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its-a-rat-trap · 2 years ago

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And here's the link to the full article, for anyone who wants to read it. It may be behind a paywall for some of you, so I've also copied the full text below.

Garry Roberts was the glue that held The Boomtown Rats together

Once the most interesting pop group in Britain, the Rats inspired a generation – largely thanks to the punk passion of their late guitarist

Garry Roberts of the Boomtown Rats has died, aged 72. Rock has lost another good one. “For fans he was The Legend,” the surviving band members wrote in a heartfelt statement. “For us, he was Gazzer, the guy who summed up the sense of who The Rats are.”

In a group publicly dominated by the big mouth, sharp elbows and high-wattage charisma of Sir Bob Geldof, Roberts may not have been a household name. But he was right at the centre of one of the greatest bands of the new wave era. “There was a lot of rocking going on that night” to quote the opening line of The Boomtown Rats’ 1978 number one smash, and it was Garry (with two R’s, from Garrick) who was doing the rocking, his sharp guitar playing, overdriven amps and rock’n’roll swagger helping drive the Rats all the way from heated up Irish pub rockers to international stardom.

It was Roberts who originally gathered five young musicians together in a pub in Dun Laoghaire, south Dublin, in spring of 1975, to form a band that would do far more than just become the first punks to score a UK number one single. They would go on to help transform their home country. And it was Roberts who was instrumental in their revival in recent years, convincing multi-millionaire businessman and activist Sir Bob that it was time to get back to his punk rock roots.

In recent times, The Boomtown Rats were in danger of becoming a footnote in rock history, almost totally eclipsed by the global fame of their frontman, reduced to just something Geldof did before Live Aid. Yet for a few years in the late Seventies, they had been the most interesting pop group in Britain and Ireland, scoring hit after hit with sharp-witted, punk inflected, new wave music, chock full of bright ideas, crammed with sparky hooks, and delivered in vivid, attention-grabbing style.

Between 1977 and 1980, The Rats had nine consecutive top 20 singles, including two quite extraordinary number ones. Rat Trap was a Springsteen-style shape-shifting five-minute soap operatic epic about the crushing pressures of working class life. It is an epic surpassed in their own canon by I Don’t Like Mondays, surely the only chart-topping pop song about a school shooting. The song gave them their only hit in the United States, where they were briefly touted as the next big thing before it was pulled from the radio, as programmers belatedly noticed what it was about.

The bold accompanying video was an early triumph of the pre-MTV era, casting the group as witnesses to an unfolding tragedy, the final shot featuring the Rats and a cast of school children watching the video itself. The Rats were one of the first bands to really understand and harness the power of this new visual medium, presenting themselves with a colourful comic exuberance, although often shot through with an abrasive edge of punky anger. They were never cute and cuddly, like Madness, and it was perhaps this spikiness which made them unpalatable in the long run.

There is something very shrill and in-your-face about The Rats’ run of hit singles, the aggressive selfishness of Lookin’ After No 1, the taut lechery of Mary Of The Fourth Form, the shrieking, sneering satire of She’s So Modern, even the mechanical alienation of Like Clockwork. As they became established fixtures of the charts, they tried to soften their sharp edges with thicker keyboard lines and Geldof’s voice lower in the mix. But that underlying abrasiveness is still present in the snarling paranoia of Always Someone Looking At You, the poisonous character study Diamond Smiles, and bitter sentiments of their last top 10 hit, 1980 reggae satire Banana Republic that mocked the parochial politics of their home country, and was banned in Ireland as a result.

This quality of aggressive, attention-demanding neediness certainly came from Geldof, the archetypal rock star with a chip on his shoulder. It was a crucial element in helping them break out of an Irish music scene characterised by a sense of inferiority and inadequacy. But the Rats were always a pack, and from the very beginning Roberts was a true believer in the notion that a group from Ireland could compete with the best. While Northern Ireland’s Van Morrison was a legend, and Thin Lizzy had made inroads, The Boomtown Rats were the first ever Irish band to reach number one in the UK.

The impact that had on their home country is impossible to understate. As someone growing up in Dublin in the Seventies, the Rats made you feel it was possible to escape the confines of what was then the poorest country in the European Union, and to demand to be treated as an equal by the cool cats at the centre of the pop culture world in England. It was the first lonely roar of the Celtic Tiger, and it opened the door for so many others. As U2 front man Bono has said, his own group rose up in “a post-Geldof world where you can hustle and hassle for a place at the top of the queue. It was climbing Mount Everest by helicopter.”

It may well be that Geldof’s talents for quick thinking, organisation, fearless promotion and passionate action were, in the end, better suited to other things. It is a little remembered fact that all of the Boomtown Rats play on The Band Aid single Do They Know it’s Christmas?. They were fully supportive of Geldof’s passionate charity endeavours. But the world-changing success of Live Aid propelled the frontman into a whole new area, and the group broke up the next year.

Afterwards, Roberts worked as a sound engineer before hanging up his guitar for over a decade. “When the band broke up,” Roberts has said, “I think I suffered from post traumatic stress disorder, and as a result I think I became intolerable. And then I had to pull myself together.” He worked as a life insurance salesman in Ireland, then (disillusioned with the business) qualified as a central heating operator. One can just imagine the bemused conversations as one of Ireland’s leading veteran rock stars turned up at households to fix faulty pipes.

But Roberts had also started playing again by the late Nineties, often with Rats drummer Simon Crowe, with whom he formed a formidable rhythm section. Always a rocker at heart, still sporting Elvis sideburns, a leather jacket and riding a motorcycle, Roberts “developed a plan to get the band back together.” In 2013, to his great joy, he succeeded, persuading Geldof and two other founding members (Crowe and bassist Pete Briquette) that it was time to do the Rat again.

They released a suitably trashy, punky new album in Citizens of Boomtown in 2020, and Roberts can be seen talking with pride about their revival in a punchy, moving documentary of the same name. I am in that documentary too, paying tribute to a band who really made an impact on my life. I spoke to Roberts after the cinema premiere in Dublin. He thanked me for the kind words. I thanked him for the amazing records, the glorious solos, and providing an inspiration to my whole Irish generation. He changed my life. I don’t really have enough kind words for that.

Anyone lucky enough to have caught one of their recent tours will understand why the Rats made the impact they did. I last saw them in the Palladium last year. For a bunch of grizzly old punks, they never once took their foot from the peddle, with Roberts swaggering about, blasting out guitar lines with fuzzed up joy.

It was clear the old gang had rediscovered the utter thrill of playing tautly drilled music with like-minded friends, and the loyal old crowd was on their feet from the beginning, singing along lustily, and generally behaving in ways that made the Palladium feel less like an august theatrical emporium than a dingy old basement club in 1977. There was a lot of rocking going on that night, to put it mildly. Bob Geldof self-mockingly introduced them as “the greatest rock and roll band in the world … from Dun Laoghaire.” That is a title no one is ever going to take away.

#garry roberts #the boomtown rats #boomtown rats #ratsofficial #garry #that little 'our gazza' in the caption has broken me I'm ngl

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paralleljulieverse · 3 years ago

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‘Gentlemen like you are few...’: A Supercentenary Tribute to Irwin Kostal

1 October 2021 marks the 110th anniversary of the birth of Irwin Kostal, the musical arranger, orchestrator and conductor whose work helped shape the sound of the post-war American stage and screen musical. In this post we look back at the career of this remarkable 'music man’ with a particular focus on his collaborations with the equally remarkable Julie Andrews -- who, as it happens, shares the same birthday, so this post is doing double birthday honours.

A gentle, unassuming man, Kostal or ‘Irv’ as he was known by associates, was not one for the limelight. It’s possibly why he gravitated to the ‘behind-the-scenes’ art of musical arranging. Unlike composers, performers, or even conductors, arrangers seldom loom large in public perceptions of professional musicianship. They are, for the most part, the ‘invisible artists’ of the music industry: their contributions to the sound and experience of music are immense, but they remain largely ‘uncredited in records, liner notes or books or records’ (Niles 2104, p. 4). That Irwin Kostal would ultimately prove a rare exception to this tradition of thankless anonymity -- becoming sufficiently well-known to have his own name not only included on recordings, but emblazoned on the front cover alongside those of the ‘star’ vocalists with whom he worked -- is a testament to the singularity of his talents.

Born the son of first generation immigrant parents in Chicago in 1911, Kostal claimed he was instantly ‘smitten’ by music when he saw a piano at the age of two-and-a-half, but his family was too poor to afford such luxuries. Moreover, his father -- a hard-drinking Czech with a fiery temper -- was ‘rigidly opposed’ to his interests in music and ‘could see no future in it’ (’Irwin’ 1962, p. 70). So Kostal initially had to content himself with listening and absorbing as much musical knowledge as he could indirectly. When he was eleven, his father finally brought home a broken player piano salvaged from a removals job and it provided the young Kostal with the launch pad he needed.

Kostal devoted himself to his musical education with single-minded zeal. His formal training was intermittent -- enabled by a supportive mother who ‘surreptitiously managed to save money from her weekly allowance for my musical instruction’ (’Irwin’ 1962, p. 70) -- but he was a passionate autodidact who would spend countless hours studying and practising on his own. By age 15, he was already playing professionally with local touring bands, while also offering his own services as a piano teacher with, at one point, more than 40 pupils (ibid.).

When he wasn’t playing, Kostal would be found in the local library poring over musical scores and reading about the greats of the classical canon. He was particularly intrigued by orchestration and the possibilities it offered for varying the sound and feel of music. He recalls how he would take orchestral scores home and study all the parts learning ‘about musical instruments I never knew existed’ (Suskin 2009, p. 56). He progressively worked his way through the music of the masters, going alphabetically:

‘Bach...Beethoven, Brahms, Debussy, Elgar, Frank, Gounod, on and on through the alphabet...I tried to absorb everything. By the time I came to Ravel, Tchaikovsky and Wagner, I knew quite a lot about music in a jumbled way’ (Suskin 2009, p. 57).

While still in his teens, Kostal started to experiment with arrangements of his own, scoring a high school production of Uncle Tom’s Cabin with multiple variations on the American folk melody ‘Way Down upon the Swanee River’. ‘By taking away the rhythmic aspects and playing it in a minor key,’ he recounts, ‘I found lots of ways to play this song, making it fit the dramatics of the half-hour long story’ (ibid., p. 56). Thus, Irwin Kostal the arranger was born.

Throughout the 1930s and early-40s, Kostal honed his talents in a professional capacity, working with various big bands, before finally landing a job as a resident arranger for an NBC radio affiliate in Chicago. Following the war, Kostal moved to New York where, after a rocky start, he secured regular work as conductor and arranger on a number of long-running radio and TV variety shows including Your Show of Shows (1950-54), Max Liebman Presents (1954-56), and The Garry Moore Show (1959-63). It was demanding, fast-paced work with Kostal having to arrange and orchestrate hundreds of score pages a week, but it consolidated his musical versatility and capacity to work across a wide range of styles and forms (Suskin 2009, pp. 57-60).

Throughout this period, Kostal was also orchestrating for Broadway shows, racking up over 52 credits on theatre productions big and small (Allen 1995, p. 18). Many of these assignments were done in a ‘ghost-writer’ capacity including contributing work to such classic musicals as Wonderful Town (1953), The Pajama Game (1953) and Silk Stockings (1955). A major breakthrough came when Kostal was contracted to work in a credited capacity as co-orchestrator on the original Broadway production of West Side Story (1958) -- collaborating with Leonard Bernstein, Stephen Sondheim and Sid Ramin. It earned him his first Grammy Award and a subsequent invitation to arrange and orchestrate a string of other big Broadway musicals including Fiorello! (1959), Sail Away (1961) and A Funny Thing Happened on the Way to the Forum (1962).

The success of West Side Story also saw Kostal do repeat honours on the film version (1961) which would, in turn, earn him an Academy Award and kickstart a hugely successful Hollywood career. In 1963, Kostal was invited by none other than Walt Disney to take on the major job of arranging the songs for Mary Poppins (1964) which had been written by the in-house Disney composing team of Richard M. and Robert B. Sherman. The Sherman Brothers claim to have suggested Kostal because they were fans of his Broadway work and they wanted a bright theatrical sound for the score. However, Walt Disney demurred. He reasoned it was a period film and they needed someone who could write music for any style or era, suggesting they get the musical director from The Garry Moore Show instead. Cue mutual delight when it was discovered they were all referring to the same man, Irwin Kostal (Sherman & Sherman 1998; Suskin 2009, p. 65).

Kostal’s work on Mary Poppins catapulted him to new heights of mainstream success. It not only secured him another Academy Award nomination -- he lost to Andre Previn for his work on My Fair Lady -- but it also brought him a tidy fortune in royalties from the film’s best-selling soundtrack album (’Kostal’s’ $65,000′, 57). His fame -- and fortune -- skyrocketed even further the following year when Kostal was contracted to arrange the score for The Sound of Music (1965). His dazzling efforts on this box-office blockbuster confirmed Kostal’s status as Hollywood’s presiding musical wonder-boy and saw him walk home with his second Oscar. A string of other big screen musicals followed including Half a Sixpence (1967), Chitty Chitty Bang Bang (1968) and Bedknobs and Broomsticks (1971).

Many of these films were repeat collaborations because Kostal favoured working with people he knew and with whom he clicked personally and creatively. He would for example continue as the de facto ‘house’ arranger for Disney well into the 1980s, working on various assignments for the studio including Pete’s Dragon (1978), Mickey’s Christmas Carol (1983) and the controversial re-recorded 1982 release of Fantasia (1940/1982) (Tietyan 1990). Kostal would also maintain a long association with the Sherman Brothers, acting as musical arranger for all their big screen musicals including the aforementioned Chitty Chitty Bang Bang (1968) and Bedknobs and Broomsticks (1971), as well as Tom Sawyer (1973); Charlotte’s Web (1973); and The Magic of Lassie (1978) (Sherman & Sherman 1998).

The other great collaboration of Kostal’s career was of course with Julie Andrews. Perhaps it was the fact that the pair shared the same birthday but Kostal had an extraordinarily sympathetic relationship with Julie and he would work with her more than any other vocalist. Long before they teamed on Poppins and The Sound of Music, Julie and ‘Irv’ were making musical magic together. Kostal was the arranger and conductor for Julie’s first two solo albums for RCA: The Lass with the Delicate Air (1957) and Julie Andrews Sings (1958) where his sensitive facility with a wide range of musical idioms from English classical to Broadway and Tin Pan Alley came to the fore. Reviewing the first of these albums at the time of its original release, one music critic lauded it as ‘a record to charm every member of the family...[with] a combination of sincerity and simplicity and wholesome sweetness...Thank goodness arranger and conductor Irwin Kostal met the challenge and set the ballads winningly without overpowering Miss Andrews’ light pure tones’ (RRS 1958, p. 5A). In a similar vein, another reviewer praised the second album for ‘its charming unforced version of standards, well known and almost forgotten...Miss Andrews still sings naturally and purely [and] the deft accompaniments played by an orchestra under Irwin Kostal are agreeably restrained’ (Masters 1959, p. 11).

In this early period Kostal also worked with Julie as guest star on several episodes of The Garry Moore Show, where he was resident musical director. In this context, Kostal was pivotal in helping establish the legendary teaming of Julie and Carol Burnett which came out of the Garry Moore appearances. He would go on to act as musical director for their breakout 1962 TV special Julie and Carol at Carnegie Hall which would earn Kostal his first Emmy (Taraborelli 1988, pp. 172-79). He would secure his second Emmy a few years later working with Julie again on the 1965 variety special, The Julie Andrews Show (1965) where, among other highlights, Kostal scored a series of stellar song-and-dance medleys for Julie and guest star Gene Kelly. The same year, Kostal teamed up with Julie on yet another recording with the 1965 edition of the annual Firestone Christmas albums.

It was however their combined work on the two big musical mega-hits, Mary Poppins and The Sound of Music, that secured the Kostal-Andrews partnership a place in the history books. A cultural phenomenon of the highest order, the soundtrack recordings for these two films remain among the most successful albums of all time. Mary Poppins held the #1 spot on the US national music charts for 14 consecutive weeks in 1964, beating out Elvis Presley and The Beatles (Hollis and Erhbar 2006, pp.72ff). The album for The Sound of Music sold over 9 million copies in its first four years of release alone, remaining in the Billboard Top 100 for an unbelievable five-and-a-half years, and becoming the highest selling LP of all-time in the US up to that date (Murrells, 1978) The Sound of Music continued its record-breaking run abroad, dominating the international charts and holding the #1 spot for 75 weeks in Australia, 73 weeks in Norway and 70 weeks in the UK, becoming in the process the single biggest selling album worldwide of the 1960s (Harker, 1992, pp. 189-91).

Commentators have frequently singled out the combination of Julie Andrews’ soaring vocals and Kostal’s dynamic arrangements as instrumental to the phenomenal success of these two albums. ‘Miss Andrews glows--positively glows--right through the record groove, vinyl disc, amplifiers, speakers, and all other mechanical barriers,’ enthused one contemporary reviewer of the Mary Poppins soundtrack, noting how the ‘songs that Richard M. and Robert B. Sherman have written’ and ‘the handsome arrangements by Irwin Kostal have the perfect balance ‘of lilt and flair to provide Miss Andrews with an effective working basis’ (Wilson 1965, p. 109). Apropos The Sound of Music, another critic pronounced it ‘as good a reproduction of a score as has ever been made’, noting how it ‘presents Julie in a most appealing role and given the splendid musical direction of Irwin Kostal, her talent comes shining through...as a treat beyond measure’ (Moore 1965, p. B6).

In total, Julie Andrews and Irwin Kostal would work together on six recordings, two musical motion pictures, two television specials, and a host of other TV appearances representing some of the very best of Julie’s musical work during her heyday of the 1960s. Considered alongside the wealth of Kostal’s other work across film, stage, television and recording, it’s hard not to concur with Disney’s Nelson Meecham who, on the occasion of Kostal’s passing in 1994, eulogised: ‘He brought the joy of music to more people than it is possible to count’ (Allen, p. 19).

Sources:

Allen, John F 1995. ‘Remembering a Music Man: On the life and work of Irwin Kostal.’ Boxoffice. August: pp. 18-19.

Harker, Dave 1992. ‘Still Crazy After All These Years: What was popular music in the 1960s?” Cultural Revolution? The challenge of the arts in the 1960s. Bart Moore-Gilbert and John Seed, eds. Routledge, London and New York: pp. 186-200.

Hollis, Tim and Erhbar, Greg 2006. Mouse Tracks: The Story of Walt Disney Records. Jackson: University Press of Mississippi.

‘Irwin Kostal: Music in all its many forms is his life.’ (1962). The Province. 2 June: p. 70.

’Kostal’s’ $65,000 Poppins Score’ 1965. Variety. 10 March: p. 57

Levy, Charles 1964. Mary Poppins: About the stars and photo-story features [Press kit]. Buena Vista Distribution, New York.

Masters, John 1959. ‘Off the Record: Enchanting Music.’ The Age. 7 January: p. 11.

Moore, Robert 1965. ‘Record Turntable: Julie Andrews out in front again in film album of”Sound of Music”.’ The Arizona Daily Star. 7 March: p. B6.

Murrells, Joseph, ed. 1978. Book of Golden Discs: Records that sold a million. Barrie & Jenkins, New York.

Niles, Richard 2014. The Invisible Artist: Arrangers in popular music (1950-2000). BMI, London.

Oliver, Myrna. 1994. ‘Obituaries: Irwin Kostal; Film, TV Orchestrator.’ The Los Angeles Times. 1 December: P. B8.

RRS 1958. ‘On the Record: ‘Lass with the Delicate Air.’ Bristol Herald Courier. 9 February: p. 5A.

Sherman, Robert B & Sherman, Richard M 1998. Walt's Time: From before to beyond. Camphor Tree, Santa Clarita, CA.

Suskin, Steven 2009. The Sound of Broadway Music: A book of orchestrators and orchestrations, Oxford University Press, New York.

Taraborelli, J. Randy 1988. Laughing Till It Hurts: The complete life and career of Carol Burnett. William Morrow & Co, New York.

Tietyan, David 1990. The Musical World of Walt Disney. H. Leonard, Milwaukee, Wis.

Wilson, John S. 1965. ‘The Lighter Side’. High Fidelity Magazine. 15: 4: pp. 107-111.

#julie andrews #irwin kostal #musicals #classic film #the sound of music #mary poppins #Disney #Sherman Brothers

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handeaux · 4 years ago

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The Cincinnati Reds Were Ready For Night Baseball In 1909, But Decided To Wait 26 Years

With a now legendary click, U.S. President Franklin Delano Roosevelt tapped a telegraph key at the White House at precisely 8:30 p.m. on Friday, 24 May 1935. Approximately 500 miles to the west, Roosevelt’s signal lit a lamp near first base at Cincinnati’s Crosley Field. On that cue, Larry MacPhail, President of the Cincinnati Reds, flipped a switch and a crowd of 20,000 fans erupted in cheers as 600 floodlights dumped artificial daylight onto the baseball diamond. At that moment, the American pastime added a second shift. Cincinnati defeated Philadelphia 2-1 in major league baseball’s very first night game.

Few people, even then, recalled that the very same teams almost met under the same circumstances 26 years earlier. In 1909, League Park (aka The Palace of the Fans) was equipped with high-intensity carbon-arc lights on towers reaching 100 feet above the field. The Reds and the Phillies were expected to play an exhibition game to demonstrate the feasibility of night baseball on a June night that year, but the Cincinnati execs got cold feet.

The idea came from an East Coast inventor named George Cahill. He and his family worked together on a number of high-concept but ultimately low-profit inventions like an early version of an electric typewriter, a baseball pitching machine and especially the Telharmonium, which delivered synthesized music to subscribers over a cable network. Needless to say, radio ultimately killed that idea.

But the Cahills did come up with some nifty ideas for illuminating large outdoor spaces at night. August “Garry” Herrmann, who was not only President of the Cincinnati Reds but one of three commissioners who oversaw major league baseball, was intrigued. Herrmann was so intrigued that in August 1908 he created a corporation, the Night Baseball Development Company, to investigate the concept. With the corporation’s investment, Cahill constructed five spindly towers beyond the outfield bleachers and four massive lamps atop the grandstand.

Herrmann told the newspapers that Cincinnati and Philadelphia were going to inaugurate the illumination array, but he reconsidered as the proposed test drew nearer. A lot of baseball experts, who’d rather spend their evenings at the saloon than at the ballpark, convinced Herrmann that artificial lighting would subject his players to all sorts of injuries.

As June arrived, Herrmann unveiled Plan B. Instead of major league players, teams from a couple of Elks lodges would take the electrically illuminated field. Herrmann, in addition to his roles with the Reds and the National Baseball Commission, was in the running to be named Grand Exalted Ruler of the Elks. Garnering some headlines for his lodge brothers couldn’t hurt and, in fact, Herrmann was indeed elected Ruler of the Elks in 1910.

Cincinnati Lodge #5 (still active in Cheviot) and Newport Lodge #273 (still active in Cold Springs), showed up for practice on 16 June 1909. Only nine of the fourteen arc lamps were lit, but blazed bright enough for practice. The newspaper photographers enjoyed documenting the event without having to use flash.

Everything was set for a full game on June 17 – except the weather. Rain postponed the action until the next night. The rainout didn’t dampen curiosity, according to the Cincinnati Post [19 June 1909]:

“Some 4,000 folks, most of them baseball fans, but quite a few attracted by curiosity alone, traveled to League Park Friday night to see the first game of night baseball ever played with regulation-sized ball and bats and all of the fielders playing in exactly the same positions as the daylight players do.”

If all of that sounds like a lot of qualification, it is, because this wasn’t the first game of night baseball. As early as the 1880s, minor league clubs, including one in Fort Wayne, Indiana, had experimented with artificial lighting. Results were disappointing because the lights shed too much glare, a drawback Cahill claimed to have solved.

By the time the Cincinnati Elks had defeated their transpontine opponents by a score of 8-5, a number of distinguished visitors including several minor league owners were ready to sign orders for Cahill’s lighting systems. Many did. By the time President Roosevelt tapped that key in 1935, the minor leagues were familiar with night games. From a technical standpoint, the Cincinnati game was a huge success. It made the cover [August 1909] of Popular Mechanics magazine, which raved about the innovation:

“A small-sized fortune has been expended in Cincinnati in the construction of a remarkable illumination scheme for lighting the National League baseball park of that city in such a manner as to make ball games possible at night. The chief problem was not in providing sufficient illumination, but to provide it in such a way that none of the centers of illumination will blind the players.”

Why not the majors? Fears about injuries lingered. Although Cahill took pains to minimize glare and to evenly illuminate the playing surface, players thought the harsh lighting disguised divots and holes, promoting falls and twisted ankles. The fans weren’t quite ready for night games, either. In 1909, the ten-hour workday was still standard and few bleacher bums had the stamina for an evening game. Mostly, however, it appears that inertia kept major league baseball from moving forward. A writer for the Sporting News [24 June 1909] summed up the prevailing attitude:

“. . . the rays of the good old sun were missing; the grass didn't take on the right hue, and you couldn't see the inside workings of the minds of the spectators, and these are the things that add so much to the attractiveness of the game as played under natural conditions.”

Thanks to my brother, Alan, for tipping me to this chapter of Cincinnati Reds history.

#cincinnati reds #palace of the fans #garry herrmann #george cahill #night baseball

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thebiscuiteternal · 5 years ago

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Scary Music Masterpost

Season’s Creepings, all you lovely listeners; this is your DJ of darkness over at the Symphony of Death. Once again, it’s the time of year to update the Masterpost!Now you won’t find the classic Halloween haunts here, since those scares can be had anywhere, but maybe you’ll find a new favorite. Pull out your cauldron, brew up something nice, and kick back with me!

Masters of Horror

John Carpenter

Better Check the Kids - Halloween / Put Them in the Ground (with Jim Lang) - Body Bags / Main Theme - The Fog (1980) / All Out of Bubble Gum (with Alan Howarth) - They Live! / Hell Breaks Loose (with Alan Howarth) - Prince of Darkness / Regeneration - Christine / Just A Bedtime Story (with Jim Lang) - In the Mouth of Madness

Marco Beltrami

River’s Edge - My Soul to Take / Tea for Three Plus One - The Woman in Black / Return to Blackwood - Don’t Be Afraid of the Dark / The Concert - The Eye / Love Theme - Cursed / Priest Dies - Mimic / 1m2 (Production Note) - The Substitute / Return to Blackwood - Don’t Be Afraid of the Dark / Pulled Down Deep - The Shallows / The End of Fur - Cursed (II) / Carillon My Wayward Son - The Snowman

Charlie Clouser

American Horror Story Theme (with Cesar Davila-Irizarry) / Out of the Fire - The Collection /Hello, Zepp - Saw / Theme - Dead Silence

Bernard Herrmann

Teddy Bear Wired - Cape Fear / Theme - Vertigo / Theme - Psycho / The Tomb-Sandra - Obsession / Theme - Twisted Nerve / The Kidnapping - Obsession / Marketplace Murder - The Man Who Knew Too Much

Christopher Young

Twilight Mercy - Urban Legend / The Lament Configuration - Hellraiser / Sinister - Sinister /Concerto to Hell - Drag Me to Hell / The Devourer of Souls - Deliver Us from Evil / Butchers and Bakers - Copycat / Six Demons - The Exorcism of Emily Rose / Cryptomnesia - The Gift / The Sacrifice - The Dorm that Dripped Blood / Death After Life After Death - Untraceable / Reversing Colors - The Hider in the House / Church Isn’t Church - Pet Sematary (2019)

Video Games

Room of Angel - Akira Yamaoka & Mary Elizabeth McGlynn (Silent Hill: The Room) Mandus - Jessica Curry (Amnesia: A Machine For Pigs) The Drunken Whaler - Daniel Licht (Dishonored) Chill and Rigor - Shinji Hosoe (9 Persons 9 Hours 9 Doors) I’m Not Edible! - Chris Vrenna (American McGhee’s Alice) Ring Around the Rosie - Jason Graves (Dead Space 2) Soul of Steel - Mao Hamamoto (Corpse Party) P.T. Silent Hills Ambience Weekly Despair Magazine - Masafumi Takada (Dangan Ronpa) Close to Evil - Mikko Tarmia (Penumbra) In this Wretched Place - Eipix Studios (Phantasmat) The Nameless Game (Requiem) - Masayoshi Soken (Nanashi no Game) Last Day - Koji Kondo & Toru Minegishi (Legend of Zelda: Majora’s Mask) Welcome to Rapture - Garry Schyman (Bioshock) Theme - Yoan Landau (Nightmare House) Plague Blossom - Ndemic Creations (Plague Inc) Gore Nest - Mick Gordon (DOOM) Creepy Forest - Jason Garner & Vince Di Vera (Don’t Starve) A Nightmare Reborn - Ramin Djawadi (Gears of War) Before the Mirror - Maribeth Solomon & Brent Barkman (Fallen London) Broken Vessel - Christopher Larkin (Hollow Knight) Letter From A Friend - Carlos Viola (The Last Door) Rata Novus - Maclaine Diemer (Guild Wars 2: Heart of Thorns) The Hole at the Center of Everything - Alec Holowka (Night in the Woods) Bury Her - Ivan Zanotti (imscared) Devil’s Crossing - Steve Pardo (Grim Dawn)

Movies

Close to You (Carpenters Cover) - Josefine Cronholm (Mirrormask) The Void - Stephen Price (Gravity) Intro to Horror - Harry Manfredini (Friday the 13th) The Supper - Bruno Coulais (Coraline) Tubular Bells (Exorcist Cut) - Mike Oldfield (The Exorcist) Main Theme - Shiro Sato (Ju-On : The Grudge) Main Title - Wendy Carlos & Rachel Elkind (The Shining) Dark Earth - Jack Trombey (Dawn of the Dead) The Ringtone (Chakushin Ari) A New Swan Queen - Clint Mansell (Black Swan) Audition - Koji Endoh (Audition) Roar! - Michael Giacchino (Cloverfield) It Was Always You, Helen - Philip Glass (Candyman) Finale / End Titles - Howard Shore (Silence of the Lambs) A Discordant Split - Kenji Kawai (Ringu) Funeral in Carpathia - James Bernard (Dracula: Prince of Darkness) Name Your Poison - Christopher Lee (The Return of Captain Invincible) The Carousel After Dark - James Horner (Something Wicked This Way Comes) The Game Begins - Masamichi Amano (Battle Royale) The Event Horizon - Michael Kamen & Orbital (Event Horizon) Poison - Herman Kopp (Der Todesking) Samara’s Song - Daveigh Chase (The Ring) Brainerd, Minnesota - Carter Burwell (Fargo) Number One Fan - Marc Shaiman (Misery) Graveyard Theme - Vince Guaraldi (It’s the Great Pumpkin, Charlie Brown) We are the 1% - Darren Baker (The Conspiracy) Call to Worship - Sons of Perdition (The Backwater Gospel) Longest Night - Thomas Newman (The Shawshank Redemption) The Auction - Michael Abels (Get Out)

Anime

Youran - Kayo Konishi & Yukio Konda (Elfen Lied) Aya - Mari Fukuhara (Amatsuki) I was waiting for this moment - Yuki Kajiura (Puella Magi Madoka Magica: Rebellion) Go DA DA - Yoko Kanno (Ghost in the Shell: SAC) A Last Flower - Asa-Chang & Junray (Aku no Hana) White Hill (Maromi’s Theme) - Susumu Hirasawa (Paranoia Agent) 24 Hours OPEN - Yoko Kanno (Cowboy Bebop) Nui Harime’s Theme - Hiroyuki Sawano (Kill La Kill) Daughter - Ichirou Imai & Kazuhisa Yamaguchi (Petshop of Horrors) Monster - Susumu Hirasawa (Berserk) Ake ni Somaru - Yasuharu Takanachi (Jigoku Shoujo) Sanctus - Hikaru Nanase (Angel Sanctuary) March of the Moving Dolls - Akira Senju (Fullmetal Alchemist: Brotherhood)

Other

Stay Awake (Mary Poppins cover) - Suzanne Vega Heigh Ho (Snow White cover) - Tom Waits Come Little Children - Kate Covington I, Witchfinder - Electric Wizard Brennistein - Sigur Ros Psychobabble - Frou Frou Sirens - SingerSen Lose Your Soul - Dead Man’s Bones Grisly Reminder - Midnight Syndicate An Echo, A Stain - Bjork Elaine - ABBA (trust me) Welcome Home (Instrumental) - Coheed and Cambria The Greatest Show Unearthed - Creature Feature Something Wicked (That Way Went) - Vernian Process Black Water - Timber Timbre God’s Away on Business - Tom Waits The Wicked - Blues Saraceno The Gravedigger - The Pine Box Boys Lake Ponchartrain - Ludo The Smiler - IMA Score (Alton Towers Amusement Park) DOA - Bloodrock Breathing Water - Inhale Chupacabra Cha Cha - The Swingtips Confrontation - Anthony Warlow (Broadway’s Jekyll and Hyde) No Death - Mirel Wagner Thick as Thieves - Natalie Merchant Say Goodnight - Skeleton Key The Sad Mafioso - Godspeed You! Black Emperor What’s So Amazing About Grace? - The Paper Chase Blood on the Blue Grass - Legendary Shack Shakers In A Lonely Place - Joy Division Walpurgis - Black Sabbath

Television

Are You Afraid of the Dark? - Jeff Fisher Theme to Unsolved Mysteries - Michael Boyd & Gary Remal Malkin The Red Room - Angelo Badalamenti & David Lynch (Twin Peaks) Suite from “The Mark of the Rani” - Jonathan Gibbs (Doctor Who) Norma Doesn’t Approve - Chris Bacon (Bates Motel) The Cordyceps - George Fenton (Planet Earth) Dark Harvest Chase - Kevin Manthei (Invader Zim) Main Theme - Robert Lydecker & Brian Tyler (Sleepy Hollow) Blood Theme - Daniel Licht (Dexter) Arkham Asylum - Shirley Walker & Todd Hayen (Batman the Animated Series) The Old Mill - The Blasting Company (Over the Garden Wall) Sleep Deprivation - Trent Reznor & Atticus Ross (Bird Box) Turn on the Lights - Kyle Dixon & Michael Stein (Stranger Things)

#music #scary music #creepy music #halloween #masterpost #music post

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trash-blam-baby · 5 years ago

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top 5 rat facts and top5 movies

Rat facts (mainly bc i think theyre interesting) :

1. all of the rats consider garry to be The boomtown rat (and call him “Gaz”)2. pete often talks to rats fans via social media3. gerry cott went to train animals for films after he left (and went to the premiere of Citizens of Boomtown)4. johnnie fingers has seen hatsune miku live5. “Sleep (Fingers’ Lullaby)” is about the time johnnie took speed and had. a very bad timeMovies (currently) :

1. Megamind2. The Wall3. Shrek 24. Cloudy With a Chance of Meatballs5. Number One

#asks #hot-tub-bob

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scumgristle · 5 years ago

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You’ve been vocal about your hate for My Chemical Romance’s Gerard Way, what is it about the guy that gets under your skin, because Boneyard Press published his first book “On Raven’s Wings”?

HDF:Short answer? Gerard Way is a liar and a fake who devalued Boneyard Press products and implied I was a liar by his deceits and instead of owning up to his deceptions he kept on lying and set his fans loose on me for an online hate campaign that hurt my wife’s recovery from Chemo and Radiation therapy to combat her ovarian and cervical cancer.

In order to inflate orders on his upcoming comic book, “The Umbrella Academy”, Dark Horse, editor Scott Allie & Gerard Way made a major press push stating the falsehood that “The Umbrella Academy” was Gerard’s first published work in comics, which they knew was a lie.

Gerard’s first published work was done over a decade earlier when Boneyard Press published his series, “On Raven’s Wings”. Issue #1 was published in April 1994, written by Gary Way, drawn by Jose Santos with inks by Dana Greene and a fully painted cover by Rob Nemeth. Issue #2 was published in September 1994 with Gary writing, Jose & Dana on the art, another great painted cover by Rob Nemeth. When Gary couldn’t hold his art team together, we canceled the series, but that didn’t stop me from schleppin’ this kids books to convention after convention telling everyone what a great new writer this kid was and that yeah, he’s got the goods. I did this for YEARS.

Dark Horse and its editorial staff knew all about this but decided to pump the numbers up with the lie about ‘first published work’. They were even lying about it when directly asked by some members of Gerard’s fan club. They claimed that Garry Way was not Gerard Way. According to Dark Horse, they were two different people.

Why did they do that? Because any comic geek worth his salt can tell you, an artist’s first published work is generally the most valuable, knowing this, fans will invest in a new book so they can have that “First published work” tag. Dark Horse & Gerard lied about it all to inflate their sales on the book.

They kept right on lying even to Rolling Stone. Dark Horse’s Scott Allie said, “Hart published Gerard’s first comics when Gerard was fifteen. I don’t think we’ve ever said Umbrella Academy is the first comic Gerard did.” Funny thing was, the very day this was quoted in Rolling Stone the Diamond Preview catalogue came out with a full page add proclaiming that The Umbrella Academy is Gerard Way’s first published work. Full page ad. Big ass bulletin points. Dark Horse and Scott were full of shit and they knew it but they threw me under the bus in the press anyway.

Ripping off your fans like that, gaming store owners, that’s some pretty low shit to pull, but it was going to get a lot lower when he sicked his fans on me & I was unable to keep my wife from reading the hate mail, which just wrecked her. I mean, she was already emaciated from the Chemo & the Radiation… Watching her crying, reading that shit he sent my way because he wasn’t man enough to own up to his own actions…

Yeah….

This shit is personal.

You ready for the background on why this is such a burn? Because here’s the long story…

So it’s the early 90’s and I get a submission packet from a high school kid named Gary Way. He was a big fan of mine so he sent this comic book that he & his buddies were doing together to me. I thought it was pretty good. So I decided to invest my money & publish it. That’s when I got to know him, when I took him under my wing.

I did this with a lot of the lost souls & angry young kids who found their way to me. I wasn’t just their publisher, I was their friend, I cared about my guys. They were important to me and I wanted them to get stronger, to be stronger, to do the best work they could do. My philosophy at Boneyard Press was give me your stragglers, give me your battered & cast offs… I would rebuild them… I would forge them into wolves and together, we would own the shadows.

Gary was one of these kids.

I used to have talks with his mother about how to keep him from getting beat up & bullied at school where he lived in Jersey. I talked with Gary quite a bit too. This was before email & texting, so people actually talked to each other then… So… after Boneyard published the first issue of his on going series, I took a liking to the kid so much I got him on the Sally Jesse Raphael show as an “Official Boneyard Press Writer” and he got to stand up & ask a question on the air.

Pretty cool for the school punching bag, right?

Gary gets out of high school & stays in touch with me through his days in college. A lot of my interns & guys did that as they were growing up. When he called me from the offices of DC & told me about his new job at Vertigo, I thought, Fuck yeah, now one of my guys is rising up! Kick Ass!

911 happens, I don’t hear from the kid again. Me, my life moves at light speed, so I don’t think twice about it… a few years go by, I’m working full time in Adult films, then I get the youtube/mail from a fan who tells me all of her friends are calling her a liar over my book, On Raven’s Wings, and it’s author Gary Way.

You see… Apparently there was a Gerard Way with a new comic book coming out from Dark Horse comics & they were marketing it as the first published work of Gerard Way, the frontman for My Chemical Romance, which will have more value in the collectible comics market & would help them get a sales bump. My fan said to her friends, “Hey, that’s not his first published work, he did a series for Boneyard Press as Gary Way, that’s his first published work.” She contacts me to get the truth. I go fucking ballastic.

No motherfucker is going to make a liar out of one of my fans. Fucking no one.

I write a blog on my Live Journal account wondering if Dark Horse is a knowing partner of Garry Way’s charade to game the fans & the retailers or are they unwitting pawns. I was very, very, very angry. Then I got my hands on the My Chemical Romance video interview with all grown up Gerard Way telling people that he wished someone had taken a chance on him & published his comics when he was a teenager, that only someone believed in him enough to publish his work back then.

I’m fucking LIVID watching this & listening to this. I watched it over & over.

Then when Rolling Stone get’s involved, the press goes nuts, my lawyer tells me to shut the fuck up for once and since my wife was recovering from ovarian & cervical cancer, which nearly killed her… and the chemo turned her into a walking skeleton… I mean… I’d go to rub her feet, and there was no meat on the bottom of her foot. It was all bones.

Since the doctors in Japan had told me her cancer was stress related and that too much stress would kill her… I had to shut the fuck up & do my best to keep Waka from reading all the hate mail & hate memes on the web. That didn’t need to happen. Gary could have just owned up to the truth.

Only he didn’t.

Instead of manning up and owning his lies and deceptions, he chose to hide behind a bunch of clueless emo twits and chose to sick his fan base on me… On my wife. Who cried & cried reading this shit. She doesn’t want me to talk about this, she doesn’t want to acknowledge how this puke & the scum bags online got to her, but she was vulnerable back then. I was her only caregiver. The only one. Her family was back in Japan. And I couldn’t stop her with from reading this… I could only shut up, try to let it blow over while I consulted with my lawyers about what to do.

For what Garry Way did to my reputation, to my company and most of all, what he did to my wife… in the midst of her suffering… When I was only speaking the truth. If he wasn’t lying why did he call my office from the middle of his south American tour, when this whole thing blew up, he sure was able to find my number and communicate with me AFTER the truth came out. It didn’t have to go down the way it did. My wife should have been able to focus on recovering from cancer, from never being able to have a baby. But no, this asshole put us through the ringer to save his own pride when caught in a lie.

For that… For what he did to my wife… I hate that motherfucker.

I hate that motherfucker like you cannot even put into words.

#my chemical romance

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marvelsagentsofshieldtv · 6 years ago

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Agents of S.H.I.E.L.D.: Clark Gregg Talks Life After Coulson

INTERVIEW Michael Ahr (DEN OF GEEK)

Clark Gregg has been playing Agent Philip J. Coulson for a decade now: five years in various Avengers movies and Marvel One Shots and five years in Marvel’s Agents of S.H.I.E.L.D. But throughout season 6 on ABC, we’ve come to enjoy Gregg’s performance depicting a new, less scrupulous character named Sarge, whose role has evolved from that of an outright antagonist to an adversary with a common enemy. We spoke to Gregg recently about how he made the transition to his new character on the show.

DEN OF GEEK: So was it difficult to let go of Phil Coulson?

CLARK GREGG: We learned on Agents of S.H.I.E.L.D some time ago that everything’s on the table at all times as our nimble writers scour these characters and the greater Marvel universe for going on seven seasons worth of stories to tell. Yet I don’t think I was prepared to basically shed everything but the guy’s skin to play a very different, much darker character whose name is apparently Sarge.

it wasn’t until I got there that day and started to get fitted for the gear that would set up the flaming skull transition that I said, ‘You know, it occurs to me there are implications to the mortality of anyone who plays Ghost Rider.’ And they were like, ‘Yes, there are.’ And I said, ‘Oh, okay, maybe we should talk about that!’ And they really didn’t, and I’m glad they didn’t.

But I was talking to Jeff Bell and Jed Whedon off behind some flats while they got ready to light the scene. They really didn’t give me much because there was this scene where Gabe Luna’s Robbie Reyes character is saying, ‘Do you understand the deal you just made? And more importantly, does your team?’ And I say, ‘Yes, I understand the deal I just made, and I’d appreciate it if you’d let me share this information when I choose.’ And it just felt heavy, and I thought, ‘God, okay, this is going to have longer reaching implications,’ and it wasn’t until the disease that was tearing through him, the waste and the necropathy, that they really said, ‘Yeah, this is your deal with Ghost Rider coming due.’ He basically burned through whatever was left of the revivifying Tahiti stuff.

And now Phil Coulson was really going to die. And I thought that was a bold choice! They don’t mess around; they take bold choices. It was a little startling after, at that point, ten years of playing the guy and having died already once and the grim stuff I went through in season 1 and realizing how I’d been brought back. And yet Phil Coulson’s always been a little uncomfortable with having felt like he was on somebody else’s library card being here. So it was an ambivalent feeling, and then they said, ‘We will have you back for season 6.’ And then they pitched this Sarge setup essentially in a very rough pencil-sketch form, that he would be somebody else from somewhere else who was as surprised as they were when they were recognizing him.

There’s years of gradual evolution of that season 5 iteration of Phil Coulson, through the various movies and then five seasons of Agents of S.H.I.E.L.D and all those adventures and that family that he evolves. That was a real gradual settling into that skin and character, and suddenly all those bets were off. It was about not knowing this new person. He has a completely different story, and I didn’t know it. And at a certain point it starts to become clear that he has real gaps in his memory and understanding of that character.

So that’s very hard to make sense of, and at the same time he has a lot of emotional entanglements. A moral compass — all of that was gone, and this guy was delightfully free of anything but rabid, fierce dedication to taking on these creatures that we’ve started to meet who seem to be paving the way for some kind of creator to come down. And he seems maniacally bent on destroying them and whoever the creator is.

Before I directed that first episode (because I’d never really done an episode of television with commercials; I’d directed a couple of features) I sat down with those two and also with Billy Gierhart who also directed a number of episodes of our show. They had really done the most compelling episodes for the most part, and I just kind of soaked them for their tips. But also Jed had directed a great episode, and he and Maurissa, the bosses, the showrunners were really generous in terms of giving me the time and the resources I needed. And our producer Garry Brown, I’ve gotten to watch him direct a lot of the action stuff and he was — they were all super supportive.

It’s really about trying to find a way to tell the story in the style of our show and find what’s different about that episode that you’re doing and really do it justice. I’d be remiss in not pointing out that when they gave me the shot to do the premiere episode of season 6, that was a huge episode with a lot of visual effects establishing a whole new chapter and to some extent a world for Agents of S.H.I.E.L.D that was more space sci-fi than we had dealt with. And Mark Kolpack, our visual effects genius, really came through on that.

Coulson and Sarge are both understated leaders. Would Coulson have any appreciation for the manner in which Sarge leads his team?

I don’t think so. I think standard issue Phil Coulson would find Sarge’s methods and that way that he is maybe using some of the same quiet notes but really ruling through fear to be antithetical to his leadership style. That would have been a great death match: Sarge versus Coulson. I have to say my money would be on Sarge!

I think by now we’ve started to see that Sarge thinks that this is just a mild, strange piece of information that people seem to recognize him, but as they seem to know to say things to trigger memories and to send weird vibrations through his being and expose how many gaps there are in his own understanding of who he is, he starts to, in a way that’s eerily reminiscent of Phil Coulson season 1, to be on a little bit of a mystery mission himself to find out why this is happening. And at a certain point that puts him in an uncomfortable alliance of sorts with S.H.I.E.L.D, and that’s I think when we start to roll into when season 6 gets really dangerous and interesting.

I feel like Sarge thinks that there’s a lot that S.H.I.E.L.D could learn from him especially when it comes to the truly monumental threat that’s presented by the shrike and the creatures that they take over, these kind of zombie warriors. There’s a couple of species of insects that are able to drop spores into their prey, that take over their brain stem and basically have these zombie mutant prey building a nest for the offspring of those wasps and then basically becoming their food. That’s the level of what these creatures are doing, and I think Sarge has a tough mission ahead of him to make the nature of this threat be understood by May and the rest of S.H.I.E.L.D.

How do you think Coulson would feel about Deke co-opting all of that S.H.I.E.L.D technology in “Code Yellow”?

[Deke] is a creature of his upbringing as, to a certain extent, we all are. He was raised like a pack rat with nothing in the future fighting for survival, and I think he has some trust issues. So I think Coulson would have a level of compassion for Deke the way that Mack does, but I don’t think he would put up with this grand scale S.H.I.E.L.D technology theft, especially in terms of presenting that technology to the world outside of classified settings.

What other character arcs besides your own are you particularly fond of that you feel fans will really respond to in season 6?

I think that everybody who cares about Fitz-Simmons and, like me, had a lot of problems with keeping all of the water out of my eyes when they got married really wants to see those two once again find their way back to each other. I think there’s a lot of fun coming in terms of Melinda May, who seems far from nostalgic about the appearance of this Coulson person. If anything it just triggers some murderous feelings, so I think the showdown between these two is going to get down and dirty before it gets nice at all. That’s going to be exciting!

And I think the reunion of this person who looks like Coulson but really isn’t with the S.H.I.E.L.D team to confront the most out-there, terrifying threat that I think we’ve ever seen — and that’s saying something at this point in season 6 — I think that’s going to really pay off like something we’ve never seen before.

Notably, Gregg referred to the flying beasts as “shrike” in this interview and teased that Sarge might be on the lookout for who created them in the first place. When Agents of S.H.I.E.L.D returns from its week off this Friday, perhaps he will persuade Melinda May to unite against this mutual danger. The next episode is entitled “The Other Thing,” and it airs on Friday, June 14, 2019

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blue-scorpion-king · 6 years ago

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Zolubu Queen Headcanon time~ “5 Blitz”

Since 2044, in Bagklock time, 2 years so far, 5 of the 59 Zolubu 'Queens', or the wives of Earl Zolubu within his harem, have an Youtube channel with a lot of content. Doing videos like answering questions through e-mails, driving to get good restaurant foods and eat them inside an limo, which are usually 13 feet tall, workout videos, 'nontraditional' vlogs, sparring videos, recording other people sparring & fighting, reaction videos with edits, and plenty of energy, with even reacting to full movies, discussions about anything really, at times, multiple topics in one video, and multiple series of multi-player games, like Garry's Mod, Team Fortress 2, Left 4 Dead, Call of Duty, not Fortnite, Mario Party, Mario Kart, Gang Beasts, Totally Accurate Battle Simulator/T.A.B.S, Scribbl.io, actual board games even, the such. They do the videos for not really the money and monetization, nor for the number of subscribers, since they have jobs. But, that doesn't mean they don't care about their fans and admirers. It is the opposite. Currently, they are at 5 million subs and all 5 are OK with that number, even with the shock of seeing that being reached for the 1st time. Also, they have video game, post-rock/rock, jazz, and synthwave music in the background of their videos, audible, yet not too loud.

(Music choice example: https://www.youtube.com/watch?v=Fn3tiiZH9Gs )

1. Sofia Valmer’s Carmessi-style Bust/Waist/Hips, in inches, not centimeters: 53.5"-44"-70", at 6'5". =Ex-military, ex-mercenary, Finnish, and an X-Huntress (Jormungand).

2. Aisha Clan Clan: 60"-51"-76.5", at 7'6.5". =An (Bagklock) Earth-born Ctarl-Ctarl X-Huntress and an work out 'beast' (Outlaw Star).

3. Caulifla: 55"-46"-72", at 6'10", excluding her hair. =Not an X-Huntress, but an but an professional fighter that goes to tournaments for money, charity, and other things, and an Australian-born (Bagklock) Earth Saiyan (Dragon Ball).

4. Akane Owari: 57"-44"-68", at 6'10". =An survivor of the Worst Tragedy In Earthkind History, was known as the Ultimate High School Gymnast, has an big appetite for food, and is an gymnast/Emitter & Enhancer X-Huntress (Super Danganronpa 2).

& 5. Seras Victoria: 59"-47"-60", at 6'2". =An former British BLU military police officer turned vampire Hellsing agent to X-Huntress.

Their channel name: 5 Blitz.

-Simple and original, even if it might be too simple of a name.

(Inspired by the Hodge Twins, who are funny as hell twin bodybuilders.)

~The Bat~

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celtfather · 6 years ago

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St Patrick's Day Playlist 2019, 3 Hours #400

St Patrick's Day starts early with three hours of Celtic music from the award-winning Irish & Celtic Music Podcast. http://bestcelticmusic.net/

The Gothard Sisters, Banna De Dha, Beyond the Pale, The Duplets, Lochlainn, Clan Celtica, Irish Whispa, Keith Hinchliffe, Kyle Carey, Ceol Gan Achar, Vicki Swan & Jonny Dyer, Bedlam Bards, The Merry Wives of Windsor, Rose Rock, Ella Roberts, Bangers and Mash, Screaming Orphans, Ceann, Ed Miller, Kennedy's Kitchen, Dark Patrick, Paddy's Pig, We Banjo 3, Talisk, Lothlorien, Madd Paddy, Marc Gunn, Kinfolk, Gaelic Storm, Fergus, Albannach, Calasaig, Derek Byrne and Paddygrass, The Hallions, The Fighting Jamesons, Hexperos, Dervish, SeaStar, The McCabes, Old Blind Dogs, The Kreelers, Conor Caldwell, Runa, Seamus Kennedy, Brobdingnagian Bards, Johnson's Motorcar, The Canny Brothers Band, The Poxy Boggards, Celtic Soul, Ockham's Razor

I hope you enjoyed this week's show. If you did, please share the show with ONE friend.

The Irish & Celtic Music Podcast is dedicated to growing our community and helping the incredible artists who so generously share their music. If you find music you love, buy their albums, shirts, and songbooks, follow them on Spotify, see their shows, and drop them an email to let them know you heard them on the Irish and Celtic Music Podcast.

Remember also to Subscribe to the Celtic Music Magazine. Every week, I'll send you a few cool bits of Celtic music news. It's a quick and easy way to plug yourself into more great Celtic culture. Plus, you'll get 34 Celtic MP3s for Free, just for signing up today. Thank you again for being a Celt of Kindness.

VOTE IN THE CELTIC TOP 20

With the new year comes a new votes in the Celtic Top 20. This is our way of finding the best songs and artists each year. Just list the show number, and the name of as many bands in the episode as you like. Your vote helps me create next year's Best Celtic music of 2019 episode.

THIS WEEK IN CELTIC MUSIC

0:05 "The Three Coins" by The Gothard Sisters from Story Girl

3:34 "Comb Your Hair & Curl It / The White Petticoat / The Black Rogue" by Banna De Dha from Band of Two

8:29 "Catalpa Rescue" by Beyond the Pale from Wantin' Something More

12:02 "Garry Porch's" by The Duplets from Leverage

15:07 "Green Window" by Lochlainn from Fisher Street

19:07 "Triantan" by Clan Celtica from Tribal Thunder

22:34 CELTIC FEEDBACK

23:08 "Rising of the Moon" by Irish Whispa from Irish Whispa

25:54 "A Wee Dram or Henry the Horse's Hornpipe" from Keith Hinchliffe from A Wee Dram

27:48 "Cairistiona" by Kyle Carey from North Star

30:40 "Hedigans Fancy Hawson" by Ceol Gan Achar from Ceol Gan Achar

34:59 "Grandpa Joe" by Vicki Swan & Jonny Dyer from Twelve Months & A Day

39:48 PATRONS OF THE PODCAST

41:11 "Whiskey in the Jar" by Bedlam Bards from Furious Fancies

44:22 "Jenny's Story" by The Merry Wives of Windsor from Tales from Windsor's Tavern

46:35 "Down by the Sally Garden" by Rose Rock from Aire Loom

49:22 "North Wind" by Ella Roberts from North Wind

53:18 "Paddy's Day NYC" by Bangers and Mash from Whisper Valley and Other Stories

56:49 "Dr. Gilberts Sel" by Screaming Orphans from Taproom

59:49 CELTIC INVASION VACATIONS

1:00:26 "Almost Irish" by Ceann from Almost Irish

1:05:38 "London Town" by Ed Miller from Follow the Music

1:09:48 "Christy Barry's Jig/The Rolling Waves/The Old Favorite/The West Clare Reel" by Kennedy's Kitchen from The Birds Upon the Tree

1:14:27 "Eamonn An Chnoic" by Dark Patrick from Fainne Gael an Lae

1:17:21 "Henry My Son" by Paddy's Pig from Maple & Wire

1:20:47 "Two Sisters" by We Banjo 3 from String Theory

1:25:29 "Rations" by Talisk from Beyond

1:32:33 CELTIC FEEDBACK

1:33:00 "Paddy's Green Shamrock Shore" by Lothlorien from Single

1:37:27 "The Leprechaun" by Madd Paddy from Arrived

1:39:52 "Henry Martin" by Marc Gunn from Not Every Day Is St Patrick's Day

1:42:19 "Paddy's Stout" by Kinfolk from This Land

1:44:53 "Kiss Me I'm Irish" by Gaelic Storm from Bring Yer Wellies

1:49:37 "P Stands for Paddy" by Fergus from Green St.

1:52:49 CELTIC PODCAST NEWS

1:53:51 "Auld Nick's A Piper" by Albannach from Eye of the Storm

1:56:21 "Lazy Bairn / Instrumental: Doug McPhee's Welcome" by Calasaig from Merchant's City

2:00:03 "My Only" by Derek Byrne and Paddygrass from Half and Half

2:02:52 "Devil's Kiss" by The Hallions from EP

2:06:53 "A Song for Letting Go" by The Fightling Jamesons from Every Day Above Ground

2:11:26 "Giant's Causeway" by Hexperos from Lost in The Great Sea

2:15:45 "Red Haired Mary" by Dervish from Midsummer's Night

2:18:47 CELTIC FEEDBACK

2:19:21 "Galway Bay" by SeaStar from Never Go Back

2:23:21 "An American in Paris" by The McCabes from Songs for Breakfast

2:27:34 "Died and Gone" by Old Blind Dogs from Room With A View

2:33:28 "Johnny Don't Go" by The Kreelers from Saints & Sinners

2:36:42 "An Art Revealed" by Conor Caldwell from To Belfast...

2:39:10 "Big Fellah" by Black 47 from Rise Up

2:44:49 "The Ruthless Wife" by Runa from Current Affairs

2:50:39 CELTIC FEEDBACK

2:51:25 "Wild Rover" by Seamus Kennedy from By Popular Demand

2:56:34 "Old Dun Cow" by Brobdingnagian Bards from Brobdingnagian Fairy Tales

3:00:26 "Redcrow/Tamlins/Gravelwalk" by Johnsons Motorcar from Funky Disco Hardcore

3:05:05 "Spancil Hill" by The Canny Brothers Band from One Drop of Whiskey

3:08:12 "The Drinker's Praise" by The Poxy Boggards from Bawdy Parts

3:10:10 "Tempest in a Teacup" by Celtic Soul from Way

3:20:00 "Lanigan's Ball" by Ockham's Razor from Ten Thousand Miles to Bedlam

The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather. To subscribe, go to Apple Podcasts or to our website where you can become a Patron of the Podcast for as little as $1 per episode. Promote Celtic culture through music at http://celticmusicpodcast.com/.

CELTIC PODCAST NEWS

* Helping you celebrate Celtic culture through music. My name is Marc Gunn. I am a Celtic musician and podcaster. This show is dedicated to the indie Celtic musicians. I want to ask you to support these artists. Share the show with your friends. And find more episodes at celticmusicpodcast.com. You can also support this podcast on Patreon.

Get our free app. Go to the iTunes or Amazon store to download the app for free. You'll be able to listen to every episode of the Irish & Celtic Music Podcast, not just the latest 300. That's all that Apple Podcasts will allow. The app will give you access to every show.

You can join my band Kilted Kings at The Hangout in Gulf Shores, Alabama on Sunday, March 17th for St. Patrick's Day. Go to KiltedKings.com for details.

Subscribe to my Pub Songs Podcast. I'm sharing 11 St Patrick's Day facts in a couple weeks. But you can listen right now and hear some great Celtic Heroes & Musical Legends from the past show.

If you don't have an Irish & Celtic Music Podcast t-shirt, what are you waiting for? Get one in our store.

Have you seen our new bumper sticker? It was beautifully designed by Miranda Nelson Designs. You can buy it in our store. But from now until March 21, you will get a free bumper sticker to go along with your per episode pledge of the Irish & Celtic Music Podcast. Just sign up as a patron.

TRAVEL WITH CELTIC INVASION VACATIONS

Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through it's culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos.

2019 is the Celtic Invasion of Dingle. 2020 is the Origins of Celtic Invasions. You can find out more about these two exciting trips. Join the invasion at http://celticinvasion.com/

THANK YOU PATRONS OF THE PODCAST!

Big corporations want to force feed you Music. Even though Celtic music is a niche market, There are big labels who want to tell you what music is good. With this podcast, you decide. Not a corporation. Not a billionaire. You!

The Irish & Celtic Music Podcast is listener-supported. I make this show free and let you, the listener, support the podcast through your kind patronage on Patreon. You can make a per episode pledge and cap how much you want to spend each month supporting this podcast.

Your generosity funds the creation, promotion and production of the show. Best of all, you get episodes before regular listeners, discounts on merch, and when we hit a milestone, you get extra special episodes.

I want to thank our Celtic Legends: Shawn Cali, Bryan Brake, Annie Lorkowski, Kevin Long, Hank Woodward, Rian P Kegerreis, robert michael kane, Theresa Sullivan, Hunter Melville, Scott Benson, Carol Baril, Lynda MacNeil, Nancie Barnett, Tiffany Knight, Marianne Ludwig. These amazing people pledge at least $25 per month to support the podcast.

You can become a generous Patron of the Podcast at http://patreon.com/celticpodcast

I WANT YOUR FEEDBACK

What are you doing today while listening to the podcast? You can send a written comment along with a picture of what you're doing while listening. Email a voicemail message to [email protected]

Bill Hayes emailed: "Hi Mark, I just became a patron and I just wanted to drop you a line and say thank you for alll the great music you play. I wanted you to know how much this podcast means to me, I’ve always wanted to explore my Celtic heritage and I always loved the music of my ancestors. Thanks for sharing all the independent artists that make this music!"

Brian McReynolds emailed: "I have been listening to your podcast since late 2005. I love the variety of music and love listening to the podcasts. For Christmas I got some Bluetooth headphones and have been listening to the podcast while watching college football bowl games. It has been rather fun watching the action on the field with such great music on instead of listening to the commentary."

John Helminski emailed: "Hi Marc, Thanks for your great podcast. Is there one specific show dedicated to Celtic harp music?"

Catherine Koehler emailed a reply to my reply: "How providential that you responded tonight...the very night that i was writing YOU, lol. I was at the best pub in Louisiana this weekend, Enoch's Irish Pub and Grill of Monroe, LA, and made sure the podcast was well represented. I'm sending along a few pics of the podcast sticker that was ceremoniosly placed by Enoch's wonderful daughter Molly . In her words " we're placing it down low so everyone can see it!" Fyi...it is in front of everyone who stands in line for the rest room!! No billboard ever had a better placement!"

Check out this episode!

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wikicnn · 3 years ago

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Syl Johnson : ‘Different Strokes’ legend sampled by Kanye, dead at 85, Age, Net Worth, Spouse, Family, Facebook, Death, Wiki, Bio, Instagram, Twitter & Quick Facts

Syl Johnson Wiki Syl Johnson Biography Who was Syl Johnson ? Syl Johnson, the veteran R&B voice behind the 1967 classic "Different Strokes" and an indelible underground influence on the hip-hop community, has died. He was 85 years old. Sylvester Johnson was an American blues and soul singer and record producer. His most successful albums include "Different Strokes", "Is It Because I'm Black" and "Take Me to the River". Wikipedia How old was Syl Johnson? July 1, 1936 (Holly Springs, Mississippi, United States) Kids: sylene johnson Brothers and sisters: jimmy johnson Death of Syl Johnson The Holly Springs, Mississippi, native's family confirmed his death in a statement Sunday. No official cause of death has been revealed at this time. "It is with extreme sadness that our family announces the passing of Soul & Blues Hall of Fame legend Syl Johnson (born Sylvester Thompson in Holly Springs, MS)," his loved ones announced to Pitchfork. “Dad, brother, grandfather, great-grandfather, uncle, friend, and artist lived his life as a singer, musician, and businessman who loved black music.” Who is Syleena Johnson's husband? Kiwane-garris meter. 2007 Syleena Johnson/Husband On July 1, 2007, she married basketball player Kiwane Garris. Garris, a fellow Chicagoan, is a journeyman basketball player worldwide, having played for various NBA and EuroLeague teams. Syl Johnson Net Worth Syl Johnson Net Worth $6 million Syl Johnson Net Worth: Syl Johnson is an American soul singer and producer who has a net worth of $6 million. Syl Johnson got her mettle from a lifelong music career that produced a string of hits in the 1960s and '70s. Before going solo, the Mississippi-born Johnson sang with blues heavyweights like Magic Sam (who was a neighbor when Johnson and his family moved to Chicago), Billy Boy Arnold, Junior Wells, and Howlin' Wolf. Career Johnson made a musical name for himself during the 1960s and 1970s, recording soul and blues tracks for Chicago's Twinight Records. That boutique label first issued her 1968 debut album "Dresses Too Short" with the hit single "Different Strokes," later sampled on Public Enemy's "Fight the Power," "Shame on a N*" Wu Tang Clan. **a,” “I Know You Got Soul” by Eric B. & Rakim, “The Joy” by Jay-Z of De La Soul (“The Magic Number”) and Kanye West, featuring the late Curtis Mayfield. In all, WhoSampled cites more than 300 songs that showcase parts of Johnson's original work, making it one of the most influential pieces of music in hip-hop, according to multiple music industry outlets. Johnson released dozens of albums during his lifetime and was notoriously protective of the legacy of his work. He filed a lawsuit against Jay-Z and West in 2011 for using parts of his song on "The Joy" without proper authorization, Deadline reported. The lawsuit was later settled: Johnson also sued Michael Jackson, Cypress Hill, and others for testing his music without proper permissions. A career retrospective box set of Johnson's work, 2010's "Complete Mythology," earned him his first two Grammy nominations, for Best Historical Album and Best Cross Notes. It was also the subject of a 2016 documentary about his decades-long career, Syl Johnson: Any Way the Wind Blows. Statement In their emotional statement, Johnson's family referred to the late artist as a "fierce, fierce fighter who always stood up for the pursuit of justice when it came to his music and his sound... Truly, everyone who came across on their way they did." The catalog and legacy of it will be missed as impeccable and a historical model for all who experience it. To his fans from all over the world, he loved you all. A music lover and Chicago icon, Syl Johnson lived his life unapologetically.” https://wikicnn.com/ @ Read the full article

#bodybuildertomprince #comedianheathermcdonald #differentstrokes #differentstrokessyljohnson #heathermcdonald #SylJohnson #syleenajohnson

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