#mr. simmons

[itsreaditandwow2]

YOUTUBERS AS NICKELODEON CHARACTERS

Peter "Nice Peter" Shukoff as Mr. Robert Simmons from Hey Arnold!

[zombiegangster]

Suspended

Season 5 Episode 7a - Suspended

Wartz pulling this weird Principal Skinner thing with teaching the youngsters a lesson was…ok. I think Harold getting 5 weeks of suspension would have basically made it impossible him for finish the 4th grade (again), so the premise is just off for me. Not a favorite, but I did like that Kyoto Economic Summit gag, especially with the fact that it’s on every channel for some reason.

[sasheemo]

god is a woman and her name is Kathryn Hahn

[youbutstupid]

I make these to cope

Part 1 Part 2 Part 3 Part 4 Part 5 Part 7 Part 8 Part 9 Part 10

[arttsuka]

Draw teen ford holding a bowl of yellow peanut m&ms (you'll get the reference)

M&Ms...

That 'd' in the 'and' is a bit too far away for reasons I can't explain...

[yours-stevie]

Spooky season 🦇

[starchaser45]

My least favorite thing about season 15 is how the final unsub was basically a nobody he was annoying he wasn't as smart as they made him to be the storyline wasn't good and the fact that Reid was so ignored in the storyline cause as I said the unsub wasn't really that smart so they just decided to not really include Reid and the weird Rossi obsession with the unsub and then them winning cause the jet had a gun like when they said there's more you didn't know about this jet I expect something not a gun hidden in the bag carrier like what was that we wasted scratches storyline and then we got 𝘵𝘩𝘪𝘴 as our final unsub really

[musicmags]

[liamthewilliam]

Same person different universe

[vanlegion]

Trying to clean out some space on my phone, bit here's some funny things that made me think of RvB!

[your-average-girly]

WHEELS FUCKING UP

[we-will-swallow-your-soul]

[rolandrockover]

Do You Wanna Touch Me Now

What can you call something like this? A review of a Kiss song that was not recorded to completion and never officially released? If you ask me Phantom Entry doesn't sound too bad, and also kind of Kiss-like.

So, who among us Kissians doesn't inevitably think of the often mentioned Do You Wanna Touch Me Now, the only leftover from the Revenge (1992) sessions, which Paul had written with this Skid Row guy, but ultimately didn't make it onto the album. For a long time, even a very long time if you want to do yourself the displeasure of measuring your life in time, this one was considered pretty much a Holy Grail among ever-searching fans.

Until it was leaked on a mainstream platform, just like that. Out of the blue. After 30 years. (0) So, it's precisely this tiny blip that makes our little head trip here possible in the first place, so shhh, all this is top secret, of course. Let us therefore try to be gratefully and humbly accept what this may offer us.

Firstly, we have the long-range main riff that also opens the song, which can best be described as massive and anything but bad. If Take Me's (1976) chorus riff comes to mind, that would be pretty close. If you were to dance a few steps further and stop at the end with spread legs in a self-assured pose, then we would even have a bull's eye. On top of that, you get a Mr. Speed-style lick as a sort of calling card (1). This works in much the same way as the Roadrunner in the cartoons likes to stick out his tongue before he meeps and blasts off at the speed of light.

Anyway, to my ears it seems as if, in the overall context of the song's structure, it harbors a certain short-sighted, extroverted attitude that is unwilling to take the final step and whose own unrequited expectations unfortunately become its undoing. In simple terms, it promises more than it means to deliver (2).

Kind of like a long-armed boxer with a handful of excellent swinging hooks in his repetoire, with which he is able to send his opponent to the mat very safely and quickly, only to make the fatal mistake of letting go of his opponent too early and using his additional light-footed skills just to put on a little extra show for the audience (and himself), which unfortunately has little to do with the fight. And with that, I've basically already given away the verses and the bridges.

And these sound like a continuously alternating vivid, but still somewhat unsatisfying mixture of The Elder's (1981) The Oath (3), Mr. Blackwell (4), and now dear people fasten your seatbelts, Welcome to the Jungle (1987) respectively its main riff. Which should come as no surprise once you consider that in 1991 Guns N' Roses were probably the biggest rock band on this planet alongside Metallica (5).

And so it goes back and forth until you eventually reach the mid-part section, which is not much more than a big brake pad, led by Detroit Rock City's (1976) cinematic widescreen riffs, those that follow its super iconic pulsating intro, and to which you literally have no choice but to imagine Paul leisurely and majestically swinging his arm out wide. Still, you're not supposed to enjoy it to the full, because after just one run-through, the fun is over again and it moves like a souped-up tractor at adle in the direction of Black Sabbath and Iron Butterfly. This is noticeable in a passage that sounds as if somewhere the beginning of In-A-Gadda-Da-Vida (1968) was stuck in a loop. On steroids, of course.

And somewhere in between a guitar solo must have been envisioned, although unfortunately it never materialized. Which is regrettable, but not necessarily essential for the sake of this cause.

But hey, since when can beggars be choosers?

Side Note:

(0) Hardcore Insiders not included, which in turn should include myself.

(1) And from the first refrain even a riff appendage in the guise of Plaster Caster's (1977) bridge melody, as well as another old buddy, this time from the future, who can be found on Sonic Boom from 2009 and beyond (which we can talk about another time).

(2) So much for the gratitude.

(3) I (1981) would also fit the bill, but The Oath even more so. Just think of its characteristic opening.

(4) That AC/DC Back in Black thing we already talked about here.

(5) On the other hand, I wouldn't necessarily accuse them of intent.

And no, Do Yo Wanna Touch Me Now is not a link, just a photo. All other links are real, by the way, and highlighted:

Do You Wanna Touch Me Now (1991/92)

Take Me (1976)

Mr. Blackwell (1981)

The Oath (1981)

Welcome to the Jungle (1987)

Plaster Caster (1977)

Detroit Rock City (1976)

In-A-Gadda-Da-Vida (1968)

[samanthasgone]

Never forget this ESPN commercial with Richard Simmons.

[ghostinyourface]

I saw a kiss tribute band tonight, Mr Speed, and they were great. Also I got front row so I got some picks and some good videos (even if tumblr will only let me post 1🙄)

shout out to the special moments at the show too which included

1. A woman I didn’t know grabbing my arm and leading me through the crowd to the front row, with her reasoning being “short people have to stick together”

2. The same woman and I bonding over concerts and her proceeding to ask me who “the fox” was because she had only seen the original 4 members and the band had the fox instead of the catman. So I gave her a summary of kisstory since 1980. She was there with her husband and her grandkids and they were all so nice, but she was the only one in the pit with me.

3. The 2 guys behind me who saw my Ace necklace and worked double time to try and get the guitarist to see it (he didn’t but the other members did) and our jam session to New York Groove

[eclecticmuses]

After Heartbreak

Author: @eclecticmuses​​​​​​​​​​​​​​​​​​​​​​ Rating: Explicit Chapters: 15 Relationships/Characters: Leo Fitz/Jemma Simmons, Leo Fitz’s Mother, Jemma’s Parents, Milton, Other Original Characters Additional Tags: Alternate Universe, Romance and Angst, Childhood Sweethearts, Second Chances, Class Differences, Angst With A Happy Ending, Explicit Sexual Content Summary: February, 1945. Jemma Simmons is working as a nurse at a Red Cross convalescent hospital in the south of England caring for wounded soldiers when she runs into a ghost from her past: Leo Fitz, her childhood sweetheart, who was cruelly ripped away from her by her disapproving parents several years prior. Can they rekindle their friendship and find something new? Or will Jemma’s responsibilities and family ruin their chance at love once and for all?

Excerpt from Chapter 14:

Jemma was about to lose her wits.

Her mum had strong-armed her into allowing a visit, and now that she was here, she was critical of everything. Her furniture was too shabby, her window curtains too cheap, the flat was too small and in a wrong section of the city for her, not close to her preferred haunts, and it was intolerably difficult to get to since the local Tube station still hadn’t been rebuilt. It wasn’t befitting a future Baroness—nay, a future Countess, since Jemma was marrying Milton. Her mother hadn’t let up in the hour she’d been there, and it was giving Jemma a headache.

Her only respite was to let her mother ramble but tune her out. She never really sought a response when she went on one of her rants, anyway; all she wanted to do was denigrate Jemma and make her feel small. So Jemma ducked her head and kept a contrite expression fixed to her face, which was required to survive these diatribes, and let her mind wander.

Read the rest on AO3!