#Westerly Films

[badmovieihave]

Bad movie I have Damsels in Distress 2011

#Damsels in Distress #Westerly Films #Greta Gerwig #Carrie MacLemore #Megalyn Echikunwoke #Lio Tipton #Ryan Metcalf #Jermaine Crawford #Caitlin FitzGerald #Zach Woods #Domenico D'Ippolito #Nick Blaemire #Aubrey Plaza #Hugo Becker #Meredith Hagner #Joe Coots #Adam Brody #Billy Magnussen #Cortez Nance Jr. #Aja Naomi King #Jordanna Drazin #Madison Cerniglia #Veronica Mu #Laila Drew #Carolyn Farina #Shinnerrie Jackson #Gerron Atkinson #Jonnie Brown #Shawn Williams #Doug Yasuda

[camera-worker]

Palm Tree in Westerly, Rhode Island / Fake Plastic Tree, 2022

#10-076-09

FWIW this is shot with the new Kodak Gold 200 medium format using a 1935-ish Rolleiflex.

#120 #rolleiflex #kodak gold #palm tree #fake tree #westerly #rhode island #summer #film

[thirteens-pocket-watch]

I've decided to compile all the small pieces of information about future episodes that RTD has given in his Letter from the Showrunner segments in DWM. I've only included things that can tell us something about the episode, so stuff like Bad Wolf investigating if using a certain title is permitted hasn't been included here. I've included the issue each point was given in and I will obviously update after future issues

(Last updated 28.03.24)

2023 Specials

The Star Beast

- Contains the words westerly, pelican and dreams (584)

- Page seven contains the line "Oh, Nerys and her big mouth!" (585)

- The reconstructed opening scene made from fan recordings of filming contains lines that were cut from the final version of the episode (595)

Wild Blue Yonder

- Contains the words wild, Southampton, vegetable, Flux, bean and starlight (585)

Extra

- RTD refers to a "terrifying scene with Sue" and two celebrity historical figures in the upcoming specials (596)

- None of the specials will air on the 1st, 17th or 23rd of November (596)

Series 14/Season 1

Space Babies (Episode 1)

- Contains the words roar, Glastonbury and conquistador (589)

- The title was said aloud in Star Trek: Picard 3 (590/591)

- Scene 11 is headed as INT. CONTROL ROOM and the stage directions say "THE DOCTOR and RUBY walk in to find a cool, sleek, metal CONTROL ROOM, full of CONSOLES" (598)

The Devil's Chord (Episode 2)

- Scene 10 is set INT. CANTEEN. DAY (585)

- Contains the words Liverpool, legions and non-diagetic (586)

- The title of the episode was revealed (598)

73 Yards (Episode 4)

- Had the line "I once went to the top of the Shard" cut from the script (589)

Rogue (Episode 6)

- Page 10 contains the line "I am ruined" and it is said by a character named Emily (598)

- When talking about watching the final mix of this episode, RTD threw in the quote "Live vivisection!"

The Legend of Ruby Sunday (Episode 7)

- First line of the script is INT. COFFEE BAR, USA - DAY, 1947 (584)

Empire of Death (Episode 8)

- Contains the words kingdom, gold and Tigella (592)

- Contains the words terror, dust, pizza, Einstein, death and opera (598)

- One of the above words is also in the title (598)

Extra

- An unspecified episode had the word "sixpence" in the title before the plot about said sixpence was cut (591)

- There is a crucial scene, designated 27B, in an unspecified episode with an as-yet unannounced guest star (593)

- The aforementioned scene contains the debris of a fallen statue with an 8 foot tall head as part of the set (593)

- The last scene to be filmed for series 14 was a scene in the TARDIS in the "middle bit of the finale" (whether this is episode 7 or 8 is not specified) and the Doctor slides to the ground at some point during the scene (594)

Series 15/Season 2

Episode 1

- Scene One features none of the regular cast (600)

Episode 2

- The episode features a guest star who's been in the show before but in a different role (600)

Episode 3

- RTD mentions that Ncuti Gatwa is rehearsing with a Special Guest Star for their 13th episode. I assumed he was referring to his 13th episode with Gatwa and didn't count the anniversary specials (597)

Extra

- An unspecified episode contains the words garden, firmament and diploma (592)

- An unspecified episode contains the words radiation, moth and skiffle (597)

- The sets include a hotel, a chamber and a hospital (597)

- More sets are listed, including the UNIT OPs room, the Sundays' flat, "a set so real we could rent it out as its actual self" and an "absolute labyrinth of a set" (potentially an actual labyrinth based on a previous comment from director Makalla McPherson) (601)

- RTD confirmed that the 2025 season will not contain an episode celebrating 20 years of New Who (602)

- On the 8th March 2024, RTD claimed they were "shooting a scene that will live forever in Doctor Who history" (602)

#doctor who #doctor who magazine #rtd2 #doctor who 60th anniversary #the star beast #wild blue yonder #doctor who series 14 #doctor who series 15 #the devil's chord #space babies #73 yards #rogue #the legend of ruby sunday #empire of death

[usafphantom2]

MACH 6 SOUND OF FREEDOM

During the Vietnam War, the word was out that the Vietnamese captured prisoners were being tortured. They were struggling to find a plan to rescue the POWs. Attempts to escape were met with beatings for the entire camp of prisoners of war if one person attempted to escape.

In May 1972, a new plan was installed telling the POWs that if they heard the sound of thunder that they were to escape and run down to the river where there would be Navy SEALs waiting to rescue them. There was disagreement among the inmates about whether to risk another escape. A senior POW convinced them it wasn’t right to make everyone in the camp suffer if they were captured during the flight. Without knowing that the POWs would not escape, the plan went forth.

The plan was for two SR-71 Blackbird spy planes to fly over the Hanoi Hilton.

The flight plan was to fly the SRs so close that their sonic booms would be only 30 seconds apart.

On May 2 and May 4, this happened. The rest of the story is from my father, Colonel Richard “Butch” Sheffield's unpublished book.

POW signal, May 2, 1972, SR-71 # 979, first of three aircraft. The first indication I had that we might fly a mission like this (where two SR-71s would crisscross over North Vietnam thirty seconds apart) was when one of the planners asked me at the OL( operation’s landing), “How close, in time, can you come over a point on the ground?” I told him, “As close as you want.” I don’t think he believed me because he said, “Can you come to the point within thirty seconds to two minutes?” I said, “Of course, we can control airspeed and reach the point at the time you want us to be at the point in space.”

We had this capability because we had insisted at Edwards’, in 1965, that we know the time to the next point, (time to go) something the computer experts and engineers at Edwards’ never thought about and never understood why we needed this information.

Flying the mission was easy. All we asked for was a destination point to be placed in the computer where they wanted us to be and the time to be there.

The mission planners told us to make it as close to thirty seconds as we could and they realized that would be very hard to do because we would be closing on each other at a combined speed of Mach six.

Bob Spencer and I, Richard “Butch” Sheffield we were the senior crew in the wing at the time, and Chief of the Standardization Division; were selected to lead both the missions and take off first. Darrel Cobb and Reg Blackwell were the spare crew and took off later to position themselves to replace either aircraft. Tom Pugh and Ron Rice took off about an hour later and met us over in Hanoi.

After refueling over Thailand, we climbed to altitude and headed north along the China border. Once we reach the speed where our inlets and spikes were programmed properly, we clicked our mike to single Cobb and Blackwell that we were OK and going on to the target. They flew a random course back to Kadena. About three days after we landed back at Kadena, the staff decided to look at Cobb and Blackwell’s film collected on the random course back to Kadena. A POW camp was found.

On May 4, 1972, we did it all over again with the same exact mission (SR-71 number 980, first of three).

The same results, but we shaved one-half second off the separation time to thirty-one and one-half seconds.

We came across Hanoi on a southerly heading at seventy-six-thousand feet at Mach 3.17; Pugh and Rice came across the same point, thirty-two seconds after us, at seventy-eight-thousand feet on a westerly heading.

The mission was a complete success. No one could believe that we came within two seconds of the mark.

I now know that it was to signal the POWs, the book, “Operation Thunderhead”, written by Navy SEAL Kevin Dockery confirms it.

I

I am proud of my father he participated in and helped in the planning of the mission of the Sound of Freedom. ~ written by Linda Sheffield Miller.

@Habubrats71 via Twitter

[tilynation]

Snow on the Beach

Happy Thanksgiving! Tik tok - link.

The lyric video was filmed in Watch Hill, Westerly, Rhode Island where Taylor has a home.

This home hosted Taylor’s Thanksgiving in 2016.

The lyric video was not filmed in Hyannis Port or Big Sur. It has never snowed in Big Sur.

Taylor and Lily took separate flights to Rhode Island since Lily attended the Angel Ball. Hence Taylor saying, “my flight was awful, thanks for asking.” Taylor picked Lily up at the airport.

In the winter, the ocean water in Watch Hill turns aurora borealis green.

Aurora borealis can also be seen at times throughout the year in Rhode Island - link.

#gaylor #gaylor swift #tily #lily donaldson #snow on the beach #midnights

[therogerclarkfanclub]

Damn Handy is an upcoming short film starring everyone's favorite BOAH, Roger Clark. Roger will play the role of a plumber who is tending to a standard service call.

Joining him is also none other than the baddest camp mama in the west, fellow RDR2 actor, Kaili Vernoff.

Also returning is Kellari Crispin, who played Roger's therapist in his previous short film, Hazardous. No word just yet on what character Kellari will play in this film.

Peter Filardi will once again return to the director's chair. He also helmed Roger's previous short film, Hazardous, which went on to win several awards in various film festivals. Peter Filardi also wrote the screenplays for Flatliners, The Craft, Ricky 6, TNT’s Salem’s Lot, and an episode for Nightmares and Dreamscapes.

What will the film's story be about? Read on...

In DAMN HANDY, plumber Roger's routine call to Marge's (played by Kaili Vernoff) rural farmhouse spirals into a nightmarish enigma filled with secrets, madness, and unseen horrors. Caught between reality and delusion, Roger must navigate a terrifying labyrinth where characters like the enigmatic Marge add layers to the mystery. The film explores themes of fear, the fragility of sanity, and the discovery of hidden truths, pulling both Roger and the audience into a disorienting and suspenseful experience. This dark and elusive tale promises a chilling journey through the human psyche and the shadows that lie just beneath the surface of everyday life.

Filming Locations

Damn Handy will be filmed around Mystic, CT; Guilford, CT; and Westerly, RI.

Filming will begin soon. You also have the option to help with the film's funding and in doing so, you can get some really neat kickbacks from your donations.

None of the money will go into anyone's pocket, instead, all donations will be used to inspire up and coming young filmmakers to hone their craft:

"By contributing to DAMN HANDY, you’re helping talented young people like special effects makeup artist GIANNA, a High School senior, make the transition from Instagram to film. You help costume designers LEXI and CASSIE, a High School Senior and Sophomore, learn the demands of their craft among working professionals. And you help composer DAVID, a junior at Berklee College of Music, writing a film score." "None of the money you contribute goes to actor/producer Roger Clark or writer/director Peter Filardi. Because filmmaking is expensive and crew is constantly asked to work for free, 100% of your contribution will be funneled to the crew on our projects. It’s the only way to surround our mentees with top quality professionals they can learn from."

For details on what those perks are, you can check out this post

If it's within your means to donate, you check out the Indiegogo page for Damn Handy

#roger clark #kaili vernoff #kellari crispin #short films #peter filardi #indiegogo #independent directors #indie films #indie movies #connecticut filmmakers

[purpleplaid17]

Jess Watches // Sat 23 Sept & Sun 24 Sept Synopses & Favourite Scenes

Deadloch 1x02 Episode 2

Eddie is vocally displeased about following Dulcie's theory about the murders. D takes matters into her own hands while E's behaviour grows more erratic.

The frequent use of the words "lesbian" and "cunt" often at hilariously inappropriate times. For example: D questioning a suspect and mid-interview getting called "lesbian" for no apparent reason; and E saying she would "cunt-punch" D so hard she could "second as a hand puppet." lmao

Killjoys (rewatching with friend) 1x08 Come the Rain

Westerly is put under lockdown when a wave of Black Rain hits. Pree's bar is held hostage and Johnny tries to keep everyone alive. On the ship, Dutch and D'avin work through a team-building exercise set up by Johnny.

My fav was the last scene of Dutch & Johnny in bed, him reading her his comic, which was super adorable. He even did voices too.🥰 In contrast, my friends fav scene was Johnny using the bolt gun to shoot the hostage takers.

Supernatural Academy (with friend) 1x10 Sins of the Father Part B

The school is on lockdown and the barrier has been reinforced, so the girls decide to hide in the bell tower above Kristov's study, where the protection spells are strongest.

Jae apologizing to Jessa for not bringing cake to their hideout. which I would really appreciate because I am Jessa in this situation lol. Always thinking about cake!

Elemental (with sister & her bf)

In a city where fire, water, land, and air residents live together, a fiery young woman and a go-with-the-flow guy discover something elemental: how much they actually have in common.

So bright and colourful. An animated romcom with some solid laughs and suprisingly deep tbh. The part about the city centre not being accessible for everyone is something I very much relate to. An easy Sunday afternoon watch.

Rugby World Cup 2023 (with sister's bf)

South Africa (2) v Ireland (1)

My sister's bf is South African and he was so excited but very nervous. He could not sit still and was very animated throughout. The lad was stressed! My dad kept cheering any time things went Ireland's way which didn't help. 😂

Wales (7) v Australia (9)

The work rate of Wales was immense. And with so many unforced errors from Australia the final score was inevitable. Also, my sister's bf was much more relaxed lol. "Poor Australia"

#my sister's bf loves rugby #i think i might now too #i used to watch league a lot but it doesn't hold my attention anymore #union has a lot more variety #so i try to watch a few of the international games #not always supporting england tho lol #deadloch #killjoys #supernatural academy #elemental #rugby world cup #rwc 2023 #rugby spoilers #polls #tumblr polls #jess watches #day 4 #day 5 #typo on the poll i can't edit :(

[zoevaliente]

I want you to know I'm a mirrorball, I'll show you every version of yourself tonight. I'll get you out on the floor shimmering beautiful and when I break it's in a million pieces !

[ BIOGRAPHY / WANTED CONNECTIONS / MUSINGS ]

GENERAL STATISTICS: 

FULL NAME: Zoé Anahí Valiente [ ZOH - ee AH - na - hee VAL - ee - yente ] AGE: 30yo DATE OF BIRTH: April 10 GENDER & PRONOUNS: Cis Woman | She/Her SEXUALITY: Bisexual OCCUPATION: Actress (on hiatus), looking into entrepreneurship  BASED ON: Mirrorball by Taylor Swift

TL;DR + HEADCANONS: 

TDLR:

Zoé’s is an award-winning childhood actress. She started her career at 1 and a half years old. 

She was born and raised in NYC. However, Zoé’s mother is originally from Westerly, RI and her side of the family remained so Zoé visited Westerly a bit in her adolescence. 

Zoé has been in an on-and-off again relationship with her childhood sweetheart. They are currently off. 

Zoé was on a successful sitcom for 10 years and after it’s ending she moved into the film industry and landed a handful of blockbuster roles.

Zoé struggles with handling her personal matters since most of her life she’s been under people’s orders. 

She has been living in Westerly for 1 year taking care of her ill-mother and has put her acting career on pause indefinitely. 

Zoé has been discovering her passions in Westerly which include fashion, photography, art and more. She is looking to start fresh and believes Westerly is a good place to begin again.

HEADCANONS:

Zoé is an Aries. 

Zoé is trilingual. She speaks English, Spanish and French fluently. 

Zoé is not in contact with her father. After her parents divorce, he re-married shortly after and bloomed another family. Last she heard, he was living in Miami. He still receives residual checks from her appearances before she was 18. 

Zoé has been at the center of many scandals regarding alcohol and drugs over the past three decades of acting and performing. She is not an addict but has found herself relying on the effects of alcohol and drugs in the past.

Zoé is allergic to shell-fish but her favorite foods are crab cakes and lobster.

Zoé loves singing and dancing and has considered moving into music but the thought of performance in a different form stops her from pursuing it more. 

Zoé does not attend therapy and avoids it all costs because it makes her uncomfortable to reflect on the past and what she’s been through in her career and personal life. 

Zoé has a pug named Apollo. 

Zoé ​officially bought a beach house in Misquamicut six months ago and has been looking to it as an investment property yet she is currently living in it and decorating it. 

Zoé received her BS in Marketing & Management (online) at 25yo from New York University. She wanted to have a back-up plan incase anything ever went wrong with her acting career.  

Zoé wants to break into the world of entrepreneurship, recently entertaining the idea of opening a fashion boutique in downtown Westerly. 

#wri:intro

[westerlyroleplay]

NAME: Kimmi Valle GENDER & PRONOUNS: Cis Woman / She/Her AGE & DATE OF BIRTH: 34 years old / April 30th HOMETOWN: Westerly, RI TIME IN WESTERLY: Returned a few months ago RESIDENCE: Watch Hill OCCUPATION: Actress & producer

YOU’LL ALWAYS KNOW ME      ——      dorothea.

Be careful what you wish for because you just might get it.

Returning home, the daughter of Cuban immigrants worried that this would all be a huge mistake. Sixteen years in Hollywood with her name at the top of the marquee and her face gracing the glossy pages of high profile magazines along with too many tabloids definitely changed a person. Anyone who tried to claim otherwise was a liar. Kimmi knew something had to change, so she packed up her things and had her six year old daughter in tow with the excuse that she was taking a break. Despite telling her team that she wanted no contact, the entire flight away from Tinseltown to the East Coast she bounced her leg and repeatedly checked her phone.

As young as she could remember, Kimi Valle wanted to be like the glamorous women she saw on her parent’s television screen. It wasn’t just vanity, the girl dreamed of being loved by the world over. Most of the time she was alone in the house if she wasn’t over at a friend’s or running around the neighborhood, her parents had to work two and sometimes three jobs to make ends meet. Part of Kimmi’s desire for fame and fortune was so that her parents never had to work a day in their lives again. But mostly, the hunger for attention and the love of many was due to the loneliness she’d felt as a child. Even when she began to blossom as a teenager, the boys and girls could never satiate her appetite for adoration. Kimmi’s sights were set on the land of spotlights.

Hollywood turned her upside down upon arrival at eighteen. Everything remotely ethnic about her the producers, directors, and the fierce agent she managed to land by spreading her legs wide wanted her to change. The accent she’d carried since her first words because of her parent’s influence and their trips to their origins, she had to soften it and take lessons with a voice coach to get rid of it. Natural dark tresses were lightened and bleached until she looked like the honey blonde next door that was never quite attainable. It all brought her fame and roles that eventually made her a bigger and brighter star. Eventually, being known for a sexy figure and a beautiful face was no longer enough. Kimmi wanted to be taken seriously, she wanted to make as much money as her co-stars. She wanted awards.

A team of publicists and agents orchestrated a matchup with one of her co-stars from a film she’d had a supporting role in, he was on the rise but had a bad reputation about town for being a womanizer. Why not pull a publicity stunt that would not only help their careers but also shine a favorable light on Kimmi and him in the tabloids? He was handsome and charming and they’d made a deal that since the marriage was just for show, they could secretly keep whatever other affairs they had going on outside of the shining lights. It worked. Worked for a couple of years until he became possessive and jealous that Kimmi was growing into an even bigger star. Much bigger than him.

One child later, a daughter named Adella, and a pending divorce Kimmi found herself desperate to leave Los Angeles and the life she’d built around her quest for fame. She’d gotten everything she wanted. So, why did she feel so empty? Why could she not recognize the person in the mirror? Had she really sold her soul to the devil? A trip home, a chance to show Dell her roots and possibly find reminders of who she really was among the now nostalgia that shaped her so many years ago wasn’t the answer. The hope was that those things would become clear away from all of the toxic influences that had made Kimmi a superstar. She’d spent her life chasing the things that could possibly destroy her. Or maybe they already had.

Portrayed by ANA DE ARMAS, written by HANNA.

#t. #f. #em. #ana de armas #hanna #kimmi valle #dorothea

[boutny]

Mast-er-ful, mast-er-less

The planned route - as long as we made good progress along the South Coast, it seemed achievable

Boutny was on a buoy in Falmouth harbour, where she had hosted Anna and Esme while I was in Scotland for a few days. The first week of September looked just right for completing Boutny's voyage of the summer - the plan had been to get from Faro to Brightlingsea in Essex, and it looked as if Wednesday to Sunday would bring 70 hours of Southerlies and South Westerlies, and then maybe 30 hours of Easterlies. So if Boutny made the 200 miles or so to Dover in the 70 hours, the Easterlies would allow us to make Brightlingsea the next day after turning the corner from the Channel to the North Sea.

That was the plan. And as I have quoted before on this blog - what does God do when they want to laugh? Watch people making plans...

I emailed the group of potential crew the weekend before, and I was delighted that John once again put his hand up. He knows Boutny and he knows me, and he is both a hugely useful person to have aboard and a great sailing companion. We took the overnight train, me from London, he from Basingstoke and met up at 7am on Truro station, where we connected with the train to Falmouth.

Lovely way to travel ... except sleeping while sitting is an art

We got to the quayside too early for the late-rising water taxi. The port was still and we had a little bit of a ticking clock - we needed to get to Madgik, John's boat, to collect his wet weather gear before his mooring dried onto mud.

Waiting for the water taxi at Falmouth town pier

The wind started light, and the dolphins accompanied us out of the Fal estuary.

The first of many dolphins who'd accompany us over the next 36 hours

We soon got the big Spinnaker up, and it would stay up from about 11 on Wednesday to 5am the next morning. We had a full supermoon and a blue moon, and despite cloud cover, the night Spinnakering was magical. Here we are in the evening, the filming obviously designed to show how well we eat on Boutny.

The moon, of course, also meant Spring tides, and one of the challenges of the route is that the tides around the headlands can be pretty ferocious. Portland Bill is the famous tidal race, but the other headlands have mini versions of these going too.

The Samsung phone camera trying to cope with a moonlit sail. Of course, the sky was grey-black, not that absurd blue it has filled in

It settled into wind with rain, and was surprisingly wonderful sailing. John surfed some lumps and thought he might have broken at Boutny speed record. When I was helming, I preferred to gaze at the sea and make the occasional tiller correction to maintain our heading. We hit the contrary ebb off Salcombe, and despite Boutny giving every appearance of powering through the water, the lights ashore were hardly moving. I took down the Spinnaker early in the morning because the wind was backing, and we needed to stay offshore to clear the Portland Bill tidal race by a (very safe) 15 nm.

We hit the ebb again off Portland in the early evening of Thursday, and we were looking forward to the turn, and being powered at speed. By then, the wind was fresh, and we had taken a little gib in and taken the foresail down entirely to have a calm night. There was a messy swell, and to stop unwanted sail movements, I had tethered the clew of the main to cleat on the outer beam. We were powering along very nicely, John and I chatting in the cuddy. We reckoned we were in with a chance of making Dover before the winds turned.

And that is when it happened.

A great cracking sound.

"That's the mast breaking!" was John's immediate thought. I was not sure - maybe my echo-location is not so good. We were frozen for a moment.

"Do you agree I should take the main down?" I asked.

Yes, John agreed, and I pulled the main down as fast as I could. We looked up, and there was the crack. About 2m from the top of the mast, a great big split in the planking.

"How are we going to stop that falling on top of us?", asked John, very sensibly...

As quickly as I could, I took a hoist from the foremast, secured it to a hoist on the main, and pulled both of them up - if the top of the mast was going to finish breaking off, it would dangle off the foremast rather than fall onto us into the cuddy.

We sailed into Portland Harbour on the gib. The tide turned in our favour and we made 4kts-5kts and arrived around 11pm. Enough time to anchor safely and get a good night's sleep. The next day we had the wonderful surprise of finding a really helpful crane crew at the Weymouth and Portland National Sailing Academy - hugely recommend the place - and the split mast was soon lying flat on Boutny's deck. I will be repairing the mast, and inspecting the foremast thoroughly, over the next few weeks in Portland.

So ... what are the lessons from this adventure?

The first is simple - be patient. Boutny spent 18 months on the hard in Sete. I really went over the hulls and decks thoroughly. But for some reason, I never decided to take down the masts and give them the same treatment. Soon before launch, in June last year, I had gone up the masts and found a bit of rot here and there as well as traces of old repairs.

My departure had been delayed by all sorts of frustrations - mainly to do with a bad choice of epoxy primer undercoat paint - and I was feeling frustrated. I should, of course, have decided then to take the masts down and give them a good servicing. But my impatience to get going led me to the wing & prayer strategy instead. Very short-termist, obviously.

But not just short-termist - just misguided. When sailing, the point is not really to get anywhere. The goal is the way. The end is the means. The means is the end. So frustrations like that, of having one more step before being ready, really have no place. So maybe the second lesson is to have a regular reminder when wishing for speed: are you actually constrained? are you doing this for the way or the end?

Of course, on Friday morning in Portland, I started out with feelings of frustration - I had to jettison all those plans I had related to Boutny having reached her winter destination ... I would be able to empty her of 18 months of accumulated stuff, I would be able to start to think about the rain-cover/tent, indeed, I would be able to plan the proper refurbishment of the masts.

But the more the day progressed, the more I found myself surrounded by the helpful crew at the academy, and the more I reminded myself that my destinations were fictions, on this adventure with Boutny, the happier I found myself in Portland Harbour. I quickly started to look at it as somewhere that might be home for the winter, and what had seemed in the morning like a disaster was now appearing in a quite different light. So maybe if I had been able to do that in June last year, I would not have been in Portland that day at all.

Evening on a visitor buoy in Portland Harbour; the guys in the boat were catching Bream, the kite in the background had delighted us all evening with their foiling.

[safereturndoubtful]

Day 3 - to Caión

I took quite a bit of interest in lighthouses when travelling the west coast of Scotland a couple of years ago. I visited a few of them, and read a few books about their construction, and the days of their keepers; many in Scotland constructed by the Stevenson family, which including, though very part time, Robert Louis.

It’s the lives of the keepers that really interests me. The unfinished Poe story, made into an uncomfortable but gripping film with Pattinson and Dafoe and set off Cape Breton, conjures images of rampaging storms, and a solitary existence that demands great mental strength in order to survive.

The unexplained disappearance of the Flannan Isle keepers in 1900 from Eilean Mòr.

Hence my interest in these on the north-west Iberian coast, of which I will be visiting quite a few in the next week or so, and delving into their history.

The Faro de Estaca de Bares stands on the northernmost point of Spain, generally considered to be the boundary between the open Atlantic and the Mare Cantábrico (Bay of Biscay). Together with the light on Cabo Finisterre, where I will be last of all next week, it is one of the two lighthouses ordered in 1846 to light the northwestern corner of the Iberian Peninsula. It has been used continually since 1850, and was the model for most of the other lighthouses on the Galician coast.

It was electrified in 1964, but kept a full-time keeper until 1993.

The abandoned military installations, and accommodation at the lighthouse, were a US Coast Guard base since the early 1960s, and after French and British government stations until 1991.

I had chosen a hiking route for the morning that gained the highest ground close by, 330 metres, and took in a 2 kilometre ridge that was all above 300 metres. Though a muddy trudge initially, the route was quite spectacular, especially with the strong north-westerly wind making for a lively sea, and the frequent heavy rain and hail showers. For much of the hike the views were tremendous, occasional blue and sun against an otherwise angry sky, the ocean coastline on the way up, the ridge, and then the eucalyptus forests on the descent.

After lunch I moved to south of A Coruña. As it traverses the As Neves pass the road climbs to 600 metres, and the rain, now snow, had set in. It was below zero on the pass and a few centimetres of snow had accumulated, so it was slow going.

But down, beyond the city, it was a fair few degrees warmer.

I have some business in nearby Carballo tomorrow morning, then will start a few days on the Camino dos Faros, which begins at Malpica.

Tonight I’m at the surf town of Caión, devoid of any surfers, and indeed, any other people at all, save for two dog walkers I saw between the heavy showers. We wandered into town, but everything is closed. February is siesta month it seems.

The beach car parks will take hundreds of cars most of the year, but tonight it’s just me, and the noisiest sea I have heard for a good while.

[the-firebird69]

We heard the word incinerator several times tonight they're using it to put you in an incinerator

And for some reason we can't stop and we keep on saying dumb things and we don't like the idea of the incinerator I don't know who's used on or what it's for and Max says he told me he told me to shut up and get used to it so I guess I do know it's for still after us my clothes there were pigs apparently it's true so I can't leave home and he says this isn't your house and that says you're evicted and you're sitting there cuz you're stupid and I say that's probably true and you have an incinerator on out there and I checked it's real and her body is going in it and I saw it that night too and it's upstairs only he's not going to do I'm going to try and ignore the fact that I'm trying to get across and I can't okay now mad at you but I'm going to go out there and look at it he says this they're going to burn it it's going to this plastic smell and residue and already there's some kind of dust over here it's probably your dumbasses calcium so I started to say something it's probably absorbing too much calcium we have to go look at it I guess the wind is blowing from that direction this is 20 miles to the north so I have to watch out for herself Westerly wind not southeasterly and we are interested

Trump

There's no film over here it was a Dusty day and it doesn't smell over here it's too far away and the wind doesn't blow this way I do appreciate the sentiment I understand what you're saying why don't have to go visit a piece of concrete and not us that's good so it's 45 now with the real stuff

Mac

I'm going out there now with the big group

Trump

[dawntrailing]

#on westerly winds #film score #final fantasy series #final fantasy xiv #ffxiv #final fantasy xiv: a realm reborn #ffxiv: music #a realm reborn: final fantasy xiv original soundtrack

[01sentencereviews]

#one of the funnier stories of 2018 #(a week late still funny) #jean-luc godard #vent d'ouest #westerly wind #fake #short film #lundi matin #craig keller

[path-of-my-childhood]

Aaron Dessner on How His Collaborative Chemistry With Taylor Swift Led to “Evermore”

By: Claire Shaffer for Rolling Stone Date: December 18th 2020

Taylor Swift and Aaron Dessner didn’t expect to make another record so soon after Folklore. As they were putting the final touches on Swift’s album this past summer, the two artists had been collaborating remotely on possible songs for Big Red Machine, Dessner’s music project with Justin Vernon of Bon Iver (who also dueted with Swift on the Folklore track “Exile”). Dessner recalls:

“I think I’d written around 30 of those instrumentals in total. So when I started sharing them with Taylor over the months that we were working on Folklore, she got really into it, and she wrote two songs to some of that music.”

One was “Closure,” an experimental electronic track in 5/4 time signature that was built over a staccato drum kit. The other song was “Dorothea,” a rollicking, Americana piano tune. The more Dessner listened to them, the more he realized that they were continuations of Folklore‘s characters and stories. But the real turning point came soon after Folklore‘s surprise release in late July, when Dessner wrote a musical sketch and named it “Westerly,” after the town in Rhode Island where Swift owns the house previously occupied by Rebekah Harkness.

“I didn’t really think she would write something to it — sometimes I’ll name songs after my friends’ hometowns or their babies, just because I write a lot of music and you have to call it something, and then I’ll send it to them. But, anyway, I sent it to her, and not long after she wrote ‘Willow’ to that song and sent it back.”

It was a moment not unlike when Swift first sent him the song “Cardigan” back in the spring, where both she and Dessner felt an instant creative spark — and then just kept writing. Before long, they were creating even more songs with Vernon, Jack Antonoff, Dessner’s brother Bryce, and “William Bowery” (the pseudonym of Swift’s boyfriend Joe Alwyn) for what would eventually lead to Folklore‘s wintry sister record, Evermore.

Even more spontaneous than the album that preceded it, Evermore features more eclectic production alongside Swift’s continued project of character-driven songwriting, and includes an even wider group of collaborators, like Haim and Dessner’s own band the National. Dessner spoke to Rolling Stone about the album’s experimentation, how it was recorded during the making of the doc The Long Pond Studio Sessions, and how he sees his collaboration with Swift continuing in the future.

When did you realize this was going to end up being another album?

It was after we’d written several songs, seven or eight or nine. Each one would happen, and we would both be in this sort of disbelief of this weird alchemy that we had unleashed. The ideas were coming fast and furiously and were just as compelling as anything on Folklore, and it felt like the most natural thing in the world. At some point, Taylor wrote “Evermore” with William Bowery, and then we sent it to Justin, who wrote the bridge, and all of a sudden, that’s when it started to become clear that there was a sister record. Historically, there are examples of this, of records which came in close succession that I love — certain Dylan records, Kid A and Amnesiac. I secretly fell in love with the idea that this was part of the same current, and that these were two manifestations that were interrelated. And with Taylor, I think it just became clear to her what was happening. It really picked up steam, and at some point, there were 17 songs — because there are two bonus tracks, which I love just as much.

Evermore definitely sounds more experimental than Folklore, and has more variety — you have these electronic songs that sound like Bon Iver or Big Red Machine, but you also have the closest thing Taylor has written to country songs in the last decade. Was there a conscious effort on her part to branch out more with this album?

Sonically, the ideas were coming from me more. But I remember when I wrote the piano track to “Tolerate It,” right before I sent it to her, I thought, This song is intense. It’s in 10/8, which is an odd time signature. And I did think for a second, “Maybe I shouldn’t send it to her, she won’t be into it.” But I sent it to her, and it conjured a scene in her mind, and she wrote this crushingly beautiful song to it and sent it back. I think I cried when I first heard it. But it just felt like the most natural thing, you know? There weren’t limitations to the process. And in these places where we were pushing into more experimental sounds or odd time signatures, that just felt like part of the work.

It was really impressive to me that she could tell these stories as easily in something like “Closure” as she could in a country song like “Cowboy Like Me.” Obviously, “Cowboy Like Me” is much more familiar, musically. But to me, she’s just as sharp and just as masterful in her craft in either of those situations. And also, just in terms of what we were interested in, there is a wintry nostalgia to a lot of the music that was intentional on my part. I was leaning into the idea that this was fall and winter, and she’s talked about that as well, that Folklore feels like spring and summer to her and Evermore is fall and winter. So that’s why you hear sleigh bells on “Ivy,” or why some of the imagery in the songs is wintery.

I can hear that in the guitar on “‘Tis the Damn Season,” too. It almost sounds like the National with that very icy guitar line.

I mean, that is literally like, me in my most natural state. [laughs] If you hand me a guitar, that’s what it sounds like when I start playing it. People associate that sound with the National, but that’s just because I finger-pick an electric guitar like that a lot — if you solo the guitar on “Mr. November,” it’s not unlike that.

That song, to me, has always felt nostalgic or like some sort of longing. And the song that Taylor wrote is so instantly relatable, you know, “There’s an ache in you put there by the ache in me.” I remember when she sang that to me in my kitchen — she had written it overnight during The Long Pond Studio Sessions, actually.

Did she record all her Evermore vocals at Long Pond while you were filming the Studio Sessions documentary?

Not all of them, but most of them. She stayed after we were done filming and then we recorded a lot. It was crazy because we were getting ready to make that film, but at the same time, these songs were accumulating. And so we thought, “Hmm, I guess we should just stay and work.”

On “Closure,” there are parts where Taylor’s vocals are filtered through the Messina, which is this vocal modifier that Justin Vernon uses a lot in his work with Bon Iver. How were you able to modify her vocals with it, if she was never in the same room as Justin?

I went to see Justin at one point — that’s the one trip I’ve made — and we worked together at his place on stuff. He plays the drums on “Cowboy Like Me” and “Closure,” and he plays guitar and banjo and sings on “Ivy,” and sings on “Marjorie” and “Evermore.” And then we processed Taylor’s vocals through his Messina chain together. He was really deeply involved in this record, even more so than the last record. He’s always been such a huge help to me, and not just by getting him to play stuff or sing stuff — I can also send him things and get his feedback. We’ve done a ton of work together, but we have different perspectives and different harmonic brains. He obviously has his own studio set up at home, but it was nice to be able to see him and work on this stuff.

“No Body, No Crime” is also really interesting, just because I don’t think I’ve ever heard you produce a song like that. How did this country murder ballad featuring Haim end up on the record?

Taylor wrote that one alone and sent me a voice memo of her playing guitar — she wrote it on this rubber-bridge guitar that I got for her. It’s the same kind I play on “Invisible String.” So she wrote “No Body, No Crime” and sent me a voice memo of it, and then I started building on that. It’s funny, because the music I’ve listened to the most in my life are things that are more like that — roots music, folk music, country music, old-school rock & roll, the Grateful Dead. It’s not really the sound of the National or other things I’ve done, but it feels like a warm blanket.

That song also had a lot of my friends on it — Josh Kaufman, who played harmonica on “Betty,” also plays harmonica on this one and some guitar. JT Bates plays the drums on that song — he’s an amazing jazz guitarist, but he also has an incredible feel [for rhythm] when it comes to a song like that. He also played the drums on “Dorothea.” And then Taylor had specific ideas from the beginning about references and how she wanted it to feel, and that she wanted the Haim sisters to sing on it. We had them record the song with Ariel Reichshaid, they sent that from L.A., and then we put it together when Taylor was here [at Long Pond]. They’re an incredible band, and it was another situation where we were like, “Well, this happened.” It felt like this weird little rock & roll history anecdote.

You also brought on the National to record “Coney Island.” What was that process like, where you’re recording a song with your band that’s for a different artist?

I had been working on a bunch of music with my brother [Bryce Dessner], some of which we were sending to Taylor also. At that stage, “Coney Island” was all the music except the drums. And as I was writing it, I don’t think I was ever thinking, “This sounds like the National or this sounds like Big Red Machine or this sounds like something totally different.” But Taylor and William Bowery wrote this incredible song, and we first recorded it with just her vocals. It has this really beautiful arc to the story, and I think it’s one of the strongest, lyrically and musically. But listening to the words, we all collectively realized that this does feel like the most related to the National — it almost feels like a story Matt [Berninger] might tell, or I could hear Bryan [Devendorf] playing the drum part.

So we started talking about how it would be cool to get the band, and I called Matt and he was excited for it. We got Bryan to play drums and we got Scott [Devendorf] to play bass and a pocket piano, and Bryce helped produce it. It’s weird, because it does really feel like Taylor, obviously, since she and William Bowery wrote all the words, but it also feels like a National song in a good way. I love how Matt and Taylor sound together. And it was nice because we haven’t played a show in a year, and I don’t know when we will again. You kind of lose track of each other, so in a way, it was nice to reconnect.

When working on Folklore, you had to keep most of your collaborators in the dark about who you were working with. What was the process like this time around, now that everyone knew it was Taylor? How did you keep it a secret?

It was hard. We had to be secretive because of how much people are consuming every shred of information they can find about her, and that’s been an oppressive reality she’s had to deal with. But the fact that no one in the public knew allowed for more freedom of enjoying the process. A lot of the same musicians that played on Folklore played on Evermore. Again, it was a situation where I didn’t tell them what it was, and they couldn’t hear her vocals, but I think a lot of them assumed, especially because of the level of secrecy. [laughs] But as funny as this is, I think everyone who’s been involved has been grateful for these records to play on this year and is proud of them. It kind of just doesn’t happen, to make two great records in such a short period of time. Everyone’s a little bit like, “How did this happen?” and nobody takes it for granted.

Taylor has mentioned that you recorded “Happiness” just a week before the album was released. Was that something you guys wrote, recorded, and produced all at the last minute, or was it something you’d been sitting on for a while before you finally cracked the code?

There were two songs like that. One is a bonus track called “Right Where You Left Me,” and the other one was “Happiness,” which she wrote literally days before we were supposed to master. That’s similar to what happened with Folklore, with “The 1” and “Hoax,” which she wrote days before. We mixed all the tracks here, and it’s a lot to mix 17 songs, it’s like a Herculean task. And it was funny, because I walked into the studio and Jon Low, our engineer here, was mixing and had been working the whole time toward this. And I came in and he’s in the middle of mixing and I was like, “There are two more songs.” And he looked at me like, “…We’re not gonna make it.” Because it does take a lot of time to work out how to finish them.

But she sang those remotely. And the music for “Happiness” is something that I had been working on since last year. I had sang a little bit on it, too — I thought it was a Big Red Machine song, but then she loved the instrumental and ended up writing to it. Same with the other one, “Right Where You Left Me” — it was something I had written right before I went to visit Justin, because I thought, “Maybe we’ll make something when we’re together there.” And Taylor had heard that and wrote this amazing song to it. That is a little bit how she works — she writes a lot of songs, and then at the very end she sometimes writes one or two more, and they often are important ones.

My favorite song on the album is “Marjorie,” and I feel like, for most artists, the instinct would be to present a song like that as a somber piano ballad. But “Marjorie” has this lively electronic beat that runs through it — it literally sounds alive. How did you come up with that?

It’s interesting, because with “Marjorie,” that’s a track that actually existed for a while, and you can hear elements of it behind the song “Peace.” This weird drone that you hear on “Peace,” if you pay attention to the bridge of “Marjorie,” you’ll hear a little bit of that in the distance. Some of what you hear is from my friend Jason Treuting playing percussion, playing these chord sticks, that he actually made for a piece that my brother wrote called “Music for Wooden Strings.” They’re playing these chord sticks, and you can hear those same chord sticks on the National song “Quiet Light.”

I collect a lot of rhythmic elements like that, and all kinds of other sounds, and I give them to my friend Ryan Olson, who’s a producer from Minnesota and has been developing this crazy software called Allovers Hi-Hat Generator. It can take sounds, any sounds, and split them into identifiable sound samples, and then regenerate them in randomized patterns that are weirdly very musical. There’s a lot of new Big Red Machine songs that use those elements. But I’ll go through it and find little parts that I like and loop them. That’s how I made the backing rhythm of “Marjorie.” Then I wrote a song to it, and Taylor wrote to that. In a weird way, it’s one of the most experimental songs on the album — it doesn’t sound that way, but when you pick apart the layers underneath it, it’s pretty interesting.

I do have to ask: How did you come to find out about William Bowery’s real identity as Joe Alwyn? Or did you know all along?

I guess I can say now that I’ve sort of known all along — I was just being careful. Although we never really explicitly talked about it. But I do think it’s been really special to see a number of songs on these albums that they wrote together. William plays the piano on “Evermore,” actually. We recorded that remotely. That was really important to me and to them, to do that, because he also wrote the piano part of “Exile,” but on the record, it’s me playing it because we couldn’t record him easily. But this time, we could. I just think it’s an important and special part of the story.

Do you have a personal favorite song or a moment that you’re proudest of?

“‘Tis the Damn Season” is a really special song to me for a number of reasons. When I wrote the music to it, which was a long time ago, I remember thinking that this is one of my favorite things I’ve ever made, even though it’s an incredibly simple musical sketch. But it has this arc to it, and there’s this simplicity in the minimalism of it and the kind of drum programming in there, and I always loved the tone of that guitar. When Taylor played the track and sang it to me in my kitchen, that was a highlight of this whole time. That track felt like something I have always loved and could have just stayed music, but instead, someone of her incredible storytelling ability and musical ability took it and made something much greater. And it’s something that we can all relate to. It was a really special moment, not unlike how it felt when she wrote “Peace,” but even more so.

Do you see this collaboration with Taylor continuing onward, to more albums or Big Red Machine projects?

It’s kind of the thing where I have so many musicians in my life that I’ve grown close to, and make things with, and are just part of my life. And I’ve rarely had this kind of chemistry with anyone in my life — to be able to write together, to make so many beautiful songs together in such a short period of time. Inevitably, I think we will continue to be in each other’s artistic and personal lives. I don’t know exactly what the next form that will take, but certainly, it will continue.

I do think this story, this era, has concluded, and I think in such a beautiful way with these sister records — it does kind of feel like there’s closure to that. But she’s definitely been very helpful and engaged with Big Red Machine, and just in general. She feels like another incredible musician that I’ve gotten to know and am lucky to have in my life. It’s this whole community that moves forward and takes risks and, hopefully, there will be other records that appear in the future.

#cute #Aaron Dessner #interview #about taylor #taylor swift #Rolling Stone magazine #making of #evermore album #evermore era

[skippyv20]

CONGRATULATIONS TO TWO OF MY VERY FAVOURITE PEOPLE ON THEIR 10TH WEDDING ANNIVERSARY AS IT IS ALREADY THE 28TH LONDON TIME. 🥂 

🥂🥂🥂PG INTERPRETATION OF MM ANON🥂🥂🥂

MM Anon

MM ANON …… a political thirst………royal wedding of the century replay………… a vacuous flat……… Foster home………… app-y holiday ……… lying statistics ……… Giggs-a-bite…… ………sad Apollo………Taiwan ………… “look mum, no hands……… Naffta.

Thank you😊❤️❤️❤️❤️

4/28/21

💜✝️🙏🏻🙂💟THANK YOU DEAR MM ANON💟🙂✝️🙏🏻💜

RIDDLE #26

APRIL 28/21

OK EVERY, PLEASE BEAR IN MIND, I HAVE NOT READ MEDIA OR BLOG FOR A FEW DAYS. SO THERE MAY BE SOME VERY OBVIOUS CLUES THAT ZOOM OVER MY HEAD. I ASSURE YOU ALL,I AM NOT WEARING A MASK AS I TYPE THIS.😂😂😂😂🤣🤣🤣🤣🤣

a political thirst

‘HER’ REMAINS AS THIRSTY AS EVER FOR ATTENTION, POWER AND MONEY. THERE IS NO GREATER TRIFECTA THAN THAT WHICH IS HER ULTIMATE GOAL WITH THE EXCEPTION OF CONTINUATION HER EMASCULATION OF OUR HARRY.  THE LEFT WING OF THE DEMOCRATS AND THEIR AGENDA ARE THIRSTY. AS WE SPEAK POTUS IS ADDRESSING CONGRESS AND THE NATION, BEHIND HIM SITS VPOTUS  AND NANCY PELOSI, SPEAKER OF THE HOUSE. I HOPE I GOT THAT RIGHT. THE WORD THIRSTY, ALONG WITH MANY WONDERFUL WORDS IN THE ENGLISH LANGUAGE HAS BEEN, PARDON THE PHRASE, ‘BASTARDISED” SO THE. MEANING IS NOTHING TO DO WITH THE ORIGINAL AS IN THIRST FOR WATER, GOALS IN LIFE EDUCATION ETC. OH TUCKER CARLSON JUST CAME ON! DID YOU KIDS SEE POTUS ON A ZOOM CALL WEARING A MASK.😂😂😂😂😂🤣🤣🤣🤣I SHOULD NOT LAUGH BUT THIS IS DEAD SERIOUS. THERE IS SOMETHING NOT RIGHT ABOUT HIS COGNITIVE STATUS. HE IS BEING USED AND PROPPED UP BY THE LEFT WING FASCISTS. THIS IS WHAT THEIR AND ‘HER’ THIRSTS FOR, POWER, CONTROL, MONEY, FAME OR HECK ‘HER’IS EXCITED FOR INFAMY. ALL TO START WITH SCOOPING DIANNE FEINSTEIN’S SEAT. SHE IS A LONG SERVING SENATOR FROM CALIFORNIA SINCE 1992. THE NEW ORDER LIKE AOC WANT HER PUSHED OUT AND A FRESH FACE THERE IE SOMEONE THAT AGREES WITH THEIR EXTREME LEFTIST IDEAS. KIDS THIS IS ABSOLUTELY NO JOKE. YOU GOOGLE HER AND THIRSTY…LOTS COMES UP. DO IT..USE SEVERAL SEARCH ENGINES NOT JUST GOOGLE!! 

royal wedding of the century replay

DATE: APRIL 28/2011

PLACE: WESTMINSTER ABBEY, LONDON. MILLIONS LINED THE STREETS…THE WORLD WAS ABUZZ WITH EXCITEMENT. THE WEDDING DAY OF OUR DEAR BOY WILLIAM, (SORRY THEY WILL BOTH ALWAYS BE BOYS TO ME💜💜) TO CATHERINE ELIZABETH MIDDLETON. GOD MADE HER  BESPOKE FOR WILLIAM. THEY ARE SYMPATICO. LOVE IN ACTION. SOUL MATES. THEY HAVE REMAINED SOLID AS MANY A FOUL WIND BLEW  FROM A WESTERLY DIRECTION. THEY DID NOT JUST SURVIVE, THEY THRIVED!! THEY HAD THREE GORGEOUS CHILDREN, NOW THAT IS SOMETHING TO SURVIVE BUT THDY HAVE AND THRIVED ALL FIVE OF THEM. THE DAY WAS PERFECT…IN EVERY WAY. I TINGLE THINKING ABOUT IT. MY SISTER USED TO VISIT LONDON A LOT FOR THEATRE 🎭. SHE FOUND THIS POTTERY STORE, SHE BROUGHT ME AN ENGAGEMENT MUG AND THEN A WEDDING ONE, NO STICKER GLUED ON MUG, HAND PAINTED IN SORT OF A CHARACTER LIKE WAY, VERY ENDEARING. AS EACH CHILD CAME ALONG I WOULD EMAIL THE POTTER AND SHE MADE ME A MUG FOR EACH AND POSTED IT ACROSS THE OCAEN TO ME. I THEN HAD A FAMILY MUG. DONE IN BLUE AND WHITE..NO GREAT EXPENSE AT ALL. BUT EACH MUG IS UNIQUE AS THEY ARE PAINTED BY HAND AND SHE CHANGES HATS OR CLOTHES OR ANYTHING ON EACH MUG. ALONG WITH A ZILLION NEWS PICTURES, I FELT PART OF THAT GLORIOUS DAY. I THINK EVERYONE DID! THANK YOU FOR THAT. THE BALCONY SCENE, LIKE IN A GRAND FILM, CATHERINE WALKED OUT AND WAS EASY TO READ HER LIPS SAYONG “WOW”! NOW THAT IS CLASS! 

a vacuous flat

OH NO.10.IT TRULY IS THE CENTRE OF POWER IN THE U.K. CARRIE SYMONDS HAS SPENT A KINGS’ RANSOM AND A KING’S TIME OF REIGNING REDECORATING IT. WHO LIVES THERE? TWO ADULTS AND WEE WILBERFORCE, THE BABE, OH AND LARRY THE CAT WHO FORCED FELLOW CAT PALMERSTON FROM ACROSS THE STREET TO BE TAKEN TO A NEW HOME AS THEY FOUGHT IN THE STREET. (THAT WAS IN A RIDDLE FROM WAY WAY BACK, RIGHT MM ANON?, AND I KNEW IT BACK THEN.) IT OUT ON YOUTUBE, I AM SERIOUS!!BACK TO HUMANS NOW….BOJO WENT OFF THE RAILS IN PARLIAMENT WITH KEIR STARMER. BOJO TRIED TO EQUATE HIS GOVERNMENT HAVING GOT THE VACCINE ROLLOUT AND INCREASED POLICE OFFICERS SHOULD EVEN OUT THE COST OF AND THEM TIME IT HAS TAKEN TO DO THE RENO!

https://www.dailymail.co.uk/debate/article-9522917/HENRY-DEEDES-Suddenly-jokes-stopped-Boris-boiling-raging-steaming.html

Foster home

FOSTER HOME HERE IS WHERE CHILDREN ARE TAKEN INTO CARE, IF THERE IS NO PLACE OTHERWISE IT IS A HOTEL ROOM. THIS HOWEVER IS I AM CERTAIN DAVID FOSTER’S HOME. HE, HIS WIFE AND BABY ARE LIVING IN THEIR CONDO IN L.A. WHO IS LIVING IN THEIR HOUSE?? I HAVE BEEN GONE A FEW DAYS…..IS HARRY THERE?? 

https://www.hellomagazine.com/homes/20210322109408/katharine-mcphee-david-foster-home-inside-photos/

POTUS IS LOOKING AT STATE FOSTER CARE AND SHELTERS TO HOUSE THE TENS OF THOUSANDS OF CHILDREN MIGRANTS OR ILLEGALLY IN AMERICA. THAT IS A HUGE STRETCH OF RESOURCES ALREADY STRETCHED BY COVID-19.

https://news.yahoo.com/biden-administration-looks-to-state-foster-care-and-shelters-to-house-growing-number-of-migrant-children-at-border-161542421.html

I STILL THINK THIS IS ABOUT DAVID FOSTER. 

app-y holiday 

VACCINE PASSPORTS…MY HAVE THEY TRIGGERED PUBLIC OUTCRY HERE. PEOPLE SEEM TO HAVE LOST THE PLOT. FOR ENGLANDERS WANTING TO TRAVEL ABROAD THE NHS APP WILL BE USED TO ASSESS VACCINATION STATUS. THE PLAN IS FOR PEOPLE TO SEE THEIR GP AND RECEIVE CONFIRMATION OF VACCINATION STATUS AND THIS WILL BE REFLECTED ON THE APP. THIS ARTICLE SAYS VACCINE PASSPORTS COULD BE HERE FOR YEARS. PEOPLE ARE RUSHING TO DOWNLOAD THE APP.

https://www.theguardian.com/world/2021/apr/28/covid-nhs-app-will-be-used-as-vaccine-passport-for-foreign-travel

lying statistics 

THIS WHOLE RENOVATION OF NO,10 MULTICOMPLICATED BY WHO PAID FOR IT……..A CONSERVATIVE GROUP. NOW A TREASURY INVESTIGATION INTO CARRIE SYMONDS USE OF FUNDS. WHOSE TRUTH  IS BEING TOLD? ANYBODY? WELL INVESTIGATION WILL GET TO IT RIGHT? I MEAN ALL GOVERNMENT INVESTIGATION AND INQUIRIES ARE DONE WELL AND TRANSPARENT FOR THE PUBLIC GOOD YES?? 

https://www.dailymail.co.uk/news/article-9520575/Elections-watchdog-launches-probe-offences-No11-flat.html

I FOUND THIS ABOUT COVID-19. READ AT YOUR LEISURE.LIES, STATISTICS AND THE PANDEMIC. 

https://www.scidev.net/global/scidev-net-investigates/covid-19-lies-and-statistics-corruption-and-the-pandemic/

Giggs-a-bite

THE FIRST NAME CAME TO MY MIND WAS RYAN GIGGS AND YEP IT IS HIM. IN COURT FOR ABUSING SEVERAL WOMEN.HEADBUTTED HIS GIRLFRIEND AND ATTACKED HER SISTER. SURE PUT HIS FOOTIE SKILLS TO USE THERE EH? I LIKED HIM, NO MORE! IS IT JUST ME OR DO POWERFUL MAKE ATHLETES AND ACTORS ET AL ABUSE WOMEN AT A HIGH RATE? MAYBE IT IS JUST THE PUBLICITY IT GETS IN THE MEDIA. BRAVE, VERY BRAVE WOMEN TO HAVE COME FOREWARD. 

https://www.yahoo.com/news/wales-boss-giggs-denies-assault-105008373.html

sad Apollo

NASA SPACECRAFT APOLLO. APOLLO 11 LANDED ON THE MOON! MICHAEL COLLINS HAD THE HISTORY MAKING ROLE OF PILOTING THE COMMAND MODULE  ON THE FIRST EVER MOON LANDING IN 1969. THAT IS ONE OF MY EARLIEST CHILDHOOD MEMORIES. IT IS VAGUE, I WAS THREE. I REMEMBER STANDING BY THE BLACK AND WHITE TV, NO COLOUR THEN, AND FEELING VERY EXCITED. SADLY, THIS PATRIOT HAS DIED. HE WAS 90, BATTLING CANCER, A LIFE WELL LIVED. 

https://www.space.com/astronauts-mourn-michael-collins-apollo-11-death

Taiwan 

THERE HAVE BEEN CONTINUING INTEL OF CONCERNS CHINA MOVING IN ON TAIWAN BUT THIS IS NOT THAT. THIS IS THE HORRIBLE DROUGHT GOING ON THERE. SO MUCH GOING ON IN OTHER COUNTRIES. I REALLY SHOULD PAY MORE ATTENTION. BUT I STOPPED WATCHING ALOT OF NEWS FOR MY MENTAL SAKE. THIS DROUGHT MAY AFFECT US ALL.THIS IS A SNIPPET OF THE ARTICLE.

TAIPEI – Taiwanese President Tsai Ing-wen on Tuesday called for more water conservation as the island’s chipmaking industry faces the worst drought in nearly 60 years.

“Now is the most critical period for dealing with the drought,” Tsai said on a visit to the hard-hit city of Taichung, a production hub for Taiwan Semiconductor Manufacturing Co., the world’s largest contract chipmaker, as well as liquid crystal display manufacturers. The two industries consume large amounts of water.

https://asia.nikkei.com/Business/Tech/Semiconductors/Taiwan-drought-at-most-critical-phase-for-chip-sector

“look mum, no hands”

OH THIS IS WHAT I NEED!!! SELF DRIVING CARS. THEY WILL BEGIN USE IN LONDON. OH SO MUCH TECHNICAL STUFF FOR MY OLD BRAIN😂😂😂🤣🤣🤣. I AM MORE INTO THE FLINTSTONES CAR WHERE THEY USED THEIR FEET.😂😂😂🤣🤣🤣. IT IS TO BE AVAILABLE BY THE END OF THE YEAR. GET THIS, YOU CAN DRIVE THE AMAZING SPEED OF 37KM/H ON MOTORWAYS. 😂😂😂😂😂🤣🤣🤣🤣🤣 

https://www.energylivenews.com/2021/04/28/look-mum-no-hands-self-driving-cars-to-hit-the-uk-streets-by-year-end/

Naffta.

NAFTA WAS THE NORTH AMERICAN FREE TRADE AGREEMENT. BUT CLEVER YOU, YOU ADDED AN F SO IT IS NAFFTA! HMMMMMM. OK LET ME BREAK IT DOWN. NAFF MEANING UNFASHIONABLE, TACKY. TA MEANS GOOD BYE, SEE YOU LATER. NAFFTA PUT TOGETHER THERE IS ONLY ONE POSSIBLE ANSWER, ‘HER’. 😂😂😂😂😂🤣🤣🤣🤣 GOODBYE NAFFY ⚖️ 🔔 JUSTICE AWAITS. 

HOWEVER, I THINK THIS MIGHT BE THE COMBINATION OF STYLES BEING USED OR ALREADY USED TO REDO NO. 10. TACKY, TACKY, TACKY, AND TACKY. 

https://inews.co.uk/news/politics/boris-johnson-flat-renovation-what-refurb-cost-who-pay-decoration-carrie-symonds-975984

ENTERTAINMENT PURPOSES 

Thank you😊❤️❤️❤️❤️

4/28/21

GSTQAOBC 🇨🇦🇬🇧🇦🇺🇳🇿

Interesting.....thank you😊💜💜💜💜💜💜💜💜💜💜

#Ask Skippy #submission