#james b. kelly

[sesiondemadrugada]

Outrageous! (Richard Benner, 1977).

[ifuckinglovelemondemon-srs]

You know a characther is fucked up and traumatized when they are wearing one of these

Edit: half of this characther were put against my will

Edit 2: i reached the fucking tag limit

[valkyrieromanoff]

𝑰'𝒎 𝒈𝒐𝒏𝒏𝒂 𝒌𝒆𝒆𝒑 𝒐𝒏 𝒅𝒂𝒏𝒄𝒊𝒏𝒈 𝒂𝒕 𝒕𝒉𝒆 𝑷𝒊𝒏𝒌 𝑷𝒐𝒏𝒚 𝑪𝒍𝒖𝒃

🎀𝑴𝒂𝒔𝒕𝒆𝒓𝒍𝒊𝒔𝒕 🎀

↳ HAYDEN CHRISTENSEN’S CHARACTERS

✦ HAYDEN CHRISTENSEN: BEACH DAY

✦ 🎀CO-STAR HAYDEN CHRISTENSEN HEADCANONS

✦ 🎀CO-STAR HAYDEN CHRISTENSEN: SHARING PLEASURE

✦ JAMES KELLY IMAGINE: THE MECHANIC AND THE SPOILED PRINCESS

✦ NEW YEAR'S RESOLUTION: JAMES KELLY X YOU

✦ BED CHEM (18+): JAMES KELLY X READER

✦ LOVE BITES: ANAKIN SKYWALKER

✦ CARE AFTER THE MISSION: ANAKIN SKYWALKER X F! READER

✦ DUTY BE DAMNED: ANAKIN X READER

✦ IN THE SHOWER: ANAKIN X READER

✦ ONLY ONE BED: AOTC ANAKIN X READER

✦ ONLY BEGINNING: ANAKIN X READER

✦ PIZZA TIME: ANAKIN SKYWALKER X READER

✦ WITHDRAWAL: ANAKIN X READER

✦ PINKY PROMISE: ANAKIN x READER

✦ GOOD BOY: SUB! ANAKIN X F! READER

✦BAD IDEIA RIGHT?: MASTER!ANAKIN X PADAWAN!READER

✦ WRAP ME UP: DILF!ANAKIN X YOU

✦ GOD BLESS YOUR DAD'S GENETICS: DILF! ANAKIN X SON'S GIRLFRIEND!READER

✦ SANTA'S PHOTO: SAM MONROE X YOU

✦ HAVE YOU TRIED THIS ONE?: SAM MONROE X YOU

✦ SANTA DOESN'T KNOW LIKE I DO: DON PIPER X YOU

✦ MOANIN' AND BITCHIN': SCOTT BARRINGER X YOU

↳ MICHAEL B JORDAN

✦ CASTING

↳ PEDRO PASCAL (+ CHARACTERS)

✦ INTERVIEW

✦ IMAGINE PEDRO PASCAL X ACTRESS!READER

✦ PEDRO PASCAL X ACTRESS! READER

✦ GUESS THE LINE: PEDRO PASCAL x ACTRESS! READER

✦ LAST HOPE - JOEL MILLER X READER

↳ BAD BATCH

✦ SLEEPING NEXT TO THE BATCH BATCH

✦ HOW BAD BATCH WOULD REACT IF YOU KISS THEIR NOSE?

✦ BAD BATCH: HEADCANON ABOUT A KARAOKE NIGHT

✦  5 TIMES YOU INNOCENTLY SAT ON HUNTER'S LAP (PLUS 1 YOU DIDN'T)

↳ REQUESTS

✦ BABY, IT'S COLD OUTSIDE: ANAKIN X READER

✦ 'SOKA: CAPTAIN REX X AHSOKA TANO

✦ PREMATURE EJACULATION

✦ 🎀CO-STAR HAYDEN CHRISTENSEN: SEX SCENE

↳ MASTERLIST: 31 DAYS OF SPOOKY ONESHOTS

[thehauntedrocket]

Vintage Paperback - Daystar And Shadow by James B. Johnson (1981)

Art Ken W. Kelly

DAW Books

[iminmypeace]

[dweemeister]

The Strawberry Blonde (1941)

During the height of the Old Hollywood Studio System – when studios themselves contracted directors, actors, writers, and other craftspersons – Warner Bros. found its niche as the “dark” studio. Warners might not have invented the gangster picture, but they codified its archetypes and tropes, becoming synonymous with the subgenre. In the early 1940s, director Raoul Walsh (a film noir pioneer; 1940’s They Drive by Night and 1941’s High Sierra) was nearing the peak of his career and actor James Cagney (1938’s Angels with Dirty Faces, 1949’s White Heat) was perhaps Warners’ most bankable star. Walsh was known for his proto-noir works and crime dramas; Cagney arguably the era’s definitive gangster actor. By 1941, both needed something different to work with.

Adapted by brothers Julius J. and Philip G. Epstein from James Hagan’s pastoral stage play One Sunday Afternoon, The Strawberry Blonde was exactly what both men sought. The Strawberry Blonde – often billed as a romantic comedy because it is a much lighter adaptation than 1933’s One Sunday Afternoon (starring Gary Cooper and Fay Wray) – is a celebration of simple, unadorned love. Though not a gag-a-minute comedy, Walsh’s uncharacteristic film shines through the performances from Cagney and especially Olivia de Havilland (three years removed from The Adventures of Robin Hood and two from Gone with the Wind). It is a joyous and nostalgic production; perhaps it should be no wonder it was a career favorite film for Walsh and a highlight for Cagney.

The Strawberry Blonde occupies two time periods. The film is set in New York City sometime in the late nineteen aughts or early 1910s, but primarily told through flashback during the late 1890s. In the flashback, Biff Grimes (James Cagney) aspires to become a dentist and yearns for a strawberry blonde socialite named Virginia Brush (Rita Hayworth; whose singing voice is, in a fleeting scene, not dubbed for the only time in her career). Along with his buddy and soon-to-be business partner, Hugo Barnstead (Jack Carson), they go on a messy double date with Virginia and her friend, the nurse and suffragist-leaning Amy Lind (Olivia de Havilland). Upon first impressions, Biff considers Amy to be the less attractive, amusing, and sociable girl. When fate – or, more precisely, Hugo’s duplicity – intervenes, Biff and Amy find love together and marry. While Biff begins studying for a dentistry diploma by mail correspondence, the two navigate financial and personal travails. Despite the marriage, Biff harbors a stewing resentment towards Hugo and a lingering covetousness towards Virginia apparent in the film’s bookends.

Among the bit players are Alan Hale as Biff’s father; George Tobias as Biff’s and Amy’s Greek immigrant friend, Nicholas Pappalas; Una O’Connor as Mrs. Mulcahey; and George Reeves (a future television Superman) as a belligerent, loudmouth, mustachioed college man who – due to his sweater – I choose to believe is from Yale. The four actors listed here, all Warner Bros. contractees at the time, each have their memorable moments.

The Strawberry Blonde serves as a memorialization to the time of Walsh and Cagney’s upbringing, similar to Vincente Minnelli’s Meet Me in St. Louis (1944) at Metro-Goldwyn-Mayer (MGM) and, if one wants to draw a modern throughline, the Duffer Brothers’ Stranger Things. In many ways, the film also feels like a musical. There are numerous diegetic performances of songs – whether by our central cast or a band – popular during the turn of the century. “The Band Played On” (from which the film derives its title; “Casey would waltz with a strawberry blonde / and the band played on”), “Bill Bailey”, “The Fountain in the Park”, “Meet Me in St. Louis”, “Wait ‘Till the Sun Shines, Nellie”, and much more fill the soundtrack. Composer Heinz Roemheld’s (1942’s Yankee Doodle Dandy, 1947’s The Lady from Shanghai) work adapts many of these songs into a boisterous, energetic score. Roemheld knows when to dial his orchestra back during the film’s most intimate scenes, but this wall-to-wall score evokes the period. Ostensibly, according to the screenplay, it was a time of romantic walks and live music performances in almost all social settings. In a sense, these decisions make The Strawberry Blonde into a sort of half-musical.

With his most recent movie being the film noir High Sierra (1941) with Ida Lupino and Humphrey Bogart, the transition from a largely outdoors-set crime drama to interior-heavy romantic comedy nevertheless suited Walsh. Walsh receives immeasurable help from one of the best cinematographers ever in James Wong Howe (1941’s Abe Lincoln in Illinois, 1963’s Hud). Howe’s signature high-contrast, low key lighting – generally associated with film noir – is not present much in The Strawberry Blonde. But what Walsh and Howe accomplish is making a bygone decade contemporary again. Outside the film’s romantic scenes including Cagney and de Havilland or Cagney and Hayworth, the film’s frames overflow with activity. With masterful use of blocking and mise en scène in these moments, Walsh and Howe’s frames are always dynamic, moving – but not swooping – alongside masses of extras and supporting characters rather than staying put, as if taking still photography. A static camera during Biff’s dates out on town would immediately render The Strawberry Blonde as a dusty artifact, a creaky throwback. Stationary cinematography has its uses when there are plenty of actors on-screen, but such a decision would make this remake too much like its 1930s original. Instead, in conjunction with Orry-Kelly’s (1951’s An American in Paris, 1959’s Some Like It Hot) outstanding costume design, the past leaps out of the history books and memories to be present again.

The notable instances in which Walsh and Howe keep their camera as rigid as possible are when Biff finds himself at the park bench where he and Amy first met. The set for the park also happens to be art director Robert M. Haas’ (1941’s The Maltese Falcon, 1949’s The Inspector General) plainest craftsmanship in the entire film. These scenes are the most obviously soundstage-bound moments – the too-perfect grass, the flatness, and lack of discernible lighting – despite the extras strolling in the deep background. The Strawberry Blonde’s park scenes mark the beginning and the renewal of Biff and Amy’s relationship, rendering them arguably the romantic highlights of the film. The contrast from these scenes to places such as the beer garden, the Central Park Zoo, or the Statue of Liberty make them the least “present” of the film. Some viewers less experienced in Old Hollywood (or those who, wrongfully, dismiss the style altogether) might complain about the obvious artifice in those park bench scenes with Biff and Amy, but my goodness does the aesthetic contrast make one take notice. Not only that, but the Epstein brothers’ dialogue for Cagney and de Havilland here is gently funny, and filled with warmth.

James Cagney, with his vaudeville background, was known for his physically exaggerated performances that nevertheless maintained a raw emotional core. That works to his benefit throughout The Strawberry Blonde, in which the character of Biff often sounds calm and measured, but his words bely fearfulness and bitterness. Despite the tough-guy gangster persona he often played in Warners’ gangster pictures, there are shades of Cagney’s later performance as George M. Cohan in Yankee Doodle Dandy here. Look at the grace in his dancing at the beer garden, a seemingly spontaneous cartwheel upon learning wonderful news, and how he putters about restlessly when conversing with Amy for the first time while expecting Virginia to show up. But also notice his weariness during the film’s bookends, how he accepts – but does not despair about – his station in life.

Olivia de Havilland is Cagney’s equal in this film, and a great foil to Rita Hayworth (whose character of Virginia is depicted as more conventionally attractive, but possesses a casual cruelty and vanity that gradually reveals itself). A middle-class nurse is an unusual role for an actress known at the time for mostly playing rich women and/or Errol Flynn’s love interest in swashbucklers or Westerns. As Amy, de Havilland curiously receives two “introductory” scenes in the film – both radically different from the other in storytelling function, reflecting the rarity of a second first impression and Biff’s tendency to see only surface details. Seemingly reserved but playful when she wishes to be, de Havilland’s Amy is an absolute delight of a character from the moment she appears. One crucial moment late in the film – in which Biff is dancing around an implied truth so that he can soften the blow for Amy – is heartbreaking acting from both. De Havilland’s movement and her glance outside the window in that scene epitomizes the agony in that moment. Knowing both actors’ resumes, I initially came into The Strawberry Blonde thinking that, on paper, Cagney and de Havilland would be a romantic mismatch. What a happy surprise it is to be completely wrong.

Unlike contemporary films that might take a nostalgic trip to a decade like the 1970s, ‘80s, or ‘90s, The Strawberry Blonde feels, at times, truly transporting. The incredible attention to visual details and especially the diegetic music (too often those newer nostalgia-driven movies resort to pin drops of non-diegetic music) help immensely. Though the film suggests an immigrant experience that would have been appropriate for turn-of-the-century New York, The Strawberry Blonde declines to say more about it – most likely a result of the original source material (“pickaninny”, a derogatory term that refers to black or dark-skinned children, is casually used in a song’s lyric).

At the center of this rich period detail lies an honest love between two people flowing through life’s currents. Sometimes their love is troubled with melodramatics, but they find ways to comfort and help the other with humor and goodness. Sure, it can be sentimental stuff. But it endures an upsettingly difficult test. The Strawberry Blonde has no designs to being other than a sincere love story and a fond lookback of another time. As such, it triumphs – with just one more chorus of “The Band Played On”, if you please.

My rating: 7.5/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL). Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[thenerdsofcolor]

A Los Angeles Theatre Review: 'Unbroken Blossoms'

There is a sense of tragedy to acknowledge that whenever there is progress made with any given historically underrepresented community in the United States, history always finds a way to repeat itself. Are we doomed to keep repeating that cycle? Such is the question presented in the East West Players production of Unbroken Blossoms, a world premiere play written by Philip W. Chung and directed by…

[ruleof3bobby]

COHERENCE (2013) Grade: B-

Felt like a classic sci-fi plot, like a classic Star Trek episode, just a level darker. Clever twist and ending. Got a little slow in the 2nd act. It's low budget but well produced.

[natalievoncatte]

“Today?” Kara said, “really?”

There was a silence in the house, as a pall had fallen over it. Everyone was gathered for the festivities and the turkey in the oven was filling the house with a delightful scent that made Lena’s mouth water. Thanksgiving was supposed to be the one day that Lena could forget about her waistline and just indulge herself. She’d been “helping” Eliza along with Alex and Kelly and Nia while the boys and Kara were out back tossing a football and pretending that she and J’onn didn’t have an outrageous advantage over Brainy and James.

Now Kara was standing in the living room as the news broke in over the football game and announced that a rampaging alien was tearing apart Rio de Janiero.

“Guys,” Kara said solemnly, “I have to go.”

Lena’s heart sank. She knew better than to protest. Kara had already glumly removed her glasses and was about to go grab her suit. Lena reached out and curled a hand around her bicep.

“Please be careful, darling.”

Lena could feel eyes on her back, Eliza and Alex and Nia all watching, silently urging one of them to just finally make a damned move. Lena *lived with her*, for God’s sake, and had since she sold her penthouse. They shared breakfasts and Kara gave her foot rubs and still they were stuck in this maddening limbo without defining what and who they were and it seemed neither dared to ask.

Lena knew what she wanted the answer to be, and how it ached inside her.

Kara glumly trudged down the stairs in full Supergirl regalia, regal and imposing as ever and just as beautiful. Since she’d revealed her identity to the world she’d been freed from the constraints of having to disguise herself, and a few months ago had buzzed the left side of her head, having trimmed the rest to shoulder length, and Lena longed to run her fingers over the fuzz.

She’d also altered her suit again. It no longer had sleeves. Every time Lena saw her, it felt like her soul was going to escape her body.

Kara came over and put her hands on Lena’s arms.

“I’ll be fine,” she said.

Lena gulped down her anxiety.

“I can hear your heart, you know.”

“Just be careful. Please.”

Kara started to turn. Maybe it was the audience, maybe she was just tired of being mired in this thick tension between them. Maybe it was the wine. She grabbed Kara’s arm again and sprang forward to brush her lips against Kara’s cheek, dangerously close to Kara’s mouth.

“For luck.”

Kara’s eyes flew open wide and she gaped at Lena.

“I’ll be b-back,” she said, and swept out the door, cape billowing majestically.

God how Lena hated that cape, sometimes. It blocked the view.

What had been a festive gathering grew quiet. Everyone gathered around the television to see what was going on, save Eliza who politely excused herself to the kitchen, hiding tears that everyone politely ignored.

Lena joined her. She was making the gravy.

“A life of fighting isn’t what I wanted for her,” she said.

“Me either.”

They were alone in the kitchen and Eliza was whisking a roux as she waited for the raw flour smell to cook off.

“Lena, do you have feelings for my daughter?”

Lena swallowed hard, grabbing a knife to chop carrots for glazing so that she’d have something to occupy your hands.

Eliza’s voice was soft, something wistful in her eyes. “You must know how she feels about you.”

Lena had to stop to avoid slicing open her finger, almost feeling the touch of the blade. She cleared her throat.

“I do,” she admitted. “I very much do. If I’m going to be honest with myself, I’ve been in love with her for years.”

Eliza nodded, utterly unsurprised. “Kara is very hesitant about delicate things. When she first started living with us, she used to rip doorknobs off and break things at random while she learned to control her powers. She’s probably told you about Streaky.”

“She has.”

Eliza began pouring stock into the pot, her whisk making soft scraping sounds.

“She’s still that way about everything. Afraid if she pushes too hard, she’ll break something.”

Lena nodded. It was at that moment that Alex stormed into the kitchen. “She’s back.”

Immediately, Lena rushed out into the living room. Kara trudged through the door, and sighed.

“He got a few good hits in but he’s contained.”

Lena could only stare. Her suit was covered in scorch marks and even worse, Kara was bruised, her knuckles especially battered. She smiled weakly.

“I just need a minute to clean up.”

With a deep sigh, Kara turned and headed upstairs.

Lena could feel the eyes on her before she glanced back. Eliza motioned a silent “Go”, and Lena went.

She knocked at the bathroom door.

“Lena?” said Kara.

She always knew. Super-senses.

“It’s me. Can I come in?”

Brief hesitation, then, “yes.”

Lena stepped inside and closed the door. Kara was washing her hands, the injuries already vanishing. Lena didn’t care. She took Kara’s hands anyway, gently washing them under warm water.

She then fumbled at the clasps and unhooked Kara’s cape, and folded it. It was surprisingly heavy, made of a dense material from her long lost home. Setting it aside, she rested her hand against Kara’s deliciously broad back, silently waiting for permission.

“Go ahead,” Kara said in a shaky voice.

Lena freed the tab of the hidden zipper and pulled, baring Kara’s expansive muscular back, and peeled the suit away from her shoulders. Kara had nothing but a sports bra and boxer briefs on beneath. She finished shimmying out of the suit on her own.

Lena has seen Kara in bathing suits, or caught flashes of her changing, but this was different, somehow more intimate. There was a vulnerability, not just in the woman disrobing but in the goddess showing Lena her bruises. Lena gently touched a black and purple mark on Kara’s flank.

“This one hurt, didn’t it.”

“It always hurts. I can feel it, I just pretend I don’t.”

Lena looked up at her and met her gaze.

“Kara, may I kiss you?”

Kara blinked and Lena could actually feel her tremble.

“Yes,” she breathed.

Lena rose on her tiptoes and pressed their lips together very softly, with a deliberate slowness. When Kara kissed her back and pulled her into a delicate embrace, hands bracketed low on her hips, Lena felt like she could fly.

Kara was looking at her in wonder.

“Was that for more luck?”

Lena felt bold. She had seize the moment now, before she lost her nerve and they fell back into tense limbo.

“Kara Danvers, if you want to, you can get very lucky tonight.”

Her eyes were wide and Lena grinned.

“I umm, I…”

Lena trailed a finger down the center of Kara’s muscular chest.

“Dinner is almost ready, darling. Take your shower. Just remember to save room for dessert.”

Kara favored her with a delighted smile as Lena stepped out of the bathroom and padded down the stairs.

When she reached the ground floor, everyone was pointedly focused elsewhere, either on the football game or cooking, and Kelly and Nia were playing cards at the dining room table.

Alexa, though, handed her a beer. Lena took it with a shaking hand.

“Fucking finally,” Alex whispered. “Just don’t get too loud tonight, okay? Go down to the beach if you can’t control yourself.”

Lena’s eyes narrowed.

“I hate you.”

“Love ya too, sis-in-law,” said Alex.

“We’re not married yet.”

Alex tipped back her brew. “Six months, tops.”

Lena took a long pull on her beer and scowled.

(It ended up being four months)

[hotvintagepoll]

Alice Pearce (On the Town)— She is timid she is bold she is thirsty she is awkward she is me she is you she is everything. She is Alice Pearce and she was playing Lucy Schmeeler onstage in the Broadway hit ON THE TOWN, and Gene Kelly saw it and immediately knew two things: (1) he wanted to do a movie version and (B) only if Alice Pearce reprised her original role. And both things happened, hallelujah, so now we can enjoy forever her making an allergy-ridden mess of a blind date with Gene Kelly in the most relatable way possible, and if it doesn't scream SCRUNGLE in fifty-foot neon-lit all caps with a brass band fanfare and a side of fireworks, then I'm the New York subway system. *sneezes and laughs maniacally, somehow breaking a table in the process*

Frank Gorshin (Bells Are Ringing, That Darn Cat)—you ever get the intrusive thought “what if james cagney was a shrimp?” well when I do I start thinking about Frank Gorshin. as the hippie in bells are ringing and the bad guy in that darn cat he brings the itchy shrimp energy hard.

This is round 1 of the contest. All other polls in this bracket can be found here. If you're confused on what a scrungle is, or any of the rules of the contest, click here.

[additional submitted propaganda + scrungly videos under the cut]

Alice Pearce:

Frank Gorshin:

[anakinstwinklebunny]

All I want for Christmas is

A) JAMES KELLY tucking me to bed (every night) and then stroking my hair while I cry to his chest and he's telling me everything's gonna be alright

B) CLAYTON BERESFORD at my doorstep, taking me out of this bombshell (I'd cuddle to him nonstop)

C) ANAKIN SKYWALKER in general

D) SAM MONROE in general

E) VADER (unburned, burned, whatever)

[thechanelmuse]

My Top Albums/EPS of 2025

It's that time again where I give y'all my end-of-the-year music list and take over your dashboard. Hopefully some of these projects or artists will be new to you.

I would love for y'all to tell me your faves this year.

Here's my list:

JAZZ

Charles McPherson - Reverence

Christian McBride & Edgar Meyer - But Who's Gonna Play the Melody

Christian Sands - Embracing Dawn

Immanuel Wilkins - Blues Blood

Jazzmeia Horn - Messages

Jeremy Pelt - Tomorrow's Another Day

Joel Ross - nublues

Kamasi Washington - Fearless Movement

Keyon Harrold - Foreverland

Lakecia Benjamin - Phoenix Reimagined (Live)

Miles Davis - Miles '54: The Prestige Recordings

Miles Davis Quintet - Miles In France 1963 and 1964 - The Bootleg Series, Vol. 8

New Brass Band featuring Trombone Shorty - Live at the 2024 New Orleans Jazz & Heritage Festival

Nubya Garcia - Odyssey

Samara Joy - Portrait

SOUL/BLUES (ROCK)

Baby Rose with BADBADNOTGOOD - Slow Burn (EP)

Brittany Howard - What Now

Christone “Kingfish” Ingram - Live in London (Expanded Edition)

Jerron Paxton - Things Done Changed

Jovin Webb - Drifter

Lizz Wright - Shadow

GOSPEL

Cory Henry - Church

Karen Clark Sheard - Still Karen

Ricky Dillard - Choirmaster II (Live)

Tamela Mann - Live Breathe Fight

COUNTRY/AMERICANA

Beyoncé - Cowboy Carter

Brittney Spencer - My Stupid Life

Caitlyn Smith - I Think of You (The Heartache Collection)

Elles Bailey - Beneath the Neon Glow

Gabby Barrett - Chapter and Verse

Lainey Wilson - Whirlwind

Luke Combs - Fathers & Sons

Mickey Guyton - House On Fire

Rvshvd - It's Rashad

Tanner Adell - Buckle Bunny (Deluxe) — 2023 album

FOLK

Bessie Jones, John Davis & The Georgia Sea Island Singers - The Complete Friends of Old Time Music Concert

Jessica Pratt - Here In the Pitch

Yasmin Williams - Acadia

ROCK

The Black Keys - Ohio Players (Trophy Edition)

Lenny Kravitz - Blue Electric Light

Linkin Park - From Zero

Olivia Rodrigo - Guts (spilled)

Sum 41 – Heaven :x: Hell

BLENDED GENRES

Amythyst Kiah - Still and Bright

Boney James - Slow Burn

Charlotte Day Wilson - Cyan Blue

Eva Cassidy - Walkin' After Midnight

Gallant - Zinc

Judith Hill - Letters From a Black Widow

Madison Ryann Ward - Purified Love

Marsha Ambrosiuos - CASABLANCO

Matthew Whittaker - On Their Shoulders: An Organ Tribute

Tank and The Bangas - The Heart, The Mind, The Soul

Victoria Monét - Jaguar II: Deluxe

Willow Smith - empathogen

R&B

Andra Day - CASSANDRA (cherith)

Avery*Sunshine - So Glad to Know You

BJ The Chicago Kid - Gravy (Deluxe)

Derand Benarr - En Route

Kenyon Dixon - The R&B You Love: For the '99 and the 2000s

Kyle Dion - If My Jeans Could Talk

Lalah Hathaway - VANTABLACK

Ledisi - Good Life

Lucky Daye - Algorithm

Muni Long - Revenge

NxWorries - Why Lawd?

Ravyn Lenae - Bird's Eye

SiR - HEAVY

Usher - Coming Home

RAP

Big Sean - Better Me Than You

Common & Pete Rock - The Auditorium Vol. 1

Doechii - Alligator Bites Never Heal

Kendrick Lamar - GNX

LL Cool J - The Force

MC Lyte - 1 of 1

Rapsody - Please Don't Cry

ScHoolboy Q - BLUE LIPS

POP

Ariana Grande - Eternal Sunshine

Billie Eilish - HIT ME HARD AND SOFT

Caroline Polachek - Desire, I Want To Turn Into You: Everasking Edition

Chappell Roan - The Rise and Fall of a Midwest Princess

Christina Aguilera - The 25th Anniversary of Christina Aguilera

Gavin DeGraw - Chariot 20

James Bay - Changes All the Time

Sabrina Carpenter - Short n' Sweet

Teddy Swims - I've Tried Everything but Therapy (Part 1.5)

Tori Kelly - TORI.

HOUSE/ELECTRONIC

Durand Bernarr & Charlie Vettuno - Charlie Vettuno Presents… Where in the World is Carmen Randiego?

KAYTRANADA - TIMELESS

HOLIDAY

Boney James - Soulful Holiday Sax

Ella Fitzgerald & Louis Armstrong - Ella & Louis Wish You a Swinging Holiday

Jennifer Hudson - The Gift of Love

Kelly Clarkson - When Christmas Comes Around...Again

[marleneoftheopera]

Holiday Audio/Video Gifts!

For the holiday season, here are some audio gifts from various shows and one Phantom video! The link to them is here and the info is below the cut:

Happy holidays and I hope you are all having time for some rest!

Audios

POTO

Jon Robyns, Paige Blankson, Joe Griffiths-Brown, Kelly Glyptis, Matt Harrop, Adam Linstead, Francesca Ellis, David Kristopher Brown, Maiya Hikasa August 22, 2023; London

Tim Howar, Harriet Jones, Nadim Naaman, Lara Martins, Nicholas Garrett, Arvid Larsen, John Ellis, Valerie Cutko, Kelsi Boyden March 19, 2023; Greece

Josh Piterman, Corinne Cowling (u/s), Danny Whitehead, Katy Hanna (u/s), Ross Dawes, Kris Manuel (u/s), Sophie Caton (u/s), Paul Ettore Tabone, Georgia Ware October 17, 2019; London ​Matinee.

Jeremy Stolle (u/s), Samantha Hill, Greg Mills (u/s), Michele McConnell, Richard Poole (u/s), Tim Jerome, Ellen Harvey, Christian Sebek, Kara Klein, Scott Mikita (u/s) March 9, 2013; Broadway Matinee performance.

John Owen-Jones, Deborah Dutcher, Matthew Cammelle, Bruce Montague, Charles Shirvell, Margaret Mary Kane (u/s), Janet Murphy, Jeremy Secomb, Lucy Middleton January 5, 2002; London

Love Never Dies

Tam Mutu, Celia Graham, David Thaxton, Daniel Dowling August 25, 2011; London Tam Mutu's last performance.

Les Miserables

Christopher Jacobsen (u/s Jean Valjean), Stewart Clarke (Javert), Katie Hall (Fantine), Will Callan (Marius), Lulu-Mae Pears (Cosette), Amena El-Kindy (Eponine), Luke Kempner (Thenardier), Claire Machin (Madame Thenardier), Dejan Van der Flyert (Enjolras), Alex Shaw (Gavroche), Clohe Sullivan (Little Cosette), Tom Hext (Grantaire/Majordomo), Adam Pearce (Bishop/Claquesous), Ellie Ann Lowe (Factory Girl), Jordan Simon Pollard (u/s Foreman/Bujon), Matt Dempsey (Bamatabopis/Lesgles), Annabelle Aquino, Hazel Baldwin, Emily Olive Boyd, Ben Culleton, Matt Hayden, Sam Kipling, Anouk Van Lake, Harry Lake, Ben Oatley, Jonathan Stevens, Phoebe Williams, Ollie Wray September 28, 2023; London 15,000th show in London and the 5th show for the new company.

Sunset Boulevard

Nicole Scherzinger (Norma), Tom Francis (Joe Gillis), David Thaxton (Max von Mayerling), Grace Hodgett Young (Betty Shaefer), Ahmed Hamaad (Artie), Tyler Davis (Sheldrake), Charlotte Jaconelli (Johanna), Jon Tsouras (Cecil B. de Mille) September 28, 2023; London

Rebecca

Laureen Jones (I), Richard Carson (Maxim de Winter), Kara Lane (Mrs Danvers), Sara Harlington (Beatrice), Neil Moor (Giles), Piers Bate (Frank Crewley), David Breeds (Ben), Alex James Ward (Jack Favell), Shrley Jameson (Mrs Van Hopper), Nicholas Lumley (Colonel Julian) September 27, 2023; Off-West End

POTO Video

Ian Jon Bourg, Olivia Safe (u/s), Kyle Gonyea 2001; Hamburg, Germany VOB files. One of the most legendary Phantom's opposite one of the youngest Christine's!

[wildsaltair]

Due to the fact that I am a sunken wreckage of a human being for Russell Crowe, I'm working on collecting all the books related to his movies! Here's what l've discovered so far, but l'd love to know if y'all know of any others! :)

Books that were made into movies:

Master and Commander (Patrick O'Brian)

L.A. Confidential (James Ellroy)

American Gangster (Steve Zaillian)

A Beautiful Mind (Sylvia Nasar)

Les Misérables (Victor Hugo)

A Good Year (Peter Mayle)

The Silver Brumby (Elyne Mitchell)

Three-Ten to Yuma and Other Short Stories (Elmore Leonard)

Winter's Tale (Mark Helprin)

An Exorcist Tells His Story (Gabriele Amorth)

Body of Lies (David Ignatius)

Tenderness (Robert Cormier)

Hammers Over the Anvil (Alan Marshall)

Miss Shumway Waves a Wand (James Hadley Chase)

True History of the Kelly Gang (Justin Kurzel)

The Greatest Beer Run Ever (John "Chick" Donohue and J.T. Molloy)

The Book of Mirrors (E.O. Chirovici)

The Nazi and the Psychiatrist (Jack El-Hai)

Novelizations of movies:

Gladiator (Dewey Gram)

The Quick and the Dead (Jack Curtis)

Virtuosity (Terry Bisson)

Cinderella Man (Marc Cerasini)

The Next Three Days (Jennifer Krediet)

The Water Diviner (Andrew Anastasios and Meaghan Wilson-Anastasios)

The Nice Guys (Charles Ardai)

Proof of Life (David Robbins)

Noah (Mark Morris)

Man of Steel (Greg Cox)

Robin Hood (David B. Coe)

[iminmypeace]

[usafphantom2]

50 years ago today.

On Sep. 1, 1974, Maj. James V. Sullivan and Maj. Noel Widdifield set a new world speed record from New York to London, as our friend Linda Sheffield Miller (Col Richard (Butch) Sheffield’s daughter, Col. Sheffield was an SR-71 Reconnaissance Systems Officer) on her Facebook Page Habubrats. It took less than two hours.

This mission might’ve been the ‘gateway plan’ to have SR-71 stationed in England. The United States was fortunate to be able to house two SR-71s at RAF Mildenhall years later. This was a huge help to have SR-71 in Europe [SR-71 Reconnaissance Operations at RAF Mildenhall was from April 1976 to 1990. Prior to Det 4 being established, UK permission was required for each sortie flown. According to the SR-71 Blackbirds website, the SR-71’s stay would be no longer than 20 days for each visit.

Prime Minister Margaret Thatcher announced that Det 4 would be a permanent SR-71 Detachment with two aircraft assigned. The UK remained in control of the more sensitive missions. The two aircraft Detachments ceased operations on Nov. 22, 1989. The last aircraft departed the UK on Jan. 18, 1990.

The US Government has given the United Kingdom an SR-71 #962 for public display at Duxford Imperial War Museum for its contribution to ending the Cold War.]. Blackbirds based at Mildenhall could fly around the Baltic Sea and take pictures of potential targets in the Soviet Union using their side-looking cameras [without crossing the Soviet border].

On September 1, 1974 Major James V. Sullivan, 37 (pilot) and Noel F. Widdifield, 33 (reconnaissance systems officer) flashed across the starting line (radar gates in New York) at approximately 80,000 feet and speed in excess of 2,000 miles per hour. Exactly 1 hour 54 minutes and 56.4 seconds later, they had set a new world speed record from New York to London England.

The average speed was 1,807 statute mph over the 3,461 statute mile course, slowing to refuel one time from a specially modified KC-135 refueling tanker. The aircraft was placed on static display at Farnborough Air Show for 1 week. It marked the first time the secret plane had been on public display outside of the United States. ”Kelly” Johnson, the aircraft designer, was on hand for the event. He remarked, “It (the SR-71) has exceeded all my expectations.”

Another historic speed record was set on the return trip to the United States. Captain Harold B. Adams, 31 (pilot), and Major William Machorek, 32 (reconnaissance systems operator), set a speed record from London to Los Angeles. They returned the Blackbird 5,447 statute miles in 3 hours 47 minutes and 39 seconds for an average speed of 1,435 miles per hour. The difference in the two speed records was due to refueling requirements and having to slow over major US cities.’

Even so a large number of people in Los Angeles reported broken windows due to the sonic boom. One of those people was actress, Zaza’s Gabor, who complained bitterly about her broken windows. To appease her Captain Adams and Major Machorek went to Zazas Home to apologize. They brought their wives with them. Zaza only allowed the SR-71 Crew to come into her home! The wives had to sit in the car. Very bad manners on the movie stars part.

The trip from New York to London 50 years ago became a beautiful friendship between allies, the United States and Great Britain .

We both worked hard to win the Cold War.

This article was originally in the aviationgeek club written by Linda Sheffield. published by Dario Leone

Artwork by Force Graham

@Habubrats71 via X