#tucson television

[midnight-star-world]

#CountryMusic

CMT Crossroads - NEEDTOBREATHE & Jordan Davis

So today on the MSR (Midnight Star Review), we will be talking about the latest episode of CMT (Country Music Television), Crossroads. This episode features NEEDTOBREATHE & Jordan Davis and originally aired on CMT at 8pm EST (Eastern Standard Time). Here is what they played for us on this special on my wife's birthday Thrusday June 13th, 2024.

Setlist. Wasting time. What my world spins arounds. Banks. Next thing you know. West Texas wind. Tucson too late. Buy dirt. The outsiders.

And that's all they played for us on this special. And on the MSR (Midnight Star Review), I would give this a 3.5 out of 5 stars. This could have been easily more time. Thanks for taking the time to read this review. See ya all next time.

[morbidology]

The 20th of April, 2012, began just like any other day for the Celis family from Tucson, Arizona. The sun had set after a day filled with the usual hustle and bustle, the final hours spent at a little league game that kept everyone out late.

The house slowly wound down and Sergio and Becky put their children to bed before Becky retreated to the master bedroom. The television flickered in the living room, broadcasting a Diamondbacks game. Sergio lay down on the couch to watch the game. It wasn’t long before he fell asleep.

Becky was the first to wake up the next morning. She moved silently around the house, getting ready for work. The boys, Sergio Jr. and Julian, were still asleep, as was their six-year-old daughter, Isabel. Sergio was still fast asleep on the couch. As the first light of dawn broke through the windows, she slipped out the door and drove to the hospital where she worked.

It wasn’t until around 8AM that Sergio stirred awake. He glanced at the television, now playing a morning news program, and turned it off. He expected to find Isabel awake, watching cartoons or playing in her room. After all, she had a baseball game that morning, and she was usually the first one up on such days, excited and full of energy.

But the house was eerily silent. He walked down the hall towards Isabel’s room. Pushing open the door, he felt his heart drop. The bed was empty but had clearly been slept in. He called her name softly, then louder, but there was no response.

Panic set in as he searched each room, waking up his sons and frantically searching every corner, every hiding place, but Isabel was nowhere to be found.

Desperate, he ran back into Isabel’s room.

With shaking hands, he grabbed his cell phone and sent a text to Becky saying Isabel was missing. From the hallway, he heard his son, Sergio Jr., call out from Isabel’s bedroom. Sergio rushed over, heart pounding in his chest, and found his son pointing at the window.

The screen was bent and propped against the outside wall, and the window was ajar. He didn't know it at the time, but he would spend the next five years under a cloud of suspicion until what happened to Isabel finally came to light...

This week’s episode of Morbidology takes a look at the case of Isabel Celis. You can listen to episode 282 of Morbidology across all podcast platforms, or watch our documentary on YouTube:

𝐀𝐩𝐩𝐥𝐞: https://bit.ly/4er5o8L

𝐒𝐩𝐨𝐭𝐢𝐟𝐲: https://bit.ly/4fEZlOP

𝐘𝐨𝐮𝐓𝐮𝐛𝐞: https://bit.ly/3Cl69CO

[yourdailykitsch]

Taylor Kitsch and Josh Brolin on Shamans, Sweat Lodges, and Self-Transformation

Taylor Kitsch, photographed by Luca Bertea.

First, Taylor Kitsch moved to Montana. Then came a New Year’s Eve spent with a shaman, and now, a television show at the top of Netflix’s charts. But let’s rewind a bit. For the past two years, the Friday Night Lights alum has been getting into character. He lost 25 pounds, tracked wolves, and visited the Wind River Reservation in Wyoming, all of which helped him embody the role of Isaac Reed, a Shoshone-raised white man whose contested past seeps through the cracks of history in the gritty Netflix Western American Primeval, set during the 1857 Utah War. “Some of the best work of my life is on the floor of this, and I think that’s what I struggle with,” Kitsch told longtime friend Josh Brolin, who was on set for the making of the limited series. “You were such a fucking champion for me, man.” After the show’s release, Kitsch called Brolin for moral support, again. This time, they talked about sweat lodges, shamans, and giving yourself over to a role.—EMMA STOUT

JOSH BROLIN: Tell me about your sickness and then we’ll work our way up from there.

TAYLOR KITSCH: So New Year’s Eve, I had this Native sweat lodge planned and I was hosting three of my good buddies. Jake Picking came in.

BROLIN: Really? That’s great. He seems so open to doing anything and everything.

KITSCH: His first Native sweat, and he needed it, too. I think everyone did. I had terrible back pain and these crazy headaches, but I rebounded long enough to be able to drive to the sweat lodge. Then I got home and it absolutely nailed me.

BROLIN: Do you think it was like whatever toxin living inside you and the sweat brought it all out?

KITSCH: I think so. There’s some energy I wanted to get out, obviously. But the shaman was like, “We don’t really have to read into this one. Whatever’s happening right now, it’s—”

BROLIN: It’s coming out.

KITSCH: Yeah.

BROLIN: That energy… I assume I know what it is. And that’s the idea of doing this limited series.

KITSCH: Yeah, you were there for some of it. It’s been a tough one, man.

BROLIN: Tell me why.

KITSCH: Because I cared so much. Not that that’s a problem, but it’s hard to let go. You have these ideals—you’re serving the Shoshone community— and you put in all that work. But it did really help me, understanding that it was my journey and it wasn’t. I put a little more responsibility on other people to service the same thing. That released a lot of tension because I’ve been torn up by it. 

BROLIN: It’s a very different subject. You and I did Only the Brave together, which meant a lot to me because I was a volunteer firefighter. I took that script to my chief, who’s a firefighter in Tucson, Arizona, and I asked him, like you would a shaman, “Do you think I can do this?” And he said, “I think you’re the only person who can do this.” But the point is, I cared so much about it that I needed somebody who I respected in the nucleus of that world to tell me that I could represent it well. And nobody saw that movie, by the way. That’s one of those things where you go, “I still served and cared and gave myself 1000%.”

KITSCH: You really did.

BROLIN: That’s all you can do. I saw the first two episodes and it blew me the fuck away, which I’ll get into. You care, though. That’s the point. You’re purging now because you care so much. You seem to be one of the most empathetic people that I know, way more than me. 

KITSCH: I don’t know.

BROLIN: Well, I give a shit about the role and the story and morale on set. But I think you take it super fucking personally, especially representing Native Americans. I had a whole relationship in my 20s with a shaman in Tucson that I was spending a lot of time with. I was doing sweats all the time—

KITSCH: Amazing.

BROLIN: It was amazing. Now, seeing you go through that, you seem like the most unapologetically vulnerable person that I know. When I hear about you tracking wolves in Montana, it makes sense to me. I go, “Yeah, it’s Kitsch. Fucking out there, doing his thing with a camera.” You want to get as close to the experience as you can, and that’s who I know you to be.

KITSCH: Man, when they asked for this interview, I was like, “There’s only one person we can truly ask.” Obviously, you helped me a lot during the shoot and being there. But to represent this process, which was quite intense, it makes you go down that road again. You were such a fucking champion for me, man. I remember I was feeling pretty shitty, and you knocked on the door. I was like, “Who the fuck?” And it was you and the girls waiting to come in and hang out. How are they doing?

BROLIN: They’re amazing. They’re bigger personalities than I am. They’ve taken over the world.

KITSCH: That’s a big feat, but damn.

BROLIN: Yeah, I know it was a tough time for you. You lost a ton of weight for the role. It felt like, “I don’t want this to be just another role. I want this to mean something.” I just wrote a book, and it’s a very unconventional book. 

KITSCH: Fucking right. I remember you reading a passage on the patio.

BROLIN: If you’re spoon-feeding people what they’re looking for, you can sell a lot of books. But if you write like I do, or act like you do, you’re picking roles for reasons that are very personal. You want to bleed. You want to earn it. I know it’s a rarity, but without that, what do you have? So when I see you in that place, there’s a part of me that’s happy because it’s like, “This tortured motherfucker, he’s fucking downward spiraling. But thank god you exist.” Tell me what the experience was like for you, because I watched it and I thought you were great. And I’m pissed that I can’t see more yet. It’s chaotic, it’s visceral, it’s violent, it’s hard to watch.

KITSCH: I think it should be all those. Man, it was a fucking roller coaster. The Shoshone and learning a lot of that—

BROLIN: Learning the language.

KITSCH: Yeah, it changed my perspective a lot. Working with the advisors and the dialect coaches, getting an opportunity to do something so raw in a period where most fights ended hand to hand, I loved it. There’s no karate chopping, no spinning wheel kicks. 

BROLIN: That fight that you have with that guy is fucking amazing. You’re like, “Oh my god, somebody must have gotten hurt.” And you don’t get that a lot when you watch those movies.

KITSCH: No. I mean, when the Native jumps off that cliff, it’s so practical to just roll cameras. We padded—not literal pads—but just put more snow and cleared out the rocks in the little passage towards the river. He was like, “Make your way over to that riverbed.”

BROLIN: And that’s it?

KITSCH: Yeah. I mean, that guy was huge too. He probably had 80 pounds on me. Big boy.

BROLIN: You had lost how much weight? 

KITSCH: 25 [lbs]. I just wanted Isaac to outwill you. He wasn’t the biggest guy. He kind of wanted to die, but had to honorably go. So that’s why he fought the way he fought. It was more of his will than just his strength or knowing how to really fight. That was fun. Betty Gilpin is incredible, and Shea Whigham.

BROLIN: Shea is great. And who’s the main girl? I don’t know her very well, but I thought she was great.

KITSCH: Yeah, Betty Gilpin. A gamer who’s just uninhibited and really prepared.

BROLIN: Are you happy the way it turned out?

KITSCH: I mean—

BROLIN: Have you watched the whole thing?

KITSCH: Yeah.

BROLIN: You’re still in it, man. If you said you were happy the way it turned out, I would be suspect. There’s only one movie I’ve ever done that I’m happy it turned up.

KITSCH: Oh my god, really?

BROLIN: Yeah. And that was No Country [For Old Men]. I thought it was going to be a joke.

KITSCH: You know No Country is top three for me.

BROLIN: I didn’t know that. But I want to take this in another direction because I don’t know if people know what you do. You live in Montana, and you haven’t lived in Los Angeles for a long time. Why? 

KITSCH: I think it’s a little self-preservation. Knowing yourself well enough to know what you need. A lot of it actually goes back to what raised me, the things I know, with the ranch and everything. I was riding my moto through Yellowstone and I was like, “Oh, I love this place.” Next year, we put it on the trip again. I’m like, “Oh, man, Bozeman’s a fucking cool town.” Then all of a sudden you’re in Austin, Texas, in your dream home and you feel like you should be there now. You just answer to it.

BROLIN: That’s where you’re different—most people don’t answer to it. Most people go, “God, I went to Bozeman. That was really cool. I’d like to live there someday, but I’ll just keep doing what I’m doing because it’s comfortable.” Going back to the stoics, it’s like, “Comfort is your enemy.” You get complacent, you get lazy, and you start worrying about what the size of your trailer is. 

KITSCH: Truly.

BROLIN: How do you represent humanity if you’re doing that? Because that’s not humanity.

KITSCH: Especially with [American] Primeval, I met a guy who lost everything. His dad passed when I was playing a guy in mourning, which was kind of fucking crazy. But while I was prepping, it meant more. I was like, “This is all they had.” Family was their education, their language, their heritage.

BROLIN: And there’s no decision to even use that. 

KITSCH: Right. I didn’t need to. I had done all the work. I tell you, some of the best work of my life is on the floor of this, and I think that’s what I struggle with. But to that point I made earlier, just because the world won’t see it doesn’t mean you didn’t serve it. I think I told you this, but I cried more in that one scene than I did when I lost my fucking dad—

BROLIN: Yeah, you did.

KITSCH: The energy of the Shoshone and what they’ve gone through, I felt like they were with me. It was really a beautiful thing. But, I don’t know, I go back and forth. When you’re prepping, you see it in your head. You see the arc, and you see these moments. Of course, there’s going to be some beautiful ones that are unexpected. But when you feel your service didn’t go towards something, it feels like, “I just gave up two years of my life, got this fucking bone cut out of my foot, did all this crazy shit”—

BROLIN: And you go, “For what?” But there’s no version of this, I think, that ever would’ve gone, “Fuck, I’m psyched how it turned out. It’s perfect.” It just doesn’t work like that. I used to do this thing where people would say, “Hey, I saw you in this.” And I would just shit on their reaction. After 40 years, I don’t do that anymore. My business is to do what I do and care about it and give myself to it entirely. When it’s over, I’ve got to deal with my own demons. You don’t know how people are going to be affected by it. I was affected. My wife, by the way, saw it with me, and she was super into it.

KITSCH: Betty, she’s the audience.

BROLIN: What movies have you seen that you’ve liked lately?

KITSCH: Fuck, I’ve been watching a lot of these true-crime docs. It’s so hard not to get so invested in those. I just watched the Jude Law one with the white supremacist. He’s terrific in it.

BROLIN: Really?

KITSCH: I like to see him just unabashedly fucking gritty. The Order, it’s called.

BROLIN: I was way behind on movies, and I saw a movie called Sing Sing last night.

KITSCH: I know that movie.

BROLIN: It takes place at Sing Sing, which is one of the oldest prisons in the United States, and it’s based on this guy who was in prison for robbery for 17 years. He started a theater community in the prison, so he wrote it. He plays a supporting part, and I met him on Jimmy Kimmel. I was bawling.

KITSCH: No shit. So why are you in London?

BROLIN: I left my family. I am just tired of it. I just want to be alone. You know what I’m saying?

KITSCH: You’re just in a white-out hotel room in London.

BROLIN: It was funny because I came in here to get my key and the guy goes, “Can I tell you something? The room you’re in is Ridley Scott’s favorite room.” I go, “I don’t care, it’s my favorite room.” It was such a funny thing to impart. But I’m filming Running Man with Edgar Wright.

KITSCH: Fucking yeah.

BROLIN: It’s fun. I like him. He’s weird, and I like weird.

KITSCH: Unreal, man. Congrats. You’re there for a while then, huh?

BROLIN: I’m here for three weeks, and then I’m out.

KITSCH: I love it. They’re shooting you out.

BROLIN: They’re shooting me out, and I get back home.

KITSCH: You deserve that, by the way. Fucking right.

BROLIN: I got to get back to my motorcycles and my children. My children were going to be here and then at the last moment I was like, “For real I’m going to be working the whole time. It’s super cold right now. You’re going to be walking in the rain looking at parks and shit.”

KITSCH: Darkness. Are these sets just insane?

BROLIN: Insane. And I was just here doing Knives Out with Rian Johnson.

KITSCH: I met him a couple times now and I hear he’s fucking awesome.

BROLIN: He’s literally my new favorite person. The most unassuming guy who has total control over his set. He sits there smoking a cigar every morning. And I go, “Why don’t you wait until night?” He says, “I don’t know, I just like them in the morning.” He’s completely his own self. But yeah, I’ve been working in London a lot, and I like it here. I love the culture, and I love fucking with the people. It’s all good.

KITSCH: That Imperial War Museum is one of the best things I’ve ever done. It’s just incredible there.

BROLIN: Yeah, it’s really something. I love you, pal.

KITSCH: Love you, man. Thanks for doing this.

BROLIN: I think you did fucking phenomenal. You continue to be amazing, and you’re one of those people that gives themselves entirely. You’ll be all scraped up and scarred up by the time you get to the end of your life, and I’ll be there laughing.

KITSCH: That means a lot.

[cartermagazine]

Today We Honor Chuck Stewart

Chuck Stewart, one of the most prolific and admired photographers in jazz — an intimate chronicler of many of its icons and milestones, including the historic recording session for John Coltrane’s “A Love Supreme” — over a distinguished career that spanned more than 70 years.

“Chuck was born in Henrietta, Texas and raised in Tucson, AZ where his family moved to seek more opportunities. On his 13th birthday, his mother gave him a 616 Box-Brownie camera to try his hand at photography. The next day, the famed mezzo-soprano Marian Anderson visited his school in Tucson. He took pictures of the event and sold them to students and teachers and earned $2.00. This was a great financial leap from a 25-cents a week allowance. His career was born.

Chuck worked the New York City music scene in the early fifties capturing notable jazz luminaries representing Latin jazz, big band, bebop, cool jazz, and more, as well as bands and vocalists representing rock n’ roll, rhythm and blues, pop, country, Broadway, film and television. Chucks archives contain 800,000 negatives with a large inventory being jazz musicians from the 50’s to late 90’s.

Chuck was the only photographer at the historic recording session of John Coltrane’s album “A Love Supreme.” Oddly, his photos weren’t used for the album cover. However rare and unseen photos from that session now reside in the jazz archives of the Smithsonian Institution for anyone to see. Majority of the images used in the John Coltrane’s “Chasing Trane” Documentary and James Brown HBO Documentary are Chucks.

When the Beatles first toured America, Chuck toured with them but asked to be reassigned after being pinched and poked too many times by fans. “There are no black Beatles. Why are you grabbing me?” I protested. ‘You’re with them and that’s good enough for us,’ fans retorted.” - via chuckstewartphotograhy.com

CARTER™️ Magazine

[takeiteasyonmeimstilllearning]

hot take on a real life Jigen

I know that Monkey punch modeled Jigen on James Coburn, but hear me out. Robert Mitchum is Jigens spirit animal.

1stly, voice. They have the same timber. (Idk what else to call it) I would definitely say epcar and Mitchum are in the same category. Kobayashi is similar too but he is more animated, going into falsetto and such. I also think if jigen sang he would be baritone and talk-sing his way through lyrics.

2ndly, Mitchum's grumpy old man vibe just radiate Jigen imo.

Mitchum quotes:

They got so they wanted me to take some of my clothes off in the pictures. I objected to this, so I put on some weight and looked like a Bulgarian wrestler when I took my shirt off.

The only difference between me and my fellow actors is that I've spent more time in jail.

I gave up being serious about making pictures around the time I made a film with Greer Garson and she took a hundred and twenty-five takes to say no.

[on his acting talents] Listen. I got three expressions: looking left, looking right and looking straight ahead.

People think I have an interesting walk. Hell, I'm just trying to hold my gut in.

When I drop dead and they rush to the drawer, there's going to be nothing in it but a note saying 'later'.

I never take any notice of reviews - unless a critic has thought up some new way of describing me. That old one about my lizard eyes and anteater nose and the way I sleep my way through pictures is so hackneyed now.

Years ago, I saved up a million dollars from acting, a lot of money in those days, and I spent it all on a horse farm in Tucson. Now when I go down there, I look at that place and I realize my whole acting career adds up to a million dollars worth of horse shit.

I never changed anything, except my socks and my underwear. And I never did anything to glorify myself or improve my lot. I took what came and did the best I could with it.

[asked what jail was like] It's like Palm Springs without the riff-raff.

John Wayne had four-inch lifts in his shoes. He had the overheads on his boat accommodated to fit him. He had a special roof put in his station wagon. The son-of-a-bitch, they probably buried him in his goddamn lifts.

There just isn't any pleasing some people. The trick is to stop trying.

Sure I was glad to see John Wayne win the Oscar. I'm always glad to see the fat lady win the Cadillac on television, too.

I kept the same suit for six years - and the same dialog. We just changed the title of the picture and the leading lady.

[asked why he took on an 18-hour mini-series] It promised a year of free lunches.

How do I keep fit? I lay down a lot.

[1969] How the hell did I get into this picture anyway? I kept reading in the papers that I was going to do it, but when they sent me the script I just tossed it on the heap with the rest of them. But somehow, one Monday morning, here I was. How the hell do these things happen to a man?

[1948] I'm a natural hermit. I've been in constant motion of escape all my life. I never really found the right corner to hide in.

[1968] The Rin Tin Tin method is good enough for me. That dog never worried about motivation or concepts and all that junk.

[on working with Faye Dunaway] When I got here I walked in thinking I was a star and then I found I was supposed to do everything the way she says. Listen, I'm not going to take any temperamental whims from anyone, I just take a long walk and cool off. If I didn't do that, I know I'd wind up dumping her on her derrière.

[asked what he looks for in a script before accepting a job] Days off.

[on Jane Russell] Miss Russell was a very strong character. Very good-humored when she wasn't being cranky.

They think I don't know my lines. That's not true. I'm just too drunk to say 'em.

Look me dead in the eye and Tell me this isn't jigen

[usafphantom2]

On this day…Lt. Col. Robert G. "Gray" Sowers on Thursday morning, January 11, 1968.

He was flying with 39-year-old Capt. David E. Fruehauf on his third flight in the Blackbird. The Blackbird would be flying under the radio callsign of “Aspen 21. Fruehauf was a native of Buffalo, New York, and had over 2,000 flight hours logged.

The pair briefed the flight plan, inspected the plane, and took off from Beale at 12:35 in the afternoon on what was planned to be a four hour flight.

A gentle left turn was then made to a heading of 280 degrees for a couple of minutes, followed by another left turn to 196 degrees and a descent into a refueling area near Lakeview VORTAC. But as the second turn was being prepped for, the left engine’s generator failed, some 37 minutes after the flight began.

SR-71 route "Busy Police #3" - UNCLASSIFIEDSowers and Fruehauf went to the emergency procedures checklist and accomplished the appropriate items. Sowers instructed Fruehauf to manually turn south towards Beale while he initiated a change to the astro-inertial navigation system to provide course

Sowers and Fruehauf continued straight ahead on the established course, maintaining their altitude with the existing engine throttle settings. They minimized all electrical requirements to conserve battery power.

About fifteen miles after the second generator failed, Aspen 21 began a shallow descent with both throttles slightly retarded and passed over Oroville, California, about 25 nautical miles north of Beale, at an altitude of roughly 10,000 feet.

A few moments later, the landing gear was lowered, causing the plane to slow to the needed 175-knots airspeed. This caused the plane’s nose to raise and created an angle of attack – the difference between the plane’s direction of travel and the mean chord line of its wings – of 10 degrees. The fuel shifted in the tanks to cause air to be sucked into the fuel boost pumps. The cavitated fuel flow forced the right engine began to lose power and flame out.

Out of Options...GET OUT!

But, being a unique, B-model, SR-71 posed a unique situation. In an ejection from a stock SR-71A, the Reconnaissance Systems Officer (RSO) in the back seat will eject first, followed shortly thereafter by the pilot. In the trainers, there is no RSO; the instructor sits in the back seat.

At 3,000 feet and some 8 miles from Beale AFB, Fruehauf complied with Sowers’ order and ejected. An instant later, Sowers followed his student into the sky via a Lockheed SR-1 ejection seat. After landing on the ground and removing his helmet and survival kit, Fruehauf found Sowers already on the ground, smoking a cigarette. My Dad told me that during test flight before they had to wear pressure suits that Gray used to smoke cigarettes in the cockpit but good for him he lived to be 92 go figure.😀both men were fine after the ejection and went on to have second careers. the result of the crash of 957 was that half of the trainer SR-71’s were now gone. SR 71 trainer the “C” model was later manufactured.

”Capt. David E. Fruehauf Fruehauf continued in the Air Force and eventually retired, settling in central Tennessee. In 2017, he was featured in a television commercial from Jack Daniels, showcasing residents of Lynchburg, Tennessee, as a resident who once “ejected from a SR-71 Blackbird and lived to tell about it.“ He can be spotted at the 0:28 mark, and aired during Super Bowl

Robert “Gray” Sowers retired from the Air Force, and became was the chief pilot for the country singer, Charlie Pride for 15 years. He saved the lives of all the band members by landing their critically damaged plane following a mid air collision caused by another plane.

Sowers died on December 1st, 2018, at his home in Tucson, Arizona. He was 92 years old. my Dad, Richard “Butch” Sheffield was crewed with Sowers at the very beginning of the SR 71 program in 1966. My Dad died eight days after his good friend Gray did.~Linda Sheffield Miller

@Habubrats71 via X

[kwebtv]

TV Guide  -  December 12 - 18, 1964

Julie Newmar (born Julia Chalene Newmeyer, August 16, 1933) is an American actress, dancer, and singer, known for a variety of stage, screen, and television roles.

Newmar's fame stems mainly from her television appearances. Her statuesque form and height made her a larger-than-life sex symbol, most often cast as a temptress or Amazonian beauty, including an early appearance in sexy maid costume on The Phil Silvers Show. She starred as Rhoda the Robot on the television series My Living Doll (1964–1965), and is known for her recurring role on the 1960s television series Batman as the villainess Catwoman. (Lee Meriwether played Catwoman in the 1966 feature film and Eartha Kitt in the series' final season.) Newmar modified her Catwoman costume—now in the Smithsonian Institution—and placed the belt at the hips instead of the waist to emphasize her hourglass figure.

In 1962, Newmar appeared twice as the motorcycle-riding, free-spirited heiress Vicki Russell on Route 66, filmed in Tucson ("How Much a Pound Is Albatross") and in Tennessee ("Give the Old Cat a Tender Mouse"). She guest-starred on The Twilight Zone as the devil in "Of Late I Think of Cliffordville", F Troop ("Yellow Bird" in 1966) as a girl kidnapped as a child and raised by Native Americans, Bewitched ("The Eight-Year Itch Witch" in 1971) as a cat named Ophelia given human form, The Beverly Hillbillies as a Swedish actress who stays with the Clampetts to learn their accents and mannerisms for a role, and Get Smart as a double agent assigned to Maxwell Smart's apartment posing as a maid. In 1967, she guest-starred as April Conquest in an episode of The Monkees ("Monkees Get Out More Dirt", season 1, episode 29), in which the main characters all fall in love with her, and was the pregnant Capellan princess, Eleen, in the Star Trek episode "Friday's Child". In 1969, she played a hit woman in the It Takes a Thief episode "The Funeral is on Mundy" with Robert Wagner. In 1983, she reprised the hit-woman role on Hart to Hart, Wagner's later television series, in the episode "A Change of Hart". In the 1970s, she had guest roles on Columbo and The Bionic Woman.

Newmar appeared in several low-budget films during the next two decades. She guest-starred on TV, appearing on The Love Boat, Buck Rogers in the 25th Century, CHiPs, and Fantasy Island. She was seen in the music video for George Michael's "Too Funky" in 1992, and appeared as herself in a 1996 episode of Melrose Place.  (Wikipedia)

[ohc-and-the-music-tapes-archive]

Announcement of the Music Tapes' early 2009 tour, Merge Records, 21 January 2009:

The Music Tapes go West

The Music Tapes are heading to the west coast this spring! Julian, the 7 Foot Tall Metronome, Static the Television and other human bandmembers are bringing The Music Tapes live show on the road.

If you did not have the opportunity to experience the Elephant 6 Holiday Surprise Tour or Julian's singing saw caroling shows, here's your chance!

Tour Dates:

2/10 Austin, TX Mohawk 2/11 Norman, OK The Opolis 2/13 Tucson, AZ Solar Culture Gallery 2/15 Los Angeles, CA Echoplex 2/17 San Francisco, CA Bottom of the Hill 2/19 Seattle, WA The Vera Project 2/20 Anacortes, WA Department of Safety 2/21 Portland, OR Backspace 2/24 Minneapolis, MN 7th Street Entry 2/25 Chicago, IL AV-aerie 2/26 Ann Arbor, MI The B-side 2/27 Toronto, ON Lee's Palace 2/28 Buffalo, NY Big Orbit's Soundlab 3/1 Hoboken, NJ Maxwell's 3/2 Cambridge, MA Middle East Upstairs 3/3 Brooklyn, NY The Bellhouse 3/4 Philadelphia, PA First Unitarian Church - Basement 3/5 Carrboro, NC Cat's Cradle 3/7 Athens, GA 40 Watt

[broadcastarchive-umd]

During the heyday of broadcast radio, the response to a QSL might be a postcard or a letter. The letters often feature an unusual logo, like this one from a station in Yuma, Arizona, sent to a listener in Issaquah, Washington, in February 1955. Here’s the backstory:

Radio station KOLD went on the air in Yuma on January 12, 1953, as a CBS network affiliate. It was one of Gene Autry’s radio properties. Only two years later, Autry announced that the station had been sold (Yuma Morning Sun, 2/4/1955). It became KOFA (and closed down in 1963).

Autry later used the KOLD call letters on his radio and television properties in Tucson (formerly KOPO) beginning on April 30, 1957. The designation paired well with Autry's KOOL radio and television in Phoenix, according to Wikipedia, and as was done in Phoenix, the phones were answered: "It's KOLD in Tucson."

Committee to Preserve Radio Verifications   |   Tumblr Archive  

[dustedmagazine]

The Dream Syndicate — History Kinda Pales When It and You Are Aligned: The Days of Wine and Roses 40th Anniversary Edition (Fire Records)

The Days of Wine and Roses (Expanded Edition) by The Dream Syndicate

A 40th anniversary is sort of an odd date to celebrate with pomp and fanfare, which makes this overstuffed edition of the Dream Syndicate’s The Days of Wine and Roses exude at least a whiff of opportunism. And to be sure, History Kinda Pales When It and You Are Aligned is overstuffed: four compact discs, 260 total minutes of music, five different versions of “Definitely Clean” and seven (yep) of “That’s What You Always Say” (from the original record; the Down There EP version; a 1981 recording by the 15 Minutes, a band Steve Wynn formed with members of Alternative Learning; a rehearsal rendition and several live recordings—it’s a good song, but that’s a bit much, by any measure). Dream Syndicate completists and musicologists with big historical investments in the Paisley Underground will rejoice. What about the rest of us?

At the very least, we have occasion to remember a great rock record, one of a select few released from the California underground in the early 1980s that still feel absolutely necessary, song for song and note for note. If we stick specifically with punk and punk-adjacent LA, we might mention Black Flag’s Damaged, X’s Under the Big Black Sun, Minutemen’s Double Nickels on the Dime and Gun Club’s Fire of Love. That’s some fierce company. The Dream Syndicate shared a label with the Gun Club, and likely shared a stage or two with at least a couple of those bands. But they were outliers in LA in those crucial years: not hair-trigger punks like Fear or Circle Jerks, not rootsy like Green on Red or the Blasters, not self-consciously arty like Screamers or Bpeople. Musically the Dream Syndicate was more aligned with New York bands, like Television or the Voidoids — and the Dream Syndicate confessed as much by name-checking La Monte Young’s famous NYC drone ensemble in their band’s moniker.

Mostly the Dream Syndicate was a guitar band, Wynn and Karl Precoda playing tangled and brash lines and working the space between dissonance and rock dramatics. You can hear that impulse, toward volume and catharsis, on a great-sounding live set included on Disc 4 of the edition, captured at the Country Club in Reseda, CA, sometime in 1982. “Then She Remembers” sounds like early Sonic Youth until Wynn drags the song back toward the textures of Neil Young and Crazy Horse at their most ragged and feral. In between songs, Wynn quips, “This is San Francisco psychedelia, Quicksilver Messenger Service, Blue Cheer...” He’s goofing on Cali punk’s north-south rivalries, but it’s not a bad set of references for the kinds of guitar antics the band gets into. That Reseda set is one of the real treats among all the accompanying recordings included in History Kinda Pales…, along with a recording of “Open Hour” from a 1982 live performance on KPFK, in which the guitarists channel Verlaine and Lloyd’s sense of interplay. Also check out the cover of “Folsom Prison Blues,” recorded in Tucson that same year; the band sounds like Rank and File on an especially whiskey-soaked night.

Amid all those extras, the most substantive music on the four discs can still be heard in the studio recordings that appeared as The Days of Wine and Roses in late October, 1982. Kendra Smith was still in the band, and her moody presence plays up the record’s Paisley Underground affiliations, as do the psych-rock acrobatics of “When You Smile.” But a lot of the story is told in the record’s first five seconds: those glorious, crashing notes that form the signature riff of “Tell Me When It’s Over.” It’s a great song, one of a few palpably heartbroken, sort-of-love songs from the decade (along with the Replacements’ “Unsatisfied” and Leaving Trains’ “Light Rain”) that laid some formative groundwork for the 1990s’ indie rock. The Days of Wine and Roses reaches its highest peaks on its several sort-of love songs: those just mentioned, “Halloween,” “Then She Remembers.” Those last two address desires that simmer with threat or explode into violence, and the music follows the same logic. If you haven’t for some time, listen to the ecstatic, free-falling guitar break that takes up the second half of “Then She Remembers.” It’s breathless, propulsive and razor sharp. Sort of like the passage of history. 

Jonathan Shaw

[midnight-star-world]

#CountryMusic

MSR 5-11-24 Midnight Star Report 5-11-24

So today I will be bringing you the Top 20 Country Music Songs for the week of 5/11/24 with the help of both CMT (Country Music Television), the Billboard Country Music Airplay Charts, & even myself. So let's get started right now.

Number 20 belongs to Tim McGraw who is new to the list this week - One bad habit.

Number 19 belongs to Warren Zeiders who is dropping 1 spot this week - Pretty little poison.

Number 18 belongs to Chase Matthew who is moving up 1 spot this week - Love you again.

Number 17 belongs to Jelly Roll who is moving up 3 spots this week - Halfway to Hell.

Number 16 belongs to Nate Smith who is moving up 1 spot this week - Bulletproof.

Number 15 belongs to Jordan Davis who is dropping 13 spots this week - Tucson too late.

Number 14 belongs to Chris Young who is staying in the same spot as last week - Young love & Saturday nights.

Number 13 belongs to Old Dominion featuring Megan Moroney who are staying in the same spot as last week - Can't break up now.

Number 12 belongs to Bryan Martin who is moving up 3 spots this week - We ride.

Number 11 belongs to Megan Moroney who is moving up 1 spot this week - I'm not pretty.

Number 10 belongs to Scotty McCreery who is dropping 9 spots this week - Cab in a solo.

Number 9 belongs to Ashley Cooke who is moving up 2 spots this week - Your place.

Number 8 belongs to Jason Aldean who is moving up 2 spots this week - Let your boys be Country.

Number 7 belongs to Tyler Hubbard who is dropping 2 spots this week - Back then right now.

Number 6 belongs to Bailey Zimmerman who is moving up 1 spot this week - Where it ends.

Number 5 belongs to Kenny Chesney who is moving up 1 spot this week - Take her home.

Number 4 belongs to Lainey Wilson who is moving up 4 spots this week - Wildflowers and wild horses.

Number 3 belongs to Carly Pearce featuring Chris Stapleton who are moving up 6 spots this week - We don't fight anymore.

Number 2 belongs to Jackson Dean who is moving up 2 spots this week - Fearless (The echo).

Number 1 belongs to Sam Hunt who is moving up 15 spots this week to regain the top - Outskirts.

And that's a wrap for the Top 20 Country Music Songs for the week of 5/11/24 with the help of both CMT (Country Music Television), the Billboard Country Music Airplay Charts, & even myself. Thanks as always goes out to both CMT, & the Billboard Country Music Airplay Charts for doing their weekly Country Music Song Countdowns. And thanks as well goes out to you for taking the time to read this weekly list. See ya all next time.

[angiebowiearchive]

Angie’s Confessions at Timothy Lock’s G-Spot Transcript [Part 1] (2006)

(originally transcribed by me in 2006 and posted on an old LJ community. These are the same transcriptions from that time and I can no longer verify how accurate it may be Wayback link to the episode summary, mp3 link does not work; if anyone still has these audio files/knows how to access them, let me know.)

Timothy: On the phone with me right now from sunny Tucson, Arizona is the fabulous Angie Bowie. Angie how are you today?

Angie:I’m fine Timothy how are you? Hi everyone who’s listening.

Timothy: Do you know what, I am melting. London is in the middle of a heat wave right now.

Angie: Well I am very, very sympathetic. We’re in the middle of Monsoon Madness two thousand and six it’s 105, 108.

Timothy: Oh my God

Angie: Tucson is usually ten degrees cooler than Phoenix, so for it to be this hot you can imagine in Phoenix they’re seeing 114, 118 temperatures. Now what is the temperature in London

Timothy: It’s um, Celsius it’s about 35 today, which I think is the high eighties

Angie: Yeah well for London with all that concrete that’s high

Timothy: D’ you know what, they, they had a wonderful picture in this newspaper the other day. You know the whole quote of you ‘oh you can fry an egg on the sidewalk?’

Angie: Uh-huh

Timothy: Well they actually fried an egg on the top of a black cab

Angie: Oh yeah I saw that picture!

Timothy: Isn’t that great?

Angie: Yes and that demonstrates that it is darned hot.

Timothy: Oh definitely

Angie: Yeah. I’m listening to your accent. Tell me where you’re from.

Timothy: I’m from Toronto originally.

Angie: Ahh! And where are you living now?

Timothy: I am living in London, and I’ve lived here for the past nine years.

Angie: I thought so when I was listening! You know my mother was Canadian, and my father grew up Canada, in British Columbia. I’m sure you wouldn’t know that, but I did and so I was listening to your voice. How nice! And so you’ve lived in London what, nine or ten years now?

Timothy: Nine years now yeah

Angie: Oh, and are you enjoying it? Of course, or you wouldn’t be here.

Timothy: Angie, I love it. It’s my favorite city on the planet. I’ve lived in New York, Calgary, Toronto, Orlando and London I love, I will never move.

Angie: Good! Good for you. Well I couldn’t agree with you more. Of course it’s a little-when I went there on those last two trips, you know it was so bizarre because of the CCTV.

Timothy: Oh I know

Angie: And I, you know one of the taxi drivers was so cute, I said to him, I said ‘and I guess you can’t go down there, he said ‘no,’ he said ‘the ticket would be in two weeks in my mail box’

Timothy: [laughs]

Angie: And we both started laughing, he said ‘yeah, you can’t even get in trouble if you want to now’

Timothy: Do you know what, here in London one of the big television shows is Big Brother. I don’t know if it’s big in the States at all?

Angie: I’m not sure, but I think when I was in England I saw it advertised and I didn’t get to what it, I was-that’s when I was on call for Patrick.

Timothy: Patrick Lily sends his love by the way

Angie: Oh good! And please give him a big, big hug for me

Timothy: I definitely will. And the thing about Big Brother is I say it’s being famous for being on CCTV.

Angie: Yeah.

Timothy: And I thought you know if that’s the case, you know, then I should be famous for urinating behind every dumpster in London when I’m drunk.

Angie: [laughs]

Timothy: Now when I was thinking about talking with Angie Bowie, I thought you know, you’re someone I can’t really label under one banner. And the obvious thing would be to, you know, focus on your opinions of your ex husband David Bowie, but that’s been done to death Angie. You’ve also detailed it in your best selling autobiography Backstage Passes: Life On The Wild Side with David Bowie. I’m not going to draw you into a discussion about David Bowie because that’s unfair and you’re my guest and I want you to feel welcome.

Angie: Oh you’re very sweet Timothy, I appreciate it, and it’s not because of anything bizarre. It’s not like, you know, a publicist say, saying ‘oh and she won’t talk about that’, it’s not that. I haven’t seen him for twenty five or thirty years. So talking about him, talking about him in the context of the seventies-

Timothy: Yeah

Angie: -as my artist, the artist I was promoting and the person I was managing, no problem. But you know, they, people have recently been asking me-they, they sprung an interview in the Evening Standard on me.

Timothy: Yeah.

Angie: Very huge interview. And the gal was very sweet. Unfortunately when I first heard her name, I-I had to do a double take because I wanted to make sure that I addressed her correctly during the interview.

Timothy: What was her name?

Angie: Emine. And it’s a strange name, you know what I mean

Timothy: Yeah.

Angie: So I was already, you know, and the next question she asked me was ‘ what do you think of David Bowie?’ And I said [stammers a bit] ‘He’s a jackass!’ What do you mean what do I think of David Bowie? You know, I haven’t seen him for twenty seven, thirty years, why would I have an opinion on him?

Timothy: Yeah, exactly.

Angie:So um, then of course that became the most quoted thing, you know, coming to the States newspapers. And that’s okay, I don’t mind a bit ‘cause it’s exactly how I feel but it’s boring! I don’t wanna promote him anymore, I’m not being paid for it. I just don’t have time for this now

Timothy:It’s like someone asking me ‘what did you feel like when you went to see Star Wars in the cinema?’ I’ll be like ‘I was seven years old, I have no idea’

Angie:Yeah really and why should I promote them now?

Timothy:Yeah exactly

Angie: They’re part of the culture, you know, ask someone who wrote it, go talk to, you know Lucas

Timothy: Yeah, ask someone who’s actually getting royalties from it

Angie: Yes, exactly. Well that’s the whole thing Timothy: And I know it’s hard to start a discussion with you at one point, but let’s start in America in the 1960’s when you were attending Connecticut College for Women.

Angie: Well I, yeah, uh. I took my A levels when I was fifteen.

Timothy: Mm-hm

Angie: And I wanted to take a year off and my father wouldn’t hear of it. So I couldn’t go to college in England, they wouldn’t let me go, they said ‘sure, come back when you’re eighteen’. But my father said ‘oh well in that case you can go to college in the United States’. So I’m, you know, filled out application forms and I was accepted at Connecticut College for Women. I hated it. It was the most horrible place. I didn’t want to be there. I didn’t understand the girls, I didn’t understand the way they taught. They had these huge classes. I’d never been in a huge class in my life, the biggest I’d ever been in was thirty-two people. I’d never taken a class in an auditorium. And I had performed at the [unintelligible], Expo in 1964 and done the play [unintelligible], for five days, I had done a lot of sophisticated things. But what I had not done was be treated like a, um, a unit to be educated.

Timothy: Right

Angie: And uh, I was appalled. So I fell in love with this girl, and um, because I had done a deal with my father that I wouldn’t get pregnant or embarrass him or sleep with men. Leaving myself the out, I kept thinking to myself ‘well that way I can always sleep with girls, I won’t get pregnant, right?’

Timothy: Well there ya go.

Angie: Well ya gotta make due with what ya got, right? So that was fine, but then I got asked to leave. She got put in the infirmary, I went to visit her there, they tried to sedate me so I leapt out the window and escaped and went and packed my stuff and said ‘ya know what, before you ask me to leave, I’m leaving.’

Timothy: Yeah

Angie: And I went back to my parents from Cyprus, the [unintelligible], who were in New Haven, and from then I got my ticket back to Cyprus.

Timothy: Now Angie, did you consider yourself a lesbian at that time?

Angie: No

Timothy: What did you consider yourself?

Angie: A bisexual

Timothy: Now your autobiography, as one reviewer puts it, and I quote, details your ‘drug-fueled and openly bisexual lifestyle’ together David Bowie and many other well known rockers. Now if you look back at the experiences you’ve had and, you know, speaking of the drugs, the substances you’ve tried, do you think drugs should be legalized?

Angie: Well unfortunately we have to back up a little. Your question is premature.

Timothy: Right, okay.

Angie: I didn’t do any drugs until I was twenty six years old, so, so no. It wasn’t ‘drug fueled’. I didn’t drink and I didn’t smoke.

Timothy: Right.

Angie: And people don’t understand if you start your public life at nineteen.

Timothy: Yes

Angie: That’s eight years of being on the ball, so all this crap about ‘drug-fueled’, you know, that’s in the minds of a wannabe wisher they had been there.

Timothy: Yeah

Angie: Drugs were a, uh, became a part of David’s life three or four years before I had anything to do with it and when I had something to with it, it’s all written in Backstage Passes, I’m not gonna bore myself or you.

Timothy: Yeah

Angie: But…do I think they should be legalized? Yes, I think marijuana should be legalized, I mean as everybody in any civilized country knows. Um, alcohol, I don’t believe in uh, prohibition, but I think every health class in the world ought to explain the effects of alcohol and how stupid it is, and how easy it is to get date raped if you’re already high on alcohol.

Timothy: Yeah

Angie: I think children in, in middle school and high school, like they taught in England-do you know in America if you talk to a kid-probably Canada’s a little better, okay, so I’m not lumping Canada in there-when my daughter was at middle school, I had to sit down, she and three of her friends, they came to me and they said, ‘Mom what is it?’ My daughter had brought these kids in, and she said ‘Mom, I told everybody that if anyone would give us sex education, you would’. And I said absolutely. And I gave them a lecture, I explained to them about all kinds of venereal diseases, every type that there were. Because in England, when we were at college, that information was available.

Timothy: Yeah

Angie: You know, and everyone knew. You went and found out before you slept with somebody. And um, when I finished the lecture, I said ‘well don’t they teach you that? Don’t you have a health class or something?’ I didn’t know. But she was at a private, you know, middle school. Not a-a kind of a state run one, and I guess they just didn’t feel that it was appropriate, I guess they didn’t know whether the parents would, you know, approve of them teaching them that kind of health class, but I think it’s really tragic in the countries where it’s not taught. I’m not pointing fingers at anyone because I’m sure in Europe that is not the case so much but here in America, this is a parochial-ism about matters to do with sexuality that I find very frightening and worrisome.

Timothy: Which is?

Angie: That they’re not taught!

Timothy: Yeah.

Angie: It’s not that they don’t know. I mean really they, get a lot, everyone here, the youngsters here, seem to get most of their information from the television, which is-that’s not a bad thing, I’m not knocking this, I’m just saying I don’t understand. I mean, wouldn’t it be better to give people the facts in a classroom environment and then let them fill it in with what you read in magazines and what you see on television and on the Internet?

Timothy: Yeah

Angie; I just-I worry about things like that. It’s like history. They don’t teach history here properly now. You talk to them about World War II, they actually, you know, my generation-my father was a World War II hero from the Philippines. He wasn’t there to fight in the-he was there as a mining engineer. When the war broke out, when Pearl Harbor started, he was caught in North Lazon. They took to the mountains, he and the men that worked for him, they joined the resistance movement. Because he was ROTC, that meant he had to be commissioned and became an officer. For three years, they fought from the mountains. World War II is a live thing to me.

Timothy: Yeah.

Angie: It’s a part of my father’s life. Now, if we’re not gonna have, ya know, kids who have a relative who can explain it to them, then at least let’s teach it in school so, you know, everyone knows who was on which side, what the-the reasons they went to war were, I mean something. Children don’t know that anymore and that’s not good.

Timothy: Well Angie lets go to back to the topic of sexuality. As a mother yourself, what do you think the most important thing is that parents should teach their children about sexuality?

Angie: I think the most important thing is to remind everyone that children and humans don’t mature until they’re eighteen or nineteen. So sex before eighteen or nineteen-I didn’t have sex with anyone until I was eighteen. My eighteenth birthday, chronicled in Backstage Passes, I had sex with my boyfriend, it was very exciting. Now, the reason for that is, is because a mammal does not mature, get it’s fu-and even then there’s another four or five years after eighteen up to twenty five and twenty six when people fill out and mature. Height, strength in the shoulders, spine all that. Now, if a girl gets pregnant, she has a new weight to bear. So having sex, which-and, and we’re talking historically now where you get pregnant, not, you know, protected sex, this is a new concept from the 20th century, one we learned about birth control and family planning. But you see what I’m saying here.

Timothy: Yeah.

Angie: The best idea would be to wait until your body was big enough to carry it. Now we’re not talking about nine year olds that run up and down the mountains and happen to get pregnant in, uh, strange out-of-the-way South American countries which are, you know, on the cover of the British newspapers all the time. Basically, I think the most important thing is that. Is if you can say ‘look, wait until you’re eighteen so that at least your body is skeletally, you know, in the right place for it’.

Timothy: Right.

Angie: Now the great thing about putting it in that kind of term is, is that it stops being a moral issue, it stops being a judgment issue. It kind of tidies it up along with health. You know, would you drink from a dirty cup in a dumpster?

Timothy: No, definitely not.

Angie: You see what I’m saying?

Timothy: Yeah.

Angie: Why would you have sex with someone that you don’t really know where they’ve been?

Timothy: Mmm

Angie: And it’s like some experiment, and you just wanna like fuck around? Ick!

Timothy: Yeah.

Angie: It’s a dirty cup in a dumpster! You don’t know where the hell it’s been.

Timothy: Yeah.

Angie: So I think by the age of eighteen, you start to think like that. At fourteen and fifteen and sixteen and seventeen, one tends to be less-but, but, it-less aware, but if you’re informed, you try for the purpose of being mature, you know, and grown up and being cool-to think about that stuff so that you don’t act like a jackass. And I’ve acted like a jackass many times in my life, so please don’t think I’m trying to make out I’m so clever, I don’t mean it like that. We learn through our mistakes. In answer to your question, I would say hold onto it just for a bit, you know what I mean.

Timothy: Yeah

Angie: The idea that people have sex so early kind of amazed me. It shocked me. I didn’t realize that people fourteen and fifteen and sixteen years old were having sex. I had no idea. I’m very naïve I suppose in a lot of ways.

Timothy: Now how did you approach the subject yourself, of discussing sexuality with your children? Angie: I, well I never did with my son because I didn’t see him after he was fourteen.

Timothy: Yes

Angie: It wasn’t an issue. With my daughter, she came to me, you know, and we were always very straight forward. I-I just, I have a European attitude about it, thank God, from growing up. God knows Cyprus was no help, but Switzerland and England were a help.

Timothy: Yeah.

Angie. And so um, from that experience, I guess, you know that how I spoke to her about it and then when she came back to me with her friends and asked me to inform them, I realized that I had gotten through to her.

Timothy: Now your daughter is-is Stashia, am I pronouncing that correctly?

Angie: Yeah, Stasha.

Timothy: Stasha, sorry, um-

Angie: No, no, that’s fine. And uh it’s her birthday, it was her birthday yesterday.

Timothy: Oh, well happy birthday yesterday Stasha. How old is she?

Angie: So, uh, oh twenty six.

Timothy: Oh wonderful.

Angie: She called me yesterday and she said ‘oh Mom, thank you for having me’. I thought ‘that’s a very nice thing to say’

Timothy: Oh, I’m sure you were beaming from ear to ear.

Angie: I was! I thought-there was a big grin for quite awhile.

Timothy: Now Angie, this is one thing I-I’ve always been curious about. Um, your son, who now goes by the name Joey, uh, his birth-

Angie: No he doesn’t, his name-he uses Duncan now.

Timothy: Oh he uses Duncan, sorry. But his birth name was Zowie, Zed [sic]-o-w-I-e-

Angie: His birth name-would you like to know this or-

Timothy: Oh yeah tell the story please.

Angie: His name is Duncan Zowie Hayward Jones.

Timothy: Ah.

Angie: That is his name.

Timothy: The myth is dispelled. Now do you find that a-a-that there are a lot of stories about you that are just so wrong?

Angie: Yes! Of course there are, that’s why I don’t pay any attention. I have no interest in any of it.

Timothy: Yeah.

Angie: That’s why I live here.

Timothy: Oh.

Angie: I wouldn’t live in a big city. Why?

Timothy: Yeah.

Angie: Aggravated by a bunch of scumbags who don’t know me?

Timothy: Yeah.

Angie: I did a-when I did the tour for Backstage Passes, I talked to redneck DJs in Texas

Timothy: Uh-huh.

Angie: They called me a whore on the air.

Timothy: Are you serious?

Angie: No, I told them, I said ‘guess what? I don’t have to do this. Fuck you’

Timothy: Yeah, of course.

Angie: Got off. Yeah, I have no interest in the bullshit and the lies, that’s-I, I’ve never been interested, I’ve never been-my area of expertise and my creativity

Timothy: Yeah.

Angie: Is writing, music, and art. I have an A level in History of Art, French, History and English. Those-that’s what I’m interested in. Also anthropology.

Timothy: And Angie, reading your writing, you-I can tell you love words.

Angie: I do

Timothy: And the way they go together, alliteration, asides that are in parentheses, it’s-it’s a joy to read.

Angie: Thank you

Timothy: Yeah

Angie: You’re so kind. I-I love it, and um, I think a lot of my being angry and behaving badly, was having that creativity interrupted by unhappiness.

Timothy: Yes.

Angie: So I-I wanted-because I had brought that up, and I didn’t wanna leave it hanging, I-I want you to know that when I say how we learn from experience.

Timothy: Mmm hmm

Angie: And I-I think you understand as a writer, I don’t really have to explain this to you, maybe I’m explaining it to your listeners. As writers, we can’t really write unless we’ve experienced. It doesn’t mean we have to go to the very depths of depravity or the very heights of ecstasy, but we have to at least have seen it or tasted it to describe it, and that experiential context for being a writer is I think what allows us to live vivid lives

[part 2 here]

[slinksterfeline]

"Get to know me"

I cannot get anything to format correctly. (Seriously. Examine this.)

I'm just going to go with it...

I found this and thought it might be fun to play with...

Get to know me

1. Name: Stephanie

2. Age: ?

3. City that you live in: Tucson, Arizona 🌵

4. What do most people not know about you?: Anything, and I'm fine with that.

5. What do most people know you for?: I'm actually not sure anymore.

6. Hobbies?: Animal crossing. Shopping.

7. What are your passions? So many things.

8. What do you search for in a significant other? I don't.

7. What are you most proud of? A lot.

8. When was the last time you had a significant conversation with someone you love? I haven't been able to for a while. Quite a while.

9. Have you ever collected anything? What was it? Yes, Pokemon cards, Animal Crossing cards, and CDs.

10. List 10 things off of your bucket list: I think it's bad luck.

11. What was the last thing you learned? This evening's television programming line-up.

12. How many relationships have you been in? One.

13. Turn ons: It is no way safe for me to list that here.

14. Turn offs: Too many to list.

15. Favorite food: Pizza.

16. Favorite drink: Green juice.

17. What is the best birthday gift you have ever received? I'm not sure...

18. Are you optimistic or pessimistic? I'm not pessimistic, I know that for sure.

19. Do you sleep during class? Never.

20. What is the most expensive thing you own? I'm not sure.

21. What is the cheapest yet most useful thing you own? Paper. Pens.

22. How many times a day on average do you check your phone? About three times.

23. Text or call? Call.

24. Opinion on long distance? You should probably have it.

25. What is your definition of success? I've probably achieved it.

26. Favorite song? Right now, it's "Merry Christmas" - Ed Sheeran, Elton John

27. Favorite artist? I don't do that.

28. Celebrity crush/crushes? Nope.

29. When was the last time you read for fun?it's been ages.

30. Favorite flower? I love them all.

31. What is the best gift you could receive right now? A long hot shower.

32. Any guilty pleasures? No. None. But, I do own a copy of "Guilty Pleasures."

33. What is one thing you would like to change about yourself? I'm incredibly injured right now and I would like to heal.

34. What do you search for in a friend? I don't.

35. How many times have you said "I love you" in the past month? Every single day.

36. Where did you last go other than your room/home? I went out pumpkin hunting on Halloween Eve.

37. Why do bad things happen to good people? Next.

38. In your opinion, what hurts more? Being left out or being stabbed in the eye? (Who wrote this?!) Being stabbed.

39. How many green shirts do you own? More than a few.

40. Do you like anime? Not really, no.

41. What do you invest the most time in? My work. My body. My life.

42. What was the name of the last book you read? Tiny Pretty Things.

43. What's the difference between loving and liking someone? One you like, one you love.

44. Where are you most productive? In bed.

45. List 3 things you enjoy doing with friends. Barely watching "Criminal Minds," talking and solving mysteries.

46. List 3 things you enjoy doing alone. Everything. One of the beautiful things about me and my boyfriend is he's always here and I always feel "alone," I never feel like I have to fucking entertain someone, I feel like I'm effortlessly doing things alone but I'm not, he's right here and we do nearly everything together. More specifically though, read, shower, work.

47. Do you believe world peace will ever exist? Yes, and then it won't and then it will again.

48. Do you have any allergies? No. And, magically, yes.

49. When was the last time you cussed at someone? Very, very recently.

50. What was the last promise you made? I don't make promises.

51. What was your last dream about? I don't remember.

52. If you won a trip to Hawaii and you could take 5 people with you, who would those 5 people be? I wouldn't.

53. How many countries have you visited? Canada. So, one. One country.

54. What is your favorite medium of art? (Music, dance, painting, etc.) For me to participate in? Most recently it was photography.

56. When was the last time somebody complimented you? This doesn't happen.

56. If you switched bodies with someone, how would you recognize yourself? This would never happen. I would never do this.

57. Do you consider yourself mature? Yes.

58. How many days in your life do you think you have wasted on tumblr? None. None days.

59. What is your favorite quote? I have so many... Let's go with: "May the bridges I burn light the way."

60. If you started a new religion and you had to create 3 rules or commandments for your new followers to live by, what would those 3 rules be? This sounds like so much work...

61. What is your greatest accomplishment? There's so many...

62. Do you believe in the death penalty? No.

63. What are your goals for life? Success. Success in all endeavors.

64. What do you think your soulmate is doing right now? This could take A very long time to answer but I believe he is content.

65. If you could live anywhere, where would you live? The place can be in an imaginary, fantasy, or the real world. I like where I live. Truly. I love it.

66. What were you like in 2013? Busy. Plotting revenge. And, then learning there is no such thing. Besides, I can do way better than revenge.

67. Do you have a job? Yes, several.

68. Tell us a story about your childhood best friend. I didn't have one and I won't reduce my dog to "childhood best friend."

69. If you could change one thing about society, what would it be? I'm working on each thing I could list here and I believe firmly in doing to work and then discussing it.

70. How many all-nighters have you pulled before? A lot. (Never for school.)

71. Is tumblr your favorite website? If not, then what is your favorite website? No. Right now, my favorite is anything I can use as A resource correctly.

72. What is the craziest thing you would do for a million dollars? I do not do crazy things. I just don't.

73. Does money equal happiness? Yes. Emphatically.

74. How many times have you experienced true happiness in your lifetime? Constantly.

75. How many times have you experienced true sadness in your lifetime? Sadly, more than a few.

76. What is the funniest joke you have ever been told? I cannot think of one. But, I'm sure in elementary school I heard some funny ones.

77. When was the last time you looked at the news? About an hour ago.

78. If you could say one thing to the world, what would you say? Thank you.

79. What is your favorite animal? I love them all.

80. If you could earn a million dollars by pretending to be dead for 3 years, would you do it? No.

81. What is one thing that everyone is bad at? Apparently communicating...

82. What time do you normally sleep? How many hours of sleep do you usually get? Right now, I'm falling asleep around six o'clock in the morning and I'm sleeping until noon. This is not healthy and I look forward to correcting it.

83. Does age necessarily equal maturity? No, not at all.

84. What is your favorite clothing store? I like so many. Right now, QVC.

85. In the winter- beanies or gloves? Neither, I live in Tucson.

86. Would you rather have wings or a fish tail? Wings.

87. If you had the power to erase one person from the world so that nobody remembered him or her except you, would you do it? Yes, and I know who.

88. What do you fear the most? Everything.

89. How many digits of pi can you recite? 3.14.

90. If you could travel back to one year and relive it again, which year would it be? No thank you.

91. Describe yourself in one word. Awesome.

92. Describe your last victory. That would take A very long time, but there was just a recent one, it came out of nowhere and it was great.

93. What is the weirdest thing you have ever seen? I've encountered so many...

94. What is something you will never forget? I'm never sure.

95. Would you rather forget all of the past or remember everything in vivid detail? Remember everything in vivid detail.

96. Have you ever broken a bone before? Yes, several.

97. Is it harder to love or to hate somebody? Hate. It consumes too much time and takes to much effort with no reward.

98. Coffee or tea? Coffee.

99. What are some little things that you do that have changed your life in a positive way? Sleep. Prayer. Meditation.

100. How many hours have you spend on tumblr today? Less than one.

Well, there it is... I learned a little about myself and where I am right now.

I'm really not that interested in discussing much right now.

Which makes perfect sense to me.

Bye for now.

[jameswmurphytucsonaz]

The Habitat for Humanity HabiStore in Tuscon Arizona

Habitat for Humanity is a nonprofit organization that coordinates volunteer-staffed home-building and renovation projects. Its members strengthen the communities they serve by addressing housing instability and shortages and helping individuals and families reach self-reliance. The HabiStore is a nonprofit home improvement store and donation drop-off site with nationwide locations supporting Habitat for Humanity’s mission.

Instead of brand-new items, customers buy discounted donated furniture, appliances, and building materials. However, it does not accept mattresses, clothes, or televisions.

In Tucson, the store is open Monday through Saturday from 9:00 AM to 5:00 PM and Sunday from 10:00 AM to 4:00 PM. It accepts dropped-off, gently used items, or its staff can schedule a pickup. On Tuesdays, older adults receive 10 percent discounts, while all military veterans receive a permanent discount. To rotate each location’s inventory, unbought items in the store for at least a month receive a colored tag, denoting a cumulative 25 percent discount.

Sales from the Tucson store fund Habitat Tucson, helping it source materials for building new homes.

[lboogie1906]

Sharon Ann Leal (October 17, 1972) is an actress and singer. She is known for her roles in movies such as Dreamgirls, This Christmas, Why Did I Get Married?, Why Did I Get Married Too? and her roles on the television shows Legacy, Guiding Light, Boston Public, and Supergirl.

She was born in Tucson. Her mother, Angelita, is Filipina. Her father was an African-American military policeman.

Her career began with the role of Dahlia Crede in the Guiding Light. She joined the Broadway company of Rent. She was cast as Mimi for the San Francisco leg of the first national tour of Rent. She appeared on the original cast recording of the Off-Broadway musical Bright Lights, Big City. She appeared on the 2001 cast recording of Making Tracks.

She starred in Boston Public. She had a role in the theatrical release Face the Music. She appeared in a recurring role in LAX, as the wife of airport co-director, Roger de Souza.

She played the character, Vanessa Lodge, in Hellcats. She played a supporting role in the movie 1982.

She appears in seasons 2, 3, 5, and 6 of Supergirl as M’gann M’orzz.

She married Bev Land (2001-07), and they have one son. #africanhistory365 #africanexcellence

[midpenmedia]

Say hello to Jo everyone! Here is why Jo say why she belongs at Midpen Media:

When I was 5 years old watching TV shows in Tucson, Arizona....I told everyone what job I wanted to do when I grew up. All I ever wanted to do was work in a television station! Well, it took a while....but fast forward to 2015 when I found a fantastic place to update my skills and work at Midpen Media Center! Not only did I get to do everything on the production crew....but I was benefiting our community by working on lots of interesting, valuable shows and the people I work with are great!