#paul whaley

[blackros78]

Blue Cheer

#blue cheer #1960s #hard rock #heavy metal #classic rock #dickie peterson #leigh stephens #paul whaley #group shot

[spilladabalia]

Blue Cheer - Summertime Blues (American Bandstand,1968)

#blue cheer #summertime blues #eddie cochran #cover #dickie peterson #leigh stephens #paul whaley #hard rock #heavy psych #protopunk #proto metal #vincebus eruptum #1968 #american bandstand #dick clark #Youtube

[kinard-buckley]

so... these are the same outfits that we saw in 1x11 (missing while interracial)

i guess it's safe to assume we'll see the immediate events leading up to the kidnapping? (also interesting to see that gabi's dad met sir/hugh prior to the kidnapping... i wonder if the actual abduction was something he planned or if it was more impulsive/panic-driven.)

#found nbc #nbc found #gabi mosely #hugh evans #richard mosely #mark paul gosselaar #a'zaria carter #mark whaley #found spoilers #exQUEUEse me

[camyfilms]

HUSTLERS 2019

Start 'em off with a single, then a double, then a triple, then back to a double, and back to a single. You want 'em drunk enough to get their credit card then sober enough to sign the check.

#hustlers #2019 #constance wu #jennifer lopez #lili reinhart #keke palmer #lizzo #cardi b #julia stiles #mercedes ruehl #wai ching ho #madeline brewer #trace lysette #mette towley #g-eazy #frank whaley #paul nielsen

[riddlersbimbo]

Paul Dano in The Sopranos (s04e06 "Everybody Hurts")

#paul dano #the sopranos #patrick whaley #my content #dano dude

[blueeyeddarkknight]

Val kilmer is a perfectionist and Paul's perfectionism gave him a hard time.. He took 17 takes to get "the end" right .. But he did it so well Paul was moved to tears and hugged Val for like 15 minutes and said it was "perfect". (from Val's I'm your huckleberry memoir

Rip Paul.. His work in the doors movie should've been recognized but he was snubbed right along with Val

Rothchild later told The Washington Post, “[He] knows Jim Morrison better than Jim ever knew himself."

#val kilmer #Paul rothchild #The doors #The doors movie #Bts #Jim morrison #Remembering Paul #Snubbed #Lizard king #The fifth door #The doors making #The doors 1991 #frank whaley #robby krieger #Oliver stone

[andromedavwrites]

Sorry if I’m yapping I’m just obsessed - sorry what ok continuing

Idk if you’re waiting reveal it or something but can you please say you’re fancasts (is it considered a fancast if you’re literally the creator? Or the half creator since it’s a reboot?) for your reboot?

I love eah fancasts / just fancasts in general and the way you’ve mentioned some of them in other posts makes me so curious

!!!!!

i never talk about my cast but here’s the list!!(i probably fucked up names on this, i have like five times)

these aren’t set in stone obv, and one of them is a joke bc i thought it would be funny if a certain someone played Rumplestiltskin-

Raven Queen played by Callie Haverda

Apple White played by Mckenna Grace

Madeline Hatter played by Momona Tamada

Briar Beauty played by Kyleigh Curran

Cedar Wood played by Maliah Baker

Ashlynn Ella played by Trinity Likins

C. A. Cupid played by Sarah Dorothy Little

Blondie Lockes played by Ava Kolker

Ginger Breadhouse played by Iman Vellani

Duchess Swan played by Rina Johnson

Darling Charming played by Clementine Lea Spieser

Farah Goodfairy played by Cheyenne Hinojosa

Cerise Hood played by Ashley Sarmentio

Daring Charming played by Tait Blum

Dexter Charming played by Jacob Tremblay

Sparrow Hood played by Dallas Young

Hunter Huntsman played by Mateo Gallegos

Humphrey Dumpty played by Issiah Russel-Bailey

Kitty Cheshire played by Miya Cech

Lizzie Hearts played by Sofia Chicorelli Serna

Alastair Wonderland played by Walker Bryant

Bunny Blanc played by Xochtil Gomez

Chase Redford played by Parker Bates

Courtly Jester played by Trixie Hyde

Meeshell Mermaid played by Sophie Grace

Jillian Beanstalk played by Brianni Walker

Hopper Croakington II played by Jentzen Ramirez

Melody Piper played by Oona O’Brian

Ramona Badwolf played by Symonne Harrison

She played by Izabella Rose

Poppy O’Hair played by Anais Lee

Holly O’Hair played by Mirabelle Lee

Brooke Page played by Pixie Davies

Gus Crumb played by Jace Chapman

Helga Crumb played by Camron Seely

Travis Thumb played by Amari O’Neil

Prudence Step played by Lilo Baier

Charlotte Step played by Ava Ro

Lily Bo-Peep played by Lotus Blossom

Zypherus Wynd played by Camren Conerly

Aquilona Wynd played by Trinitee Stokes

Charity Charming played by Kaylin Hayman

Clara Lear played by Scarlet Spencer

Mahlee Black played by Daria Johns

Coral Witch played by Michela Luci

Nathan Nutcracker played by Finn Little

Justine Dancer played by Priah Ferguson

Witchy Brew played by Pilot Saraceno

Nina Thumbell played by Ella Noel

Felix Princely played by Jackson Dollinger

Tucker Merry played by Miguel Cazarez Mora

Marsha King played by Alexa Nisenson

Jackie Frost played by Anya Taylor-Joy

Northwind Frost played by Logan Lerman

Milton Grimm played by Frank Whaley

Giles Grimm played by Kieran Mulroney

Baba Yaga played by Olga Kurylenko

Rumplestiltskin played by Danny DeVito

Pied Piper played by Collin Donell

Mad Hatter played by Paul Wesley or Alex Hefner

The White Queen played by Kate Winslet

Mr. Badwolf played by Con O’Neil

Momma Bear played by Nathalie Boltt

Papa Bear played by William Baldwin

Coach Gingerbread played by Hill Harper

Snowelle White played by Alison Brie

Elvira Queen played by Clemence Poesy

Good King played by Matt Lanter

Snow Queen played by Lisa Kudro

Snow King played by Jeffrey Dean Morgan

Lance Charming played by Dan Stevens

Bryce Frost played by Shailene Woodley

Pie played by ?

Butternut played by ?

Cheshire Cat played by Stephanie Hsu

Queen of Hearts played by Meghan Ory

White Rabbit played by Joe Arquette

Cook played by Olivia Hack

i have spent… so long thinking about my cast for this i would DIE if i got even half of these actors to play the characters in the reboot!!

#ever after high #eah #eah reboot #ever after high reboot #ever after webtoon

[ludmilachaibemachado]

"It was an incredible time for all of us. There was a lot of hope in the air. We were all young and away from home for the first time in our lives. We were also all working for ourselves... We all knew something was happening but it hadn't been discovered yet." - Linda McCartney about the Sixties.

American photographer Linda Eastman with Northern Irish guitarist Jackie McAuley, 1966 circa.

📸Paul Whaley.

Via @maccalover66 on Instagram

#60s icons #girlsofthesixties #the beatles wives #linda eastman #linda mccartney #jackie McCauley #1966

[thepopebutgay]

song of the day.. numba 1

going kinda obvious with the first one lol Vincebus Eruptum is a classic can't lie (yeah it's where my name came from )! today i will rant about uh... Out of Focus one of my favorites from the record, leigh is doing whatever the fuck he does on guitar with dickie peterson chillin on bass and paul whaley being one of the only rock drummers that makes the higher registers on a drum worth a shit, very cool song if you like psychedelic rock and early metal

CHECK THIS SHIT OUT. I WILL KILL YOU IF YOU DON"T !!

#song #uh yeah #PYusuf #Youtube

[diceriadelluntore]

Storia Di Musica #244 - Blue Cheer, Vincebus Eruptum, 1968

A San Francisco verso la seconda metà degli anni ‘60 successero delle cose che furono centrali nell’evoluzione della mitologia del rock. Tra i più famosi avvenimenti, ricordo che due DJ di San Francisco, Larry Miller e Tom Donahue, rispettivamente di due radio underground di Old Frisco (il nomignolo di San Francisco), la KMPX e la KSAN, iniziano a trasmettere i nuovi brani acid rock senza porsi problemi di formato, programmando i brani non dai singoli ma dagli album, addirittura trasmettendo registrazioni che non apparivano nemmeno sui dischi. In pratica il DJ diviene protagonista attivo della promozione musicale, e non mero “riproduttore” di dinamiche promotrici delle case editrici, ridefinendo, almeno per un certo periodo, integralmente la struttura dell'industria discografica americana, stimolando la nascita di emittenti radiofoniche dello stesso tipo in tutto il paese; analogo successo ebbero i primi show che oggi definiremmo multimediali, i più famosi erano i "light show" organizzati da Alton Kelley o Bill Ham che segnano la strada dell'effetto speciale nei concerti che dalla baia di San Francisco diverrà centrale in ogni concerto del mondo; Kelley e altri artisti formidabili, come Stanley “Mouse” Miller o Rick Griffin, Victor Moscoso e Wes Wilson fanno esplodere la moda delle copertine, e i poster dei concerti, psichedelici, segnando l’arte della grafica discografica in maniera decisiva; nascono i primi impresari "moderni" come Bill Graham con il leggendario teatro Fillmore aperto su Geary Boulevard e la Family Dog Production con l'Avalon Ballroom in Sutter Street. E nasce anche l’heavy metal. Ovviamente questa ultima è una provocazione, ma il disco di oggi è un antesignano del genere e una delle perle sconosciute del grande periodo californiano. I Blue Cheer furono provocatori sin dal nome, che è un famoso tipo di LSD che la leggenda vuole inventato Owsley Stanley, mecenate e tecnico del suono dei Grateful Dead, che a sua volta prende il nome da un famoso detersivo, prodotto dalla Procter & Gamble. Sono stati probabilmente i primi a fare dell’amplificazione e dell’impatto sonoro il motivo dominante della loro musica, distorcendo il blues e il rock in maniera seminale. Nascono verso la fine del 1967, quando il bassista Dick Peterson è in cerca di musicisti per mettere su una band. Si presentano in molti, ma alla fine rimangono in tre, Peterson con Paul Whaley, batterista, e il chitarrista Leigh Stephens. Le ricerche di altri membri finiscono quando vedono la Jimi Hendrix Experience suonare a Monterey e capiscono che in tre si può suonare benissimo. Come manager si trovano un personaggio terrificante, Allen "Gut" Terk, ex componente degli Hell’s Angels. Registrano subito agli Amigo Studios di Los Angeles e verso l’inizio del 1968 danno alle stampe il loro primo disco, dal titolo di latino maccheronico Vincebus Eruptum (che si potrebbe tradurre con Controllo del Disordine). Il primo singolo è una devastante e urticante cover di Summertime Blues di Eddie Cochran, che diventerà universalmente conosciuta grazie alla cover che gli Who faranno più tardi nello storico Live At Leeds (1970): arriva addirittura in classifica e spinge altissimo il loro debutto, un disco che fa della forza sonora e delle distorsioni il perno su cui scrivere la loro versione del rock acido che stava ribollendo nella baia di San Francisco. Mezz’’ora di potenza, che da Summertime Blues si sposta a Rock Me Baby, altra cover dal catalogo del maestro B.B.King, prima della prima “bomba elettrica”, Doctor Please: scritta da Peterson come “una glorificazione delle droghe” sono 8 minuti di impatto sonoro che anticipa il doom, lo stoner, e potrebbe benissimo per passare per un brano dei System Of A Down a chi non li ha mai sentiti. Non è da meno Out Of Focus, che sembra un pezzo mancante dal III del Led Zeppelin, altro gioiello meraviglioso. Parchment Farm è una cover di un famoso blues di Mose Allison, Parchman Farm, che qui viene stravolta e rivoltata come un calzino, con la voce disperata e calda di Peterson. Chiude il disco Second Time Around, scritta sempre da Peterson, che alla brutale potenza rock blues dei nostri affianca dei nuovi percorsi, avviandosi in territori proto progressive, con atmosfere che ricordano quelle dei futuri Yes. Il disco è un successo insperato, e la band in pochi mesi ne pubblica un altro, Outsideinside, registrato in parte indoor e in parte outdoor (da cui il titolo) con simpatica copertina disegnata a caricatura. Altro disco di ottimo livello, con due cover stellari di nientemeno che Satisfaction dei Rolling Stones e di The Hunter di Albert King. Non ottenendo il successo del primo, iniziano dei problemi: Gut Kesh viene arrestato per loschi traffici, Stephens lascia e Bill Graham gli proibisce di suonare ai mitici Teatri Fillmore. Con una nuova formazione pubblicano New! Improved! ma nonostante l’abnegazione di Peterson non rimane nulla di quel suono devastante e intrigante del primo disco: continueranno però a suonare per decenni, fino agli anni 2000, cambiando in tutto ben 20 formazioni. E c’è una curiosità: nel 1985 Peterson, con il fratello Jerry, resuscitando per l’ennesima volta i Blue Cheer, pubblica The Beast Is Back: come singolo, una nuova cover di Summertime Blues, che a differenza di quella di venti anni prima non ha lo stesso clamore, dato che ormai tutti conoscono il seme da loro piantato da cui è cresciuto un robusto album: l’heavy metal.

#blue cheer #vincebus eruptum #1968 #recensione

[runn0ft]

pinstripe, navy blue :33333 (but ALSO tempted by "father and son")

Ah yes, my Afterlife soulmates au. It’s been a little bit since I’ve added anything to it but I can tell you about it.

So, in a roundabout back story, my husband and I visited Whaley House a few years ago. It’s supposedly the most haunted place in America (this is relevant, I promise). One of the docents told us that she had so many weird experiences in the house that she’d come to her own conclusion as to what she thought hauntings actually are. She didn’t believe they were ghosts, but instead what would be considered a haunting is time folding over on itself, and those of us in the present then get glimpses into these moments in the past. This idea made me wonder what place in time Meyer (and incidentally Charlie) might remain static in for the rest of eternity. The Claridge was the obvious choice. So the gist is, Meyer dies and gets to spend forever in a hotel suite in Manhattan, with Charlie there to greet him.

Now, I do have a little something I can share for father and son. @portiaadams and I were having an extremely Academic™️ discussion about Meyer’s falling out with his son Paul and well. This was the conclusion.

“You need to get in line with your family.” His father says with finality—end of discussion—dabbing at the corner of his mouth with his thumb. It comes away bloody. He must have landed at least one hit, then.

“Like you did?” The initial shock of being beaten in front of his children has passed and incredulity, rage, easily fill the space it leaves in its wake. “You want to tell me how uncle Charlie factored into getting in line with your family?”

WIP MEME

#thank you for this #i’m so happy that i can still be deranged about these two #wip meme #mine #soulmates in crime #meyer lansky #charlie luciano #boardwalk empire

[grit-and-glamour]

Who was/is Sonny Burgess ?

Sonny Burgess: The Classic Recordings 1956-1959

Out to the dancehall Cut a little rug We're runnin' like wildfire And hittin' that jug.. A cursory listen to some of Sonny Burgess's records suggests a life lived close to the edge - nights spent playing gin mills followed by drunken chases down dirt roads, firing off bottle rockets and puking over the neighbour's car at dawn. In person, though, Burgess is a somewhat shy and self-effacing family man. The occasional comment will hint at more turbulent waters but he hasn't lived the life one might anticipate from some of his lyrics, which is just as well, otherwise there might not be a Sonny Burgess to talk to. When Sun's crop of rockabilly singers forsook the shaking music they usually reverted back to their first love - country music.

Sonny Burgess was the exception. His passion was Rhythm & Blues. He had a true R&B voice like a tenor sax in full cry. It was short on subtlety and delicate shadings - but a magnificent rock & roll instrument. Soon after he quit the music business, Burgess took a salesman's job in a store, and still talks with enthusiasm of an old black guy who used to bring in his guitar, and play loping Jimmy Reed riffs. Sonny would sit and jam with him. Perhaps a blues album is the great Sonny Burgess album that has yet to be made. Born near Newport, Arkansas on May 28, 1931, Albert ‘Sonny' Burgess grew up on a farm, and developed his musical tastes listening to the Grand Ole Opry and the Memphis country stations, taking in R&B from WLAC in Nashville and WDIA in Memphis along the way.

Sonny Burgess did his hitch the Army, and returned to Newport with the thought of a career in baseball, or -failing that- farming. He worked for a spell in a box factory, and slowly put together a semi-pro band that went under several names and through several incarnations, eventually calling themselves the Moonlighters. He was back working on the farm when, as he put it, "farming started interfering with my music." In an early version of the group, Sonny Burgess was the guitarist, Paul Whaley handled the vocals in a Hank Thompson style, Kern Kennedy played piano, Russ Smith was on drums, Johnny Ray Hubbard played bass, and Bob Armstrong handled the accordion. After Whaley went back to California, Sonny Burgess took over the vocals, and Armstrong eventally quit.

There was no shortage of venues because Newport in Jackson County permitted liquor to be sold but was surrounded by dry counties; hence a number of nightclubs out of proportion with Newport's population. They played local nightspots like the Silver Moon, Bob King's and Mike's club. They often played at King's on Friday night; Saturday night belonged to Punky Coldwell, a saxophonist who led a racially mixed jazz dance band. When Elvis Presley came to the Silver Moon Club in October 1955, Sonny Burgess organised the supporting act, and put together Newport's version of a supergroup combining some of Punky's men and the Moonlighters. According to Sonny Burgess, Elvis tried to hire Punky and Kern Kennedy that night to flesh out the meagre sound of Scotty and Bill.

Also, according to Sonny Burgess, Elvis got the idea to record One Night from the Pacers, who often performed it as much as five times a night. For his part, Elvis's contribution to Sonny Burgess's career was to implant the idea of going to record at Sun. At some point early in 1956, the Moonlighters went to Sun for an audition. Sam Phillips told them that they needed a fuller sound so Burgess joined forces with Jack Nance and Joe Lewis who had another local band. It was Lewis who came up with the name 'Pacers' for the new group, copping it from the Pacer airplane. Both Smith and Nance played drums so Nance (who was a music major in college) switched to his other instrument, trumpet. Sonny Burgess had originally wanted a saxophone player to emulate Punky Coldwell, but he figured that the trumpet gave the Pacers a little different sound. On May 2, 1956 Burgess drove back to Memphis. Phillips was impressed with the revamped line-up and cut their debut single that afternoon.

We Wanna Boogie and Red Headed Woman stand among the rawest recordings released during the first flowering of rock ‘n’ roll. The lyrics were almost unintelligible (although they repay close attention with some very funny couplets), and the instrumentation teetered on the edge of atonality. It was a record that sported an air of total abandon, sounding as if it had been created under the heavy burden of alcohol, although Sonny Burgess remembers that everyone was stone cold sober, and nervous to the point of apprehension. Despite being almost unmarketable according to established precepts, Red Headed Woman reportedly sold over 90,000 copies. It did especially well in Boston, although Burgess was unaware of that fact until Nance and Lewis toured there a few years later with Conway Twitty. At that time the Pacers were managed by Gerald Grojean, the assistant manager of a local radio station, KNBY.

On one of their early trips to Memphis, the Pacers went to see Bob Neal, who held the promise of broader horizons and promised to get them on tour with Presley. "We come back home," remembered Sonny Burgess, “and about a year later we hadn't heard nothing so we went back and saw him again. He said that Gerry Grojean had got on the phone crying, saying ‘You can't take them away from me'. Bob said he didn't need all that crap and told Gerry he could keep us." Grojean, who knew little more about the business than the Pacers themselves had no idea how to expose the group outside Newport during a critical stage in their career.

#sonnyburgess #rockabilly #rock'n'roll

[back-and-totheleft]

Oliver Stone's magnificent 'WTC' is a reminder that even the most horrifying events bring out the good in our society

World Trade Center is likely the one summer release you least want to see. It is, after all, a brutal reminder of the horrifying events of September 11, 2001 — a cataclysmic tragedy that scorched our souls, burned our hearts, and permanently stoked our deepest fears. Why rekindle the awful memory of that day when you can escape into mindless summer fare? But the fact is, World Trade Center is the one film you don’t want to miss. By no means is it easy to sit through, and even though it trades on the notion of hope and heroes, it still manages to depress the hell out of you, recalling a day that left our country — and much of the world — shellshocked beyond comprehension.

There are some critics who say it’s too soon for cinematic dramatizations of the 9/11 events; the collective emotional wounds are too fresh. Even I have still not mustered the courage to sit through United 93, Paul Greengrass’s dramatic supposition of how events played out on the one plane that, due to the courageous efforts of its passengers, didn’t strike its intended target. Despite the fact that I make my living watching movies, I just can’t emotionally confront that movie.

I wasn’t sure I was ready for World Trade Center either, but one can’t run from fears forever. Within the first five minutes — a serene, expertly paced montage depicting a city, Manhattan, starting its daily routine — director Oliver Stone had my attention. By the midway point, he had my admiration, for this is the first time in years that Stone, a sporadically great filmmaker, has made a movie this genuinely absorbing and compelling. With the exception of an appearance by Jesus — an hallucination observed by one of two Port Authority police officers trapped beneath the rubble of the Twin Towers — Stone forgoes his usual cinematic tricks and instead applies a sturdy bricks-and-mortar style of direction, one that places a huge emphasis on drama. He lets the situation, as well as our familiarity with it, carry the film.

The worst thing any filmmaker could have done was to turn the destruction of the towers into a disaster epic (although I’m sure one day some aspiring Irwin Allen will try). The magnitude is there, but it’s the small, human events within that day that hold the most potency. Stone, working from a screenplay by Andrea Berloff, knows this, and he concentrates on the story of those two trapped Port Authority officers, John McLoughlin (Nicholas Cage) and Will Jimeno (Michael Pena). Even though we know the outcome — they were two of only 20 survivors rescued from Ground Zero — their story, in Stone’s hands, is as gripping and suspenseful as they come, fraught with angst and anxiety, fear and uncertainty. Stone adds weight by cross cutting from the trapped men to the reactions of their wives, who have no idea whether or not their husbands have survived.

Maria Bello is brilliant as Donna McLoughlin, portraying her with a steady, unbreakable resolve, while Maggie Gyllenhaal imbues pregnant Allison Jimeno with an increasingly edgy panic. Through their reactions, Stone is able to draw out of World Trade Center a stirring, intimate, deeply identifiable reality.

World Trade Center has many astonishing, memorable moments, but is at its strongest during its first act, as the attack occurs. Stone captures the confusion and the inexplicableness of the morning’s events with a master filmmaker’s touch. Once John and Will are trapped, the men have little to do but try and stay awake in hope of rescue, yet you can see it in their eyes: They don’t expect to leave this underground hell alive. Cage is especially compelling — his performance hitting extremes of quiet resignation and primal terror. Pena is less unbridled than Cage, but his fear is no less palpable. The supporting cast includes Stephen Dorff, Frank Whaley, Danny Nucci and Jay Hernandez, who, as a fellow trapped officer, provides the movie’s most heartbreaking moment. Frankly, there is not a single performance in the whole of World Trade Center that rings false. It is a perfectly acted film.

You would expect Stone to create a film that delves into the conspiracy theories of that day — God knows, there are enough of them swirling out there, take your pick — but he puts his ideologies aside, and, for once, simply delivers the goods. Remarkably, he seems to have no political agenda, and he allows himself to be constrained by the facts. Stone’s more interested in celebrating the efforts of the heroes — the hundreds upon hundreds of first responders who lost their lives trying to evacuate the airplane-damaged buildings prior to the collapse — and the heroes who later ventured into the impossibly thick billow of dust and smoke, onto a landscape of twisted steel and broken stone, to find anyone — anyone — who might have survived.

Once McLoughlin and Jimeno are found, there’s the problem of getting them out at great personal risk. But these men — Marines, firefighters, paramedics, police officers — are fearless, fueled by an internal, instant camaraderie, and a instinctive need to do what they do best: good.

”Sept. 11 showed us what human beings are capable of,” says Cage in a voice-over at the movie’s end. ”The evil, sure. But it also showed us the goodness.” It is that goodness Stone — a filmmaker who has been turning over rocks for much of his career examining the unsavory, squiggly things beneath — wants to commemorate most. And it’s a goodness largely forgotten as we’ve gotten past that day.

World Trade Center serves as a reminder that we should never forget the goodness. Because good is what defines the heart, the soul, the essence of America. Let’s pray it won’t take another 9/11 to let that goodness shine bright again.

-Randy Schulman, "Hero Worship," Metro Weekly, Aug 16 2006

#oliver stone #world trade center #metro weekly #reviews

[rastronomicals]

Paul Whaley

#Blue Cheer

[zillaoftheresistance-blog]

Paul Stevenson from Baldwin, NY is a violent predator who hits girls and kills pets. #PrisonForPaulie #JailForJason

Real classy of my violent lying manipulative abusive piece of trash moron brother, PAUL STEVENSON, to THREATEN MY FRIENDS via private messenger. Just like Frank Whaley did last year. Some of you assholes are running to PAULIE, who HITS GIRLS WITH CLOSED FISTS AND KILLED OUR FAMILY PETS WITH HIS VIOLENT TEMPER, and you are encouraging him to fuck with me. He is already triggered this time of year…

View On WordPress

#BelieveSurvivors #FuckYou #HelpZilla #JailForJason #PrayForLouise #PrisonForPaulie #StopAnimalAbuse #StopChildAbuse #StopElderAbuse #TheWretchedMob

[riddlersbimbo]

Paul Dano in The Sopranos (s04e06 "Everybody Hurts")

#paul dano #the sopranos #patrick whaley #my content #dano dude