#john s hall & kramer

[noisemachinedotcom]

its so embarrassing to say "outsider music" when someone asks u ur fav kind of music especially after some utuber made a video about it im a sensationalist way like 2-3 yrs ago(?) idk but whenever someone makes a youtube video abt something i like i get #1 diahrrea "they fucking caught me" stage fright but like listen to the compilation album series songs in the key of z and then work u way out through tht itll open up so much for u also radiooo is a great app for expanding ur taste internationally like ive found some of my fav artists over radiooo

[snackpointcharlie]

Music from elsewhere and beyond for you to tune in, turn on, freak out, and go deep into the heart of creation at the center of the universe. Or something. 10pm tonight on WGXC, 90.7-FM in the Hudson Valley and streaming 24/7 at wgxc.org or UPDATE: download the podcast at the link below

Snackpoint Charlie - Transmission 136 - 2024.04.03 https://wavefarm.org/wf/archive/asfrfb [ ^ click for download ^ ]

PLAYLIST

1) Alice Coltrane - “Journey in Satchidananda” from THE CARNEGIE HALL CONCERT https://aquariumdrunkard.com/2024/03/21/alice-coltrane-the-carnegie-hall-concert/

(underbed throughout:) Pinchas Gurevich - “Whataboutism”

2) Gus Vali - “Telly” from CHIMERA - A FANTASY IN JAZZ ROCK MID-EAST SOUNDS https://www.discogs.com/release/2391349-Gus-Vali-Chimera

3) John Sinclair & His Blues Scholars - “I Talk to the Spirits” from FULL CIRCLE https://www.discogs.com/release/4433050-John-Sinclair-His-Blues-Scholars-Featuring-Wayne-Kramer-Full-Circle

4) Jesse Paul Miller - “Ancient Wave Travelers” from DREAM BOXES AND PSYCHIC MICROPHONES • RADIO AND OTHER SOUNDS FROM SOUTHEAST ASIA 2008 - 2017 https://jessepaulmiller.bandcamp.com/album/dream-boxes-and-psychic-microphones-radio-and-other-sounds-from-southeast-asia-2008-2017

5) Ron English - “Bees” from JOHN SINCLAIR PRESENTS DETROIT ARTISTS WORKSHOP https://strut.bandcamp.com/album/john-sinclair-presents-detroit-artists-workshop

6) Dimi Mint Abba and Nema Mint Choueikh w/Luleide ould Dendenni, Mohamed ould Deddah ould Choueikh, and Mohamed ould Seymali - excerpt from MOROCCAN SAHRAOUI EVENT (A MYSTERY TAPE FROM MAURITANIA) https://hivemindrecords.bandcamp.com/album/a-mystery-tape-from-mauritania

7) Khruangbin - “May Ninth” from A LA SALA https://khruangbin.bandcamp.com/album/a-la-sala

8) Street Musician of Yogyakarta - “Asoi” from STREET MUSICIANS OF YOGYAKARTA https://mississippirecords.bandcamp.com/album/street-musicians-of-yogyakarta

9) Kyle Tierce - “Interlocking Questions” from THE FIVE FINGERS OF A DOG (ORIGINAL SOUNDTRACK) https://superspectrum.bandcamp.com/album/the-five-fingers-of-a-dog-original-soundtrack

10) Jesse Paul Miller - “Radio Cambodia” from DREAM BOXES AND PSYCHIC MICROPHONES • RADIO AND OTHER SOUNDS FROM SOUTHEAST ASIA 2008 - 2017 https://jessepaulmiller.bandcamp.com/album/dream-boxes-and-psychic-microphones-radio-and-other-sounds-from-southeast-asia-2008-2017

11) Nadah El Shazly & Elvin Brandhi - CAIRO ???” from POLLUTION OPERA https://pollutionopera.bandcamp.com/album/pollution-opera

12) Ludwig Berger - “Apparent Heart” from SPECIES LONELINESS https://ludwigberger.bandcamp.com/album/species-loneliness

13) Faust - “Stay or Leave” from MOMENTAUFNAHME IV https://faust.bandcamp.com/album/momentaufnahme-iv-2

14) La Monte Young & Marian Zazeela - “31 VII 69 10:26 - 10:49 PM (a section of Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery)” from 31 VII 69 10:26-10:49 PM / 23 VIII 64 2:50:45-3:11 AM THE VOLGA DELTA (aka THE BLACK ALBUM) https://www.melafoundation.org/lmy.htm https://www.superiorviaduct.com/collections/la-monte-young-marian-zazeela

15) Ragnar Johnson & Jessica Mayer – “Mo-mo” from SPIRIT CRY FLUTES AND BAMBOO JEWS HARPS FROM PAPUA NEW GUINEA : EASTERN HIGHLANDS & MADANG https://ideologicorgan.bandcamp.com/album/spirit-cry-flutes-and-bamboo-jews-harps-from-papua-new-guinea-eastern-highlands-and-madang

16) Lea Bertucci - “Of Shadow and Substance (excerpt)” from OF SHADOW AND SUBSTANCE https://leabertucci.bandcamp.com/album/of-shadow-and-substance

17) John Bence - Raphael, Archangel of Tiphareth” from ARCHANGELS https://johnbence.bandcamp.com/album/archangels

18) Jesse Paul Miller - “Radio Wat Thailand I&II” from DREAM BOXES AND PSYCHIC MICROPHONES • RADIO AND OTHER SOUNDS FROM SOUTHEAST ASIA 2008 - 2017 https://jessepaulmiller.bandcamp.com/album/dream-boxes-and-psychic-microphones-radio-and-other-sounds-from-southeast-asia-2008-2017

[theehorsepusssy]

John S Hall & Kramer - My Personal Life

[maximuswolf]

John S. Hall & Kramer - Wind Up Toys [Rock Experimental]

John S. Hall & Kramer - Wind Up Toys [Rock, Experimental] https://www.youtube.com/watch?v=Luj5GQCkQyU Submitted June 18, 2024 at 11:55AM by Nekileo https://ift.tt/XZFKpI6 via /r/Music

[theshadoutmapes]

24 Water - John S. Hall & Kramer

[rainingmusic]

King Missile- Detachable Penis

[shimmydisc]

NUTLEY BRASS plays the greatest hits of SHIMMY-DISC!

Your Fave Artist's Songs Get The ROUND LOUNGE SOUND

South American Eye - DOGBOWL

Berries - FLY ASHTRAY

Nostalgia -UNCLE WIGGLY

Honey I Sure Miss You - DANIEL JOHNSTON

Highgate - LIDA HUSIK

California - JAD FAIR & KRAMER

True Love - FRED FRITH

Elenor Bumpers - THE TINKLERS

Sensitive Artist - KING MISSILE

Never Meant To Say - B.A.L.L.

September In The Night - RAYMOND LISTEN

I Wanna Talk About It Now - BONGWATER

Arranged and Produced by Sam Elwitt

SHIMMY-BOOT 18

[1962dude420-blog]

Today we remember the passing of Glen Campbell who Died: August 8, 2017 in Nashville, Tennessee

Glen Travis Campbell (April 22, 1936 – August 8, 2017) was an American guitarist, singer, songwriter, actor and television host. He was best known for a series of hit songs in the 1960s and 1970s, and for hosting The Glen Campbell Goodtime Hour on CBS television from 1969 until 1972. He released 64 albums in a career that spanned five decades, selling over 45 million records worldwide, including twelve gold albums, four platinum albums, and one double-platinum album.

Born in Billstown, Arkansas, Campbell began his professional career as a studio musician in Los Angeles, spending several years playing with the group of instrumentalists later known as "The Wrecking Crew". After becoming a solo artist, he placed a total of 80 different songs on either the Billboard Country Chart, Billboard Hot 100, or Adult Contemporary Chart, of which 29 made the top 10 and of which nine reached number one on at least one of those charts. Among Campbell's hits are "Universal Soldier", his first hit from 1965, along with "Gentle on My Mind" (1967), "By the Time I Get to Phoenix" (1967), "Dreams of the Everyday Housewife" (1968), "Wichita Lineman" (1968), "Galveston" (1969), "Rhinestone Cowboy" (1975) and "Southern Nights" (1977).

In 1967, Campbell won four Grammys in the country and pop categories. For "Gentle on My Mind", he received two awards in country and western; "By the Time I Get to Phoenix" did the same in pop. Three of his early hits later won Grammy Hall of Fame Awards (2000, 2004, 2008), while Campbell himself won the Grammy Lifetime Achievement Award in 2012. He owned trophies for Male Vocalist of the Year from both the Country Music Association (CMA) and the Academy of Country Music (ACM), and took the CMA's top award as 1968 Entertainer of the Year. Campbell played a supporting role in the film True Grit (1969), which earned him a Golden Globe nomination for Most Promising Newcomer. He also sang the title song, which was nominated for an Academy Award.

Glen was born on April 22, 1936, in Billstown, a tiny community near Delight in Pike County, Arkansas, to John Wesley (a sharecropper) and Carrie Dell (Stone) Campbell. Campbell was of Scottish descent and was the seventh son of 12 children. As a child he almost died from drowning. His family went to Church of Christ, and Campbell's brother Lindell became a Church of Christ minister. In 2011 he claimed his mother was Irish, although this was not true. The family lived on a farm, where they barely managed, by growing cotton, corn, watermelons, and potatoes. "We had no electricity," he said, and money was scarce. "A dollar in those days looked as big as a saddle blanket." To supplement income the family picked cotton for other farmers. "I picked cotton for $1.25 a hundred pounds," said Campbell. "If you worked your tail off, you could pick 80 or 90 pounds a day."

Campbell started playing guitar at age four after his father gave him a Sears-bought five-dollar guitar as a gift, with his uncle Boo teaching him the basics of how to play. Most of his family was musical, he said. "Back home, everybody plays and sings." By the time he was six he was performing on local radio stations.

Campbell continued playing guitar in his youth, with no formal training, and practiced when he was not working in the cotton fields. He developed his talent by listening to radio and records and considered Django Reinhardt among his most admired guitarists, later calling him "the most awesome player I ever heard." He dropped out of school at 14 to work in Houston alongside his brothers, installing insulation and later working at a gas station.

Not satisfied with that kind of unskilled work, Campbell started playing music at fairs and church picnics and singing gospel hymns in the church choir. He was able to find spots performing on local radio stations, and after his parents moved to Houston, he made some appearances at a local nightclub.

In 1954, at age 17, Campbell moved to Albuquerque, New Mexico, to join his uncle's band, known as Dick Bills and the Sandia Mountain Boys. He quit high school in 10th grade. He also appeared there on his uncle's radio show and on K Circle B Time, the local children's program on KOB television. It was there that he met his first wife, whom he married when he was 17 and she was 16.

In 1958, Campbell formed his own band, the Western Wranglers. "We worked hard," he said. "Six, sometimes seven nights a week. I didn't have my eye set on any specific goals or big dreams."

In 1960, Campbell moved to Los Angeles to become a session musician. That October, he joined the Champs. By January 1961, Campbell had found a daytime job at publishing company American Music, writing songs and recording demos. Because of these demos Campbell soon was in demand as a session musician and became part of a group of studio musicians later known as the Wrecking Crew.

Campbell played on recordings by the Beach Boys, Bobby Darin, Frank Sinatra, Ricky Nelson, Dean Martin, Nat King Cole, the Monkees, Nancy Sinatra, Merle Haggard, Jan and Dean, Bing Crosby, Phil Spector, Sammy Davis Jr., Doris Day, Bobby Vee, The Everly Brothers, Shelley Fabares, The Cascades, Paul Revere & the Raiders, Wayne Newton, The First Edition, The Kingston Trio, Roger Miller, Gene Clark, Lou Rawls, Claude King, Lorne Greene, Ronnie Dove and Elvis Presley. He befriended Presley when he helped record the soundtrack for Viva Las Vegas in 1964. He later said, "Elvis and I were brought up the same humble way – picking cotton and looking at the south end of a north-bound mule."

In May 1961, he left the Champs and was subsequently signed by Crest Records, a subsidiary of American Music. His first solo release, "Turn Around, Look at Me", a moderate success, peaked at number 62 on the Hot 100 in 1961 but reached number 7 on the Hot 100 in a 1968 Vogues cover. Campbell also formed the Gee Cees with former bandmembers from the Champs, performing at the Crossbow Inn in Van Nuys. The Gee Cees, too, released a single on Crest, the instrumental "Buzz Saw", which did not chart.

In 1962, Campbell signed with Capitol Records. After minor initial success with "Too Late to Worry, Too Blue to Cry", his first single for the label, and "Kentucky Means Paradise", released by the Green River Boys featuring Glen Campbell, a string of unsuccessful singles and albums followed. By 1963 his playing and singing were heard on 586 recorded songs. He never learned to read music, but besides guitar, he could play the banjo, mandolin and bass.

From 1964 on, Campbell began to appear on television as a regular on Star Route, a syndicated series hosted by Rod Cameron, ABC's Shindig! and Hollywood Jamboree.

From December 1964 to early March 1965, Campbell was a touring member of the Beach Boys, filling in for Brian Wilson, playing bass guitar and singing falsetto harmonies. He was then replaced on the Beach Boys' tours by new member Bruce Johnston.

In 1965, he had his biggest solo hit yet, reaching number 45 on the Hot 100 with a version of Buffy Sainte-Marie's "Universal Soldier". Asked about the pacifist message of the song, he said that "people who are advocating burning draft cards should be hung."

Campbell continued as a session musician, playing guitar on the Beach Boys' 1966 album Pet Sounds, among other recordings. In April of that year, he joined Rick Nelson on a tour through the Far East, again playing bass.

When follow-up singles did not do well, and Capitol was considering dropping Campbell from the label in 1966, he was teamed with producer Al De Lory. Together, they first collaborated on "Burning Bridges" which became a top 20 country hit in early 1967, and the album of the same name.

Campbell and De Lory collaborated again on 1967's "Gentle on My Mind", written by John Hartford, which was an overnight success. The song was followed by the bigger hit "By the Time I Get to Phoenix" later in 1967, and "I Wanna Live" and "Wichita Lineman" in 1968, remaining on Billboard's Top 100 charts for 15 weeks. He won four Grammy Awards for "Gentle on My Mind" and "By the Time I Get to Phoenix".

In 1967, Campbell was also the uncredited lead vocalist on "My World Fell Down" by Sagittarius, a studio group. The song reached number 70 on the Billboard Hot 100.

In 1968, Campbell released "Wichita Lineman", a song written by Jimmy Webb. It was recorded with backing from members of the Wrecking Crew and appeared on his 1968 album of the same name. It reached number 3 on the US pop chart, remaining in the Top 100 for 15 weeks. In addition, the song also topped the American country music chart for two weeks, and the adult contemporary chart for six weeks.

The 1969 song "True Grit" by composer Elmer Bernstein and lyricist Don Black, and sung by Campbell, who co-starred in the movie, received nominations for the Academy Award for Best Song and the Golden Globe for Best Original Song.

After he hosted a 1968 summer replacement for television's The Smothers Brothers Comedy Hour variety show, Campbell was given his own weekly variety show, The Glen Campbell Goodtime Hour, which ran from January 1969 through June 1972. The show's comedy writers included Steve Martin and Rob Reiner. At the height of his popularity, a 1970 biography by Freda Kramer, The Glen Campbell Story, was published.

With Campbell's session-work connections, he hosted major names in music on his show, including the Beatles (on film), David Gates, Bread, the Monkees, Neil Diamond, Linda Ronstadt, Johnny Cash, Merle Haggard, Willie Nelson, Waylon Jennings, Roger Miller, and Mel Tillis. Campbell helped launch the careers of Anne Murray and Jerry Reed, who were regulars on his Goodtime Hour program.

During the late 1960s and early 1970s, Campbell released a long series of singles and appeared in the movies True Grit (1969) with John Wayne and Kim Darby and Norwood (1970) with Kim Darby and Joe Namath.

After the cancellation of his CBS series in 1972, Campbell remained a regular on network television. He co-starred in a made-for-television movie, Strange Homecoming (1974), with Robert Culp and up-and-coming teen idol Leif Garrett. He hosted a number of television specials, including 1976's Down Home, Down Under with Olivia Newton-John. He co-hosted the American Music Awards from 1976 to 1978 and headlined the 1979 NBC special Glen Campbell: Back to Basics with guest-stars Seals and Crofts and Brenda Lee. He was a guest on many network talk and variety shows, including Donny & Marie and The Tonight Show Starring Johnny Carson, where he performed "Rhinestone Cowboy". He also appeared on Cher, the Redd Foxx Comedy Hour, The Merv Griffin Show, The Midnight Special, DINAH!, Evening at Pops with Arthur Fiedler and The Mike Douglas Show.

In the mid-1970s, he had more hits with "Rhinestone Cowboy", "Southern Nights" (both U.S. number one hits), "Sunflower" (U.S. number 39) (written by Neil Diamond), and "Country Boy (You Got Your Feet in L.A.)" (U.S. number 11).

"Rhinestone Cowboy" was Campbell's largest-selling single and one of his best-known recordings, initially with over 2 million copies sold. Campbell had heard songwriter Larry Weiss' version while on tour of Australia in 1974. Both songs were in the October 4, 1975, Hot 100 top 10. "Rhinestone Cowboy" continues to be used in TV shows and films, including Desperate Housewives, Daddy Day Care, and High School High. It was the inspiration for the 1984 Dolly Parton/Sylvester Stallone movie Rhinestone. The main phrase of Campbell's recording was included in Dickie Goodman's Jaws movie parody song "Mr. Jaws". Campbell also made a techno/pop version of the song in 2002 with UK artists Rikki & Daz and went to the top 10 in the UK with the dance version and related music video.

"Southern Nights", by Allen Toussaint, his other number one pop-rock-country crossover hit, was generated with the help of Jimmy Webb, and Jerry Reed, who inspired the famous guitar lick introduction to the song, which was the most-played jukebox number of 1977.

In 2005, Campbell was inducted into the Country Music Hall of Fame. It was announced in April 2008 that Campbell was returning to his signature label, Capitol, to release his new album, Meet Glen Campbell. The album was released on August 19. With this album, he branched off in a different musical direction, covering tracks from artists such as Travis, U2, Tom Petty and the Heartbreakers, Jackson Browne, and Foo Fighters. It was Campbell's first release on Capitol in over 15 years. Musicians from Cheap Trick and Jellyfish contributed to the album as well. The first single, a cover of Green Day's "Good Riddance (Time of Your Life)", was released to radio in July 2008.

In March 2010, a then-farewell album titled Ghost on the Canvas was announced which served as a companion to Meet Glen Campbell (2008).

Following his late 2010 Alzheimer's diagnosis, Campbell embarked on a final "Goodbye Tour", with three of his children joining him in his backup band. He was too ill to travel to Australia and New Zealand in the summer of 2012. His final show was on November 30, 2012, in Napa, California. After the end of the tour, Campbell entered the studio in Nashville to record what would be his final album, Adiós, which would not be revealed until five years later. According to his wife, Kim Campbell, he wanted to preserve "what magic was left", in what would be his final recordings. In January 2013, Campbell recorded his final song, "I'm Not Gonna Miss You", during what would be his last recording sessions. The song, which is featured in the 2014 documentary Glen Campbell: I'll Be Me, was released on September 30, 2014, with the documentary following on October 24. On January 15, 2015, Campbell and fellow songwriter Julian Raymond were nominated for Best Original Song at the 87th Academy Awards.

On August 30, 2016, during the 10th Annual ACM Honors, Keith Urban, Blake Shelton and others performed a medley of Glen Campbell's songs in tribute to him. His wife Kim Campbell accepted the Career Achievement Award on his behalf. Alice Cooper described him as being one of the five best guitar players in the music industry.

Campbell's final album Adiós, featuring twelve songs from his final 2012–13 sessions, was announced in April 2017. It was released on June 9, 2017. Adiós was named by the UK's Official Charts Company as the best-selling country/Americana album of 2017 in Britain.

Campbell died in Nashville, Tennessee, on August 8, 2017, at the age of 81. He was buried in the Campbell family cemetery in Billstown, Arkansas.

[tabloidtoc]

People, May 10

Cover: Gabrielle Union and Dwyane Wade

Page 3: Chatter -- Mindy Kaling on technology woes, Amy Adams on wanting to go into acting because of Grease, Gal Gadot on telling her daughters Maya and Alma about her pregnancy, DJ Khaled on using Rihanna's skin-care line, Christie Brinkley on showing off her body on Instagram at age 67, Whoopi Goldberg on writing a superhero movie about an older Black lady

Page 4: 5 Things We're Talking About -- Michael Keaton returns as Batman, Jane Fonda recalls her first and best kiss, Maya Rudolph would give Bridesmaids another go, the stars of ER scrub in one more time, popcorn and donuts team up

Page 7: Contents

Page 8: StarTracks -- one day before Prince William and Princess Kate's youngest child Prince Louis turned 3, Kensington Palace released a new portrait of the little royal to mark the occasion; Kate snapped the photo of Louis, who wore a school uniform and backpack as he rode his bike outside their home in London ahead of his first day of preschool

Page 9: JoJo Siwa and mom Jessalynn went for a roller-coaster ride at Disney's Hollywood studios in Florida, Madonna in a three-piece Gucci suit for dinner at West Hollywood staple Craig's

Page 10: Stars on Set -- Rachel Brosnahan was pretty in pink while filming season 4 of The Marvelous Mrs. Maisel with costar Alex Borstein in NYC, John Cena flashed a peace sign when he took a coffee break while filming The Suicide Squad spinoff series Peacemaker in Vancouver, Tika Sumpter and James Marsden shot an action-packed scene for Sonic the Hedgehog 2 in Vancouver

Page 11: Katie Holmes was spotted on a Connecticut set preparing to film the drama The Watergate Girl in which she'll play Watergate prosecutor Jill Wine-Banks, Awkwafina and Bowen Yang filmed the upcoming season of Awkwafina Is Nora from Queens in NYC, Melissa Benoist suited up for Supergirl in Vancouver

Page 12: Brooke Shields who is recovering after breaking her femur in a gym accident walked arm in arm after a lunch with husband Chris Henchy, Britney Spears and boyfriend Sam Asghari posed for a photo before attending a friend's wedding

Page 15: Stars in the Sun -- Maren Morris flaunted her new tan while enjoying a tropical getaway, Simone Biles and boyfriend Jonathan Owens cuddled up during a trip to Florida, Lindsey Vonn caught some waves and some rays while paddleboarding in Tulum, Derek Hough cooled off in the ocean during a beach day in L.A., Brie Larson enjoyed a dip while on vacation in Hawaii

Page 17: Scoop -- Life After Their Split -- how Jennifer Lopez and Alex Rodriguez are moving on

Page 18: Inside Caitlyn Jenner's run for governor

Page 20: Heart Monitor -- Tarek El Moussa and Heather Rae Young ready to wed, Pete Davidson and Phoebe Dynevor going public, Zac Efron and Vanessa Valladares split, Billie Eilish and Matthew Tyler Vorce new couple?

Page 23: Jana Kramer and Mike Caussin's messy divorce

* Susannah Constantine -- my royal friendship with Princess Margaret

Page 24: Open House -- French Montana

* Baby Boom -- the latest on Hollywood's growing families -- Marie Kondo and Takumi Kawahara welcomed a son, Nick and Lauren Carter welcomed their third child

Page 27: Ed Helms talks life after The Office

Page 29: Passages, Why I Care -- Lisa Kudrow is working with doctors at UCLA to end the stigma surrounding mental health issues

Page 31: Stories to Make You Smile -- most cats can't stand the water but 8-month-old Marlin can't get enough and his Instagram is @carolinejarvis, a first grader's airplane kits give wings to kids' travel dreams

Page 35: People Picks -- Tom Clancy's Without Remorse

Page 36: Limbo, One to Watch -- Shadow and Bone's Jessie Mei Li

Page 37: Pose, Pet Stars

Page 38: The Handmaid's Tale, Thomas Rhett -- Country Again: Side A, Q&A with Olivia Holt

Page 39: The Mosquito Coast, Inspiring America: The 2021 Inspiration List

Page 41: Books

Page 42: Oscars 2021 -- The Return of Glamour -- the show was unconventional, just 170 guests were allowed in L.A.'s Union Station, and COVID restrictions were strictly enforced, but stars did their part to bring back some movie magic

Page 43: Andra Day

Page 44: Fabulous Fashion -- crop tops, ball gowns and bows ruled the red carpet -- Angela Bassett, Zendaya, Carey Mulligan, Maria Bakalova

Page 45: Margot Robbie, Reese Witherspoon, Viola Davis, Amanda Seyfried

Page 46: Behind the Scenes -- Regina King -- the actress closed out awards season in a custom Louis Vuitton creation

Page 48: Shine Bright -- there's no such thing as too much bling -- Laura Pausini, Vanessa Kirby, Zendaya

Page 49: Maria Bakalova, Daniel Kaluuya, Glenn Close, Tiara Thomas

Page 50: Very Well Suited -- these sharp dressers put their own twists on the tuxedo -- Lakeith Stanfield, Colman Domingo, Paul Raci, Tyler Perry, Sacha Baron Cohen, Alan Kim

Page 53: Getting Ready with Andra Day

Page 55: Getting Ready with Angela Bassett

Page 56: Romance on the Red Carpet -- these couples only had eyes for each other -- Sacha Baron Cohen and Isla Fisher, Halle Berry and Van Hunt, Chloe Zhao and Joshua James Richards, Riz Ahmed and Fatima Farheen Mirza

Page 57: Steven Yeun and Joana Pak, Leslie Odom Jr. and Nicolette Robinson, Paul Raci and Liz Hanley Raci, Aaron Sorkin and Paulina Porizkova

Page 58: Best in Show -- there were A-list stars, groundbreaking moments and social distancing as Hollywood gathered safely to honor the best movies of the year -- Reese Witherspoon

Page 61: Alan Kim, Angela Bassett, Rita Moreno

Page 62: Major Moments -- these artists broke barriers during the most historic ceremony ever -- Emerald Fennell, Chloe Zhao, Daniel Kaluuya

Page 63: H.E.R., Anthony Hopkins, Yuh-Jung Youn with Brad Pitt, Mia Neal

Page 65: Yuh-Jung Youn and Daniel Kaluuya and Frances McDormand, Elton John and Dua Lipa, Andra Day and Winnie Harlow

Page 66: Cover Story -- Dwyane Wade and Gabrielle Union -- Dream Team -- the actress and NBA champ open up about protecting their family, fighting for what's right and why they're stronger than ever

Page 72: George Floyd's Killer Found Guilty -- We Can Breathe Again -- friends and family of the Minneapolis man killed by police rejoice after a jury's verdict and vow with supporters to keep fighting systemic racism

Page 76: Bethenny Frankel -- what I know now -- the irrepressible former Real Housewives star and businesswoman is newly engaged and back as a boss with a new show

Page 80: A Son Lost to Suicide, A Father's Mission -- we loved him every day, but it wasn't enough -- after the shocking death of his 12-year-old son, Brad Hunstable has a message for parents: talk to your kids about suicide

Page 84: Andrew McCarthy -- I was never suited for fame -- the beloved actor, and author of a new memoir, looks back on his enduring films, surviving his '80s stardom and how his affiliation with the so-called Brat Pack was a mixed blessing

Page 88: Prince William and Duchess Kate Middleton's 10-year anniversary -- remembering the big day -- those who made the wedding a fairy tale share their memories

Page 92: Country Singer Thomas Rhett -- fame, family and finding my way -- the star opens up about overcoming struggled with his wife Lauren in their 8-year-marriage and learning to put their family first

Page 98: Murdered Soldier Vanessa Guillen's Fiance -- every day I pray for justice -- a year after losing the love of his life, Juan Cruz is determined to make sure the Army specialist's legacy is never forgotten and that her tragic death inspires lasting change

Page 102: George W. Bush -- painting with a purpose -- the former president avoided making waves, until his party's nativist prompted him to use his art to celebrate immigrants

Page 106: Pop Star Julia Michaels -- how I learned to love myself -- the singer talks falling in love, managing anxiety and writing hits for Britney Spears and Selena Gomez

Page 116: One Last Thing -- Josh Duhamel

[brooklynmuseum]

The Brooklyn Museum mourns the loss of Dr. David C. Driskell, whose scholarship, teaching, and curatorial work were instrumental in defining the field of African American art history. His landmark, traveling exhibition Two Centuries of Black American Art, which made its final stop at the Brooklyn Museum in 1977, featured work by more than 200 artists and transformed the ways in which American museums framed and presented histories of African American art. An artist himself, his work was included in the Museum’s recent presentation of Soul of a Nation: Art in the Age of Black Power.

Reflecting on Two Centuries of Black American Art in 2009, Dr. Driskell recounted how he wanted to bring “patterns of exclusion, segregation, and racism to the attention of the art public. [. . .] But it was also about engaging the establishment in the rules of the canon, so as to say, ‘No, you haven't seen everything; you don't know everything. And here is a part of it that you should be seeing.’”

We are grateful to Dr. Driskell for his immeasurable contributions to the field of art history, and will continue to carry his scholarship and his lessons with us.

***

“When Dr. Driskell spoke at the Brooklyn Museum last year as part of the programming for Soul of a Nation, he told me backstage how he had been on our stage in the 60s with civil rights heroes such as James Baldwin. He was so happy to have returned and could not have been more full of grace. Dr. Driskell has left a profound mark on the Museum’s history. While we mourn his passing, we also celebrate the ways that he shaped a history of African American art and advanced both the field and our institutions with clarity and conviction.”

– Anne Pasternak, Shelby White and Leon Levy Director

“An artist, educator, art historian, and curator across at least five decades, Dr. Driskell’s impact was not only field defining but field generating. When we talk about the ongoing project that is the writing and presentation of black art history against its erasure and/or dismissal, we must keep close what it meant for scholars like Driskell who began this work with few blueprints, summoning the great courage and clarity necessary to name and advocate for the importance of black art history – in the face of so many cynics and detractors. I live with gratitude for that fortitude. It was my absolute honor to include Dr. Driskell in the Brooklyn presentation of Soul of a Nation, and an even bigger honor to meet him and to welcome him to the museum for an unforgettable conversation with Dr. Elizabeth Alexander in the fall of 2018. I will hold that memory close.”

– Ashley James, Associate Curator, Guggenheim Museum, and former Assistant Curator, Contemporary Art, Brooklyn Museum

Two Centuries of Black American Art, June 25, 1977 through September 05, 1977 (Image: Brooklyn Museum photograph, 1977)

“Dr. Driskell's 1977 exhibition Two Centuries of Black American Art intended to, in his words, engage "the establishment in the rules of the canon, so as to say, 'No, you haven't seen everything; you don't know everything. And here is a part of it that you should be seeing.'" Museums are still catching up to this proposition today, and we can all benefit from acknowledging how much there is to learn from each other. And we learned so much from him!

In the New York Times review of that exhibition, critic Hilton Kramer dispraised the show, asking "Is it black art or is it social history?" Dr. Driskell responded: "All art is social history; it's all made by human beings. And, consequently, it has its role in history."

Rest in power Dr. Driskell.”

– Carmen Hermo, Associate Curator, Elizabeth A. Sackler Center for Feminist Art

“When I was an undergrad art history student at the University of Maryland, I ran the student art gallery and while this was between the time when Dr. Driskell served as Chair of the Art Department and when he was named Distinguished Professor, he was always interested and supportive of the clique of young artists and future art historians who hung out at the West Gallery. His generosity made a real impression on me and every time he walked in the gallery I would become completely tongue-tied.”

– Catherine Morris, Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art

“Although I never got to know Dr. David C. Driskell personally, I did have the opportunity to hear him speak several times. When I first began studying African American art in college, I understood that David Driskell was a pioneer in the field. But, when I tucked into seats in buzzing lectures hall to hear Dr. Driskell speak as a grad student or subsequently as a museum professional, I heard about conversations with Aaron Douglas or summer at Skowhegan--Dr. Driskell painted a picture of a life lived with the people that made up the history I was devoted to studying. With the passing of Dr. Driskell, a connection to the past has been irrevocably severed.”

– Dalila Scruggs, Fellowship Coordinator, Education

“David Driskell’s life took him from a one-room segregated schoolhouse in North Carolina to the White House. Under the Clinton administration, Driskell, acknowledged as a leading expert on African American Art, worked with Mrs. Clinton to acquire a great landscape by Henry Ossawa Tanner, who became the first Black artist to enter the White House collection. This is only one example of the many doors Driskell opened in his quest to tell a more truthful and complete story of American history and culture.”

– Eugenie Tsai, John and Barbara Vogelstein Senior Curator, Contemporary Art

“I did not have the opportunity to meet Dr. David C. Driskell, but I fondly recall seeing him speak at a CASVA symposium, The African American Art World in 20th-Century Washington, D.C., at the National Gallery of Art in 2017. There, he participated in a panel discussion with other artists (moderated by Ruth Fine) regarding the city’s impact on his own artistic development. He spoke with such passion about James A. Porter and the legacy of his teaching at Howard University.

Driskell has also left an indelible imprint on the Brooklyn Museum and its own exhibition program, most recently with his inclusion in Soul of a Nation: Art in the Age of Black Power. In 1976, he curated Two Centuries of Black American Art, which opened at the Los Angeles County Museum of Art in 1976 and subsequently traveled to the Brooklyn Museum in 1977. In this groundbreaking exhibition and publication, he defined the “evolution of a black aesthetic” and called attention to such important eighteenth- and nineteenth-century artists as Joshua Johnson, Robert S. Duncanson, and Henry Ossawa Tanner, among many others. Driskell has significantly shaped my own thinking on American art and, in my own research, I am reminded of his rediscovery of the landscape painter Edward Mitchell Bannister who, after his death in 1901, remained largely forgotten.

Edward Mitchell Bannister (American, 1828-1901). Untitled (Cow Herd in Pastoral Landscape), 1877. Oil on linen canvas. Brooklyn Museum Brooklyn Museum Fund for African American Art, 2016.10

A tireless advocate for Black artists, Driskell led the charge in redefining the mainstream art historical canon. He forever changed the discipline and paved the way for so many, and for that I am grateful.”

– Margarita Karasoulas, Assistant Curator of American Art

Clips from Two Centuries of Black American Art, Los Angeles County Museum of Art © Pyramid Films, 1976. Brooklyn Museum Archives.

“One of the greatest treasures in the Brooklyn Museum Archives are the five videos that document the Symposium Afro-American Art: Form, Content, and Direction that occurred on June 24th and 25th, 1977 that was organized by David Driskell, the Schomburg Center, and Brooklyn Museum Staff in conjunction with the Two Centuries of Black American Art exhibition. In the afternoon of the first day, Romare Bearden, Selma Burke, Jacob Lawrence, John Rhoden, Ernest Crichlow, Vincent Smith, Bob Blackburn, Roy De Cavara, Valerie Maynard, and William T. Williams talked on stage for three hours about their artistic practices within the context of twentieth-century art traditions. It’s staggering to think of all those brilliant artists in conversation together—watching the footage, hearing the artists in their own words is profoundly moving.

When researchers are looking into the exhibition or are curious about the Museum’s history of exhibiting Black Artists, I’m always excited to share the material produced for, by, and of the exhibition. The archival material includes visitor comment books, the press kit, 22 folders of correspondence, the film produced for the exhibition, and the aforementioned symposium videos. The programming built around the exhibition was legendary, and the breadth is rarely seen today: seven artist studio visits (Howardena Pindell!), six supplemental exhibitions at other venues (The Abstract Continuum at Just Above Midtown Gallery!), twenty-two gallery talks (Dr. Rosalind Jeffries on the Harlem Renaissance!), dance performances (Sounds in Motion Dance Company!), concerts, and the list goes on. Driskell’s vision had a deep seismic effect on the art world. The people brought together at these events and programs, the knowledge shared, learned, and passed on to subsequent generations, none of this can be quantifiably measured or completely comprehended, especially from a remove, but its incredible magnitude can be felt when conducting research into the exhibition. Dozens of researchers have come to look into this history, and I look forward to welcoming future visitors to the Archives to learn more about David Driskell, hopefully inspiring them to perpetuate his monumental legacy.”

– Molly Seegers, Museum Archivist

[dougmeet]

SMC Clusterf***: Richmond Inn & Suites, Baton Rouge, La. Only Good Ol' Boy Hotel Group in Shreveport -- Hotels for Walmart Corp. -- Could Have Anti-White GM, Trudi Veals, F***-up The 'One-car Funeral' Which Was My 10-month Stay ...UNTIL BLACK JANITOR & COP EVICTED ME CHRISTMAS 2020!

(via Who Kicks Out Hotel Guest During Pandemic? Wyndham Hotels Richmond Inn & Suites GM Trudi Veals Baton Rouge LA, Owner SMC Hotels Group, President Delton Smith, Trademark Collection : mrjyn : Free Download, Borrow, and Streaming : Internet Archive)

Richmond Inn & Suites, Baton Rouge, Louisiana, 225-924-6500 Front Desk, 24 Hours, Trudi Veals, GM

In retaliation with protection of owners, SMC Hotels Group, Wyndham Hotels Resorts, Trademark Collection, a concerted campaign of Constructive, Self-Help Eviction and Violation of Federal , CDC Eviction Moratorium, 12.27.2020, this commemorates Trudi Veals first extortive influence of former Front Desk Clerk, Faith, her first principal conspirator.

Faith tried what the Janitor did succeed, in temporarily impressing a sullen -- from censure -- Trudi Veals had her  momentum halted by superior,  Senior Vice President of Hotel Holding company, SMC Hotels Group, John Holmstrom, who upon hearing from an ex-employee through me what had been happening, had ordered Veals to fire her Assistant, Faith, but because of Faith's faithful efforts in helping her boss, Trudi’s illegal force-out of long-term tenant (me), Veals refused, with a tbsp of lies, and with that, crossed the line of no-return, forcing, on the morning after, a pall   throughout the employees faces.  And they all blamed me, courtesy of the rumor-mongering Trudi Veals.

Dispatch one employee to preserve stability, assuage a resident offended is necessary business to corporate execs, and if they happen to stop the personally motivated machinations  of an employee like Trudi Veals, which they had no idea existed, then all the better.  Whether it was rabidly disputed, although well-known among her confidants and helpers, they knew she was lying because they’d blown it and given her free reign.

For Trudi, just groom another assistant in the final intimidation -- the same spoiled dinner which put her appetite down -- only whetted it now.

Commission, as agent of Hotel, someone with no authority, who could then be explained away as acting autonomously in whatever foolish, non-procedural lunacies he decided of his own to commit, as  what occurred with the janitor, whom she picked as her favorite, one day after Christmas Holiday Weekend,  standing in my hall among his posse commitatus, all in the presence of a silently nodding BRPD, as if to say to any question I definitely had about the absurdity of this shitshow of authority, “... n da tom perrod'f tree our  firm nah (read in Jamaican patois) ...” officer nodding, there wouldn't be an answer. Just a command by the janitor to vacate, as a paid in full, with no court writ or order or notice to leave, to pack and be gone in three hours during the height of COVID-19 lockdown and Presidential Eviction Moratorium, December 27, 2020 -- 10 months since I had, a tenant in good standing occupied legally the dwelling at Richmond Inn & Suites, Baton Rouge, La.

Flight of Ideas and Magic Thought with a virulent predilection of her fantastical imaginings; her inability to control her trait -- relating as fact, lies of incredible construction, Dalian Hotel Policies of absurdity meant to entertain her during these manic episodes which, if confronted, she would blithely revisit, delighting herself again in her shock at admitting, ‘yes, it was all true,’ --  the grievances at Richmond Inn & Suites  left unaddressed for at least the year I was there were accommodated under the management of Trudi Veals.

Two coequal haints visit themselves upon unsuspecting whitebread rubes causing chaotic dustdevils of indeterminate origin.

What number in a year?

How many in a decade?

Of what percentage in the recent past did she dispense with issues in precisely this manner?

Veals enjoyed (as i would see it perpetrated) the $250 assessment.

A rainbow of dreaming washes over me to see its filthy lucre pour from tablespoons of sugar which Trudi administers herself and stirs in that same Macbeth Witches cauldron, while she is now rendered diabetic, debited of limbs and digits -- payment for criminality which through mawkish tears to a shrill interlocutor, she will respond in her Video Sentencing, as the culmination of a life in hospitality.

Inhospitable. No matter, Judge, nor Virtual Jury, Habeas Corpus Delecti, let him / her / it prevail.

That when HIS HONOR enter through Virtual Gallery his Courtroom, Hizzoner, heard bursting from Bailiff, virtual or corporeal, motions remanding  to house arrest, not withstanding, an ankle device shackles, which she did through counsel plead, too much like slavery its burden, her ankles hurting; unto which, adjudged too late, she fell prostrate, her clangorous show farced, and from request of referent obdurate did the Seersucker clown, whose Public Defense came from her diminution of payment -- she was entitled to her Constitutional Right to an attorney --  provided freely by the court, from the unrefined cowshed, overburdened, he couldn't remember which case was hers again -- from his car, to his watch, to his heels -- and through motions improper to a stickler at home for Kramer Vs. Kramer, but not in this Federal District Court of Appeals, appellate counsel for appellant to Bard of the Bench, his days at Harvard and Oxford and his rise through the ranks, horsehair wigs, robes, bibs and gavels,

Criminal barristers will keep wigs and gowns, as the Lord Chief Justice intends to keep the current court dress in criminal proceedings. The Bar is a single advocacy profession with specialisation in particular practice areas. There is logic in having the same formal court dress, where formality and robes are required, for criminal and civil barristers... There is strong identification of the Bar of England and Wales in the public's mind and its formal dress nationally and internationally.

to Justice whose scales weild equal to the malice practiced by those whose Liberty it steals, the gavel heard in the Barrister’s Vatican, like a Solomonic Revelation brought from  unsealing  those Seven Seals -- no Branch Davidian to waste judgement further,  enthroned, not  by Holy Rood,, but Terrible Swift Sword -- the Word of Law -- and before it ,she ask Mercy, which jurisprudence disinclines, a Judicial Granting on what she was standing, on grounds that she just couldn't stand up much longer,  Honorable man in the robe she did cling to as he floated on issue to his decision, a final declination to a continuance deemed by  court; that, And hereby, on this day, now, Say:

By preponderance of irrefutable evidence and with special circumstance, a verdict of guilty, through choice of Defendant --  wishing no man to judge her, but the eminence through Law Whom Ruleth Equal  All. No Prejudice Nor Fear, did he set down sentence which should end thus: To a term no longer than that which Defendant should be incarcerated, as to  the amount of days and nights in moral turpitude she squandered her victims, he rendered the craven acts with special malice and cruelty of intent, as a mere agent Lessor of Lodgement, an Innkeeper, unlawfully with deprivation in violation of Plaintiff’s Covenant of Peaceful Existence, did she relieve.

And so by Order of the Court, she SHALL serve out her sentence under the overpass where the I-10 ends in a maze of Los Angeles’s Skid Row, in a tent where she be remandered, although not really standard, under the lowermost overhanging awning, in a place of habitation -- already, before her, the I-10 so loud and fumid, where she'd be able to think clearly throughout the ordeal.

Warranty durable, should it of necessity in its fulfillment of determinant, subsection policy of coverage to which no clause, nor likelihood of risk amortization, through those Great Bodies of Bayesian Logic, Probability Statisticians, managed to assess that which boldness demurred, with warning our proclivity of enjoyment, times of danger and lack of inhibition, such courageousness wasted of adrenalized wash, natural narcosis, which we enjoy, compared with our duty to dispatch one-quarter century of pent-up niggling, as visited our frustration, whose credit shall present us who read this, no obloquy which I caused, you hear, as that to same degree, I shall enjoy a fireplace on the side of the transcontinental dedicatory slab to the movement of all our narcotics, this land, from its West to its East, an hyperbolic Woody Guthrie pharma-colonized mixture, which is our land now, and made for you and me.

In the deep, wretched South of my birth, says Barry Hannah -- wretched, but, still howling -- like the dinning rubber meeting road of Mario Andretti on nights you hear high-whining Formulae, its Straightaway Quarters where races are won; cacophonous to God -- to the Devil such an idea of fun -- inner-perturbation become discomfit as in dreaming,  you find yourself lost in its midst, the ringing never respite,  tintinnabulation -- this starts, so you now do, clangorous noise you weren't dreaming, remember the concept of Hearth, warm like home, your stay it may see you through this place, the same way as Religion absolves, guarantees of mortals to Glory and Promise of sinning, wanting you commit  your memory as Gospel, when you from sweating awaken into a sub-tropical destination, at 90 degrees humidity, it's really not the heat, it's the torpidity which require strong one-two punch to cough-up your lunch, from economy of motion lost is gained 90 degrees insight whose side of the Highway is not paved with gold, nor paved with  sound barriers, when looking across, it is seen, the thing which precludes  asking aloud when outside, but which would provide perfect protection from eavesdropping G-Men tailing John Gotti and Sammy the Bull, who loved nothing more than eluding them through Bridge and Tunnel traffic massing upon Little Italy Gravy Joints,  FBI packing in for home; the other side, where I, from my third story watch as you, like the painting by Munch, I cannot hear, but the shape of your mouth is as though you appear, ready to scream.

I know because it happened to me, I, like you, now also deafened by sounds only Eviller ears hear, they abound on both sides of the Slab, I-10, where you hear -- its squeals, through the name of the One, it to you hearkens with dread, and dead cursed squall, its sequel, again, and once more, it screams: Trudi Veals!

You late check-ins may wish her, or beware (by reading) The Curse of Richmond Inn & Suites, a Wyndham Hotels and Last Resort Trademark Collection, or the story of Trudi Veals. She is most simply recognized by her bromidic, counterfeit deficiency of presence, resembling the Executive doubles, who, saved by the Plague and its Social Distancing, indispensable to onerous owners of Inns and Suites which are inhospitable and untenable, and cannot be defended. Though Katrina would finish a Century of Death denied it by five years with interest, and finally restore it through penalty of profiteering, abusive mobs, unlike the present Gallows Humored fable, 'Ring Round the Rosie,' illustrative of Corporate Raiders and bottom-tier Hoteliers, whose review provides, simply through teetering acquisition by newly installed CEO, for reasons illustrated by its janitor, Mike, with two unopposable thumbs, the minimum rating it can receive is 'Two Thumbs Down.' SMC Clusterfuck, only Good Ol' Boy Hotel Investment Group of the Shreveport Country Club, Marina, building Hotels for Sam, over to Alabama, Walmart Corp., right in their back yard, who through anti-white racist tending by a General Manager of one-quarter century employ, Mrs.Trudi Veals, to fuck up the 'one car funeral' which was my brief 10-month stay at his lodge,  Richmond Inn & Suites, a Wyndham Trademark no one wants to steal. But everyone wants to read what really went on in the NEW Hospitality Horror Mystery Novella:  The Curse of Richmond Inn & Suites Repeats - a Trademark Collection John Holmstrom, through what strikes me as sensible,  and intuitive in his initial resistance in support for Trudi Veals -- refusing to authorize her request to evict me over what was transparently fallacious.

but President, Delton Smith, Number One Son of great old man Henderson Smith who has just passed, to carry on a family business with as much respect, courtesy, decorum, and hospitality, as a preppy rich kid in a Beemer, wheeling through cherry-picked gig of 8 years at the Hyatt®, a riot of paychecks, nothing really his, everything free to take, the helm, the Presidency of Boards and even Louisiana Hotel and Lodge Association (a derelict clubhouse), even the spotlight at the Socialite event of the Season, marrying another Shreveporter, Dame of Vassar, probs.  Together through wealth and throwing money at things, may their short time together, as they settle down in a place, well, since they both hate it there, it is excellent indeed, that Delton's a Hotelier.

Grandson of former Times section editor feted at engagement party Maggie Martin Shreveport Times  Elegant black and gold invitations requested the presence of friends at the Nov. 10 engagement party for Delton Smith and Caroline Wiggins, who marry on the most glittery of evenings — New Year's Eve.Invitees gathered at the Pierremont area  home of Dr. Kurt and Prissy Grozinger with others co-hosting.

It was an evening to remember with lamb chops on the dining room table and fried oysters passed by wait staffers, the talked about offerings of the evening.

Smith and Wiggins met through mutual friends, and Smith proposed at Capella Resort near Singapore. 101 is a lucky number for

Capella as well as promising 101 alluring waterfront accommodations, the hotel opened

its doors on 10.1 - October 1st

The two went were there for wedding of friends Smith met when he worked in the city. Smith is in hotel development and Wiggins is manager at Poppy's Monograms.More:

Fireworks surprise newlyweds after Coushatta reception

Smith's parents are Harrison and Cissie King Smith. His maternal grandmother is the late Beverly King Hand, a former Times editor well remembered for revising a Times style section. The bride's parents are Susie Wiggins, of Shreveport, and Pat Wiggins.Spotted in the crowd: Brian A. and Ginny King Homza, Drs. David and Carol Clemons, George and Clare Nelson, Bobby and Maura Pugh, Andy Querbes, Gary and Lisa Love, Dr. Charles and Katherine Sale, Lounelle Black, Mary Patrick Baucum, Bill and Nancy Broyles and the groom's paternal grandparents Shelby and Adelaide Smith. Maggie Martin is a Times reporter/columnist. She can be reached by calling 820-7404. Email: mmartin@shreveporttimes.com.

More on this story

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trudi

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fuckin dickhead who is a dumbass bullyhes such a fuckin delton

Long Reads

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Young people

[noisemachinedotcom]

genuinely once i get the game out there i'm going to interview john s hall. im going to show him the area where his song is (the only song that wont be done by me or my friends) and im going to ask him hey whats up with some specific songs you wrote what's your take on gay/not gay now that its no longer the 2000's do you stand by every track youve ever made do you still get along with dogbowl would you ever collab again what happened to kramer do you like bongwater do you want to listen to my spoken word i need to talk to this man. he only has 1k on instagram and barely any interaction i know that if i sent him a clip of the game he would absolutely see it and he would more likely than not enjoy the fact that despite being a smallfry guy (outside of a couple hits (detachable penis)) he has fans (big fan here) i want to know if he knows that detachable penis is a transmasc anthem

[charliejrogers]

Miracle on 34th Street (1947) - Review & Analysis

What a weird, wonderful movie. Miracle on 34th Street is quite possibly the oddest Christmas movie I’ve ever seen. In part this is due to the fact that some stuff just doesn’t age well. How many old, strange men are you willing to let your seven-year-old daughter hang out alone with, Ms. Doris Walker?! But also it’s weird because because despite its typical Christmas-movie themes of faith/belief, true love, family, etc… it’s a wholly unique film that doubles as a legal drama!

This was my first viewing of the perennial classic, a film which started as a story by Valentine Davies and was adapted for the screen and then subsequently directed by George Seaton. Though baptized a Roman Catholic, Seaton himself grew up in a Jewish neighborhood of Detroit. He even had a bar mitzvah. I wonder how much of Seaton’s upbringing affected the final product we see. The central theme of holding faith in something that doesn’t make sense to those around you probably resonated strongly for the director who as a kid who became interested in a religion that was foreign to both of his Swedish immigrant parents.

From a direction standpoint, it’s fairly by the books and of its time, with a few notable exceptions, one being the opening credits sequence which shows a lone man walking slowly about the NYC streets from behind. He’s dressed in all black and we have no idea who he could be. He could literally be anyone in the world. Then all of a sudden, like magic, his face is revealed: the man we’re following is Santa Claus! Or, at least it looks a whole lot like him. What is Santa Claus doing in New York? Is this even Santa Claus?

These are questions that end up being central to the movie and just straight up never get answered. I loved that writing choice. The writing is the first of the film’s three big stars. This film won the Oscar for both best story and best adapted screenplay and it deserves every ounce of those awards. The story is so sublimely clever. Put shortly, the movie is about a man who claims to be Santa Claus and due to his uncanny resemblance to the jolly holiday figure, his natural aptitude for talking to children, and his almost savant-like knowledge of toy stores in Manhattan, he gets hired to be the mall Santa for Macy’s flagship Manhattan store. However, not everyone is as convinced that he is the real Kris Kringle. Certainly the Macy’s company psychologist does not. An uptight and unpleasant man, he (like others) thinks Kringle is utterly delusional but (unlike others) he also thinks these delusions presage future violence whenever inevitably others may challenge Kringle on this delusion. The psychologist thus schemes to get Mr. Kringle committed to *cue thunderclaps* Bellevue!

What ensues is a legal battle. I can’t imagine any other Christmas movie whose climax ends in a courtroom but it’s an incredibly satisfying thing to watch. We have the idealistic lawyer, Mr. Fred Gailey, who believes that Kringle, while clearly delusional, poses no actual threat to the community and actually does the community a great service in spreading kindness. Nevertheless, has to prove that Mr. Kringle is legally THE Mr. Kringle lest Kringle spend the rest of his life in the looney bin. Note… I have a very healthy and “modern” view of mental health, and would never use the term “looney bin” to describe today’s mental health hospital… but I use the term here because the images we get in the film of Bellevue’s inpatient psych ward are of sedated men in all-white clothing… in other words the movie certainly thinks of being in a psych ward as a looney bin, which adds a bit of dramatic tension to the story.

There’s certainly some not-so-subtle condemnation of psychology going on this movie (at least of the kind practiced by the Macy’s psychologist, Mr. Sawyer (a snivelling Porter Hall)). This was coming at a time when increasingly science was taking the place of religion, so it makes sense that psychology would be an enemy in a movie about faith and clinging to things that don’t make sense. The trial over the existence of Santa Claus almost serves as an inverse Scopes Monkey trial; Kringle even ironically compares his lawyer to Clarence Darrow, the lawyer on behalf of science.

What this movie nails so absolutely perfectly is that honestly… I don’t know if Kringle really isn’t Santa Claus. I’m not claiming that Santa exists in the real world, but in the world of this film, it’s really not obvious whether the film leans one way or another. That’s an ambiguity that tends to make art shine when it’s present. We see through Gailey’ legal maneuvering that the legal defense for Santa Claus’ existence is tenuous at best. At one point he calls the prosecutor’s child to the witness stand to argue that Santa Claus must be real since that is what his Dad (the prosecutor) has always told him. Therefore it seems like the film’s psychological explanations are probably the most likely. Yet at the same time… when a little Dutch girl comes to see Santa at Macy’s because she can “just tell” he’s the real Santa… why else would Kringle know Dutch songs about Santa off the top of his head? Why does an old man who lives in an old folk’s home on Long Island know so much about Manhattan’s toy stores?

And then there’s the more practical questions about Santa lore. Why is Santa in New York? He says he was born in the North Pole… so why did he leave? If he’s real, then why does he need to direct parents on where to buy the best toys? Is it merely that the world has outgrown him?

There’s also a whole economic piece of the script that I won’t even fully touch on. But basically Kringle in attempt to do right by parents, doesn’t merely recommend toys from the Macy’s toy department, but lets them know about better deals on toys that are located in stores elsewhere in Manhattan, including those that are rivals of Macy’s! This policy is such a hit with customers, it ushers in a revolution in department store policy, with department stores across the nation vying to extend more goodwill to customers. As I said, there’s something in there about the power of the free market and how capitalism doesn’t have to be evil... but I’ll leave it there and return to the central questions of the film. Like... does Santa Claus exist?

I don’t know! But the film raises really interesting questions and just leaves them there for us to sit with. Everything that the film tells us points us to the common sense conclusion that this man is NOT the genuine Jolly fellow… yet we want to believe there’s something more and that’s what makes this film so special. We literally as the audience go through the same mental charades as the characters in the film.

Thus far, I’ve attributed this brilliance to the plot, but there’s another absolutely vital element: the performance by Edmund Gwenn as Kris Kringle. This guy deserves every ounce of his Oscar for his performance. There’s not a second that he’s on screen that he doesn’t ooze charisma and charm. This whole movie would fall apart were it not for him, good plotting be damned, since we need to believe, even for mere fits and flitters, that this man is Santa Claus.

Never is he more convincing than when he interacts with children. There’s the absolutely magical scene with the little Dutch girl I mentioned above, but it’s when Kringle chats with little Susan Walker (played to heart-melting perfection by nine-year-old actor Natalie Wood whose got a stink face that never ceased to make me chuckle) that this movie achieves greatness. Though the trial scenes put the theme of faith vs. psychology at the forefront, the real heart of this movie is the conflict of faith vs. practicality. Little Susan is raised by her mother (and her Black nanny/house-caretaker who gets depressingly little credit… or screentime), and her mother Doris Walker (Maureen O’Hara) is a thoroughly practical women. She’s a high-up exec at Macy’s, and seemingly one of the only women to be in such a position. As such, she’s a unique character for her time. Rigidly pragmatic, she eschews any and all attempts at fun and imagination for her daughter (as well as for herself). We get the sense that a different film, a different story, might dive deep into Walker’s struggles as a single mother in the 1940’s trying to be taken seriously in the business world. In a sense, she’s a forerunner to Faye Dunaway’s character in Network. She was clearly hurt by romance in the past (she and her husband divorced, which I imagine was rather scandalous at the time), and this fear of getting hurt by romance is what compels her to teach her daughter to avoid the stuff completely.

Clearly, there’s some cool gendered stuff going on here. Imagination, romance, faith: these are all things that are stereotypically more female-coded, while business, pragmatism are more male-coded. You inherit your father’s name but your mother’s religion as the old tradition went. And in our society at least, the latter (pragmatism/business) is supposed to make you successful and get you places… the former (faith/romance) does not. Yet in this movie, we have idealism and romance of our male lawyer Fred Gailey (John Payne) and the pragmatism of our female businesswoman Doris Walker. It’s a fun play on typical gender norms, but more interesting is to see how this duality plays out in the development of little Susan under the dual influences of her mother and the combination of Misters Gailey & Kringle.

Natalie Wood goes down in the pantheon of all-time great child actors, up there with the kid from Kramer vs. Kramer. She’s precocious but not in a way that’s off-putting. The way she evaluates the Macy’s Thanksgiving Day parade in such a matter-of-fact way is hilarious, and as I mentioned the stink eye she gives Kringle when he tries to tell her that he’s Santa is nothing short of perfect. Over the course of the film, we see her more harsh nature melt away and she becomes a kid. It’s a beautiful reminder of that childhood only comes once in a lifetime. If this movie shows us nothing, it’s how hard it is to maintain a sense of levity once one becomes an adult. We have to start worrying about what our bosses might think, what the press/public might think, what voters(!) might think. Never again will it be fully OK to have your heads in the clouds and believe in nonsense, so why take that away from children.

As much as this is a perfect film, I could have done without the romance plot. Mostly because it seems unnecessary. Doris seems to change in her attitudes towards Kringle and towards raising her daughter that constitute enough character growth thata having her all of a sudden fall head over heels for Gailey just seems forced. For that matter… Gailey’s a weird dude. This movie romanticizes a weird, creepy type of romance where Gailey spends time with a small girl just to get time with that girl’s mother. Walker and Gailey are such opposites and share no on-screen chemistry, that I just didn’t buy the plot.

But that’s OK. It’s a small blemish on an otherwise wonderful film. It hits different emotions than, say, It’s A Wonderful Life, but it’s magical all that same, and one that I can actually imagine children wanting to watch. It’s unceasingly clever plot, matched by a once-in-a-lifetime performance by Edmund Gween as Kris Kringle and a great child actor performance from Wood make this a must-see movie for any holiday movie fan.

***/ (Three and a half out of four stars)

[norikateatro]

Norikateatro’s Audio List! 💙

As of:  July 31, 2019 😄!

Please message me if you want an audio! Do not comment *If you want to trade with me that’ll be really cool!

Wicked: Chicago January 06, 2008 - Dan'yelle Williamson (Elphaba u/s); Kate Fahrner (Glinda u/s); Michael Seelbach (Fiyero); Peter Kevoian (The Wizard); K. Todd Freeman (Doctor Dillamond); Barbara Robertson (Madame Morrible); Summer Naomi Scott (Nessarose); Stanton Nash (Boq) Wicked 9 September 2008, 1NT Cast: Carmen Cusack (Elphaba), Katie Rose Clark (G(a)linda), Christopher Russo (u/s The Witch’s Father), Deedee Magno Hall (Nessa), Brad Weinstock (Boq), Myra Lucretia Taylor (Madame Morrible), Paul Slade Smith (u/s The Wizard), Clifton Hall (Fiyero) Wicked: San Francisco March 06, 2010 - Eden Espinosa (Elphaba); Libby Servais (Glinda s/b); D.J. Gregory (Fiyero u/s); Tom McGowan (The Wizard); Paul Slade Smith (Doctor Dillamond); Jody Gelb (Madame Morrible); Deedee Magno Hall (Nessarose); Etai BenShlomo (Boq) Wicked Broadway: March 3, 2013 Cast: Willemijn Verkaik (Elphaba), Alli Mauzey (Glinda), Kyle Dean Massey (Fiyero), Randy Danson (Madame Morrible), Adam Grupper (The Wizard), Catherin Charlebois (Nessarose), F. Michael Haynie (Boq), Tom Flynn (Dr Dillamond) Wicked: Broadway February 22, 2014 (Lindsay Mendez & Alli Mauzey’s Final Show) Lindsay Mendez (Elphaba), Alli Mauzey (Glinda), Kyle Dean Massey (Fiyero), Carol Kane (Madame Morrible), Tom McGowan (Wizard), Catherine Charlebois (Nessarose), Michael Wartella (Boq), Note: Lindsay, Alli, Kyle & Tom’s last performance. ​Wicked Mexico-June 20, 2014 Elenco: Viviana Barrera (u/s Elphaba), Cecilia de la Cueva (Glinda), Jorge Lau (Fiyero), Paco Morales (El Maravilloso Mago de Oz), Anahí Allué (Srita. Morrida), Marisol Meneses (Nessarosa), Sebastián Treviño (u/s Boq), Beto Torres (Dr. Dillamond), Emanuel Gáitan (Chistery). Viviana's first performance as Elphaba. Wicked: London  June 23, 2014 Cast: Emma Hatton (s/b Elphaba), Sophie Linder-Lee (s/b Glinda), Jeremy Taylor (Fiyero), Philippa Buxton (u/s Nessarose), Sam Lupton (Boq), Sue Kelvin (Madame Morrible), Martyn Ellis (The Wizard), Paul Clarkson (Dr. Dillamond). Wicked: Broadway ​January 27, 2015 Caroline Bowman (Elphaba), Kara Lindsay (Glinda), Matt Shingledecker (Fiyero), Tom McGowan (The Wizard), Kathy Fitzgerald (Madame Morrible), Alicia L. Albright (Nessarose u/s), Robin de Jesus (Boq) The Rocky Horror Picture Show: Broadway March 14th, 1975 (Soundboard) Cast:  Bill Miller (Brad Majors), Abigale Haness (Janet Weiss), Graham Jarvis (Narrator), Richard O'Brien (Riff Raff), Tim Curry (Dr. Frank-N-Furter), Jamie Donnelly (Magenta), Boni Enten (Columbia), Kim Milford (Rocky), Meat Loaf (Eddie/Dr. Scott)  Notes: This is a live recording made on March 14th, 1975 of the (very short-lived) Rocky Horror Show's original run at the Belasco Theatre on Broadway.   Cat 1991 México DF, México Cast: Marisol Arreola, Hector Arroyo, Simone Brook, Olivia Buzzio, Gabriel de Cervantes, Maru Dueñas, Cecilia Huerta, Javier Diaz Dueñas, Manuel Landeta, Armando Moreno, Enrique del Olmo, María del Sol, Fabiola Zepeda, Lenny Zundel.  Notes: Soundboard Recording  Missing Overture. This could be an audio rip from the DVD, but I'm not 100% sure. Cats London November 8th, 1995 Cast: Admetus/Macavity: Richard Armitage, Alonzo: Nunzio Lombardo, Bill Bailey: Daniel Crossley, Bombalurina: Vanessa Leagh-Hicks, Bustopher/Gus: Tony Timberlake, Carbucketty: Sandy Rass,  Cassandra: Deborah Shrimpton, Coricopat: David Olton, Demeter: Michele Hooper, Electra: Nicola Lee-Owens, Etcetera: Charlotte Peck, George/Rumpus: Steven Wayne,  Grizabella: Clare Burt, Jellylorum: Carrie Ellis, Jemima: Kimberly Partridge. Jennyanydots: Beth Robson (u/s), Mistoffelees: Thomas Paton,Mungojerrie: Ian Meeson, Munkustrap: Andrew Halliday, Old Deuteronomy: Graeme Lauren (s/b), Rumpleteazer: Vikki Coote,  Rum Tum Tugger: John Partridge, Skimbleshanks: Tommi Sliiden (u/s), Tantomile:  Tee Soo-Chan, Victor: John Stacey, Victoria: Sandra Kater ​Chicago: Broadway - 1975 8 Aug Cast-Liza Minelli (special temp. replacement - Roxie Hart), Chita Rivera (Velma Kelly), Jerry Orbach (Billy Flynn), Mary McCarty (Mama Morton), Barney Martin (Amos Hart) Cats 15 July 1998, Hamburg Cast: John Partridge (Munkustrap), Kristin Hölck (Grizabella), Stephan Drakulich (Old Deuteronomy), Ray Strachan (Rum Tum Tugger), Damian Kacperski (Mr. Mistoffelees), Lachlan Youngberg (Bustopher Mürr), Tanya Christensen (Gumbie Katz’), Marco Krämer (Skimbleshanks), Virginia Lilly (Rumpleteazer), Livio Salvi (Mungojerrie) Cats: Seoul, Korea  2008 Oct 16 Cast: 신영석 Shin Young Seok (Grizabella), 대성 Tae Seong (Rum Tum Tugger), 홍경수 Hong Kyung Soo (Munkustrap), 이희정 Lee Hui Jeong (Old Deuteronomy), 김보경 Kim Bo Kyung (Rumpleteazer), 강인영 Kang In Young (Mungogerrie), 강연종 Kang Yeon Jong (Gus), 정주영 Jeong Joo Young (Macavity), 유회웅 Yoo Hui Woong (Mr. Mistoffelees), 문병권 Moon Byung Gwon (Skimbleshanks), 왕브리타  Wang Brita (Jemima), 백두산 Baek Doo San (Alonzo), 이은혜 Lee Eun Hye (Jellylorum) Cats London: December 27th, 2014 Cats:  Broadway September 24th, 2016 Cast:  Leona Lewis (Grizabella), Tyler Hanes (Rum Tum Tugger), Ricky Ubeda (Mistoffelees), Nathan Patrick Morgan (Old Deuteronomy u/s), Eloise Kropp (Jennyanydots),  Callan Bergmann (Carbucketty u/s), Jeremy Davis (Skimbleshanks), Kim Faure (Demeter), Sara Jean Ford (Jellylorum), Lili Froehlich (Electra), Daniel Gaymon (Macavity),  Francesca Granell (Rumpleteazer  u/s), Christopher Gurr (Gus/Bustopher Jones), Andy Huntington Jones (Munkustrap), Kolton Krouse (Tumblebrutus), Jess Le Protto (Mungojerrie), Georgina Pazcougin (Victoria), Claire Camp (Cassandra u/s), Arianna Rosario (SIllabub), Ahmad Smmons (Alonzo), Christine Cornish Smith (Bombalurina), Corey Snide (Coricopat), Emily Tate (Tantomile), Sharrod Wiliams (Pouncival) Cats (1989 Original French Cast Recording) Cats (1991 Original Mexican Cast Recording)   Cabaret - Signature Theatre Washington DC - Date Unknown Cast: Wesley Taylor (Emcee), Barret Wilbert Weed (Sally), Gregory Woodell (Cliff), Rick Foucheux (Herr Schultz), Naomi Jacobson (Fraulein Schneider), Bobby Smith (Ernst), Maria Rizzo (Fraulein Kost) ​Carousel: 2018  Broadway Revival January 28th, 2018 (1st Preview) Cast: Joshua Henry as Billy Bigelow, Jessie Mueller as Julie Jordan, Lindsay Mendez as Carrie Pipperidge, Renée Fleming as Nettie Fowler, Alexander Gemignani as Enoch Snow, Amar Ramasar as Jigger, John Douglas Thompson as the Starkeeper, and Brittany Pollock as Louise Dear Evan Hansen:  Broadway - May 15, 2018 Cast: Taylor Trensch (Evan Hansen), ​Laura Dreyfuss (Zoe), Will Roland (Jared), Phoenix Best (Alana), Alex Boniello (Connor), Rachel Bay Jones (Heidi), Michael Park (Larry), Jennifer Laura Thompson (Cynthia) Notes: Alex's first show as Connor.   El Hombre de La Mancha (1969 Original Mexican Cast Recording) El Hombre de La Mancha (2017 Mexican Revival Cast Recording) Little Shop Of Horrors:  Broadway | September 16, 2003 DeQuina Moore (Chiffon), Trisha Jeffrey (Crystal), Carla J. Hargrove (Ronnette), Rob Bartlett (Mushnik), Kerry Butler (Audrey), Hunter Foster (Seymour), Michael-Leon Wooley (voice of Audrey II) ​Into the Woods National Tour (Fiasco Theater Production) 4/11/17 Ahmanson Theatre, Los Angeles Eleasha Gamble (Baker's Wife), Anthony Chatmon II (Lucinda/Wolf/Cinderella's Prince), Fred Rose (Mysterious Man), Darick Pead (Rapunzel's Prince/Florinda/Milky White), Bonne Kramer (Cinderella's Stepmother/Jack's Mother), Laurie Veldheer (Cinderella/Granny), Stephanie Umoh (The Witch), Patrick Mulryan (Jack/Steward), Evan Harrington (Baker), Lisa Helmi Johanson (Little Red Ridinghood/Rapunzel). *Includes BC/EFA Speech by Patrick Mulryan. Wicked (2016 Original Mexican Cast Recording)This was released by the official Mexican Page on Youtube. It’s a Soundboard recording of Wicked México. Sound is crystal clear, some of the songs have dialogue. Cast: Ana Cecilia Anzaldúa (Elphaba), Cecilia de la Cueva (Glinda), Jorge Lau (Fiyero), Marisol Meneses (Nessarosa). Adam Sadwing (Boq), Beto Torres (Dr. Dillamond), Anahí Allué (Senorita. Mórrida), Paco Morales (El Mago de Oz), Beto Díaz (Frexspar/ El Padre de Elphaba), Lizeth Navarro (Melena/ La Madre de Elphaba). Alicia Paola Sanchez (La Partera) Wicked - 2016.08.18 - International Tour Cast: Jodie Steele (Elphaba s/b), Elizabeth Futter (Glinda u/s), Steven Pinder (The Wizard/Dr. Dillamond), Bradley Jaden (Fiyero), Kim Ismay (Madame Morrible), Emily Shaw (Nessarose), Iddon Jones (Boq) notes: This was Elizabeth’s first show as Glinda! On Your Feet: Broadway April 1st, 2017 (Evening) Ana Villafañe (Gloria), Ektor Rivera (Emilio), Yassmin Alers (Gloria Fajardo u), Alma Cuervo (Consuelo), Amaris Sanchez (Little Gloria), Eduardo Hernadez (Young Emilio and others), Eliseo Roman (José Fajardo), Genny Lis Padilla (Rebecca) My Master: This show was great but there was a very drunk lady sitting next to me, she belted some of the lyrics to the songs! A Chorus Line:  Westchester Broadway Theatre February 3rd, 2018 (Evening) Cast: Drew Carr (Mike), Tiffany Chalothorn (Connie), Erika Conaway (Tricia), Joseph Cullinane (Greg), Kevin Curtis (Richie), Emma Degerstedt (Val), Brian Dillon (Larry), David Elder (Zach), Tim Fuchs (Al), Danielle Marie Gonzalez (Vicki),  David Grindrod (Roy), Michael John Hughes (Paul), Tyler Jimenez (Don), Emily Kelly (Maggie), Ashley Klinger Kristine), Joey Lucherini (Frank), Erica Mansfield (Cassie), Alexandra Matteo (Diana), Logan Mortier (Bobby), PJ Palmer (Mark), Lauren Sprague (Sheila), Kelsey Walston (Bebe), Caitlin Wilayton (Judy) My Master: This performance was wonderful, it had no intermission. Avenue Q 1999 Demos Anastasia: Broadway July 21, 2017 ( 8:00 PM) cast: Christy Altomare (Anya), Derek Klena (Dmitry), Mary Beth Peil (Dowager Empress Maria Feodorovna), Ramin Karimloo (Gleb), John Bolton (Vlad Popov), Caroline O'Connor (Lily), Kathryn Boswell (Countess Gregory swing) My Master Charlie and the Chocolate Factory: Broadway November 11th, 2017 (Evening) Cast: Christian Borle (Willy Wonka), Ryan Foust (Charlie Bucket), Kyle Taylor Parker (Mrs. Green), John Rubinstein (Grandpa Joe), Emily Padgett (Mrs. Bucket), Kristy Cates (Grandma Josephine), Madeleine Doherty (Grandma Georgina), Paul Slade Smith (Grandpa George), Mikey Winslow( Jerry u), Stephanie Gibson (Cherry), Kathy Fitzgerald (Mrs. Gloop), F. Michael Haynie (Augustus Gloop), Jared Bradslaw (Mr. Salt u), Emma Pfaeffle (Veruca Salt), Mr. Beauregarde (Alan H. Green), Violet Beauregarde (Trista Dollison), Michael Wartella (Mike TeaVee), Jackie Hoffman (Mrs. Teavee) (My Master) Miss Saigon:  Broadway January 14th, 2018 Cast: Eva Noblezada (Kim), Jon Jon Briones (The Engineer), Alistair Brammer (Chris), Katie Rose Clarke (Ellen), Nicholas Christopher (John), Devin Ilaw (Thuy), Dorcas Leung (Gigi) (Final Show) Mary Poppins: (2012 Mexican Cast Recording) Bianca Marroquin (Mary Poppins), Mauricio Salas (Bert), Catalina Farias (Winifred Banks), Paco Morales (George Banks), Daniela Meneses [?] (Jane Banks), Sebastián Gallegos[?] (Michael Banks) Andrés Elvira (Valentin), Mariano Bucio (Neleus), Alm Cristal (Mrs. Brill), Andrés Sáez (Robertson Ay), Laura Cortés (Ms. Andrew & Bird Woman), Sergio Carranza (Almirante Boom), Paloma Cordero (Mrs. Corry), Natalia Saltiel (Mrs. Lark), Vince Miranda, Eden Pintos, Marcela Nava, Alma Escudero, Yolanda Campos, Majo Perez, Julieta Martínez, Eduardo Ibarra, Carlos Pulido, Omar Rodríguez, Alexo Fergo, Antonio Mariscal, Alicia Paola Sánchez, Jose Sampedro, Kim Yañez, Raymundo Montoya, Óscar Hernández, Roberto Hernández, Cecilia Arias, Mariano Villarello, Marcia Peña, Ruben Plascencia, Lolo Jiménez. *Songs only. This was recorded from the soundboard from various dates throughout the run. Once on this Island: Broadway Revival January 22nd, 2018 Cast:   Hailey Kilgore (Ti Moune), Isaac Powell (Daniel), Tamyra Gray (Papa Ge), Lea Salonga (Erzulie), Norm Lewis (Agwe), Alex Newell (Asaka), Kenita R. Miller (Mama Euralie), T Oliver Reid (u/s Tonton Julian), Mia Williamson (Little Girl), Alysha Deslorieux (Andrea/Storyteller), David Jennings (Armand/Storyteller), Tyler Hardwick (u/s Beauxhommes/Storyteller). Frozen: Broadway March 4th, 2018- Cast: Alyssa Fox (s/b Elsa), Patti Murin, John Riddle, Jelani Alladin, Andrew Pirozzi, Greg HIldreth, Audrey Bennett, Brooklyn Nelson, Ann Sanders, James Brown III, Timothy Hughes, Olivia Phillip, Robert Creighton, Kevin Del Aguila Notes: Alyssa Fox’s debut as Elsa Chicago Broadway: April 1st, 2018 (Evening) Cast: Amra-Faye Wright (Velma), Charlotte d’ Amboise (Roxie), Brian O’ Brien (Fred Casey) , Evan Harrington (Amos) , Katie Mitchell (Liz), Pilar Millhollen (Annie), Donna Marie Asbury (June), Beth Johnson Nicely (Hunyak u/s), Angel Reda (Mona), Valerie Simpson (Matron “Mama” Morton), Chaz Lamar Shepherd (Billy Flynn), R. Lowe (Mary Sunshine), Jessica Ernest (Go-To-Hell Kitty)  My Master: Act 1 only (Ends towards the middle of Cell Block Tango) Kinky Boots: Broadway April 28th, 2018 Cast: Charlie Price (David Cook), Blaine Alden Krauss (Lola u), Cooper Lantz (Young Charlie), Jesús del Orden (Young Lola), Stephen Berger (Mr. Price), Eugene Barry-Hill (Simon Sr), Caroline Bowman (Nicola), Marcus Neville (George), Daniel Stewart Sherman (Don), Kirstin Maldonado (Lauren), Natalie Joy Johnson (Pat), Jake Odmark (Harry), Jennifer Perry (Trish), Ciarán Mccarthy (Richard Bailey), Adinah Alexander (Milan Stage Manager), Kevin Smith Kirkwood, Alfred Dalpino (u/s), Fred Odgaard, Kyle Post, Charlie Sutton, and Joey Taranto (Angels) My Master: Ciarán Mccarthy’s Broadway debut! Mean Girls: Broadway 6/17/2018 Cast: Erika Henningsen (Cady Heron), Becca Petersen (u/s Regina George), Ashley Park (Gretchen Wieners), Kate Rockwell (Karen  Smith), Barrett Wilbert Weed (Janis Sarkisian), Grey Henson (Damian Hubbard), Kerry Butler (Mrs. Heron/Ms. Norbury/Mrs. George), Rick Younger (Mr. Duvall), Kyle Selig (Aaron Samuels), Cheech Manohar (Kevin Gnapoor), Iain Young (u/s Mr Heron) Notes: Becca's Regina George debut Moulin Rouge: Boston Tryouts July 24th, 2018- Cast: Aaron Tveit (Christian), Karen Olivo (Satine), Danny Burstein (Harold Zidler), Sahr Ngaujah (Toulouse-Lautrec), Tam Mutu (Duke of Monroth), Ricky Rojas (Santiago), Robyn Hurder (Nini) Notes: Act I is pretty much the same but Act II has some changes. "Roxanne is now far more manic and powerful, Crazy/Rolling in the Deep has a much more desperate feel which makes the pain Christian and Satine feel much more obvious, and Come What May is restored in part to Satine's death scene." Be More Chill-​August 2, 2018 (Off Broadway) Will Roland (Jeremy Heere), George Salazar (Michael Mell), Stephanie Hsu (Christine Canigula), Jason Tam (The SQUIP), Katlyn Carlson (Chloe Valentine), Lauren Marcus (Brooke Lohst), Gerard Canonico (Rich Goranski), Tiffany Mann (Jenna Rolan), Britton Smith (Jake Dillinger), Jason "SweetTooth" Williams (Mr. Heere/Mr. Reyes/Scary Stock Boy) Once on this Island: Broadway Revival August 18th, 2018- 2:00 PM Cast:   Lauren Lott (Ti Moune), Isaac Powell (Daniel), Merle Dandridge (Papa Ge) Darlesia Cearcy (Erzulie), Quentin Earl Darrington (Agwe), Alex Newell (Asaka), Kenita R. Miller (Mama Euralie), Boise Holmes ( Tonton Julian), Mia Williamson (Little Girl), Anna Uzele (Andrea/Storyteller), David Jennings (Armand/Storyteller), and Daniel Yearwood ( Beauxhommes/Storyteller) My Master Notes: This was such an incredible show, I cried a lot! Wicked - Broadway December 1st, 2018 Cast: Jessica Vosk (Elphaba), Amanda Jane Cooper (Glinda), Ryan Mccartan (Fiyero), Jye Frasca (Boq), Kristen Martin (Nessarose), Nancy Opel (Madame Morrible), Kevin Chamberlin (The Wizard), Jamie Jackson (Dr. Dillamond), Michael Di Liberto (u/s Witch’s Father/Ozian Official), Lindsay Janisse (Witch’s Mother), Kathy Santen (Midwife), Dominic Giudici (Chistery), Ioana Alfonso, Larkin Bogan, Teneise Mitchell Ellis, Dominic Giudici, Dan Gleason, Josh Daniel Green, Jeff Heimbrock, Manuel I. Herrera, Courtney Iventosch, Lindsay Janisse, Britney Johnson, Katie Ladner, Marissa Lupp, Matt Meigs, Dashi Mitchell, Lindsay K. Northen, Jonathan Ritter, William Ryall, Kathy Santen, Hannah Shankman, Travis Taber, Jeremy Thompson (Monkeys, students, Denizens of the Emerald City, Palace Guards and Other Citizens of Oz)   User: dnc445 on Reddit’s Master Dear Evan Hansen - Broadway December 12, 2018 ​Cast: Roman Banks (u/s Evan), Lisa Brescia (Heidi Hansen), Mallory Bechtel (Zoe Murphy), Sky Lakota-Lynch (Jared Kleinman), Phoenix Best (Alana Beck), Alex Boniello (Connor Murphy), Garrett Long (u/s Cynthia Murphy), Michael Park (Larry Murphy) Roman Banks First Performance King Kong Broadway: December 13th, 2018- 2:00 PM Cast: Christiani Pitts (Ann Darrow), Eric William Morris (Carl Denham), Erik Lochtefeld (Lumpy), Rory Donovan (Captain Englehorn), Harley Jay (Barman), Casey Garvin (Fake Carl), John Hoche (Voice of Kong ) My Master: This show was really fun! James Retter Duncan (swing) and Nick Rashad Burroughs’ first show Wicked: Broadway  January 10, 2019 (Evening) Jessica Vosk (Elphaba), Brittney Johnson (u/s Glinda), Jake Boyd (Fiyero), Kevin Chamberlin (The Wizard), Nancy Opel (Madame Morrible), Jesse JP Johnson (Boq), Kristen Martin (Nessarose), Jamie Jackson (Dr. Dillamond), Michael Di Liberto as (u/s Witch's Father), Lindsay Janisse (Witch's Mother), Kathy Santen (Midwife). Master: thediaryofatheatrekid Notes: Brittney's debut as Glinda! She’s the first woman of color to portray Glinda on Broadway! Beauty and the Beast at WPPAC, White Plains, NY January 12, 2019 (Evening) Cast: Belle ( Erica Lustig), Beast (Ezekial Andrew), Gaston ( Tom DeMichele), Lefou (Robert Peterpaul), Maurice (David M. Beris), Lumiere (Patrick Pevehouse), Cogsworth (Brendan Doyle), Mrs. Potts (Paulette Oliva, Chip (Robbie Crandall),  Madame de la Grande Bouche (Katelyn Lauria) and Babette (Elizabeth Brady) My Master Wicked: Broadway March 30, 2019 (Evening) Cast: Laurel Harris (Standby Elphaba), Katie Rose Clarke (Glinda), Gizel Jimenez (Nessarose), Boq (Jesse JP Johnson), Fiyero (Ryan McCartan), Dr. Dillamond (Jamie Johnson), Madame Morrible (Nancy Opal), The Wizard (Michael McCormick), Witch's Mother (Sterling Masters), Witch's Father (William Ryall), Midwife (Kathy Santen), Chistery (Raymond Joel Matsamura) My Master Kinky Boots: Broadway April 7, 2019 (Last Show) Cast: Andy Kelso  (Charlie), J. Harrison Ghee (Lola), Carrie St. Louis (Lauren), Caroline Bowman (Nicola), Daniel Stewart Sherman (Don), Marcus Neville (George) Hadestown: Broadway July 9th, 2019 (Evening) Cast:  Reeve Carney (Orpheus), Eva Noblezada (Eurydice), Amber Gray (Persephone), Patrick Page (Hades), Andre De Shields (Hermes), Jewelle Blackman (Fate), Yvette Gonzalez-Nacer (Fate), Kay Trinidad (Fate), Afra Hines, Timothy Hughes, John Krause, Kimberly Marable, Ahmad Simmons (Workers Chorus) (My Master) Jesus Christ Superstar: July 8th 2019  Barbican Center (Regent's Park Production) Cast: Robert Tripolino (Jesus of Nazareth), Ricardo Afonso (Judas Iscariot), Sallay Garnett (Mary Magdalene), Matt Cardle (Pontius Pilate), Samuel Buttery (King Herod), Cavin Cornwall (Caiaphas), Nathan Amzi (Annas), Matthew Harvey (Peter), Tim Newman (Simon Zealotes) Graverobber’s Master Les Misérables:  London 13 July 2019 (Evening) CAST: Dean Chisnall: Jean Valjean, Bradley Jaden: Javert, Carley Stenson: Fantine, Elena Skye: Eponine, Toby Miles: Marius, Charlotte Kennedy: Cosette, Steven Meo: Thénardier, Vivien Parry: Madame Thénardier, Samuel Edwards: Enjolras Notes: The final show of the original production of Les Misérables. Includes Dean Chisnall's speech. Please gift this audio upon ​request. Instrumentals: A Chorus Line US Tour  Pit Tracks Cats Instrumental Tracks (Mortifer) A lot of the tracks are synthesized, sounds like someone took a lot of karaoke tracks and put them together with orchestra but they’re some great tracks. Cats Mexico 1991 Orchestra Tracks (Teatro Silvia Pinal) ​ ​ Cats Backing Tracks (Midi) The Wizard of Oz Orchestra Tracks (RSC’ 1981) Les Mis US Tour Orchestra Tracks ​Wicked Orchestra Tracks Notes: This album is given to cast members when they first get cast in the show. People say this orchestration is the First National Tour one but it really isn’t, it sounds much more like the LA orchestrations. Perfect quality, includes every musical interlude, underscore, song, etc.

Audio Wants: Audio of the current run of Cats in Mexico, any production of Cabaret. Anything with Wicked, Cats México or Argentina, Dear Evan Hansen, Hadestown, Once on this Island, The Wizard of Oz, and anything I don’t have!

[sansphilautia]

Nic cage was high-key in shape by 1997 standards, he had  the guns, the delts, there’s even beginnings of traps underneath the mane. Con air would have had a chance to be taken seriously, if he was just allowed to go bald. Sadly Die Hard 3 had come out 2 years prior and Bruce Willis was still trying to have hair with the same hairline. Balding white men's salvation would be put off another untold number of years. It wasn't fully OK to be fully bald yet. To these men, their image was-and remains- a part of their livelihood. Would their level of Fame allow them to be fully bald and still get the roles that they wanted? You might be scoffing at Ron Pearlman getting action roles well into his late 60′s but the whole premise of a 65 year old action hero would be a lot harder to sell if Pearlman didnt have all his (or someone else’s) hair.

Stigma around being a bald white man was one even millions of dollars couldn’t overcome. No one had done it successfully yet, no one had started with hair and continued to enjoy the same status after being bald. Elton John abused his scalp for years using primitive hair restoration procedures, Captain Kirk was famous for his hair piece, these were men with unimaginable financial means who had to suffer going bald in the limelight, and they fought every step. Being bald was associated with being older, weaker, perhaps sickly. The worst of it however was being a young, in-shape bald man, if you weren’t a skinhead what were you? Who else would willingly be all bald? Where was the white Michael Jordan, who could be all man and all bald? Who could finally normalize the bald white guy.

The late 90s and early 2000s were a dark time for bald white men, George Costanza did more damage to their cause than the 9/11 attacks did to my Turkish family’s permanent resident applications. He was funny sure, but he was also a failure, a boob, he had difficulty finding a mate, he was short, he was bald, and he was just so goddamn visible. Seinfeld is still one of the most iconic sitcoms of all time and widely regarded as the greatest sitcom. Everyone knew who George was, and subconsciously or not, we associated the rest of George’s failings with the way he looked. In one of Kramer’s most iconic scenes. where he drinks a beer while simultaneously smoking a cigarette, the actor opposite him in the scene has a long bald mullet. He looks absolutely ridiculous, he’s overweight but carries it well, with a different hairstyle he could have a powerful stocky look to him, but the hair just makes him look so....inferior. Just as he was an extra on Seinfeld you feel that he’s an extra in life just looking at him. All because of that ridiculous bald mullet, but what else could he do with a completely barren top, how could he fashion that into an acceptable hairstyle that made him look and feel good?

Contrary to popular belief, Bruce Willis was not the pioneer of the shaved white head. Willis was the most visible and successful star at rocking the full bald as a white guy early on, but he wasn’t the first one to make the full transition. Willis’ hairline had long thrown in the towel but his hair was still hanging on in Sin City. By the time he let it all go for Live free or die hard he was simply riding a trend that someone else had bravely started. That someone was Jason Statham

The transporter released in 2002 and we saw the first full white guy who could do non-corny martial arts, have muscles and sport that forehead, the one that says “I’ve made my peace with my hairline, and I’m man enough to still beat your ass and be a sex symbol” (the accent helped his image obviously, this is over a decade before brexit when Americans began finding out Brits aren’t actually smart). Statham continued his crusade with a series of transporter sequels and other action films well into the 2000s and now has a place on the Mount Rushmore of action stars that Stallone rounded up with his Expendables series.

There were other notable contributors to the cause, NBA hall of famer Jason Kidd was fully shaved in 2002 and got all the way to the finals to fall before the Lakers threepeat dynasty, but he wasn’t a star, he wasnt a physical man, he was quick, smart, slick even, but not dominant. Speaking of basketball even Kobe Bryant had to hold out till mid/late 2000s to finally embrace his fate and he was the most dominant man to ever touch a basketball since MJ (Shaq did nothing on his own, Wade carried him in Miami).

Men like Patrick Stewart had an air about them where we accepted them bald, but would we have accepted them going bald? If Jason Statham opened the door for bald white men, The Rock going full shaved head was the Kool-Aid man busting through the wall. The Rock is a hero to everyone, beloved by all, he has no faults, he makes wholesome movies and no one thinks he's corny, he seems like a genuinely good dude, you’re happy to see him succeed. He can be funny, he can be an action star, he can be intimidating, he can even wrestle! Also the rock isn’t in “entertainment” shape, Dwayne “The Rock” Johnsons is a big man who can generate kinetic force at a level that is beyond the comprehension of most people. His alpha status is lifelong, he can rest on his laurels for eternity. If he wanted to, he could bring back the Hitler mustache and play a villain in a Disney movie at the same time. That’s how bulletproof he is, so a hairline malfunction was nothing to him.

Finally white men could feel secure, if it happened to him it can happen to anyone, there was light at the end of this lifelong tunnel of flailing to stay relevant and sexy. The Rock, along with many names both mentioned and omitted from this piece, helped usher in an era of prosperity for the bald white men of the world.

[comeofage1]

A to Z Book Rec Tag

Thank you to the lovely @that-quirky-girl for tagging me, she recognises the book weakness in me. These books are all linked on goodreads, where I have an account, linked HERE.

# - #Junkie and #Rev by Cambria Hebert 

A - Adorkable by Sarra Manning

Adulthood is a Myth by Sarah Andersen 

Adulting 101 by Lisa Henry 

Alan Partridge: Nomad by Alan Partridge (Steve Coogan) 

The Alex Crow by Andrew Smith 

All the Single Ladies by Jane Costello 

And Call me in the Morning by Willa Okati 

Anna and the French Kiss by Stephanie Perkins 

Anna Dressed in Blood by Kendare Blake 

Austenland by Shannon Hale 

B - The Backup Boyfriend by River Jaymes

Beauty by Robin McKinley 

The Best Corpse for the Job by Charlie Cochrane

Between Ghosts by Garrett Leigh 

Big Mouth, Ugly Girl by Joyce Carol Oates

Blame it on the Mistletoe by Eli Easton 

Blood Magic by Tessa Gratton 

Bone Gap by Laura Ruby 

The Book Thief by Markus Zusak 

The Boy in the Striped Pyjamas by John Boyne 

Breakfast at Tiffanys by Truman Capote 

Breathe by Sloane Parker 

Brideshead Revisited by Evelyn Waugh 

Bridesmaids by Jane Costello 

Brighton Rock by Graham Green 

C - Carry On by Rainbow Rowell 

Carry the Ocean by Heidi Cullinan 

The Catastrophic History of You and Me by Jessica Rothenburg 

Caught! by JL Merrow 

Chain Reaction by Simone Elkeles 

Chance to be King by Sue Brown 

A Christmas Carol by Charles Dickens 

The Christmasaurus by Tom Fletcher 

The Chronicles of Narnia by CS Lewis

Cinder by Marissa Meyer 

Clear Water by Amy Lane  

Code Name Verity by Elizabeth Wein 

Cold War by Keira Andrews 

The Coldest Girl in Coldtown by Holly Black 

Collide by Riley Hart 

The Color Purple by Alice Walker 

Corkscrewed by MJ O’Shea 

Crooked Kingdom by Leigh Bardugo 

Crossroads by Riley Hart 

The Crucible by Arthur Miller 

Crush by Richard Siken 

D - The Darkest Part of the Forest by Holly Black 

Dash & Lily’s book of Dares by Rachel Cohn 

Death of a Naturalist by Seamus Heaney 

Devoted by Sierra Riley 

A Discovery of Witches by Deborah Harkness 

Dumplin’ by Julie Murphy 

E - Eclipsed by Dominic Holland 

Ella Enchanted by Gail Carson Levine 

Emma - Jane Austen 

Epic Fail - Claire LaZebnik 

The Epic Love Story of Doug and Stephen by Valerie Z Lewis 

Every Move he Makes by Barbara Elsborg 

Evolution, Me & Other Freaks of Nature by Robin Brande 

F - Fairest by Gail Carson Levine 

Fangirl by Rainbow Rowell 

Fantastic Beasts and Where to Find Them by JK Rowling 

Far from the Madding Crowd by Thomas Hardy 

The Fellowship of the Ring by JRR Tolkien 

Fight Club by Chuck Palahniuk 

Filthy Little Secret by Devon McCormack 

Fish Out Of Water by Amy Lane

Fish Stick Fridays by Rhys Ford 

Flash Burnout by LK Madigan

Flawless by Lara Chapman 

Fragile Things by Neil Gaiman 

From What I Remember by Stacy Kramer 

The Future of Us by Jay Asher 

G - Gangsta Rap by Benjamin Zephaniah : 

Girl on the Run by Jane Costello

Glass Tidings by Amy Jo Cousins

Goodbye Days by Jeff Zentner

Goodnight Mister Tom by Michelle Magorian

Grasshopper Jungle by Andrew Smith

The Graveyard Book by Neil Gaiman

H - Harry Potter by JK Rowling

The Hate U Give by Angie Thomas

Haunting Violet by Alyxandra Harvey

The Heart of Texas by RJ Scott

Heidi by Johanna Spyri

The Help by Kathryn Stockett

Helping Hand by Jay Northcote

A Hero at the End of the World by Erin Claiborne

Him by Sarina Bowen

The Hitchhikers Guide to the Galaxy by Douglas Adams

The Hobbit by JRR Tolkien 

Holly Lane by Toni Blake

Hostile Ground by LA Witt

Hot Head by Damon Suede 

Hottie Scotty and Mr Porter by R Cooper

How to Repair a Mechanical Heart by JC Lillis

Howl’s Moving Castle by Diana Wynne Jones

A Hunted Man by Jaime Reese

Hunting Lila by Sarah Alderson

Hush Hush by Becca Fitzpatrick

I - I Love the 80s by Megan Crane

If Only in My Dreams by Keira Andrews

Illegal Contact by Santino Hassell

The Importance of Being Earnest by Oscar Wilde 

Infinite Jest by David Foster Wallace

Inseparable by Chris Scully

An Inspector Calls by JB Priestley

J - Jane Eyre by Charlotte Bronte

Jellicoe Road by Melina Marchetta

Jurassic Park by Michael Crichton

 Just Listen by Sarah Dessen

K - A Kiss in Time by Alex Flinn

Know Not Why by Hannah Johnson

L - Law of Attraction by Jay Northcote

Leaving Paradise by Simone Elkeles

Liam Davis & The Raven by Anyta Sunday

Light from the Dark by Mercy Celeste

Lima Oscar Victor Echo and the Truth about Everything by Suki Fleet

The Little Book of Vegan Poems by Benjamin Zephaniah 

Little Women by Louisa May Alcott

M - Mark Cooper versus America by Lisa Henry

Mark of Cain by Kate Sherwood

Me and Mr Darcy by Alexandra Potter

Merry Christmas Mr Miggles by Eli Easton

Midwinter Night’s Dream by Eli Easton

More than This by Patrick Ness

Motel. Pool. by Kim Fielding 

Mrs Warren’s Profession by Bernard George Shaw

My Love Lies Bleeding by Alyxandra Harvey 

My Single Friend by Jane Costello

N - The Nearly-weds by Jane Costello 

Neverwhere by Neil Gaiman 

Nick and Norah’s Infinite Playlist by Rachel Cohn 

North and South by Elizabeth Gaskell

North of Beautiful by Justina Chen

Northanger Abbey by Jane Austen

The Nothingness of Ben by Brad Boney

Noticed Me Yet? by Anyta Sunday

Noughts and Crosses by Malorie Blackman

Off Base by Annabeth Albert

Open Tackle by LC Chase

Out of the Blue by Sophie Cameron

P - Passing Through by Jay Northcote

Perfect Chemistry by Simone Elkeles

Persuasion by Jane Austen

Peter Pan by JM Barrie

The Picture of Dorian Gray by Oscar Wilde

A Portrait of the Artist as a Young Man by James Joyce

Pressure Head by JL Merrow

Pride and Modern Prejudice by AJ Michaels 

Pride and Prejudice by Jane Austen

The Princess Bride by William Goldman

Private Eye by SE Culpepper

Promised Land by Adam Reynolds

Promises by Marie Sexton

Pushing the Limits by Katie McGarry

Q - The Queen of the Tearling by Erika Johansen

R - Rattlesnake by Kim Fielding

Remember Me? by Sophie Kinsella

The Rest of Us Just Live Here by Patrick Ness

Rock Solid by Riley Hart

Roughing the Passer by Alison Hendricks

S - The Secret History by Donna Tartt

Sense and Sensibility by Jane Austen

Shiny by Amy Lane

Shrinking Violet by Danielle Joseph

Shut your Face, Anthony Pace by Claire Davis

Silent by Sara Alva

Simon vs the Homo Sapiens Agenda by Becky Albertalli

Skellig by David Almond

Skin Deep by Laura Jarratt

Slam! by JL Merrow

The Sleeper and the Spindle by Neil Gaiman

Sock it to me, Santa! by Madison Parker

Someday by Sierra Riley

Songs of Innocence and of Experience by William Blake

Spencer Cohen by NR Walker

Splintered by SJD Peterson

Stardust by Neil Gaiman

Starter for Ten by David Nicholls

Station Eleven by Emily St John Mandel

Stay With Me by SE Harmon

Strong Side by Alison Hendricks

Sugar Creek by Toni Blake

Superhero by Eli Easton

T - The Tales of Beedle the Bard by JK Rowling

The Tenant of Wildfell Hall by Anne Bronte

This Savage Song by Victoria Schwab

The Time of Our Lives by Jane Costello

To Kill a Mockingbird by Harper Lee

Tonight by Karen Stivali

Turkey in the Snow by Amy Lane

The Two Gentlemen of Altona by Lisa Henry

U - Unwrapping Hank by Eli Easton

Uprooted by Naomi Novik

V - The Vintners Luck by Elizabeth Knox

W - Waiting for Godot by Samuel Beckett

A Walk to Remember by Nicholas Sparks

The Walls of Troy by LA Witt

The Waste Land and Other Poems by TS Eliot

Water for Elephants by Sara Gruen

We were Feminists Once by Andi Zeisler

A Weekend With Mr Darcy by Victoria Connelly

Where he ends and I Begin by C Cardeno

Where the Lovelight Gleams by Kiera Andrews

Whiskey Business by Avon Gale

The Wish List by Jane Costello

Wonder by RJ Palacio

X - X-It by Jane George

Y - Y: The Last Man by Brian K Vaughan

You Against Me by Jenny Downham

Z - Zero at the Bone by Jane Seville