#notes/prima donna

[theaveragebooknerd]

#BAAAAAAA BA BA BA BA BAAAA #phantom of the opera #poto musical #poto #phantom of the opera at the royal albert hall #poto memes #theater memes #andrew lloyd webber #the music of the night #notes/prima donna #wishing you were somehow here again #point of no return #phantom of the opera overture

[opera-ghost]

#modern au where the managers anxiously refresh the google reviews page in notes I/II instead of reading the paper #also now im just thinking about erik lurking in the reviews and replying to critiques he doesn't agree with & threatening to kill them lmao #or someone says 'not a fan of the new prima donna.' and then mysteriously edits their review a day later saying #'christine daae is exquisite and i am not currently being held at gunpoint' #i wanna add on to this lol #phantom of the opera #poto shitpost

[phanblog]

01.09.24

#phantom of the opera #poto #opera #erik poto #meme #theater memes #christine daae #erik the phantom #erik #carlotta giudicelli #notes / prima donna

[rocklobsterart]

If these demands are not met, a disaster beyond your imagination will occur…

Once More!

#phanart #phantom of the opera #phandom #phantom #poto #the phantom #notes #piangi #carlotta giudicelli #meg giry #madame giry #monsieur andré #monsieur firmin #prima donna

[stolenrocket218]

today on this episode of "funny Phantom clips": my sweet darling baby boy is completely rejected/ignored. Also haha he's short <3

this is one of my favorite productions frfr

#the phantom of the opera #poto clips #notes / prima donna

[carmeloffie]

christine spoke of an angel……..

#my favorite raoul line in notes/prima donna sorry society… #samael speaks

[kyannnite]

the draft that started me down a rabbit hole…. phantom of the fanzine….

aka: a friend making a comment about how notes/prima donna could be some very dysfunctional zine activities created a brainworm in my mind that will never leave

#i have so much for this written btw. yall are unprepared #now it’s just about. putting pen to paper and attempting to draw it all out #phantom of the opera #phantom of the fanzine #POTO au #the phantom of the opera #my art tag #btw if you would like to hear more about the lore. please ask ill tell you all of it

[your-nanas-house]

Her Phantom (of the opera)

◇ Pairing: Phantom of the Opera!Anakin Skywalker X Christine!Reader

◇ Warnings: SMUT, creep behaviour, singing, opera, mentor x student, masturbation, kind of... dark!Anakin (?)

◇ Summary: Anakin gets turned on during a singing rehearsal with his student.

◇ Note: Sorry for the mistakes and the English. This is inspired by the Phantom of the Opera. Requested by @itlover8000 . I'm so so so sorry that it took me so long, hope you like it, let me know if you wanted something else.

His eyes remained still on her, taking in her beautiful hair, skin, her eyes and lovely dress that hugged her body in such a lovely way... showing off her cleavage in a delicious way, all pushed up and pressed together.

"Keep singing" Anakin ordered in a low voice as his Adam's apple bubbled... the light of the candles making her skin glow up even more, making her look divine.

His heart was beating faster at the mere view, his breath hitched in his throat as his pants tightened.

Her voice was so melodic and high, reaching just the perfect notes and showing how her chest moved up and down. Her tits nearly spilling out of the corset after a particular note.

Magnificent... divine... angelic.

She was all this adjectives and even more.... his little bird... songbird.

A particular note and his body shivered in pleasure, his hand started to palm himself as his cock throbbed inside of the restrictions of his pants.

"Higher.. again" Anakin required, clearing his throat to not sound breathless or needy... and so get caught.

She took a deep breath and opened a couple of buttons of her dress, her corset now giving her an unpleasant feeling because of all the practice.

The lights were on her, blinding her from the surrounding and from the sinful things her mentor was doing. She could just see a glimpse of the white mask which adorned just a side of his face.

Another deep breath and she started to sing again, following his requests... so to try and replace the company's prima donna.

In vain of the effect he had on Anakin, of his obsessive and passionate love that hid inside him.

So she sang... note after note, till she reached the highest one just when Anakin gave the last pump at his cock; cumming exactly when she finished and relaxing his whole body as her soft melody died slowly down.

"Magnificent" he praised as his Adam's apple bobbed.

#anakin skywalker x you #anakin skywalker x reader #anakin x reader #anakin skywalker smut #anakin skywalker #anakin smut #star wars anakin #phantom of the opera #phantom of the opera au

[scintillyyy]

a view at perceptions of dick's economic situation at the circus through the years

alright, we start at detective comics #38, the OG introduction. and, nothing is really said either way about what dick's economic station would have been, because really, the only thing it's there to tell us is that dick is an acrobat--which gives him the skills needed to fight crime by batman's side.

of absolute note to me, though, is the fact that his family was famous for their triple spin & what that potentially means for his upbringing. because, if you've been following this journey with me, means a lot. because we have a real life example of that to compare to get an idea of what may have been his childhood. i am of course, talking about the flying concellos && i did find another one and that would be the flying codonas (alfredo codona being the first man to land a triple somersault).

now, let's be clear--dick being the son of famed circus trapeze artists, especially ones who could land a triple, in 1940, means that he grew up the son of stars. they would have been center ring performers, and likely had amenities and pay that reflected that. now i won't deny that as circus performers they were likely 'othered'--there was likely a prejudice against what they perceived circus folk to be, but that does not likely completely reflect the actuality of what they may have had access to as a result of being entertainment stars. because they were othered--but at the same time, if they were famous enough for their skills, they were definitely adjacent to the rich and famous, not just poor, exploited workers. there was a lot of overlap between famous acts, longstanding families, and ownership. after doing...a lot...of reading on the most famous circus stars of the era of the 1920s & 1930s (especially alfredo cordona + his eventual wife lillian leitzel and the flying concellos), i think i've determined a couple of things:

one, these circus stars feel very akin to movie stars wrt their fame. and they were messy as hell. lillian leitzel in particular was a prima donna--she was the first circus star who was able to catapult her worth into luxuries. she was the first star to ever get her own private train car and personal dressing tent and was known to be the prima donna of the circus. she was also known for her temper--her personal maid would sometimes get fired and rehired several times a day. when she married alfredo cordona between acts in chicago, it was considered the royal wedding of the circus world. may wirth, a trick rider, was frequently in the gossip column of newspapers & had many, many admirers. lillian leitzel was voted the most beautiful woman in the world by american soldiers in wwi. like, these people were stars in every sense of the word.

two, these performers were not just meek, exploited poor people. with the right skills, they had power, they had ambition & they had money. they were center stage performers. arthur concello was huge in investing in and modernizing the circus--likely because of the money he made through the years of performing his act.

so frankly detective comics #28, and later batman #32, doesn't really delve into what dick's life experiences may have been on the circus--because that's not the point. the only thing those are their to do is establish dick as an orphan & and acrobat, and thereby skilled and motivated enough to work at batman's side.

but based on the era in which he was created and in comparison to similar acts of the time, it's easy to take a gander. because john & mary being able to perform a triple would have been huge. they'd be center stage acts, high in hierarchy. with mary being a young, attractive woman who could perform a triple, she may have had plenty of admirers & been in the gossip columns of the newspaper. her wedding to john may have been a whole thing to circus fans. i read a lot about those types of acts being invited to perform and star in european shows over the winters at old, respected circuses && they had enough international star power that they drew crowds there based on name alone. i know the impulse is to think that dick would have had no experience with the wealth of bruce's world, but conversely in that day and age and his parent's skillset it's highly likely he would have been exposed to the glitz & glamour of the famous high life. they may have been invited to do private performances for other rich & famous people & rubbed shoulders with them. alfredo cordona was in a few hollywood movies for his skills & arthur concello had connections to hollywood due to brokering the movie 'the greatest show'--is it out of the realm of possibility to believe that john would have had the same opportunities?

anyways, moving on. i find myself extremely intrigued by detective comics #484, which brings dick back to haly's circus. now there's some hilarity here in that dick has no clue if it's possibly the same haly's circus he and his parents worked for, and he meets linda--of the flying graysons! (get her ass for copyright infringement, dick). jk. linda is a very nice girl & it's just a stage name. dick confirms they were circle ring stars & says that haly's was the greatest show on earth (the ringling bros & barnum and bailey about to come for haly...)

now this issue is interesting because while it doesn't necessarily give us an idea of what dick's economic status would have been, it does establish that the flying graysons were famous enough that the evil stepfather conviced haly that by yoinking the name for his family they'd be able to draw in more customers based on name recognition alone & that the name would put him in the headlines/give him headliner credibility for his act and the circus to get sold to a bigger show & that he would be able to "ride the crest of the wave" and become very successful (and presumably rich). which definitely implies that the grayson name is worth something. now haly's circus is shown to be getting by with generous checks from bruce wayne, and i feel like here we start to get what i feel is a fairly consistent incongruency where haly's circus is often shown to be barely getting by (despite their full audiences), yet the flying graysons were famous.

so then on to secret origins #13, which has dick tell joey about his journey to robin, and...briefly goes into his childhood (he started performing with his family at 5), but again the focus is, as always on the acrobatic portion. there's an interesting opaqueness there about what his childhood was like. just acrobatics and loving parents. nothing is ever really suggested with regards to their fame, they're just vaguely famous & circus stars. nobody seems interested in interrogating that.

and then we get to year three & batman #436 and this is the first time we get any sort of nugget as to dick's potential economic status, and it's not bad? his dad references getting world series tickets and dick wants to go to a movie with harry so he can skip out on homework. the average price of movie tickets in the 70s (when this is implied to take place) adjusted for inflation would be equal to about ~11 dollars today and dick clearly doesn't seem to think this is a huge expenditure. i mean, i wouldn't say that they're rich here by any means (unlike the potential implications of his 1940 introduction), but they're clearly comfortable enough to afford small luxuries without worry. which, again, as a named, headlining act doesn't seem too out of the ordinary. as the headliners, they're probably making the most of all the acts, as they're the ones bringing in the crowd. mary is said to be a third generation circus performer, which. to me. implies some success, that the circus family continued on. a lot of the people i mentioned before were ostensibly part of circus families that continued the tradition as that's what they were raised in. alfredo was first brought on stage at 7 months. & i think the fact that dick was a part of a longstanding circus family that would have had deep ties not just to the community but also would have likely been very entwined and friendly with management due to the nature of a long work relationship together. there is a stability there that wouldn't necessarily be seen with. someone new, i guess?

anyways, honestly i feel like year three & later a lonely place of dying are really the stories that try not to stereotype circus life the most. there's no "wow circus people are so othered & weird", they're just normal people who work at a circus & are treated as such. even jack and janet stopping for a photo is treated like "let's show our son that these performers are just people like us under their costumes". which, honestly reads more like that time i was brought to a local haunted walk when i was like 7 and i was in tears because i was so scared and one of the performers took off their mask to show me he was just a normal guy underneath the costume.

devin grayson, of course, retcons this long-standing family history of his mother being part of a circus family in nightwing annual #1 and changes it to his father instead & is very, hm, married to the idea that circus workers are poor in her conceptualization of how she writes dick as evidenced by her interview in "dick grayson, boy wonder" where she says the following:

god. the racism. it's something. and now. i'll say i have no issue with the idea of clarifying dick as not necessarily white. i do have slight issue with the idea that because he was a circus performer, he was poor. because this is the first time someone i think has actually tried to take into account the childhood dick may have experienced, and she definitely inserted her own stereotypical biases into it. and is a bit at odds with how skilled, famous american circus workers who have his parents' skillset were treated back in the time of dick's conception. they traveled in the winter because they were stars and were invited to perform in prestigious european circuses due to their fame. i just. and i will point out that a lot of these famous circus performers were hot blooded and it had nothing to do with race and everything to do with the fact that they were stage divas. idk. obviously, conceptions of circus workers were likely not the greatest in the 90s. they were nowhere near what their fame was in their heyday. clowns were definitely starting to be seen as more creepy and by this point, circuses were far more criticized for their treatment of animals. but i feel like there's a bit of a leap here wrt devin grayson's assumptions of circus life because of the fact that they travel & doesn't do near enough justice to the worth of the skill of dick & dick's parents. because being able to perform a triple & a quadruple would have still been extremely rare and highly valued. so rare it wasn't performed until 1982 & can still hardly be achieved.

https://www.nytimes.com/1982/07/13/arts/a-quadruple-for-the-flying-miguel-vazquez.html

this article is a fascinating review of exactly how rare and dangerous it is. & hey, alfredo mention.

batman legends of the dark knight #100 seems to go along with this idea that a circus is a dirty and poor place.

and, like. okay so the graysons are still shown as an act important enough to have their own dressing/prep room, per usual, as expected for their skillset. haly's circus in modern day is usually shown in more modern comics to be a small traveling circus that's not doing...super well--at least in comparison to previously established show selling out lore, but the only thing i really take umbrage with here is that alfred describes it as decrepit. which. i feel like even if haly's is small and maybe not super profitable it should at least be shown as a well kept, nice place & the only reason for that is because if it was practically falling apart, there's no fucking way jack would have won the battle of 'let's bring our son tim to the circus' if it was falling apart. janet would have been out here on beyondthebump all 'help my DH wants to take our son to a circus and it's falling apart, located in a terrible part of town, and looks like it employs murderers, how do i tell him no?' and she would have been met with a chorus of 'stand ur ground girl, do NOT let him endager your baby like that!!'.

anyways, the new 52 also gives us almost nothing to go on either. dick's parents' trailer looks nice enough, indicating they do make enough money with their act to afford a semi nice trailer. john is an asshole, dick is out of character. lovely, thanks new 52. the secret origin is as least much better but does go into how the circus has no money--which, hm. doesn't really tell us anything re: the grayson's economic situation. the circus might be struggling and have to close down soon, but it doesn't mean a lot for what contracted rates they pay their acts. in fact, paying for an act as skilled as the graysons and not getting enough profit in return could be part of their money troubles.

and then finally we end with nightwing 82-83 by tom taylor, with the meili lin thing (and, while meili is nice enough, i must say i still don't like this whole thing because the point of zucco should not have been he had a longstanding grudge against the graysons, gdi-). which, again, all it confirms is that the grayson's were the star attractions and does nothing to interrogate what that might've been. it does focus a lot on the idea of they were free and happy, which. um. sometimes the focus on how happy people are is usually "despite the fact that they don't have x". then again i do feel like i will give tom taylor the fact that he also seemed to have just written the graysons as normal people, but he also doesn't seem interested in interrogating what dick being the son of the star act might have actually meant for him.

honestly, a lot of what i'm finding is that much like tim, dick's childhood is left frustatingly opaque--there's a lot of room for interpretation, honestly. it's not ever really said on paper if they struggled with money growing up. you have writers who have all but confirmed they wrote dick with the understanding that he grew up poor because he worked in a circus, but at the same time does ignore the fact that the grayson's had such a unique and special skillset that it's hard to say that makes sense. & is rooted in stereotypical biases. the only aspect of it that's ever considered is "dick's the son of the skilled, star performers and also has those skills ergo he has the skills to be a vigilante". they're cast in this light of famous & skilled!! but the circus they work for is poor and barely getting by, and you can only assume that because they worked for a poor circus dick was probably also living on the poverty line, wholly dependent on the success of the place they worked for because at times their wages were struggled to be paid (despite the fact that as a contract act, to underpay them would absolutely be a breach of contract). there's no confirmation or in-depth look at his childhood, only vague implications, throwaway lines & stereotypes. they want the grayson's to be probably the most skilled circus act in the world. they don't want to look at what that would realistically mean. because only the acrobatics is the important.

#anyways my deep dive into reading various versions of dick's origin really does show that dc doesn't really care #what his childhood experiences may have been #because they don't matter. only the acrobatics ever have #anyways i do think there's a lot of potential for dick to feel othered in his stories #his family would have been at the top of the hierarchy #he was used to fame but still was unable to fit in to bruce's world

[thetarttfuldickhead]

The call connects and there’s Roy, seemingly back at his own house, seated on a grey couch and wearing a scowl dark enough to match his t-shirt and jacket.

Trent smiles, though carefully not too wide. “Hello Roy. Thank you for agreeing to this.”

Roy grunts. “Better you than any of the other wankers,” he mutters.

Trent makes an effort to hide his grin. Visibly gloating about having the sort of access to Roy Kent that other journalists – independent or disgraced or otherwise – can only dream of isn’t likely to get him the exclusive comments that he needs from Richmond’s head coach on today’s kerfuffle.

“So,” he offers smoothly, “what do you—“

He’s cut off by the loud bang of a door slamming shut on the other end and a startled fuck from Roy and then there’s Jamie Tartt’s head coming into view as it flops down on Roy’s lap. He must have thrown himself down onto the couch.

“It’s all such fucking bullshit, man,” Jamie pronounces dramatically as he – Trent’s eyebrows rise another inch – grabs Roy’s arm and pulls it over his chest, claiming half a cuddle. “Did you know—“

“I’m in the middle of an interview, you twat,” Roy barks, but he does not, Trent notes with increasing interest and incredulity, remove his arm.

“Since when do— ?” Lifting his head from Roy’s lap, Jamie blinks at the screen. “Oh! Uh. Hi, Trent! How you doin’, you good?” His grin is wide, easy, with no hint of embarrassment, and Trent finds himself smiling back. Jamie has always been charismatic, but the last few years have seen his swagger turn into a good-natured charm that’s surprisingly hard to resist.

“I’m fine, thank you, Jamie. And regarding the news this afternoon, how do you—“

“No,” Roy immediately says, shifting to push Jamie off his lap in spite of the younger man’s indignant protests. “He has no fucking comment. He’s not part of this conversation. He’s not even fucking here.”

“The fuck are you on about, mate, he can see I’m— “

“Go to the kitchen,” Roy interrupts. “Get me a whisky. If I have to listen to you complain about wankers on Twitter or split fingernails or whatever, I need a fucking drink.”

“You’re an arsehole,” Jamie tells him from out of the picture, but he doesn’t sound particularly upset. “I haven’t even got any split fingernails.” And then he must be off because he doesn’t say anything else and Roy turns back to Trent, glaring like he’s daring Trent to say it.

Trent, with equal parts cunning and self-preservation, says nothing at all. Waits.

Eventually, Roy’s shoulders drop a millimeter. He lets out a huff. “Jamie’s fucking needy, all right? He needs fucking hugs and shit and he turns into a moody bitch prima donna if he doesn’t get them, so.” He presses his lips together, having apparently said all he intends to say on the subject.

Trent had noticed Jamie’s fondness for hanging off anyone's and everyone’s shoulder during his season with the team. He hadn’t known and would never have imagined, though, that Roy would ever be willing to indulge the tendency, especially not to this degree. And that rather begs the question...

“Roy,” he says carefully. “You know that, if the two of you are—“

“We’re not.” And Roy closes his eyes, shakes his head. Opens them, looking resigned, but looking a little bit wry too. “Be less fucking weird if we were, wouldn’t it? But we’re not. It’s just… “ He pauses. Shakes his head again. “It’s Jamie. Just… fucking Jamie.”

“Except you are not,” Trent says, just to be clear, just because being a bit of an asshole is a habit, and fun.

“Except I’m not,” Roy growls, and looks like he’s about to add something more – something scatching and imaginatively insulting, Trent assumes – but then he lifts his head, turning towards someone offscreen. “What— ? Yeah, we’re fucking done. Bye, Crimm,” he adds, and then the screen goes dark as Roy abruptly ends the call.

“Bye, Roy,” Trent tells the silence. “I’ll just text you the questions, shall I? You can get back to me when you’re done giving Jamie Tartt a cuddle.”

#roy and jamie fucking are fun i guess #but them cuddling and being super intimate and deeply weird about each other while NOT fucking is also very very fun #as of 3x11 jamie has decided that roy is indeed his for the cuddling whenever jamie needs him to be #roy is resigned to this #he took one look at jamie and georgie and knew it was his destiny #and it’s not exactly hardship #and it’s quite nice to be needed #which still doesn’t stop him from calling jamie a bitch bc roy is still very much a work in progress #he'll get there #probably #also roy and trent's relationship is so special to me #if trent somehow started doing regular journalism again he would TOTALLY use the fact #that he's the one journo roy doesn't hate #roy would fucking mutter and grumble and complain about it #but would ultimately indulge him #just as he does for jamie #and phoebe and anyone that he cares about #trent crimm #roy kent #jamie tartt #ted lasso #roy & jamie #ficlet #my stuff

[diceriadelluntore]

Storia Di Musica #328 - Francesco De Gregori, Titanic, 1982

I dischi che ho scelto il mese di Giugno hanno un valore ancora più personale, e sono legati da un fatto. A metà Maggio per aggiustare due tegole lesionate salendo in soffitta per fare spazio ho ritrovato degli scatoloni, e in uno di questi, catalogati in buste di carta, come quelle del pane, vi erano dei dischi. Ne ho scelti 5 per le domeniche di questo Giugno. Il primo era nella busta Dischi di Angela, il nome di mia madre. Interrogata, e felicemente sorpresa di aver ritrovato quello scatolone pensato perso dopo un temporaneo trasloco da casa, mi ha raccontato che non comprò il disco appena uscito, ma dopo qualche anno, dopo aver visto un concerto dell'artista di oggi, uno dei più grandi autori della canzone italiana.

Francesco De Gregori era stato lontano dagli studi di registrazione per tre anni: il 1979 era stato l'anno straordinario di Banana Republic con Lucio Dalla e di Viva L'Italia, disco fondamentale e che contiene una storia particolare. Fu infatti il tentativo della RCA, la sua casa discografica, di promuovere l'artista a livello internazionale. Fu ingaggiato Andrew Loog Oldham, leggendario scopritore e primo produttore dei Rolling Stones, che portò con sé una schiera di tecnici e turnisti britannici, e lo stesso De Gregori registrò delle versioni in inglese di alcune delle sue canzoni più note (Piccola Mela, Rimmel, Generale, una versione di Buffalo Bill con Lucio Dalla) con i testi tradotti da Susan Duncan Smith e Marva Jan Marrow, poetessa statunitense che rimase in Italia per un decennio, collaborando con numerosi artisti (Ivan Graziani adatta un suo brano, Sometimes Man, per Patti Pravo, che diviene una dedica per lei, intitolata Marva).

Decide quindi di concentrarsi su un disco che da un lato riprende progetti giovanili sul recupero delle musiche tradizionali, e dall'altro sia una sorta di concept album. Su questo ultimo punto, fu decisiva la lettura nei mesi precedenti le registrazioni di un libro, L'Affondamento Del Titanic di Hans Magnus Enzensberger. Prodotto da De Gregori con Luciano Torani, Titanic esce nel giugno del 1982. È un disco dove De Gregori lascia da parte la canzone d'amore (solo un brano è riconducibile ad una canzone romantica), musicalmente molto vario e che sembra, attraverso il racconto della mitica nave e del suo tragico destino, una riflessione faccia faccia, personale e spirituale, con il mare, i suoi messaggi potenti e profondi. Si apre con Belli Capelli, l'unica canzone d'amore, che lascia lo spazio a Caterina, emozionate omaggio a Caterina Bueno, cantautrice fiorentina che fu la prima a credere nel giovane De Gregori, chiamato come chitarrista nel 1971: i versi «e cinquecento catenelle che si spezzano in un secondo» sono un omaggio ad un brano di Bueno, «e cinquecento catenelle d'oro/hanno legato lo tuo cuore al mio/e l'hanno fatto tanto stretto il nodo/che non si scioglierà né te né io». La Leva Calcistica Del '68 è uno dei classici degregoriani, toccante racconto di un provino calcistico di un dodicenne nel 1980, con uno dei testi più belli del Principe (E chissà quanti ne hai visti e quanti ne vedrai\Di giocatori tristi che non hanno vinto mai\Ed hanno appeso le scarpe a qualche tipo di muro\E adesso ridono dentro al bar\E sono innamorati da dieci anni\Con una donna che non hanno amato mai\Chissà quanti ne hai veduti\Chissà quanti ne vedrai). La parte centrale del disco, musicale ed emozionale, è la cosiddetta trilogia del Titanic. L'Abbigliamento Di Un Fuochista, cantata con Giovanna Marini (grande custode della musica tradizionale italiana, recentemente scomparsa) racconta una storia di emigrazione attraverso il doloroso dialogo madre-figlio sullo sfondo della tragedia, e De Gregori in un disco successivo, altrettanto famoso, La Donna Cannone (1983), inserirà un brano, La Ragazza E La Miniera, che è la prosecuzione narrativa di questo brano. Titanic, dal meraviglioso ritmo sudamericano, è il brano metafora della questione sociale: la divisione in classi, prima, seconda e terza, che accomuna la nave alla società. I Muscoli Del Capitano inizia come Il Tragico Naufragio Della Nave Sirio, canzone popolare resa celebra da Caterina Bueno, e molti notarono lo stile particolare del testo, un riferimento alla narrazione futurista del progresso, della potenza meccanica, al mito dell'acciaio e dell'industria. La canzone, meravigliosa, sarà oggetto anche di numerose riletture, e ricordo quella convincente di Fiorella Mannoia in Certe Piccole Voci (1999). Il disco si chiude con il riff, spiazzante, di 150 Stelle, sulle bombe e i bombardamenti, con il simpatico rock'n'roll di Rollo & His Jets, che nel testo cita due dei suoi migliori collaboratori, Peppe Caporello (bassista mezzo messicano soprannominato chicco di caffè) e Marco Manusso (chitarrista con quel nome strano) che insieme con Mimmo Locasciulli suonarono nel disco. Leggenda vuole che per gli arrangiamenti dei fiati Caporello volle un paio di scarpe di tela Superga bianche. Chiude il disco il pianoforte, dolcissimo e malinconico, di San Lorenzo, in ricordo dei bombardamenti del 19 luglio 1943 sul quartiere romano di San Lorenzo ad opera degli alleati. Canzone stupenda, è anch'essa ricchissima di riferimenti: i versi su Pio XII che incontra la gente si rifà ad una famosissima fotografia (scattata però, ma si seppe anni dopo, davanti alla Chiesa di San Giovanni In Laterano, nell'agosto del '43 dopo la seconda sequenza di bombardamenti), il verso Oggi pietà l'è morta, ma un bel giorno rinascerà è presa dal famoso canto partigiano di Nuto Revelli.

Il disco, con in copertina il merluzzo su un piatto in un frigorifero accanto a un limone tagliato fotografato da De Gregori e colorata da Peter Quell, fu anche un successo di critica e di vendite: nonostante non ebbe traino da nessun singolo, vendette 100000 copie nel primo mese, regalando le sue canzoni stupende, con De Gregori che fu il primo a ripercorrere le orme del Battiato de La Voce Del Padrone, unendo nel modo più convincente la tradizione cantautorale, in questo lui un Maestro insuperato, con il grande pubblico.

#francesco de gregori #titanic #1982 #recensione

[luca-ercolani]

Rachel McLish: First Ms. Olympia 💪💪💪

(Image via: reddit.com)

Rachel McLish: Ms. Olympia

🏆 1980 IFBB Ms. Olympia – 1ª classificata

🥈1981 IFBB Ms. Olympia – 2ª classificata

🏆 1982 IFBB Ms. Olympia – 1ª classificata

🥈1984 IFBB Ms. Olympia – 2ª classificata

Rachel McLish bodybuilder

Rachel McLish si appassionò al bodybuilding femminile spinta dal successo riscosso da Lisa Lyon.

Il definitivo ingresso nel mondo del culturismo fu essenzialmente motivato dalla convinzione che questa disciplina le avrebbe potuto fornire una piattaforma per pubblicizzare sia la propria attività che il fitness tra le donne.

La McLish rivestì un ruolo fondamentale nella crescita del culturismo femminile negli anni ottanta del XX secolo.

Il suo anno d'oro fu il 1980, quando vinse i campionati la prima edizione del concorso di Ms. Olympia.

Grazie a tale vittoria apparve nelle copertine delle più note riviste di culturismo più di ogni altra donna, per i successivi cinque anni, oltre a guadagnarsi importanti sponsorizzazioni.

La bellezza e il carattere molto competitivo, infatti, ne fecero subito una stella del bodybuilding femminile, catapultando su di lei l'attenzione dei media locali.

Nel 1981 perse il titolo di Ms. Olympia a favore della finlandese Kike Elomaa, anche per via di un fisico meno definito rispetto all'anno precedente.

Presentatasi anche nell'edizione del 1982, alla terza partecipazione si riconquistò il titolo.

Tornò per un'ultima volta a Ms. Olympia 1984, con lo scopo di diventare tre volte campionessa, ma fu detronizzata dalla più massiccia e giovane Cory Everson al culmine di una discussa gara.

Al termine della contesa alcune sue rivali criticarono apertamente il suo 2º posto, convinte che non meritasse il piazzamento ottenuto per via di «un fisico troppo magro».

Lo stravolgimento dei parametri di giudizio dei giudici, ora inclini a favorire fisici più voluminosi rispetto alle figure snelle e toniche da lei promosse, la portarono ad annunciare il ritiro nel 1984, all'età di 29 anni.

Nella seppur breve ma importante carriera, durata quattro anni, giunse sempre a podio.

Fonte: Wikipedia

#rachel mclish #health and fitness #fitnessmodel #fitnessgirl #fitness motivation #fitness #fitblr #ms olympia #female bodybuilding #bodybuilder #bodybuilding

[opera-ghost]

“notes/prima donna” (the phantom of the opera, 1986)

#and the lawyer in question is just andre in a powdered wig #phantom of the opera #poto shitpost #poto

[phanblog]

“these demands are regular occurrences” (Notes/Prima Donna)

how many people have demanded that Carlotta be replaced in order for this to be deemed a regular occurrence?

#phantom of the opera #poto #carlotta giudicelli #notes / prima donna #prima donna #opera #seriously though #how many people have threatened her #or demanded to be rid of her

[eleancrvances]

audio gift!

in honor of the italian production closing in monte carlo tonight, here's an audio gift of the full the phantom of the opera in milan, october 21st 2023's afternoon show!

cast: ramin karimloo (the phantom), amelia milo (christine), vinny coyle (raoul), earl carpenter (andre), ian mowat (firmin), anna corvino (carlotta), gian luca pasolini (piangi), alice mistroni (madame giry), zoe nochi (meg) + full cast in the folder

please credit as eleancrvances's master. you can hear me sob during the end of the final lair i fear...

also some notes because i thought it was a juicy performance, and as far as i know no videos of the milan run exist:

vinny's raoul is a sweetheart but also the king of flapping that long coat like it's a cape. so dramatic

anna corvino has grown way more comfortable with carlotta and was having so much fun tormenting christine during "il muto"

there's applause and some noise during the last section of masquerade because after a brief darkness the lights turned on to reveal the cast had come down among the audience, while confetti fell from the ceiling

ramin sank to his knees after the kiss and remained there for a looong while, in a daze. then he noticed raoul had gone limp and jumped to his feet to take the noose off him, in a "no wait he can't die now i can't have that anymore" way

in this production (like in the restaged uk tour) the phantom has his back to christine when she returns the ring, and delivers the "i love you" not knowing she's there. now, it wasn't done like this in trieste, but at least when i went in milan when raoul says it to christine in act I she has already started to leave the rooftop and he's still on his knees, so he also says it while having his back turned to her... the parallel becomes visual as well. exactly the same blocking. how fun :')

#audio gift #poto italy #poto #the phantom of the opera #phantom of the opera #ramin karimloo #amelia milo #vinny coyle #earl carpenter #poto milan #christine daae #erik the phantom #raoul de chagny #phantom italy

[marleneoftheopera]

Because I know you all want to hear Earl. Have been told by a few people who went that he "plays a very good drunk Andre". Good for him honestly. Some nice high notes from Anna too!

#earl carpenter #ian mowat #anna corvino #bradley jaden #gian luca pasolini #zoe nochi #alice mistroni #prima donna #ramin karimloo #phantom of the opera #the phantom of the opera #poto italy #phantom audio #poto audio #audio gift