#grace russell icons

[gt-icons]

Grace Russell “Good Witch” icons

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[astroartsya]

Beauty placements in Astrology🌸💄 Part 1

(I am mostly talking about physical beauty in face and body but attractive/seductive placement are completely different topic) These are just the basic common ones.

🌠Neptune, Venus or Moon aspecting ascendant or in the first house. -

Neptune =Their aura is intresting and different. They can be like mirrors to other people and are idolized easily. People with this placement can be invisible if they want to but suddenly have everyone staring at them. They can be bit cartoonish. This can be difficult placement but it can give so much creativity and miracles to a person.

Looks: Can have looks that people deem as iconic. You can see their faces at peoples houses , public places and in paintings and in clothes. Unique but classic at the same time. They look dazzling in photos.

Archetype: Siren that lures you with gentle lullaby and turns into a monster. No one can resist the urge that they bring up.

Celebrity examples-->

//Neptune in the first house/ Conjunct//: Marilyn Monroe, Kim Kardashian, Kylie Jenner, Ariana Grande, Scarlett Johansson, Nicole Kidman, Eminem, Tom Cruise, Chris Evans, Paris Hilton, Paul Mcartney, Paris Hilton, Bradley Cooper.

//Neptune opposite ascendant//: Audrey hepburn, Halle Berry, Adele, Lady Gaga, Christina Hendricks, Amy Adams, Jared Leto.

//Neptune trine ascendant//: Jim Morrison, Michael Jackson, Whitney Houston, Heath Ledger, Jessica Alba, George Clooney, Cindy Crawford, Julia Roberts, Sophia Loren.

//Neptune square ascendant//: Elvis Presley, Britney Spears, Johnny Depp, Elizabeth Taylor, Rihanna, Dua Lipa, Jimi Hendrix, Birgitte Bardot, Ryan Gosling.

//Neptune sextile ascendant//: Madonna, Beyonce, Leonardo Dicaprio, Keanu Reeves, Kurt Cobain, Monica Bellucci, Christina Aguilera, Sharon Stone, Grace Kelly, Aaliyah, Khloe Kardashian.

They are magical, mysterious and etherial.

🎇 Venus= They are just gorgeous and have such a balanced body and face. People enjoy their company and they can become popular easily. Good placement in every aspect but vanity can occur so it's good to have something where to use that visual/artistic gift even as just a hobby.

Looks: They are very aesthetic and are often used as wallpapers for that reason.

Archetype: Aphrodite who bring pleasure and beauty that you can't get enough of. The senses are overwhelmed and lured you in.

Celebrity examples--->

//Venus in first house/ Conjunct ascendant//: Angelica Jolie, Beyonce, Rihanna, Shakira,Bella Hadid, Charlize Theron, Anna Nicole Smith, George Clooney, Selena Gomez, Katy Perry, Cameron Diaz, Zayn Malik, Elizabet II, Audrey Hepburn, Kourtney Kardashian, Arnold Schwarzenegger, Blake Lively, Vanessa Paradis, Jude Law, Doja Cat.

//Venus opposite ascendant//: Kurt Cobain, Lana Del Rey, Prince, Marlond Brando, Russel Brand, Cindy Crawford, Muhammad Ali, Tyra Banks, Ru Paul, Willow Smith.

//Venus trine ascendant//: Ariana Grande, Jennifer Lopez, Justin Bieber, Britney Spears, Natalie Portman, Jennifer Lawrence,John F Kennedy, Elizabeth Taylor, Kate Winslet, Sophia Loren, Meghan thee Stallion.

//Venus square ascendant//: Kim Kardashian, Billie Eilish, Gia Carangi, Birgitte Bardot, Christina Aguilera, Mila Kunis, Uma Thurman, Richard Gere.

//Venus sextile ascendant//: Lady Gaga, Pamela Anderson, Paris Hilton, Audrey Hepburn, Zac Efron, Dua Lipa, Kim Basinger, Amy Adams, Madison Beer.

Beautiful, stylish, symmetrical, sensual, artistic .

🌌Moon= Can reflect other peoples emotions and be very sensitive/emphatetic. Children and animals are drawn to these people. Just so adorable. Their style/makeup can be expression of their feelings.

Archetype: Nyx that in the dark evening shines mysteriously and brings nostalgia upon you and holds you dearly . You can be completely vulnerable you feel like a child again.

Celebrity examples--->

||Moon in 1st house/ Conjunct ascendant||: Madonna, Michael Jackson, Leonardo Dicaprio, Katy Perry, Whitney Houston, Audrey Hepburn, Bella Hadid, Aishwarya Rai, Anna Nicole Smith, Rihanna, Scarlett Johansson,George Harrsion

||Moon opposite ascendant||: Marilyn Monroe, Miley Cyrus, Birgitte Bardot, Jessica Alba , Gven Stefani, Liv Tyler, Uma Thurman, David Bowie, Muhammad Ali, Adele.

||Moon trine ascendant||: Kanye West, Kristen Stewart, Justin Timberlake, Paris Hilton, Sandra Bullock, Khloe Kardashian, Zac Efron, Vanessa Paradis, David Beckham.

||Moon square ascendant||: Lana Del Rey , Heath Ledger, Tom Cruise, Sharon Stone, Emma Watson, Zendaya, Catherine Zeta-Jones, Jim Morrison, Michelle Pfeiffer, Winona Ryder

||Moon sextile ascendant||: Robert Pattinson, Keanu Reeves,Jennifer Aniston, Kylie Jenner, Cameron Diaz, Ryan Gosling, Pamela Anderson, Kourtney Kardashian, Russel Brand, Rita Hayworth.

Feminine, soft, innocent, approachable, artistic.

[musical-theater-mania]

Rating performances of "Stars"

I am deeply particular about Javert's character and deeply unsatisfied with many of the performances of "Stars" that are available on Spotify! So here are my thoughts:

Terrence Mann (Original Broadway Cast Recording) - 9/10. Listen. It's pretty good. I feel like he really gets into it at all the right times! That being said, I cannot STAND the lyric "Falling from grace, falling from grace". The first "grace" should be "god"!

Philip Quast (Live at Albert Hall) - 7/10. I cannot get past the "there" at the beginning. It's the first word and I hated it. You already turned me against yourself. I also feel like he can be a little breathy when he changes notes (both times he sings "You fall in flame" are good examples). Other than that though his tone is great! He gets a great dynamic range.

Roger Allam (Original London Cast Recording) - 3/10. Holy fuck I hated this one. I HATE what the orchestra is doing (especially in the beginning). Like what is that weird staccato pattern??? It is too early of a production of this show to feel like it needs to be doing something cute to stand out. Also I feel like at times he's trying to do cutesy little runs? And again it just doesn't feel like Javert. He's too serious for those frills. Also the ending pissed me off so much. Why are you petering out? You are supposed to be strong and vivacious! Can you not hit those notes???? What's going on with the lyrics????

Russell Crowe (The Motion Picture Soundtrack) - 4/10. Ok. I don't love what the orchestra is doing at the beginning, that part is too iconic. Also, his voice is just so gentle. I do not believe for a second that he is hunting down a fugitive of the law! Where is the fire! Where is the severity! Where is the last note! Seriously why did they remove the last note?????

Michael Ball (2020 Live Recording) - 6/10. Something about his tone feels kinda mellow? Like idk it just isn't as rich and powerful as I'd like this role to be. (It kinda feels like an overly edited Disney recording, which is funny bc it's LIVE.) He also constantly sounds like he's behind the beat. And I'm sure this is an intentional choice, but I don't like it! Again, Javert is SO regimented and severe that I feel like he would be aggressively on beat (which would then make "Javert's Suicide" even MORE powerful when he stops adhering as strictly to the beat)! I liked the growl on "never rest" though, that ate.

Earl Carpenter (2010 London Cast Recording) - 8/10. I don't love what the orchestra is doing in the beginning? Idk it just really throws me off. (Although they do slay the end!) Also sometimes it feels really rushed. They play too fast + loose with tempo for me. Javert is an EXTREMELY regimented man!

Philip Quast (Manchester Cast Recording) - 8/10. I liked this one MUCH better than the other one he did. Still don't love the "there" but it isn't quite as off-putting somehow. He also has way less of the breathiness! (Fun little aside: his vibrato is tighter than most of the other people on this list, which you can really notice in "lord, let me find him")

Bryn Terfel (Renée & Bryn) Under the Stars - 9.5/10. They really let the Welsh National Orchestra go wild on this one and you know what I liked it! It had the same vibe to me as when a singer does an opt up (it was selective spots that showed off their abilities without changing the nature of the piece or taking away from it). The tempo was a little faster than I would have chosen but I feel like it worked for the character/song. Bryn is also an incredible singer! His voice is stunning and so wonderfully expressive. He also has that wonderful bassy quality that is SO important to me in this role.

Jason Manford (A Different Stage) - 7.5/10. He sounds a little young to me? Like he's missing some of the grit/bassy quality that I want in this role but something about the performance feels soothing? Like it's easy to listen to idk. It does lose points because it is missing some of the fire and passion. He lets a little of it out at the end so I know that he has it in the tank when he wants to use it

[broadwaydivastournament]

Here she is boys, here she is world. Here's Rose from Gypsy (8)

Tyne Daly (Broadway revival, 1989 - 42) Patti LuPone (Broadway revival, 2008 - 59) Tovah Feldshuh (Bristol, 2011 - 63) Bernadette Peters (Broadway revival, 2003 - 63) Carolee Carmello (Sacramento, 2018 - 56) Julia Murney (Cape Playhouse, 2017 - 48) (no audio) Beth Leavel (The Muny, 2018 - 63) Betty Buckley (Paper Mill Playhouse - 45)

The most coveted role for (non-soprano) women in musical theatre canon. Mama Rose, the ultimate stage mother, was originated by Ethel Merman in 1959. With Ethel's foghorn belt still audible in the distance even today, Rose has some of the most iconic solo numbers to ever grace musical theatre canon. Everyone has their personal favorite Rose, and everyone will fight to the death for her.

Other Rose's include: Angela Lansbury (Broadway, 1979), Imelda Staunton (West End, 2015), Bette Midler (Film, 1993), and Rosalind Russel (1962).

[awesomefringey]

Just came back from scrolling through one of hussell twitter uas and ngl this stunt has me worried for harry😭 I'm kinda joking but kinda not bc I went through the quotes on their posts and harries are eating IT UP. I saw some people say something about hate she's getting but 98% of the response I see from harries is "she's the one" and they're like crying screaming over her worshipping the ground she walks on. There have been people like that with prev girlfriends but it didn't compare to this. I do think that some of them who would be bullying her are staying quiet partly bc they don't want to apper racist partly bc there's not much to say. So the consensus among harries is that she's perfect and he's gonna marry her like tommorow. Now idgf about that but...I know he obviously is more famous, but after holivia his reputation isn't that great, and hers is spotless and she's everybody's darling. Idk if their relationship is considered confirmed yet but they're deff going there and there's a big possibility that when this bua drops, if they don't word it extremely carefully, he's gonna be a very very bad guy... Idk what they're gonna do in that case, like is that what they want or have thought of... but on the other hand you make your bed you lay in it, so why should I care. I just need to say it so I can say I predicted it if it happens.

Oh, but Harries always love when Harry has a new girlfriend and rally behind her blindly. It’s really up to Taylor now, how she uses her newfound stardom. Olivia fell from grace with harries because she exploited her girlfriend status to the max and called Harry’s fans “mosquitoes” in the end.

I’m cautious about Taylor. They definitely move quickly with her and use the current tabloid gossip to place her in Vogue and The Face, there are even interviews now and loads of articles that announce her a fashion icon.

Harry Lambert likes most of Russell’s fashion related posts on IG. So there’s a fat chance she’s on the unofficial Full Stop roster and they’re pushing her to become the next Zendaya or something. And nope, that’s not my comparison. I’ve seen Harries calling Hussell the new “Tomdaya”. 😵‍💫

[cinemaocd]

Jenny's ongoing list of films watched 2024

February

January list, here.

Inland Empire (2006)*** It took three attempts to get through this long, confusing film. Like Mulholland Drive or the Season Three of Twin Peaks, Lynch films improve on repeat viewings even if meaning remains elusive. That is part of the joy-- sometimes you just vibe with it.

Death of Stalin (2017)**** One of my favorite films of the last two decades. A harried farce with the bloody-mindedness of Macbeth. Like the Scottish Play, we know how its going to come out, but the fun is in watching the articulate villain, played with delicious malice by Simon Russell Beale being outdone by a team of bumbling, petty bureaucrats and one very bad ass soldier. The Boyfriend (1970)*** Ken Russell's surreal tribute to the burlesque musical genre makes the most of its setting in the 1920s by putting his star Twiggy in iconic psychadelic reiterations of the flapper dress. If you opine the fact that drop waist dresses come back into style every 15 years or so, then this movie is as much to blame as anything. Poor Things (2023)*** Emma Stone gives a wild and convincing physical performance as Bella, a baby's brain in the body of her dead mother and Mark Ruffalo as typical 19th Century Rake Getting His Comeupance iscasting I didn't know I needed. I loved the yearning Godwin (Willem Defoe in truly amazing Frankenstein's monster makeup) and though I haven't read the book, I was drawn into the grotesque, ai generated world of the film. The aesthetics of this movie are as engrossing as the story and characters. Adventures of a Dentist (1965)** The Soviet version of the live action Disney comedies of the 70s, where a humble person is given magical power. Here a dentist is given extraordinary, almost magical abilities to perform dentistry without pain. He becomes a celebrity and his fall from grace involves him giving in to the decadent trappings of being a popular dentist. The humor has a darker edge than Disney though I wouldn't go so far as to call it a black comedy. Adolf Hitler: My Part in His Downfall (1973)** This Spike Milligan film plays like a double episode of Dad's Army, not least because of the presence of Arthur Lowe who plays practically the same character here as he does on the tv show. That is not the end of the world however and this is easy to like farce with Milligan's ascerbic, anti-authoritarian bent that is grittier than anything on the sitcom. The Master (2012)** I had high hopes for this, one of Phillip Seymour Hoffman's final films and his last collaboration with director Paul Thomas Anderson is loosely based on the origin story of Scientology. Joaquin Phoenix plays a shell shocked veteran who drifts into the path of the cult leader played by Hoffman. Amy Adams gives a chilling performance as his much younger, controlling wife who is the real power behind the cult. I think I would have an easier time with this film if Anderson hadn't gone around giving interviews saying that Scientology and it's founder L. Ron Hubbard had "helped a lot of people." Of course, this is PTA and Phoenix's character isn't helped at all and he makes the cult worse by being a violent enforcer for the leader's enemies. The levels of whitewashing involved in making a deeply misogynistic cult into a secret matriarchy is just...ugh. However, the homoerotic tension between Hoffman and Phoenix makes the film worth looking out. Murder of Quality (1991)** Made for TV adaptation of John Le Carre's second novel. Denholm Elliott plays Smiley as more doddering and anti-social than Alec Guinness' iconic version of the character. This early Smiley story is more a traditional English village murder mystery, ala Miss Marple, with Glenda Jackson playing Ailsa, Smiley's war buddy that runs a women's magazine. Christian Bale plays one of the students at an elite prep school that forms the economic backbone of the town. Le Carre is merciless in his portrayal of the toxic, petty characters, the wealthy and wannabe wealthy swamp dwellers who run rings around the local constabulary until Smilley steps in and withstands their slings and arrows long enough to solve the case.

The Private Life of Sherlock Holmes (1970)*** Sometimes you sit down to watch a movie with such low expectations that you are pleasantly surprised that it doesn't totally suck. The excitement of things not being as bad as you feared can blot out some of a movie's excesses. At the end of the day this is Billy Wilder, physically incapable of creating a boring movie throwing the whole bag of tricks at this faux biography of Holmes starring Robert Stephens and Colin Blakely. There's farce and physical comedy, verbal gymnastics and exotic locations. Holmes' possible homosexuality is tastefully hinted at and attempts to create a sensationalist account of his drug use, amount to little before the mystery gets rolling. One of the big delights is Christopher Lee as Mycroft whose scenes with Robert Stephens are bitchy queen pissing contests. Genevieve Page does a turn as a would be damsel in distress who turns out to be a worthy opponent to Holmes similar to Irene Adler.

Irma La Duce (1963)*** For some reason between this and Poor Things I ended up watching two movies about Parisian brothels this month. Billy Wilder based this pastiche of 1950s travelogue adventure films like To Catch a Thief and Charade on a French stage play. A strange attempt to weld the success of the Apartment with Some Like it Hot, reconfiguring a Marilyn Monroe vehicle as a reunion of Jack Lemmon and Shirley MacLaine. Like the Apartment, Irma LaDuce is tinged with melancholy while avoiding a lot of the cliches about sex work that wind up dating so many films on this topic. The main complaint I have about Irma LaDuce s that it's about 45 minutes too long, a common complaint about many films of this period. (Damn Lawrence of Arabia and all who sail in her).

Witness for the Prosecution (1982)*** A made for tv adaptation of the classic courtroom drama, which credits Billy Wilder's screenplay of his film version. Ralph Richardson and Deborah Kerr star in this remake and honestly their chemistry is just off the charts and we're left to wonder how they never managed to make a film together before. Wendy Hiller, Diana Rigg and Beau Bridges round out the amazing cast. Lacks the tension and edge of Wilder's film but I'm having too much fun with Ralph to care.

The Major and the Minor (1942)**: Billy Wilder's first film as writer and director has some of the hallmarks of his later, greater works: farce, trains, mistaken identity, and queer themes in the form of a lesbian coded sister of Ginger Roger's romantic rival. That all the fuss is about fairly bland Ray Milland is easy enough to overlook as Wilder makes the film about toying with Rogers image as sophisticated, sexy, dancer. Typical Wilder inside jokes about the film industry abound, such as a craze for Veronica Lake hairdos among the tween set and swipes at Hollywood actors like Charles Boyer Rogers' childish masquerade to avoid paying full adult fare is preceded by a series of calamities where she's pursued and objectified by a lot of nasty older men. Hoping to escape their advances as well as the ignominity of turnstyle jumping, she maintains the charade through a long weekend with a lot of handsy tween boys until Milland's fiancee is discredited as a controlling social climber. There is a bizarre side track into her home town where Rogers also impersonates her mother before revealing her grown adult self to Milland. No one ever accused Billy Wilder of being restrained I guess.

The Children's Hour (1961)**** This classic of queer cinema was necessarily a scorched earth tragedy at the time of its release. William Wyler's dreamy, restless camera drags you into the warm, cozy life of this female partnership between Shirley Maclaine and Audrey Hepburn that seemingly has the potential to be a romantic partnership. When nasty gossips and spoiled children start a rumor that they are a couple, the scandal destroys their business and standing in the community. Terrorized by the homophobic townspeople, they are eventually "cleared" of the crime of being gay for each other, just when Maclaine's character comes to the brutal realization that she really is in love with Audrey Hepburn's character. It's hard to watch her grief and shame as she admits that the bullies have discovered a truth about her that she didn't know herself. A fact so many queer people can find relatable. The film is based on a play by Lilian Hellman which used the topic of homosexuality to expose the cruelty of female narcissists who bully their way into power. There is much in common with Hellman's The Little Foxes in that way, but the film, perhaps owing to Wyler's inherent romanticism has more of a Romeo and Juliet quality than the play. One feels that Audrey Hepburn has perhaps realized the truth in the lie, just a few moments too late.

Sweet Charity (1969)*** Directed by Bob Fosse, starring Shirley MacLaine and Sammy Davis Jr and Chita Rivera this classic musical combines the best of Fossee's signature choreography, sixties pop show tunes and the psychadelic aesthetics of the late 60s. This and the Boyfriend have a lot in common, though I think the music in Sweet Charity is more solid and the contemporary setting makes it a tad edgier. MacLaine plays yet another flavor of sex worker, a dancehall hostess and paid companion who seeks to be elevated out of her life into respectability through marriage. The fiancee here is uptight and lacking in appeal and when he finally just flakes out in the final reel it's no great loss to the film.

Thief (1981)** Atypical heist film starring James Caan and Jim Belushi, directed by Miama Vice creator Michael Mann. You can see the beginnings of that iconic 80s TV show, in this movie which favors long scenes of action being edited to music with sparse dialog. Caan squares off against Tom Signorelli a local mob boss who dares to threaten Caan's wife played by Tuesday Weld.

[heavenboy09]

Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊 To You

The Cutest 💖 & Most Talented Disney Channel Actress Now All Grown Up Since Her Debut On Disney's Wizards Of Waverly Place 🧙‍♂️🧙‍♀️ & When She Was A Teen Star On Hallmark Channel's

The Good Witch 🧙‍♀️ TV Series

& Several Other Fantasy & Other Genre Iconic TV 📺 Shows & Tv Movies 🎥

Born On October 15th, 1999

She is an American and Canadian actress, singer and songwriter. Born in Fort Lauderdale, Florida, Madison began acting at just two weeks of age, appearing mostly in television commercials for the first few years. Her film debut, as May Belle Aarons in the fantasy drama Bridge to Terabithia (2007), brought her early praise. She gained wider acclaim for starring in the war drama film Brothers (2009), for which she was nominated for the Critics' Choice Movie Award for Best Young Performer. Madison went on to star in a number of horror and thriller films, beginning with Don't Be Afraid of the Dark (2010), gaining a reputation as a scream queen.

Madison transitioned to television in ensuing years, first with recurring roles in The Haunting Hour: The Series (2010–2012),

In 2011, Madison portrayed Maxine Russo in some episodes of The Wizards of Waverly Place at the time when Max Russo was turned into a girl.

as young Snow White in Once Upon a Time (2012–2016), and as a teenager with multiple mental health issues in the drama series The Fosters (2014–2015). She played the leading roles of Hillary Harrison in Trophy Wife (2013–2014) and Grace Russell in Good Witch (2015–2021). Madison gained further praise and resurged her status as a scream queen with her leading role as Imogen Adams in the Max slasher horror series Pretty Little Liars (2022–2024), a spinoff of the eponymous original series. She subsequently debuted her solo music career with the release of the pop single "Kinda Fun" (2024).

Please Wish This Young Talented All Grown Up Disney Cutie Actress A Very Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊

Some Of You May Know Her 😏

Others may not, but you will soon.

She has grown from a Cute Child Star 🌟 to a Beautiful Grown Up Actress

& Her Acting Talent as well as her Beauty has flourished over the years

Ms. Bailee Madison👩💖 aka Grace Russell Of The Good Witch 🧙‍♀️ Bailee Madison

Happy 25th Birthday 🎂 🥳 🎉 🎈 🎁 🎊 To You Ms. Madison 👩 & Here's To Many More Years To Come.

#BaileeMadison #WizardsOfWaverlyPlace #TheGoodWitch

[obsessingonthevalley]

Short n' Sweet. also, Russell T. Davies rant.

So I am a carpenter, fun fact, and I will be talking about Sabrina Carpenter's new album, but there is a lot on today's itinerary. So I will split everything by pictures and the sections will be in this order.

Russel T. Davies rant. (I'm watching you mate) Short n' Sweet debrief

RUSSELL YOU NO-GOOD MAN. WHAT DO YOU MEAN "I can't see River Song making an appearance." I can't see satisfying explanations you decided to cut out because they "weren't necessary" or because "it's pretty obvious what 73 yards meant" WAS IT???

Okay, so I am very happy that this new era seemingly went over well with Disney meaning it will continue to live a long and prosperous life, which ,as the world's largest whovian, YAYYY! however, if Russell continues to cut off important parts of episodes, like a one-off line explaining Sutekh??? yeah, I'm gonna start throwing hands. Like, get on your shit mate. What is this?

And saying no River Song, and especially no Alex Kingston??? I am so not live, laugh, loving rn.

Something that has got me live, laugh, loving right now is my queen's 6th album!!!!

Yeah, no, I am indeed obsessed. When slim pickins was teased, I'm not gonna lie, I was sceptical about how good the album was gonna be and if my queen was gonna enter her flop era, luckily it was just a "bad time" in a sea of "singular act 1" type situation. So we are so back.

ratings, because duh: 1. Taste - 8/10. When I first listened to it, I didn't hate it, but I didn't love it. I was swayed heavily by the music video as I have been in love with Jenna Ortega for pretty much as long as I've been in love with Sabrina Carpenter, so you do the maths. 2. Please Please Please - 7/10 I love it, don't get me wrong, but with the other songs on the album, it's not the best now, is it? 3. Good Graces - 6/10 I didn't love it, and with no music video that kicked in my gay panic. It is probably my least favourite, IT ISN'T BAD BY ANY MEANS. I love the chorus and the beat, but the start is so slow. Very much club music x like a weak 2020 doja cat/ariana grande vibe. like it's not the best. Is it stuck in my head 24/7? sure... so 4. Sharpest Tool - 9/10 the next 3 songs are heavenly and incredible that they are back to back. It's such a beautifully soft song like skinny dipping but slightly hornier and sadder. My vibe completely (I love Conan Gray) 5. Coincidence - 10/10 I love it sooo much. RnBina is back besties. The gospel choir in the chorus. ughhhh. deceased. I died from heavenly tunes. It is such a good song, it's so unapologetically ruthless. Just a song for haters (me.) /j 6. Bed Chem - 10/10!! I'm sure it'll be the biggest mainstream success, this and probably Taste and Juno. But this one is for the same reason Nonsense killed because 1 it's iconic, 2 it's funny as shit, and 3 cause it's catchy as hell. It has been on my mind on repeat for ages. Also lowkey giving Rachel Bloom, someone I'm sure no one reading this knows, she's from Crazy Ex-Girlfriend, and was youtube famous for singing about touching boobies. I don't wanna talk about it. (sharpest tool reference?) 7. Espresso - 8/10 I used to think Please Please Please was better than this but listening to it again when listening to the whole album, it is actually a masterpiece? no, but it is truly spectacular. but I love it? 8. Dumb & Poetic - 8/10 I enjoy it a lot, it's a little depresso, but based on my explanation of Sharpest Tool's ranking, I think it's clear I enjoy that vibe a little. 9. Slim Pickins - 6/10 I'm so sorry just not my vibe, and "the lord forgot my gay awakening" was a humbling experience. But all jokes aside, I felt like it couldn't decide if it was funny or serious. 10. Juno - 10/10 Are you kidding me, again it's a bit horny, but one of my faves from eics was fast times so it's not an issue for me. 11. Lie To Girls - 8/10 I like it, I think. A bit too real. I feel like it's a song that in like a month or two I've cried to it so I love it, like most most Superache songs, ya get me? 12. Don't Smile - 9/10 Yes, I like this one a lot. its sad as well, but it hits so heavy, the beat is delicious, again its giving doja/ariana for some reason, also "doja/ariana" makes no sense and i under stand that, but it's just a delectable vibe, WHEN DONE RIGHT, (sorry good graces...)

overall 9/10 nothing can beat singular act 1. sorry not sorry (demi lovato reference)

[freakingoutthesquares]

Pulp Diction - Part One Words: Paul Lester, Photographer: Pat Pope Melody Maker, 27 May 1995 Transcription: Acrylic Afternoons

Starring: JARVIS COCKER as THE JUNKSHOP ROMANTIC STEVE MACKEY as THE PLAYBOY RUSSELL SENIOR as THE ALIEN CANDIDA DOYLE as THE CARE BEAR KID NICK BANKS as THE PIE-MUNCHER

From the late Seventies right up to the early Nineties, Sheffield's Pulp were critical faves whose bizarre sex-obsessed space-pop eluded commercial success. Then in 1994, their His 'n' Hers LP sold 100,000 copies, went Top 10 and almost won the Mercury Prize. Meanwhile, frontman Jarvis Cocker became Britain's unlikeliest sex symbol and all-round multi-media pundit. With their fantastic new single 'Common People' released this week, we meet the brilliant Pulp as they prepare to ascend to the next level of fame and acclaim.

PULPINTRO

He's Chris Evans' favourite artist. Greater London Radio has called him "the first pop star of the 21st century". This writer reckons he's Eric Morecambe meets James Bond. And he's described himself as "Woody Alien in platform heels". Ladies and Gentlemen, Jarvis Branson Cocker, the human stick insect in Oxfam gladrags rechristened "Pop's Mr Sex" by The Observer's "Life" magazine, has just entered the building. And tripped over some camera cable.

As stumbles go, it's pretty clumsy. Although Jarvis doesn't exactly tumble arse over tit onto the Maker photographer's studio floor, it's a trip nonetheless, a full-scale fumble of the feet, a semi-somersault. Not that Cocker seems to care. He doesn't bother to check whether the nosy bastard journalist has witnessed his miniature fall from grace, he just regains his balance and heads towards the studio table where several platefuls of sweets and sandwiches await.

The trip is all. In it, we can locate the sublime/corblimey essence of Pulp, the most modern of modern pop bands, fronted by Jarvis Cocker, the ordinary man with the extraordinary talent, the sex god with the sex problems, the klutz-icon whose Cool Quotient is raised precisely because he doesn't mind looking uncool. Thought: Jarvis Cocker has the same initials as Jesus Christ and Jimmy Corkhill.

Fact: on the night of this interview, he is spied in a quiet corner of a Menswear after-show party with a gorgeous young girl, legs akimbo, facing him on his lap, her skirt around her waist, his crotch against hers, the pair, oblivious to the drinking/drugging hordes (basically the entire population of The Good Mixer relocated to London W1), thrusting and grunting like extras from "Confessions Of A Britpop Idol".

Theory: the British public is obsessed with sex, especially public sex, at which Jarvis Cocker is (becoming) an expert. Ergo, the British public is (becoming) obsessed with Jarvis Cocker, who, after 15 years in the shadows, is Going Public with Pulp's synthetically treated, dramatically arranged, indecently graphic pop songs about public - and private and magical and mundane - sex.

PULPSEX (FOREPLAY)

A Pulp feature without sex would be like a Barry White feature without sex or a Spiritualized feature without drugs or a Snoop Doggy Dogg feature without guns or a Shaun Ryder feature without sex and drugs and guns, or a Paul Weller feature without loads of tedious meandering bollocks about old blues and soul records. But a Pulp feature - or, for that matter, a Pulp song - doesn't have to be solely about sex. It's just that, for Pulp, as it is for Jarvis Cocker, as it is (let's be honest) for us, sex is the axis around which all their/his/our other obsessions orbit.

So, yes, a Pulp feature or a Pulp song could be about knitting, just as it could be about fairgrounds or babies or joyriders or pink gloves or lipgloss or underwear. But really, once you've rubbed at the surface and scrubbed away the details of Pulp's beautiful tales of banal lives, you're left with sex, in all its gory glory. I'm not sorry about this. Neither's Jarvis Cocker.

"Is there anything in the world more interesting than sex?" the thinking woman's crumpet with the thick-rimmed spectacles repeats my loaded/"Loaded" question in his inimitably rich, deep South Yorkshire voice. "No, I don't suppose there is. Eating and reproducing are the two major motives that make animals want to do things. And I don't think it's that different with people, except that people have the ability to think about it, and have morals about it. I always thought of sex as something quite transcendental," he continues, leaning forward now. "Not that l'm into tantric sex, or whatever, but in the way that it transcends... In a world where religion isn't such a massive guiding force, sex is, along with drugs, the closest we ever get to a transcendental feeling. Especially the moment of orgasm." Oo-er, Jarvis Cock-er.

Think of the seedy voyeurism of "Babies" (from "His 'n' Hers") where the kid watches his friend's sister going at it hammer-and-tongs through a gap in a wardrobe door; of the tawdry perversions of "Sheffield: Sex City" from "Pulpintro" ("I just had to make love to all the cracks in the pavement and the shop doorways"); or the smutty ambiguity of "Little Girl (With Blue Eyes)" from "Masters Of The Universe" ("There's a hole in your heart / And one between your legs / You've never had to wonder which one he's going to fill"): Pulpsex is never the hygienic coupling you see in films, the seamless, juiceless, sexless, unproblematic sex we're all supposed to have as adults.

Jarvis Cocker is the only white pop artist currently addressing the subject of sex in an explicit manner. Historically, white pop sex has either been good clean fun (The Beatles, The Beach Boys) or its darker side has just been hinted at (The Who, The Rolling Stones) or it has been the course of much angst (New Order, The Smiths).

Today, of course, sex is dealt with in numerous black genres such as rap, house and swingbeat, only there the sex is the mechanically precise variety, all domineering men and submissive women, gleaming musculature and cool biological fusion and fission. Pulpsex is rather more fumbling and fallible than that. It takes place between streets, not between the sheets.

"I like that sort of thing," admits Jarvis. "It's good for sex to be an event, not always taking place in the same venue. It's better to go on tour, as it were. It's more exciting. Not that I'm one of those people who has to think that they're going to be discovered at any moment shagging in an alleyway, or whatever."

"Anyway," he refers back to the bump 'n' grind style of contemporary sensual poetry, "that's where most pop writing about sex falls down. It becomes like a parody of a man trying to portray himself as God's gift to women, as the greatest stud alive."

Could a white man ever get away with a line like Barry White's "Take off your brassiere, my dear"?

"No, they'd get the piss taken out of them, and rightly so."

As Pulp's popularity increases, so too does Jarvis Cocker's ability to reduce female admirers to paroxysms of pleasure at the sight of his beanpole academic frame or the sound of his lugubrious, deadpan, baritone. Thing is, they're half surrendering to Jarvis, the post-modern Englebert Humperdink (he sends them), and half laughing at themselves for doing so (is he sending himself up?). There is a similarly narrow line in Pulp's songs between the silly and the serious. Could Jarv sing a song about sex with a straight face, or does he usually feel the need to be self-deprecating about it?

"Well," he smiles, "there is always that temptation where sex is concerned to hide the IQ, to pretend you didn't really mean what you said, which is a cop-out. You have to risk looking a bit daft."

Jarvis didn't lose his virginity until he was 19, and he was apparently celibate for several years when he moved down to London from Sheffield at the age of 25 to study film at St Martin's College Of Art. For years, his frustrated lust for lust fuelled his muse. Now he's got a live-in lover, Sarah, who may or may not be the saucy girl from the Menswear party and works in a mental health centre. ("I DJ'ed there once," Jarvis tells me. "I played them lots of Madness records".) Although like all of us he's struggling to keep his coitus explosively interesting while in a steady relationship ("I don't think you can have both at once. Do you know what I mean?" Oh, but I do), he is surely having at least more regular, if not more successful, sex. Is there a direct correlation between Jarvis Having Successful Sex and Jarvis No Longer Being Able To Write Successfully About Sex?

"It depends how you measure success at sex," he says. "There isn't a score card in operation, or anything." I dunno, I got a standing ovation from my girlfriend the other night. "I wouldn't say I was having more successful sex now," Jarvis ignores me. "I might be having more sex but I don't know if it's more successful." But if it was? "Then I'd probably stop writing altogether and concentrate on shagging! If it was that good. I mean," expands Jarvis, grandly, "there is a theory that states that people create Art because they're sublimating their sexual desires in some way, or they have certain feelings of dissatisfaction which drive them to achieve certain things. So if you were really satisfied with sex and life in general, you'd probably just give up creating and concentrate on enjoying yourself."

There are few signs of a satisfied Jarvis Cocker on "Common People", Pulp's anthemic, gigantic new single whose relentlessly intense rhythm and motorik pace recall the demonic, supersonic, electronic mo-mo-momentum of Eno-era Roxy Music, and whose juggernaut keyboard riff and vitriolic sex-geek lyric smack of Elvis Costello at his most deliciously malicious (circa "Lipstick Vogue"). The narrator of this staggering piece of synthesised pop invective relates the story of a girl who wants to slum it for a while by moving into a scuzzy neighbourhood, shopping in scummy grocers and sleeping with common people like...

...Jarvis?

"Sex was never really on the cards, to be honest," says the working-class boy from Intake, Sheffield of the real life incident recalled in "Common People", in which a student from a wealthy Greek family who Jarvis met at St Martin's College outlined her plans to take a brief, vicarious holiday in other people's misery, via El Jarvo himself.

"That was just a bit of poetic license. I only knew her for a matter of weeks, and I only spoke to her a few times, but it stuck in my mind what she was saying, that she wanted to sleep with 'common people like me'."

Did she actually use that line?

"Oh no. She never actually said that to me. It was one of the things that I found quite strange when I moved to London," digresses Jarvis, reminiscing about his formative years as a fully paid-up member of the Weird Teen Club, about his days wearing lederhosen and looking like a bit-part from "The Sound Of Music".

"Because when I lived in Sheffield I was always getting flack off football fans, stuff like, 'F***ing poof'. I was always considered a bit effete. Then suddenly I came down here and, because I spoke with this northern accent, I had this air of slight earthliness. I liked that, because I'd never had it before."

"So yeah," Jarvis returns to the inverted snob-protagonist of "Common People", "maybe she did consider me a bit common." Isn't that Pulp in a nutshell: a blend of the earthly and the effete, the coarse and the camp?

"Maybe, I don't know. That's your job to say that." So you were a bit posh up in Sheffield, and you're a bit rough in London? "Yeah, maybe. Yeah."

Does Jarvis, the alienated wunderkind who has been in Pulp for over half his life, feel more comfortable back home or down here?

"I was thinking about that when we played with Oasis at the Sheffield Arena show, actually," he says, fiddling with a loose fingernail. "At the do afterwards there were loads of people from Manchester and I really enjoyed being there, because I've not socialised in the north for a long time. I've found I get on easier with northerners that I do with people that I meet down here."

Can we extrapolate from this that, perusing a list of his peers, Jarvis would be more at ease with, for example, Oasis that he would, say, Blur?

"I've got more in common with Oasis, yeah. When it comes to something like civilised conversation."

Civilised conversation? Oasis?

"Why not? In fact, the first time I ever spoke to them was when we were all in America and we were trying to get into their show in San Francisco. And we got a message saying, 'You can all come in as long as Jarvis comes onto the bus and talks to us.' So I went on and talked. They were really friendly. Unfortunately, I was in a really depressed state - it was my birthday and I was feeling a bit maudlin - and they probably thought I was a right moron."

Jarvis Cocker meets the brothers Gallagher. The mind truly boggles at this summit encounter between such diametrically opposed aesthetic schools of consciousness. I suppose Noel and Liam were busy swapping lurid tales of birds and booze while poor Jarv was left to ruminate on the shabby nature of existence, or something.

Am I right?

"Not really, no," Jarv casually leaps out of his seat to deposit a bit of nail in the studio bin. "The only real difference," he says, plonking himself back down on his swivel chair, "was that they were talking about shagging birds and I was thinking about shagging birds."

Part Two: Here

[handeaux]

Artists and Models: Lots Of Inuendo But Little Romance Among Cincinnati’s Bohemians

Artists and their models have attracted uncharitable suspicion for centuries. A nude woman behind closed doors with a bohemian man? Fervid imaginations erupted in the form of novels, movies and Broadway shows to insinuate all sorts of hanky-panky.

In Cincinnati, the male gaze was no less intense, though, in typical Midwest fashion, Queen City men indulged in their fantasies vicariously, enlisting disreputable journalists such as Lafcadio Hearn to actually infiltrate a painter’s studio. Hearn’s exposé in the Cincinnati Enquirer [18 October 1874], headlined “Beauty Undraped: What A Wicked Reporter Saw In An Artist’s Studio,” was very much on-brand for our most peculiar scribe. The premise of the article involved a local artist informing Hearn that a “ravishingly beautiful female model” had been procured for a sitting by one of Hearn’s artist acquaintances. Hearn’s source was most likely his pal, artist Henry Farny.

Of course, Hearn cadged an invitation to the atelier and did his best to imitate a student artist or a wealthy patron or both. Inside, while a couple of students sketched on paper tablets, the master daubed a canvas mounted on an easel. Hearn was gobsmacked by his first glimpse of the naked nymph:

“She lay at full length upon a long sofa, unclad and unadorned save by the matchless gifts of nature, her white limbs lightly crossed, both hands clasped over her graceful little head, and her luxurious blonde hair streaming loose beneath her in a river of tawny gold.”

By the close of his brief essay, Hearn was overcome by the vapors and had retired to a convenient divan, cigar dangling from his tremulous lips.

For the artists themselves, nudity was business, just another product line like flowers or landscapes or grandiose portraits of corporate magnates. Posing was also business for the models, and good times yielded fewer models than recessions. The Cincinnati Post [27 March 1907] headlined a report “Prosperity Causes Famine In Models.” The recent boom in business, according to the newspaper, created a scarcity of models because so many other, less demanding, jobs attracted women and men who declined to sit motionless for hours underdressed in a drafty studio.

“All the artists are busy preparing for the spring exhibition, and without models they can’t paint pictures.”

In Cincinnati, only Wilson Russell, who apparently possessed a classic “dad bod,” was committed to posing full-time. Russell was recruited to portray ��Burgomasters and peasants, devils and St. John the Baptist.” His repertoire serves as a reminder that nudity was rarely a necessity in the art world. Cincinnati artists churned out all sorts of subjects, from religious icons to genre scenes, from civic murals to family portraits.

Posing was hard work. The Commercial Tribune recounted the declining career of a once in-demand model who fell asleep while posing and had been ignored by artists ever since. Even a strapping young man was unprepared for the rigors of artistic modeling:

“An artist was lately searching for a youth with a finely developed physique to pose for the figure of a stalwart Roman. After many discouraging efforts, a young athlete was found. He performed feats of strength for the edification of the artist. Notwithstanding his accomplishments, after he had been posing for, perhaps, fifteen minutes he became so fatigued that he gave up in despair. He has not since been seen about the ateliers.”

Sometimes it was the artists who turned models against posing. Arline Haworth, an in-demand model, told the Cincinnati Post [13 November 1903] that women artists were the worst:

“Who wants to pose for women? They open the windows, give you a cold, scold you when you get tired and discuss your weak points most unfeelingly right before your eyes. Those girl students at the Academy won’t paint me, I guess. Not while there is a man artist left in this burg.”

Others found the chores of standing stock-still more appealing. If you look up at the sculptural frieze above the cornice of Memorial Hall, you will see multiple statues of soldiers and sailors, all of them replicating the virile form of James Rollins, known as the “best man-model” in the city. Rollins told the Post [23 February 1909] that years of posing had cured his chronic pleurisy. Rollins posed for painters and sculptors on the side. In his day job, he was a butler for one of Cincinnati’s Blue-Book families.

Cincinnati artists, in their own way, promoted a diversity of subjects. African Americans frequently posed for local painters. Martha Ward, an African American woman, was among the go-to models at the Cincinnati Art Academy for many years before her death in 1904.

Native American models also enjoyed artistic favor, especially for Henry Farny and his Fourth Street colleagues Joseph Henry Sharp and John Hauser. Farny was particularly attached to a Sioux tribesman known locally as Indian Joe, but among his people as Ogallala Fire. Farny got his friend a job as janitor at the Cincinnati Art Club on Fourth Street. The Art Club offered generous flextime and Ogallala Fire could take off for weeks at a time if a decent vaudeville gig came around.

Modeling was among the routes followed by young folks, mostly women, to careers on stage or in films. One of the ingenues discovered by the Cincinnati art crowd was Autumn Sims, who left small-town Indiana for the lures of Cincinnati’s Fourth Street, where she was proclaimed the “ideal type of American beauty.” Throughout the 1920s, in addition to gracing the downtown studios and the Art Academy classrooms, Miss Sims parlayed her good looks into a handful of film roles and prominent placement in a couple of magazine advertisements for cosmetics.

Cincinnati had some scandalous models, such as Elizabeth McCombs, who graced hundreds of life-sized posters advertising Cincinnati’s Fall Festival. Miss McCombs had the eye of many Cincinnati artists, but she also acquired a taste for beer and for the better things in life. She was pursued by a German baron, who decided that money was more important than beauty and transferred his affections to a Cincinnati heiress. When the police raided an after-hours saloon on Liberty Street, Miss McCombs was hauled into court and attempted to disguise herself but everyone in the courtroom knew her on sight.

Although they continually complained about the dearth of women models, Cincinnati artists were not desperate enough to hire just any young thing who strolled through the door. Farny told the Post [1b August 1904] about one such applicant who wandered in from deep in Kentucky, drawn by the allure of romance. To quote Farny:

“She was a six-foot, slab-sided woman with a face like half-ripe blackberries, and sunburnt hair, twisted in a hard, tight knot at the back of her pear-shaped head.”

The applicant refused Farny’s offer of a position as a cleaning lady, her head full of the romance she had read about in some dime novel or unsavory magazine.

Other applicants were more warmly received, although some were considerably timid about the prospect of that romantic stuff. The Post [11 July 1907] reported the arrival of a young woman, identified by the pseudonym “Miss Peachblossom” at the “Little Bohemia” on the top floor of the Harrison Building on Fourth Street. It was summer and female models were nonexistent in Cincinnati, so when she knocked on the door of David Rosenthal, she was immediately admitted and offered an opportunity to sit the very next day. She appeared promptly on time, in the company of her mother and a maiden aunt, who sat on either side of the model while the artist painted, determined that Miss Peachblossom would be exposed to as little romance as was humanly possible.

[gt-icons]

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[burlveneer-music]

Alice Russell - I Am - new album has been a long time coming (11 years)

Alice Russell is universally acclaimed as one of the best modern soul voices of our time, while her raw talent and charisma commands attention and affection. The much-loved British soulstress returns with the most personal album of her career, 'I Am' is vulnerable and bold, while addressing how we must all work on ourselves to heal – so that we can love and connect with those and the world around us more honestly and deeply. Life, loss and grief have been a central part of this period and a new approach to creating music: “Two little ones have joined me, and one has left - my Dad passed away the summer after ‘To Dust’ was released. The day after my Dad’s funeral, I found out I was pregnant with my first little one.” Alice continues: “The grief journey has cracked me open and created a more urgent need to be focused and try to go deeper with how I communicate creatively and who I AM today, and I welcome it with open arms”. Written and produced alongside long-time collaborator TM Juke, 'I Am' is the first offering of new music from the iconic singer in over a decade and marks a new era in the remarkable career of the down-to-earth vocal powerhouse. In summer 2023 Alice graced the main stage of Gilles Peterson’s We Out Here, supported Nile Rogers and performed as part of a tribute to Aretha Franklin across France, marking her return to the stage, where she belongs.

[ncutigatwafans]

Ncuti Gatwa made the top of The List Hot 100 - a list celebrating the 100 most important cultural contributors in Scotland in 2022

The article reads: You may know him as the gregarious Eric Effiong in Netflix's 'Sex Education' or perhaps as the next incarnation of the legendary Time Lord, but Ncuti Gatwa is aslo a proud Scot, with his performing roots deeply embedded in Edinburgh, Glasgow and Fife.

'My Dad was studying at Edinburgh University so I grew up in Black Avenue, which was like accommodation for international families because we had just come from Rwanda.' But it was a move to Fife at the age of 14 that started Gatwa's love affair with performing. 'My drama teacher at Dunfermline High School was like, you really. need to consider going to the Royal Conservatoire. And she gave me David Tennant's Hamlet and said "watch this. This is an actor." I was like "oh my God".' What, then, could more full circle than him stepping into his shoes at the next Doctor Who? 

In September, the BBC broke the news that Gatwa would be taking on this iconic role, making him the first ever Black actor (and fourth Scot) to do so in the shows' 59-year history. 'I've known since about February so it's been tricky keeping this under wraps: I have a very big mouth!' he said on the red carpet folowing the announcement. 'But it's a true honour. This role is an insitution. It means a lot to so many people, including myself. It makes everyone feel seen as well.'

Reflecting on the casting process, Gatwa recalls 'prepping for the role of the Doctor and watching all the episodes again and watching Russell T Davies and David [Tennant]'s work. I was overcome with the need to get the job! I was like "I want to work with Russel". His writing is so clever. I just feel very honoured that he saw something in me that he likes. He's going to take me to the universe, around the stars and galaxies.'

Gatwa may be over the moon now, but the road to get here was rough. While relentlessly attending auditions in London, Gatwa found hmself homeless for several months before one booking would change his life forever. 'It was turbulent, you know? But I feel so grateful that Sex Education came into my life.' A month after its release in 2019, the first season had been streamed over 40 million times, shooting its stars to international fame overnight. 'In this streaming age, a show drops across 150 countries in a second so it took a long time to figure out what the hell was going on in my life. I'd be in Tesco and someone would ask for a selfie and I'd have no idea why!' 

Three seasons in, he still has a lot of love for Sex Education and Eric, a character he's lifted with side-splitting one-liners such as 'you detty pig'. But how does he find returning to Moordale High? 'Playing a teenager, especially as a 30-year-old man, is getting trickier as the days go on, let me tell you,' he cackles. 'But it's lovely to return to that cast. They are like my children.' 

Among these co-stars is Emma Mackey who will appear alongside Gatwa in Greta Gerwig's upcoming Barbie. 'I remember the casting director telling me "Greta's seen your tape and she really likes it". Well, that wasn't good enough', he deadpans. 'No stone must be left unturned! So I did about tne other takes and like "SEND THEM ALL TO GRETA!" His tenacity paid off and he now describes Gerwig as 'a creative kindred spirit'. 

Gatwa finds himself on the brink of A-list stardom, his strong grasp of what's important shows grace and conviction. 'It's just about learning to be really grateful,' he insists. 'And also to take the work seriously but not yourself seriously. It's an amazing job that we get to do but it is just a job. I'm slowly learning how to take it in my stride.'

[cagliostrohq]

Hello! I've been lurking but there's so many taken faces that i'm blanking on who to bring. What are your mw fcs that could fit an alchemist?

Fear not, anon! We've got you covered with a list of amazing faceclaims still available for the taking: Tenoch Huerta, Taylor Russel, Alba Flores, Winona Ryder, Dewanda Wise, Joy Sunday, Adria Arjona, Anna Lambe, Davika Hoorne, Madeline Madden, Courtney Eaton, Sasha Lane, Amber Midthunder, Ashley Moore, Chase Sui Wonders, Steven Yeun, Coty Comacho, Quannah Chasinghorse, Lauren Ridloff, Khadija Red Thunder, Kiowa Gordan, Emma D'Arcy, Morgan Holmstrom, Hari Nef, Star Slade, Quintessa Swindell, Priscilla Quintana, Simone Ashley, Rege Jean Page, Zion Moreno, Joe Keery, Ismael Cruz Cordova, Teyonah Parris, Debora Nascimento, Taís Araújo, Anya Chalotra, Poppy Liu, Savannah Lee Smith, Jamie Campbell Bower, Brianne Tju, Kathryn Bernardo, Evan Mock, Henry Golding, Jan Luis Castellanos, Angel Bismark Curiel, MJ Rodriguez, Jacqueline Sato, Rosé, Josie Totah, Maddison Jaizani, Karreuche Tran, Kiernan Shipka, Justice Smith, Lana Condor, Luka Sabbat, Aisha Dee, Rahul Kohli, Sofia Bryant, Stephanie Beatriz, Boun Noppanut Guntachai, Alex Meraz, Anna Diop, Chay Suede, Go Minsi, Michaela Coel, Jesse James Keitel, Jung Hoeyeon, Antionette Robertson, Cierra Ramirez, Grace Dove, Laura Harrier, Manny Jacinto, Sen Mitsuji, Aida Osman, Charlie Heaton, Michael B. Jordan, Tom Hardy, Omar Sy, Lizeth Selene, Charles Michael Davis, Mark Mckenna, Maya Hawke, Natalia Dyer, and Win Metawin!

We tried to focus on those with an abundance of resources, but also feel free to bring in your favorite, underused FCs regardless of how many gifs or icons they have! They're not necessary in order to have fun here! :D

[wildernessfm]

𝐀𝐍𝐎𝐍𝐘𝐌𝐎𝐔𝐒 𝐒𝐄𝐍𝐓: i'm hoping you could answer something for me. with regard to finding matching "younger + older" fcs, i feel like it's particularly hard for bipoc? for instance, i'd love to bring an indigenous fc like tanaya beatty or grace dove, but finding a "younger" fc to match would be virtually impossible, as mixing and matching nations wouldn't be appropriate. does that mean these fcs just cannot be survivors at all? i'd also like to bring to light that some of the fcs & their older counterparts aren't appropriate matches. ( danielle rose russell, for example, as a younger version of emmy rossum --- emmy is jewish and it's important not to erase her jewish heritage. ) i liked the idea of this group, but it really does not seem like a diverse environment or set up to promote fcoc, especially considering there are so few characters of color. this isn't meant as a "call out" or anything either, but i'd just like to point out that by virtue of the system of using both a "younger + older" fc, many poc & especially bipoc will be left out, and i hope that will be considered.

i wasn't sure how to answer this, hence the long wait an i apologise for that !! let me start by saying thank you for reaching out in what is one of the kindest ways i've seen something approached, i've seen so many rps faced with brutal anons !! i want to address first that the younger + older fcs is the least important part of this roleplay, when in creation it was simply a fun little gimmick to play with to distinguish between past threads and current time threads, our focus is on the current muses more than anything and therefore our activity reflects that by only accepting one past in character thread per timeframe as activity. i understand the predicament you face and i would love to see both fcs in our group, and mix matching is completely not okay, i want to be frank and state survivors do not need a younger fc. as i said it was a fun little quirk that brought something different, it stemmed from the show itself and i love the option to play around, but again, i would much rather have the elder muse be the fc you focus on and use, rather than the younger, whether you use the same gifs for your younger threads, or icons to distinguish what time frame is who, etc. diversity is important and i will stand by that one hundred percent and as i said i can understand completely what you're saying. as a side note, i actually wasn't aware emmy was jewish and i fell wayside, i have now reached out the writer to rectify this. i'll be making some changes to the app page in regards to the younger fc option !! i hope this can ease your worries in regards to diversity, as previously it was stated if the ratio continued as is, a restriction on non poc survivors would be put into effect.

[newmusicradionetwork]

In a time of growing conflict and division in the U.S., singer-songwriter Camille Harrison offers an expressive and elegant rendition of the iconic song “America The Beautiful.” Camille’s version reminds us of the beauty that exists in our country and among its people—encouraging unity, respect, and compassion, despite our differences. As an accomplished adult contemporary singer-songwriter, Camille has graced the stage with legends like Hank Williams, Jr., and Dolly Parton, and recorded with the renowned Floyd Cramer at RCA Studios in Nashville. Known for her versatility across genres including jazz, traditional pop, and country, Camille also penned the Top 40 Billboard hit “Standing Still” for The Clark Family Experience and contributed to the soundtrack of The Prince of Egypt. “My intention for recording ‘America, the Beautiful’ is with this year being an election year in the U.S.,” Camille says, “there will be, and is a lot of disagreement and discord, to say the least. I wanted to remind us to remember to see the beauty in America, as well as in our friends and neighbors. To be mindful of how we can keep encouraging each other instead of losing friendships or making enemies by having different beliefs, and to keep America beautiful and safe. I wanted to think of how I could contribute to that, and for me, it’s pretty much always music. Creating something new and uplifting out of something classic was my goal.” In her rendition, Camille honors not only the country’s landscape but also those who have sacrificed for its freedom. “I wanted to honor those who paid the ultimate price and fought for our freedom. By having mercy and faithfulness to their families, the memories of their loved ones are honored in our renditions of this piece of music. Starting with bass and acoustic guitar by Kerry Marx, I added keys and percussion with Jeffrey Roach and Gary Prim, edited by Brian Willis, and throughout the additions I sang lead and whole lotta vocal parts in my home, later mixed by Clarke Schleicher. The record cover design is a photo taken from a photo session with the late Rusty Russell. Drawing on the original lyrics written by Katherine Lee Bates, Camille reflects on the song’s origins around September 11 and the election year. “Having spent a good bit of time writing songs, I also think about where songs come from. As a country facing a fork in the road, it seems to me it’s a good time to reflect on where we as a country come from. To remain on the side of wisdom and light, we want to appreciate the bright blue sunny spacious skies, embrace the falling rain, and stand amazed by our majestic mountains that lyricist Katherine Lee Bates wrote of the sights she saw on a train to Colorado Springs, Colorado, and remain in awe of the powerful and relentless oceans from the Atlantic Ocean to the Pacific Ocean.” Camille adds, “How do we continue to stretch and extend the beauty of our country around the world? Just as the memorable tune came to organist and choir director Samuel Ward while he was on a ferry boat trip from Coney Island back to his home in New York City, we too can make the music made in the US reach around the world.” As Camille’s version delightfully captures, there is a profound need to appreciate the unity of our nation amidst current challenges. “There’s so much war and strife. Now is the time to open our hearts, make peace with one another, and move forward together” she adds. Through this, her intention is to inspire a sense of togetherness and respect, encouraging us all to focus on the common ground that binds us. For more information and to connect with Camille Harrison, please visit Website, Instagram, Facebook, YouTube, Spotify , Apple Music, and Amazon Music. To schedule an interview or for more information, contact Dead Horse Branding at the following: Danielle Reiss Dead Horse Branding publicity@deadhb.com Phone: (949) 421-9787 About Camille Harrison Camille Harrison, an American singer-songwriter, hails from the country music capital of Nashville, Tennessee, and has also spent time in the vibrant musical hub of Memphis, Tennessee. Her natural talent for singing was evident from an early age, nurtured by performing in country music jamborees produced by her father, and singing church and classical pieces with her mother, a classical pianist. Music was woven into the fabric of Camille’s life from the very beginning. She developed a profound connection to it during her early years and credits her parents as her greatest influences. As a child, she studied piano and would sing every day after school, inspired by artists like Dolly Parton, Barbra Streisand, Frank Sinatra, Olivia Newton-John, Ella Fitzgerald, Rickie Lee Jones, and Hank Williams, Jr. Her experiences as a state champion gymnast at age 12 and an award-winning dancer taught her the importance of discipline and striving for excellence to achieve her dreams. By the time Camille was twenty, her professional music career was on a fast track. She performed at numerous prestigious venues, including Mid-South Concerts, Memphis Country Jubilee, Millington Navy Base, the Orpheum, Mid-South Coliseum, and Beale Street nightspots. She headlined the Memphis Symphony Orchestra’s Sunset Symphony and Memphis in May Festivals for three consecutive years, toured Italy, and opened for legendary artists like Hank Williams, Jr., Conway Twitty, Dottie West, and Dolly Parton. Her role as Mabel in Pirates of Penzance deepened her appreciation for a wide range of musical genres. Her early recordings with pianist and producer Floyd Cramer at the iconic RCA Studios in Nashville led to her being featured in People Magazine. Carl Perkins, who happened to walk by the studio while Camille was recording, famously remarked, “Let that girl sing, and I predict she’ll soon be ‘Miss Camille,’ just like Dolly Parton is Miss Dolly.” During this time, Camille had offers to pursue classical music through vocal scholarships, but her passion for contemporary pop, jazz, and country music prevailed. She earned a BS in Music with an emphasis in jazz and invested in a home studio to continue writing, recording, and performing. Throughout college, she also mentored youth and participated in organizations like Young Life and Kanakuk Kanakomo Sports Camp. After returning to Nashville, she quickly established herself as a session singer and performer at popular venues like Douglas Corner and Merchants. Camille has produced numerous solo records and has written and co-written a wide array of songs. Her works include a singer-songwriter album When it Comes to Love, a traditional jazz album The Big Parade, the semi-classical Christian piece When God Did Children Make, and The Jelly Bean Jar. She also co-wrote the Top 40 Billboard hit Standing Still by The Clark Family Experience. Camille has lent her voice to many recording sessions, including The Prince of Egypt soundtrack, and was the featured female singer on Hank Williams, Jr.’s The Blues Man for The Songs of Hank, Jr. She has worked with artists like Chris LeDoux on One Road Man, and worked as a staff songwriter for Warner Chappell and others, earning accolades from organizations like the Memphis Songwriters Association. Notably, she has co-written songs with legendary songwriter Merle Kilgore, known for Ring of Fire. About Dead Horse Branding Dead Horse Branding is an award-winning public relations, management and branding agency with headquarters in both Nashville, TN, and Sydney, Australia. Dead Horse Branding creates, designs, and refines each component of a brand, ensuring that the brand will always hit the right chord on every level. Dead Horse Branding’s business model is a cutting-edge management and branding service all-in-house that spans multiple industries, including music, fashion, design, business, culinary, entertainment, fitness, and more. There are 7 primary formulas to branding and Dead Horse does them all under one roof, making them a very competitive branding agency. Branding is an identity developed through our DH7 branding formula, which includes: strategic planning, logo and image design, photography and visual assets, website design, marketing and social media, publicity, licensing, and distribution. Dead Horse Branding’s brand-building technique has been implemented into the education system in the USA and Australia. Rick Caballo and Melissa Core-Caballo were instrumental in helping to lead Kennesaw State University’s Joel A. Katz Music and Entertainment Business program (MEBUS) as one of top curriculums ranked by Billboard Magazine 2022. Baha Men, LOVING MARY (Steven Tyler’s solo band), Cyndi Lauper, Hachette Book Group, Simon and Schuster, Bo Diddley Estate, HENDRIX Music Academy, Grammy Winning Mark O’Connor Band, Universal Music Group, MTSU, Sony Music, ACPI Group, Interior Designer Kathy Anderson, Gigi Butler of Gigi Cupcakes, TEDx, NAMM, Songwriting University, Marc Jordan, Music Producer Tony Brown, Jayne Denham, Average Joes Entertainment, Music Expo, Joel A. Katz MEBUS Program, The Today Show, Lionsgate, and Hallmark are some of the brands we have had the pleasure of working within the USA and internationally. Visit deadhorsebranding.com for more information! Read the full article