#Linda Lawley | Explore Tumblr Posts and Blogs

odk-2 · 9 months

Text

Suzi Quatro - Lipstick (1980) Mike Chapman / Nicky Chinn from: "Rock Hard" (LP) "Lipstick" / "Woman Cry" (Single)

Rock

"Borrows" Liberally from Van Morrison's "Gloria" and The Angels' "My Boyfriend's Back"

JukeHostUK (left click = play) (320kbps)

Album Personnel: Suzi Quatro: Lead Vocals / Bass Guitar / Organ Len Tuckey: Lead Guitar / Backing Vocals Jamie Crompton: Guitar Dave Neal: Drums

Backing Vocals: Andrea Robinson Linda Lawley Michael Des Barres Paul Delph Sue Richman

Produced by Mike Chapman

Album Recorded: @ United Western Studios in Hollywood: California USA June 18, 1980 - July 3, 1980

Album Released: October, 1980 Dreamland Records

US Single Released: January, 1981 UK Single Released: on May 1, 1981 Dreamland Records

#Suzi Quatro #Lipstick #Mike Chapman #Nicky Chinn #Rock #1980's #Rock Hard #Dreamland Records #Chinn And Chapman

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biglisbonnews · 1 year

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Edward Enninful and Linda Evangelista on Fashion Then And Now Edward Enninful cuts a unique figure across the backdrop of the fashion landscape. He is a Black gay man, an immigrant who came to London from Ghana and the European editorial director for Vogue as well as the editor-in-chief for British Vogue. The result means that while he is largely influential through his actions, overseeing the brands and editorial output of some of the industry’s most respected publications, his impact extends through his very existence. He is for many a “possibility model,” or a living testament to how far one can go.I know that experience personally: As a young Black boy aspiring to work in the fashion business, I had few people to look up to who actually looked like me. For years, André Leon Talley was my one-of-one. And then when The September Issue documentary was released in 2009, in which Enninful makes a cameo appearance as a contributing stylist for American Vogue, he too joined this small group. When Grace Coddington told him to “demand or you will be blamed” and urged him to beat his way through the industry to be heard, I felt as if she was speaking through him and to me. But Enninful had been beating his way through long before Coddington gave him any advice.While Enninful’s mother was certainly a part of the fashion industry, she was far from where the seats of true fashion power are thought to be in Europe. Back in Ghana, his mother ran a dress shop making looks for high-society women.“My mother lived and breathed fashion,” Enninful says. “She was a Black woman in the '70s running a business. She was the breadwinner and she showed me everything was possible.” And his life became a living testament to that idea.Once in London, Enninful was scouted as a model in the early '90s before going behind the camera, becoming a stylist and photography assistant. Then he made history as the youngest fashion director at an international fashion magazine when he was appointed to the post at i-D. Even then, he was pushing his way through, beating out his own path, namely through putting Black girls on the covers, issue after issue, at a time when they were often treated only as one-offs.“People in the industry would say to me, ‘Oh, another one?’” he remembers of the pushback. And that’s what he gave them: another one, and then another after that. It was an early mark in a career where Enninful has posed the question: “Why?” Why must we do it like this? Why can’t there be four covers in a row featuring Black models? The result has made him a catalyst for much-needed industry restructuring and reformation of thought.He pressed on asking why. He asked: Why can’t plus-sized models cover a fashion magazine? when he put Candice Huffine, Tara-Lynn and Robyn Lawley on the cover of Italian Vogue in 2011. He forced conversations about racism when he took to Twitter to ask about his second-row couture seating assignment while he was the fashion director of W Magazine — a departure from how his white counterparts were treated. And he asked why in a historic way when he helped to lead the execution of Italian Vogue’s all-Black issue. All along, he’s stayed true to his beliefs.“My mother told me, ‘If you are going to get fired, make sure you get fired for what you believe in and not what someone else believes,’” he says.Having made waves with the aforementioned projects, Enninful’s ascension to the top spot at British Vogue ushered in a new era for the publication seen primarily through his covers. In a bid to represent all women, the editor began releasing images featuring women of various races, at various ages and presentations. Why not cast Halima Aden as the first hijabi model for the cover? Why not give frontline workers in the COVID-19 epidemic center stage? Why not give British Vogue its first Black woman on the cover of a September issue in the form of Rihanna? Why not celebrate Pride with a fold-out cover of 12 LGBTQ+ stars? These are the questions Enninful has asked, pushing the industry forward with diversity as a central focus.“You’re influencing people who have even been around a lot longer than you,” supermodel Linda Evangelista tells Enninful just days after New Year’s celebrations. And she would know, given that the pair have worked together throughout the editor’s long career, beginning at i-D and then for every publication Enninful has held a post at since.But life is more than just work: The recently married editor is just as welcoming and supportive in his personal life, according to Evangelista. While Enninful calls Evangelista a star with a distinctly English sense of humor and awe-inspiring knowledge about fashion history, Evangelista’s words on Enninful get to the heart of the type of man he is.“For me, the most important thing for making a new friendship and keeping a friendship is how safe I feel when I’m with them,” she says. “To know that I’m safe to be myself. Edward has always offered me that. I can be as serious as I want to be, I can be as real as I want to be, I can be as funny as I want to be, and with Edward I know I’m always safe. This is even outside of work.”Here, in a conversation for PAPER, the close friends discuss how they met, how power in the fashion industry has changed and what keeps them going.How did you both spend New Year’s? Linda: I had the best New Year. Asleep at 10:30; it was fabulous, it was so good. I don’t like a prix-fixe menu at a restaurant with a warm glass of champagne and a noise maker. I don’t. Edward: And hot caviar. Linda: I don’t eat caviar, so I don’t. Edward: I was in St. Barth’s and I went to dinner. We thought it was a small dinner and it was about 150 people. It was hideous.Linda: It’s a scene in St. Barth’s. Was it your first holiday there? Edward: No, it’s my second. Last year we had a house so it was quieter. But I thought let me get into the party spirit and it was just... oh my god. At the parties it’s like you go places and you know people but don’t really know them. So you see all those people that you don’t really know in one place. Linda: I like smaller parties where you can actually have conversations. You can only have small talk at those bigger things. But Edward, you're so social. You have to be for your work. I saw you were out last night. Edward: [Laughs] Linda sees everything! Linda: Well, I wake up at 5 o’clock, so I do my scrolling then. Edward: Yes, I have to be social. But I am social. I think it comes from coming from a family of six. I always had people around.How did you two end up meeting? Through work? Linda: Through work. Edward, what was our first job? Was it i-D? Edward: Yeah, it was at i-D in the ‘90s. I remember the first time I met Linda, you probably don’t remember. It was in Paris. I was with photographer Jenny Howarth. We came to shoot a friend of yours. We were waiting for her outside the Chanel show and you all burst out. That was when we first got introduced, and then i-D was when we first worked together. It was just like oh my god, Linda. I still have that same feeling today. Linda: Speaking of Jenny, I love her. How real is she? I’m in awe. Edward: Very real! She’s incredible. And she’ll send me pictures all the time. But yeah, and since then you and I have done so many stories together. Some of my favorite stories.Linda: I don’t really remember the first time we worked together but I was intimidated. Because when you work with someone new and they’re cool and you’ve heard buzz, I get intimidated. Edward: I think that was when we did the shoot with Craig McDean. It was me, Didier Ludot, Craig McDean, Pat McGrath, and we were so nervous! I think we shot in London and the pictures were so easy. I was actually looking at them yesterday. This little sort of grungy story with sneakers. Do you still get that same nervousness working with new people or are you mostly working with frequent collaborators?Linda: I’m not as nervous with Edward per se. I’m always nervous or on edge to produce, always. But there’s certain people in this industry that you just know you can’t fail with and Edward... he brings the fun, too. It’s not fun anymore, but Edward brings the fun. Edward: We do have fun, we still laugh. What I love about Linda — let me put it this way: I’ve worked with every model alive, and the thing about Linda is when you think of an idea, it’s not just, "Here's the dates." Linda will ask, "What’s the character, are there books I should be reading, are there films I should watch?" Then when she comes on set it’s 150%. Do you remember when we were on set with Steven Klein and you cut your finger, went to the doctor and came back?Linda: And I stayed in character the whole time. Edward: Linda is like a silent movie star. Like a Greta Garbo. I think that’s why you get so exhausted because you give everything. It’s like climb the skyscraper, get in the scaffolding, there’s nothing she won’t do and that’s rare. It goes beyond modeling. Linda: I love being given a character and Edward just gives. I was just thinking of that shoot where I cut my finger and the cameras were still rolling. I kept in character with blood squirting out of my hand. I got a favor from a friend who got a favor from a friend for someone to come at 9 o’clock at night to sew my hand back up. How has your relationship evolved since then? Linda: We had mutual friends. Now we’re all a family. If you invite Edward over to watch the Oscars, he’ll come in his PJs, bring dogs. We’re very comfortable with each other. What kind of pajamas did you come in? Edward: They were Alexander McQueen! Snake print. Linda: It’s not like they were J Crew. They were silk. Edward: I miss those dinners you used to have at your house. You were an Italian mama. There would be pasta and pizza and oh, we would eat! Linda: I miss them, too. I’m feeling her coming back. That part of me disappeared for a while, but I think she can handle it again.Having worked together for so long in this industry at so many different levels, how has the industry changed over that time? Linda: Oy. Edward: Oy. Where do we start? Linda: Would you agree with me Edward that now, the finished product, which is the ad, the photo or the editorial is no longer the primary reason to be there? All the B-roll and social media is the reason to be there. It feels like the image ends up being the least important part. Edward: Yeah. In the beginning, we would shoot pictures for magazines and you try to do the best pictures you can but now everything is a brand. So, like Linda is saying, there's the magazine cover which, for me, is the ultimate because it’s still the advertising for any magazine. But out of that you have to do video, audio, events. It’s no longer just one thing. But I still believe it’s what brings the magic. Linda: I was at the doctor’s office the other day and the nurse said she still got British Vogue. She was so old school but she said she looked forward to it every month. She doesn’t look like the kind of person who is on social media. It was sort of refreshing. She was saying they aren’t afraid and she looks at it as art. That’s the way people used to speak about magazines.Edward: The interesting thing about British Vogue is we are not subscription-based. We are slowly getting there but we are not subscription-based, so you have to sell on the newsstands. You have to surprise, you have to create conversation. So I’m very aware of that. I know that the Linda September cover was the most spoken-about thing that month, but it also sold very well. The video is my personal highest-viewed video. I called Linda when it hit one million views. But when we are on set we just have fun.Linda: We do have fun. I like putting Edward in the clothes. At the fitting, I had him in some footwear and some wigs. How do you think power in the industry has changed over that time?Edward: What do you mean by power?However you define it. For example: some people might say the consumer has more power than they had previously. Others might say whether or not stylists or models have more power than they did during the era of the original supermodels. Linda: Or the amount of followers a person might have has definitely shifted power. In the past we had one or a few dictators — mainly one. And yes, the power has shifted. There’s more than one view and opinion. A part of me says that all of it is welcome and refreshing but I feel like it’s maybe swung a bit too far. Sort of be careful what you wish for. I’m so proud of Edward and the person he has become. He’s worshiped and appreciated. You have so much to say, so much still to do, so much still to show. Your voice was so refreshing and necessary. I don’t know if everything you do is instinctual and it just comes naturally but it’s just a different way of working than the way things used to be, where one person at the top was pulling all the strings. You made change happen and we know you still have so much more to do and to give.Edward: Thank you, I don’t know what to say after that. I was supported, I had great mentors. And the industry was changing. I’ve been here for a long time and I felt that the industry had to be more welcoming to people from different backgrounds.Linda: It couldn’t stay the way it was.Edward: No, it couldn’t. We had to be more welcoming: colors, race, age, sexuality, economic background. Linda: Shape!Edward: Everyone has to see themselves. It moves beyond diversity by using positions of power to have important conversations. Do you feel a responsibility for that?Linda: I think it’s helpful to be transparent. Even if it just helps one person. I also worry we’re going too far the other way. I see clickbait, and I worry that all the mystery and magic of art is disappearing.Edward: With social media, everyone’s now a curator. Everybody can say whatever they want. We have to be careful, but we’re also now able to have discussions about things we didn’t have discussions about in fashion before. Race and even age. Like Linda said, everyone has to be seen. I try to focus on that and zone out the clickbait stuff.Linda: Clickbait is just noise. It makes me want to go away. Growing up, getting an issue of Vogue and flipping through, it was all about dreaming and fantasy and luxury. Yesterday I was scrolling on Instagram and an influencer passed gas in an elevator and got I don’t know how many million clicks. I thought, What am I doing here? I don’t even know how I got here. Edward: Curiosity. A lot of people in our generation are like, that’s over, that’s it, the good days are over. But there’s a curiosity that keeps Linda going, that keeps myself going. And also wanting to learn about a whole new generation.What keeps you going and plugged in and competitive? Linda: I’m not competitive.Edward: I was never competitive. I remember when I started at i-D in the early ‘90s, the trend was for stylists to have a style. So this one did minimalism, this one did something else. I wanted to do it all. I wanted to do street fashion, I wanted to do high fashion. I wasn’t successful for a lot of years because of that. But in the end that was the grounding that makes me able to do what I do now: versatility and curiosity.So what do you hope to focus on in the new year? Edward: I want to carry on doing what I do. I want to represent all women across the globe. I want to represent all different groups. Linda: It’s not just women that you represent though, Edward. It’s people.Edward: Nothing is off-limits. It’s my job, more than anything, to create conversation and to be part of the conversation. And bringing beauty as well.Linda: You’re influencing people who have even been around a lot longer than you. You’ve influenced the whole industry. Edward: That’s a confidence boost, thank you. The industry — it was time. When I got the job, I thought I’d last about three issues, because I was going to do what needed to be done. But you get to somewhere new by breaking misconceptions. Linda: You shook it all up for us.Director: Nick KnightExecutive producer: Kat DaveyProduction coordinator: Jared PasamarProduction assistant: Kitty LyonsProduction assistant: Tommy AucottCasting director: Rosie Vogel-EadesHair stylist: Sam McKnightHair stylist assistant: Eamonn HughesHair stylist assistant: Valerie BenavidesHair stylist assistant: Ryan SteedmanHair stylist assistant: Kumiko TsumagariMakeup artist: Laura DominiqueMakeup assistant: Katrina McLeodMakeup assistant: Shindo NannanManicurist: Adam SleeManicurist assistant: Abena RobinsonStylist: Dena GianniniStyling assistant: Aurelie Mason-PerezStyling assistant: Lea ZoellerStyling assistant: Sandra AmadorWardrobe coordinator: Sidonie BartonSeamstress: Laima Andrijauskaite1st photo assistant: Grace Hodgson2nd photo assistant: Christoph LangenbergPhoto assistant: Jed BarnesPhoto assistant: Madison BlairSet designer: Andrew Tomlinson Set assistant: Bradley BarrettWardrobe assist: Jaison Lin, Caitlyn Lim and Chloe FelopulosPA: Lily DaviesEditor-in-chief: Justin MoranEditorial producer: Alyson Cox https://www.papermag.com/edward-enninful-cover-2659212322.html

#Cover #Linda evangelista #Interview #Fashion #Vogue #British vogue #Edward enninful #Direction Nick Knight / Styling Dena Giannini / Hair Sam McKnight / Makeup Laura Dominique / Casting direction Rosie Vogel-Eades / Intervie #PAPER

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guessimdumb · 2 years

Audio

Eternity's Children - Your World (1968)

I’ve been on a bit of a sunshine pop kick lately. I posted a song a while back by the Gordian Knot who were from Mississippi, and strangely enough, so were Eternity’s Children. Produced by Curt Boettcher and Keith Olsen, this song has such a great sound,

#Eternity's Children #Your World #Curt Boettcher #Linda Lawley #Keith Olsen

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ariadnew · 5 years

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SHORE’S END WORKING HUNTER TRIALS

ST. CLAIRE CITY 2:10 PM

__________________________________________________________________

Before taking her position at Lowmax, Dot was a rider for hire. ... Or so she told anyone who asked.

What she’d really been was a glorified slave to the hunter princesses of St. Claire City’s metropolitan stables. (Except, not the glorified part) (There was nothing really glorious about it...) (Get my coffee. Re-sew this braid. Take these forms to the office. And do it before I get back.) (I can’t see my new eyelashes in these boots; shine them again) (Bae’s pooped on his tail and you need to whiten it) (Make his eyes POP) (This isn’t a non-fat extra-hot double-foam half-caf caramel macchiato with white chocolate sprinkles!) (His hooves aren't done until they're shinier than the presidential motorcade) (Get this green gunk off his bit. Again. No time to take it off- just shove your fingers in his mouth. Hurry.) (I said get me some lunch, not bring me a murder sandwich! I’m a VEGAN! Oh my god...) (...) But for all her many faults and failings, Dot was nothing if not tenacious. Not like one of the heroines in the many novels she’d read, who defied hardship in big, bold, and dogged ways- like the princess who escaped the tower and lead the army to victory on the back of a giant dragon, the cadet who heroically ran back into the exploding spaceship to rescue their trapped commander, the clever and charming young lady who went against all of moral and proper Georgian society in the name of true love- (all of whom heroically died in the end) (well- the latter was not explicitly written, but Dot assumed an early and impoverished death in accordance with the tradition demanded by Georgian novels when noble ladies married beneath them) (of course) Dot was not like that. Not bold, not brave. But she was patient. With her own meek and mild brand of resolve she not only survived the hunter princess’ reign of terror, she thr- Well, no. She didn’t really thrive; she couldn't say she survived and thrived. It was more like… survived… and… Did sort of okay. Yes. That. They taught her it was possible to sew forelock braids on head shy horses and only stab your thumbs two dozen times. That shine products shouldn’t be applied to the saddle area (unless you expressly wanted to see the person sitting in that saddle tipped in the dirt) and that there was secret inestimable value in baby wipes, mane mousse and hairdryers. She had perfected the art of emergency chrome whitening and lying when someone asked if their make up looked good. She had learned the difference between macchiato and latte. (sort of?) And, above all, the hunter princesses gave Dot her competitive start. When Cindy Chang broke her finger and had to miss a few shows, Dot was there. When Linda Walker contracted measles at the age of twenty-two, Dot saved the day. Every year during finals season- who helped Professor Rivera keep his big black mare climbing the levels? And when Kimberley Bartlett crashed her porsche on prom night and her parents grounded her- who made sure people of the hunter circuit still got to see that beautiful liver gelding they’d imported from the Netherlands float around the ring? (Dot did) Maybe she had the makings of a heroine after all. =============================

Dorothy ‘Dot’ Lawley and Morpheus competing in the Performance class. I imagine this taking place in Dot’s pre-Lowmax days, when she was slave exercising and grooming horses for St. Claire’s metropolitan hunter princesses.

#Dorothy Lawley #Lease Horse #Show Hunter #Competition #Lowmax Stud #The Sims 3 #TS3 #Equus-Sims #Written #Writing

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tslbooks-historian · 6 years

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The Dial Up

New Post has been published on https://tslbooks.uk/the-dial-up/

The Dial Up

On Thursday night, 14 December, 11 days before Christmas, I joined Alex Williams at The Kitchen, Croxley for an open mic evening with The Dial Up.

It’s not my usual scene, but having just contracted with Alex to publish his young adult novel, Chrysalis, it seemed an opportunity to support one of our authors, and find out about The Kitchen which is run by Linda Anderson who is very supportive of local creators. I had heard Alex perform at the premier showing of Mark Crane’s take on Leslie Tate‘s Heaven’s Rage in Berkhamsted. It was also through this link that I had heard about Linda, but hadn’t yet had a chance to meet her.

What was rather unusual, even for me, about this Dial Up open mic evening, was the absence of microphones – they were not needed in this small, intimate space. Yet no one seemed to sit on top of anyone else. For a cold night, it was warm and cosy. A genuine family feel.

The evening was mostly musical and having got annoyed two nights before, in a coffee shop in a neighbouring town for having Christmas songs sung off key in a very confined space without warning whilst trying to proofread, this time I got got into the Christmas spirit and enjoyed the evening. Alex opened with Take the “A” Train accompanied by Matt Wakefield on piano. This was then followed by favourites such as sleigh ride, Winter wonderland, Let it snow, I saw three ships etc.

Of the other musical numbers to follow, Julian Mount’s 11 days to Christmas was fitting as was his warning to Santa about the changes he should expect (CRB checks, MOTs and Health & Safety regulations amongst other chuckle inducing comments). Chris and Liz Lawley took us back in time singing solo numbers. Steve McLellan introduced me to a song about Dead Skunks in the middle of the road with a local flavour. I think I was the only one on the audience not singing along… Alison Raymond kept the caravan theme going before accompanying Susan Alexander on the fiddle.

Interspersed between all this were two poets – Brian Scott and Jim Connor. What was refreshing listening to these two was their reciting their poems without reading them. It brings the words alive in a way reading them doesn’t quite manage.

Alison Raymond has a one-act play currently on tour as 9-5 work commitments allow – Walter Harvey Hallam (an ordinary man) – a World War 1 story. (get a taste). See the TSL calendar for future dates.

Although the night was mostly muscial, it was a pleasant evening, and as usual I was astounded to see how much local talent there is and how people are finding ways to break out of the box.

This also happened to be the last night of The Dial Up at The Kitchen. From January 2018 it is at the London Improv Theatre 104A Finchley Road NW3 5JJ, Third Friday of the month at 7.30pm. More info here. The Kitchen, Croxley though will be continue to have an open mic night – details on the website

TSL Drama has a collection of monologues, one act and full length plays for theatre groups.

Related Posts

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#alexander williams #Alison Raymond #Chrysalis #Croxley #Julian Mount #Pump House #The Kitchen #Walter Harvey Hallam #Watford #X

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365footballorg-blog · 6 years

Text

England Women 0-2 Sweden Women: Lionesses lose in skipper Steph Houghton's 100th cap

England Women suffered a shock friendly defeat by Sweden in skipper Steph Houghton’s 100th international cap.

Sofia Jakobsson curled Sweden into the lead at Rotherham’s New York Stadium before Anna Anvegard’s close-range finish made it 2-0.

Caroline Seger also hit the post in an impressive first half from the Swedes.

Jordan Nobbs and Nikita Parris saw penalty appeals turned down in the second half as England slipped to a first home defeat under Phil Neville.

Relive England Women’s defeat by Sweden[1]

More to follow.

Line-ups[2]

Match Stats[3]

Live Text[4]

Line-ups

England Women

1Telford

2BronzeBooked at 27mins

5Houghton

6Bright

3Greenwood

8ScottSubstituted forStaniforthat 83'minutes

4ChristiansenSubstituted forStanwayat 73'minutes

7Parris

10Nobbs

11MeadSubstituted forDugganat 45'minutes

9DalySubstituted forLawleyat 73'minutes

Substitutes

12Blundell

13Earps

14McManus

15Williamson

16George

17Staniforth

18Duggan

19Carney

20Stanway

21Roebuck

22Lawley

23Ubogagu

Sweden Women

1Lindahl

13Ilestedt

3Sembrant

6Eriksson

15SamuelssonSubstituted forBjornat 61'minutes

23RubenssonSubstituted forRoddarat 90+3'minutes

17SegerSubstituted forFolkessonat 79'minutes

2Andersson

10JakobssonSubstituted forHurtigat 79'minutes

9AsllaniSubstituted forSchoughat 90+3'minutes

19AnvegardSubstituted forRolföat 61'minutes

Substitutes

5Bjorn

7Karlenäs

8Hurtig

12Andersson

14Folkesson

16Carlsson

18Rolfö

20Roddar

21Musovic

22Schough

24Spetsmark

Attendance:

9,561

Match Stats

Home TeamEngland WomenAway TeamSweden Women

Possession

Home53%

Away47%

Shots

Home14

Away5

Shots on Target

Home5

Away3

Corners

Home1

Away7

Fouls

Home14

Away15

Live Text

Posted at

Match ends, England 0, Sweden 2.

Full Time

Posted at 90'+4'

Second Half ends, England 0, Sweden 2.

Posted at 90'+4'

Foul by Alex Greenwood (England).

Posted at 90'+4'

Fridolina Rolfö (Sweden) wins a free kick in the defensive half.

Substitution

Posted at 90'+3'

Substitution, Sweden. Olivia Schough replaces Kosovare Asllani.

Substitution

Posted at 90'+3'

Substitution, Sweden. Julia Roddar replaces Elin Rubensson.

Posted at 89'

Attempt saved. Toni Duggan (England) right footed shot from the centre of the box is saved in the centre of the goal. Assisted by Nikita Parris with a cross.

Posted at 86'

Foul by Georgia Stanway (England).

Posted at 86'

Amanda Ilestedt (Sweden) wins a free kick in the defensive half.

Posted at 83'

Attempt missed. Nikita Parris (England) left footed shot from the centre of the box misses to the left. Assisted by Georgia Stanway.

Substitution

Posted at 83'

Substitution, England. Lucy Staniforth replaces Jill Scott.

Posted at 81'

Toni Duggan (England) wins a free kick in the defensive half.

Posted at 81'

Foul by Magdalena Eriksson (Sweden).

Posted at 80'

Corner, Sweden. Conceded by Carly Telford.

Posted at 80'

Attempt saved. Fridolina Rolfö (Sweden) left footed shot from outside the box is saved in the bottom left corner. Assisted by Nathalie Bjorn.

Substitution

Posted at 79'

Substitution, Sweden. Lina Hurtig replaces Sofia Jakobsson.

Substitution

Posted at 79'

Substitution, Sweden. Hanna Folkesson replaces Caroline Seger.

Posted at 78'

Foul by Jordan Nobbs (England).

Posted at 78'

Fridolina Rolfö (Sweden) wins a free kick in the defensive half.

Posted at 76'

Foul by Jill Scott (England).

Posted at 76'

Kosovare Asllani (Sweden) wins a free kick in the defensive half.

Posted at 74'

Jill Scott (England) wins a free kick in the defensive half.

Posted at 74'

Foul by Kosovare Asllani (Sweden).

Posted at 74'

Foul by Jill Scott (England).

Posted at 74'

Kosovare Asllani (Sweden) wins a free kick in the defensive half.

Posted at 73'

Attempt blocked. Toni Duggan (England) right footed shot from the centre of the box is blocked. Assisted by Lucy Bronze with a cross.

Substitution

Posted at 73'

Substitution, England. Melissa Lawley replaces Rachel Daly.

Substitution

Posted at 73'

Substitution, England. Georgia Stanway replaces Isobel Christiansen.

Posted at 70'

Lucy Bronze (England) wins a free kick in the defensive half.

Posted at 70'

Foul by Kosovare Asllani (Sweden).

Posted at 69'

Corner, Sweden. Conceded by Lucy Bronze.

Posted at 67'

Corner, England. Conceded by Linda Sembrant.

Posted at 65'

Foul by Jill Scott (England).

Posted at 65'

Kosovare Asllani (Sweden) wins a free kick in the defensive half.

Posted at 62'

Foul by Jill Scott (England).

Posted at 62'

Elin Rubensson (Sweden) wins a free kick in the defensive half.

Posted at 61'

Offside, England. Carly Telford tries a through ball, but Rachel Daly is caught offside.

Substitution

Posted at 61'

Substitution, Sweden. Nathalie Bjorn replaces Jessica Samuelsson.

Substitution

Posted at 61'

Substitution, Sweden. Fridolina Rolfö replaces Anna Anvegard.

Posted at 60'

Toni Duggan (England) wins a free kick on the left wing.

Show more updates

goal

References

^ Relive England Women’s defeat by Sweden (www.bbc.co.uk)

^ Line-ups (www.bbc.co.uk)

^ Match Stats (www.bbc.co.uk)

^ Live Text (www.bbc.co.uk)

BBC Sport – Football

England Women 0-2 Sweden Women: Lionesses lose in skipper Steph Houghton's 100th cap was originally published on 365 Football

#100th #England #Houghton&039s #Lionesses #lose #skipper #Steph #Sweden #Women

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theleaderdotinfo-blog · 6 years

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Two Day Bowling Competition at Benitachell Bowls Club has been published at http://www.theleader.info/2018/11/04/two-day-bowling-competition-at-benitachell-bowls-club/

New Post has been published on http://www.theleader.info/2018/11/04/two-day-bowling-competition-at-benitachell-bowls-club/

Two Day Bowling Competition at Benitachell Bowls Club

Benitachell Bowls Club hosted bowling teams from most of the clubs in the Northern Costa Blanca, El Cid, Finca Guila, Calpe, Javea Green and Bonalba, for a two day competition, which was held on the 1st and 2nd of November, and, very kindly sponsored by Salvador from Vives Pons Classic and Maria Morawiec of Dragon Insurance. Many thanks must also go to the organisers, all those that took part and well done and to the caterers who fed and watered everyone. The weather was chilly and wet at times but the 78 bowlers played with enthusiasm during the whole competition, with plenty of spectators cheering them on – each team of 3 playing 8 end triples, with 6 games over the two days. 4 teams ended up with 10 points with shot difference deciding the out come. In 4th place were Richard and Jinty Chamberlain with Noel Ovenall. 3rd place (top right of the photo) Bob Bailey, John Ranger and Pam Coombe from BBC. 2nd place (top left of the photo) were Jeff and Linda Richards and Mick Adams also from BBC. The winners (in the front) were Lynn and Derek Eldon (left) from Javea Green and Maggie Lawley from BBC.

#Benitachell bowls club

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a-moment-of-life · 6 years

Video

In order to remember, you first need to forget.

CAST

Alastair Mackenzie Emma Campbell-Jones William Stagg

Georgina Sowerby Christopher Lawley Kevin Golding

CREW

Writer/Director - Adina Istrate Producer - Giannina La Salvia Executive Producers - Lars Skorpen, Linda Bolstad, Marie Fuglestein

Cinematographer - Eui Jeong Hong Production Designer - Anne Gry Skovdal Costume Designer - Lisa Duncan Makeup Artist - Rita Saraco

Editor - Adelina Bichis Sound Designer - Gernot Fuhrmann Composer - Adam Lori VFX - Adam Sinclair Colourist - Alex Grigoras

©ToyBox Films 2018

#scifi #happy #drama #terminally happy #adina istrate #shortfilm

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the-ophanim · 6 years

Video

Terminally Happy from ToyBox Films on Vimeo.

In order to remember, you first need to forget.

CAST

Alastair Mackenzie Emma Campbell-Jones William Stagg

Georgina Sowerby Christopher Lawley Kevin Golding

CREW

Writer/Director - Adina Istrate Producer - Giannina La Salvia Executive Producers - Lars Skorpen, Linda Bolstad, Marie Fuglestein

Cinematographer - Eui Jeong Hong Production Designer - Anne Gry Skovdal Costume Designer - Lisa Duncan Makeup Artist - Rita Saraco

Editor - Adelina Bichis Sound Designer - Gernot Fuhrmann Composer - Adam Lori VFX - Adam Sinclair Colourist - Alex Grigoras

©ToyBox Films 2018

(File name: Terminally Happy - H264 (LT) 664.2 MB 1280x720 HD H.264 AAC)

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hottytoddynews · 6 years

Link

Bruce Blackman is a native Mississippian who wrote one of the classic summertime tunes of the 1970s, all about an Ole Miss girl.

It’s a song that is too cool, calm, and catchy to be forgotten—the tale of a smooth-talking Southern boy wooing a girl from Ole Miss. But the man who wrote “Moonlight Feels Right” never got his long-held, heartfelt wish to actually be a Rebel.

With its poppy groove and sexy summertime vibe, the Starbuck tune soared to No. 3 on the Billboard Hot 100 in 1976 and dominated AM radio for months. The drawl behind the song’s magic came right from the Mississippi River mud in Greenville, where Starbuck’s lead singer Bruce Blackman grew up and first started playing music. The subject matter is pure romance—both for the girl he wanted and the university he was in love with.

“I wanted to go to Ole Miss so bad I could taste it,” said Blackman, who graduated high school in Greenville in 1964. “This was in the Johnny Vaught era. A lot of my good buddies on the football team went there—Steve Terracin, Buntin Frame, Don Street and Ben Nelken.”

But Blackman, to his chagrin, could only get a track scholarship to Mississippi State. “All my friends were going to Ole Miss, and at that time Ole Miss simply did not give track scholarships,” he said. “We didn’t have the money, and I’d been an Ole Miss fan forever and wanted to go so bad, to major in journalism.”

Though he didn’t get to go to Ole Miss, he did get the girl. More on that later.

Bruce Blackman with daughter Sarah and wife Peggy, the muse of “Moonlight Feels Right.”

Eternity’s Children

It wasn’t track but music that would lead Blackman to greater things.

He and two fellow Greenville boys, Charlie Ross and Johnny Walker, along with drummer Roy Whitaker, a Delta State football player, teamed with a singer named Linda Lawley as Eternity’s Children, landing a residence at the Biloxi Hotel in 1967.

“Within about a month, everybody was coming to the Biloxi Hotel,” Blackman said. “We were in a big club there called the Vapors. It seated maybe 1,000 people. It was monstrous.”

The group had some success, becoming the first act signed to A&M Records. They put out a remake of an instrumental called “A Taste of Honey.”

“For hoots and hollers, we decided to do it, but instead of the horn parts, we did all those parts with our voices, because we had five singers,” Blackman said. “That’s what got us the deal with A&M.”

The song didn’t hit, and Eternity’s Children went to Liberty Records. Along the way, Eternity’s Children performed “Mrs. Bluebird” on Dick Clark’s American Bandstand. But Blackman left the group, dissatisfied with their manager at the time. “We were the biggest draw there was on the Gulf Coast, and we starved to death,” he said. “I saw the writing on the wall and walked away from it.” An attempt to reform Eternity’s Children resulted in a lawsuit; management owned the name.

Grasping for the Moonlight

Blackman and fellow Eternity’s Children members Bo Wagner and Johnny Walker reformed under the name Mississippi. They got a deal via famed producer Gary Paxton and cut a pop album with RCA, who informed them they already had another band using the name Mississippi. Starbuck was born, named after Burt Lancaster’s character, an eternal optimist, in the film The Rain Maker (that other band named Mississippi, strangely enough from Australia, happened to also change its name—to the Little River Band). Then came “Moonlight Feels Right.”

The wind blew some luck in my direction I caught it in my hands today I finally made a tricky French connection You winked and gave me your okay

“The song was a true story,” said Blackman, but he admits flexing the right amount of poetic license about the circumstances around courting the girl—who is now his wife. “She wasn’t actually from Ole Miss, but she was from Greenville, and she was going to school over in Moorhead (Mississippi Delta Community College). I went over there and saw her picture hanging on the wall in a dorm; she was in one of the beauty pageants. I said, ‘Who is that?’ They told me, and I went over to Moorhead and actually enrolled just so I could get the girl. The third time I asked her out, that’s when the wind was blowing in my direction. What sounded good was to make her from Ole Miss. She, too, wanted to go to Ole Miss.”

A little more poetic license and a trip to Baltimore later, Blackman struck on “Moonlight Feels Right.” It was the first time Blackman had sung lead, but no other voice could have done the song justice. Blackman and Wagner (he plays the immortal vibes solo in “Moonlight”) went around to radio stations spreading the word. Using mostly their own money and going for broke, the two got in two cars and separately visited around 200 stations. Finally, airplay in San Francisco opened the door for the track, and the hard work paid off.

We’ll lay back and observe the constellations And watch the moon smiling bright I play the radio on southern stations ‘Cause southern belles are hell at night You say you came to Baltimore from Ole Miss A class of seven-four gold ring The eastern moon looks ready for a wet kiss To make the tide rise again

Planting Seeds in the Delta

Now residing in Atlanta, Blackman stays busy in the music business and has put out his own records. In 2014, he came full circle, reconnecting with his hometown when the organizers of his high school reunion in Greenville wanted something to put in swag bags of goodies for attendees.

“I recorded a song called ‘Jim’s Cafe’ for the swag bag and made 70 copies of it,” Blackman said. “It’s actually the continuing story of ‘Moonlight Feels Right.’ It’s a true story about a trip I made from Baton Rouge to Greenville in order go out with the girl I married from ‘Moonlight Feels Right.’ I had to be there at a certain time, or she couldn’t go. We put [the song] in the swag bag, and it kind of blew up on me.” Blackman said articles appeared in some newspapers and a couple magazines, and radio stations in the area, and other places, got hold of it and began playing it.

Bruce Blackman (center) and friends performing “Jim’s Cafe”

After receiving a lot more requests for a copy of the song, he posted on his Facebook page saying that anyone who wanted a copy could send him a message, and he’d send one. “That was on a Saturday afternoon,” Blackman said. “By Monday, I had about 500 requests for the CD.”

Before long, he’d gotten more than 5,000 requests, proving that something about his music, like that Mississippi moonlight, still feels right. “I’ve had 30 more years to practice,” he noted on his current website, “so I guess I should be better now than I ever was.”

This article, written by former HottyToddy.com editor Tad Wilkes, originally appeared on HottyToddy.com in June 2014.

The post “Moonlight Feels Right”: The Man Behind the Hit Song About an Ole Miss Girl appeared first on HottyToddy.com.

#hottytoddy #olemiss #oxfordms #oxford ms #mississippi #university of mississippi #the grove

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tslbooks-historian · 6 years

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The Dial Up

New Post has been published on https://tslbooks.uk/the-dial-up/

The Dial Up