#mike Melba

[nickmarino]

Metropolis newscaster Melba Manton, Supergirl #6 (1973)

#melba manton #dc #comics #mike sekowsky

[major-sesquipedalian]

you know what!! if maizey gene and mike soup all swam ashore after being dropped into the volcano, why couldn’t melba have survived too?? naturally, she’d float in the lava - as pickles do!!

#hot daga #hotdaga #bfu shane #shane madej #watcher #gene who is french fries #maizey #mike soup #melba dill #explain THIS shane

[t-tex-edwards]

I’ve been trading comments with Cowboy Hank whose been posting his reactions to a bunch of George Jones albums he snagged ”recently at an antique mall in Cabarrus County” on his @just_record_stuff page on Instagram. I was telling him about George & Melba Montgomery’s great tune, “Feudin’ & Fighting” (https://youtu.be/znoBWksdyTo) about bickering couples. 

It reminded me of the very first incarnation of Out On Parole right after I’d moved down to Austin in 1984 or ’85. So I dug out this photo, don’t remember who shot it, at the first OOP gig ever, at The Continental Club opening for the LeRoi Brothers. 

To the left is the ‘Hillbilly Intellectual’ Joe Dickens on guitar, Mike Buck somewhere back there on drums, me & Alice Berry (AKA Lorena Jo Bodine) upfront in almost matching outfits, Linda Shaw on bass, swigging a last minute beer before the show started, & lurking in the shadows someplace, Wayne Buckner AKA the Reverend Ottis Moon on pianer. Included in the set was a version of the aforementioned “Feudin’ & Fighting”, where Alice & I had to spit that wordy song out at the breakneck pace we played it at. Yes, some of the lyrics got mangled…

#t. tex edwards #out on parole #t. tex edwards & out on parole #cowboy hank #george jones #melba montgomery #feudin & fighting #the contineental club #joe dickens #the hillbilly intellectual #mike buck #alice berry #lorena jo bodine #linda shaw #wayne buckner #rev ottis moon #1985

[showdownatthespacebuffet]

INITIAL ROUNDS MASTERPOST

Initial rounds for the ULTIMATE HOTDAGA CHARACTER bracket will begin soon

Each poll will run for one week -- two polls will go live a day

All the character pairings are listed below the cut

Farch VS Moofus

Papa Crab VS Weldon Burgereaux

Joblet VS Garce

Gina and Murray VS Raccoon Brandon

Steven Rootbeer VS Melba Dill

The Starship Minestrone VS Lisa Bratwurst

Maizey VS Gebra

Smeech VS Ernie Goondis (CHICKEN)

The Dark Master/Chili Pope IX VS Doctor Goondis (EGG)

Gene VS Future Brandon

Mike Soup/The Soup Baron VS Dan

Pam VS Rebecca

Lil' Mr. B VS Merga

Pauline Who Is A Pretzel VS Pauline Who Isn't A Pretzel

Conductor Craig VS Sausage Priest

Alice VS Christopher

#hotdaga #the hotdaga #hot daga #watcher #buzzfeed unsolved

[ausetkmt]

June is Black Music Month, and if you’re looking for music documentaries or series about your favorite artists, ABS has got you covered.

This week’s What to Watch list focuses solely on a variety of music-related movies and miniseries that highlight the contributions of Black musicians.

The music scene has definitely changed over the past few decades, but fans are always looking for unique or historical facts about their favorite artists. Spend time learning about their history, culture, and more.

Tyrese Gibson Fans Are Happy Seeing the Actor and His Youngest Daughter on a Ferris Wheel Together Following His Ugly Child Support Battle

Tyrese Gibson Fans Are Happy Seeing the Actor and His Youngest Daughter on a Ferris Wheel Together Following His Ugly Child Support Battle

0 seconds of 6 minutes, 54 secondsVolume 0%

If you’re looking to hear the two powerhouses go at it vocally, tune in to “Dreamgirls” and “The Fighting Temptations.” But if you need a laugh, check out the only Black “Annie” movie ever made, starring singer and actor Jamie Foxx.

Check out this list of series and documentaries to enjoy this weekend in honor of Black Music Month.

Amazon Prime 

Dreamgirls (2006) Beyoncé also starred in the dazzling adaption of the Broadway musical about a 1960s girl group. She played Deena and Jennifer Hudson played Effie White, the latter for which Hudson won an Oscar for Best Supporting Actress. The film also starred Jamie Foxx, Eddie Murphy, Loretta Devine, Danny Glover, and Anika Noni Rose as the group’s third member, Lorrell. The film details their development as artists and singers.

Respect (2021) In this autobiographical film, Hudson played the lead as the legendary Aretha Franklin. The movie documents her adolescent years singing in her father’s church choir to her rise to international fame. Marlon Wayans plays Franklin’s ex-husband and former manager, Ted White, and Mary J. Blige portrays vocalist Dinah Washington. 

Ray (2004) Embattled actor Jamie Foxx portrays the life story and career of legendary R&B and blues musician Ray Charles. The biographical musical follows his impoverished beginnings in the South to touring under Jim Crow laws as a successful artist. He goes on to get married and have children, but his addiction to heroin never strayed too far away. After a series of arrests and a rehab stint, Charles regained his strength to make a brave comeback and enjoy decades of music success.  

School Daze (1988) Spike Lee wrote and directed the musical comedy starring Laurence Fishburne, Tisha Campbell, Samuel L. Jackson, Jasmine Guy, and many others. The Morehouse graduate explored the socio-political and economic issues surrounding students at historically black colleges and universities. 

The Fighting Temptations (2003) Beyoncé and Cuba Gooding Jr. star in this musical comedy about an ad executive who loses his job and leaves the Big Apple. He heads to Georgia to collect his aunt’s inheritance, where he leads a gospel choir to victory in a citywide competition. Other supporting cast members include LaTanya Richardson, Mike Epps, Chloe Bailey, Steve Harvey, Melba Moore, Shirley Caesar, Ann Nesby and Angie Stone. 

Apple TV 

Carmen: A Hip Hopera (2001) An oldie but goodie is this musical drama starring Beyoncé, Mekhi Phifer, Mos Def, Bow Wow, Erykah Badu, Wyclef Jean, Da Brat, Jermaine Dupri, Fred Williamson, and more. A beautiful woman with a hypnotizing face and body can have any man she wants. She chooses a cop who loses his job after spending one night with her. They both end up on the run from the police, but the biggest dreamer doesn’t make it out alive. 

Purple Rain (1984) Minneapolis native Prince plays a young artist with an abusive at-home living situation. The club singer creates a band to compete with a rival singer and explore new love. The film’s name is the same as the late singer’s sixth studio album.

 The Wiz (1978) The beloved feature film includes an all-Black cast, compared to its original 1993 film starring Judy Garland in the lead role of Dorothy. In the musical drama, Diana Ross plays Dorothy, Michael Jackson plays the Scarecrow, Richard Pryor as the Wiz, Nipsey Russell as the Tin Man, and Ted Ross as the Cowardly Lion. They work together to get to overcome obstacles and meet their destinies at the end of the yellow brick road. 

Tina Turner What’s Love Got to Do With It (1993) Two months before her passing, Tina Turner praised Angela Bassett’s portrayal of her in the biopic. It was based on Turner’s 1986 autobiography, “I, Tina: My Life Story,” and depicted her years of abuse during her marriage to her then-husband Ike Turner, played by Fishburne. Despite being the actress being snubbed an Oscar for her role, Turner said she felt “honored” by Bassett’s portrayal in the film.

BET+ 

The New Edition Story (2017) The three-part miniseries about the legendary R&B group begins with five childhood friends who become international sensations while growing up in Boston. As they quickly emerge into the spotlight, various obstacles strain their finances, friendship, and future. The film led to “The Bobby Brown Story.”

Disney Plus

Black Nativity (2013) Forest Whitaker, Angela Bassett, Tyrese, Jack Latimore, Jennifer Hudson, and more shocked fans with their vocals in their musical adaption of Langston Hughes’ 1961 play. In the all-Black cast film, a teen from Baltimore moves in with his estranged grandparents. Unhappy with their strict rules, he goes out into the street to find his own way.  

Let It Shine (2012) This film’s cast includes a few veteran actors and a bevy of actors who are being given flowers. “Abottt Elementary” star Tyler James Williams plays Cyrus, a teenage rapper looking to impress Roxie, played by “ICU” singer and ‘Bel-Air” actress Coco Jones. He battles his nemesis under an alias and wins with a rhyme about his lady.  Sadly, he gets no credit for it but ultimately wins Roxie’s heart.

HBO Max

Straight Outta Compton (2015) Based on a true story about the rap group N.W.A., “Straight Outta Compton” sees six men in Compton, Los Angeles, who pushed the boundaries and revolutionized hip-hop culture with gritty rap lyrics and their dealings with Suge Knight. O’Shea Jackson Jr. stars as the younger version of his father Ice Cube in the biographical drama, alongside Corey Hawkins, Jason Mitchell, Neil Brown Jr., Aldis Hodge, and Brandon Lafourch to make up the famed group.

Hulu

Cadillac Records (2008) Cedric the Entertainer plays music artist Willie Dixon and is the narrator of the rock ’n’ roll film full of great acting and great music. It details the rise and fall of Chess Records, the Chicago blues label owned by a Polish immigrant played by Adrien Broady’s character Leonard Chess. He launched the careers of late great musicians such as Muddy Waters, Chuck Berry, and Etta James, the latter of whom was portrayed by Beyoncé.

Chasing Trane: The John Coltrane Documentary (2016) This passionate story tells the portrait of an unconventional jazz musician whose music refined music and continues to impact, influence, and transform other people’s lives. It features more interviews and little anecdotes about his life with narration from Denzel Washington.

Summer Of Soul (2021) Questlove made his filmmaking debut after premiering this movie at the Sundance Film Festival. The music documentary features six weeks of footage taken in the summer of 1969 in the aftermath of Black Creativity and the civil rights movement. The classic concert film looks back at a group of blues, gospel, and rock ‘n’ soul artists who performed at the Harlem Cultural Festival at Mount Morris Park. It includes performances from Nina Simone, Stevie Wonder, B.B. King, Mavis Staples, Sly & The Family Stone, and more.

Netflix

Get On Up (2014) Actor Chadwick Boseman portrayed the legendary James Brown in the biopic that explores Brown’s life, music, and presence on stages worldwide. It follows the music legend’s journey from humble beginnings to becoming of the most influential artists of the civil rights movement.

Ma Rainey’s Black Bottom (2020) This marks Boseman’s last movie before his unexpected passing. The new adaptation of August Wilson’s play tackles hard issues like race, art, and the exploitation of black artists in the 1920s. Viola Davis gave viewers a riveting performance as Ma Rainey, who never failed to hold back when she wasn’t satisfied with a song. Most of the film is recorded in a studio as she prepares to record new music for an album while clashing with white producers.

Sparkle (2012) Jordin Sparks made her feature film debut in this remake of the original 1976 film alongside industry vets like Derek Luke, Mike Epps, and the late singer Whitney Houston. She plays a child prodigy who sings in a group with her two sisters. Set in 1968, Detroit, the musical trio have hopes of signing a record, which seems far in the future due to one sister’s drug habit and Houston’s role as an over-protective mother. The “I Wanna Dance With Somebody” singer died in February 2012, months before the film was released in theaters. The original “Sparkle,” starring Lonette McKee and Irene Cara — also is available to stream, on Amazon Prime.

The Get Down (2016) The hip-hop-themed drama is set in the South Bronx, known as the birthplace of hip-hop and has been since the 1970s. It follows a small crew of teens who dance or create music. Production reportedly spent over $120 million to make the film, making it the most expensive production in Netflix history. Each episode takes a deeper dive into the rise of hip-hop and disco music.

Starz

Annie (2014) The musical starring Jamie Foxx finds Quvenzhané Wallis as the first Black Annie. The orphan unexpectedly meets wealthy businessman Will Stacks, who uses her to help with his mayoral campaign. The funny satire has quiet moments, sad moments, and performances of “Tomorrow” and “Hard-Knock Life.” She eventually moves in with Stacks, and the two build a bond similar to the one depicted between Annie and her benefactor Daddy Warbucks in the 1932 “Little Orphan Annie” classic.

YouTube

The Jacksons: An American Dream (1992) In the film, Lawrence Hilton-Jacobs and Angela Bassett play Joseph and Katherine Jackson, the parents of Michael Jackson and his nine siblings. The five-hour miniseries tells the captivating story of how five Jackson siblings became one of the most iconic boy groups in music history. Their unique sound came out of Gary, Indiana, and took over the music industry for years.

#Black & Streaming: From ‘Dreamgirls’ to ‘The New Edition Story #’ Here Are 22 Documentaries to Celebrate Black Music Month this Weekend #Black Music Month 2023 #Black Music Month

[thecrazyworldbuilder]

Slightly changed common forenames

Aaron Ada Adam Adrian Adrienne Agnes Alan Albert Alberta Alberto Alex Alexander Alexandra Alexis Alfred Alfredo Alice Alicia Alison Allan Allen Allison Alma Alvin Alyssa Amanda Amber Amelia Amy Ana Andre Andrea Andrew Andy Angel Angela Angelica Angelina Angie Anita Ann Anna Anne Annette Annie Antoinette Antonia Antonio Antóny April Arlene Armando Arnold Artúr Ashley Audrey Barbara Barry Beatrice Becky Belinda Ben Benjamin Bernadette Bernard Bernice Bertá Bessie Beth Betsy Betty Betány Beulah Beverly Bill Billie Billy Blanca Blancé Bob Bobbie Bobby Bonnie Brad Bradley Brandi Brandon Brandy Brenda Brent Brett Brian Bridget Brittany Brooke Bruce Bryan Byron Calvin Camille Candace Candice Carl Carla Carlos Carmen Carol Carole Caroline Carolyn Carrie Casey Cassandra Cathy Catérine Cecelia Cecil Cecilia Celia Chris Christian Christie Christina Christine Christopér Christy Cindy Claire Clara Clarence Claude Claudia Clayton Clifford Clifton Clinton Clyde Cody Colleen Connie Constance Cora Corey Cory Courtney Craig Cristina Crystal Curtis Cyntûa Cád Cárlene Cárles Cárlie Cárlotte Célsea Céryl Céster Daisy Dale Dan Dana Daniel Danielle Danny Darla Darlene Darrell Darren Darryl Daryl Dave David Dawn Dean Deanna Debbie Deborah Debra Delia Della Delores Denise Dennis Derek Derrick Desiree Diana Diane Dianna Dianne Dixie Dolores Don Donald Donna Dora Doreen Doris Dorothy Douglas Duane Dustin Dwayne Dwight Earl Ebony Eddie Edgar Edith Edna Eduardo Edward Edwin Eileen Elaine Eleanor Elena Elisa Elizabeth Ella Ellen Elmer Eloise Elsa Elsie Elvira Emily Emma Enrique Eric Erica Erik Erika Erin Erma Ernest Ernestine Essie Estelle Estér Etél Eugene Eula Eunice Eva Evelyn Everett Faith Fannie Faye Felicia Felix Fernando Flora Florence Floyd Frances Francis Francisco Frank Franklin Fred Freda Freddie Frederick Gabriel Gail Gary Gayle Gene Geneva Genevieve George Georgia Gerald Geraldine Gertrude Gilbert Gina Ginger Gladys Glen Glenda Glenn Gloria Gordon Grace Greg Gregory Gretcén Guadalupe Guy Gwen Gwendolyn Ian Ida Inez Irene Iris Irma Isaac Isabel Ivan Jack Jackie Jacob Jacqueline Jacquelyn Jaime James Jamie Jan Jana Jane Janet Janice Janie Janis Jared Jasmine Jason Javier Jay Jean Jeanette Jeanne Jeannette Jeannie Jeff Jeffery Jeffrey Jenna Jennie Jennifer Jenny Jeremy Jerome Jerry Jesse Jessica Jessie Jesus Jill Jim Jimmie Jimmy Jo Joan Joann Joanna Joanne Jodi Jody Joe Joel John Johnnie Johnny Jon Jonatán Jordan Jorge Jose Josefina Joseph Josepûne Josúa Joy Joyce Joánna Juan Juana Juanita Judith Judy Julia Julian Julie Julio June Justin Kara Karen Kari Karl Karla Kate Kathleen Kathryn Kathy Katie Katrina Katérine Kay Kayla Keith Kelley Kelli Kellie Kelly Ken Kendra Kenneth Kent Kerry Kevin Kim Kimberly Kirk Krista Kristen Kristi Kristie Kristin Kristina Kristine Kristy Krystal Kurt Kyle Lana Lance Larry Latoya Laura Lauren Laurie Laverne Lawrence Leah Lee Leigh Lela Lena Leo Leon Leona Leonard Leroy Leslie Lester Leticia Lewis Lila Lillian Lillie Linda Lindsay Lindsey Lisa Lloyd Lois Lola Lonnie Lora Lorena Lorene Loretta Lori Lorraine Louis Louise Lucia Lucille Lucy Luis Lula Luz Lydia Lynda Lynette Lynn Lynne Mabel Mable Madeline Mae Maggie Mamie Mandy Manuel Marc Marcella Marcia Marcus Margaret Margarita Margie Marguerite Maria Marian Marianne Marie Marilyn Mario Marion Marjorie Mark Marlene Marsá Marsáll Marta Martin Martá Marvin Mary Maryann Mattie Mattéw Matéw Maureen Maurice Max Maxine May Megan Megán Melanie Melba Melinda Melissa Melody Melvin Mercedes Meredith Micáel Micéal Micéle Micélle Miguel Mike Mildred Milton Mindy Minnie Miranda Miriam Misty Mitcéll Molly Mona Monica Monique Morris Muriel Myra Myrtle

Nadine Nancy Naomi Natalie Natasá Natán Natániel Neil Nellie Nelson Nettie Nicole Nicólas Nicóle Nina Nora Norma Norman Olga Olive Olivia Ollie Opal Ora Oscar Pam Pamela Pat Patricia Patrick Patsy Patti Patty Paul Paula Paulette Pauline Pearl Pedro Peggy Penny Perry Peter Phyllis Priscilla Pûlip Pûllip Racáel Racél Rafael Ralph Ramon Ramona Randall Randy Raquel Raul Ray Raymond Rebecca Regina Reginald Rene Renee Ricardo Rick Ricky Ricárd Rita Robert Roberta Roberto Robin Robyn Rocélle Rodney Roger Roland Ron Ronald Ronnie Rosa Rosalie Rose Rosemarie Rosemary Rosie Ross Roxanne Roy Ruben Ruby Russell Ruth Ryan Rónda Sabrina Sadie Sally Salvador Sam Samantá Samuel Sandra Sandy Sara Sarah Scott Sean Sergio Seth Sidney Silvia Sonia Sonja Sonya Sopûa Sopûe Stacey Stacy Stanley Stella Stepánie Stepén Steve Steven Sue Susan Susie Suzanne Sylvia Sáne Sánnon Sári Sáron Sáwn Sáwna Séila Sélia Sélley Sélly Séri Sérri Sérry Séryl Sûrley Tabitá Tamara Tami Tammy Tanya Tara Tasá Ted Teresa Teri Terrance Terrence Terri Terry Tiffany Tim Timothy Tina Todd Tom Tommy Toni Tony Tonya Tracey Traci Tracy Travis Tricia Troy Tyler Tyrone Télma Téodore Téresa Tómas Valerie Vanessa Velma Vera Verna Vernon Veronica Vicki Vickie Vicky Victor Victoria Vincent Viola Violet Virgil Virginia Vivian Wade Wallace Walter Wanda Warren Wayne Wendy Wesley Willard William Willie Wilma Winifred Wûtney Yolanda Yvette Yvonne Zacáry Ánnah Árold Árriet Árry Árvey Áttie Ázel Éatér Éctor Éidi Élen Énrietta Énry Érbert Érman Ólly Ópe Óward Úgh Ûlda

#name list #names #naming characters #name #character name

[thestarshipminestrone]

okay. dusts off my hands. here are some ship names i remember being proposed/coming up with Years ago and i don't think many stuck but you seemed to want some. so:

chicken soup (mike/goondis)

maizra/corn fries (maizey/gebra)

polyfixins (gene/melba dill/steven rootbeer)

corn dog (maizey/pam)

rootbeer float (melba dill/steven rootbeer)

super-frized (gene/future brandon) (like a supersized. meal.)

mikestrone (mike/the minestrone)

fuzzy peaches (garce/smeech)

happy meal (future brandon/the risky fixins) (from @thotdaga)

and here are a few that Don't have names iirc:

the persica/the minestrone

pam/lisa bratwurst

dan/rebecca (i propose "mom 'n pop shop")

pam/mike + pam/mike/goondis (they live in my brain)

feel free to add suggestions for both ships And ship names

#i really like mom 'n pop shop it makes me smile sorry #i remember that. someone wanted these so i thought i'd share them

[abcnewspr]

HIGHLIGHTS FOR ABC NEWS’ ‘GOOD MORNING AMERICA,’ JAN. 30 - FEB. 4

The following report highlights the programming of ABC’s “Good Morning America” during the week of Jan. 30 - Feb. 4. “Good Morning America” is a two-hour, live program anchored by Robin Roberts, George Stephanopoulos and Michael Strahan, and Ginger Zee is the chief meteorologist. The morning news program airs MONDAY-FRIDAY (7:00-9:00 a.m. EST) on ABC.

Highlights of the week include the following:

Monday, Jan. 30 — TV personality and author Jinger Duggar talks new book (“Growing Up Duggar”); actors Salma Hayek and Channing Tatum talk new movie (“Magic Mike’s Last Dance”); ABC News multiplatform reporter Ike Ejiochi on BookTok; “GMA” hosts competition for National Plan Your Vacation Day with travel influencer Emily Kaufman; a performance by Cheat Codes and MacKenzie Porter

Tuesday, Jan. 31 — Better than Ever series with ABC News chief meteorologist Ginger Zee on secondhand shopping; actress Jennifer Grey talks new film (“Gwen Shamblin”); “GMA” Book Club February reveal; author Jay Shetty on new book (“8 Rules of Love”); a performance by Tyler Hubbard from Florida Georgia Line

Wednesday, Feb. 1 — “GMA” marks National Black History Month; “GMA” celebrates Black muralist pushing for social change Georgie Nakima; “GMA” hosts Soul Food Showdown in Times Square with celebrity chef judges Marcus Samuelsson and Melba Wilson; Deals and Steals: Black-Owned Businesses with ABC e-commerce editor Tory Johnson

Thursday, Feb. 2 — “GMA” co-anchor Robin Roberts on walking the land of New Zealand; “GMA” spotlights resurgence of Māori culture; ABC News multiplatform reporter Ike Ejiochi on Black cowboys; “GMA” co-anchor Robin Roberts on cooking in New Zealand

Friday, Feb. 3 — “GMA” co-anchor Robin Roberts explores the Milford Sound in New Zealand; celebrity chef and author Christina Tosi talks new children’s book (“Just the Right Cake”)

Saturday, Feb. 4 – “GMA” features 8-year-old author for National Black History Month; author Eleanor Shearer talks new book (“River Sing Me Home”); “ABC News Live Prime” anchor Linsey Davis on new children’s book (“The Smallest Spot of a Dot”); Deals and Steals with ABC e-commerce editor Tory Johnson

ABC Media Relations

Brooks Lancaster 

[email protected]

-- ABC --

[enthusiast132]

Ray: Sorry I'm late guys, I was busy... doing things

Mike: rushes in hE PUSHED ME DOWN THE FUCKING STAIRS

Ray: Pushed is such a strong word, I prefer to call it... giving you a little nudge.

Mike: OH ILL GIVE YOU A LITTLE NUDGE WHEN I SHOVE MY FOOT UP YOUR AS-

Ray: HEY! WATCH YOUR FUCKING LANGUAGE IN FRONT OF ALEX

#incorrect quotes #how i died podcast #audiohm media #podcast #incorrect podcast quotes #ray melba #mike Melba #how i died #jon spacer

[kirchefuchs]

Self control? Who's she?

#hotdaga #unsolved #buzzfeed unsolved #unsolved postmortem #fanart #dan hotdog #rebecca hotdog #baby brandon #pam #future brandon #gene frenchfries #seteven rootbeer #melba dill #risky fixins #sweet gene and the risky fixins #gebra frenchfries #maizey #mike soup #dr goondis #chickensoup

[angel-introvert]

The Hot Daga as explained by the diagram in Believe Me Maizey

(Because I’m bored and miss this critically acclaimed story. Sorry this is a mess but so is the diagram so deal with it.)

Here is an image of the full diagram. Then I’ll go into close ups of each part.

The Hot Daga (Hot Dog Saga) (Not Hot Daga Saga) explained

Pam (evil) is Rebecca’s sister. Rebecca + Dan are married as indicated by the heart above them. They have a son who is Baby Brandon. They are drawn in a box with a bracket to the right which says “marital woes + familial betrayal”.

This points to the event of the crab joust. Gina (crab on the left) and Murray (right) are labeled as hypnotized. Dan is on Gina and Pam is on Murray. Arrows point towards each other to indicate they are charging. Above them is Papa Crab labeled as (God?) (Dumbledore?).

In the original timeline:

- Dan + Rebecca are probably dead.

- Pam lives -> institutes a witch-run government

- Brandon lives -> spends his life getting buff + searching for quantum relish to travel back in time, like a good son

- Both of these lead to the future in a lab with Sweet Gene, Dr. Lisa Bratwurst and Future Brandon. All of them are connected to a wavy circle labeled “Quantum Relish” which takes us back to the Crab Joust.

In the new crab joust timeline, labeled “crab joust x”:

- Pam loses

- Brandon eats his younger self

- Baby Brandon -> is ghost -> possesses -> raccoon -> teams up with -> Pam

- Pam and Brandon -> creates witch trap with holograms

- Holograms are faulty but no one notices— for example Steven Rootbeer says he lost his eye at the bank on Labor Day— which is impossible— very rich writing—

- picture of a train with “holograms lure Dan, Rebecca, Gene to…

- WITCH VOLCANO

- everyone dies -> except -> Gene, Maizey, Mike Soup

- (going back up to the top with Pam) Pam -> meet the Dark Master

- box labeled “Space Wars obviously” with Ernie and Mike vs. Pope Chili IX (who has an arrow pointing back to the Dark Master)

- Ernie + Mike are flying aces in the space wars

- They attempt to assassinate Pope Chili IX + fail

- arrow pointing from Mike in the space wars back to the volcano wedding with Pam (witch), Steven, Dan, Mike, Gebra, Maizey (spelled Maisy on the diagram), Rebecca, Gene, and Melsa labeled.

- arrow pointing from the three survivors of the wedding to the Starship Minestrone- Owner: Cap. Soup

- Dark Master -> kills her [Pam]

- Pam dies

- Becomes ghost

- Earth eaten

Risky Fixins <- Grammy award winners

Image of Melba, Gene, and Steven with hearts connecting all of them indicating a polyam relationship. Melba plays drums, Gene plays keyboard + vocals, Steven plays bass guitar.

- Technically a witch hologram

- but they’re so good they transcended reality so it doesn’t really matter

Note: a witch has meddled with the fabric of reality via holographic inception so: nothing/everything is real

- a large arrow points the Minestrone to…

- the planet of the PLUPPLES

- space wars -> Goondis - settles on p.o.p. after space wars -> planet of the plupples

Joblet and Garce:

- actually peaches

- imprisoned Ernie

Plupples

- cannot lie

- like peaches but

- blue

- sexy

Going back to the “Pam dies” section -> (R.I.P. Smeech)

Big explosion (representing the planet collapsing) Goonis (in egg form) splits in half with the word KABOOM! between the shells -> Goondis in chicken form appears

(R.I.P. Moofis) is written next to the explosion.

An arrow points from the plupple planet to the O-nion station. The names Ernie, Maizey, Pam, Mine, and Gene are written on the arrow.

O-nion Station

- Chill as hell

- Stuff happens here

- Just watch the YouTube season compilation in a week

(R.I.P. Weldon)

There is also an arrow pointing from the Earth being eaten to the station to show that the Dark Master also ate the station.

And that’s the end. Hopefully this makes some sense... idk why I spent so long on this but I did so enjoy.

#the hot daga #the hotdaga #hotdaga #hot daga #buzzfeed unsolved #shane madej #long post #angel rambles

[musiculture-fr]

R&B-1989 / Paul LAURENCE

Venez lire l'article sur Le Site Des Musiques Métissées Et Urbaines. Déjà sept bonnes années que l’auteur-compositeur-producteur Paul Laurence signe des classiques de R&B pour les autres lorsque son 2eme album solo voit le jour. http://www.musiculture.fr/rb-1989-paul-laurence/

#1989 #bass #Capitol #freddie jackson #funk #guitare #Janet Jackson #Janice Dempsey #lillo thomas #melba moore #Mike Campbell #new-jack swing #paul laurence #Public Enemy #teddy riley #Timmy Allen

[unpopularwiththepopulace]

Chicago at Long Beach, LA, 1992: A Story of Bebe Neuwirth, Choreography, Riots, Revivals, and Relevance

Recently and rather excitingly, more footage made its way to YouTube of the 1992 version of Chicago staged at Long Beach in LA, featuring Bebe Neuwirth as Velma and Juliet Prowse as Roxie.

Given its increased accessibility and visibility, this foregrounds the chance to talk about the show, explore some of its details, and look at the part it might have played as a contribution to the main ‘revival’ of Chicago in 1996 – which has given the show one of the most resonant and highly enduring legacies seen within the theatre ever.

This Civic Light Opera production at Long Beach was staged in 1992, four years before the ‘main’ revival made its appearance at Encores! or had its subsequent Broadway transfer, and it marked the first time a major revival of Chicago had been seen since the original 1975 show disappeared nearly 15 years previously.

This event is of particular significance given its position as the first step in the chain of events that make up part of this ‘new Chicago’ narrative and the resultant entire multiple-decade spanning impact of the show hereafter.

But for all of its pivotal status, it’s seldom discussed or remembered anywhere near as much as it should be.

This may be in part because of how little video or photographic record has remained in easily accessible form to date, and also because it only played for around two weeks in the first place. As such, it is a real treat on these occasions to get to see such incredible and unique material that would otherwise have been lost forever after such a brief existence some 30 years ago.

This earlier revival of the show still feels like what we have come to identify “Chicago” as in modern comprehension of the musical, most principally because the choreography was also done by Ann Reinking. As with the 1996 production, this meant dance was done “very much in the master’s style” – or Mr Bob Fosse.

The link below is time-stamped to Bebe and Juliet performing ‘Hot Honey Rag’. As one of the most infamous numbers in Broadway history, it’s undoubtedly a dance that has been watched many times over. But never before have I seen it done quite like this.

https://youtu.be/4HKkwtRE-II?t=2647

‘Hot Honey Rag’ was in fact formerly called ‘Keep It Hot’, and was devised by Fosse as “a compendium of all the steps he learned as a young man working in vaudeville and burlesque—the Shim Sham, the Black Bottom, the Joe Frisco, ‘snake hips,’ and cooch dancing”, making it into the “ultimate vaudeville dance act” for the ultimate finale number.

Ann would say about her choreographical style in relation to Fosse, “The parts where I really deviate is in adding this fugue quality to the numbers. For better or worse, my style is more complicated.” The ‘complexity’ and distinctness she speaks of is certainly evident in some of the sections of this particular dance. There are seemingly about double the periodicity of taps in Bebe and Juliet’s Susie Q sequence alone. One simply has to watch in marvel not just at the impressive synchronicity and in-tandem forward motion, but now also at the impossibly fast feet. Other portions that notably differ from more familiar versions of the dance and thus catch the eye are the big-to-small motion contrast after the rising ‘snake hips’ section, and all of the successive goofy but impeccably precise snapshot sequence of arm movements and poses.

More focus is required on the differences and similarities of this 1992 production compared against the original or subsequent revival, given its status and importance as a bridging link between the two.

The costumes in 1975 were designed by Patricia Zipprodt (as referenced in my previous post on costume design), notably earning her a Tony Award nomination. In this 1992 production, some costumes were “duplications” of Zipprodt’s originals, and some new designs by Garland Riddle – who added a “saucy/sassy array” in the “typical Fosse dance lingerie” style. It is here we begin to see some of the more dark, slinkiness that has become so synonymous with “Chicago” as a concept in public perception.

The sets from the original were designed by Tony Walton – again, nominated for a Tony – and were reused with completeness here. This is important as it shows some of the original dance concepts in their original contexts, given that portions of the initial choreography were “inextricably linked to the original set designs.” This sentiment is evident in the final portion of ‘Cell Block Tango’, pictured and linked at the following time-stamp below, which employs the use of mobile frame-like, ladder structures as a scaffold for surrounding movements, and also a metaphor for the presence of jail cell bars.

https://youtu.be/4HKkwtRE-II?t=741

Defining exactly how much of the initial choreography was carried across is an ephemeral line. Numbers were deemed “virtually intact” in the main review published during the show’s run from the LA Times – or even further, “clones” of the originals. It is thought that the majority of numbers here exhibit greater similarity to the 1975 production than the 1996 revival, except for ‘Hot Honey Rag’ which is regarded as reasonably re-choreographed. But even so, comparing against remaining visible footage of Gwen Verdon and Chita Rivera from the original, or indeed alternatively against Bebe and Annie later in the revival, does not present an exact match to either.

This speaks to the adaptability and amorphousness of Fosse-dance within its broader lexicon. Fosse steps are part of a language that can be spoken with subtle variations in dialect. Even the same steps can appear slightly different when being used in differing contexts, by differing performers, in differing time periods.

It also speaks to some of the main conventions of musical theatre itself. Two main principles of the genre include its capacity for fluidity and its ability for the ‘same material’ to change and evolve over time; as well as the fact comparisons and comprehensions of shows across more permanent time spans are restricted by the availability of digital recordings of matter that is primarily intended to be singular and live.

Which versions of the same song do you want to look at when seeking comparisons?

Are you considering ‘Hot Honey Rag’ at a performance on the large stage at Radio City Music Hall at the Tony Awards in 1997? Or on a small stage for TV shows, like the Howard Cosell or Mike Douglas shows in 1975? Or on press reel footage from 1996 on the ‘normal’ stage context in a format that should be as close to a replica as possible of what was performed in person every night?

Bebe often remarks on and marvels at Ann’s capacity to travel across a stage. “If you want to know how to travel, follow Annie,” she says. This exhibits how one feature of a performance can be so salient and notable on its own, and yet so precariously dependent on the external features its constrained to – like scale.

Thus context can have a significant impact on how numbers are ultimately performed for these taped recordings and their subsequent impact on memory. Choreography must adjust accordingly – while still remaining within the same framework of the intention for the primary live performances.

This links to Ann’s own choreographical aptitude, in the amount of times it is referenced how she subtly adapted each new version of Chicago to tailor to individual performers’ specific merits and strengths as dancers.

Ann’s impact in shaping the indefinable definability of how Chicago is viewed, loved and remembered now is not to be understated.

An extensive 1998 profile – entitled “Chicago: Ann Reinking’s musical” – explores in part some of Ann’s approaches to creating and interacting with the material across a long time span more comprehensively. Speaking specifically to how she choreographed this 1992 production in isolation, Ann would say, “I knew that Bob’s point of view had to permeate the show, you couldn’t do it without honoring his style.” In an age without digital history at one’s fingertips, “I couldn’t remember the whole show. So I choreographed off the cuff and did my own thing. So you could say it was my take on his thoughts.” Using the same Fosse vocabulary, then – “it’s different. But it’s not different.”

One further facet that was directly carried across from the initial production were original cast members, like Barney Martin as returning as Amos, and Michael O'Haughey reprising his performance as Mary Sunshine. Kaye Ballard as Mama Morton and Gary Sandy as Billy Flynn joined Bebe and Juliet to make up the six principals in this new iteration of the show.

Bebe, Gary and Juliet can be seen below in a staged photo for the production at the theatre.

The venue responsible for staging this Civic Light Opera production was the Terrace Theatre in Long Beach in Los Angeles. Now defunct, this theatre and group in its 47 years of operation was credited as providing some of “the area’s most high profile classics”. Indeed, in roughly its final 10 years alone, it staged shows such as Hello Dolly!, Carousel, Wonderful Town (with Donna McKechnie), Gypsy, Sunday in the Park with George, La Cage aux Folles, Follies, 1776, Funny Girl, Bye Bye Birdie, Pal Joey, and Company. The production of Pal Joey saw a return appearance from Elaine Stritch, reprising her earlier performance as Melba Snyder with the memorable song ‘Zip’. This she had done notably some 40 years earlier in the original 1952 Broadway revival, while infamously and simultaneously signed as Ethel Merman’s understudy in Call Me Madam as she documented in Elaine Stritch at Liberty.

Juliet Prowse appeared as Phyllis in Follies in 1990, and Ann Reinking acted alongside Tommy Tune in Bye Bye Birdie in 1991, in successive preceding seasons before this Chicago was staged.

But for all of its commendable history, the theatre went out of business in 1996 just 4 years after this, citing bankruptcy. Competition provided in the local area by Andrew Lloyd Webber and his influx of staging’s of his British musicals was referenced as a contributing factor to the theatre group’s demise. This feat I suspect Bebe would have lamented or expressed remorse for, given some of her comments in previous years on Sir Lloyd Webber and the infiltration of shows from across the pond: “I had lost faith in Broadway because of what I call the scourge of the British musicals. They've dehumanized the stage [and] distanced the audience from the performers. I think 'Cats' is like Patient Zero of this dehumanization.”

That I recently learned that Cats itself can be rationalised in part as simply A Chorus Line with ears and tails I fear would not improve this assessment. In the late ‘70s when Mr Webber noticed an increase of dance ability across the general standard of British theatre performers, after elevated training and competition in response to A Chorus Line transferring to the West End, he wanted to find a way he could use this to an advantage in a format that was reliable to work. Thus another similarly individual, sequential and concept-not-plot driven dance musical was born. Albeit with slightly more drastic lycra leotards and makeup.

But back in America, the Terrace theatre could not be saved by even the higher incidence of stars and bigger Broadway names it was seeing in its final years, with these aforementioned examples such as Bebe, Annie, Tommy, Juliet, Donna, or Elaine. The possibility of these appearances in the first place were in part attributable to the man newly in charge as the company’s producer and artistic director – Barry Brown, Tony award-winning Broadway producer. 

Barry is linked to Bebe’s own involvement with this production of Chicago, through his relationship – in her words – as “a friend of mine”.

At the time, Bebe was in LA filming Cheers, when she called Barry from her dressing room. Having been working in TV for a number of years, she would cite her keenness to find a return to the theatre, “[wanting] to be on a stage so badly” again. The theatre is the place she has long felt the most sense of ease in and belonging for, frequently referring to herself jokingly as a “theatre-rat” or remarking that it is by far the stage that is the “medium in which I am most comfortable, most at home, and I think I'm the best at.”

Wanting to be back in that world so intensely, she initially proposed the notion of just coming along to the production to learn the parts and be an understudy. Her desire to simply learn the choreography alone was so strong she would say, “You don’t have to pay me or anything!”

She’d had the impetus to make the call to Barry in the first place only after visiting Chita Rivera at her show in LA with a friend, David Gibson. At the time, the two did not know each other that well. Bebe had by this point not even had the direct interaction of taking over in succession for Chita in Kiss of the Spider Woman in London. This she would do the following year, with Chita guiding her generously through the intricacies of the Shaftesbury Theatre and the small, but invaluable, details known only to Chita that would be essential help in meeting stage cues and playing Aurora.

Bebe had already, however, stepped into Chita’s shoes multiple times, as Anita in West Side Story as part of a European tour in the late ‘70s, or again in a Cleveland Opera Production in 1988; and additionally as Nickie in the 1986 Broadway revival of Sweet Charity – both of which were roles Chita had originated on stage or screen. In total, Velma would bring the tally of roles that Bebe and Chita have shared through the years to four, amongst many years also of shared performance memories and friendship.

They may not have had a long history of personal rather than situational connections yet when Bebe visited her backstage at the end of 1991, but Chita still managed to play a notable part in the start of the first of Bebe’s many engagements with Chicago.

After Bebe hesitantly relayed her idea, Chita told her, “You should call! Just call!”

So call Bebe did. One should listen to Chita Rivera, after all.

Barry Brown rang her back 10 minutes later after suggesting the idea to Ann Reinking, who was otherwise intended to be playing Velma. The response was affirmative. “Oh let her play the part!”, Annie had exclaimed. And so begun Bebe’s, rather long and very important, journey with Chicago.

In 1992, this first step along the road to the ‘new Chicago’ was well received.

Ann Reinking with her choreography was making her first return to the Fosse universe since her turn in the 1986 Sweet Charity revival. Diametrically, Rob Marshall was staring his first association with Fosse material in providing the show’s direction – many years before he would go on to direct the subsequent film adaptation also. Together, they created a “lively, snappy, smarmy” show that garnered more attention than had been seen since the original closed.

“Bob Fosse would love [this production],” it was commended at the time, “Especially the song-and-dance performance of Bebe Neuwirth who knocks everyone’s socks off.” High praise.

Bebe was also singled out for her “unending energy”, but Juliet too received praise in being “sultry and funny”. Together, the pair were called “separate but equal knockouts” and an “excellent combination”.

Juliet was 56 at the time, and sadly died just four years later. Just one year after the production though, Juliet was recorded as saying, “In fact, we’re thinking of doing it next year and taking it out on the road.”

Evidently that plan never materialised. But it is interesting to note the varied and many comments that were made as to the possibility of the show having a further life.

Bebe at the time had no recollection that the show might be taken further, saying “I didn’t know anything about that.” Ann Reinking years later would remark “no one seemed to think that the time was necessarily ripe for a full-blown Broadway revival.” While the aforementioned LA Times review stated in 1992 there were “unfortunately, no current plans” for movement, it also expressed desire and a call to action for such an event. “Someone out there with taste, money and shrewdness should grab it.”

The expression that a show SHOULD move to Broadway is by no means an indication that a show WILL move. But this review clearly was of enough significance for it to be remembered and referenced by name by someone who was there when it came out at the time, Caitlin Carter, nearly 30 years later. Caitlin was one of the six Merry Murderesses, principally playing Mona (or Lipschitz), at each of this run, Encores!, and on Broadway. She recalled, “Within two days, we got this rave review from the LA Times, saying ‘You need to take the show to Broadway now!’” The press and surrounding discussions clearly created an environment in which “there was a lot of good buzz”, enough for her to reason, “I feel like it planted seeds… People started to think ‘Oh we need to revive this show!’”

The seeds might have taken a few years to germinate, but they did indeed produce some very successful and beautiful flowers when they ultimately did.

In contrast with one of the main talking points of the ‘new Chicago’ being its long performance span, one of the first things I mentioned about this 1992 iteration was the rather short length of its run. It is stated that previews started on April 30th, for an opening on May 2nd, with the show disappearing in its final performance on May 17th. Less than a fleeting 3 weeks in total.

Caitlin Carter discussed the 1992 opening on Stars in the House recently. It’s a topic of note given that their opening night was pushed back from the intended date by two days, meaning Ann Reinking and Rob Marshall had already left and never even saw the production. “The night we were supposed to open in Long Beach was the Rodney King riots.”

Local newspapers at the time when covering the show referenced this large and significant event, by noting the additional two performances added in compensation “because of recent interruptions in area social life.”

It sounds rather quaint put like that. In comparison, the horror and violence of what was actually going on can be statistically summated as ultimately leaving 63 people dead, over 2300 injured, and more than 12,000 having been arrested, in light of the aftermath of the treatment faced by Rodney King. Or more explicitly, the use of excessive violence against a black man at police hands with videotaped footage.

A slightly later published review wrote of how this staging was thus “timely” – in reference to an observed state of “the nation’s moral collapse”.

‘Timeliness’ is a matter often referenced when discussing why the 1996 revival too was of such success. The connection is frequently made as to how this time, the revival resonated with public sentiment so strongly – far more than in 1975 when the original appeared – in part because of the “exploding headlines surrounding the OJ Simpson murder case”. The resulting legal and public furore around this trial directly correlates with the backbone and heart of the musical itself.

I'm writing this piece now at the time of the ongoing trial to determine the verdict of George Floyd’s murder, another black man suffering excessive and ultimately fatal violence at police hands with videotaped footage.

I think the point is that this is never untimely. And that the nation is seldom not in some form of ‘moral collapse’, or facing events that have ramifications to do with the legal system and are emotionally incendiary on a highly public level.

Which perhaps is why Chicago worked so well not just in 1996, but also right up to the present day.

Undoubtedly, we live in a climate where the impact of events is determined not just by the events themselves, but also the manner in which they are reported in the media. Events involving some turmoil and public outrage at the state and outcome of the legal system are not getting any fewer or further between. But the emphasis on the media in an increasingly and unceasingly digital age is certainty only growing.

#chicago #chicago the musical #chicago musical #bebe neuwirth #juliet prowse #ann reinking #bob fosse #fosse #dance #broadway #musicals #theatre #theatre history #choreography #gwen verdon #chita rivera #long reads #writing #george floyd #rodney king #oj simpson #dancing #dancer #andrew lloyd webber #cats the musical #musical theatre

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[days-since-the-hotdaga]

It’s been so long that I forgot what the plot was

The Hotdaga Plot-

•The Boy In The Box - August 10th 2017 - Dan the Hotdog skateboards across the screen and crashes into a wall

•The Missing Family - August 16th 2017 - Dan and Rebecca drive across the screen, the car crashes and Rebecca shoots him and then she drives away

•Jonbenét Ramsey - August 23rd 2017 -Rebecca is sailing around in her pickle boat and Dan is chasing her using a seagull

•Amelia Earhart - August 30th 2017 - Dan & Rebecca meet on an island and their son, Brandon, is revealed. Pam, Rebecca’s witch twin sister, is revealed on a crab and is prepared to crab joust Dan

•Room 1046 - September 7th 2017 - Flashback to when Dan and Rebecca meet and Rebecca promises not to shoot Dan

•Natalie Wood - September 13th 2017 - Flashback to Dan and Rebecca’s wedding

•Poison Pill Murders - September 21st 2017 - Flashback to Murray and Ginas childhood when their father tells them to watch out for a hotdog witch

•Keddie Cabin - September 28th 2027 - Future Brandon goes to Dr Lisa Bratwurst and Gene for help to get back to the hoist to prevent it

•JFK - October 4th 2017 - Brandon appears at the joust and un-hypnotises Murray and Gina and stops Dan from dying which would have destroyed the future. Murray and Gina take Pam away to get eaten by a raccoon. Future Brandon eats Baby Brandon. Baby Brandon possesses the raccoon and Pam and Baby Brandon decide to get revenge on everyone

•Eastern Stare Penitentiary - November 1st 2017 - Gene gets a letter from his sister, Gebra, asking if his band will play at their wedding so Dan, Rebecca, Brandon and Gene decide to go get Genes band back together

•Goatman’s Bridge - November 8th 2017 - We learn more about Gene and some begin to question wether or not they’re being led into a witch trap

•Pennhurst Asylum - November 15th 2017 - Gene goes to Steven Rootbeer to get him back in the band

•Roswell - November 22nd 2017 - Gene and Steven go to get Melba and the Risky Fixins are back together

•Roanoke - November 29th 2017 - We learn some fun facts about Gene

•Viaduct Tavern - December 6th 2017 - They arrive at the wedding but Pam and Raccoon Brandon appear

•Colchester Castle - December 13th 2017 - Flashback to Pam and Raccoon Brandon talking The Dark Master while they talk about a prophecy, leading to the formation of a plan about how they will drop everyone into a volcano to get the GUP, the gauntlet of ultimate power. The hooded figure tells Pam and Raccoon Brandon to lure Gene and the Hotdog family to Hawaii

•London Tombs - December 20th 2017 - It is revealed that all at the wedding except from Gene, the Hotdog family and Mike soup are holograms. Maizey gets angry with Pam so Maizey and Gebra get married and the Risky Fixins play “Relish Life” but Pam still drops them into the volcano

•Gardener Museum Heist - February 7th 2018 - The GUP is created and Gene, Maizey and Mike Soup are alive. They decide to try to go back in time to save everyone

•Cleveland Torso Murders - February 15th 2018 - We found out Mike Soup fought in a war and they decide to go to a wormhole to go back in time

•Isdal Woman - February 22nd 2018 - Pam and Raccoon Brandon report back to The Dark Master and the hooded figure summons the GUP. The hooded figure finds out Mike Soup survived so he kills Pam

•Ken Rex - March 1st 2018 - Mike Soup, Maizey and Gene are trying to go to a planet to get a converter but are attacked and they crash before they can land there

•William Desmond Taylor - March 7th 2018 - Maizey wakes up on a new planet and cannot contact her friends but then meets the Pulpple Garce who says he can take her to the crashed ship. We find out Plupples cannot lie.

•Louis Le Prince - March 14th 2018 - Plupples and Maizey talk about Dr Goondis and Maizey falls into a trap cave where there are many Plupples and Dr Goondis (voiced by Ryan Steven Bergara) can be heard in the cave

•The Jamison Family - March 21st 2018 -Jobblet, a Plupple, introduces Dr Goondis and Dr Goondis decides to throw Maizey in jail for harassing Plupples and to prove her innocence she will have to fight a giant Plupple and the Plupples carry Maizey to a cell. The radio plays, talking about Earth and then it plays “Plupple Honeymoon” by the Risky Fixins. Then a mini version of Pam appears in Maizeys cell

•Rolling Hills Asylum - May 2nd 2018 - Some Plupples find the starship Minestrone but then they explode. Mike Soup and Gene emerge and are attacked by a sky beast, only for it to be distracted by Garce. Garce takes Mike and Gene to Maizey

•Bellaire House - May 9th 2018 - Maizey rants at Pam and then Pam disappears as Jobblet enters. Maizey is told Gene and Mike were attacked by Plupples and the goes to see Dr Goondis

•Ohio State Reformatory - May 16th 2018 - Flashback to Pam and Papa Crab in some sort of afterlife thing. They talk and Pam is told she can go back but if she dies again, she’s dead forever. She leaves the afterlife

•Phoenix Lights - May 23rd 2018 - Pam begins searching for Gene and Mike but finds their bodies. Garce appears and says Mike and Gene are just sleeping. Pam possesses Garces pit. Mike and Gene wake up

•Moon River Brewing - May 30th 2018 - Gene, Mike and Garce go to Jobblet. They talk about Dr Goondis and Jobblet gives Mike the converter but the Mike and Gene pass out because of the drinks Jobblet gave them. Jobblet talks to the hooded figure and tells him that they have Maizey, Gene, Mike and the converter

•Sorrel-Weed Mansion - June 6th 2018 - Dr Goondis’ rap begins while Maizey is waiting in the coliseum and Maizey defeats the giant Plupple by tricking it into lying

•Villa Montezuma - June 13th 2018 - Maizey wakes up to find the coliseum destroyed. Jobblet is revealed to be a peach. The Minestrone breaks through the cave, cracking open Dr Goondis, showing that inside the shell there is a sane, as he is no longer hypnotised, chicken Dr Goondis who sings the song “Outta My Shell” and they all leave on the Minestrone

•Collar Bomb - July 25th 2018 - Jobblet dreams that he is on a beach as a peach with Garce and his wife but then wakes up on the Minestrone where Maizey, Dr Goondis and Smeech are waiting for him to wake up. Jobblet tells them where Gene and Mike are

•Eight Day Bride - August 1st 2018 - Gene and Mike wake up to see Garce and they are being taken to the space buffet. Once they get there they’re basically drugged. The station they are at picks up on a huge thing that is eating everything in its path and will reach the station in a few days

•Alcatraz - August 8th 2018 - Two sliders talk and the go interrogate Goondis, Maizey, Jobblet and Smeech because they came in the wrong entrance, but then they get let in

•Litvinenko - August 15th 2018 - Mike, Gene and Garce find Maizey, Goondis, Jobblet and Smeech, who are now also drugged.

•Charles C. Morgan - August 22nd 2018 - They are all on a float when the thing that the station picked up that was eating everything arrives and eats half of it. Pam kills Garce to escape from his pit and then kills Jobblet.

•Bobby Dunbar - August 29th 2018 - Smeech is shot by the thing that was eating everything, The Dark Master, and he shoots Gene too. The Dark Master is short the the serenity ray. Maizey, Gene and Pam plan to go back to the Minestrone. The Dark Master is revealed to be the Chilli Pope so Goondis and Mike stay behind

•Forrest Fenn - September 12th 2018 - Maizey, Gene and Pam are on the Minestrone and Maizey puts the converter in and then they leave. Gene sings “Believe Me Maizey” and then dies.

(This took me a little while to get to because I had to go through the wiki script and all the episodes to write this so... I hope you appreciate this)

#hotdaga #buzzfeed unsolved #bfu #not counting #ask #anon

[ladyshadowqueen]

omg what villagers do u have? :) or who are ur faves? I love seeing people's villagers cos like, I don't know all of them and then I discover a new dreamy haha I recently got melba and she's such a cutie lil koala!

i currently have audie, benedict, hamlet, annalisa, tutu, dotty, marshal, reneigh, skye and boomer! i’m trying to get rid of tutu currently even though she is so cute but i just have too many peppys and i can’t handle hearing about maglev mike three times a day lmao. when tutu eventually leaves i will be looking for a snooty or cranky because i’ve not had one yet!!

also i share a birthday with melba!!!

#the current list for tutus replacement is anhka diana or apollo #apollo is the only cranky i really like honestly