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#elaine o'connor
newyorkthegoldenage · 3 months
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Nurses and volunteers selling Christmas Seals for the campaign against tuberculosis, ca. 1922. They are wearing the Cross of Lorraine, associated with the American Lung Association. From left to right, they are Misses O'Connor, Tilton, V. Johnson, M. Johnson, D'Assia, Marie Otis Smith, Elaine Otis Smith, and Lawrence.
Photo: Paul Thompson via FPG/Getty Images
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byneddiedingo · 3 months
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Van Johnson, Barry Jones, Gene Kelly, Cyd Charisse in Brigadoon (Vincente Minnelli, 1954)
Cast: Gene Kelly, Cyd Charisse, Van Johnson, Elaine Stewart, Barry Jones, Hugh Laing, Albert Sharpe, Virginia Bosler, Jimmy Thompson, Tudor Owen, Owen McGiveney, Dee Turnell, Dodie Heath, Eddie Quillan. Screenplay: Alan Jay Lerner, based on his book for a stage musical. Cinematography: Joseph Ruttenberg. Art direction: E. Preston Ames, Cedric Gibbons. Film editing: Albert Akst. Music: Conrad Salinger; songs by Alan Jay Lerner and Frederick Loewe. 
Three years after Brigadoon, MGM's biggest musical star wasn't Gene Kelly or Judy Garland, it was Elvis Presley, who made Jailhouse Rock (Richard Thorpe, 1957) and eleven more movies for the studio. Arthur Freed, Brigadoon's producer, made six more musicals for the studio before leaving it in 1961, but Brigadoon is often regarded as a sign that MGM's golden age was ending. It's not an original movie musical like An American in Paris (Vincente Minnelli, 1951) or Singin' in the Rain (Kelly and Stanley Donen, 1952), the most highly regarded of the films produced by the Freed Unit, but an adaptation of a Broadway hit. It's also filmed in Ansco Color, widely regarded as inferior to classic Technicolor. It was originally intended to be shot on location in the Scottish Highlands, but the studio decided the weather was too uncertain there. After considering another location in California near Big Sur, the decision was made to film it entirely on a soundstage in Culver City. The expensive set earned an Oscar nomination for art direction, even though the decision to make the film in CinemaScope only magnified the artificiality of the artificial turf and painted sky. Brigadoon is not just stagey -- there are pauses at the end of musical numbers where the Broadway audience would have applauded -- it's soundstagey.  Kelly, who also choreographed, is in good voice and Cyd Charisse (whose singing voice was dubbed by Carol Richards) dances beautifully, The song score by Alan Jay Lerner and Frederick Loewe is one of their best, including hummable tunes like "The Heather on the Hill" and "Almost Like Being in Love." (Although some of the songs from the stage version, including "Come to Me, Bend to Me" and "There But for You Go I," were cut.) Yet there's something lifeless about the movie. Van Johnson, who was cast in the role of Kelly's sidekick after Donald O'Connor was considered, seems a little bored with his part. The cutesiness of the village that outwitted time and space is a little too thick: There's something almost refreshing about the scenes satirizing life in New York near the end of the film, which are supposed to indicate that Kelly's character made a big mistake in not staying in Brigadoon. Vincente Minnelli directs these scenes with a sharpness and vigor that's absent from the rest of the movie. 
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munsons-hellfire · 11 months
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Characters I Write For (Currently)
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AUTHOR'S NOTE: Hello everyone, I decided I wanted to get a list out for the characters that I have the most inspiration to write for. This could change from time to time so if you're requesting something just make sure to check this beforehand for the character. If they aren't on the list you can send in an ask. Anyway down below is the list of characters.
❤️‍🔥 - Means the character has a high chance of getting a one shot written for them if requested.
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STRANGER THINGS
Eddie Munson❤️‍🔥
Steve Harrington❤️‍🔥
Robin Buckley❤️‍🔥
Jim Hopper❤️‍🔥
Nancy Wheeler
Chrissy Cunningham❤️‍🔥
Jonathan Byers
BOOK CHARACTERS
Rhysand❤️‍🔥
Feyre Archeron❤️‍🔥
Lucien Vanserra❤️‍🔥
Cassian❤️‍🔥
Azriel❤️‍🔥
Morrigan
Helion❤️‍🔥
Nesta Archeron
Elain Archeron
Tarquin
Amren
Tamlin❤️‍🔥
Eris Vanserra❤️‍🔥
OUTER BANKS
JJ Maybank❤️‍🔥
John B Routledge
Kiara Carrera
Sarah Cameron
Pope Hayward
CELEBRITIES
Pedro Pascal❤️‍🔥
Joseph Quinn❤️‍🔥
Joe Keery❤️‍🔥
Jamie Campbell Bower
Elizabeth Olsen
Chris Evans
Florence Pugh
Andrew Garfield❤️‍🔥
Scarlett Johansson
Tom Hiddleston
Richard Armitage
Taylor Swift❤️‍🔥
Maya Hawke
Kristen Stewart
Sam Claflin❤️‍🔥
Aaron Taylor-Johnson❤️‍🔥
Mason Gooding❤️‍🔥
MARVEL
Peter Parker (TASM)❤️‍🔥
Steve Rogers❤️‍🔥
Natasha Romanoff❤️‍🔥
Thor Odinson
Loki Laufeyson
Jane Foster
Everett Ross❤️‍🔥
Scott Lang❤️‍🔥
Carol Danvers
Peter Parker (MCU)
Tony Stark
Bucky Barnes
9-1-1 & 9-1-1 LONE STAR
Evan Buckley❤️‍🔥
Eddie Diaz❤️‍🔥
FEAR STREET
Deena Johnson❤️‍🔥
Sam Fraser
Kate Schmidt
Simon Kalivoda❤️‍🔥
Ziggy Berman❤️‍🔥
Cindy Berman
Nick Goode❤️‍🔥
Tommy Slater
SCREAM
Sidney Prescott❤️‍🔥
Billy Loomis❤️‍🔥
Stu Macher❤️‍🔥
Chad Meeks-Martin❤️‍🔥
Mindy Meeks-Martin❤️‍🔥
Sam Carpenter❤️‍🔥
Tara Carpenter❤️‍🔥
Dewey Riley❤️‍🔥
Gale Weathers
Randy Meeks
Mark Kincaid❤️‍🔥
Robbie Mercer
Jill Roberts
Kirby Reed
Mickey Altieri
Charlie Walker
Richie Kirsh
SUPERNATURAL
Dean Winchester❤️‍🔥
Sam Winchester
Jo Harvelle
Charlie Bradbury
Gabriel❤️‍🔥
Chuck Shurley❤️‍🔥
Claire Novak
NANCY DREW (THE CW)
Nancy Drew❤️‍🔥
Ace❤️‍🔥
Ryan Hudson❤️‍🔥
Ned Nickerson❤️‍🔥
George Fayne
Bess Marvin
CRIMINAL MINDS
Aaron Hotchner❤️‍🔥
Derek Morgan
Jennifer Jareau❤️‍🔥
Spencer Ried
Luke Alvez❤️‍🔥
HAWAII FIVE-O (2010-2020)
Steve McGarrett❤️‍🔥
Danny Williams❤️‍🔥
TEEN WOLF
Stiles Stilinski❤️‍🔥
Peter Hale❤️‍🔥
Derek Hale
Scott McCall
Allison Argent❤️‍🔥
Lydia Martin
Kira Yukimura
Malia Tate
Isaac Lahey❤️‍🔥
THE TWILIGHT SAGA
Edward Cullen
Carlisle Cullen❤️‍🔥
Bella Swan
Leah Clearwater❤️‍🔥
Jacob Black
Seth Clearwater❤️‍🔥
Ciaus❤️‍🔥
Kate Denali❤️‍🔥
Garrett❤️‍🔥
Benjamin❤️‍🔥
THE WALKING DEAD
Rick Grimes
Daryl Dixon
Shane Walsh
Negan Smith
Maggie Greene
Glenn Rhee
Rosita Espinosa
MISCELLANEOUS CHARACTERS
Chandler Bing❤️‍🔥
Joey Tribbiani
Morpheus
Mazikeen
Marcus Pierce
Thorin Oakenshield❤️‍🔥
Thranduil
Marta Cabrera❤️‍🔥
Hugh Ransom
Ben Gates❤️‍🔥
Riley Poole❤️‍🔥
Abigail Chase❤️‍🔥
Jughead Jones
Betty Cooper
Jack Sparrow❤️‍🔥
Will Turner
Elizabeth Swann
Owen Grady❤️‍🔥
Claire Dearing
Ethan Hunt❤️‍🔥
James Conrad❤️‍🔥
Mason Weaver
Diana Prince❤️‍🔥
Derek Shepherd❤️‍🔥
Meredith Grey
Lexie Grey
Mark Sloan❤️‍🔥
Jackson Avery❤️‍🔥
Nathan Hunt
Dominic Toretto
Brian O'Connor❤️‍🔥
Mia Toretto
Roman Pearce❤️‍🔥
Taj Paker
Luke Hobbs
Deckard Shaw
Hettie Shaw
Tallahassee
Columbus
Witchita
Noah Foster
Audrey Jensen
Jake Fitzgerald
Bill Denbrough
Beverly Marsh
Ben Hanscom
Cade Yeager❤️‍🔥
Larry Daley❤️‍🔥
Finnick Odair
Katniss Everdeen
Peeta Mellark
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wumblr · 2 years
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if we're being honest, saturday night live has been going downhill ever since its one and only peak broadcast, when sinead o'connor tore up a photo of the pope and said "remember who the real enemy is." tori amos' 1996 performance was also pretty good, even though they made her use a backing track, because the fake drummer looks like elaine from seinfeld, which really adds a certain sort of je ne sais quoi to that era, like elaine was maybe just a background character in the church they recorded the album in the whole time. gwen stefani's performance was alright. like it was fairly bananas i guess. i don't know if she really needed to spell it out like that but it seemed like there was a school type theme going on with the marching band drumline that they could have leaned into by making the song more spelling-bee themed. if she had asked for the language of origin of bananas it would have really elevated it, i think. wait. hold on. i have visual on the enemy. he's in that stupid little car again
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stronghours · 1 year
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top 5 books of all time?
Moby Dick (a whale is a horse that loves me)
Edna O'Brien's short story collection "The Love Object" which snapped a switch in my brain, made the only two stories I wrote last year possible, and has forever changed how I will write fiction on vibes alone
Dennis Cooper's "Frisk" (narrowly beating out The Sluts, because it's moment of averted & failed catharsis ((in comparison to The Slut's ending of averted & failed catharsis)) had me hooting and hollering and shooting the ceiling like Yosemite Sam)
Madame Bovary, the bitchingest book of all time
Margaret Atwood's Cat's Eye, which I read when I was a teenager and the was the book that made me give up fiddling around with YA; was, before my temporary enmeshment with Flannery O'Connor, the thing that cemented my interest in writing fiction, gave me The Language of Depression and Suicidality (that is, made me realize that depression and suicide was an option and that option could be expressed) and is still one of the few books I can remember that does not sentimentally or fantastically utilize the device of an adult looking back at a childhood with razor sharp precision (that is, the book acknowledge several times that huge swathes of time are just lost forever). I have literally never liked or finished any other novel Margaret Atwood has written. I wouldn't be the person I am right now if I hadn't read that book. I was shocked Elaine (the protagonist) and I had the same basket-case anxiety tick (chewing the skin around our nails to rags - not the nails, not the cuticles, the SKIN) and if anything, I doubled down on this behavior after reading the book. I was very impressed she also used the same peeling/picking technique on the bottom of her feet)
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NOTHING COMPARES (2022)
Featuring Sinéad O’Connor, Jeannette Byrne, Paul Byrne, Mike Clowes, Bill Coleman, Chuck D, Fr. Brian D’Arcy, John Grant, Kate Garner, Margo Harkin, Roisin Ingle, Dr. Sinéad Kennedy, Clodagh Latimer, Claire Lewis, John Maybury, Peaches, Marco Pirroni, John Reynolds, Elaine Schock, Skin and Jerry Stafford.
Written by Eleanor Emptage, Kathryn Ferguson and Michael Mallie.
Directed by Kathryn Ferguson.
Distributed by Showtime. 96 minutes. Not Rated.
The Sinéad O’Connor documentary Nothing Compares starts with one of the more horrific moments in an often-tragic life.
It took place soon after the Irish vocalist started a media firestorm while performing on Saturday Night Live, where after doing a passionate a capella rendition of Bob Marley’s protest song “War,” O’Connor said to the camera, “Fight the real enemy” and ripped up a photo of Pope John Paul II. (At the time of the incident, SNL head honcho Lorne Michaels banned O’Connor from the show and swore that the footage of the performance would never be seen again, however it has been trotted out often over the years – and is included yet again in this documentary.)
Anyway, soon afterwards, O’Connor had been invited to an all-star celebration of Bob Dylan’s 30 years in music. All of the guest singers were performing Dylan songs in honor of the show’s host. Kris Kristofferson introduced O’Connor, “I’m real proud to introduce this next artist whose name became synonymous with courage and integrity. Ladies and gentlemen, Sinéad O’Connor.” and the New York crowd turned on her – booing her lustily to the point that she could not even get her song (which was supposed to be Dylan’s 1979 tune “I Believe in You”) out. She stood silently at the microphone for a while, but the booing just got worse. Finally she spat out another angry rendition of Marley’s “War” and stalked offstage.
What was it about O’Connor – a woman who was smart, principled, passionate, giving, progressive, professional and both fierce and damaged at the same time – which brought out these intense reactions?
Nothing Compares tries, mostly successfully, to explain this. It also does a good job of showing how O’Connor was ahead of her time – both as a musician and as a human rights activist. It also shows that beyond all other things, she was a scared former victim of abuse who was in way over her head in a world she wasn’t even sure she wanted to be a part of.
Nothing Compares mostly focuses on the years 1987 to 1993, the supernova part of O’Connor’s early career when she released her first three albums – The Lion and the Cobra (1987), I Do Not Want What I Haven't Got (1990) and the all-covers album Am I Not Your Girl? It was also the period of time when – for better or worse (and sometimes both) – O’Connor was a regular in the rock and tabloid press.
If you lived through the 1980s and 90s, you probably remember it well. O'Connor went from a talented, sensitive alt-rock chick to a superstar who had had to deal with a million-selling single and the apparent inability to follow it up. Then she had to deal with the “Star-Spangled Banner” incident, the bald chick jokes, the Pope controversy, getting lustily booed off the stage at the Garden, a failed suicide attempt and even the threat of an ass-kicking from Ol’ Blue Eyes. (And, this documentary shows, also the threat of a beatdown from Joe Pesci.)
O’Connor, speaking now with years of hindsight, acknowledges that she never got into music for money and stardom. In fact, she considered it a form of therapy, and if no one ever heard it, she was fine with that. Early on, when she got critical acclaim and a certain amount of notice for her debut album and her first single “Mandinka,” her life was mostly in control. She married young, had a baby, toyed with acting and was able to mostly live her own life. Even her dramatic fashion sense and look was not to get attention, it was just an expression of her individuality.
Of course, all this changed when O’Connor recorded a fairly obscure song by musical icon Prince called “Nothing Compares 2 U,” which the songwriter had written for the debut album of a short-lived group on his label called The Family, which was a spinoff of The Time. “Nothing Compares” wasn’t even the single from The Family album, it was a song called “The Screams of Passion.” It was an album track on a barely noticed record. And O’Connor’s sparse and emotional cover made the song her own – and became a number one single internationally.
It seemed odd that throughout the film they have lots of O’Connor’s music throughout the film, with the exception of her one huge hit single, the one song she is known best for. Then a chyron over the end credits explains ‘The Prince Estate denied use of Sinéad’s recording of ‘Nothing Compares 2 U’ in this film.” In fact, O’Connor’s entire, somewhat fraught relationship with the late music superstar who wrote her biggest hit is completely ignored, to the point that the film never even mentions that it was Prince who wrote the song until that quick disclaimer at the end of the film.
Other tragedies in her life were also skirted over or not mentioned, like her attempted suicide attempt and her son’s later problems with mental illness and drugs which led to his death. This last thing happened years after the thrust of the film, however at the end Nothing Compares does flash forward to the present day for a performance and also to celebrate the large part O’Connor played in getting abortion legalized in her home of Ireland – and her difficulties with her son was certainly a defining part of her life.
However, I can see why O’Connor would not want to discuss these horrible situations and I cannot totally blame director Kathryn Ferguson for not pushing these subjects. Nothing Compares is more of a celebration of a quirky, groundbreaking career and a woman’s principled (if sometimes a little exasperating) refusal to be what the machine wanted from her.  
And it is good to see that despite all of the hardships she has had through her life – whether self-caused or through wild fate – Sinéad O’Connor seems to have become a rather well-grounded and somewhat content adult. Also, Nothing Compares proves that she was never just a one-hit-wonder. Even without her biggest hit, there is some fantastic music here that still feels groundbreaking 30 years on.
Jay S. Jacobs
Copyright ©2022 PopEntertainment.com. All rights reserved. Posted: September 30, 2022.
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elaineoconnorhomes · 8 months
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naughtybooks · 1 year
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Free US & UK Promo Codes Upon Request
WELCOME TO THE WICKEDEST CITY ON EARTH!
A Bawdy Tale of Pirates and Colonial Skullduggery
Against the political stage of 1689 Port Royal, Jamaica, the unswerving Atia Crisp is thrust into the world of bondage, violence, beauty, and love. Shipwrecked and sold into slavery with her sister Livia, the pair are soon separated and Atia is used as a pawn in a card game. Captivated by her beauty, Atia is swiftly liberated by sugar merchant, Capitaine la Roche (also known as the pirate, Gator Gar), whose past is stained with blood and grief. La Roche works with a network of friends and allies including local strumpet, Cherry Banks, Theodore Binge the card shark and the kindly, medication loving Dr. Strangewayes. Soon Atia and la Roche are ushered away to safety after a mysterious outbreak of scarlet fever wreaks havoc on the city.
Within the luxuriant tropical confines of Dr. Strangewayes's plantation at the foothills of the Blue Mountains, bonds of friendship are formed and the fierce love between Atia and Capitaine la Roche becomes absolute. Atia is reunited with her sister, piratical father, and unexpected old friends. However, nowhere is safe as spies seek out both Atia and la Roche for the bounties on their heads. Neither of them can escape the shadows of their former lives and must rely on each other's strengths for survival. Their journey leads them to an inevitable conflict that threatens their world, but inches them closer towards freedom.
Ye be warned – this six-book collection contains sexual situations, drug usage, foul language, crude humor, beaky parrots, and tedious historical details.
LISTEN TO A SAMPLE - https://amzn.to/3elPgru
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gungieblog · 1 year
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©Source: Pinterest
Marilu Henner In The '70s For Playing Elaine O'Connor Nardo on the TV show Taxi
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NOTHING COMPARES (2022)
Featuring Sinéad O’Connor, Jeannette Byrne, Paul Byrne, Mike Clowes, Bill Coleman, Chuck D, Fr. Brian D’Arcy, John Grant, Kate Garner, Margo Harkin, Roisin Ingle, Dr. Sinéad Kennedy, Clodagh Latimer, Claire Lewis, John Maybury, Peaches, Marco Pirroni, John Reynolds, Elaine Schock, Skin and Jerry Stafford.
Written by Eleanor Emptage, Kathryn Ferguson and Michael Mallie.
Directed by Kathryn Ferguson.
Distributed by Showtime. 96 minutes. Not Rated.
The Sinéad O’Connor documentary Nothing Compares starts with one of the more horrific moments in an often-tragic life.
It took place soon after the Irish vocalist started a media firestorm while performing on Saturday Night Live, where after doing a passionate a capella rendition of Bob Marley’s protest song “War,” O’Connor said to the camera, “Fight the real enemy” and ripped up a photo of Pope John Paul II. (At the time of the incident, SNL head honcho Lorne Michaels banned O’Connor from the show and swore that the footage of the performance would never be seen again, however it has been trotted out often over the years – and is included yet again in this documentary.)
Anyway, soon afterwards, O’Connor had been invited to an all-star celebration of Bob Dylan’s 30 years in music. All of the guest singers were performing Dylan songs in honor of the show’s host. Kris Kristofferson introduced O’Connor, “I’m real proud to introduce this next artist whose name became synonymous with courage and integrity. Ladies and gentlemen, Sinéad O’Connor.” and the New York crowd turned on her – booing her lustily to the point that she could not even get her song (which was supposed to be Dylan’s 1979 tune “I Believe in You”) out. She stood silently at the microphone for a while, but the booing just got worse. Finally she spat out another angry rendition of Marley’s “War” and stalked offstage.
What was it about O’Connor – a woman who was smart, principled, passionate, giving, progressive, professional and both fierce and damaged at the same time – which brought out these intense reactions?
Nothing Compares tries, mostly successfully, to explain this. It also does a good job of showing how O’Connor was ahead of her time – both as a musician and as a human rights activist. It also shows that beyond all other things, she was a scared former victim of abuse who was in way over her head in a world she wasn’t even sure she wanted to be a part of.
Nothing Compares mostly focuses on the years 1987 to 1993, the supernova part of O’Connor’s early career when she released her first three albums – The Lion and the Cobra (1987), I Do Not Want What I Haven't Got (1990) and the all-covers album Am I Not Your Girl? It was also the period of time when – for better or worse (and sometimes both) – O’Connor was a regular in the rock and tabloid press.
If you lived through the 1980s and 90s, you probably remember it well. O'Connor went from a talented, sensitive alt-rock chick to a superstar who had had to deal with a million-selling single and the apparent inability to follow it up. Then she had to deal with the “Star-Spangled Banner” incident, the bald chick jokes, the Pope controversy, getting lustily booed off the stage at the Garden, a failed suicide attempt and even the threat of an ass-kicking from Ol’ Blue Eyes. (And, this documentary shows, also the threat of a beatdown from Joe Pesci.)
O’Connor, speaking now with years of hindsight, acknowledges that she never got into music for money and stardom. In fact, she considered it a form of therapy, and if no one ever heard it, she was fine with that. Early on, when she got critical acclaim and a certain amount of notice for her debut album and her first single “Mandinka,” her life was mostly in control. She married young, had a baby, toyed with acting and was able to mostly live her own life. Even her dramatic fashion sense and look was not to get attention, it was just an expression of her individuality.
Of course, all this changed when O’Connor recorded a fairly obscure song by musical icon Prince called “Nothing Compares 2 U,” which the songwriter had written for the debut album of a short-lived group on his label called The Family, which was a spinoff of The Time. “Nothing Compares” wasn’t even the single from The Family album, it was a song called “The Screams of Passion.” It was an album track on a barely noticed record. And O’Connor’s sparse and emotional cover made the song her own – and became a number one single internationally.
It seemed odd that throughout the film they have lots of O’Connor’s music throughout the film, with the exception of her one huge hit single, the one song she is known best for. Then a chyron over the end credits explains ‘The Prince Estate denied use of Sinéad’s recording of ‘Nothing Compares 2 U’ in this film.” In fact, O’Connor’s entire, somewhat fraught relationship with the late music superstar who wrote her biggest hit is completely ignored, to the point that the film never even mentions that it was Prince who wrote the song until that quick disclaimer at the end of the film.
Other tragedies in her life were also skirted over or not mentioned, like her attempted suicide attempt and her son’s later problems with mental illness and drugs which led to his death. This last thing happened years after the thrust of the film, however at the end Nothing Compares does flash forward to the present day for a performance and also to celebrate the large part O’Connor played in getting abortion legalized in her home of Ireland – and her difficulties with her son was certainly a defining part of her life.
However, I can see why O’Connor would not want to discuss these horrible situations and I cannot totally blame director Kathryn Ferguson for not pushing these subjects. Nothing Compares is more of a celebration of a quirky, groundbreaking career and a woman’s principled (if sometimes a little exasperating) refusal to be what the machine wanted from her.  
And it is good to see that despite all of the hardships she has had through her life – whether self-caused or through wild fate – Sinéad O’Connor seems to have become a rather well-grounded and somewhat content adult. Also, Nothing Compares proves that she was never just a one-hit-wonder. Even without her biggest hit, there is some fantastic music here that still feels groundbreaking 30 years on.
Jay S. Jacobs
Copyright ©2022 PopEntertainment.com. All rights reserved. Posted: September 30, 2022.
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cinematicfinatic · 2 years
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atomic-chronoscaph · 3 years
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Marilu Henner - Taxi (1978)
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white-cat-of-doom · 2 years
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Thinking about *her*, the pretty grey cat who is floofy:
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(Angela Calo, RCCL Cast 4)
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(Abigail Dever (cover), UK Intl Tour 2019)
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(Ceili O'Connor (cover), UK Intl Tour 2018)
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(Maria Failla (cover), US Tour 6)
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(Keri René Fuller, US Tour 6)
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(Freya Rowley (cover), UK Tour 2013)
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(Barbara Obermeier (cover) with Astrid Gollob as Victoria (cover), Vienna 2019)
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(Elaine Page, CATS (1998))
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(Ellie Nunan (cover), Asia Tour 2020)
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(Caitlin New (cover) with Benjamin Colley as Asparagus (cover), Asia Tour 2020)
I love Babygriz so much, and I think we should talk about her more.
I love to think of the place she plays in show and her meaning overall being present in the opening two songs.
A very interesting interview given by Prisca Demarez, who played Grizabella in Paris 2015, provides some beautiful, yet sad thoughts:
It's such a delight to perform the opening number with the whole cast! That moment is very important to me. Of course she has a name! Her name is Baby Griz, but I call her Grizzy Baby. She has the same colours as Grizabella on her face. She's as pure as Victoria and doesn't know life's sorrows yet. She's a kitten. I think she rounds everything off. She embodies the beginning of life, in a family, before the choices and difficulties arise.
I'm often asked why Grizabella doesn't come back young and beautiful at the end. I think we actually see her at the start, as Grizzy Baby, like a new life, a blank page to be filled in. It's what Grizabella was when she was little. It's in that form that she'll come back from the Heavyside Layer - as a kitten.
She allows me to have a past with the group, a feeling of having danced with them before I couldn't do it anymore. And she's so joyful and light before she carries the weight of Grizabella's sorrow.
I really appreciate the idea of Grizabella being reborn back in the Tribe as Babygriz, and it fills my heart with joy. She gets another chance at happiness with those that she probably loved most.
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inevitablemoment · 2 years
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Elaine O’Connor Nardo || Cinderella
Have faith in your dreams and someday // Your rainbow will come smiling through // No matter how your heart is grieving // If you keep on believing // The dream that you wish will come true
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Another Hundred People: Reno Sweeney in Anything Goes
1. Ethel Merman (Boston OOTT, Broadway, 1936 Film, 1954 Live Television Adaption) 2. Elaine Paige (1989 West End Revival) 3. Patti LuPone (1987 Broadway Revival) 4. Sutton Foster (2011 Broadway Revival) 5. Caroline O’Connor (Australia) 6. Leslie Uggams (1987 Broadway Revival, 1st US Tour) 7. Stephanie J. Block (2011 Broadway Revival) 8. Andrea McArdle (Gateway Playhouse, Ogunquit Playhouse) 9. Sally Ann Triplett (2002 West End Revival) 10. Debbie Kurup (2015 UK Tour)
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Bradley is in the Des O’Connor tribute show tonight (13th Dec 2020) on ITV. It’ll be on the ITV hub or it’s about to start on ITV+1 right now.
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