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#john paul howard
thearchivistonmars · 2 years
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HOLY SHIT THE PLOT TWIST IN THE WRETCHED
no spoilers but it was SO fucking good. all the little things throughout the movie that struck me as odd all make sense now. the game of connect four, the “little artist” comment. holy shit, that was masterful.
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diioonysus · 2 months
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creatures in art: mermaids & sirens
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ruthflemwad · 9 months
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some hatchetfield text posts bc why not
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opera-ghost · 1 year
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"but christine..."
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underthecitysky · 6 months
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Howard Stern talking about Now and Then this morning. He didn’t like it very much, he didn’t think John would want it out, it made him depressed (which idc about) but Robin brought up the J & P “love affair” press saturation and so I’m here to report. 👆
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beatleswings · 7 months
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THE BEATLES on the set of TOP OF THE POPS. 16th June 1966. Photo taken by RON HOWARD.
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tundrafloe · 5 months
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Noel: “Robin Williams used to fly to the gigs; he would come backstage and do impressions of our characters. I grew up obsessed with Mork & Mindy, which was truly surreal.”
(Sydney Morning Herald 2023)
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infectedpaul · 6 months
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she peipin on my john til im mcnamara
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Top 10 Favorite Performances of "Music of the Night"
Honorable Mentions: Laird Mackintosh
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I have an affinity for Laird that I can't quite explain. I love an understudy/alt/swing who's been with the production and just lingers for years and years (this is borne out in the rest of the list, as you'll see), I love that he started out in ballet, and I love how energetic he is. Though he falls short on the high notes, he plays the reaction to Christine fainting very well
Honorable Mentions: Dave Willetts
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He's so smooth and creeping, and he's one of the especially good Phantoms who catches Christine before she falls (I'm a sucker for that, as will also be borne out in the rest of the list). He's been accused of "Copying" Michael Crawford, and I do see where that criticism is valid, but I think it's understandable given that he took up the mantle very early in the West End run.
Honorable Mentions: Cris Groenendaal
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Cris is a really underrated Phantom. Another Alt/Understudy (who, like Laird, spent a lot of time in the role of M. Andre), I think he's got a wonderful power in his voice. His MotN is melodic and seductive. His pitfall is that he does tend to get a little bit nasal for my tastes.
Honorable Mentions: Ramin Karimloo
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Honestly I think Ramin lands in most people's top tens. Certainly the 25th Anniversary at the Royal Albert Hall has made him on of the most ubiquitous Phantoms out there. Now, frankly, Ramin has taken a while to grow on me, and while my viewing of the 25th was the thing that pushed me to include him on this list, that performance is not the one that I chose to include here. Instead I went back, to his West End run. While I think Ramin's performance is a bit broad whenever he's actually in character, I do see what people mean about his emphasis on Erik's vulnerability. He does (with slightly less refinement) what I will later in this list praise Earl Carpenter for (and that's high praise from me, as you'll see). Still while I like Ramin's Erik a lot more now than I did, say, four months ago when all this brain-rot started, he's just not one that feels personal to me, which is why I hesitated to put him in the top ten proper.
10. Paul Stanley
I mean of course I'm fascinated by Paul Stanley's whole Phantom saga, so of course he's in here. He's far from the most technically proficient, he struggles with the high notes, but he really does a good job otherwise, and I have to admire his moxy.
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09. Brent Barrett
Emphatic and sexy with compelling body language. So underrated.
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08. Howard McGillin
Spectral, Resonant and controlled; a legend.
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07. Hugh Panaro
Hugh is one of those that I feel like is a pre-requisite in a top ten list. My favorite thing is how he plays heavily on the phantom's fascination with Christine, and not solely on making her fascinated by him
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06. Michael Crawford
Another prerequisite. He's ghostly, coaxing; the OG OG. The man who said, "No I want them to be able to see how lustfully he's touching her in the back row. I need to show more skin: make my sleeves shorter." This man understood the assignment and he set the tone and God bless him for it.
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05. Anthony Warlow
The original Sydney Phantom, another beautifully strong, clear vocal quality. He has a very old-fashioned style of singing, I think which has a particular charm. If I had to name a fault it would be that he is quite theatrical, which I don't mind, though I tend to prefer an understated phantom. He never undersells a single line. I think his phantom is one of the most "hopeless romantic" interpretations. A particular standout for me is how he conveys that Christine's reluctance tries his patience, but he holds it together and his "touch me, trust me" is beautifully reassuring, while many phantoms choose to portray lust or longing in this moment, his is an appeal for understanding which is very attractive in its own way.
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04. Ben Lewis
The power! The gravitas! Ben Lewis is truly one of the greatest blessings in PotO history and his high note? Off the charts. Also, since this is the whole first lair, I just want to say that this is one of my favorite versions of "Stranger than You Dreamt It" I've ever heard.
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03. Ted Keegan
Refreshingly sharp and clean. I just love how powerful he is without being overpowering. He's strong, sensual and smooth. *sigh* ~,~ If only he caught her...
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02. Earl Carpenter
So pleading, so gentle--holy hell I love Earl so much. Watch him show Erik's inner struggle with his desire for contact and his fear of his deformity throughout this entire scene! Watch him think to himself "Yes, let her touch you! Why shouldn't you?" And then lose his nerve at the last moment! I could go on for hours. Find me a sweeter Phantom. Go ahead.
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01. John Owen-Jones
Without a doubt in my mind THE strongest vocal performer in this role. I just love to hear him booming out in his great, Welsh way. He strikes an exquisite balance between his acting and his singing. His vibe in general is amazing, like he really leans into the idea that he's been Christine's teacher as much as her muse. He has guided her through music and he wishes to be her guide into romance as well, and that manifests in every aspect of his performance. Such as the fact that he doesn't walk away from Christine for the second verse, so he's leaning close when he sings "Let your spirit start to soar" and almost always gestures with his hand over her diaphragm. If I'm completely honest, he's the only Phantom (except perhaps Michael Crawford or Gerard Butler) that I can actually imagine giving Christine singing lessons. So few actually inhabit this music obsessed weirdo like JOJ does.
He, perhaps the ultimate gentleman phantom, also catches and carries Christine before she falls. (Special shout out to my girl Gina Beck for also REALLY leaning in to the romanticism of the moment; she looks just so utterly in ecstasy through this whole sequence and that's exactly how I would want to play Christine).
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I need to tack a caveat onto the end here:
Gerard Butler's Music of the Night is my actual, number one favorite rendition.
But I wanted this list to be stage versions only.
I think I can put my feelings on this most succinctly like this:
I love JOJ's confidence, his command and his sensuality
I love Earl's gentleness and vulnerability
I love Anthony's patience
I love Ted's crispness
I love Paul's humanity
I love Ben's power
Gerard Butler somehow manages to crystallize ALL of those elements and ramp them every one of them up to 11 with an added element of wholly smitten wonder at Christine that makes me so weak.
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politicaldilfs · 2 months
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Arizona Governor DILFs
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Evan Mecham, Fife Symington, Sidney Osborn, Benjamin Baker Moeur, Jack Williams, John Howard Pyle, Samuel Pearson Goddard Jr., TBD, Dan Edward Garvey, Doug Ducey, Robert Taylor Jones, Rawghlie Clement Stanford, Ernest McFarland, Raúl Héctor Castro, Bruce Babbitt, Paul Fannin
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It's Edgar Rice Burroughs' birthday, and since we just celebrated Tarzan Day, how about we show John Carter some love?
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weirdlookindog · 11 months
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Unknown Terror (1957)
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sounwise · 2 years
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[The day he learned of John’s death] Paul arrived at AIR at the same time as his record plugger Joe Reddington. As the men walked through the lobby to the lift, a journalist tried to follow them in and had to be ejected before they could ascend to the fifth-floor recording studio. Paul then attempted to do a day’s work. ‘He was just very, very quiet, and upset, as we all were,’ recalls Denny Laine. ‘He said to me, “I’m never going to fall out with anybody again in my life,” which is impossible to do, but that’s the way he felt. I knew he felt that maybe they didn’t make up like they should have done, so therefore he felt a bit guilty…’ As the musicians stood looking out of the window, they saw a furniture van below on Oxford Street with the name Lennon’s on the side, a type of van neither man had seen in London before. ‘We looked at each other and went, “Uh-ho! That was an omen.”’ The phone rang. Joe Reddington picked up. ‘Can I speak to Paul McCartney?’ asked a woman. ‘He’s busy at the moment. Who’s calling?’ ‘It’s Yoko.’ Joe knew instinctively it really was John’s widow, rather than a hoax. He told everybody to clear the room. ‘And [Paul] took the call. I just closed the door and he was crying—he’d lost his best friend.’
[—from Fab: An Intimate Life of Paul McCartney, Howard Sounes]
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krispyweiss · 29 days
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Song Review: Heart - “Going to California” (Howard Stern, April 10, 2024)
Ann and Nancy Wilson took the current version of Heart to “the Howard Stern Show” to do their “female Led Zeppelin” thing with “Going to California.”
The song is both “spacious” (Ann) and “Zeppelin-ey” (Nancy) but this version was, sadly neither. Nor, worst yet, was it particularly Heart-y - this, despite three acoustic guitars, mandolin and rhythm section behind Ann Wilson, who remains in relatively strong voice.
“Wow,” Stern said when it ended. How he meant it is debatable, as Sound Bites had a similar thought.
Grade card: Heart - “Going to California” (Howard Stern - 4/10/24) - C-
4/15/24
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vertigoartgore · 8 months
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Early 2001 Kaare Andrews's cover for Peter Parker:Spider-Man #29. Just before the start of the famous JMS/JRjr era (and also 9/11).
Seems like someone was hyped for the (then) upcoming 2002 movie.
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thebeatlescharts · 1 year
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LENNON & MCCARTNEY: 1ST HOUSE SYNASTRY
“The First House The first house deals with not only personal identity but the beginning of the self. It also defines the way we approach the beginnings of all things, new endeavors, new phases of life, as well as “the inborn expectations and images we have whenever we have to ‘get something started’. 
Additionally, the first house--often described as the mask we wear, and therefore, how others see us--gives an indication of the effect we have on others when we arrive on the scene.” Howard Sasportas
☀️ John’s Sun is in Paul’s 1st House: John felt that he had found almost a copy of himself in Paul. He felt connected from the start. A strong physical attraction and many things in common with each other. John felt encouraged to be his genuine self. John’s warmth brought out the best in Paul, with John potentially playing the role of a mentor. Egos have to be put aside for a relationship like this to work, since they often want to play the same role. Because of the Sun’s natural rulership of the fifth house and the asc’s rulership of the physical body, there’s a good chance there was physical attraction present in this partnership.
❤️ Paul's Venus in John’s 1st House: Venus falling in a person’s first house makes this person your physical ideal. Paul loved the way John presented himself. This includes his fashion sense, general style, musical preference and all his own quirks and mannerisms. Paul would give John a boost of confidence and pride in himself. Very intense “love at first sight” vibes and strong affection. Paul helped John present himself in a more harmonious manner, and John helped Paul feel more confident in his social and artistic endeavors. 
🧡 John’s Mars falls in Paul’s 1st House: They had a fiesty and firey relationship that outsiders could rarely understand. Though John could not hide how Paul made him feel, he felt inclined to restrict himself when it came to Paul. There was a tug of war for dominance in the relationship. Very sensual and bold vibes to this placement. John kept Paul on his toes. 
💜 John’s Neptune falls in Paul’s 1st House: Points to a more mystical bond and connection. His effect on Paul could often be soothing. 
🌌 John’s Sun, Mars, Neptune and Node all fall in Paul’s 1st House
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