#north avenue studios

[nofatclips]

Someone Help The Ghost by Young Rapids from the album Pretty Ugly

[earlycuntsets]

mcr shows on youtube pt. 1 (2002 - 2005)

-> pt. 2 (2005 - 2007)

-> pt. 3 (2007 - 2011)

-> pt. 4 (2011 - 2023)

02/16/2002 american legion garfield nj – sarah lewitinn

03/01/2002 loop lounge passaic nj – ATØMIC JĒY

06/14/2002 club krome south amboy nj – spaceyrayrun

06/29/2002 harmony grange hall no. 12 wilmington de us – spaceyraygun

07/05/2002 american legion – camp merritt post 21 cresskill nj usa – spaceyraygun

07/19/2002 loop lounge passaic park nj – spaceyraygun

08/03/2002 rexplex elizabeth nj – spaceyraygun

08/16/2002 maxwell’s hoboken nj – george koroneos

08/17/2002 alissas basement kinnelon nj – spaceyraygun

09/14/2002 electric factory philadelphia pa – spaceyraygun

12/02/2002 fireside bowl chicago il – brad nolan video on plentyoflegs

12/18/2002 trocadero theater philadelphia pa – spaceyraygun

12/23/2002 factory 324 roanoake va – panterathrashfan13

1/11/2003 fireside bowl chicago il – brad nolan videography

02/20/2003 mississippi nights st louis mo – brad nolan videography

02/21/2003 beaumont club kansas city mo – brad nolan videography

02/28/2003 boonton elks lodge boonton nj – user: random stuff

03/23/2003 club krome south amboy nj – douglas carl

05/14/2003 north star bar philadelphia pa – deadhoarse

05/23/2003 imusicast oakland ca – skyline studios – oakland

06/08/2003 bloomfield avenue cafe montclair nj – spaceyraygun

06/26/2003 the knitting factory nyc ny – luxlillian

07/26/2003 the chameleon club lancaster pa – spaceyraygun

08/18/2003 9:30 club washington dc – TEPMIHATOP_HvH

08/19/2003 trocadero theater philadelphia pa – spaceyraygun

10/23/2003 downtime nyc ny – spaceyraygun

10/31/2003 south amboy nj halloween show – user: MCR stuff and things

11/14/2003 university of connecticut-stamford stamford ct – user: random stuff

12/14/2003 irving plaza nyc ny – spaceyraygun

05/17/2004 des moines iowa house of bricks – 515 archive

06/02/2004 manchester university manchester uk – TEMIHATOP-HvH

06/08/2004 vintage vinyl fords nj – spaceyraygun

06/09/2004 newbury comics shrewsbury ma us – punkstermann

06/10/2004 north star bar philadelphia pa – spaceyraygun

08/08/2004 summer sonic festival tokyo japan – dusted out on route guano

11/08/2004 hard rock live orlando fl – ryanninja

11/13/2004 unknown venue orange ca – TEPMIHATOP_HvH

12/12/2004 universal amphitheatre universal city ca – andrea amador

01/17/2005 trl nyc ny – patty8239

02/03/2005 la boule noire paris – the academy is my beautiful romance

03/04/2005 arrow hall mississauga ontario ca – the academy is my beautiful romance

03/05/2005 john labatt centre london ontario ca – the academy is my beautiful romance

03/29/2005 arco arena sacramento ca – moranestes

05/21/2005 kroq weenie roast irvine ca – the academy is my beautiful romance

05/27/2005 wxdx summer kick off chevrolet amphitheater pittsburgh pa – neeeeonafterglow

06/06/2005 le trabendo paris france – the academy is my beautiful romance

06/10/2005 download festival donington park castle donington uk (interview) – TEPMIHATOP_HvH

06/25/2005 warped tour reliant park houston tx – ibanez27

06/27/2005 hard rock live orlando fl – ATØMIC JĒY

07/02/2005 32/20 warped tour pier san francisco ca – the academy is my beautiful romance

07/12/2005 warped tour thunderbird stadium vancouver ca – kristi haubrick

07/30/2005 warped tour molson park barrie ontanio ca – loveorsympathy

07/31/2005 warped tour silverdome pontiac mi – nightrain5565

08/01/2005 warped tour post gazette pavilion burgettstown pa – price family homestead

08/05/2005 warped tour vinoy park st. petersburg fl – rogo117

08/10/2005 warped tour nissan pavilion bristol va – the academy is my beautiful romance

08/11/2005 warped tour ford pavilion montage mountain scranton pa – the academy is my beautiful romance

08/12/2005 warped tour tweeter center camden nj – katemcilwaine

08/13/2005 warped tour randall’s island park randalls island nyc ny – the academy is my beautiful romance

08/14/2005 raceway park englishtown nj – readydeady

08/23/2005 the underworld london england – leila vardar

08/31/2005 melkweg the max amsterdam netherlands – user: random stuff

09/01/2005 abart zurich switzerland – mychemrock1

09/03/2005 idroscalo segrate italy – nacho en tour

09/15/2005 promowest pavilion columbus west ohio – andreaflowers

09/17/2005 eastern michigan university convocation center ypsilanti mi – amanda

09/27.2005 mesa amphitheatre mesa arizona – mark zeta

10/02/2005 event center arena san jose ca – jason is lost in japan

10/08/2005 gwinnett center duluth ga – living with ghosts

10/10/2005 revolution live ft lauderdale fl – natnizzle

10/14/2005 tweeter center camden nj – decoemergency

-> pt. 2 (2005 - 2007)

-> pt. 3 (2007 - 2011)

-> pt. 4 (2011 - 2023)

[kwebtv]

TV Guide - July 4 - 10, 1964

Raymond William Stacy Burr (May 21, 1917 – September 12, 1993) Actor, primarily known for his title roles in the television dramas Perry Mason and Ironside. He was prominently involved in multiple charitable endeavors, such as working on behalf of the United Service Organizations.

Burr emerged as a prolific television character actor in the 1950s. He made his television debut in 1951, appearing in episodes of Stars Over Hollywood, The Bigelow Theatre, Family Theater and the debut episode of Dragnet. He went on to appear in such programs as Gruen Playhouse, Four Star Playhouse, Ford Theatre, Lux Video Theatre, Mr. and Mrs. North, Schlitz Playhouse of Stars and Playhouse 90

Burr moved from CBS to Universal Studios, where he played the title role in the television drama Ironside, which ran on NBC from 1967 to 1975.

After Ironside went off the air, NBC failed in two attempts to launch Burr as the star of a new series. In a two-hour television movie format, Mallory: Circumstantial Evidence aired in February 1976.   In 1977, Burr starred in the short-lived TV series Kingston: Confidential.  He took on a shorter project next, playing an underworld boss in a six-hour miniseries, 79 Park Avenue.

He won two Emmy Awards, in 1959 and 1961, for the role of Perry Mason, which he played for nine seasons (1957–1966) and reprised in a series of 26 television films (1985–1993). His second TV series, Ironside, earned him six Emmy nominations and two Golden Globe nominations. (Wikipedia)\

Erle Stanley Gardner (July 17, 1889 – March 11, 1970) was an American lawyer and author. He is best known for the Perry Mason series of detective stories, but he wrote numerous other novels and shorter pieces and also a series of nonfiction books, mostly narrations of his travels through Baja California and other regions in Mexico.

The best-selling American author of the 20th century at the time of his death, Gardner also published under numerous pseudonyms, including A.A. Fair, Kyle Corning, Charles M. Green, Carleton Kendrake, Charles J. Kenny, Stephen Caldwell, Les Tillray and Robert Parr. (Wikipedia)

[allthebrazilianpolitics]

Brazil’s Pabllo Vittar is the World’s Next Big Drag Queen

São Paulo’s main avenue was packed this month with thousands of people draped in the yellow and green of the Brazilian flag and captivated by a commanding figure atop a tractor-trailer rigged with speakers.

From above, the scene could have maybe passed for one of the many political rallies held in the same spot by former President Jair Bolsonaro, the Brazilian far-right leader who has infamously declared that he could never love a gay son.

(Though, to be fair, the enormous rainbow flag would be a giveaway.)

It was, in fact, one of the world’s largest Pride parades, and the person atop the sound truck was Phabullo Rodrigues da Silva, 30, the gay son of a working-class single mother in Brazil’s north.

Yet everyone in the crowd knew him as Pabllo Vittar, a 6-foot-2-inch drag queen in a glittering cutoff Brazilian soccer jersey and shredded jean shorts — one of the biggest pop stars in this nation of 203 million.

Over the past seven years, Pabllo Vittar has become, by some measures, the world’s most successful drag queen. She has six studio albums (one gold, one platinum and two double platinum), her own fashion release with Adidas, a global ad campaign with Calvin Klein and 1.8 billion streams of her songs.

She has toured the United States and Europe; taken the stage at Lollapalooza and Coachella; performed alongside Madonna at Madonna’s biggest concert; and sang at the United Nations for Queen Elizabeth’s birthday.

In the process, Pabllo Vittar has come to represent Brazil’s L.G.B.T.Q. paradox.

In addition to being home to a crew of breakout drag stars, Brazil has adopted some of the world’s most expansive gay rights. Gay couples can marry and adopt children; transgender people can legally choose their gender; homophobic slurs are a crime; and so-called conversion therapy, which seeks to make gay people straight, is banned.

Yet for years Brazil has also ranked among the deadliest countries for gay and transgender people. Since 2008, more than 1,840 transgender people have been murdered in Brazil, more than double the next deadliest country, Mexico, according to tracking by Transgender Europe, an advocacy group. Brazil has led the rankings every year since tracking began.

Continue reading.

[rock-and-roll-hell]

March 19, 1975

Dressed To Kill is released

📸 Bob Gruen

Dressed to Kill is the third studio album by Kiss, released on this day in 1975. It was produced by Casablanca Records president Neil Bogart, as the label’s financial situation at the time did not permit the hiring of a professional producer.

Possibly due to the short length of the album, original vinyl versions had long pauses between each track to make the sides longer than they would be based on the material they had. Each side ran just 15 minutes, and some of the song times were listed incorrectly on the vinyl versions. For example, "Two Timer" was listed at 2:59 and "Ladies in Waiting" was listed at 2:47.

The album peaked at #32 the Billboard 200 album chart in the US and was certified gold by the RIAA on February 28, 1977. ’Rock and Roll All Nite’ was released as a single on April 2, 1975 and peaked at #68 on the Billboard Singles Chart. ’C'mon & Love Me’ was released as a single on July 10, 1975 and failed to chart. While the album cover depicts Kiss in business suits, the only member of the band who actually owned one was Peter Criss. The suits worn on the cover by the rest of the band were owned by manager Bill Aucoin. The original vinyl release of the album also had the Kiss logo embossed around the picture. The photograph of the band on the album cover was taken on the southwest corner of 23rd Street and 8th Avenue looking north in New York City by photographer Bob Gruen.

Hi-Fi for Pleasure said of the album:

Hopefully, the coming and going trendiness of Kiss won't leave them high and dry. We're so desperately short of showman crutch [sic] rock that albums like these feel like fresh air and just as rare. But the signs are there that they've been pronounced a bit too proficient to be really heavy.

"Rock and Roll All Nite" is one of Kiss' most well-known songs – and has remained a staple in the band's concerts since 1975 – along with "Rock Bottom", "C'mon and Love Me", and "She".

[doomandgloomfromthetomb]

Shellac - 7th. Street Entry, Minneapolis, Minnesota, October 29, 1994

Guest post! This one comes from friend-of-the-blog Xopher Besinger — a loving tribute to Shellac of North America and the late/great Steve Albini ...

When Steve Albini passed away this past spring the underground music world lost a champion and a crucial resource, both technological and philosophical. But he wasn’t only an engineer, studio owner, and opinionated online presence Albini was also a singular guitar player and for the last 33 years member of the power trio Shellac along with Bob Weston of Volcano Suns and Todd Trainer from Rifle Sport & Brick Layer Cake. The band carved out a special niche, where Wire and Gang of Four overlapped with AC/DC, shearing away all unnecessary elements until the music was compressed down to a single razor blade guitar spinning off coruscating shards of metallic sound over a massive, unstoppable rhythm section and sometimes some yelling.

They made several studio albums, but Shellac was primarily a live band, part comedy act, part blistering noise unit, always conducting shows with the laid-back ease of a long running house band. Toward the end shows were as full of familiar bits and gags as much as new songs but this show, from October 1994 in front of a rowdy home turf crowd (c’mon everyone knows the 7th St Entry was their home) approaching Halloween the band is still very new, a couple of singles had appeared the year prior and the first full-length, At Action Park, came out that month but not everything had completely settled just yet, even the infamous Q & A sessions appear here in nascent form as Albini just fields specific questions about Montana.

This show probably isn’t a holy grail to anyone except for me, I remember seeing the show flyers up around Dinkytown when I was briefly attending the University of Minnesota, but I was still 18, not old enough and without a fake id. The sound is a bit rough on this audience tape, plenty of dance music bleeding in from the First Avenue main room next door (a normal hazard throughout the 90s) and drunken crowd chatter but the band is clearly in their element, teasing Minneapolis icons Morris Day & Arcwelder’s Bill Graber and battering the hell out of the songs. Albini has obviously been listening to the also recently released Jon Spencer Blues Explosion album Orange as he exhorts “blues explosion! number one blues singer!” several times. The setlist draws mainly from the singles & first LP but there are a few surprises, such as the mellow coda to “Rambler Song” from their split single with P.W. Long, an early version of “Disgrace” and of course “Spoke”, which was the normal closer in the early years but didn’t appear on an album until 2007.

As always there is a healthy amount of back-and-forth between the band and crowd and even amongst the band onstage, but Shellac always made it clear that those interactions were as much a part of the gig as anything. This holistic view might be one of the reasons the shows were so memorable, it wasn’t just a band playing music to an audience, the talking, the tuning up, the waiting for the show to start, the lines to the bathroom, the obnoxious people in the crowd, the songs you had never heard before, were all given equal weight as components to the experience. And that to me is what this recording captures, the full weight of seeing them, with all those other things included.

I am going to miss seeing them dismantle the hecklers, I am going to miss the way they could flip from goofy to visceral to transcendent in the matter of seconds, but more than anything I am going to miss that biting, clanging guitar at the start of “Billiard Player Song” cutting straight through everything. Everything. So, grab a cigar, a match, and people who don’t care if you smoke it and loudest speakers you can find. Requiescat!

[chaplinlegend]

"In September 1929, Winston Churchill made his one and only visit to Los Angeles as part of a grand tour of North America in the company of his son Randolph, brother Jack, and nephew Johnnie. His visit coincided with the period when the motion picture industry was making the transition from silent film to “talkies.” On the 24th, Charlie Chaplin hosted the Churchills at his Hollywood studio located on the corner of Sunset Boulevard and La Brea Avenue. (...) " Continued: (x) and (x)

Photos: Chaplin Archive.

[americanphysco]

Beach City

by Jaquira Diaz

-

We talked about Miami Beach like it belonged to us, convinced that the tourists who came down to swim in our ocean and dance in our nightclubs were fucking up our city. We were seventeen, eighteen, nineteen-year-old hoodlums, our hair in cornrows, too-tight ponytails, too much hairspray, dark brown lip liner, noses and belly buttons pierced, door-knocker earrings, jailhouse ankle tattoos. We didn’t have time for boys from Hollywood or North Miami, busters who drove their hoopties with the windows down because they didn’t have A/C, calling out to us trying to get phone numbers as we crossed Washington Avenue or Lincoln Road, our chancletas slapping the sidewalk.

What did they know about surfing during hurricane winds, fucking on lifeguard stands, breathing under water? What did they know about millions of stray cats pissing in the sand dunes, entire flocks of rogue seagulls dropping shit torpedoes, about refugees and kilos of cocaine and bodies washing up on our shores?

We were the ones who knew what it meant to belong here, to be made whole during full moon drum circles, dancing, drinking, smoking it up with our homeboys. We knew what it meant to bloody our knuckles here, to break teeth here, to live and breathe these streets day in, day out, the glow of the neon hotel signs on the waterfront, the salt and sweat of this beach city.

*

One night we parked Brown’s Mustang behind the skating rink on Collins, hoofed it to the beach. We took our bottles of Olde English and Mad Dog 20/20, the six of us passing a blunt and listening to 2Pac’s “Hit Em Up” blaring from somebody’s radio, and every time they sang, “Grab your Glocks when you see 2Pac,” the boys grabbed their dicks, and we all laughed our asses off. Brown danced, stripping off his clothes while we cheered him on, me and A.J. keeling over, slapping our knees. Flaca, China, and Cisco climbed to the top of the lifeguard stand, singing, “Go Brown! Go Brown!” When he was down to just boxers, Brown gave up, and we booed him, threw our balled-up socks and sneakers at him.

Me and A.J. were out behind the lifeguard stand, sand between our toes, feeling for each other in the dark. We ran around laughing and laughing, and I took his hand, danced circles around him in slow motion.

I don’t remember when A.J. first told me he loved me, or even if he told me, but I knew. I felt it every time he came around, every time our thighs touched while sitting together on China’s couch, or when the six of us had to squeeze into Brown’s Mustang and I sat sideways on his lap, my lip brushing against his ear, his arms around my waist. Or when we stayed up all night talking even though he had to get up early for school the next morning—something I didn’t have to worry about since I was a high school dropout. Or on nights when the liquor and the weed made my head spin, the heat and the high coming down on me all at once, and only A.J. around to keep me from falling.

Down by the shore, Brown was so fucked up he dropped to his knees, then lay down sideways on the sand. Later, we would all carry him back to his car. Flaca would drive us to her place a few blocks away. We would all stagger up the stairs to her little studio, put Brown to sleep in the bathtub, and smoke Newports on the balcony. He would wake up with the munchies an hour later. “You got any cheese?” he’d call out from the bathroom. Cisco would grab an entire pack of Kraft Singles from Flaca’s fridge, and the two of us would toss them into the tub, slice by slice, while Brown tried to catch them in his mouth.

But before all that, the six of us dancing and running around on the beach, China chugging down Mad Dog, Flaca and Cisco kissing on the steps of the lifeguard stand, and A.J. looking at me under the moonlight, a cloud of smoke all around us, I wrapped my arms around him and said, “Don’t let me go.”

We were laughing, hitting the blunt.

We were the faraway waves breaking, the music and the ocean and the heat rising rising rising, like a fever.

We were bodies made of smoke and water.

[dreaminginthedeepsouth]

Isadora Duncan, the dancer, was born 147 years ago today.

Born in California, Duncan lived in Western Europe and the Soviet Union from the age of 22 until her death at age 50. She performed to acclaim throughout Europe after being exiled from the United States for her Soviet sympathies.

Duncan's fondness for flowing scarves was a contributing factor towards her death in an automobile accident in Nice, France, when she was a passenger in an Amilcar. Her silk scarf, draped around her neck, became entangled around the open-spoked wheels and rear axle, breaking her neck.

In her early years in the San Francisco area, Duncan attended school but, finding it to be constricting to her individuality, she dropped out. As her family was very poor, both she and her sister gave dance classes to local children to earn extra money.

In 1896, Duncan became part of Augustin Daly's theater company in New York. She soon became disillusioned with the form. Her father, along with his third wife and their daughter, died in the 1898 sinking of the British passenger steamer, SS Mohegan.

Duncan’s different approach to dance was evident in her early classes, in which she “followed [her] fantasy and improvised, teaching any pretty thing that came into [her] head.”

A desire to travel brought Duncan to Chicago where she auditioned for many theater companies, finally finding a place in Augustin Daly's company. This job took her to New York City where her unique vision of dance clashed with the popular pantomimes of theater companies.

Feeling unhappy and limited with her work in Daly’s company and with American audiences, Duncan decided to move to London in 1898. There she found work performing in the drawing rooms of the wealthy and inspiration from the Greek vases and bas-reliefs in the British Museum. The money she earned from these engagements allowed her to rent a dance studio to develop her work and create larger performances for the stage.

From London, Duncan traveled to Paris, where she drew inspiration from the Louvre and the Exhibition of 1900. One day in 1902, Loie Fuller visited Duncan’s studio and invited Duncan to tour with her. This took Duncan all over Europe creating new works using her innovative dance technique.

Duncan’s style consisted of a focus on natural movement instead of the rigid technique of ballet. She spent most of the rest of her life in this manner, touring in Europe as well as North and South America, where she performed to mixed critical reviews.

Duncan became quite popular for her distinct style and inspired many visual artists, such as Antoine Bourdelle, Auguste Rodin and Abraham Walkowitz to create works based on her.

Duncan disliked the commercial aspects of public performance, like touring and contracts, because she felt they distracted her from her real mission — the creation of beauty and the education of the young. To achieve her mission, she opened schools to teach young women her dance philosophy. The first was established in 1904 in Grunewald, Germany.

This institution was the birthplace of the "Isadorables" – Anna, Maria-Theresa, Irma, Lisel, Gretel, Erika, Isabelle and Temple (Isadora's niece) – Duncan’s protégées, who would go on to continue her legacy. In 1914, Duncan moved to the United States and transferred the school there.

A townhouse on Gramercy Park was provided for its use, and its studio was nearby, on the northeast corner of 23rd Street and Fourth Avenue, which is now Park Avenue South.

Otto Kahn, the head of Kuhn, Loeb & Co. gave Duncan use of the very modern Century Theatre at West 60th Street and Central Park West for her performances and productions, which included a staging of Oedipus Rex, which involved almost all of Duncan's extended entourage and friends.

Duncan wrote of American dancing: “let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance.” Her focus on natural movement emphasized steps, such as skipping, outside of codified ballet technique. Duncan also cites the sea as an early inspiration for her movement.

By the end of her life, Duncan's performing career had dwindled and she became as notorious for her financial woes, scandalous love life and all-too-frequent public drunkenness as for her contributions to the arts. She spent her final years moving between Paris and the Mediterranean, running up debts at hotels.

Duncan spent short periods in apartments rented on her behalf by a decreasing number of friends and supporters, many of whom attempted to assist her in writing an autobiography. They hoped it might be successful enough to support her.

Duncan's fondness for flowing scarves was a contributing factor towards her death in an automobile accident in Nice, France, at the age of 50. On the night of September 14, 1927, Duncan was a passenger in the Amilcar automobile of a French-Italian mechanic Benoît Falchetto, whom she had nicknamed "Buggatti.” Her silk scarf draped around her neck, became entangled around the open-spoked wheels and rear axle, breaking her neck.

As The New York Times noted in its obituary: "Isadora Duncan, the American dancer, tonight met a tragic death at Nice on the Riviera. According to dispatches from Nice, Miss Duncan was hurled in an extraordinary manner from an open automobile in which she was riding and instantly killed by the force of her fall to the stone pavement."

The accident gave rise to Gertrude Stein's mordant remark that "affectations can be dangerous.”

[Deborah Roldan-Dixon]

[tabby-shieldmaiden]

[Status: trying to rephrase things I’ve said in an earlier post I made. I hope this one is a bit more succinct and structured.]

Okay so, I’d been thinking about animation and gender and the animation industry’s relationship with the toy industry again. I’d been thinking about how to make good succinct analysis of gender politics in children’s media while also being mindful of its target audience. (ex: a show for a general audience of 10 year olds is unlikely to deal with more complicated schools of feminist thought beyond ‘girls are capable of getting things done too!’.)

And like, the first points I would make will be about basic points that have been made extensively elsewhere. The fact that female-targeted media has historically been less well-thought-out due to a combination of perceiving girls cannot handle more complex themes + an assumption that girls will simply enjoy male-character-majority media because that’s perceived as ‘the default’ + there historically being few creatives who really took it seriously do to historic gatekeeping around being on a creative team in a studio. Female characters in male-majority media will also very frequently be tokenised as ‘the girl’, they will be given less relevance in the plot, and these things do obviously affect the quality of their writing and the diversity of female characters allowed in such media. All these aspects have (depending on who you ask, greatly or not-very-greatly) improved (to varying degrees of what constitutes ‘improvement’) in recent times for various reasons, and I am glad for that.

But then I get to the next point I want to talk about. And that’s the connection the toy industry has with the animation industry. How that link they have does end up affecting the portrayal of women in the media. Because the toy industry still is very gendered. If the toy sales stop, the show will be cancelled and the company will play things safer for the next project. (Which yes, does often mean falling back on more traditional gender roles.) And that whole system will not be sustainable if one wishes for consistently well-written female characters, if it’s still so contingent on toys and the buying of all the external merchandise.

And then like. That opens up another can of worms, doesn’t it? That raises more avenues to discuss. Like the fact that most toys are bought by parents and adults rather than children. That does mean that toy companies would wish to cater to all parents, grandparents, etc, including more conservative ones. Which does mean no fashion dolls who would be masculine women any time soon. This could then tangent off into a conversation about parental authority over children and what that means for youth, especially queer youth, to have so much of their gender expression policed by their parents.

Or how it opens up an avenue of discussion around the fact that the toy industry ties are because animation is expensive. Toys provide a lot of the money to the companies who own the rights to the animation. To make media toyetic means that the animation will be less of a risk, meaning riskier ventures are often not attempted and stories get homogenised. It raises questions of possible alternatives to the current systems. Ones away from the currently extremely capitalistic ones.

Or even like. If we talk about ‘empowering’ girls and women, we may also ask which girls, which women? The toy industry relies heavily on outsourced cheap labour from Global South nations, many of the workers who work in these factories are also women. What could be done then? What should we be watching out for? It also raises questions about who tells these stories - predominantly people living in Western nations who have had access to higher education for art in the Global North. How does this actually fuel hegemony? How can these hegemonies be broken? How do we make space for more stories to be told?

I know I’m making a lot of points, and I worry that I may be talking too much. But like, you see this right? You see why I’m getting autistic about the whole deal around media designed to sell toys? This raises questions, layer after layer of questions, and I do hope that somehow, we can answer them.

[nofatclips]

What R U Saying by Young Rapids from the free sampler if i only had my babe city records, i would be ok

[witchern]

well lookie here, it's the WGA picket schedule for may 4-5. this is specific to the NYC metro area – you can check out the LA schedule on the WGA website.

please join us on the picket line if you can! ✊

BROADWAY STAGES (BROOKLYN)

North Henry Street & Greenpoint Avenue, Brooklyn, NY 11222 Thursday, May 4, 11:00 am-2:00 pm RSVP

SILVERCUP STUDIOS

42-22 22nd St. Long Island City, NY 11101 Thursday, May 4, 11:00 am-2:00 pm RSVP

BROADWAY STAGES (BROOKLYN)

North Henry Street & Greenpoint Avenue, Brooklyn, NY 11222 Friday, May 5, 11:00 am-2:00 pm RSVP

ON-LOCATION SHOOT LOCATION TBD

Meet at WGAE office 250 Hudson Street, NYC 10013 Friday, May 5, 11:00 am-2:00 pm RSVP

[kwebtv]

TV Guide -  April 27 - May 3, 1963

Raymond William Stacy Burr (May 21, 1917 – September 12, 1993) Actor, primarily known for his title roles in the television dramas Perry Mason and Ironside. He was prominently involved in multiple charitable endeavors, such as working on behalf of the United Service Organizations.

Burr emerged as a prolific television character actor in the 1950s. He made his television debut in 1951, appearing in episodes of Stars Over Hollywood, The Bigelow Theatre, Family Theater and the debut episode of Dragnet. He went on to appear in such programs as Gruen Playhouse, Four Star Playhouse, Ford Theatre, Lux Video Theatre, Mr. and Mrs. North, Schlitz Playhouse of Stars and Playhouse 90

Burr moved from CBS to Universal Studios, where he played the title role in the television drama Ironside, which ran on NBC from 1967 to 1975.

After Ironside went off the air, NBC failed in two attempts to launch Burr as the star of a new series. In a two-hour television movie format, Mallory: Circumstantial Evidence aired in February 1976.   In 1977, Burr starred in the short-lived TV series Kingston: Confidential.  He took on a shorter project next, playing an underworld boss in a six-hour miniseries, 79 Park Avenue.

He won two Emmy Awards, in 1959 and 1961, for the role of Perry Mason, which he played for nine seasons (1957–1966) and reprised in a series of 26 television films (1985–1993). His second TV series, Ironside, earned him six Emmy nominations and two Golden Globe nominations. (Wikipedia)

William Whitney Talman Jr., (February 4, 1915 – August 30, 1968)  Television and movie actor, best known for playing Los Angeles District Attorney Hamilton Burger in the television series Perry Mason.

Aside from his major supporting role in Perry Mason, Talman also guest-starred in various television series, including Wagon Train, Have Gun-Will Travel, Cimarron City, and Gunsmoke. After the 1966 cancellation of Perry Mason, Talman appeared on The Wild, Wild West and in a first-season episode of The Invaders, "Quantity: Unknown”, which was his last on-screen acting role before his death. (Wikipedia)

[kylesvariouslistsandstuff]

Physical media lovers rejoice...

This week, we got some rather bombshell news from Disney's home entertainment division...

First up is PREY, the Dan Trachtenberg-directed PREDATOR film, getting a 4K and Blu-ray in October. That's *big*. PREY was one of the movies that Disney sent straight to streaming last year, among many other fellow 20th Century Studios titles like THE PRINCESS and ROSALINE. PREY had actually had actually tested very well before release, and many were puzzled as to why it never got a theatrical release... and why it seemingly had no future as a title outside of Hulu.

Even some recent theatrical 20th Century/Searchlight titles - confusingly - never made it to disc, like BARBARIAN - a surprise favorite of mine last year - and SEE HOW THEY RUN. The former was also thought to be a Hulu-only exclusive, but great test results bumped it to theatrical. And thankfully so, that was a movie - what with its one or two hard-left turns - worth experiencing in a theater. I certainly hope those movies come to 4K/Blu-ray very, very soon.

But even better... More physical media of streaming-exclusive stuff! Disney is now putting three Disney+ shows on physical media, on 4K and Blu-ray. WANDAVISION, LOKI's first season, and THE MANDALORIAN's two seasons... Obvious that they'd go with the MCU shows and the STAR WARS content, but it's a start... And it was strongly implied for quite some time that Disney+ was going to be the *only* place where you could watch the Marvel shows...

Well, demand can be quite a persuasive thing to these companies... Being loud works!

I don't know if this will lead to any other shows or movies getting the disc treatment. Disney heads had sort of implied that they'd put a greater emphasis on physical media releases in North America (meanwhile, pulling the plug on physical media releases in Australia, GUARDIANS OF THE GALAXY VOL. 3 being the final title) post-Chapek... But I can easily see this being applied to popular stuff and not everything that's been released.

My hope is that all those 20th Century films eventually make it to disc, along with the Disney+ original movies and shows. HOWARD, in particular, is at the top of my wish list. Especially the ones they inexplicably removed, too, like CRATER. No work should be erased and unavailable to see. Like, ever. When something's made and released, and I don't care how good or bad it is, it's the public's from there on out. It should always be available, especially in a post-Disney Vault world.

It's funny because Disney themselves, back when the home media division was called "Walt Disney Home Video", released a truck-TON of various live-action movies on video and DVD over the years...

In the early 1980s, 90% of what was available on video from Disney was live-action stuff, due to the company's hesitance to release the majority of the animated features on video. So you had almost all the live-action movies, from well-known films like MARY POPPINS and THE LOVE BUG to things like... THE NORTH AVENUE IRREGULARS, SNOWBALL EXPRESS, GUS, etc. By the late 1980s, several other films made it to video, such as 2-parter movies that were aired on Disney's anthology program... Ever hear of SMOKE? BLACK ARROW? MY DOG, THE THIEF? Even some of the first-ever Disney Channel movies saw video releases back then, such as TIGER TOWN and GONE ARE THE DAYES.

Disney was even pretty good with putting a lot of these on DVD in the 2000s, although some didn't make it past videocassettes. And I have to say, when Disney+ launched, I was quite astounded at how many titles they had on there... Outside of greed and corporations being dinguses, I see no reason for the stuff not to be on there. I get licensing/rights stuff concerning catalogue 20th Century titles... But Disney-made titles? C'moooon...

So, this news gives me a spot of hope regarding physical media and the availability of certain films/shows.

[chcrrybcmbs]

beckham  van  buren  steps  into  genius  studios  to  delve  into  his  career  over  the  last  eight  years  and  announce  his  newest  single  release  .  the  new  york  native  has  admitted  to  an  air  of  cockiness  in  his  music  from  the  moment  he  came  out  onto  the  scene  .  audiences  over  the  years  have  gravitated  to  the  way  all  aspects  of  his  personality  shine  through  his  music  :  for  better  or  for  worse  .  beckham  was  willing  to  note  onnaway  ,  2stylish  ,  creme  ,  and  face  of  my  city  as  some  of  his  favorite  releases  to  date  .  by  the  end  of  his  time  with  genius  he  let  on  the  his  first  single  of  the  upcoming  album  (  still  untitled  )  would  be  nail  tech  ,  releasing  on  the  last  tuesday  of  this  month  .

[ 2015 ] off the deep end .

off  the  deep  end  was  his  debut  ep  ,  entirely  recorded  in  his  2014 porsche panamera  .  a  nine  track  project  that  laid  the  foundation  for  the  next  eight  years  of  his  career  .  detox  was  released  as  the  only  single  .  beckham  later  admitting  the  song  lone  release  was  his  attempt  at  testing  the  water  to  see  if  there  was  a  want  in  the  market  for  what  he  could  deliver  .  the  ep  features  bryson  tiller  and  est  gee  .    ( you can listen to the album here )

dark knight .

detox .

maybe .

onnaway .

sundown .

thru the night feat bryson tiller .

rotten feat est gee .

warsaw feat 2forwoyne .

rain .

[ 2017 ] come from it .

come  from  it  ,  a  mixtape  that  followed  two  years  after  his  first  project  .  overall  coming  out  to  decent  reviews  from  critics  and  audiences  .  there  was  no  initial  single  for  this  project  ,  as  he'd  only  announced  it  a  week  before  dropping  it  .  this would be his last independent release . the  only  feature  on  this  project  is  jetsonmade  on  the  second  track  ,  i  wanna  see  some  ass  .  ( you can listen to the album here )

2stylish .

i wanna see some ass feat jetsonmade .

smells like incense .

out front .

hey big head .

once may comes .

big chillin .

[ 2021 ] buzz .

buzz  may  have  been  his  second  album  but  it  was  the  first  to  make  big  waves  .  topping  at  #1  on  the  billboard  hot  200  ,  with  multiple  songs  reaching  #1  in  the  billboard  hot  100  .  whats  poppin  and  tyler  herro  where  the  two  pre  -  release  singles  .  what's  poppin  catching  enough  traction  a  remix  was  released  with  lil  wayne  ,  tory  lanez  ,  and  the  dababy  hopping  onto  the  track  .  between  the  original  release  and  the  remix  the  song  stayed  at  #1  on  the  charts  for  more  than  half  of  the  year  .  the  album  features  some  of  the  biggest  names  in  the  industry  including  lil  baby  ,  big  sean  ,  chris  brown  &  adam  levine  .    ( you can listen to the album here ) 

rendezvous .

face of my city feat lil baby .

21c / delta .

funny seeing you here .

way out feat big sean .

already best friends feat chris brown .

keep it light .

creme .

same guy feat adam levine .

route 66 feat est gee .

tyler herro .

luv is dro feat static major & bryson tiller .

whats poppin .

baxter avenue .

whats poppin feat tory lanez , lil wayne & dababy .

[ tours ]

the dark knight tour , 2018 , a north american tour that went across the united states and canada in 24 shows . come find me world tour , 2022 - 2023 , his first world tour hitting five continents with nearly 50 shows between north america , south america , europe , africa , and oceania .