Wynn

Those in italics have five or more pieces of usable visual, written, or audio propaganda already. If you have any visuals like photos or videos, or if you have something to say in words, submit it to this blog before round one begins on June 25th!

If you don't see a name you submitted here, it's because most or all of their career was as a child/they were too young for the cutoff, their career was almost entirely after 1979, or music was something they only dabbled in and are hardly known for. There are quite a few ladies on the list whose primary career wasn't "recording artist" or "live musician," but released several albums or were in musical theater, so they've been accepted.

#long post #miss billboard tourney #i wasn't originally going to list them all but i decided to do so because there are so many without propaganda

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deadcactuswalking · 7 months ago

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REVIEWING THE CHARTS: 04/05/2024 (Taylor Swift, Tommy Richman, Kendrick Lamar's "euphoria")

Just a week after her album’s impact, Taylor’s been dethroned by… Sabrina Carpenter! She grabs her first #1 on the UK Singles Chart with the smash hit “Espresso” and welcome back to REVIEWING THE CHARTS!

content warning: language, Yeat praise

Rundown

As always, let’s start with the notable dropouts, which are songs exiting the UK Top 75 - that’s what I cover - after five weeks in the region or a peak in the top 40. Now this week, we bid adieu to: “The Tortured Poets Department” by Taylor Swift (it got three-song-ruled and dropped out from #3, more on that later), “act II: date @ 8” by 4batz featuring a remix by Drake (not his best week, more on that later), “Von dutch” by Charli XCX, “Kitchen Stove” by Pozer, “Whatever” by Kygo and Ava Max, “Murder on the Dancefloor” by Sophie Ellis-Bextor and FINALLY, “Lovin’ on Me” by Jack Harlow.

As for our gains, we see healthy boosts for “Pedro” by Jaxomy, Agatino Romero and the late Raffaella Carrá at #60, “Outside of Love” by Becky Hill at #54, “Evergreen” by Richy Mitch & the Coal Miners at #46, “The Sound of Silence” by Disturbed at #42 (yeesh), “These Words” by Badger and Natasha Bedingfield at #22, “I Don’t Wanna Wait” by David Guetta and OneRepublic at #20 - I guess obvious covers and remixes have a good week - then finally, a song hitting the top 10 I’m personally very happy with: “A Bar Song (Tipsy)” by Shaboozey at #6. #1 incoming? Please?

We also continue to see the rise or, rather, resurgence of Amy Winehouse’s catalogue due to the biopic, with “Valerie” with Mark Ronson at #38, “Back to Black” at #39, and a re-entry for “Tears Dry on Their Own” at #49, which peaked at #16 when Ye’s “Stronger” was #1 in 2007. On that same album, he says he hates Nazis, look how far we’ve come. Anyways, “Tears Dry” contains a sample of “Ain’t No Mountain High Enough”, made famous by Marvin Gaye and Tammi Terrell, which didn’t chart in its original form for the longest time here. It peaked at #6 in 1970 but only in the form of a cover by Diana Ross, whose version charted whilst Freda Payne’s “Band of Gold” was #1 - just shows that we don’t really remember the bigger hits of the time. The Boys Town Gang reached #46 with their cover in 1981, Whitehouse and Jocelyn Brown both charted with covers coincidentally in August of 1998 - they peaked at #60 and #35 respectively - and finally, the original first charted at #80 in 2013, amazingly still its peak, and briefly re-entered earlier this year. “Tears Dry” itself was sampled the last time Amy made the top 40 in 2023, with Skepta’s #28-peaking tribute “Can’t Play Myself”.

As for our top five this week, we start in the dregs with “i like the way you kiss me” by Artemas at #5, “Beautiful Things” by Benedict Cumberbatch at #4, “Too Sweet” by Hozier at #3, then of course Taylor Swift’s “Fortnight” featuring Post Malone at #2 and “Espresso” at #1. It’s an interesting one today, folks, with a lot of unique and frankly, fantastic stuff to cover, so let’s start with… Kygo?

New Entries

#75 - “For Life” - Kygo and Zak Abel featuring Nile Rodgers

Produced by Kygo, Nile Rodgers, Ollie Green and Franklin

I’m honestly a bit surprised Kygo is still notching chart hits, especially without a big name attached this time. Sure, Nile Rodgers is a legend, but he’s doing so much dance-pop garbage in his later years that I don’t think many people check specifically for his collaborations, so there’s got to be something in this that’s unique, right? Aaaaaaand it’s a sample. It’s a nostalgia bait sample of a 2000s EDM track because of course it is. French house act Modjo debuted with “Lady - Hear Me Tonight”, which spent two weeks at #1 in 2000 and is an absolute classic I still return to today, even if Modjo were basically a one-hit wonder. “Lady” of course is built on a sample of “Soup for One” by Rodgers’ own band CHIC, which comes from a 1982 soundtrack album, never charted and kind of been eclipsed by “Lady”, largely because the original is honestly pretty bad, uninteresting and surprisingly stiff for an 80s funk track, with some of the weakest and most slap-dash implementation of synths. “Lady” really took the best parts of that song - its undeniable guitar melody, that isn’t even put to great use in the original - and constructed an entirely new, incredible song out of it. So I can’t tell if it’s pathetic and desperate for Rodgers to try and reclaim it, or something that speaks to the power of musical transformation. Oh, what am I kidding? It’s Kygo, it’s just kind of boring. It’s a rote piano house track that goes for the same tropical atmosphere Kygo has been doing for years - a lot of the same festival synths are there, it’s all full of bubbly swooshing that actively sound like pastel colours. The only real hook of the song is taken from Modjo and re-sang by Zak Abel, with slight lyric modifications taken from the “I’m Good (Blue)” department of refusing to allow for fun in your dance songs, and even that just feels desperate. What did Nile Rodgers even do here, man? Sign a legal document saying you can use the hook? It’s not even his Goddamn hook.

#69 - “Solo” - Myles Smith

Produced by Peter Fenn

Myles Smith is a singer-songwriter I hadn’t heard of until today but has been active since at least last year and is making at least some consistent buzz so I was interested to see what his first slow-burning chart hit here has to offer and… are we just, IN, 2012, 2013 now? We had festival house with the last song, the next song is heavily Yeezus-inspired, and this is a full-on Aloe Blacc stomp-rock song. It isn’t bad either - I actually had to get used to hearing his richer voice on this kind of scattered clap-stomp-holler folk track, and whilst this is nothing unique given the solemn pianos, spattering of strings and of course, that jingling indie folk rolick, that doesn’t feel particularly organic on this one, it still is far from bad. The lyrics are somewhat generic but not in an awful way, and the “so low”/”solo” double meaning is somewhat clever or at least, would be if in the context of the song, they actually meant separate things. It’s a bit annoying that it’s the main conceit because both have negative connotations for Mr. Smith here, so it just feels like he’s repeating himself rather than elaborating on his feelings or presenting a dichotomy. I imagine it’ll be a lost on a few people due to botched execution, which bothers me because it was an active attempt at clever songwriting that gets kind of lost in sonic translation. This sounds like I’m picking apart the song’s flaws but it is really just a fine little woodlands jams with a great singer, infectious hook and by the end, a damn fine melodramatic string section. I can see it growing on me, especially due to its gorgeous outro, but for right now, I’m somewhat lukewarm, not going to raise a fuss if it ends up smashing though and in a Noah Kahan world, I suppose it’s quite likely.

#64 - “If We Being Real” - Yeat

Produced by Synthetic, Radiate, Fendii, LRBG, Perdu and Dreamr

So terrible news: I like Yeat now. I’m still not granting him his silly little umaluts, and I won’t go too in-depth here, mostly because there’s another song worthy of in-depth analysis, and every piece Yeat’s put out fits into the jigsaw of the album’s narrative as a whole… it would require a lot more time and space, and frankly words, that I’m willing to give #64. No track feels unnecessary on 2093, the atmosphere is consistent across all 24 tracks, and lyrically, it’s a concept album, which I would have never expected from Yeat and he pulls it off brilliantly both sonically and thematically without straining himself to areas he probably couldn’t reach like trying to be super lyrical or stepping away from rage pads. Given the album’s experimentation and length, I wasn’t surprised by the lukewarm commercial reception, but I did at least expect maybe the songs with Future, Wayne or Drake on the deluxe, to have charted by now, when this hasn’t even happened in the US. So when the penultimate track on an album that’s over an hour in its standard issue becomes his first solo hit in the top 75, I have to assume TikTok virality is involved.

Regardless, I’m glad it’s here because it’s brilliant. Sonically as a separate track, it’s one extended verse over a corrupted industrial beat that cracks in right after a mystical intro full of textured but meandering strings, that get swooshed out of existence by a cinematic, malfunctioning clunker incorporating Yeat’s inhuman ad-libs, manipulated behind vocal recognition, into infectious loops within the beat. This is one of few songs - another’s coming later - where I can understand the sheer amount of producers. Lyrically, the title refers to Yeat or more accurately, his psychopathic billionaire character, attempting to shed some of his CEO veneer and ultimately failing, adopting a lot of the violent, power-hungry rhetoric the rest of the album relies on, making it a pretty ironic and depressing title, especially when considering its place in the rest of the album, coming right before the… actually honest and heartbreaking closer, “1093”. In the backhalf of this album, Yeat’s bragging sounds increasingly monotone and routine, and him rapping in and out of distorted filters or going up and down from his traditional murmur to a choking yell, exemplifies how sick and tired he is of the lyfestyle he curated for himself. This song in particular ends with him barely on beat for a beat that doesn’t even really have a beat, becoming a factorial ambiance more so than anything coherently rhythmic. I have no idea why this song in particular is going viral - it doesn’t have a chorus or even really some of the catchier, more potent lyrics on the album, and its beat barely functions as such for the vast majority of the song - Hell, it’s not even one of the album’s integral moments like the opener, “Bought the Earth”, “ILUV”, “Shade”, “Riot & Set it off”, or really countless others, but I’m not complaining because the sound design, the care placed into thematic and narrative consistency, it’s all still here. This is a 10/10 album, and if this song gets more people to check it out, I really can’t be upset with that.

#58 - “Love Me JeJe” - Tems

Produced by Guilty Beatz and Spax

So what’s “Love Me JeJe” actually mean? Well, in Nigerian Pidgin, it means “gentle” or “tender”, and the use of a more regional term rather than the English actually contributes greatly to why I think this song works: Tems’ buttery voice has always been able to display both coldness and a sensual warmth, often at the same time, but on some of the bubbliest guitars I’ve heard over an Afrobeats rhythm since the genre started charting consistently, she’s fully in that second category. Hell, most of the lyrics are pretty basic here, especially the practically meaningless chorus, but that’s to its benefit because thinking too much about this song defeats its purpose: to be gentle. It’s a frankly adorable expression of love and care at its most optimistic extent possible. Despite the clean, tropical percussion, it still feels cute and homegrown. Hell, the second verse, after a nice back-and-forth choir vocal, even references the Nigerian electricity provider that’s apparently nationally infamous for its power outages, with the lyric comparing the love she feels with her partner to the feeling when electricity comes back on in the village and all her neighbours inform the locals. Combine that with how breezy this is, the easy-flowing bridge into an outro full of murmuring, chatter and reverb-drenched laughing, it just makes for a really cute, likeable song. Not necessarily what I expected out of a lead single from Tems, but a delightful surprise. Now to balance that with pure hatred.

#50 - “euphoria” - Kendrick Lamar

Produced by Cardo, Kyuro, Sounwave, Johnny Juliano, Yung Exclusive and Matthew “MTech” Bernard

There’s part of me that finds it quite funny that Drake gets into serious beef with an incredibly analytical and perfectionist rapper like Kendrick right after putting out his own exposé of himself. For All the Dogs is as much of a dissection of Aubrey Drake Graham, albeit perhaps unintentionally, as Kendrick or really anyone could perform, as long as you’re paying attention. It’s been like that (no pun intended) for a while, but his latest is the most obvious and desperate attempt at clinging to status and image that it places his insecurities fully on display. You could recite lyrics from that album on a jazz beat and call it a diss track, so the fact that Kendrick went back to back with damn near dissections of Drake’s paranoia - especially on the Instagram follow-up track he made that is chilling - as well as a myriad of different issues he has with Drake, simply because… well, he doesn’t fuck with Drake. One could argue that this feud is complex and storied, with so many different beligerents… but the motives behind it are genuinely a lot simpler than most rap feuds, and the diss tracks that are made from it are way more straightforward. They just outline the reasons they dislike each other, almost systematically, it’s genuinely refreshing, or at least a lot more than what’s going on with Quavo and Chris Brown, yeesh.

This track in particular is as calculated as can be, acting as a dissertation on why K-Dot doesn’t really like Drake too much. It’s condescending, damn near academic, with its smooth jazz intro and categorical shoot down of each possible avenue you could hit Drake from. We have sextuple entendres on this thing, a total of three beats, two of which are cheap-sounding but absolutely murderous drill bangers, and Genius annotations that rival War and Peace when combined. I’m not a lyrical expert, and there’s so much in here that I didn’t get until I was pointed towards that direction by Genius annotations, Reddit, X, or, embarrassingly, YouTube Shorts. You don’t need to research or analyse for this to hit hard though, there are plenty of lines that aren’t going over anyone’s heads… until you look into the exact way the bars are constructed and suddenly they have 20 double meanings and hidden easter eggs. This is really sheer venom, filled with so many layers that I wouldn’t be surprised if he genuinely wins a GRAMMY for it - and it would be in character considering Drake doesn’t even nominate his songs anymore. It’s already having an effect too, that 4batz album came out today, and he’s not signed to OVO as rumoured. Ye’s on the record… but not the already existing and heavily-streamed Drake remix. Already, he may be losing some of that prestige.

As far as it is sonically, it’s six minutes of murder, and Kendrick’s delivery is energised, violent, damn near deranged at times, to perfectly balance how, somewhat subtly through his meta commentary about his own bars and albums, the lyrics are basically an essay. It has an introduction, a conclusion, a hypothesis, written examples, he even presents counter-arguments and weaves them into his own analysis. By the time he was going extremely in-depth about his experiences as a father, and just repeating that Drake knows nothing about that, it almost felt like overkill. My personal favourite lines and ideas presented here are the concise slow dagger of the intro verse, the “Demun”/”throwaway” scheme, the voice and character he puts on between “Cutthroat business” and “I’ll explain that phrase” - he’s like a disappointed teaching assistant, obviously the YNW Melly line and its set-up, the incredible Daft Punk line that got a cackle out of me on first listen, then followed up by a mocking interpolation of one of Drake’s most revered songs, the straightforward rant about everything he hates that references an iconic moment of DMX’s trademark honesty (rest in peace), the “record” scheme in verse three, and when he started the fake Canadian accent, I just lost it. Drake’s biggest weakness here is that when he’s funny, I’m laughing at him, but when Kendrick’s funny, I’m laughing with him, and much louder. If he does respond, unless the man tells us that Kendrick’s whole life and career has been a farce, or he brings, like, the actual former President Obama on the track or something, I can’t see how it tops this. This is one of the best diss tracks ever in terms of sheer detail, and might honestly be one of the greatest throwaway rap singles period. It’ll be tough to beat.

#31 - “MILLION DOLLAR BABY” - Tommy Richman

Produced by Max Vossberg, Jonah Roy, Mannyvelli, Sparkheem and Kavi

This is the sudden breakout hit for Virginia rapper-turned-singer Tommy Richman, which actually comes in two versions on Spotify, the original and a more distorted “VHS” version. Also, this is brilliant. Sure, Richman just sounds like Brent Faiyaz, but a trend I haven’t been able to talk about on here necessarily but has been very exciting for me is the return of grittier, groovier synth funk and hyphy beats into underground hip hop and R&B, with this representing the more melodic end of that sound, which is typically restricted to Midwest and Dirty South rappers. The sound design on this one is actually even unique to that sound, starting with a bizarrely British-sounding Memphis rap vocal loop which I think isn’t a sample and is just him doing a bad impression, filtered below an infectious beat that actually took me by surprise. It even has cowbells and the type of punchy jabbing drums that I love from classic southern rap, but instead of the smooth-talking rappers you usually expect over this, we get a Brent Faiyaz impression that didn’t click with me until hearing this song. I never really got his appeal until I hear it over this and I start to realise the very distinct new jack swing element to his vocals, as he pretty seamlessly transitions from soulful double-tracked harmonies to much more rhythmic, half-rap flows. Now this ISN’T Brent Faiyaz… and I still don’t really like Brent Faiyaz, but hearing his wannabes I think helped me gather what was distinct about him, and the literal Richman North of Richmond here pitting his filtered splatter of vocal ideas and riffs over the beat in a very Devil-may-care fashion exemplifies the elements I do like about him, just with an instrumental that I personally like a lot more. Also, the VHS version is labelled as such but is really just like a bass-boosted version of the song that sounds like it was done in 10 seconds in Audacity, though the vocal mixing sounds a bit different too. I would love for someone to explain why that was the version I ended up adding to my playlist, because I couldn’t tell you.

#8 - “I Can Do It with a Broken Heart” - Taylor Swift

Produced by Jack Antonoff and Taylor Swift

I know I wrote my whole Taylor spiel last week, but I’m not bothered about this one at all, and I really did expect it to be a fan favourite, mostly because, as the one track I actually enjoy on the standard version, she’s having fun! The lyrics are actively vapid, which doesn’t feel like the intention when she’s singing over soppy adult contemporary but very much feeds into the almost childish character she plays here over synthpop with an actual pulse. The synths here sound like a theme park she’s taking the boy to, especially with the backing vocals and chatter samples implemented into the ambiance and classic Antonoff wonky synths - though some of this doesn’t even sound like it’s in his ballpark. Like were Marian Hill or Sofi Tukker ghost-producing this? Some of these loop choices and flashy sound effects are frankly ridiculous, in the best way of course because the song is camp and fun. Sure, some of Taylor’s lyrics still come off a bit awkward, mostly because of her choice of slower melodies sometimes clashing with the fast-paced patter of the synthscape, but that’s a nitpick. I do love this song, I think it’s fun, Hell, I think it’s funny which is something Taylor has always kind of failed to translate to me in the past, so that is something. I just don’t think we have the same sense of humour. Does she like Norm Macdonald? I don’t feel like she does. Correct me if I’m wrong, Swifties.

Conclusion

It should be incredibly obvious who gets Best of the Week, it’s Kenny, easily, with “euphoria”, and I’m sorry, Swifties, but Yeat better. “If We Being Real” takes away with the Honourable Mention pretty easily as well, though really, strong competition and strong week all around - Tems was close too. There can’t be a Dishonourable Mention in this climate so, Worst of the Week goes to Kygo and Zak Abel for “For Life” that “features” Nile Rodgers, it genuinely just is a lazy template of a song. As for what’s on the horizon, I’m not sure. Dua’ll have some impact, but outside of that, time may have to tell. For now, thank you for reading, long live Cola Boyy, and I’ll see you next week!

#uk singles chart #song review #pop music #kendrick lamar #drake #taylor swift #kygo #zak abel #nile rodgers #yeat #tommy richman #tems #myles smith

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newyorkthegoldenage · 1 year ago

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Members of the Newspaper Women's Club visit President Franklin D. Roosevelt, seated at left, at his home on East 65th St. in 1934. Standing from left are Anne Lee, Ethyl Mocker, Charlotte Payne, Deborah Corle, and Marion Clyde McCarroll.

This is a very unusual picture of FDR in that it shows the braces on his legs. He normally did everything he could to conceal his disability.

Photo: NY Daily News

#vintage New York #1930s #Franklin D. Roosevelt #Newspaper Women's Club #female journalists #FDR home #vintage NYC #FDR #reporters #journalists #FDR disability

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rewritethisstxry · 1 year ago

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Hello and welcome to my mixed mosh little corner of tumblr. Here I write for a variety of fandoms and characters. Primarily will be featuring drabbles with the occasional longer piece. Headcanons will feature from time to time.

At the time I do NOT consent for my work to be translated or posted anywhere else.

Below you will find some more information on who and what I write.

MINORS DNI. Due to the nature of potential content, only 18 and older are allowed.

Characters || Rules || Masterlist || Slasher/horror writing blog : @slxsherwriter

What I will write:

Angst

Fluff

Smut

Platonic relationships

Alpha/Omega dynamics

What I won’t write:

Snuff

Rape, rape play, non con

Underage

Inc*st

Real person fic

Marvel: Steve Rogers, Tony Stark, Alexei Shostakov, Peter Parker, Victor Creed, Deacon Frost, Peter Quinn, Frank Castle, Matt Murdock, Foggy Nelson, Bruce Banner, Brock Rumlow, Nathan Summers, Eddie Brock, Cletus Kasady, Otto Octavius

DC Universe: Bruce Wayne, Harvey Bullock, Jim Gordon, Dick Grayson, Jason Todd, Jonathan Crane, Clark Kent, Arthur Curry

Stranger Things: James Hopper, Steve Harrington, Jonathan Byers

Stargate Atlantis: Rodney McKay, John Sheppard, Ronan Dex, Carson Beckett

Sons of Anarchy: Jackson “Jax” Teller, Harry “Opie” Winston, Filip “Chibs” Telford, Juan Carlos “Juice” Ortiz, Lincoln Potter, Galen O'Shay

The Walking Dead: Rick Grimes, Shane Walsh, Negan Smith

What We Do in the Shadows: Nandor the Relentless, Guillermo de la Cruz, Laszlo Cravensworth

Resident Evil: Karl Heisenberg, Albert Wesker, Chris Redfield

Ted Lasso: Ted Lasso, Coach Beard, Jamie Tartt, Roy Kent

Good Omens: Gabriel, Aziraphale, Crowley

Video Games: Connor RK800, CaptainJonathan Price, Simon Ghost Riley, Sniper

Movies: Finn Brody (Godzilla), Raleigh Becket (Pacific Rim), Terry Malone (Black and Blue), Abe Guevara (Point Blank), Bobby O’Neill (The Hitman’s Wife’s Bodyguard), Guy Clifton (The Crash), Roy Pulver (Boss Level), Sloan (Into the Ashes) Braxton Wolff (The Accountant), Ethan Sawyer (Those Who Wish Me Dead), Bradley James (Grudge Match), Sam Rossi (Sweet Virginia), Mr. McCarthy (Me, Earl, and the Dying Girl), Grady Travis (Fury), Griff (Baby Driver), Adam Frawley (The Town), Buddy (Baby Driver), Clyde Brenek (The Posession), Patrick Sullivan (The Accidental Husband), Harvey Russell (Rampage), Jude Fisher (Peace, Love, and Misunderstanding), Luke Vaughn (Heist), Franklin Clay (The Losers), Max (The Resident), Nicomund the Red/Santa Claus (Violent Night), Doug Dennison (Sleepless), Frank Masters (The Equalizer), Hellboy (2019), Alex Baldr (Max Payne), Matt Graver (Sicario), Douglas Hunsiker (The Rise of the Planet of the Apes), Steve Emmett (Boa vs Python), Joe Braven (Braven), Lee Christmas (The Expendables), Deckard Shaw (Fast & Furious)

Musicals: Jack Kelly (Newsies), Dewey Finn (School of Rock), Hades (Hadestown)

Tv shows: Ike Evans (Magic City), Jason Crouse (The Good Wife), John Winchester (Supernatural), Mason Baldwin (Elementary), Colton Fisk (The Equalizer), Kevin Tidwell (Life), Declan Murphy (Law & Order: SVU), Eugene McGillicutty (Royal Pains), Chuck Martin (ER), Dickie Flood (Th Practice), Malcolm Bright (Prodigal Son)

Tolkien: Boromir, Faramir, Eomer

#fandom imagines #fandom writing #dc comics #marvel #sons of anarchy #lord of the rings #what we do in the shadows #pacific rim #resident evil #Ted lasso #walking dead #stranger things #good omens #obscure characters #obscure writings

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sporadiceagleheart · 3 months ago

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Start of September edits Rachel Marie Jones Arana, Ana Rose “Nortie Grace” Huntley, Ahnika Elaine Clark, Heather Michele O'Rourke, Judith Eva Barsi (1978 - 1988), JonBenét Ramsey, Meika Dawn “Peeka” Jordan, Sara Sharif, Charlotte Figi, Olivia Pratt-Korbel, Liliana Marie “Lily” Peters, Saffie-Rose Brenda Roussos, Audrii Danielle Cunningham, Norah Lee Howard, 5-year-old Mercedes Losoya, Little Lucy Morgan, Sloan Ella Mattingly, Destiny Arianna Kay Riekeberg, Louis XVII Dauphin of France, Athena Presley Monroe Strand, Pauline “Paultje” Adelaar, Angellika Nicole “Angie” Arndt, Niña Sophia Gabrielle Corullo or Sophie,Charlotte Helen “Char” Bacon, Charlotte Louise Dunn, Kylie Ann Rosset, Naomi Reese Dunmire, Deborah Anne “Debbie” Bricca, Kyleigh Rampley, Kyleigh Leann Rampley, Eliahna “Ellie or Elle” Torres, Layla Marie Salazar, Alexandria Aniyah “Lexi” Rubio, Tess Marie Mata, Makenna Lee “Kenna” Elrod Seiler, Jacklyn Jaylen “Jackie” Cazares, Ahnika Elaine Clark, Ana Rose “Nortie Grace” Huntley, Rachel Marie Jones Arana, Emilie Alice “Em” Parker, Grace Lillian Ford, Three-year-old twins Aisha and Lailani Ford, Leiliana Wright, Arabella McCormack, MCKENNA CLAIRE WETZEL, Olivia Rose “Liv or Livie” Engel, Olivia Twenty Dahl, Olivia-Leigh Picton, Jaquita Mack, Bella Skye “Bellz” Edwards, Natalia Victoria Wallace, Bella Claire Callaway,Delyza Alyze Ortiz Hernandez, Mia Ugalde-Jorris, Mary Beatrice “Mary Bea” Perez, Hope Arismandez, Angel Hope Herrera, Danielle Marie “Danny” Franklin, Emma Catherine Grace Thompson, Katelynn Elizabeth Stinnett, April Sue-Lyn Jones, April Marie Tinsley was an eight-year-old, Cody Paul Chama, Star Hobson, Karla Isabelle Ruth “Karly” Sheehan, Opal Jo Dace Jennings, Amber Rene Hagerman, Lois Janes, Sarah Payne, Alicia Lynn Clark, Tristyn Bailey, Rosalie Avila, Elizabeth Shelley,

#lilianasedits #sally's fundraiser #sallys fundraiser #sallysfundraiser

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beardedmrbean · 1 year ago

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MICHIGAN CITY, Ind. (WNDU/Gray News) - - Police in Indiana are investigating a scheme where multiple restaurant employees allegedly used stolen money to bail out inmates from jail.

The LaPorte County Sheriff’s Office said employees from a Hardee’s restaurant used stolen money from customers to bail out the inmates.

According to the sheriff’s office, jail staff noticed last month that suspiciously large amounts of funds were being placed into the accounts of inmates at the county jail from a source outside the jail.

The same inmates were reportedly bonding out of the jail almost immediately and leaving with the remaining balance on a jail-issued debit card.

This led to an investigation, where officials discovered a fraud scheme involving multiple employees from a Hardee’s restaurant in Michigan City, as well as several other people.

Police did not provide the address of the restaurant, but the WNDU reported the only Hardee’s restaurant located in Michigan City is at 5223 Franklin Street.

Officials say the Hardee’s employees involved took photos of customers’ debit and credit cards that paid in the drive-thru and were fraudulently using those cards to place money into inmate’s accounts that had low bails set.

The inmates would then bond out of jail, take the jail-issued debit card with the extra money left on it, and withdraw the remaining money from an ATM.

Deputies said a total of $14,700 was charged fraudulently, and the victims are working with their financial institutions to get their money back.

Authorities said ten suspects are facing several felony charges, including fraud, conspiracy to commit fraud, and criminal organization activity as a result of the investigation:

Darrien Ward – Fraud (Level 5 Felony) and Criminal Organizational Activity (Level 6 Felony)

Prince Arnold - Fraud (Level 5 Felony) and Criminal Organizational Activity (Level 6 Felony)

Kristin Vanschoyck - Fraud (Level 5 Felony) and Criminal Organizational Activity (Level 6 Felony)

Madison Zuk – Conspiracy to Commit Fraud (Level 5 Felony) and Criminal Organizational Activity (Level 6 Felony)

Anisa Higginbotham - Conspiracy to Commit Fraud (Level 5 Felony) and Criminal Organizational Activity (Level 6 Felony)

Hollie LaChapelle - Conspiracy to Commit Fraud (Level 5 Felony) and Criminal Organizational Activity (Level 6 Felony)

Carissa Bealor - Conspiracy to Commit Fraud (Level 5 Felony) and Criminal Organizational Activity (Level 6 Felony)

Lawrence Armstrong - Conspiracy to Commit Fraud (Level 5 Felony) and Criminal Organizational Activity (Level 6 Felony)

Moesha Monique Savanna Payne - Conspiracy to Commit Fraud (Level 5 Felony) and Criminal Organizational Activity (Level 6 Felony)

Dylnn Scott - Conspiracy to Commit Fraud (Level 5 Felony) and Criminal Organizational Activity (Level 6 Felony)

Police say Scott is the only suspect who has not been arrested yet.

Anyone with information on Scott’s whereabouts should call the Fugitive Apprehension Street Team (FAST) at 219-608-9572 or Michiana Crime Stoppers at 800-342-7867.

#nunyas news

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bow-chicka-wow-wow-wow · 8 months ago

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Rockstar Games Facts You Should Know

There are some theories that suggest that all of Rockstar’s titles are all part of the same universe. This is untrue, especially considering the GTA games take part in 3 different universes: the 2D Universe, which consists of GTA 1, its London expansion packs, and GTA 2; the 3D Universe, which consists of GTA III, Vice City, San Andreas, GTA Advanced, Liberty City Stories, and Vice City Stories; and the HD Universe, which consists of GTA IV, its DLC expansions The Lost and Damned and The Ballad of Gay Tony, Chinatown Wars, GTA V, GTA Online, and the upcoming GTA VI. We can rule out the Midnight Club and Max Payne series as well as L.A. Noire, since they use real-life locations as the main locations, plus the fact that Midnight Club uses actual real-life vehicle manufacturers. The Manhunt series and Bully are part of the GTA 3D Universe, and the Red Dead series could be argued to be part of the GTA HD Universe.

There exists a theory that suggests that Jimmy Hopkins from Bully and James Earl Cash from Manhunt are the same people, due to the two having similar hairstyles, and the fact that both their names are James.

With the exception of the Midnight Club series and Bully, Rockstar’s games have the M rating. Over the years, Rockstar has pushed some boundaries over what’s acceptable in an M rated game. During the development of San Andreas, Rockstar originally intended to implement a sex mini game after you go on a date with one of your girlfriends in the game, but this would’ve given the game the dreaded AO rating, meaning many retailers wouldn’t even have it on the shelves. More on that later. Also, if Rockstar hadn’t heavily censored Manhunt 2, it would’ve gotten that rating in the US.

Jack Thompson had an infamous reputation for being the worst enemy of video games, period. He especially had a hard-on for the GTA series, as he looks connections between the crimes the player would commit in the virtual world and crimes individuals have committed in the real world. Gamers would probably be pleased to hear that in 2008 he was permanently disbarred.

Who’s the mysterious man John Marston keeps running into throughout Red Dead Redemption? This man sends John out to “test his morality,” and when John meets him the last time, he gets frustrated that this man would not tell him who he is, and as he walks off, John shoots him, but the bullets just pass right through him. Many people have speculated that the man is actually God. Now as an atheist, I find that absurd, but to each his own.

Remember the sex mini-game I mentioned in San Andreas? Well, Rockstar, instead of simply removing mechanic, they just simply bury it in the game’s code. But thanks to some modding and some open-heart surgery on the game, PC gamers have unearthed this mini-game. The ESRB caught wind of this, and gave the game the AO rating, and many stores pulled the games from the shelves, and they were put back on the shelves once the “Hot Coffee” mod was removed entirely. So THAT was why my dad and I couldn’t find it at Blockbuster when it first out…

In Vice City, the main protagonist, Tommy Vercetti, was voiced by the late Ray Liotta. Employees at Rockstar have stated how difficult the actor was to work with, with one occasion with Ray pulling a Joe Pesci Goodfellas moment when they’re all eating and drinking at a steakhouse, and suddenly Ray says “What the fuck are you laughing at?” After a few seconds of awkward silence, he finally says “I’m fucking with you!” They even said Ray would groan before recording all his lines. Needless to say, this was just one of the reasons Rockstar decided not to employ big actors for future projects. Insult to injury, the late Burt Reynolds was also in Vice City, and Rockstar also did not enjoy working for him.

Young Maylay, the voice of CJ from San Andreas, and Shawn Fonteno, aka Solo, the voice of Franklin from GTA V, are cousins in real life. Fonteno even voiced a Grove Street NPC in San Andreas, which made it easier for him to secure a role in GTA V.

Gamers have sworn they saw Bigfoot in San Andreas. This has been proven a false myth, as modders have added a skin to an NPC seen in the wilderness. But Rockstar added a Sasquatch encounter in Red Dead Redemption: Undead Nightmare, and the completion of this awards the achievement/trophy named “6 Years in the Making.” In the GTA V mission “Predator,” when you control Michael holding a sniper with a thermal scope, you can see Sasquatch in the corner of the screen. Once you aim your reticle at it, it disappears. Also, upon achieving 100% completion of GTA V, you’re given one more Strangers & Freaks mission named “The Last One,” where you’re helping a hunter hunt for a Sasquatch that he’s been looking for “for 9 years.” Gotta love the meta references that allude to the year 2004.

A fan has asked Steven Ogg to send a message via Cameo to Jason and Lucia, the protagonists of the upcoming GTA VI, as Trevor Phillips. Steven did the opposite by stating he’s not Trevor. Clearly he doesn’t wish to continue being associated with the character that essentially made his career. He’s been in AMC’s Better Call Saul and The Walking Dead, but I always referred to his characters as Trevor, even if his TWD character is named Simon.

Remember the 2021 disaster known as the GTA Trilogy: The “Definitive” Edition? Well did you know there was another “remastered” version of GTA: San Andreas released on the PS3 and Xbox 360 in 2014 to celebrate the 10 year anniversary? Yet there was no such version for Vice City or GTA III. Well, the “remaster” is actually the shitty mobile version that was ported for consoles. And yes, that version is ass! And guess who was responsible for that version? War Drum Studios, aka Grove Street Games. The same assholes that gave us the Defective Edition…

San Andreas’ “Wrong Side of the Tracks” has quite a reputation. Not just for being one of the toughest missions in GTA history thanks to Smoke’s Galactic Empire Marksmanship training, but due to the infamous “Mission Failed” cutscene: “All we had to do was follow the damn train, CJ!” That line has become a meme, that even one of the lines in the main menu in Minecraft said “Follow the train, CJ!” Hell, there’s even a gold medal requirement in GTA V’s mission “Derailed” called “Better Than CJ,” which is given if the player, controlling Trevor, hops onto the train in the very first attempt.

#rockstar games #gta #red dead redemption #manhunt

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