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#sean carey
thegirl20 · 2 months
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Colin Firth finally went to see Operation Mincemeat 🥹
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musicollage · 8 months
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S. Carey — Break Me Open. 2022 : Jagjaguwar.
! listen @ Bandcamp ★ buy me a coffee !
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jeremyisntheere · 4 months
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“ but it’s part of my biology, to start with an apology.. “
i kinda hate this but i spent too long on it so here have a sean charlie
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nofatclips-home · 11 months
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Foraker by Cyrus Reynolds featuring S. Carey - Video by Ben Simon Rehn
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lesmiserabelles · 2 years
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operation mincemeat / riverside studios - 7 may 2022, evening
Seán Carey (t/r Charles Cholmondeley and others), Claire-Marie Hall (Jean Leslie and others), Natasha Hodgson (Ewen Montagu and others), Jak Malone (Hester Leggett and others), Zoe Roberts (Johnny Bevan and others)
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Bon Iver & S. Carey at AIR Studios (4AD/Jagjaguwar Session, 2011)
Director: Iain Forsyth & Jane Pollard
https://4ad.com / https://jagjaguwar.com
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mitjalovse · 1 year
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Indie rock industrial complex probably suggests the quality of the musicians I put under the category, though this was not my intention as you can guess right now. No, I merely wanted to point out the fact most of these musicians chart a similar path – their debuts shock us, until their next releases let them become a part of the establishment without the spirit they had in their early works.  I agree, this can apply to many scenes, but the modern indie rock seems to have the most of these examples. I mean, even someone like Bon Iver – who is an institution at this point – continues to astound us, yet would Vernon be able to surprise us in the future? Sure, his latest feels weird in a good way, so I think he does appear to be familiar with what I'm trying to tell here.
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Making an Edit for Every Team in the NHL: The Montreal Canadiens (13/32)
-Richard Siken
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heidismagblog · 7 months
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goodsticklehky · 7 months
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which duo would you ride with?
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texaschainsawmascara · 8 months
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Alice In Chains, Mike McCready, Gloria Estefan & Tony Bennett after the Grammys 1996
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Round 1 Group B Match 1
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Propaganda received:
Sean Kinney:
"Prettiest head on Easter Island 🗿"
"have you seen that nose? that nose ring? that’s reason enough to vote for him"
Mariah Carey:
"shes just stunning shes liiiiiterally mariah carey"
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badmovieihave · 11 months
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Bad movie I have R.L. Stine’s Monsterville: Cabinet of Souls 2015
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floater0352 · 2 years
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Since the HOTD Pilot leaked out earlier...
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I chose to get in on it. Spoilers (both book and show) if you are waiting to watch legally. Short verdict: I wouldn’t say the hype is real. But the character- and world-building it has was what drove me to watch Game of Thrones S1 when Ned Stark was at the heart of it. It deserves to be followed.
1. Reason I chose to watch earlier is because I have work tomorrow and those cannot wait--hence, this cannot either. I have been following the production promotion/content and hype-building of the official channels (but not the fandoms) considering how toxic that shit has been, and I guess that was truly justified. Here, I can watch the show as I see it. And even with the benefit of reading some spoiler-laden reviews (at least from the respectable newspapers), I am still pleasantly surprised to see it in action. 2. I have spent some time reading The Princess and the Queen AND Fire and Blood for the past years, so I would like to believe that at the very least I have a good sense of where they’re faithful and where they’re changing stuff. The stuff they change are not entirely jarring (even the age-gap between Rhaenyra and Alicent--if only because they tell a story with weight, even if not faithful to the texts). 
Does it change the heart of the motivations, then, between the Crown Princess and the yet-to-be Queen Consort? Definitely. Do they become more humane/human? Quite so. Ultimately, at the heart of that fight was a succession between child and stepmother. It’s ultimately soap-ish when you reduce it to that component (and perhaps not as glorious as the glitter of the Seven Kingdoms would want us to believe). But then again what is history but the deeds and flaws of people, in all of its glory and ugliness? 
In this, as of yet innocent young women saddled with the expectations of their fathers (Rhaenyra by Viserys I, Alicent by Otto), not to mention their desire to live out their own lives, nothing ends well. We say that the point of feminism is to allow women to choose their destinies--be they mother or powerbroker, be they confident or withdrawn. We are confronted here by two young women very much aware of what they are and what they want--and we know this world will crush it the way it crushed the aspirations of the elder Princess Rhaenys. We know the tragedy and how it will end. But now, at the very least, we care. And what else is among a story’s main objective than to make us care?
If only for this, Milly Alcock and Emily Carey deserve the positive reception--and I await what else they were given with before they are aged up into their succeeding actresses. 3. What I truly appreciate (especially since it was never entirely apparent in the original texts) was the explosive Throne room confrontation between Viserys I and Daemon over the “heir for a day” incident. You see here laid down, in its barest form, the clash of male entitlements in a feudal society: when power and blood ties are usually assumed to be one and the same, to be prioritized over (and even at the expense of) merit and good governance--played out and layered over the seriously-personal drama of brothers made to grow apart by the years, their dreams and their personal views of the world.
Were these two, sons of Baelon the Brave (a leagues better prince than either of them), perhaps made poorer men by the entitlements, resentments and expectations they grew up with? Perhaps. Daemon says people “must mourn [their] own way”--and whether he is being sincere not only for incident, lying out of his ass for the great faux pas, or inadvertently confessing to the state he’s been in throughout his life, I leave to the reader/watcher. (Shades of Elizabeth I speaking about the dangers of being ‘the second person’ in the kingdom, even.)
Yet all the same, it serves to highlight to Viserys I, a man whose head has lied uneasy ever since the crown laid on his head, a man that keeps being wounded by the Iron Throne both physically, socially and psychologically--what makes a person capable or not to “wear the crown”, and why the brother he loves can never be that. Viserys I is probably also already realizing, as much as he thinks he is doing his best, that he can never be that either--yet he will still try to the last until he can pass it on to Rhaenyra anyway.
(Does it clash with the supposed carefree Viserys I of the books? Very much so. But is this saddled-by-burdens Viserys I a more compelling king, a man who is trying to keep everyone onside even if he’s failing to do so, than someone who is too clueless about how badly he’s handling things? I daresay yes. Even Robert Baratheon, at his worst, knew that he’s doing a bad job but is only doing it the best way he can: keeping everyone on his side and indulging his pleasures--both Viserys and Daemon all on his own. The Usurper was as much Targaryen as he is Baratheon in the end.)
Paddy Considine and Matt Smith are given very good material in this moment, and I only hope they have more. 4. The stinging point for perhaps a number of the reviewers (and once again the fandom of this show still smarting from Season 8) was the explicit bridging of continuity between the mismanaged myth arc of the earlier show. Viserys I telling Rhaenyra that the Conquest to unify Westeros was supposedly about Aegon the Conqueror’s own vision of the Long Night is probably something that will not sit well with book purists and those who eventually lost sentiment for the entire threat of the White Walkers. (Let’s not even get into the colonial/imperialist undertones of the Conquest, not to mention state imposition in the service of national unity and facing climate change.) Or for that matter, explicitly invoking the memory of the fallen Daenerys Targaryen and her much-frustrating fall. This story will not change it, nor justify those, nor nuance those. 
And yet it still tells a story, a comment, a message. That even the best of intentions, when faced with the realities of the desires and set ways of men, will be perverted and lost in the rigmarole and rigidity of the ages. Was the supposed ‘salvific mission’ of the Iron Throne enough to justify the fire and blood shed? Perhaps not. But once again, this is the story of the Targaryens. This is their view in their self-elevated perspective--much as the reign of King Jaeherys I gave them enough justification and enough disappointment on the idea. 
This is how they see the world--governed by the magics of lost Valyria, the magics they still hold, the mysteries of the Seven Kingdoms they have (and will tragically never) uncover, and the vagaries of the men they rule. This was and still is the tragedy of Westeros: that the capability to understand the unknown--be it the supernatural or the hearts of other people outside their families and domains, is always stifled. That words are never given the chance because humans (even the Targaryens themselves) are so easily swayed by fire and blood. Archmaester Gyldayn once asked, “Who can presume to know the heart of a dragon,” when speaking of either the fire-breathing creatures or the Targaryens themselves. And yet Viserys and Rhaenyra know they are but humans. And these humans have flaws that are very recognizable. Flaws that will lead, much as they claw and fight and dream and hope otherwise, to the Dance.
So yes, the character- and world-building it has was what drove me to watch Game of Thrones Season 1 when Ned Stark was at the heart of it. The fact that I am indeed being reminded of the best and worst of Robert Baratheon and Daenerys Targaryen, spread out well amongst their ancestors (and memorably performed by both Mark Addy and Emilia Clarke) can only be good.
Perhaps this in the end was truly what we wanted from this franchise. That when words and human interactions happen, they are given weight. That when characters are put on the path towards tragedy and misery, they are given by their writers and producers very relatable and comprehensible motivations. That when it inevitably leads to violence, it is not for the sake of it, but because a point is being made and the audience is being asked to reflect (be it in introspection, horror or rage) and turn it through for themselves. Brecht has been giving us this lesson for the past decades. In a post-Breaking Bad and Better Call Saul world, perhaps there is really no further justification to not do so. At least in this, House of the Dragon’s pilot succeeds. In this, perhaps we are being invited to once again dare have faith in George R.R. Martin’s world and stories, at least as they are brought to life on screen. Just this once, maybe we can do so and be rewarded.
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lesmiserabelles · 2 years
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as requested by @areyougonnabe
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culturalappreciator · 11 months
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Can I Get A Sample?!
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The Sample
Guy- Piece of My Love (1988)
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The Sampler (1)
2Pac- Run Tha Streetz [ft. Michel'le, Napolean, & Storm] (1996)
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The Sampler (2)
Mariah Carey- Crybaby [ft. Snoop Dogg] (1999)
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The Sampler (3)
Big Sean- Play No Games [ft. Chris Brown, Ty Dolla $ign] (2015)
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