Laura is the face in the misty light Footsteps that you hear down the hall The laugh that floats on a summer night That you can never quite recall

DANA ANDREWS in Laura (1944) dir. Otto Preminger

i really love this movie

laura (1944) / laura by vera caspary -- baseball games

bonus still from a deleted scene where mark makes it to the game (with company) --

mark growing on bessie was funny and cute in the movie but it's even better in the novel. she really goes from "i ain't afraid of cops i was brought up to spit whenever i saw one" to "laura, he's the only real man who ever walked in here"

Madness - Cover shoot for the album “7” - 1981

📸 - Michael Putland

Instagram stories from parkerpr, lovescupcake, writeandwander, smartdrones, _steve_anthony, megan tracz, barsev, ciffcalgary, elia abreu kepp, spencer twins and riabo_i 28/9/2023

Round one

The Time

Formed in: 1981

Genres: Funk rock

Lineup: Morris Day – lead and backing vocals, drums, Linn LM-1

Jesse Johnson – electric guitars, drums, backing vocals

Paul Peterson – synthesizers, backing vocals

Jerry Hubbard – bass guitar, backing vocals

Jerome Benton – percussion, backing vocals, mirror

Jellybean Johnson – drums, Linn LM-1, backing vocals

Mark Cardenas – synthesizers, backing vocals

Albums from the 80s:

The Time [1981]

What Time is It? [1982]

Ice Cream Castle [1984]

Propaganda: 

Madness

Formed in: 1976

Genres: Ska, pop

Lineup: Graham 'Suggs' McPherson – lead vocals

Mike Barson – keyboards, harmonica, piano

Chris Foreman – guitars

Lee Thompson – saxophones

Daniel Woodgate – drums

Mark Bedford – bass guitar, double bass

Cathal Smyth – backing vocals, trumpet

Albums from the 80s:

Absolutely (1980)

7 (1981)

The Rise & Fall (1982)

Keep Moving (1984)

Mad Not Mad (1985)

The Madness (1988)

Propaganda: 

Madness Keep Moving 1984 Stiff ————————————————— Tracks: 01. Keep Moving 02. Michael Caine 03. Turning Blue 04. One Better Day 05. March of the Gherkins 06. Waltz into Mischief 07. Brand New Beat 08. Victoria Gardens 09. Samantha 10. Time for Tea 11. Prospects 12. Give Me a Reason —————————————————

Mike Barson

Mark Bedford

Chris Foreman

Graham McPherson

Cathal Smyth

Lee Thompson

Dan Woodgate

* Long Live Rock Archive

DANA ANDREWS and GENE TIERNEY in Laura (1944) dir. Otto Preminger

Your indiscretions are becoming too expensive to cover up

"I don't recognize the one the left, but I certainly recognize the one on the right. Ida never told me she posed for him..."

"The one on the left reminds me of Frantiska. On the right side I haven't a clue..."

"Vladanna on the left and he finished Apolina. The paint is still drying..."

Gustav "Gus" McPherson

laura (1944) / laura by vera caspary -- laura's portrait

laura’s loneliness (a luxury) vs mark’s loneliness (not a luxury)

something something the upper class world in "laura" is a world of performance (waldo's "i should have been an actor", shelby being "unreal, a dream walking" who poses and performs the role of the aristocrat at all times, laura being described by waldo with shakespeare's "concealment, like a worm i' the bud, fed on her damask cheek", mcpherson thinking laura's apartment must have looked like a "studio setting" to diane) and mark has to grow from spectator to fellow actor. "a key turned in the lock. we assumed postures of piety as mark entered", "the scene turned theatric", "the scene was unfinished"... before meeting him, waldo spies on him from the door and therefore observes him while he thinks he's alone and unguarded, shelby too watches him for at least a moment before mark notices his reflection next to his in the mirror (isn't symbolism neat?) and laura sees him for the first time while he's asleep. he always begins at a disadvantage, and obviously so: he's an intruder, a stranger, a detective, and he's not of their class. but he slowly begins to set up little performances: the liquor bottle stunt with shelby, hiding laura's return from those entering the apartment, pretending to be ready for violence in front of his boss to get what he wants, and obviously the scene in front of waldo that allows him to confirm his suspicions and catch him in the act... he was capable of it from the first, but by the end nobody is able to read him as easily as before, because he learned the rules of their game. the shifting povs are perfect to reflect this too: at first we see him through waldo's eyes, even when he's alone; then we hear from him, we make our own opinion of him as his growing knowledge of the situation allows him more control; and then laura narrates, he shifts away from us and we no longer know his exact thoughts again because he's now completely in actor mode to solve the case and save her... and he returns to the very end to reveal what was performance and what not, as nobody, not even us, could tell anymore. he and laura both, who come from the lower classes (laura succeeded in her work, mark did his best to get an education by himself, neither of them was born in this world), intrude on the stage and wrestle control from waldo, who thinks he's the only possible playwright.

favourite couples in classic movies

Mark McPherson and Laura Hunt (Laura, 1944)