#murphys such a fibber

[arcadia-city-stories-if]

How would the ROs feel about a very touchy-feely MC that likes to drape themselves over RO whenever possible? Sitting on the couch watching TV? MC has their legs resting in their lap. Doing paperwork at a desk? MC is now suddenly sitting on their lap "helping."

Murphy -

Complains about it, lots of sighing and huffing and acting like he's being hard done by. If MC were to then stop doing it he'd maybe last a couple of days before taking the opportunity to pull them into his lap first. Wouldn't say anything, or acknowledge it, but he wouldn't let them go easily either.

Shae -

At home and during their down hours, Shae really enjoys the casual affection. At their desk, while they're trying to work? Yeah, that's gonna be cute for all of 5 minutes until MC actually tries to touch something work related and that chair is getting swivelled and MC will be politely, but firmly, ejected from their seat of choice.

Callie -

Is all about that stuff. She's already a touchy-feely kinda person so to have MC be comfortable enough with her to just drape themselves into her personal space would make her very happy.

Toni -

Allows it. Always.

Claude/Claudia -

Would find it distracting, for better or worse. Would always be tempted to indulge a little and take things further.

#ro asks #murphys such a fibber #and sitting on claus lap at their desk? #rookie mistake anon #didnt your mama ever tell you not to turn your back on a vamp? #your neck is *right there* #theyre gonna glom you

[papermoonloveslucy]

IS SHE A NATIONAL HABIT? and OTHER PRESS

December 19, 1965

On Sunday, December 19, 1965, the TV Tab supplement to the Rochester (NY) Democrat and Chronicle, published an article by UPI’s Vernon Scott about the staying power of Lucille Ball. 

The article is reprinted verbatim below, with direct quotes from Lucille Ball in bold and italics. 

By VERNON SCOTT, HOLLYWOOD (UPI) 

"Institution" is an unflattering term for beautiful redhead, but it fits Lucille Ball who, after 14 years in television, is still among the top 10 in the ratings. 

Mention "Lucy" in the civilized world, and people everywhere know who you're talking about.

Lucy's unprecedented longevity as a television comedienne is all the more remarkable in that she began as a starlet in "Roman Scandals" with Eddie Cantor back in 1933. 

Remarkable because she alone among her contemporaries is still a major star. The life span of starlets is usually five years. If a girl can act, she may survive for 15 years. But once a starlet's measurements have been exploited and her youthful beauty fades she dissolves into the scenery on the back lot. 

But Lucy? She's been going strong for 32 years. 

Her figure is terrific. Better than most of this season's sex kittens. On screen she appears a youthful 35. In person her features are animated, her blue eyes brimming with mischief and intelligence. 

What's more, Lucy has survived on the strength of her own comic genius. When she and Desi parted it was predicted Lucy couldn't carry on alone. Wrong. The same was said when Vivian Vance departed last season. Wrong. 

"The Lucy Show" title says it all. She stands alone. 

Asked how she managed to go on and on, Lucy said: "My personal life may have something to do with it. I've almost always enjoyed good health. I take care of myself. I don't drink. I'm happily married, and I don't let work interfere with being a good wife and mother.” 

Is she, indeed, an institution? "I never thought it unflattering to be an institution. The idea appeals to me. I credit the steadfastness of my viewers for my longevity on television. I've become a national habit.” 

"And children love my show, too. I think people began tuning in to the old 'I Love Lucy' show because Desi and I were married on-screen and off. It was different. We had strong audience identification with other married couples.” 

"Later when Vivian and I carried on as a couple of women trying to raise kids without a man around, we still had a great deal of identification with a large segment of the population.” 

"We also knew what not to do. We kept away from vulgarity, distasteful subjects and unwholesomeness." 

Lucy still failed to touch on the element that makes her such a popular favorite. She doesn't really know. Perhaps no one does. 

I think it is that she is the only comedienne who combines humor sometimes outlandish clowning with beauty, sex appeal and, most Importantly, femininity. Even with her hair frowzed, her face dirty and clothes in tatters she looks like a female should look. 

The TV Tab also provided listings, including one for a Monday, December 20, 1965 repeat of “The Lucy Show” episode “Lucy in the Music World” (TLS S4;E3) first aired on September 27, 1965. 

Meanwhile, in Iowa’s The Courier on December 19, 1965, TV critic Ken Murphy wrote about Milton Berle and Lucille Ball, the king and queen of TV comedy. 

Murphy is talking about “Lucy Saves Milton Berle” (TLS S4;E13) first aired on December 6, 1965. 

In Long Beach (CA) the Evening News and Independent-Press-Telegram Tele Vues took a look at Lucy’s partner in crime, Gale Gordon with this article from Bert Resnik’s column Bert’s Eye View: 

IF SANTA CAN FIND it in his heart to forgive the on-screen, blowhard shouting of Gale Gordon, television's meanest man could have the following in his Christmas stocking: A drill-press, a shaper-planer and a band-saw. 

Gale, who currently is flipping his lid as blustering banker Theodore J. Mooney on CBS-TV's Monday "The Lucy Show," is a do-it -yourselfer magna cum laude. 

He does it himself on a 100-acre ranch in the San Ysidro Mountains near Borrego Springs. 

It is doing that utilizes a 37-horsepower, 4-wheel, lightweight tractor that Santa, in the guise of his wife of 28 years, Virginia, gave to him a previous Christmas. 

It is more than just a tractor to Gale. 

"It is therapy for me," he said. 

In addition to the therapeutic tractor, the hoped-for drill press, planer and handsaw, Gale has a cement-mixer (an anniversary present) and numerous tools. 

"I can work all day long mixing cement and to me this is the same as going to the opera for some people. It's completely relaxing."

THERE IS NO therapy for Gale in bombastically blowing his top onscreen. He's not knocking it, mind you. Just don't get the idea that it's the best way to prevent ulcers - not that Gale has one. 

He enjoys the flip-wigging for two reasons: It gets laughs and it brings money.

Both have been coming quite persistently since, as Mayor La Trivia in the "Fibber McGee and Molly" era, he hollered his first roof down. 

On television he's blustered as the meany school principal in "Our Miss Brooks," was Uncle Paul in the "Pete and Gladys" series and served a stint as Mr. Wilson for "Dennis the Menace." 

It is blustering, incidentally, that highly challenges Gale's acting abilities. 

For off-screen, he's the opposite kind of man. 

"People who exhibit temper are very disagreeable," he said. "I don't like to be disagreeable.” 

"By nature, I'm a very placid person. Very little disturbs me." 

In his 43-year-career, Gale learned by observing more temperamental show-business personalities that: "Temper is such a waste of time." 

It is a career that has been marked by an appearance in the 1928 silent movie, "Temptress," with Greta Garbo.” 

"She's the most ethereal and beautiful creature I've ever seen in my life," he said. "Her ability is in the tremendous appeal she has for the audience." 

It is a career that included a radio role as, leading man in "The Mary Pickford Show” in the 1930s. "She was very charming, very considerate." 

Eve Arden, the title star of "Our Miss Brooks," has "no equal" in her style of sophisticated comedy. Miss Arden, Gale and other members of that television series' cast "were a family." 

It is Lucille Ball, however, with whom Gale finds it most stimulating to work. "I admire her above all women her ability, her knowledge of theater and for a very keen sense -- an instinct, actually -- of what will p!ay funny to an audience.” 

"I'd rather be a supporting player for Lucy than be a starring player myself under any of the most favorable conditions.”

The Honolulu (HI) Star-Bulletin printed this brief mention on December 19, 1965, regarding children of celebrities going into show business. 

While across the Pacific, in The San Francisco (CA) Examiner, columnist John J. Miller reported on Lucille Ball’s day in tax court. 

#Lucille Ball #1965 #December 19 #Newspapers #Gale Gordon #The Lucy Show #Milton Berle #Mel Torme #TV #CBS

[quarantineroulette]

2020 Releases that I listened to more than once / stuck with me in some way.

Excuse my pessimism, but 2020 was a year in which finding solace in music was of little use to me. I also had less time than ever to listen to music. I spent the worst of the pandemic displaced and with limited internet access, then moved to another city and switched careers, two changes which I still haven’t fully comprehended. I also spent 98% of my free time feeling too anxious about the future as a whole to do any sort of listening, focused or passive. 

Things eventually got settled enough that I could at least check out what various music publications were fussing about in their year-end round ups. Not the most ideal avenue for discovery, but this has been a hard, tiring year and, despite some very promising releases and trends, I still feel a bit hopeless. I can’t even really be bothered to do any sort of ranking or make things even with a “20 for 2020,” so instead here’s a summary of some music that stood out to me. I can promise there are at least 15 releases mentioned - you can do a “choose your own adventure”  and rank them as you wish. 

Without a doubt, the only 2020 record that truly elevated me to a place where I stopped stressing out about things was Protomartyr’s Ultimate Success Today. These guys are by far my favorite band right now and their fifth album gave me so many new reasons to love them, from the propulsive “Michigan Hammers” and its stock footage masterpiece of a music video to elegant closer “Worm in Heaven.” Saxophonist Jemeel Moondoc, cellist Fred Lonberg-Holm and multi-instrumentalist Izaak Mills were deployed on most tracks and, rather than merely serving as a garnish for songs, their contributions added as much tension, heft, and brutal beauty as Protomartyr’s core members. Add in Half Waif’s Nandi Rose guesting on the Very Sad “June 21,” and you have one genuinely faultless release. In a similar vein, Algiers released their third and arguably strongest full-length, There is No Year, back in January and it served as a powerful, prescient (the title alone!) and just plain awesome reminder to keep fighting in even the darkest of times. 

This year I occasionally found myself praying for disco and I’m pretty sure Doja Cat’s sorta Chic-inspired “Say So” was the song I listened to the most in 2020 (yes, shame on me for a million different reasons). But little did I know 2020 was such an abundant year for mirrorball-indebted releases. Kylie Minogue’s Disco was a given, but what especially thrilled me were Roisin Murphy’s Roisin Machine and Jessie Ware’s What’s Your Pleasure? Murphy’s outstanding “Murphy’s Law” especially sounds like a lost classic from the ‘70s, while Ware’s titular “What’s Your Pleasure” is as fitting a Donna Summer tribute as any you could come across in the past 40 or so years. Ware’s record became slightly less cool when I realized she’s a podcasting mom who is friends with Adele, but What’s Your Pleasure?’s irresistible procession of Great Pop Moments solidifies it as one release I’ll keep coming back to. 

(Bonus: if you favor a no-wave / post-punk spin on disco, then look no further than Public Practice’s Gentle Grip). 

Ware and Murphy have been particularly prevalent on many of the major year-end lists, but I still carry a bit of skepticism about such things. Therefore, discussions such as this sub-Reddit (sorry) thread on regional picks has been useful in thinking outside the US and UK-favoring ranking systems (although there’s still a lot of anglo shit listed there as well). I’m hoping to listen to more releases from oft-overlooked countries thanks to some of these Redditors’ suggestions, although I’ve already spent a bit of time with Einsturzende Neubauten’s Alles in Allem and remain Team Blixa (if such a team exists). Despite my aforementioned trepidation, The Quietus’  list did compel me to check out the wonderfully somber offerings of Closed Circuits. This Portuguese artist describes himself as “Leonard Cohen being bothered by Coil,” and if that doesn’t entice you, I fear you may be a lost cause.  

This year we moved to Philadelphia, which means...A lot of things, but relevant to this summary, we found ourselves driving past some provocative graffiti stating “Make America Nothing Again” numerous times. Eventually I put two and two together and gave Nothing’s The Great Dismal a listen. Having not expected much beyond the clever marketing, I was pleasantly wowed by the quartet’s moody post-shoegaze offerings. I can barely discern any of the lyrics, but on vibe alone, The Great Dismal perfectly captures the heavy despair that permeated 2020. Add in Korine’s gloom-pop The Night We Raise and I can confidently say that Philly’s music scene is in good hands. 

I might have lied a bit at the start of this post - in saying I didn’t listen to music throughout 98% of the pandemic, I’m overlooking the many car rides spent revisiting Fontaines D.C.’s brilliant 2019 debut, Dogrel. While it didn’t impress me quite as much, this year’s A Hero’s Death was a mostly worthy successor, interspersing a few tranquil moments among the band’s more confrontational offerings. Not all of those moments worked for me, but these new directions were enticing enough for me to officially consider Fontaines a Band To Watch, if that’s still something people say. Oh yeah, and the video for the title tune slams. 

Speaking of music videos, I don’t usually rely on this medium for discovering bands, but that changed this year with Dehd. The trio’s videos are vibrant, conceptually clever, and relentlessly fun. Thank goodness that the music lives up to Dehd’s visual knack, with Flower of Devotion at times recalling The Jesus and Mary Chain and Roy Orbison in equal measure (especially on the stunning “Letter”). Emily Kempf’s versatile singing reminds me of everyone from Jana Hunter of Lower Dens to Carla Bozulich of The Geraldine Fibbers, yet it’s still bracing enough that every word she sings sounds utterly gripping. Who knows when gigs will happen again, but Flower of Devotion rocketed these folks to the top of my post-Covid gigging wishlist.  

Sparks is one act I can happily say I’ve seen numerous times. They are never ones to disappoint but, nearly 40 years into their career, the Mael brothers owe us nothing. Yet A Steady Drip, Drip, Drip is somehow an instant classic. It’s nothing short of astonishing that, at 75, Ron Mael can crank out a song that is equal parts insanely catchy, effortlessly humorous and deceptively sad, but he yet again nailed this trifecta with “Lawnmower,” to name but one. Russell Mael’s invincible vocals are in full effect throughout, particularly on the straight up lovely “Pacific Standard Time.” I would never even entertain the idea of using the term “pop / rock juggernaut,” but if it was regarding Sparks, I would at least not dispute it. 

(PS, special shout out to another singular duo of relatives, Prima Primo, who this year released my favorite song about Madonna since Sparks’ very own Madge tune, featured on 1988′s Interior Design.)

Finally, this list would absolutely be incomplete if I didn’t give mention to Bob Dylan’s fabulous Rough and Rowdy Ways. More than ever, 2020 felt like a year rife with stupid decisions, stupid actions and praise for mediocrity. A return to form from perhaps the greatest lyricist of all time is something many of us probably didn’t know we needed, but boy am I thankful for it (not as thankful as I would be for a second stimulus check, but still - next best thing). Dylan also gave us the fun bonus of having Fiona Apple guest on the outstanding “Murder Most Foul,” and of course Apple’s own Fetch the Bolt Cutters both featured her dogs as percussion and further solidified her place in the socio-political songwriting canon. Maybe there is something to be said for music after all!  

#year in review #best of 2020 #protomartyr #algiers #roisin murphy #jessie ware #einsturzende neubauten #closed circuits #nothing #korine #fontaines d.c. #dehd #sparks #prima primo #bob dylan #fiona apple

[yogapantsuk-blog]

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