#gangster popeye

[scrumptious-finicky-illusion]

I'd categorize these as ominous positivity, but heck yes!

my favorite picture ever is the one that says “HELL IS FULL, BITCH” and then it has the national suicide prevention hotline on it. it makes me smile every time 

[moetrash]

Other RSV Spirit's Eve costumes ideas

Since it's October, and just over a year since the RSV seasonal outfits mod was released, I thought it'd be fun to share some of the costume ideas we didn't end up going with from our brainstorming doc. These ideas were ultimately passed over for a variety of reasons (already worn by a different npc, too real world-specific, liked a different option better, etc.), but still would've been great to see... soooo here you go!

(If a character isn't listed, that's just bc we didn't have any extra ideas for them. Also, in case you wanted a refresher, here's a list of the costumes we did end up going with! Also also, bc I can't help myself, I added in some ideas as I was making this post - those ones are in [brackets].)

aguar: doc brown/mad scientist

anton: running forrest gump, the dude, jack sparrow, [flynn rider]

ariah: wendy darling, elle woods, ruth bader ginsburg

bryle: peaky blinders gangster, aaron burr from hamilton, [top gun maverick]

carmen: cat in the hat, mike wazowski, oompa loompa, sasquatch

corine: lara croft

daia: [chun li]

faye: anything heidi klum has done for halloween bc she's extra like that

flor: gwen from ben10, human ariel (in the "kiss the girl" outfit)

ian: scottish highlander (a la jamie from outlander)

irene: retro carhop, carmen sandiego, bo peep, the house from up, coraline

jeric: [ups delivery man (but the sexy kind, a la legally blonde)]

june: roronoa zoro, kaneki ken/sasaki haise, [prince zuko], [jack skellington (but with makeup, not a mask)]

keahi: [sonic the hedgehog]

kiarra: ghostbuster (the kate mckinnon one), prince charming

kiwi: kutie krab from spongebob

lenny: beetlejuice, inflatable dinosaur, macho man randy savage

louie: prairie king, [buzz lightyear], [minecraft diamond armor]

maddie: handmaid's tale uniform, marie curie (then proceeds to get mad at everyone for not recognizing her costume)

maive: queen of hearts

pika: jason momoa's aquaman, sinbad (from the 2003 movie)

sean: the local ridgeside legend of the local kiwi fruit, [car dealership dancing air tube]

sonny: charlie chaplin, vincent van gogh

torts: stegosaurus

ysabelle: britney spears from "hit me baby one more time" or "oops i did it again"

anton and paula: [victor van dort and the corpse bride], [woody & jessie]

ariah and louie: [baseball uniforms from a league of their own]

corine and ysa: kim possible and shego, dionne and cher from clueless, [elphaba and glinda], [storm and mystique]

bryle and faye: captain america and black widow, [bonnie & clyde]

bryle and jeric: super troopers cop and reno! 911 lt. dangle cop (without a wig, so just slutty, basically)

faye and ysa: [anna and elsa], [poison ivy and harley quinn (from the animated series)]

freddie and lola: quasimodo and esmeralda

ian and sean: [shrek and donkey]

keahi and trinnie: sharkboy and lava girl, pokemon to match blair and sean (probably meowth and jigglypuff (trinnie insisted on being a cute pokemon even though jigglypuff's not part of team rocket))

kimpoi and malaya: easter bunny and tooth fairy, popeye and olive oyl

maddie, corine, and ysa: [sanderson sisters], [totally spies]

philip and shiro: [mario and luigi], [purple cobra and average joe uniforms (from dodgeball)], [dug and russell (from up)]

sean and blair: rock'em sock'em robots and they just beat each other up the whole time, [chuck and tiffany], [bluey and bingo], [thing 1 and thing 2]

sonny and irene: lumiere and mrs. potts (bc they're the help)

yuuma and naomi: [minions], [ash ketchum and a low-effort pikachu]

I'm curious to hear others' ideas too, so if you have any, feel free to share in the reblogs/replies! ^^

[klapollo]

david was like "oh i left my sauces from popeyes in the bag" and i just went "MY SAUCES ON DA MATTER R TELLIN ME..." in my most stereotypical nyc chainsmoking gangster voice and he fell out laughing over it and now we cant stop saying MY SAUCES in that same voice and looking ridiculous

[justforbooks]

Tony Lo Bianco

American actor who fitted naturally into the 70s trend for gritty crime thrillers as a brute with a twinkle in his eye

The American actor Tony Lo Bianco, who has died of cancer aged 87, specialised in hoods and heavies, often played with an uncommon twinkle in the eye that suggested he was in on some grim private joke. “I guess I’ll have to do a nun next,” he said after a run of such roles.

There was never any doubt that he meant business. “If you encountered Tony in a deserted alley at midnight, you’d be inclined to hand him your wallet before he asked for it,” wrote a US newspaper in 1978.

With his conspiratorial manner, imposing stare and tractor-tyre eyebrows, Lo Bianco fitted naturally into the 70s trend for gritty crime thrillers. As the mobster Sal Boca in The French Connection (1971), he is pursued by the New York cop “Popeye” Doyle (Gene Hackman) for his role in buying a massive shipment of heroin. The Seven-Ups (1973) reunited Lo Bianco with his friend and French Connection co-star Roy Scheider, and gave him a bigger bite of the cherry, this time as a shady police informer in a camel-hair coat and sharp hat.

His first major role had already proved he was more eccentric than any rent-a-thug. In The Honeymoon Killers (1970), which was inspired by real events, he played the silver-tongued Spanish con-artist Ray Fernandez, who embarks on a murder spree with a lonely woman whom he tries to swindle. Martin Scorsese was sacked as the film’s director for dragging his feet, but the end result (with the composer and librettist Leonard Kastle stepping in after Scorsese’s exit) has a sizzling, unwholesome B-movie tang, due in no small part to Lo Bianco’s oleaginous presence and his rapport with Shirley Stoler as his partner-in-crime.

Most of his finest screen work was done in the 70s. He was a police detective investigating seemingly random murders in the supernatural horror God Told Me To, and an injured, suicidal former rodeo rider raising his young sons in Glory Days, AKA Goldenrod (both 1976).

Bloodbrothers (1978), in which Lo Bianco was all gruffness and gristle as an Italian-American construction worker pressuring his recalcitrant son (Richard Gere) to follow in his footsteps, was especially dear to him. “It’s very close to my heart,” he said. “I know the characters like I know my family.”

In the same year, he was a surprisingly genial crime boss opposite Sylvester Stallone in the union drama F.I.S.T. “Sure, I could have played [him] as one more Italian thug,” he reflected. “But does the world really need another overbearing, obnoxious, obvious slob to dismiss or look down on as some kind of buffoon?”

Lo Bianco attributed his facility as an actor partly to his upbringing. “Coming from an Italian family in a big city, my emotions were always close to the surface, ready to live life fully, to give, to laugh and cry without holding back, without strain.”

He was born in New York City to Carmelo, a taxi driver, and Sally (nee Blando). One of his teachers at William E Grady high school suggested he give acting a go, though his early passions were largely sporting ones. As a teenager, he tried out for the Brooklyn Dodgers, and was also a Golden Gloves welterweight boxer. “I guess you’d say I was a borderline delinquent. It was the 50s, Elvis time, leather jackets, a time for being tough.”

Years later, he would step back into the ring to play the boxer Rocky Marciano in the television biopic Marciano (1979). He returned to the same story, again for TV, in Rocky Marciano (1999), this time as the gangster-turned-promoter Frankie Carbo opposite Jon Favreau as the prizefighter.

Lo Bianco studied acting at the Dramatic Workshop in Manhattan in the late 50s, and founded the Weekend Theater there in order to gain experience. “I built the sets, the stage, and put in the lighting. I got it going.” He did the same in 1963 with the Triangle Theater, where he also served as artistic director. It was here that he first met Scheider.

He accumulated numerous credits on television, including a recurring role between 1971 and 1973 as a doctor in the long-running soap opera Love of Life, and on stage: in 1975, he won an Obie (an award for an off-Broadway performance) for his portrayal of a fading baseball star in Yanks-3 Detroit-0, Top of the Seventh. He also won a Tony for playing the tormented longshoreman Eddie Carbone in A View from the Bridge in 1983.

Appearing in the Italian caper Mean Frank and Crazy Tony (1973) immediately after his success in The French Connection, Lo Bianco seemed to be spoofing his own image when it was still in its infancy: he played a none-too-bright crook who idolises a legendary gangster (Lee Van Cleef). But the actor re-asserted his authority on television in the anthology series Police Story (1973-76). He was one of only a handful of cast members who appeared in more than one episode. Even more unusually, he was on the right side of the law this time.

In Franco Zeffirelli’s mini-series Jesus of Nazareth (1977), he was Quintillius, who advises Pontius Pilate, played by Rod Steiger. A year later, also on television, he starred in The Last Tenant as a man dealing with the increasing needs of his senile, irascible father, played by the acting guru Lee Strasberg. In the 80s he won plaudits for a TV adaptation of Paul Shyre’s play Hizzoner!, in which he starred as the New York mayor Fiorello La Guardia. This spawned several spin-offs, including La Guardia and The Little Flower, written by Lo Bianco and performed by him across the world at the start of this century.

Notable later roles include a mafia boss in the lighthearted, 30s-set Clint Eastwood/Burt Reynolds vehicle City Heat (1984), a corrupt property developer in John Sayles’s ensemble drama City of Hope (1991), the ivory-haired mobster Johnny Roselli in Oliver Stone’s Nixon (1995), and yet another intimidating gangster in The Juror (1996), with Demi Moore and Alec Baldwin.

Like Robert De Niro, for whom he was sometimes mistaken, it seemed there was nowhere left to go but comedy after playing so many crooks. Having parodied himself at the very start of his film career, Lo Bianco did so again in Mafia! (1998), also known as Jane Austen’s Mafia!, a send-up from some of the team behind the Airplane! and Naked Gun spoof series.

Though he directed to acclaim on stage, he made only one film, the slasher movie Too Scared to Scream (1984). His final picture was Somewhere in Queens (2022), starring and directed by Ray Romano, in which Lo Bianco played the main character’s standoffish father.

He is survived by his third wife, Alyse (nee Muldoon), a writer, whom he married in 2015, two daughters, Yummy and Nina, from his first marriage, to the actor Dora Landey (Anna, a third daughter from that marriage, died in 2006), a brother, John, and six grandchildren. Both his previous marriages – the second was to Elizabeth Natwick – ended in divorce.

🔔 Anthony Lo Bianco, actor, born 19 October 1936; died 11 June 2024

Daily inspiration. Discover more photos at Just for Books…?

[lyrics365]

Old School

[Talib Kweli] One two three, in the place to be! MF Doom, Talib Kweli, ah here we go On born days, I used to blow out the candles; and every Saturday watch cartoons ’til noon and then I’d switch to Ralph McDaniels I was, makin up a miracle flow, over a cereal bowl And a paused beat from my stereo Rhymes stronger than Popeye with the spinach Yeah I’m gangster like the frog on Courageous…

[eddystshirts]

Check out this listing I just added to my Poshmark closet: 2009 Vintage Popeye Gangster Rap Tee T Shirt 00s The Sailor Man Cartoon Black XL.

[patienz]

in fairness online communists still talk like gangster popeye. that's bad too!

so annoying when right wingers or libertarians have a genuinely salient point but then they couch in edgy language. you don't have to do the reddit/4chan "i'm a smart guy pretending to be a dumb guy" thing! it's fun and even rewarding to not act like a memelord!

[kittyit]

“Gangster Popeye” outed as sexual predator by fellow Bottom Text show member. Read here.

what a nightmare for the OP in the context of trying to have a working relationship with another creator. i hope OP is safe and healing.

[furbawl]

[needledeedlefingers-blog]

[noturbigtiddygothbitch]

[oneheadtoanother]

[colbertmmunist]

To be fair, you have to have a very high IQ to understand Stephen Colbert. The humour is extremely subtle, and without a solid grasp of theoretical comedy most of the jokes will go over a typical viewer's head. There's also John Batiste's keyboard, which is deftly woven into whenever Stephen pretends to set something down- his personal philosophy draws heavily from mime literature, for instance. The fans understand this stuff; they have the intellectual capacity to truly appreciate the depths of these jokes, to realise that they're not just funny- they say something deep about LIFE. As a consequence people who dislike The Late Show with Stephen Colbert truly ARE idiots- of course they wouldn't appreciate, for instance, the humour in Stephen's existential catchphrase "Allegedly, allegedly," which itself is a cryptic reference to Smirnoff's Russian epic 'What a Country!'. I'm smirking right now just imagining one of those addlepated simpletons scratching their heads in confusion as Stephen Colbert's genius wit unfolds itself on their television screens. What fools.. how I pity them. 😂

And yes, by the way, i DO have a Stephen Colbert tattoo. And no, you cannot see it. It's for the ladies' eyes only- and even then they have to demonstrate that they're within 5 IQ points of my own (preferably lower) beforehand. Nothin personnel kid 😎

[funcrustables]

[thealmightyemprex]

10 Favorite 20th Century comic book movie villain performances

Gene Hackman as Lex Luthor in Superman the  Movie (!978)

Hackman just steals every scene he is in  

Jack Nicholson as the Joker in Batman (1989)

Thisw is the film where Nicholson really cuts loose 

Max Von Sydow as Ming the Merciless in Flash Gordon (1980)

Despite how camp the film is ,Sydow plays it straight while still clearly having a blast with the role 

Paul L Smith as Bluto in Popeye (1980)

PErfect iinterpertation of the classic cartoon character 

Terrance Stamp as General Zod in Superman II (1981)

For the longest time this guy was my favorite movie supervillain .Right amount of hammy and menacing 

Al Pacino as Big Boy Caprice in Dick Tracy (1990)

My first PAcino performance and one of my favorites .PAcino is just having a ball ,misqouting famous qoutes ,screaming at mooks,and being a larger then life gangster who thinks he is mre cultured then he is 

Michael Wincott as Top Dollar in the Crow (1994)

Goood foil for our hero ,a  deep gravelly voice ,and just a very stylish performance ,Top Dollar is one of my favorite film villains 

Michelle Pfeiffer  as Catwoman in Batman Returns (1992)

One of the best performances in any comic book movie 

James Saito / David McCharen as the Shredder in Teenage Mutant Ninja Turtles (1990) 

Saito’s physicality and McCharin’s deep voice make for a intimidating and mysterious  villain

Peter Greene as Dorian Tyrell  in the Mask (1994) 

For a movie that is a goofy comedy ,Dorian is a pretty serious and intimidating villain,being a classic movie gangster ,who gets extra creepy towards the end of the movie.

@metropolitan-mutant-of-ark​ @ariel-seagull-wings​ @marquisedemasque​ @filmcityworld1​

[fibula-rasa]

Cosplay the Classics: Marie Windsor in The Narrow Margin (1952)

Noirvember is approaching its end for 2020, and yet I have a lot of seasonal spirit to share. Here is my closet cosplay of Marie Windsor in The Narrow Margin (1952). When I first brought up the film on this blog, it was its production and style that stuck in my mind–I didn’t even mention Windsor. So, even though I plan on bringing up that style again here, let’s let the cosplay make amends for my previous oversight. Windsor is too good to omit.

The film follows detective Walter Brown (Charles McGraw), who has been tasked with escorting Mrs. Neall (Windsor), the widow of a gangster set to testify before a grand jury, by train from Chicago to Los Angeles. As gangsters try to cut Mrs. Neall’s journey short, Brown realizes the situation he’s in is more complicated than it seems.

The Narrow Margin is swiftly-paced and tense with impeccable sound design. Every performance is on point and each role is well-cast. Obviously, Marie Windsor as the brash and defiant moving target stands out. I really can’t recommend The Narrow Margin strongly enough, even putting aside my penchant for train movies.

That said… setting a feature film on a train (or any other vehicle) presents a unique challenge in keeping the film’s visuals and space dynamic. Failing at it can result in overly static visuals, unintentional claustrophobia, or the space of the film becoming too artificial; all of which can lead to viewers disengaging from the story. But, The Narrow Margin sets a gold standard by focusing on interplay between planes of action.

READ ON below the jump!

The crew of the film is stacked with noir experience:

Cinematographer George E. Diskant (They Live by Night (1949), The Racket (1951), On Dangerous Ground (1952), and so on),

Art Director Albert D’Agostino (too many to cite TBH, but he tackled limited space again with Ida Lupino’s The Hitch-Hiker (1953))

Art Director Jack Okey (Out of the Past (1947), The Racket, The Set-Up (1949) and quite a few more)

And the oh-so-versatile director Richard Fleischer, who wasn’t all that well established before The Narrow Margin, though he was already in a noir groove around this time.

In my opinion, it’s worth considering that Fleischer’s father, animator Max Fleischer, might have had some influence on the kinetics of this film. Even if you don’t immediately recognize Max Fleischer’s name, you’ve likely seen one of his Betty Boop, Superman, or Popeye cartoons. Max Fleischer was hugely innovative in the technology of animation. He invented the process of rotoscoping and often experimented with photography.

Check out the awesome establishing shot here in Christmas Comes But Once a Year (1936)

Side-by-side comparison of Cab Calloway dancing and rotoscoped animation from multiple cartoons

I can’t help but think that the strong compositions and careful balancing of planes of action in The Narrow Margin were influenced by Fleischer’s awareness of his father’s work.