#lizzie goldsmith

[shipwreckedcomedy]

The first look at Shipwrecked Comedy's The Case of the Greater Gatsby - a new audio narrative coming July 26th!

THE CASE OF THE GREATER GATSBY Written and created by Sean Persaud and Sinead Persaud Directed by William J. Stribling Produced by Sean Persaud, Sinead Persaud, and Mary Kate Wiles Recorded by Ears Up Audio and Noah Hunt Audio Edited by Lizzie Goldsmith Music by Dylan Glatthorn

FEATURING Sean Persaud as Ford Phillips and Jimmy Stewart Sinead Persaud as Fig Wineshine Curt Mega as The Announcer Mary Kate Wiles as Vivian Nightingale Matthew Mercer as Officer Mo Beats Brian Rosenthal as Rex Punchwhistle Julia Cho as Sheilah Graham Sarah Grace Hart as Wilhelmina Vanderjetski Dante Swain as Bixby Crane Tommy Hobson as Barnaby Nightingale Lauren Lopez as Penny Nickelpenny Lesli Margherita as Mel Hammermeister Tom DeTrinis as Cliff Calloway Joanna Sotomura as Claudette Knickerbocker Joey Richter as Dash Gunfire

Video edited by Sean Persaud, featuring clips from "The Case of the Gilded Lily," shot by Alex Gallitano

Kickstarted by 921 accomplished sleuths

[post-leffert]

Anarchist Zines and Pamphlets Published in July 2023

Welcome to our mostly monthly round-up of new zines published in the anarchist space. We aim to highlight a broad range of anarchist thought. Inclusion here doesn't imply endorsement.

You can view past round-ups if you want more reading material. If you have something you want us to include next month, contact us. For a curated collection of zines, view our catalog.

Beyond what you can find here, we also recommend you support anarchist print media. Two recently released print projects include Plastic in Utero: a journal of anti-civ anarchy reborn from the compost of wasteland modernity #1 and Rupture Mag #1

The image accompanying this post is memorial mural in Lyon, France for Carlo Giuliani, a 23 year-old anarchist who was shot dead by police on July 20, 2001 during the anti-G8 protests in Genoa, Italy (source)

Against Capitalist Wars, Against Capitalist Peace

"In Ukraine, the Czech Republic, the UK, Italy, Syria, France etc… All over the world there is a voice against capitalist wars and also against capitalist peace. Only class war can end this terror and that is what we mean when we say No War but the Class War!

The new pamphlet contains 14 texts by various groups and individuals. The aim is to explain and affirm the meaning of antimilitarism, internationalism and revolutionary defeatism."

Download PDF: [ Imposed | Screen ]

Animal Bodies, Colonial Subjects: (Re)Locating Animality in Decolonial Thought

"Similar to the ways in which Indigenous peoples can undergo a violent process through which we rid our colonial mentalities, I argue that animals can be liberated from their colonized subjecthood through an aided 'process of desubjectification'. That is, thinking through animality as an infrastructure of decolonization re-positions animal bodies as agents of anti-colonial resurgence.They can consequently engender 'forms of energy that are capable of engaging the forces that keep [Indigenous people and animals] tied to [a] colonial mentality and reality'. Settler colonialism has therefore required the normalization of speciesism within Indigenous communities to obfuscate the radicality of Indigenous-animal relations. In that sense, recalling the representation of animals in Indigenous cosmologies/oral traditions and unsettling speciesism as a 'colonial mentality' must be prioritized in decolonial thought..."

Download PDF: [ Imposed ]

Black Flag Vol. 3, No. 2

This issue features a lenghty essay titled "Anarchy in the USA: The International Working People's Association (IWPA)". The IWPA is famous for its association with the Haymarket anarchists. Alongside this, there are several writings published by members including Albert Parsons and Lizzie Swank. It also includes a selection of writings by Marie Goldsmith, Rudolf Rocker, and Max Baginski. Most of the material here covers the historical anarchist space, with the exception of a review of a more recent book.

Download PDF: [ Imposed | Screen ]

Breaking Ranks: Subverting the Hierarchy and Manipulation Behind Earth Uprisings

This zine contains three critiques from anti-authoritarians in France critical of the Tiqqunists and their actions in post-ZAD struggles. These texts focus on manipulative and vanguardist practices, the spectacularization of the struggle, and the use of radicals as shock-troops. The goal of these texts, and our translation effort, is to increase familiarity with these deceptive practices and strategies, an essential first step towards sabotaging the influence and control of any similar attempts in our own neck of the woods.

Download PDF: [ Imposed | Screen ]

Dissent From Within: The Hidden Story of the Anti-Whaling Members of the Makah Tribe

This zine was put together not only to honor the memory of Mahak whale protector Alberta Nora Thomspson, but also to commemorate the story of resistance surrounding the Makah anti-whaling warriors whose very existence has been (intentionally) hidden from the world. Their dissenting voices silenced by the powers of intimidation, patriarchy, and a capitalist pursuit disguised as "traditional hunting". For many outside of the situation, the narrative most widely accepted is one that reduces the situation to mere identity politics; White animal rights activists vs Indigenous people. Indigenous writer Linda Hogan and Seattle writer Brenda Peterson journeyed to Neah Bay to interview Makah elders who were breaking the silence about this narrative and speaking out against their tribe’s return to whaling.

Download PDF: [ Imposed ]

How to Set Up a Burner Phone

This zine is a step-by-step guide to setting up a burner phone, from purchasing the phone to installing recommended apps -- all without a Google account! If you are interested in using a temporary phone to avoid surveillance or hinder a police investigation, this zine will give you some best practices to consider.

Download PDF: [ Imposed | Screen ]

Kaimangatanga: Māori Perspectives on Veganism and Plant-based Kai

"To adopt a form of veganism -- a plant-based lifestyle and ethics -- that acknowledges, is based upon, and celebrates Te Ao Maori, is a break from the dominant and from the status quo and but also an act of decolonialism. It is a way to reclaim sovereignty and exercise individual choice.

And finally, it is a means by which collective power and community may be built; this is evident in the existence of online forums and comment threads on Maori-based vegan and plant- based social media accounts."

Download PDF: [ Imposed ]

Living in an Earthquake: The Fight Against Cop City Confronts Unprecedented Repression

"In the following account and analysis, participants in the movement in Atlanta trace its trajectory from the fifth Week of Action that began on March 4, 2023 through the City Council vote of June 5.

At first, it appeared to be an ordinary forest defense campaign aimed at discouraging Atlanta city government from pouring money into an unpopular police training facility. But over the past two years, the fight against Cop City has escalated into one of the fiercest struggles of the Biden era, pitting a wide range of courageous people against a united front of politicians, prosecutors, and police.

In setting out to stop the militarization of police, activists have discovered that they are challenging the state on a point that all of its representatives consider non-negotiable. Police and prosecutors have pressed trumped-up domestic terrorism charges against almost every defendant arrested since last December; they have killed one forest defender; they have charged those engaged in legal support for the arrestees."

Download PDF: [ Imposed ]

Of Diets and Morality: A Vegan Egoist Perspective

The title summarizes this well. It's a vegan egoist text that argues for seeing animals as having inherent value. A quote:

"Animals can offer me many things that other "humans" can not; new ways of communicating, of perceiving the world around me; the unique, aesthetic pleasure of their appearance, especially the details that one only notices with familiarity, and the mystery, intrigue and exciting unexpectedness of beings so morphologically and genetically different from myself! Just as a plate with greater variety is far more delicious, relationships with a greater diversity of beings is far more delectable for me and I will not limit myself to consuming only relations with Man!"

Download PDF: [ Imposed ]

Security Culture: Building Relationships of Trust and Care

These zine provides an accessible introduction to security culture and its place in social movements. Beyond the basics, it explores how security culture can be informed by kinship, an Indigenous value system based on responsibility, vulnerability, trust, and reciprocity. The zine also offers tips and examples on how to apply critical thinking, relationship building, communication, and feedback to security culture. It uses elephants as a motif (complete with illustrations) to reinforce the concepts presented.

Download PDF: [ Imposed | Screen ]

The People and the Library

"An oral history of the coalition that united Philadelphia to challenge the logic of austerity, protect public goods and save eleven branch libraries, as well as a series of reflections on the importance of the commons, the enduring legacy of movement victories and the ongoing struggles to protect and expand access to non-commercialized public space, accompanied by a series of freely reproducible cut paper graphics by Erik Ruin.

Download PDF: [ Imposed | Screen ]

The War in Front of Us: An anonymous, afro-pessimist militant’s challenge to the Stop Cop City movement

"There is a tension stewing right now, not simply between differing tactics but with the outright acceptance of the position we are currently in, that of a social war. The third day-long descent on the Atlanta City Council has again hammered home that legalistic attacks and appeals to the political machine are going to keep failing. Despite that being so overwhelmingly evident, the more progressive-inclined elements of the struggle continue to insist upon a peaceful endurance, one that refuses escalation and actual conflict for their safe, faux-rad- ical abolitionism. We have been locked in this social war since the rebellion and the terrain needs to be read as such."

Download PDF: [ Imposed ]

Veganism and Mi'kmaw Legends

"This text proposes a postcolonial ecofeminist reading of Mi'kmaw legends as the basis for a vegan diet rooted in Indigenous culture. I refer primarily to veganism throughout this work because unlike vegetarianism, it is not only a diet but a lifestyle that, for ethical reasons, eschews the use of animal products. Constructing an Indigenous veganism faces two significant barriers--the first being the association of veganism with whiteness... ...A second barrier to Indigenous veganism is the portrayal of veganism as a product of class privilege."

Download PDF: [ Imposed ]

Veganism as Anti-Colonial-Praxis: A Collection of Indigenous Vegan Perspectives

"Despite the absorption of veganism by the capitalist market – a process that admittingly reinforces pre-existing divisions across class and racial lines -- a vegan lifestyle taken to its logical conclusion is fundamentally anti-capitalist and anti-colonial. By (re)acknowledging sentience and personalities within the bodies of colonized (animal) subjects, a vegan lifestyle rejects authoritarian relationships based on disrespect for the bodily autonomy of those whose lives have been re-purposed for human supremacist consumption."

Download PDF: [ Imposed ]

[qnewsau]

Priscilla superfan Philmah Bocks has thoughts on new sequel

New Post has been published on https://qnews.com.au/priscilla-superfan-philmah-bocks-has-thoughts-on-new-sequel/

Priscilla superfan Philmah Bocks has thoughts on new sequel

One of Australia’s biggest Priscilla Queen of the Desert fans, drag queen Philmah Bocks, has weighed in on the upcoming sequel to the film and the legacy of the original 1994 film.

It’s the 30th anniversary of the 1994 drag classic The Adventures of Priscilla Queen of the Desert. The old girl has unexpectedly roared back into the headlines.

This month, the original Priscilla bus was found in country New South Wales.

Then, director Stephan Elliott surprised everyone by confirming a sequel with the original cast is in development.

‘This is going to change the face of drag’

Drag performers Philmah Bocks and JoJo Zaho (see below) travelled to film with Priscilla on the Northern Rivers farm where the bus was found.

Philmah talked with JOY 94.9 about the film’s legacy and its surprise sequel.

The drag queen said she vividly remembers first seeing the film and considers herself a “product of Priscilla“.

“I still have the advertisement from the local paper. It was a Bobby Goldsmith Foundation fundraising event on September 7, 1994,” Philmah said.

“I went and saw Priscilla at the Capri Theatre in Adelaide, dressed as Carmen Miranda.

“I distinctly remember thinking, this film is going to change the face of drag in Australia.

“The whole taboo of going to a drag club was quite big throughout the early 90s. All of a sudden, we were projected onto big screens and then eventually onto small screens.

“People finally understood the humanity behind being a drag queen. I think that was the big shift in people’s perspectives.”

  View this post on Instagram

  A post shared by Philmah Bocks (@philmahbocks)

  View this post on Instagram

  A post shared by Philmah Bocks (@philmahbocks)

What will a Priscilla Queen of the Desert sequel look like?

At the weekend, director Stephan Elliott said in an era of drag bans and Trumpian politics, now was the “perfect” time to do a Priscilla sequel.

He confirmed the cast would return for the new film, set both in Australia as well as overseas.

“You have to remember that Tick had a kid – now that kid has grown up and now he’s got his own family,” Stephan told The Guardian.

“I don’t want to repeat myself, so it’s taken me a long while to come up with something… There’s something that needs to be said about tolerance.”

Philmah Bocks told JOY 94.9 she has theories of what a Priscilla sequel could look like and where it could go.

“I think what’s going to happen is they’re going to introduce a new generation of characters that resonates with the current movement of drag,” she said.

“If they just centred the story around the three characters as they currently are, people will lose interest. I don’t think they’re current enough.

“My guess is that Terence Stamp, Hugo Weaving and Guy Pearce… won’t be pivotal to the central part of the story.”

“We’ve seen it happen with remakes and redos of classic films. Ghostbusters introduced younger characters to engage with the new audiences and the new generation, with the older characters for the diehard fans. Star Wars is another example.”

Philmah agreed, “The story is not finished. As much as we’ve celebrated our progression, we still have a long way to go.

“Drag is political, I think. There’s no way around that. It’s a statement in itself on so many levels. Some current messages need to be shared and put to a song and dance.”

Priscilla is an antidote to Americanised drag

Philmah Bocks said the original 1994 film has three secret weapons: the feelgood coming-out story between father and son, the disco soundtrack and Tim Chappell and Lizzie Gardner’s Oscar-winning costuming.

“Every time I come out on stage in a Gumby outfit or a thong dress, or something random or crazy on my head, I always see people smile,” she said.

“As soon as you see those costumes and hear that music, you’re taken straight to Priscilla. It’s not going away.

“I continue to celebrate it just for the joy it brings people and the history that it tells.”

Image: MGM

That history is important, Philmah said, because of a “new wave” of Americanised drag.

“Without sounding like an old fart, I hang on to Priscilla to educate the children on where we’ve come from,” she said.

“There’s a bit of larrikinism that I still love about Aussie drag that I don’t necessarily see anywhere else. That’s iconic for our culture, and especially our drag culture.

“At the moment there’s a movement on what an American version of Australian drag should be.

“I love that the visibility and celebration of drag is much bigger now. But in that process, do we lose a bit of ourselves and our culture?

“That’s why I hang on to Priscilla so much because it’s part of my history, my culture, and certainly the generation before me.”

More on Priscilla:

‘Save the queen’: How the Priscilla, Queen of the Desert bus was found

Priscilla, Queen of the Desert sequel confirmed with original stars

‘They booed’: Stephan Elliott recalls horror first Priscilla screening

‘Hire locals’: Outrage over RuPaul’s Drag Race stars’ Priscilla shoot

For the latest LGBTIQA+ Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, Twitter, Instagram and YouTube.

[ao3feed-crimeboys]

Energy drinks and tears

by elodieskullz

Wilbur was fifteen when he came home. Not to his first home, but the first place he’d actually felt home. Summer was creeping in, visible by the flowers on the side of the road, the grass turning greener by the day.

or

The sequel to Iced coffee and notebooks, where things go wrong (again), Wilbur has a hard time (again) and they all learn new things about themselves (again)

Words: 3105, Chapters: 1/?, Language: English

Series: Part 2 of The foster fics (tm)

Fandoms: Dream SMP, Lovejoy (TV), Video Blogging RPF

Rating: General Audiences

Warnings: Creator Chose Not To Use Archive Warnings

Categories: Gen

Characters: Wilbur Soot, Phil Watson | Philza, Technoblade (Video Blogging RPF), Ash Kabosu (Lovejoy), Mark Boardman (Lovejoy), Joe Goldsmith (Lovejoy), Toby Smith | Tubbo, Ranboo (Video Blogging RPF), Niki | Nihachu, Alexis | Quackity

Relationships: Wilbur Soot & Phil Watson | Philza, Wilbur Soot & Technoblade & TommyInnit, Mark Boardman & Joe Goldsmith & Ash Kabosu (Lovejoy) & Wilbur Soot, Alexis | Quackity & Wilbur Soot, Niki | Nihachu & Wilbur Soot, Sally The Salmon & Wilbur Soot, Wilbur Soot & Technoblade, Wilbur Soot & TommyInnit

Additional Tags: Alternate Universe - Foster Family, Foster Family Sleepy Bois Inc, Foster Care, Foster Parent Phil Watson (Video Blogging RPF), Foster Child Wilbur Soot, Foster Child TommyInnit (Video Blogging RPF), Foster Child Technoblade (Video Blogging RPF), Autistic Wilbur Soot, Autistic Technoblade (Video Blogging RPF), Autistic Sally the Salmon, watch me make all of them autistic, tommyinnit has adhd, philza has anxiety, Trauma, Self-Harm, Suicidal Thoughts, self destructive behavior, Trans TommyInnit (Video Blogging RPF), Alternate Universe - High School, author is projecting onto wilbur soot, Wilbur Soot Needs a Hug, Wilbur Soot Gets a Hug, TommyInnit Needs a Hug (Video Blogging RPF), TommyInnit Gets a Hug (Video Blogging RPF), Technoblade Needs a Hug (Video Blogging RPF), Technoblade Gets A Hug (Video Blogging RPF), Mentioned Charles | Grian, Mentioned Ryan | GoodTimesWithScar, Mentioned Oliver Brotherhood | Mumbo Jumbo, Mentioned Lizzie | LDShadowLady (Video Blogging RPF), Mentioned Jimmy | Solidarity, I have no idea how to tag, author has no clue, about anything, also im sorry for the angst, speaking of, Angst, Fluff and Angst, It Gets Worse Before It Gets Better, im so sorry

[chrisnaustin]

If only I were she!

[natromanxoff]

Queen live at Knebworth Park in Stevenage, UK - August 9, 1986 (Part-1)

(x)

This is the final Queen concert ever with the lineup of Freddie Mercury, Brian May, Roger Taylor, and John Deacon. The band went out in style, playing for an estimated 120,000 fans (some sources claim it was as high as 200,000). At the time, it was the largest single paying audience for a UK rock concert in over ten years. Thousands of fans camped outside the park gates the night before.

This last date was added after the Wembley Stadium shows in July had sold out so quickly, (Brian later said how the band could have probably done 5 or 6 nights at Wembley). In fact, the promoter, Harvey Goldsmith, had already booked the park anyway, as he was sure the extra show would be necessary, and Wembley wasn't available for more dates.

New wave artist Belouis Some opened the festivities, followed by Status Quo and Big Country. The biggest of the three opening acts, Status Quo played before Big Country because they had to leave early for another gig in Germany. They were planning to set a world record by playing three gigs in three countries on a single day.

A bottle fight began in the audience early in the day, and plenty of bottles were being thrown at Belouis Some throughout their set - one of their backing singers held what looked like a washing bowl over her head for protection. Goldsmith came on at one point pleading with the crowd to calm down. Thousands of bottles were thrown around throughout the day.

During Quo's set, one of their roadies stood in front of the Starvision screen with a big cardboard guitar. When told about it afterward, the band said how they thought the audience's reaction was for them! The roadie was promptly terminated after his 15 seconds of fame.

Between acts, various videos were shown on the big screen, including many Thin Lizzy videos (with whom Queen had toured in 1977), as singer/bassist Phil Lynott had passed away earlier in the year. They also spun Dire Straits' latest record "Brothers in Arms" in its entirety.

Queen flew into the park on a helicopter during Quo's set.

As reported by many audience members, Big Country played a great set. By the fourth encore number, however, an angry-looking Harvey Goldsmith repeatedly pointed at his wrist at the side of the stage. Around this point, someone in the audience threw a two-litre bottle (containing a liquid which probably doesn't need to be named) at the singer, Stuart Adamson, which he successfully dodged.

Freddie sounds very strong throughout the show, and there is a lot of classic banter with the audience:

After the second song, he immediately speaks in response to the overwhelming ticket sales that necessitated this huge concert. "Hello! This is what you wanted, this is what you're gonna get! Is everybody okay, having a nice day? Yeah, not too bad, huh? Now you gotta put up with us."

After A Kind Of Magic, he happily points out, "This is an enormous place, even by our standards, I tell you. It looks beautiful from up here! It's frightening, I tell you. It looks beautiful." After the vocal duel with the audience, he says, "You fuckers are good, I tell you. I'll get you after a couple of songs, you wait. You're on!" Then after the first chorus of Another One Bites The Dust where he invites them to sing along, he remarks, "I told you I was gonna get ya!"

Before Another One Bites The Dust, he says, "This next song calls for a boogie, I mean... it means I throw my cunt around the stage even more than I've done." After the vocal improv in the middle section, John plays a couple funky bass riffs, and playing off him, Brian throws in some equally funky riffs, reminiscent of "Fun It" from the Jazz album. Some fans consider this to be the best version of the song ever performed by the band.

After Dust, Freddie says, somewhat seriously, "I think most of you know that this is the last stop on our tour." Then more informally, "You know that, don't you? And such a beautiful way to end it. I mean, look at the lot of you. I might also add that this has been the best European tour for us, thanks to all you fuckers out there. And earlier on there were rumours of us splitting up, but, I mean... fuck 'em. I mean really, look at this!" he says as he smiles, once again referring to the size of the audience. "How can you split up when you have an audience like this? I mean, really. We're not that stupid!"

Roger plays with much enthusiasm throughout, particularly during the impromptu. Freddie even shouts "Nice one!" in reaction to his drum solo in its finale. Roger later recalled this to be a very fun show, and one of his favourites of Queen's career.

Before Love Of My Life, Brian says this tour is "The biggest and best thing that ever happened to us." The show's brief serious portion begins with Brian's introduction of Is This The World We Created. "About a year and a half ago" [ed. it was well over two years, actually], "which is before Live Aid and all that stuff, we saw some stuff on television which disturbed us a lot, and very late one night in Munich we sat down and wrote what we thought about it, and this is it." The video of the last performance of this touching ballad can be seen on the "Champions Of The World" documentary.

Freddie, with his Telecaster on before Crazy Little Thing Called Love, doesn't even need to introduce the song anymore, as a fair portion of the audience know what's next: "Okay, this only means one thing." Brian enters in the third verse on his Telecaster as usual, but it's letting out an awful lot of noise (an audience member recalls Brian breaking a string). He makes the quick decision to switch to the Red Special for the solo, and gets there just in time.

John Deacon uncharacteristically tosses his Fender Precision bass away immediately following Radio Ga Ga, as seen in pic 18. This can also be seen on the official Rare Live video. He hit the other basses on their stands in front of the amps, knocking them all over. The roadies then took them off stage, presumably to check for damage and retune them before the second encore. John ultimately doesn't cause any significant damage to his P-bass, as he uses it for the final three songs.

"Thank You, beautiful people. You've been a tremendous... you've been a really special audience. Thank you very much. Good night, sweet dreams, we love you," are Freddie's closing words, after which he and the boys leave the stage for the last time.

As people were leaving, an employee suddenly turned off all of the lights in the park (and ended up getting fired for it, as the intention was just to cut the power to the stage in case Queen wanted to play a third encore after the venue's curfew), forcing an audience of this size to find their way out in pitch darkness.

A baby was born in the audience at some point in the evening, but someone was killed as well. A fan climbed a lighting tower to get a better view, but fell onto someone who was none too pleased and subsequently stabbed him. St. John's Ambulance was called, but their fight through the crowd took too long and the victim died. Upon learning about the fan's death, Freddie Mercury was recorded saying, "If people have to die because they wanna see us, I'll never perform live again." This is yet another haunting comment from the year, furthermore suggesting that Freddie knew he was ill at this point.

(x)

Part-2

[marykatewiles]

Today’s the day! Anne of Avonlea is out now on Apple podcasts and Spotify. You can look forward to a chapter a week for the next thirty weeks with some wonderful voice performances from the likes of @seanpersaud, Nick Lang, @whitneyavalon, Lauren Lopez, @sineadpersaud, @hartgracesarah, Jaime Lyn Beatty, Christopher Higgins, and many more. And the wonderful Lizzie Goldsmith has been giving this new book the audio producer’s touch - it’s going to sound even more professional and alive than the last. Head to Spotify or Apple podcasts to subscribe, listen, and if you feel so kind, please rate and review. As always, this project would not have even happened without Patreon, so big thanks to all my lovely patrons for supporting it. Hope you enjoy growing older with Anne just as much as I have!

Anne of Avonlea on Spotify

Anne of Avonlea on Apple Podcasts

More chapters available on Patreon

[rushingheadlong]

I know this post has been made before, and this probably won’t be the last time it gets made, but as much as the Queen fandom loves to celebrate the band’s performance on Live Aid they played a very small role overall in the success of the day and we shouldn’t forget everyone else who was instrumental in getting this event off the ground!

Bob Geldof (lead singer of The Boomtown Rats) had the original thought to do something to raise money to help with the famines in Ethopia. He teamed up with Midge Ure (of Thin Lizzy and Ultravox fame) to write the charity single “Do They Know It’s Christmas?” The single was recorded by the supergroup Band Aid and released in December 1984. Queen did not participate in the recording of the single, although Roger would later contribute to the Band Aid 30 re-release of the single in 2014.

The original idea for a charity concert is said to come from Boy George, although again Bob Geldof and Midge Ure led most of the organization efforts. Harvey Goldsmith (who worked as a promoter for Queen, among numerous other bands) was instrumental in arranging the Wembley concert, while the Philadelphia concert was arranged by Bill Graham with the help of Tony Verna, who secured JFK Stadium for the event.

According to Bob Geldof, Live Aid was organized in roughly twenty weeks (counting from when Bob finished touring with the Rats in early 1985). That included scheduling the bands, booking the venues, arranging the TV broadcast and the donation phone lines, and all the behind-the-scenes technical work with the stages, sound systems, lights, etc.

Queen was first approached by Bob Geldof at the Ivor Novello Music Awards in March 1985. According to Geldof, Roger and Brian were initially enthusiastic but Freddie needed some convincing, as participating in Live Aid would take him away from his work on his solo album, Mr. Bad Guy. Ultimately Queen agreed to participate, possibly because they were one of the groups that Bob Geldof used to bluff his way into getting other artists to participate. (For example, he’d call up Elton John and say that Bowie and Queen were doing it, even though they hadn’t agreed yet. Then when Elton agreed, he would call up Bowie and say Queen and Elton are doing it - and you get the picture.)

Like many bands, Queen reportedly requested a specific time slot - but unlike other bands, they asked to go on at 6pm BST rather than as the headlining act. In the end, they took the stage around 6:40pm for their iconic 20-minute set.

However, Queen’s performance didn’t make or break the day. Rather the largest influx of phone donations came in after David Bowie’s set, which ended with a video showing the effects of the famine on children. “Is This the World We Created...?” wasn’t written for Live Aid either, although it was also written about poverty in Africa which is why Freddie and Brian performed it that day.

Initial estimates put the amount raised between £40 and £50 million, however it’s now believed that around £150 million was raised as a direct result of the concerts.

The effectiveness of this charity campaign, however, has been debated. There have been accusations that the money went into funding corrupt government regimes in Ethiopia, rather than in aiding famine relief, although in 2010 the BBC retracted these statements and said that there was no evidence money had been diverted. At the very least, Live Aid raised awareness and brought humanitarian concerns to the forefront of western foreign policy in a way that hadn’t been seen before - and has only rarely been seen since.

[thenewlyfreed]

PART 1: THE BASICS

What is your full name?

“Deepak Gupta.”

Where and when were you born?

“Union Street, Bristol. The story was often told to me, in fact. I was about a week overdue, by the- the estimate of my mother’s friends. They tried about twenty different methods meant to bring about labour, and then, just when they gave up and my mother thought she, or I, would die, it came on. Labour took about a day, then there I was. Born in the attic room. Midday, September second 1879.”

Who are/were your parents? (Know their names, occupations, personalities, etc.)

“My father’s name was Kali Pada Das, my mother is- sorry, was called “Hin-doo Lizzie” most of the time, though I’m sure that wasn’t her real name. I only know that her family name, and mine, was Gupta. As to their occupations and personalities…

“I never knew my father. I saw him twice as a child, and all I really remember thinking was that he was tall, and not very handsome. He was a servant, same as I, and I know he reached valet before I was five. When I was fourteen, he followed the family he was serving back to India, where he had come from as a boy. I don’t know anything else. I don’t know if I care to.

“My mother… She is- was a woman often judged, and I am sure I shall be judged by the same standard. She ‘worked’. She was a bibi, or you may say a floozy. She was… hard. Tough. You had to be. But she could be kind, too. She kept me, after all. I can’t say the same for other children born in that house.”

Do you have any siblings? What are/were they like?

“No. Not that I know of, either way. I suppose my father may have a family in India now, who knows.”

Where do you live now, and with whom? Describe the place and the person/people.

“I’m now living in Clevedon Court. I have… a good room there, and good company. The family I serve are the Conways. Lady Conway is neat, kind, intelligent, and quick-witted. A refined woman. Lord Frederick Conway is… Eccentric, in the way of young London folk. He had good intentions, and a taste for the modern. 

“Of my fellow ser- employees, as Lord Frederick calls us, there is Mrs Fletcher, the cook, who has an intense character and great skill, especially in recreating some Indian dishes with the ingredients available here. The young Mr Qureshi, the footman, who excels in his position. Mr Bannister, the butler, who is a traditionalist, and a proud man. Miss Beatrice Hall, the maid… I do not think I have met a woman so unassuming and yet so full of- ability. Potential. She is, if I might say it, admirable. Then there is Mrs Goldsmith, Lady Conway’s maid. I have worked with her for many years, at Tynthesfield Manor. Finally, the Housekeeper Frau Bauer. If there is a match for Mr Bannister, I should say she is it.

“Of Clevedon Court… The Conways are still settling in, but it is a grand estate. I do not doubt it shall soon rival the other great houses in St Maur.”

What is your occupation?

“I am Lord Frederick’s valet, though it should be noted my Lord is a modernist, and prefers a less… attentive valet than others might. But I am still his valet.”

Write a bit about your physical appearance. You might want to consider factors such as: height, weight, race, hair and eye color, style of dress, and any tattoos, scars, or distinguishing marks.

“I shall take a few moments to write it. Will you want it read out? Alright…”

“...Done. Ah-hm. ‘I am a man of four and twenty, standing at a little over six foot. I have been defined as having a slim build, and straight shoulders. I am of Indian background, with both of my parents having come from India to Britain at a young age. My hair is black, my eyes are brown, and my skin is dark. I dress in Black Livery, as a valet should. On my day off, I wear a black suit that is, in reality, very similar to my usual uniform. I have scars. I shan’t define where. My nose leans a little to the right, as the result of a break.’ Will that do?...”

“I don’t think there is much that distinguishes me from others, no. I am not meant to stand out, I am a servant.”

To which social class do you belong?

“Working.”

Do you have any allergies, diseases, or other physical weaknesses?

“...I am of sound body.”

Are you right- or left-handed?

“Left. By the time I began attending school it was thoroughly entrenched. I can use my right hand for many tasks asked of me, but continue to rely primarily on my left.”

What does your voice sound like?

“Like this. A bit soft, a bit quiet. I know most can tell I’m from Bristol the moment I speak.”

What words and/or phrases do you use very frequently?

“Yes, Sir. No, Sir. My apologies, Sir. Of course, Sir.”

What do you have in your pockets?

“A handkerchief. See? And a watch.”

“That? Oh… it is a mint humbug. I have a small packet of them in my room, and some pear drops. Would you like one? Sometimes, I’ve found that a sweet can go far to changing a person’s mood.”

Do you have any quirks, strange mannerisms, annoying habits, or other defining characteristics?

“No. Pardon? …Oh. Yes, the tremor is… intermittent. I’m sorry that it was noticeable. I’d rather not talk about it.”

[ask-abigail]

Titanic AU | April 18 to May 16 ( tagged: titanic au )

⚜️ Mrs. Abigail Goldsmith Lizzy

⚜️ 35 /  Heiress /  Widow

⚜️ First Class on the Titanic: Returning to her home in Boston after burying her late husband in France

⚜️ Abigail came from a wealthy family from Boston society. Her father owned a banking empire and you can say she grew up swimming in gold. She was spoiled, pampered, and treated like royalty but it all changed the moment she met Mr. Frederick Lizzy, a French clerk from one of her father’s banks and the pair fell in love. Despite her father’s disapproval, they eloped to France and made their own fortune investing in a business that became an empire of its own. However, years later, during his travels her husband contacted tuberculosis and succumbed to the illness. After burying her late husband, she embarked on the Titanic to reunite with her family in Boston.

[shipwreckedcomedy]

The Case of the Greater Gatsby will be back from hiatus with ten brand new episodes starting October 16th!

Listen on Apple Podcasts: https://podcasts.apple.com/us/podcast... Listen on Spotify: https://open.spotify.com/show/7eYjoMx...

FEATURING Sean Persaud as Ford Phillips Sinéad Persaud as Fig Wineshine Curt Mega as Announcer Parvesh Cheena as Whitley Trufflehaus Julia Cho as Sheilah Graham Lesli Margherita as Mel Hammermeister Tommy Hobson as Barnaby Nightingale Lauren Lopez as Penny Nickelpenny Dante Swain as Bixby Crane Mary Kate Wiles as Vivian Nightingale Sarah Grace Hart as Wilhelmina Vanderjetski Krystina Arielle as Juniper Wetblossom Joanna Sotomura as Claudette Knickerbocker Gabe Greenspan as Roger Haircremé Matthew Mercer as Mo Beats Carlos Alazraqui as Leery O'Shaughnessey and Joey Richter as Dash Gunfire

Original music by Dylan Glatthorn Audio recording by Noah Hunt Audio Mixing and Sound Design by Lizzie Goldsmith

Executive Producers Paul Komoroski & Michael Walsh Produced by Sean Persaud, Sinead Persaud, and Mary Kate Wiles Special thanks to Kickstarter backers Katie Adamczyk, Ally Brown, Zainab Khan, Shao Chih Kuo, Jane Leach, Avalee Long, Lisel Perrine, Halsea Root, The Rude Mechanicals, Heather Tennant, and Justin Waterman

[elapsed-spiral]

Yearz - music references

Ch 1: Human League, Bronski Beat, A-ha, Pulp, Cranberries, Spandau Ballet, Oasis, Rolling Stones, Bowie, Clash, Erasure, Sparks, Catatonia, Manic Street Preachers, ABC, R.E.M.

Ch 2: Lydia Lunch, Nick Cave, Hall and Oates, Daft Punk, Faithless, Tony Clarke, Joan Jett, Fleetwood Mac, U2, Beastie Boys, Bowie

Ch 3: Ennio Morricone, Barry White, Marvin Gaye, Sugar Hill Gang

Ch 4: Boston

Ch 5: Barry Manilow, Monkees

Ch 7: Patti Smith, Lee Perry

Ch 8: Adam and the Ants, King Tubby, Rammstein, Roxy Music, Tom Waits, Funkadelic, Queen

Ch 9: Coldplay, Adele

Ch 10: Elton John, White Stripes, Dusty Springfield

Ch 11: Pantera, Bon Jovi, Culture Club, ABBA

Ch 12: Lady Gaga, Katy Perry, Children of Bodom (kinda)

Ch 13: Soft Cell, Motley Crue, Kiss, Beatles, Queen

Ch 14: Thin Lizzy, Black Sabbath

Ch 15: Jamiroquai, Macklemore, Red Hot Chili Peppers, Donna Summer, Faith No More, Def Leppard, Earth Wind and Fire, Happy Mondays, Morrissey, Stone Roses, Blondie, Jay Z, Arcade Fire, New York Dolls, Will Smith, The Cure

Ch 16: Squeeze, Blur (sorta), Kyuss

Ch 17: XTC, Dukes of the Stratosphear, Syd Barrett, A Tribe Called Quest, The Pharcyde, Megadeth, De La Soul, Kool Keith, Metallica

Ch 18: Ed Sheeran, The Police, Jerry Goldsmith, Napoleon XIV

Ch 19: The Beautiful South, All Saints, The Stranglers, ZZ Top, Devo, Heaven 17, The Streets, Britney Spears, AC/DC, Elvis Costello and the Attractions, Elvis Presley

Ch 20: Kanye West, David Guetta, Calvin Harris, Drake, Madness, Talking Heads, Blazin’ Squad, Cliff Richard

Ch 21: Jason Goddamn Donovan, Kylie Minogue, Tenacious D, Tina Turner, Ike Turner, Ella Fitzgerald, Louis Jordan, Ray Charles, Betty Carter, Jimmy Buffett, Missy Elliot, P!nk, Bootleg Beatles, Placebo, Peter Gabriel, Nancy Sinatra, Aerosmith, Cheap Trick

Ch 22: The Birthday Party, Hamilton (I'm counting it dangit), John Williams, Yes, Pink Floyd

Ch 23: Bachman-Turner Overdrive, TLC, Republica, Prince, Jimi Hendrix, Cabaret Voltaire, Ian Drury and the Blockheads, Tom Tom Club

Ch 24: The Ting Tings, Duffy, Johnny Cash, Klaxons, Kaiser Chiefs, MGMT, Taylor Swift, Shania Twain, Squarepusher, Autechre, George Michael, Eliza Doolittle, Justin Bieber, 2 Live Crew

Ch 25: Diana Ross and the Supremes, The Marvelettes, Martha Reeves and the Vandellas, Frank Sinatra, Buzzcocks

[ao3feed-crimeboys]

camera on, camera off

by wednesdayevening

Tommy is a vlog master. That’s his official title: Thomas Vlog Master Innit. When the Queen inevitably bestows upon him his knighthood, that’ll be his formal name. Sir Thomas the Vlog Master. The valiant vlog master? How many adjectives would Lizzie let him have? Maybe adding valiant to his title makes it a bit convoluted. Ah, well. Point is: Tommy’s a vlog master. He’s a content creator, and at this point he’s like, The Creator. His vlogs are top notch – rated so by the world’s one and only Wilbur Soot – and in the less-than-a-year time frame he’s been churning the vlogs out for, he’s amassed a massive audience worthy of that knighthood and awesome Vlog Master title, thank you very much, Queen Lizzie.

He's a vlog master. And for Valentine's Day, Tommy Master Vlog Innit has the best plan. The world's best plan. The most amazing plan. It’s so good Tommy has to take his own socks off, because the second he calls up the participants he’s hoping to secure he’s pretty sure they’ll get knocked off. Like the idiom. He’s a vlog master, and this vlog is going to prove it.

or, a vlog that doesn't happen, welsh highlands, and an airbnb with lovejoy.

Words: 5793, Chapters: 1/1, Language: English

Fandoms: Video Blogging RPF

Rating: General Audiences

Warnings: No Archive Warnings Apply

Categories: Gen

Characters: Wilbur Soot, Elizabeth II of the United Kingdom, mentioned - Character, TommyInnit (Video Blogging RPF), Ash Kabosu (Lovejoy), Joe Goldsmith (Lovejoy), Mark Boardman (Lovejoy)

Relationships: Wilbur Soot & TommyInnit, Mark Boardman (Lovejoy) & TommyInnit (Video Blogging RPF), Ash Kabosu (Lovejoy) & TommyInnit (Video Blogging RPF), Joe Goldsmith (Lovejoy) & TommyInnit (Video Blogging RPF)

Additional Tags: IRL Fic, vlogging - Freeform, Wilbur Soot and TommyInnit are Siblings, are like siblings. But the same thing goes, Lovejoy (Band) Loves TommyInnit (Video Blogging RPF), Wilbur Soot Loves TommyInnit, The Queen Who Doesn't Know It Will Eventually Knight TommyInnit, Fluff

source https://archiveofourown.org/works/37334509

[joasnebe]

Daily Migrations - curated by 'without appeal' October 07, 2018 For their presentation of the Arts Territory Exchange archive @artsterritoryexchange, the collective installed and photographed work throughout an industrial space underneath one of the iconic train arches in Hackney, East London. Images from the ATE Views project and documentation from particpant exchanges are juxtaposed with materials and machinery sourced from throughout the world and used in the production of coffee. As a site of transition, stock is constantly flowing in and out of the factory,  present only briefly before being sent out again. At this transitional moment for many, a reflection on how fleeting these interactions can be feels fitting.   Featured Artists Alana Hunt, Joas Sebastian Nebe, Lizzie Sampson, Abigail Doan, Jacqueline Byrne, Arminee Chahbazian, Didi Hock, Andrew Howe, Caroline Kelley, Ana Seixas, Danila Rumold, Katie Ione Craney, Joanna M Wright, Kim Goldsmith, Carly Butler, Antony Lyons, Zoe Galinsoga, Robert Nicol, Gudrun Filipska, Beatrice Lopez, Kelly Leonard https://withoutappeal.org/works-in-progress/

[natromanxoff]

Queen live at Bingley Hall in Stafford, UK - May 6, 1978 (Part -2)

Photos were taken by Anthony Mallan.

Fan Stories

“As I write this I can't believe it is over 24 years since my first ever Queen gig. I was 15 years old and had looked forward to this day ever since I had first heard Bohemian Rhapsody 3 years earlier. Before that song Queen had just been another pop/rock group but BoRhap was the song which for me would set them apart from all others, the song that began my addiction for this band's music - an addiction which continues to this day. I had an hour long bus ride to Stafford and then had to walk to the Bingley Hall which was about 2 miles out of town. I remember while walking a couple of stretched limos passed I couldn't see inside because the windows were blacked out but I knew that it was the members of Queen in those cars and that added to the excitement. I arrived at the venue and joined the queue to get in. I was quite early but there were still a few hundred people in front of me. I bought a Black T shirt with the News of The World robot on the front and the words Spring Tour '78 and a program, both of which I still have although the T shirt is well worn. I was also treated to a young lady a bit drunk I think, taking her T Shirt off and running around half naked, quite sensational for a 15 year old lad. We were let into the hall at about 7pm and I found myself fairly near the front it was all standing and I was quite small so I was pleased to see the stage was set quite high which meant I would have an excellent view. The stage set for this tour was the famous crown and as I looked in awe at its size. I can remember wondering how they would get it to lift off the stage? I can't remember the time but probably an hour or so after I had got into the hall the lights went out and a mechanical whining noise started this was followed very quickly by white lights from the stage, smoke and then the drum beat of We Will Rock You with the song breaking straight into the chorus. Suddenly on a platform in the middle of the front row of the crowd Brian May appeared playing the "Rock You" guitar riff. I remember the feeling of joy and awe, I am sure I must have pinched myself to make sure this was really happening. After an explosion they burst into the fast version of "Rock You" and I saw Freddie for the first time. He was wearing shiney leather trousers, jacket & cap and running around the stage like a madman. It's far too long ago for me to remember every detail of the show but I do remember Freddie toasting us with champagne and at the end of '39 Roger threw his tamborine into the crowd and I had it for a split second before dropping it, I stood no chance really. The songs which I remember most from this gig were the ones which after this tour they were never to play live again: "White Man" & "Prophets Song" both were played either side of Brian's guitar solo and I can clearly remember Freddie performing vocal gymnastics during the middle section of "Prophets Song". The concert ended with a Rock n Roll medley. I remember right at the end of God Save The Queen we all started singing "You'll Never Walk Alone", then the lights were on and it was over. In a lot of respects it seems so long ago but as I am thinking of it now, parts of it are as clear as yesterday.”  - Kevin Ruscoe

“It was fun reading Kevin's story about going to see Queen at Stafford Bingley Hall in 1978. This was the first concert I had ever been to (talk about starting at the top). When the lights went down and Brian started with the dynamic We Will Rock You strumming, I was captured. A couple of years ealier I had purchased Night At The Opera for a girl I fancied at work. I took it to give her and before I could present her with it she showed me that she had just brought the album herself. So much for my Night At The Opera with her! So, I had to go home, take a cold shower, and listen to music. Because it was the only album I had, I played it and played it and I discovered a world I never knew existed. Music up to that point was something that was on the radio. That night seemed to open a new and exciting world me. Not as exciting as I had been planning with her but exciting none the less. My biggest memory of the Stafford concert was when Freddie gets us to sing along with him. Whenever I heard the Live Killers album, it would take me back to that moment at Stafford when I found out what I wanted to do with my life. I write now, plays and musicals, some successful, some not. Thanks Queen for my reason to live.”  - Robert

“Memory's a funny thing... and I wish to heck that I had a better one. How come I can remember useless things I don't want to know, like the winner of the first Big Brother programme, but can't remember stuff which would be far more useful... like how to order beer in any language, my bank account number... or the exact setlist of my first ever rock concert, Queen at Stafford's Bingley Hall in May 1978? Sitting down to type up this review I did a quick search on the net but only came up with a partial setlist which ends about two thirds of the way through. Very frustrating. So really this isn't a review, it can't be, but it's more a hazy recollection of just what it felt like to be a 15-year-old boy at his very first rock show. First off I remember getting the ticket. "Harvey Goldsmith presents A Night With Queen" printed in green (tickets for the Sunday night gig were printed in blue) and the price, L3.50 - laughably cheap now. I can't remember how long it was before the gig that I got the ticket but I do know that the waiting for the day of the gig was unbearable. But eventually that day arrived. Another reason it sticks in my mind is that it was the day of the FA Cup final (Arsenal beat Ipswich Town) and it was the first time I'd not sat glued to the TV from 12pm for all the build-up and the big match itself. If it had been my team, Manchester City, it might have been a different story, but I went up to Bingley Hall mid-afternoon, with a friend called Mark Butters, to join the queue and get as good a standing spot as possible. For those of you who don't know, Bingley Hall is a 10,000-plus capacity shed (a giant cowshed, really), at the County Showground just outside Stafford, and owned by the Staffordshire Agricultural Society. Before the NEC and other purpose-built venues came along, gigs at this venue (which on other occasions were filled with agricultural displays or animal pens) were a big deal, on a par with Wembley Arena and the like. Others to have played there include Abba, Black Sabbath, Genesis, Thin Lizzy, Saxon, Yes and Rush. I remember my Mum being worried sick about me going to the gig. Worried about the size of the crowd. Worried about the music volume. Worried about drugs. She was particularly worried that I was wearing a Thin Lizzy badge on my denim jacket and might get beaten up by some aggressive Queen fan who took exception to any other band. I had to persuade her that rock fans were not quite so tribal as football fans. I also remember standing fairly close to the glass-fronted doors in the queue and the physical, painful ache of anticipation. What came next is a blur - the doors finally being opened, the crush as we made our way through and our tickets were examined, the further crush by the merchandise stall (I got myself a big, square programme, which I've still got). Then I made my way into the crowd, jockeying for a position as near to the front as possible. The gig was all-standing and as showtime got closer the build-up of pressure was astonishing. I was pretty central, but there was constant swaying from left to right, if you lifted your legs you wouldn't fall, just be carried along with this sea of rock fans. Finally the wait is over (yes, I know I've changed tense, it just suits my recollections better). The lights go down. The roar of the crowd is unbelievably loud. But what comes next is even louder. As we strain to see what's going on the air is filled with a mechanical sound, the giant lighting rig (Queen's famed crown set-up) is lifting into the air in a sea of smoke. We Will Rock You explodes into the air. It's all light and smoke and noise... and suddenly there's Brian May, playing that guitar, just feet away from me. The spotlights fall on John Deacon and Roger Taylor behind his gigantic drumkit. Just one thing left now. Freddie. And he appears out of nowhere, Freddie Mercury, prancing and preening around the stage, soaking up the adulation, singing his guts out, clad in shiny black PVC. Call me innocent or naive, but back then I didn't really know about the whole gay/camp fetish thing... he just looked like the superstar he was. For the next two hours or so I am transported to a whole new place. We get the rockers (Brighton Rock, We Are The Champions, Now I'm Here, a pre-release It's Late, I'm In Love With My Car), the pop-orientated stuff (Killer Queen, Spread Your Wings, Somebody To Love, You're My Best Friend) and a superb acoustic section, featuring Love Of My Life and its amazing crowd singalong and '39, during which a string breaks on Brian May's guitar but he carries on regardless, note perfect to my ears. Oh, and we get Bohemian Rhapsody too. It's still only a couple of years old at this point, and although obviously something incredibly special is still making it's way up the ladder to immortality to stand alongside the likes of Stairway To Heaven. Anyway, it's bloody brilliant. Queen leave the stage for the opera section, enabling them to make another grand entrance in lights, smoke and pyrotechnics for the rock-out - a masterstroke! According to Kevin Ruscoe's review of this gig at the superb www.queenconcerts.com site we also got White Man and The Prophet's Song, but I have no recollection of that at all. Nonetheless it still sticks in my mind as one of the greatest gigs I have even seen over the past 28 years, and as one of the greatest events of my life. Like Kevin, I remember singing You'll Never Walk Alone at the end of God Save The Queen, a football terrace salute to a rock phenomenon. What a night!”  - Ian Harvey (April 28, 2006)

Part-1

[m1male2]

Lizzie Riches was born in London in 1950 and grew up near Epping Forest, which is where she first developed a love of natural history. Lizzie went to Camberwell School of Art and to Goldsmiths College