#cats toronto 1985 | Explore Tumblr Posts and Blogs

scarfdanger81 · 2 years

Text

The Advantages Of Airport Transportation, Hempstead Turnpike, Franklin Square, New York

The variety of beaches on the planet that permit pets has been shrinking on account of the easy undeniable fact that most individuals do not comply with the principles listed above. I currently reside in New York City and has obtained a license to offer skilled tour guidance on Airports within the US and the world over. Cuomo reiterated his perception that New York City will see more cases. You can see worldwide artists. airport transportation new york ny is part three, which might see Boston, New York, Philadelphia and Washington, in addition to Toronto, Montreal and Quebec in Canada, be a part of the community. It could seem odd that extra major cruise traces do not enable pets on board, however the simple fact is that the majority ships simply aren't outfitted to handle it. Also, pets are kept in the kennel during the entire crossing and may solely be visited during specified hours, so chances are you'll not get to spend as much time along with your pet as you would like. Lots of vacation locations are very happy to accommodate your pet, and those that can't are often more than keen that can assist you find a kennel or some various animal accommodations nearby.

We satisfaction ourselves on service to prospects, whether or not offering corporate transportation, limo providers, or luxury travel accommodations. Whereas Uptown, Midtown, and Downtown are geographic regions of Manhattan, the words uptown and downtown can also mean the route of journey. Whether you need to cruise in an financial system car, SUV, luxurious car, or minivan, there’s nothing maintaining you from finding the perfect car on your journey wants. The 1985 Wildcat concept automobile had boldfuturistic styling. This nicely-known car service with the simple-to-use app affords ahead-going through automobile seats upon request. We provide limo and airport automobile services to and from the following towns in Huntington, New York: Centerport, Chilly Spring Harbor, Commack, East Northport, Greenlawn, Huntington Station, Lloyd Harbor, Melville, and Northport. The LGA Redevelopment Programme is divided into two major subprojects, the Central Terminal Building (CTB) Redevelopment Mission and the East Finish Substation & East Storage undertaking. The CTB redevelopment project consists of the demolition of the prevailing CTB and related infrastructure corresponding to CTB Parking Garage (Parking lot 2), four concourses (A, B, C and D), Hangars 1, 2 and 4, and frontage roads.

That features any time you stray from your campsite to hike or benefit from the wilderness. If you'll be able to handle the rent or mortgage, you could have the privilege of taking in Napa’s lovely countryside scenery any time of the year. Vias hopes schools, eating places, and businesses undertake extra visible impairment practices over time. Then kicks some dirt or leaves over it. And then got here winter. All of us like to think that our pets are effectively-behaved, however the truth is that we just do not know what they're going to do in a public setting with a whole lot of commotion. If your cat or dog runs at another animal out of excitement, the proprietor of the opposite animal might imagine your pet is dangerous and means harm. Rush hour price applies between the hours 2:00pm and 7:00pm Costs are topic to alter without prior notice and may be increased during holidays and particular events. There are restrictions on pet size.

You don't need to deliver your pet alongside if it's going to should endure unusually cold weather or extreme heat. You must also verify the weather. However, you will must test availability well upfront because it's restricted, they usually only permit pets on choose transatlantic crossings. Animals need a spot to sleep and, more importantly, a spot to relieve themselves. Quite a few charter outfits on the market are very happy to have your pet aboard as long as it is nicely behaved. Taxi drivers have more accountability than rideshare drivers do. Even a couple of cruise ships have kennels on board. There are a couple options you may want to think about. The trips you may take with an animal are restricted only by the extent of your imagination. A dog that is not on a leash can get into loads of trouble, so the secure wager is to keep it nearby on a leash or in a harness that it cannot wiggle out of.

#airport transportation new york ny

0 notes

indianasolo221 · 2 years

Text

Janet Kloeble as Tantomile, Stelio Calagias as Coricopat.

#cats musical #cats the musical #cats toronto #cats 1985 #tantomile #coricopat #jellicle cats

30 notes · View notes

bombateazer · 4 years

Text

From August 1st to August 31st we are going to be appreciating different productions of Cats!. I’ve put two on each day since I want to include as many productions as possible, this includes replica and non-replica productions. You don’t have to do both of them, you can do just one or do both (it is up to you). You can do fanart, Gifs, edits et, anything you want to do to appreciate these wonderful productions. Please spread the word!.

August 1st - Original London production (1981 - 2002) / Budapest (1983 - present)

August 2nd - Brazil (2010) / broadway 2016 revival (2016 - 2017)

August 3rd - Mexico tour (2018 - 2019) / Mexico (2013 - 2014)

August 4th - Cats video cast (1998) / Zurich (1991 - 1993)

August 5th - Shiki cats Japan (1983 - present) / uk tour (1989 - 1990)

August 6th - Antwerp (1996) / London palladium (2014 - 2015)

August 7th - Madrid (2003 - 2005) / Tecklenburg (2015)

August 8th - German tent tour (2010 - 2013) / Oasis of the seas (2014 - present)

August 9th - Prague (2004 - 2005) / Sydney (1985 - 1987)

August 10th - Buenos Aires (1993) / Asia tour (2017 - 2018)

August 11th - Hamburg (1986 - 2001) / Oslo (1985 - 1987)

August 12th - Australasia (2007 - 2010) / China (2012 - 2014)

August 13th - Moscow (2005 - 2006) / Dutch tour (2006 - 2007)

August 14th - Operà populaire (2017) / Amsterdam (1987 - 1993)

August 15th - UK tour (2003 -2009) / Vienna revival (2019 - present)

August 16th - World tour (2001 - 2005) / Stuttgart (2001 - 2002)

August 17th - Mexico tour (1991 - 1992) / Australian Circus Tent Tour (1999 - 2001)

August 18th - Asia Tour (2014 - 2015) / South Korea (2011 - 2012)

August 19th - Toronto (1985 - 1989) / Copenhagen (2002 - 2003)

August 20th - Australia tour (1989 - 1990) / Warsaw (2004 - 2010)

August 21st - Paris (1989 - 1990) / Italian tour (2009)

August 22nd - Vienna (1983 - 1990) / South Africa (2009 - 2010)

August 23rd - South Korea (2008 - 2009) / Düsseldorf (2004 - 2005)

August 24th - German tour (2005 - 2006) / US tour 2 (1985 - 1986)

August 25th - Original broadway production (1982 - 2000) / Berlin (2002 - 2004)

August 26th - US tour 1 (1983 - 1987) / Uk tour (1993 - 1995)

August 27th - Euro tour (1994 - 1996) / US tour 6 (2019 - present)

August 28th - US tour 5 Troika (2001 - 2012) / UK/European tour (2013 - 2014)

August 29th - Paris revival (2015 - 2016) / US tour 4 (1987 - 1999)

August 30th - US tour 3 (1986 - 1988) / Australia tour (1993 - 1996)

August 31st - Australia / New Zealand Tour (2015-2016) / uk/international tour (2016 - present)

Here’s some prompts/questions to answer if anyone needs them

1.Favourite thing about this production?

2.Favourite actor(s)?

3.Favourite costumes/makeup?

4.Favourite song performed in that particular production?

Please use the #catsproductionsappreciationmonth so I can see any posts you’ve made and share them!

#cats the musical #cats musical #catsproductionsappreciationmonth

63 notes · View notes

chunkecheeks · 4 years

Photo

Photos from CATS Toronto 1985

#cats #i wish there were better pics of the inside photos like there are of the cover but i cant find any

42 notes · View notes

watchtheworldargue · 4 years

Text

my concert collection

1979 06 10 Alley Cat Wine Bar Australia as The Farriss Brothers 1980 03 15 The Pickled Parrot Australia 1980 08 30 Paris Theater,Sydney,Australia (FM) 1982 08 12 Live in Sydney 1983 05 28 San Bernardino fm flac 1983 05 28 The US Festival 83 (Westwood One Radio Special) 1983 08 13 Philadelphia, Pennsylvania, USA 1983 08 16 Toad's Place, New Haven, CT (1st gen) 1983 08 22 Pine Knob Music Theatre, Clarkson, MI 1984 03 30 Live at Paradiso, Amsterdam 1984 05 08 Live in Hamburg, Germany 1984 06 27 Cleveland 1984 07 28 Carowinds Palladium, Charlotte 1985 07 13 Live Aid 1985 10 26 Rotterdam 1985 11 15 Hollywood 1985 Rocking the Royals 1986 02 01 Bitting Bullets, Hammersmith Odeon, London 1986 05 19 Live at Odeon, Birmingham 1986 06 24 Live at Royal Albert Hall 1986 06 27 St Gallen Switzerland 1 1986 06 27 St Gallen Switzerland 2 1987 12 03 Edinburgh, UK 1988 02 05 Barrowland, Glasgow 1988 02 08 Leicester, UK 1988 02 16 Musikcentrum, Utrecht 1988 03 11 Chicago 1988 03 29 San Francisco, Good times 1988 03 31 San Diego Sports Arena, San Diego, CA [FMB] 1988 05 29 San Francisco - Civic Auditorium 1988 06 03 Great Western Forum, Inglewood,CA 1988 06 26 Birmingham, UK 1988 08 23 Coliseum, Hampton, VA 1988 11 02 Melbourne Tennis Center (only last half of concert) 1990 11 01 Sportpaleis, Ahoy, Rotterdam, The Netherlands 1990 12 03 Live at N.E.C Arena, Birmingham, (X Tour) 1990 12 18 Dublin - 'XRT Sunday Night Show 1991 01 22 Live at River Plate Stadium, Buenos Aires 1991 02 16 MSG New York 1991 02 26 Hartford, CT 1991 07 13 Somethin' Xtra (Live at Wembley Stadium) 1991 Live Baby Live 1991 Live Baby Live true 1991 Live Baby Live Wembley Stadium 1992 03 28 Centennial Park, Sydney, Australia 1992 03 28 Centennial Park, Sydney, Australia - Silver CD, SOUNDBOARD 1993 11 27 A Texan Honeymoon 1993 11 27 Texas Exhibition center 1994 03 02 Live in Cordoba 1994 03 04 Live in Buenos Aires 1994 03 05 Santiago, Chile 1994 10 28 brixton 1994 10 31 The Hyppodrome, London, England 1994 live from sao paolo 1997 02 04 aspen 1997 04 04 BOTANICAL SENSATION belgium 1997 04 12 Much Music Acoustic Special, Toronto, Canada 1997 04 24 Live at The Mayan Theatre, Los Angeles 1997 04 24 Los Angeles - WWO INXS in Concert mayan 1997 07 01 Paris, Le Zenith 1997 09 22 Wallingford - Live At Wallingford 1997 09 26 Live in Toronto, Ontario 1997 09 26 Toronto - Live At The Warehouse 1997 09 27 Pittsburgh - The Last Swing 1997 09 27 Star Lake Amphitheatre, Burgettstown, PA 1997 Radio Acoustic Performances

----------------------------

mp3s or flac files only, i have very few actual cds. if you have others, please share with meeeee

i have some doubles because the file size is slightly different or something and i can’t decide which to keep so i just keep both haha but yeah i just went through and formatted the folder names so they’re all uniform..

#collection

6 notes · View notes

wheelorochi · 4 years

Text

Went looking to see if there was anything about the Toronto 1985 cast of Cats online before I hunt down a program my goddamn self, instead found an 1982 article in the Star about London musicals that used a pic of the OBC and you can’t just spring that on me without warning it’s not good for my heart

17 notes · View notes

blackkudos · 4 years

Text

Thelma Houston

Thelma Houston (née Jackson; born May 7, 1946) is an American singer and actress. She scored a number-one hit in 1977 with her recording of "Don't Leave Me This Way", which won the Grammy for Best Female R&B Vocal Performance.

Early life and career

Houston was born in Leland, Mississippi. Her mother was a cotton picker. She and her three sisters grew up primarily in Long Beach, California. After marrying and having two children, she joined the Art Reynolds Singers gospel group and was subsequently signed as a recording artist with Dunhill Records. She isn't related to the late Whitney Houston.

In 1969, Houston released her debut album, entitled Sunshower, produced, arranged and composed by Jimmy Webb except for one track. In 1971 she signed with Motown Records but her early recordings with them were largely unsuccessful. Her most notable single during that period was "You've Been Doing Wrong for So Long" which peaked at No. 64 on the US Billboard R&B chart in 1974. However Houston's vocal prowess on that track secured her a nomination for a Best Female R&B Vocal Performance. In 1973 Motown Productions announced a projected biographical film of Dinah Washington which would star Houston; however the project was dropped due to difficulties in getting clearance from Washington's relatives. In April 1974 Houston joined the cast of The Marty Feldman Comedy Machine, playing various characters during the show's skits. The show was canceled in August and for the next several years her work was limited to demo recordings and performing at small venues.

Houston took acting classes and received her first role in the 1975 made-for-television film Death Scream. In that same year Sheffield Lab released "I've Got the Music in Me" a Direct to disc recording by Thelma Houston and Pressure Cooker that went on to become a benchmark vinyl recording for audiophiles. The following year she recorded songs for the soundtrack of the film The Bingo Long Traveling All-Stars & Motor Kings starring Billy Dee Williams and James Earl Jones. In 1975 Houston appeared on the Golden Globe Award broadcast performing the nominated song "On & On" and also was featured in a tribute to Berry Gordy on that year's American Music Award broadcast singing "You've Made Me So Very Happy". That year Houston's version of "Do You Know Where You're Going To" was being set for single release when it was pulled and the song given to Diana Ross to serve as the theme song for the movie Mahogany. In 1976 Houston sang backing vocals for Motown labelmate Jermaine Jackson on his album My Name Is Jermaine.

"Don't Leave Me This Way" and Departure from Motown

Houston released her third solo album Any Way You Like It in 1976. The first single released was her version of Harold Melvin & the Blue Notes' 1975 song "Don't Leave Me This Way". In February 1977 the track hit Number 1 in the U.S. on the R&B and Club Play Singles charts, then in April 1977 on the Billboard Hot 100. "Don't Leave Me This Way" won Houston the Best Female R&B Vocal Performance at the Grammys for 1977. Besides its US success "Don't Leave Me This Way" became a hit in at least twelve countries, including the UK where it reached Number 13 despite the concurrent single release of the Harold Melvin & the Blue Notes original, which reached Number 5. Also in 1977 Houston teamed up with Jerry Butler to record the album Thelma & Jerry and that November 1977 she co-starred in the film Game Show Models. It was announced in February 1977 that Houston would star as Bessie Smith in a filmation of the play Me and Bessie, to be produced by Motown; after an announcement that December that Houston was set to portray Bessie Smith in a biopic to be produced in 1978 by Columbia Pictures nothing more was heard of the project.

The second single from Any Way You Like It was Houston's rendition of "If It's the Last Thing I Do", a standard written by Saul Chaplin and Sammy Cahn; the track had been recorded and prepped for single release in 1973 but canceled. The impact of "If It's the Last Thing I Do" was far less than that of "Don't Leave Me This Way", as the former fell short of both the R&B Top Ten and the Pop Top 40. With the lead single from her 1978 album The Devil in Me: "I'm Here Again", Houston returned to the style of "Don't Leave Me This Way" without recapturing the earlier single's success. Houston did enjoy considerable commercial success in 1978 via the inclusion of her track "Love Masterpiece" on the Thank God It's Friday soundtrack album which sold double platinum but her own album release that year Ready to Roll again failing to consolidate the stardom augured by "Don't Leave Me This Way". The album's second single: "Saturday Night, Sunday Morning", gradually accrued airplay entering the national charts in March 1979 and ascending as high as #34 (#19 R&B) that June. "Saturday Night, Sunday Morning" was issued on a new album by Houston: Ride to the Rainbow but the track's relative success was not enough to forestall Houston's planned departure from Motown.

1980s

Houston continued recording music into the 1980s, beginning with the RCA release Breakwater Cat which reunited her with Jimmy Webb who produced her debut single Sunshower and which like their earlier collaboration was a commercially overlooked critical success. During the December 22, 1984 Billboard magazine interview, Houston admitted to "'no real commercial success' since the single 'Don't Leave Me This Way' broke on the Pop charts in late 1976" indicating that the disco backlash had left her with "no real base of audience support" and that her current album Qualifying Heat, executive produced by Houston herself, was a concentrated initiative to restore her as a viable chart presence; the album featured three cuts from Jimmy Jam and Terry Lewis – including the single "You Used to Hold Me So Tight" – and production work from Glen Ballard, Dennis Lambert, Cliff Magness and – in his first known recording work – Lenny Kravitz (then billed as Romeo Blue), who each produced a cut apiece. "You Use to Hold Me So Tight" became Houston's most successful post-1970s release with a No. 13 R&B peak, but its parent album was a comparative failure – charting No. 41 R&B – and Houston would not cut another album for six years.

The constant ranking of her 1980s releases as moderate or minor R&B hits led Houston to concentrate on alternate exposure. After appearing in the independent film The Seventh Dwarf in 1979 Houston made guest-starring appearances into the mid-1980s in several popular television programs including Cagney & Lacey, Simon & Simon – a January 1986 appearance that featured her performing "You Used to Hold Me So Tight" – and Faerie Tale Theatre. Houston also appeared in the 1987 CBS after school special Little Miss Perfect (1987) – as "Prison Singer" – in the 1988 film And God Created Woman.

On the May 19, 1985 NBC broadcast Motown Returns to the Apollo Houston performed "What a Diff'rence a Day Makes" in the guise of Dinah Washington. Houston continued to contribute to movie soundtracks, recording "Keep It Light" for the 1985 film Into the Night and she remade Bill Withers' "Lean on Me" for the 1989 film entitled Lean on Me. Houston also co-wrote and sang back-up on the song "Be Yourself" for Patti LaBelle's 1989 album of the same title.

1990s

The Fall of 1990 saw the release of Houston's first album in six years, Throw You Down, a long-planned collaboration with producer Richard Perry which briefly extended Houston's career as a minor R&B chart presence. The title song reached No. 5 on the U.S. dance chart. A remix of "Don't Leave Me This Way" was released, and once again charted on the Hot Dance Club Play chart at No. 19 in 1995. Subsequent singles include "I Need Somebody Tonight" and "All of That".

In 1994, Houston participated in an AIDS benefit at New York's Algonquin Hotel, performing gospel music with Phoebe Snow, Chaka Khan and CeCe Peniston as "Sisters of Glory". Intended as a one-off performance troupe, the Sisters of Glory remained together – with the addition of Mavis Staples and Lois Walden, and without Chaka Khan – to perform at Woodstock '94. Houston performed with the Sisters of Glory for the Pope in Vatican City and in 1995 Houston, Phoebe Snow, CeCe Peniston, Lois Walden and Albertina Walker recorded the Warner Brothers album Good News in Hard Times as the Sisters of Glory.

Houston provided lead vocals on several tracks of guitarist Scott Henderson's 1997 Atlantic album, Tore Down House, and in 1998 she made cameo appearances in two films: in 54 Houston portrayed herself singing "Have Yourself a Merry Little Christmas" supposedly at Studio 54, and in Beloved Houston played 'One of The Thirty Women'.

Recent career

In 2000, Houston toured successfully throughout Australia in the stage musical version of Fame. In 2002 she again guested on a Scott Henderson album, providing lead vocals for two of the tracks on Well to the Bone. Upon returning to the U.S. Houston toured with Nile Rodgers and Chic, and was among the opening acts of the originally intended finale of Cher's Farewell Tour in Toronto on October 31, 2003. Houston regularly performs at Teatro ZinZanni in Seattle and San Francisco.

Her version of "Don't Leave Me This Way" continues to be popular today. In recent years she has been invited to sing this song on dozens of TV shows and specials including NBC's Today Show, ABC's Motown 45 and The Disco Ball...A 30-Year Celebration, and PBS' specials American Soundtrack: Rhythm, Love and Soul, Soul Superstars, and Old School Superstars. "Don't Leave Me This Way" was mentioned by VH1 as being among the greatest dance songs in 2000, and was ranked number eighty-six on the channel's countdown of The 100 Greatest One-Hit Wonders. She won an episode of the NBC show Hit Me, Baby, One More Time with her renditions of her own hit and "Fallin'" by Alicia Keys. On September 20, 2004, Houston's rendition of "Don't Leave Me This Way" was inducted into the Dance Music Hall of Fame in New York City.

On August 14, 2007, Houston released her first studio album in seventeen years, A Woman's Touch. The album was produced by Peitor Angell and features cover versions of songs by male artists such as Luther Vandross, Marvin Gaye, and Sting that Houston had been inspired by. The first single from the album was "Brand New Day". On August 20, 2007, Houston's 1984 album Qualifying Heat was reissued as an import title in the U.S. with a bonus track.

She sang "Don't Leave Me This Way" on American Idol on April 22, 2009, and on America's Got Talent on September 16, 2009.

On July 29, 2013, a collaboration between Thelma and Los Angeles-based producer Janitor, entitled "Enemy", premiered on SoundCloud. Several tracks followed, culminating in the release of an EP, "Forty-Two", in September. This is the first new material from Thelma Houston in six years.

On June 25, 2019, The New York Times Magazine listed Thelma Houston among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

She is featured on British singer songwriter Morrissey's new single "Bobby Don't you Think They Know", released on streaming platforms on 10th January 2020 from his album I Am Not a Dog on a Chain.

Discography

Albums

Dunhill release

1969: Sunshower No. 50 R&B

MoWest release

1973: Thelma Houston

Sheffield Lab release

1975: I've Got the Music in Me – with Pressure Cooker

Tamla (Motown) releases

1976: Any Way You Like It Pop No. 11, R&B No. 5

1977: The Devil in Me Pop No. 64, R&B No. 29

1978: Ready to Roll R&B No. 74

1979: Ride to the Rainbow Pop No. 204

Motown releases

1977: Thelma & Jerry – Thelma Houston and Jerry Butler Pop No. 53, R&B No. 20

1978: Two to One – Thelma Houston and Jerry Butler

1982: Reachin' All Around

RCA releases

1980: Breakwater Cat Pop No. 201

1981: Never Gonna Be Another One Pop No. 144, R&B No. 51

MCA releases

1983: Thelma Houston (1983)

1984: Qualifying Heat R&B No. 30

Reprise release

1990: Throw You Down

Italian-only release (Fonit Cetra CDL378)

1994: Thelma Houston (1994)

Shout Factory release

2007: A Woman's Touch

Other

2010: Divas of Disco: Live (with CeCe Peniston, Linda Clifford, A Taste of Honey and France Joli)

2013: Forty-Two (EP, with Janitor)

Singles

Filmography

Films

1975: Death Scream — Lady Wing Ding

1977: Game Show Models — Dana Sheridan

1979: The Seventh Dwarf

1988: And God Created Woman — prison singer

1998: 54 — herself

1998: Beloved — one of The Thirty Women

Television (guest)

1969: The Price of Fame – Guest singer, singing "Jumpin' Jack Flash"

1971: The Marty Feldman Comedy Machine — various characters

1975: The Golden Globe Award — Guest Singer

1980: The Two Ronnies - Guest singer, singing " The Candyman"

1985: Cagney & Lacey (5,11: Play it again, Santa) — Ellie Hendricks

1986: Simon & Simon — Venutia

1986: Tall Tales & Legends — Edna

1987: Little Miss Perfect — Ms. Bonner

Soundtracks

1976: The Bingo Long Traveling All-Stars & Motor Kings — "Steal on Home", "Razzle Dazzle"

1976: Norman... Is That You? — "One Out of Every Six"

1978: Thank God It's Friday — "Love Masterpiece"

1984: Getting Physical — "Hot Dance", "To Be Free"

1985: Into the Night — "Keep It Light"

1989: Lean on Me — "Lean on Me"

3 notes · View notes

rabbitcruiser · 5 years

Photo

Yonge Street, Toronto (No. 5)

The Elgin and Winter Garden Theatres are a pair of stacked theatres in Toronto. The Winter Garden Theatre is seven storeys above the Elgin Theatre. They are the last surviving Edwardian stacked theatres in the world.

The pair of theatres were originally built as the flagship of Marcus Loew's theatre chain in 1913. The building was designed by architect Thomas W. Lamb, who also designed the Ed Mirvish Theatre nearby.

Both theatres were built to show vaudeville acts and the short silent movies of the time. Each theatre was intended for a different class of patron. The gold-and-marble, domed, 'hard-top' lower theatre (originally called Loew's Yonge Street Theatre) was home to continuous vaudeville and movies. The upper-level Winter Garden is an 'atmospheric' country garden under the stars, painted with murals of plants and garden trellises, with tree trunk columns and lantern lights. The upper theatre was built for the 'Big Time' vaudeville market and had reserved seats at premium prices, catering to affluent patrons. As well as competing in a different market, the upper theatre could be used for experimentation with acts, without the risk of closing the lower theatre.

By 1928, feature-length silent films were popular, but sound films were just coming into their own. In 1928, the lower theatre was converted to show sound films and the upper theatre was closed. The Winter Garden remained shuttered for about sixty years. Left inside it was a large collection of vaudeville flats and scenery, now the world's largest surviving collection. In 1969, Loews sold the Elgin to Famous Players. By the 1970s, the Elgin was showing mainly B movies and soft-core pornography.

In 1981, the Ontario Heritage Foundation bought the structure from Famous Players. From March 1985 through March 1987 the musical Cats was very successfully presented in the essentially unrestored Elgin, showing the viability of the theatre. The building closed in 1987 for a full restoration and reopened in 1989.

In 1991, Dr. David Griesinger and Steve Barbar of Lexicon, Inc., at the request of acousticians Neil Muncy and Robert Tanner, installed the first production LARES system, an electroacoustic enhancement system that augments architectural acoustics, in the Elgin Theatre. This initial LARES system used two microphones placed at the balcony's front edge to pick up sound from the stage. The microphone signals were digitized and processed in two mainframe computers, and the resulting signals were sent to 56 loudspeakers in the main ceiling and 60 under the balcony, for the purpose of providing additional intelligibility and ambience.

Source: Wikipedia

10 notes · View notes

conjuringturns · 1 year

Text

lorena cingolani as rumpleteazer in an in-costume interview, toronto 1986 (x)

#FAV #this makeup is so pretty...#and i love the big pearls!!!#also. i just found out that someone who taught me at a dance workshop years back was in this production #my jaw DROPPED when i saw their name in the cast list #rumpleteazer #offstage #cats toronto 1985 #my posts

17 notes · View notes

vintage-miseries · 5 years

Text

The CCB

There’s little magic left to be found in England, and that which remains is squirreled away into small, secret places and is guarded most jealously. Humans, despite their voracious love for fairy tales, parlour tricks, and boy wizards do not react the best when they come nose to nose with real magic. Real magic, here, is not David Blaine or Copperfield, or even that warm, honey-in-your-gut sensation you get when you see particularly mesmerizing fireworks. Real magic in this case comes in multiple forms, but none of them particularly awe-inspiring. Rather, most of them are beyond terrifying and cause immediate trouser-soiling.

The last magic in the world (and what a peculiarly sad notion that was!), did not come in the form of waving wands, unicorns, or flying carpets, but rather in the daily press and shuffle of the local population. As a certain (and terribly human writer herself) author might say, the _Muggle _population was entirely unaware of what went on just under their noses. This second, secret world was not invisible, but integrated. So used to hiding in plain sight is magic that it has made the daily grind into a costume, into a habit, and most sadly, into a lifestyle.

Would it intrigue you to know just how many creatures, of this world but unknown, shuffle themselves into human form just to pass their days? This magic, magic being a broad, broader, and broadest of terms, is not so much a thing as it is many things. It is, logically speaking, an umbrella term for anything that falls into a human’s definition of something that is non-sensical, defying explanation, or just downright bizarre.

This ideology, however, has caused much debate amongst the Magical community, with many arguing that not everything “non-sensical” is actually magical, and that “bizarre” is not specific enough to fit into the terminology, so really a lot of things considered to be magic are just, well, not.

For instance, many of the older magics insist that Aliens, while definitely bizarre, are not in fact magic, but more of Science. Of course, as with any ethnic argument, this debate hit rather heavily with both the Fresno Nightcrawler community, as well as with the Flatwoods Monster.

“We exist, we’re here,” The Flatwoods Monster, who goes by day by the name of Carol, said in one interview. “To deny us our place in the Umbrella term is to say that we don’t belong. Well, I’ve been here just as long as most of them, if not longer. How can you say I don’t belong? Just because I’m not from this planet, that means I’m not Magic? You have no idea what I was on my planet. None!”

The Fresno Nightcrawlers could not be reached for comment.**

It is tepidly agreed upon by many, that any with access to the CCB (The Creature Control Board), can call themselves magic. The CCB, otherwise known simply as ‘The Board’, has its main building of operation in California. Several smaller, though no less important branches find themselves in Toronto, Ireland, Brussels, Russia, Australia, Peru, and Cairo. There are also outlier stations across the globe, though their google reviews have never risen above 3.5 stars.

The history of the CCB has varied from decade to decade, but it’s purpose has always remained the same. Opened in 1855, it was meant to be a communal hub for the world’s magic. Hot meals were served, advice was given, human visages were constructed, and jobs were allocated. It attracted several thousand in its first month, and subsequently shut a month later due to over-demand. A year later it reopened, armed and ready, and over the years grew into what it is today.

The CCB is now a focal point for the magical community. A community centre, healthcare professional, and Job centre all in one, it is the foundation for all magical life on earth. Magicals come from across the globe seeking guidance or aid, and the CCB delivers. Last year, a total of over 600,000 appointments were made, it is expected that this number will double within the next decade.

Of course, while the vast majority of Magicals are happy to seek out the CCB for aid, there are plenty who are happy to keep themselves separate. Many claim it to be a generational issue, with older Magicals refusing aid or even acknowledging the resource entirely. A poll conducted in 1985 revealed that while 80% of the world’s Magic did indeed use the service, a whopping 20% chose not to. Many of those polled refused to give comment, though a later census revealed that a good number of that fifth were in fact Cairn Creatures.

Cairn Creatures, an unofficial title, are any Magicals born before the approximate date of 1200 CE. They are often assumed to be an offshoot of the Fae world, many having been human in some variation before undergoing magical transmutation. Though they are near extinct in number, these Cairn Creatures walk the line between the mortal world, and that of the Seelie/Unseelie.

It is purported that fewer than one hundred remain in the world, with many of those still residing in either Europe, England, or in Africa.

“It’s a load of p***. This whole classification system is shit. Why would I bother? Are you asking me to join a union? I’m just fine by myself, cheers. Never needed some poxy doctor in a suit to help me mind my own business, ta. Know how to do that myself.” Cat Sidhe, known as Illiver Kash, 1998 CE

One major issue for the CCB has always been management. Prior to its creation in 1855, there was little in the way of policing Magicals. An uncertain set of laws, somewhat akin to Christianity’s Ten Commandments existed amongst the community, though these were treated more as guidelines than as strict policy. So it was in 1859 when the CCB faced its second major hurdle, this time in the instituting of the RRMC. The RRMC, or the _Rules & Regulations for Magical Continuity _was a strict, 6 rule code that each Magical was expected to adhere to. These rules evolved with time, though their core structures have remained the same since their original incarnation. They are as follows:

I. Kill only as necessary; Your survival is based on more than hunger

II. Order first; Adhere to law both Magical and human, for it keeps your secret

III. Purpose in Power; your strength makes you exemplary, but do not forget that you are other

IV. Understand restraint; retribution always comes with a price, if not to you then to your kin

V. Understand Balance; spend your days under guise, the night time is for you

VI. Bond of kin; do no harm to your fellows, for it is the blackest of crimes

As of 2017 CE, the RRMC has evolved into a 260 page manual. This manual has seven key chapters, the first being an introduction, and the latter seven each pertaining to one of the key tenets. Though the original rules remain in place, each now hosts several sub classes and all fall under regulation and moderation policies.

For instance, tenet I, kill only as necessary has been heavily edited, with kill licenses granted to only a select few. These licenses are known most commonly as K-factors, and allow anywhere from one to six human kills a year depending on necessity. At present, less than 25 members of the CCB hold a K6 license.

It is not a stretch to say that these rules were deeply unpopular in their initial years, though as with most policy changes, the community did eventually settle into compliance. There are a few, however, that did not. When the RRMC was put into place, it came with much discussion on the method of dealing with those who did not comply, especially as their sixth tenet explicitly banned the killing of Magicals. In the end it was decided that permissions would be redacted, and sharply, for any who broke the code. In modern times, these permissions would extend to travel permissions, state arrest, and narrowed territories, as well as lessened monetary allowance.

Those that persist despite these allowances are usually allowed ultimatums in the form of banishment. One such case can be traced back to 1976, during the brief trial of Azelgore, known more commonly by humans and other Magicals as the Loch Ness Monster. Though he was initially granted a K6 license, his quota overpassed his allowance by a harrowing degree, and the CCB had no choice but to remove him from his territory. He accepted banishment to the Fae plane, and has since returned only a handful of times on specialised (supervised) allowance.

For most historians working amongst the CCB, its short history is still a colourful one, and one that has markedly improved the lives of most creatures who make use of its services.

2 notes · View notes

wub-fur-radio · 5 years

Photo

Legends of Rock 🏆 🎤 🎸

“If loneliness meant world acclaim, Then everyone would know my name I'd be a legend in my time”

– Don Gibson

“Even if I die, living legend Look at my reflection, Ain't no second guessing Always be a legend, A motherfucking legend”

– Calvin Broadus

Wub-Fur Internet Radio presents an eclectic selection of 17 songs about some of our favorite legendary rock artists by 16 of our favorite slightly less legendary bands. Includes contributions from Ida, Frankie and the Witch Fingers, Teenage Fanclub, Tyvek, Christian Bland and The Revelators, MGMT, the Replacements, and 9 more bands who you may or may not ever have heard (until now).

Apologies to Mick Rock, David Bowie, Sky Saxon, and all the legends of rock. Special thanks and apologies to Jackson Del Rey.

Play on 8tracks | Play on Mixcloud (or scroll down to use one of the embedded players below)

Running Time: 1 hour, 13 seconds

Tracklist

Lou Reed (4:29) — Frankie and the Witch Fingers | Los Angeles | 2015

Nick Drake (2:25) — Ida | New York | 1995

Ray Davies (3:17) — Thee Tsunamis | Bloomington, IN | 2013

Alex Chilton (3:11) — The Replacements | Minneapolis | 1987

Gene Clark (6:34) — Teenage Fanclub | Bellshill, UK | 2018

David Bowie (1:48) — The Clean | Dunedin, New Zealand | 1985

Free Arthur Lee (3:00) — The Make-Up | Washington, DC | 1997

Little Richard (3:43) — Tyvek | Detroit | 2012

Sky Saxon (2:40) — Teenanger | Toronto | 2014

Iggy Pop (1:10) — The Mallard | San Francisco | 2012

Tom Verlaine (3:51) — The Family Cat | Yeovil, UK | 1989

Brian Wilson (4:29) — Christian Bland and The Revelators | Austin | 2014

Brian Eno (4:29) — MGMT | Middletown, CT | 2010

Keith Moon! (5:08) — Furk Zhenk | Europe? | ????

Just Like Brian Jones (4:00) — The 17th Pygmy | Southern California | 2007

The Spirit of Ian Curtis (2:11) — Regurgitator | Brisbane, Australia | 2018

Syd Barrett Blues (3:53) — Christian Bland and The Revelators | Austin | 2014

🏆 🎤 🎸 🏆 🎤 🎸 🏆 🎤 🎸 🏆 🎤 🎸 🏆 🎤 🎸 🏆

Embedded Mixcloud Player

Embedded 8tracks Player

🏆 🎤 🎸 🏆 🎤 🎸 🏆 🎤 🎸 🏆 🎤 🎸 🏆 🎤 🎸 🏆

Promotional Video

Sorry, your browser does not support this video embed. Click here to open the video in a new tab or window.

Video Soundtrack: “Just Like Brian Jones” by The 17th Pygmy (aka 17 Pygmies) from “Ballade of Tristram's Last Harping.”

#indie rock #psychedelic rock #garage rock #punk rock #rock #music mixes

2 notes · View notes

jafreitag · 3 years

Text

Grateful Dead Monthly: Academy of Music – New York, NY 3/28/72

Before Europe ’72, there was Academy of Music ’72. Between March 21 and 28, 1972, the Grateful Dead played seven concerts at the Academy of Music in New York City.

That’s the original Academy of Music. It opened in 1854 as a 4,000 seat opera house on the northeast corner of East 14th Street and Irving Place in Manhattan. The Dead didn’t play there. They played across the street at a 3,400 seat movie palace also named the Academy of Music, which opened in 1927.

That’s the latter Academy of Music. It shifted from a cinema toward a concert venue in the mid-60s. The Rolling Stones played there on their first U.S. tour in 1965. Around the closing of the Fillmore East, some eight blocks south and east (if my dodgy NYC geography is correct), the former movie palace was a full-on rock palace, hosting the Allman Brothers Band (8/15/71), Aerosmith opening for Humble Pie and Edgar Winter (12/2-3-71), and the Band (12/28-31/71 – those shows were excerpted for the 1972 live album Rock of Ages and featured in their entirety for the 2013 box set Live at the Academy of Music 1971).

The Academy of Music was renamed the Palladium in 1976. And on 9/20/79, this happened there.

The guitar smash, not the album, obv. #paulsimononftw The venue was converted to a nightclub by Studio 54 guys Steve Rubell and Ian Schrager in 1985. In 1992, they sold it to Peter Gatien, who kept it open until 1997. The last concert at the Palladium was Fugazi on 5/1/97 (Red Medicine tour, I think). It’s now an NYU dorm with a gym in the basement.

The Dead visited the Academy/Palladium twice – once in 1972 and once in 1977. In ’72, they were workshopping material that they would soon take across the pond. In ’77, they were solidifying material that they would soon take upstate for the ne plus ultra. Fun fact, the fourth night of the ’72 run was presented by Hells Angels. Here’s the full poster.

[The lessons of Altamont ’69 apparently had been learned, then put to rest. Quick replay, tho, from less than three years earlier.]

youtube

The New York Daily News summarized the run like this: “Seven concerts in one week at the Academy of Music, every one of them sold out within hours, more by ESP than advertising… The week’s series will help finance the Dead’s traveling expenses for a two-month, seven-country tour of Europe beginning Saturday.” That quote appears in an excellent and exhaustive recap of all the shows (and their recordings) by someone called “Light Into Ashes” on the Grateful Dead Guide blog. There, LIA posits:

“Musically, this run falls midway between the honky-tonk vibe of the fall ’71 shows, and the smoother Europe ’72 tour. Probably one of the Dead’s plans for the run, aside from raising money for the Europe tour, was to hone their performances for the upcoming live-album recording – after a two-month break from playing shows together, they would need to get back in the groove!

People who saw them at the time were probably struck by the changes in repertoire. (They only played two songs that had been on Live/Dead, one time each; few songs from Workingman’s Dead or American Beauty were played at all; and many of their newer songs were not on any albums yet.) Pigpen was also singing and playing more than he had in ’71 (singing five or six songs a night); a new piano player had altered the band’s sound quite a bit; and some unknown longhaired lady would come onstage to sing for a song or two. New Yorkers would also have noticed that the Dead no longer played til dawn, as they had done so often at the Fillmore East!

The average show length was three and a half hours, as they played through most of their repertoire each night. (Any audience members who went to several shows in the run would hear most of the same songs a LOT of times.)”

The Grateful Dead Sources blog has a 1972 newspaper review from Toronto’s Grapevine. Pretty funny, it’s worth a look.

Betty Cantor-Jackson recorded the shows, but the tapes disappeared until some guy from Northern California bought them at an auction in 1987. The tapes sat in his barn deteriorating. When Jerry died in 1995, one of the guy’s friends, who must’ve known a thing or two about the Dead, contacted Dark Star Orchestra’s Rob Eaton. Eaton cleaned and restored the tapes at his own expense, and returned them to the guy.

(^ Rob Eaton)

From LIA’s post, which quotes Eaton from an interview with Katie Harvey:

“‘The collection was really unique. Half of it was Garcia-Saunders from ’73, 74, 75. It was just nothing anybody had ever seen. And all the Academy of Music tapes from the Dead in ’72, which no one had ever heard a tape of: really bad audience tapes were the only thing [from that run], nothing was in the Vault. So I knew it was really important.’

Eaton kept DAT copies of the reels, although the buyer made him sign a contract not to copy or distribute the recordings. ‘He drew up this contract that I was liable for $100,000 in liquefied damages if I released the contents of the collection without his written authorization. And I wasn’t allowed to keep a copy according to this thing. All the copies had to be in his possession. Of course I’m keeping a DAT master of everything I’m doing. I’m not that stupid. I was a deadhead and protecting the music was my first and foremost thought. Legally, I wasn’t really that concerned with it. Because I was sort of in with the Dead office at the time, they found out that I had these. They wanted to get a hold of the guy. So I got them in touch with this guy who wanted a million dollars. They just told him to fuck himself. They came back to me and they go, “Look, we know you’re smart. We know you probably kept a set of DATs. What would it take to get that set of DATs from you?” And I said, “Well, first of all, I signed this contract.”’

But according to Hal Kantor, the Dead’s attorney, ‘He can’t claim rights to what’s on the tape. He has rights to the actual physical tapes, but what’s on the tape is our rights, not his.’ So Eaton copied his DATs (including Dead shows from 1971-76) and gave them to the Vault. And as Harvey writes: ‘They prohibited him from distributing copies because they planned to commercially release the material.'”

Parts of all seven nights in 1972 are scattered across various official releases, but the archivists have unloosed only two complete shows – 3/26 (Dave’s Picks #14) and 3/28 (Dick’s Picks #30). The latter also contains the Bo Diddley sit-in from 3/25, so ECM and I decided to focus on that one.

According to the DP#30 Wiki, the 3/25 show was a “semi-private party” billed as Jerry Garcia & Friends. In reality, it was a GD with the band backing Bo Diddley for the first set, then playing its own second set. The entire show has sound quality issues, but the first set is quite poor. The “jam” is the most notable part. It’s essentially a slower version of the “Hard to Handle” wig-out, and not super interesting.

The Dead opened their set with a couple rarities – How Sweet It is (To Be Loved by You), on which Donna Jean reaches a truly wicked level of caterwaul, and Are You Lonely for Me Baby?, from which Bobby must’ve gotten inspiration for Black-Throated Wind. Are You Lonely was later a staple of Garcia/Merl Saunders sets in ’72-74.

youtube

3/28 is better, and offers more typical Dead fare. The first set features an extremely hot China Cat Sunflower > I Know You Rider duo, and some funny stage banter from Phil Lesh. After the band played Mexicali Blues, some audience members chanted for Alligator. Phil responded, “Hey, for all you Alligator fans out there, we done – ah alright alright alright. We understand that there’s a lot of Alligator fans out there, but we done forgot it, see. And so ah, we’re gonna have to remember it sometime later, you know.” The second set showpiece is an extended version of The Other One that offers a preview of what the band would do in Europe.

Ed reminded me that this show was Pigpen’s last in NYC. And he added that it contains Donna’s first Playing in the Band wail. Awesome. His listening notes are more robust than mine, as usual:

The Europe ’72 tour began on April 7th, but the boys played a preparatory seven-night run at the Academy of Music in NYC in the days leading up to their flight across the pond.

The festivities open with a rockin Truckin.’ All the first set songs are played with gusto and feeling especially the “new” songs such as Tennessee Jed, Chinatown Shuffle, BT Wind, Mr. Charlie, You Win Again and Mexicali Blues. After Mexicali, the audience is calling out for “Alligator” and Phil tells them that “we done forgot it.” A rare, mid-set Brokedown follows and it is a pure joy. It just might be my favorite song from the entire first set. Next Time You See Me is perfectly executed. The band tears up Cumberland. Bobby is high in the mix and it is exciting to hear his guitar part. Next, Bobby introduces LLR as a “cryin’ song.” It’s a gorgeous version that has Jerry on pedal steel and Phil on backing vocals. and China->Rider really stands out. The segue jam in China->Rider is especially interesting as the band seems to struggle at first to find the groove behind Bobby’s solo, then they just roll with it, and then Jerry locks into a cool riff before diving into Rider. The only minor complaint is that after 6 shows, Garcia’s voice is beginning to show signs of strain (You Win Again, Big Railroad Blues and China Cat).

The setlist for Set II pretty much speaks for itself. Playing in the Band continues to progress. This performance marks the the first time that Donna lends her vocal contributions. The jam section starts off drifty like Veneta with that big psychedelic bubble. By the 6-minute mark Jerry is in full guitar psychosis mode. They cool down into drifting, mournful ribbons of sound only to bring it to another peak around the 10-minute mark before entering the reprise. A few songs later we get a high-energy Sugar Magnolia. Jerry goes nuts on the wah pedal during the coda. Donna has not yet found her way into the arrangement yet). This segues directly into a brief drum intro that leads into a 28-minute version of The Other One. The entry is surprisingly laid back as is the entire performance. By the 7-minute mark there are no traces of the song. The band has entered uncharted territory…deep space. This is pretty experimental stuff…atonal notes and peals of feedback. Things begin to become melodic again at about the 14-minute mark as the band prepares to deliver the first verse but it takes them 2 more minutes to eventually get there and after dispensing with it they return to the same misty pastures where they once were. The concert ends in fine form with their standby crowd pleasing closer of NFA>GDTRFB>NFA. The jam at the end of NFA leading into GDTRFB especially shines.

The only version of the Sidewalks of New York is just a half-minute tuning.

Here’s the Spotify widget.

I’ll add LMA links at some point.

More soon.

from WordPress https://ift.tt/2Pt9Mye via IFTTT

#IFTTT #WordPress

0 notes