So it’s a fun little show of Little shop of horrors, who’s twist is that the actors are drunk, simple obvious and fun. I love little shop and musical theater in general so of course I click on it.
the video has less than 10k views from a channel with less than 800 subscribers. But then I start recognizing people. First it was the guy playing crystal, I don’t watch a lot of smosh but I do recognize him, but I wasn’t completely sure so I looked at the cast list so I could look him up.
And then I realized just how many people I recognized
Grant Anthony O’Brien - Dropout
Daniel Thrasher - large YouTube channel
Rashawn Nadine Scott - Dimension 20
Alex Lewis - Lewberger(his band along with Keith habersberger(try guys) and Hughie stone fish)
Angela Giarrantana and as previously mentioned chanse McCary - Smosh
And looking up the other actors, they also had similar levels of notoriety!!
HOW HAVE I NEVER HEARD IT BEFORE? WHY ARE ALL THESE PEOPLE I KNOW OF IN IT?? HOW DOES IT HAVE SO FEW VIEWS???WHY IS IT ONE OF MY FAVORITE MUSICALS????
What if we told you there was an alternate version of Hamlet where, instead of doing lots of brooding about his uncle and not talking to anyone, he asked Ophelia for help? What if we told you we took Hamlet and reimagined it as a modern day romantic comedy, with a fake relationship trope at it's core?
Because we... did exactly that.
His Royal Fakin' Highness is that romcom. While away at college in America, Hamlet is called back home after his father (the king)'s sudden passing, only to find out that, due to an antiquated law that requires the heir to be married before ascending the throne, the crown is passing not to him, but to his uncle. Ophelia, his childhood enemy who grew up underfoot at the palace while her father was the king's closest advisor, helps him stage an elaborate fake engagement, hoping to buy enough time to find a loophole in the law. But can anyone really get into that kind of thing without some complications?
Plus, no romcom (or hamlet adaptation) is complete without the best friend -- Rosencrantz & Guildenstern are here, but we fondly like to call them Rosie & Gil. Here's their vibe:
His Royal Fakin' Highness is a hopeful, hilarious, absurd romantic comedy, and is perfect for people who spend the winter holidays watching (and rewatching) movies like Love Actually and The Holiday. It draws inspiration from the 2000's romcom genre (so if you're into movies like Ten Things I Hate About You or The Proposal? This is for you). And the whole thing is available to listen right now, from start to finish!
You can listen on Apple Podcasts, Spotify, or wherever you get your podcasts. Or just press play below to start the first episode!
In the source is a payhip link to download 59 gifs (280x210px) of Jackie Emerson in various projects (FBI, Wayward Guide, Nineteen on Fire, and Curse of Downer's Grove). All of these gifs were made by me (and are 100% free), please read the gif rules linked to on this blog before using the pack. There is a link to them on the payhip page as well for your convenience.
Jackie is an American actress, known mostly for her role as Foxface in The Hunger Games. Speaking of that movie though, I'd appreciate it a lot if you did not use these gifs if you are also using resources of her in that movie (as she was a minor while filming The Hunger Games and that makes me deeply uncomfortable, thank you!)
If you like my content and would like to support it, please consider donating to the Palestine Children’s Relief Fund or an indigenous cause. I have links in my pinned post to point you toward some if you need suggestions. Thank you! 💕
TWs: Slight flashing (walking in and out of the direct way of bright stage lights)
Stephen Schwartz's new musical "The Queen of Versailles," based on the documentary of the same name, will hold its out-of-town tryout in Boston's Emerson Colonial Theatre. Previews begin July 16th, and the show is slated to run until August 18th.
Cast members include Kristin Chenoweth, F. Murray Abraham, Melody Butiu, and Nina White.
The book is written by Lindsey Ferrentino and the production is directed by Michael Arden.
why did my friend send me this i thought we were past chain mail
" Hi can u put your name in it and send it to 10 different people We’re trying to make the longest iMessage for the 2021 Guinness World Records. Put your name below (copy it) and send it to 10 people, Don’t be th e one to break the chain
Weird request, but do you have any faceclaims that are gingers? It's so hard to find ginger faceclaims of different ethnicities, body types, etc.
Hey anon! I’m not sure if you only wanted diverse faceclaims only but below are 200+ ginger faceclaims and I have noted the diverse suggestions. Please let me know if you’d like more specific suggestions for example from a certain age range.
Big thanks to @katherine-mcnamara!
Non-binary:
Nicky Endres (1982) Korean - non-binary, transfeminine, genderqueer and queer - they/she.
Olly Alexander (1990) - non-binary and gay - he/him.
Kaitlyn Alexander (1992) - non-binary - they/them.
Maggie McGill (?) - is non-binary, queer and fat/plus size- she/they,
Women:
Joy Behar (1942)
Sondra Currie (1947)
Becky Ann Baker (1953)
Kay Adshead (1954)
Julianne Moore (1960)
Carol Alt (1960)
Andrea Arnold (1961)
Marcia Cross (1962)
Cheryl Hawker (1962) - is fat/plus size.
Amy Yasbeck (1962) Lebanese / Irish.
Kate Walsh (1967)
Molly Ringwald (1968)
Debra Messing (1968)
Catherine Tate (1969)
Stephanie Belding (1971)
Brigid Brannagh (1972)
Nathalie Boltt (1973)
Alyson Hannigan (1974) Ashkenazi Jewish / Irish.
Amy Adams (1974)
Tina Campbell (1974) African-American.
Alicia Witt (1975)
Jen Richards (1976) - is trans and bisexual.
Isla Fisher (1976)
Lauren Ambrose (1978)
Natasha Lyonne (1978) Ashkenazi Jewish.
Itziar Castro (1977) - is a lesbian.
Jaime Ray Newman (1978) Ashkenazi Jewish.
Rachelle Lefevre (1979)
Ruth Connell (1979)
Nur Fettahoğlu (1980) Turkish.
Sarah Drew (1980)
Bridget Regan (1982)
Bronagh Waugh (1982)
Lotte Verbeek (1982)
Alexandra Breckenridge (1982)
Kate Mara (1983)
Tuğçe Kumral (1983) Turkish.
Lynsey Bartilson (1983) Ashkenazi Jewish / Norwegian, Dutch, mix of English, Irish, and French.
Magda Apanowicz (1985)
Emily Beecham (1985)
Deborah Ann Woll (1985)
Natalya Rudakova (1985)
Sarah Power (1985)
Our Lady J (1985) - is trans.
Mary Wiseman (1985) - is queer.
Sepideh Moafi (1985) Iranian.
Elçin Sangu (1985) Turkish.
Issa Rae (1985) Senegalese / African-American, Creole [African, French, distant Spanish], distant French-Haitian.
Katie Leclerc (1986) - has Ménière’s Disease.
Florence Welch (1986)
Laura Spencer (1986)
Gillian Alexy (1986)
Crystal Kay (1986) Korean / African-American,
Valorie Curry (1986)
Jessica Keenan Wynn (1986)
Sarah Snook (1987)
Evan Rachel Wood (1987) - is bisexual.
Genevieve Angelson (1987)
Nicola Coughlan (1987) - is fat/plus size.
Elena Satine (1987)
Sarah Hay (1987)
Stacey Farber (1987)
Christiane Seidel (1988)
Maggie Geha (1988)
Amber Skye Noyes (1988)
Sabina Karlsson (1988) Gambian / Swedish.
Renee Olstead (1989)
Jessica Kellgren-Fozard (1989) - has Ehlers-Danlos syndrome with Marfanoid phenotype causing blindness in one eye and deafness - is a lesbian.
Clémentine Desseaux (1988) - is fat/plus size.
Jane Levy (1989) Ashkenazi Jewish / English, some Irish and Scottish.
Jessie Buckley (1989)
Renee Olstead (1989)
Jenna Thiam (1990) Armenian, Belgian / Senegalese, English, French.
Lee Sung Kyung (1990) Korean.
Galadriel Stineman (1990)
Başak Gümülcinelioğlu (1991) Turkish.
Coral Kwayie (1991) Ghanaian / British.
Carmen Solomons (1991) Mixed South African.
Su Kutlu (1991) Turkish.
Charlotte Spencer (1991)
Colby Minifie (1992)
Alina Kovalenko (1992)
Eleanor Tomlinson (1992)
Haley Ramm (1992)
Alexis Jordan (1992) African-American / Puerto Rican.
Anna Shaffer (1992) Black and White South African / South African Jewish.
Louisa Connolly-Burnham (1992)
Jennifer Stone (1993)
Mayra Tercero (1993) Honduran.
Olivia Cooke (1993)
Molly Quinn (1993)
Freya Mavor (1993)
Sharon Belle (1993)
Molly C. Quinn (1993)
Thiều Bảo Trâm (1994) Vietnamese.
Janet Devlin (1994) - is bisexual.
Ahsen Eroğlu (1994) Turkish.
Madelaine Petsch (1994)
Jacqueline Emerson (1994)
Bronwyn James (1994) - is gay and fat/plus size.
Khadijha Red Thunder (1994) Chippewa Cree, African-American, Spanish - is pansexual.
Marina Ruy Barbosa (1995) Brazilian.
Aleece Wilson (1995) Metis, Afro-Canadian, Irish and Italian.
hi!! i was wondering if you had any suggestions for fcs with red hair that could pass as twins? one of them is male and the other is female. age wise they can be between 18-30. thank you so much in advance!!
ASOIAF FANCASTING –> EVERY NAMED FEMALE CHARACTER ABOVE THE AGE OF FIVE, PART XXII
Falyse Stokeworth (264-300 AC): Oldest daughter and heir of Lady Tanda Stokeworth. She is childless despite being married to Ser Balman Byrch for around 10 years. When Ser Bronn of the Blackwater marries her younger sister, Lollys, she plots with Queen Cersei to eliminate him. However, after her husband is killed in a duel against Bronn, Cersei gives her to Maester Qyburn for his experiments to keep the plot a secret. Fancast: Tara Fitzgerald.
Fern (main series era): A peasant woman of Lambswold in the Riverlands. Sharna the innkeep helps her birth her baby. Fancast: Jacqueline Emerson.
Ferny (main series era): One of Craster's older wives. She is one of the wives who approach Sam to flee with Gilly and her newborn son. Fancast: Mia Farrow.
Florence Fossoway (b. approx. 30 AC): Wife of Lord Martyn Tyrell of Highgarden. After her marriage, she took control of Highgarden's accounts and increased its incomes by a third. Her capability led to her husband being appointed as master of coin for King Jaehaerys I after the death of his Pentoshi master-of-coin Rego Draz. Fancast: Lisa Chappell.
Floris Baratheon (118-134 AC): Youngest daughter of Lord Borros Baratheon and his wife, Elenda Caron. She was married to Lord Thaddeus Rowan, who became a member of Aegon III's small council and later his Hand, but she died in childbirth within two years of the marriage. Fancast: Annabel Scholey.
Florys the Fox (Age of Heroes): Legendary daughter of Garth Greenhand, founder-king of the Reach. She kept three husbands, each of them ignorant of the others' existence. Her sons originated the noble houses of Florent, Ball, and Peake. Fancast: Lily Cole.
Frenya (d. 300): One of the six wildling spearwives who accompanies Mance Rayder to Winterfell to rescue Arya Stark from Ramsay Snow. She is presumably killed in the fighting whilst the presumed Arya escapes with Theon Greyjoy. Fancast: Charisma Carpenter.
Frynne (b. approx. 276 AC): The daughter of a smith, she was a Dornish girl who played with Arianne Martell in the Water Gardens when she was a girl. Fancast: Ella Robson.
Gael Targaryen (80-99 AC): Thirteenth and last child of King Jaehaerys I and Good Queen Alysanne. She was her mother's constant companion, bringing comfort to her after her other daughters had been lost. However, she was seduced and impregnated by a traveling singer, and committed suicide in her grief after her son was stillborn. Queen Alysanne herself died within the year afterwards. Fancast: Jenessa Grant.
Galazza Galare (b. approx. 217 AC): High priestess of the Temple of the Graces in Meereen, she is known as the Green Grace. When Daenerys Targaryen settles in Meereen to rule, she becomes a valuable source of counsel. Daenerys marries Hizdahr zo Loraq at her suggestion. Fancast: Shabana Azmi.
Jacqueline Yvonne Harry (born August 14, 1956), known by her mononymous stage name Jackée, is an actress, singer, comedian, director, and television personality. She is known for her roles as Sandra Clark, the sexy nemesis of Mary Jenkins on the TV series 227 (1985–90), and as Lisa Landry on Sister, Sister. She is noted for being the first and only African-American to win an Emmy Award for Outstanding Supporting Actress in a Comedy Series. She made her Broadway debut in A Broadway Musical. Throughout the 1980s she starred in numerous productions both on and off Broadway and national touring productions. She made her return to the theater by starring as Billie Holiday in the play Lady Day at Emerson's Bar and Grill. Following that stage production, she fulfilled the role of "madam who runs a bordello" in the Broadway musical The Boys from Syracuse. In the mid-2000s, she appeared in stage productions of The Sunshine Boys, Damn Yankees, and A Christmas Carol. She toured nationally in JD Lawrence's The Clean Up Woman. She was born in Winston-Salem, North Carolina to an Afro-Trinidadian mother and African American father and raised in Harlem. She began studying acting at the High School of the Performing Arts in Midtown Manhattan in New York City. She graduated from Long Island University with a BA in education. She worked as an American History teacher at Brooklyn Technical High School for two years before beginning a career on the New York stage. She has one child and was once married to arranger and conductor Jerry Jemmott. She married Elgin Charles Williams; they later divorced in 2003. During their marriage, she and Williams adopted a son, Frank. #africanhistory365 #africanexcellence https://www.instagram.com/p/ChPRmxTr-lRIJ3s_-pabI_vT9_Oh5hYhgnD0rg0/?igshid=NGJjMDIxMWI=
New Post has been published on https://thedigitalinsider.com/play-it-again-spirio/
Play it again, Spirio
Seated at the grand piano in MIT’s Killian Hall last fall, first-year student Jacqueline Wang played through the lively opening of Mozart’s “Sonata in B-flat major, K.333.” When she’d finished, Mi-Eun Kim, pianist and lecturer in MIT’s Music and Theater Arts Section (MTA), asked her to move to the rear of the hall. Kim tapped at an iPad. Suddenly, the sonata she’d just played poured forth again from the piano — its keys dipping and rising just as they had with Wang’s fingers on them, the resonance of its strings filling the room. Wang stood among a row of empty seats with a slightly bemused expression, taking in a repeat of her own performance.
“That was a little strange,” Wang admitted when the playback concluded, then added thoughtfully: “It sounds different from what I imagine I’m playing.”
This unusual lesson took place during a nearly three-week residency at MIT of the Steinway Spirio | r, a piano embedded with technology for live performance capture and playback. “The residency offered students, faculty, staff, and campus visitors the opportunity to engage with this new technology through a series of workshops that focused on such topics as the historical analysis of piano design, an examination of the hardware and software used by the Spirio | r, and step-by-step guidance of how to use the features,” explains Keeril Makan, head of MIT Music and Theater Arts and associate dean of the School of Humanities, Arts, and Social Sciences.
Play video
Video: Arts at MIT
Wang was one of several residency participants to have the out-of-body experience of hearing herself play from a different vantage point, while watching the data of her performance scroll across a screen: color-coded rectangles indicating the velocity and duration of each note, an undulating line charting her use of the damper pedal. Wang was even able to edit her own performance, as she discovered when Kim suggested her rhythmic use of the pedal might be superfluous. Using the iPad interface to erase the pedaling entirely, they listened to the playback again, the notes gaining new clarity.
“See? We don’t need it,” Kim confirmed with a smile.
“When MIT’s new music building (W18) opens in spring 2025, we hope it will include this type of advanced technology. It would add value not just to Wang’s cohort of 19 piano students in the Emerson/Harris Program, which provides a total of 71 scholars and fellows with support for conservatory-level instruction in classical, jazz, and world music. But could also offer educational opportunities to a much wider swath of the MIT community,” says Makan. “Music is the fifth-most popular minor at MIT; 1,700 students enroll in music and theater arts classes each semester, and the Institute is brimming with vocalists, composers, instrumentalists, and music history students.”
According to Kim, the Spirio enables insights beyond what musicians could learn from a conventional recording; hearing playback directly from the instrument reveals sonic dimensions an MP3 can’t capture. “Speaker systems sort of crunch everything down — the highs and the lows, they all kind of sound the same. But piano solo music is very dynamic. It’s supposed to be experienced in a room,” she says.
During the Spirio | r residency, students found they could review their playing at half speed, adjust the volume of certain notes to emphasize a melody, transpose a piece to another key, or layer their performance — prerecording one hand, for example, then accompanying it live with the other.
“It helps the student be part of the learning and the teaching process,” Kim says. “If there’s a gap between what they imagined and what they hear and then they come to me and say, ‘How do I fix this?’ they’re definitely more engaged. It’s an honest representation of their playing, and the students who are humbled by it will become better pianists.”
For Wang, reflecting on her lesson with Kim, the session introduced an element she’d never experienced since beginning her piano studies at age 5. “The visual display of how long each key was played and with what velocity gave me a more precise demonstration of the ideas of voicing and evenness,” Wang says. “Playing the piano is usually dependent solely on the ears, but this combines with the auditory experience a visual experience and statistics, which helped me get a more holistic view of my playing.”
As a first-year undergraduate considering a Course 6 major (electrical engineering and computer science, or EECS), Wang was also fascinated to watch Patrick Elisha, a representative from Steinway dealer M. Steinert & Sons, disassemble the piano action to point out the optical sensors that measure the velocity of each hammer strike at 1,020 levels of sensitivity, sampled 800 times per second.
“I was amazed by the precision of the laser sensors and inductors,” says Wang. “I have just begun to take introductory-level courses in EECS and am just coming across these concepts, and this certainly made me more excited to learn more about these electrical devices and their applications. I was also intrigued that the electrical system was added onto the piano without interfering with the mechanical structure, so that when we play the Spirio, our experience with the touch and finger control was just like that of playing a usual Steinway.”
Another Emerson/Harris scholar, Víctor Quintas-Martínez, a PhD candidate in economics who resumed his lapsed piano studies during the Covid-19 pandemic, visited Killian Hall during the residency to rehearse a Fauré piano quartet with a cellist, violist, and violinist. “We did a run of certain passages and recorded the piano part. Then I listened to the strings play with the recording from the back of the hall. That gave me an idea of what I needed to adjust in terms of volume, texture, pedal, etc., to achieve a better balance. Normally, when you’re playing, because you’re sitting behind the strings and close to the piano, your perception of balance may be somewhat distorted,” he notes.
Kim cites another campus demographic ripe for exploring these types of instruments like the Spirio | r and its software: future participants in MIT’s relatively new Music Technology Master’s Program, along with others across the Institute whose work intersects with the wealth of data the instrument captures. Among them is Praneeth Namburi, a research scientist at the MIT.nano Immersion Lab. Typically, Namburi focuses his neuroscience expertise on the biomechanics of dancing and expert movement. For two days during the MTA/Spirio residency, he used the sensors at the Immersion Lab, along with those of the Spirio, to analyze how pianists use their bodies.
“We used motion capture that can help us contrast the motion paths of experts such as Mi-Eun from those of students, potentially aiding in music education,” Namburi recounts, “force plates that can give scientific insights into how movement timing is organized, and ultrasound to visualize the forearm tissues during playing, which can potentially help us understand musicianship-related injuries.”
“The encounter between MTA and MIT.nano was something unique to MIT,” Kim believes. “Not only is this super useful for the music world, but it’s also very exciting for movement researchers, because playing piano is one of the most complex activities that humans do with our hands.”
In Kim’s view, that quintessentially human complexity is complemented by these kinds of technical possibilities. “Some people might think oh, it’s going to replace the pianist,” she says. “But in the end it is a tool. It doesn’t replace all of the things that go into learning music. I think it’s going to be an invaluable third partner: the student, the teacher, and the Spirio — or the musician, the researcher, and the Spirio. It’s going to play an integral role in a lot of musical endeavors.”