#nevertheless if laura does see this HI and also YOU ROCK!!!!!

[ministarfruit]

blackmadhi week day 2: fake dating au 📞

aka I did it, I finally drew fanart for this beautiful behemoth of a fic!! come read it here, for a bad time call simon blackquill by nerdyskeleton

transcript under cut

Comic art is drawn to correspond with the events of the ad posted in the fic as follows:

“Do you hate your family? I want to hate them too!

I’m a 29 year old ex-convict (didn’t actually kill anyone, don’t worry) who probably hates your family and probably doesn’t have anything to do but terrorize them. I will be your platonic date to a stupid family dinner or gathering for one (1) night/event.

I work at a noodle place and will get buckwheat flour all over your family members, if you ask me to. I will also make fun of you and your family members, because that’s all I do in general anyway. Other services include telling scary prison stories, threatening to show any possible prison scars, pretending to get very drunk, hitting on a different family member, or hitting a family member. May be convinced to propose to you in front of your family members, too.

Feed me and maybe give me $30?”

This cuts into the next scene, which is mid phone call with Simon and Nahyuta. This is lifted directly from the fic, with talking tags added below where it may not be clear without context.

“I will pay you. More than what the ad said.” [Nahyuta told him.]

“How much?” Simon asked. If it was a big enough sum, it might be worth it to spend a few agonizing hours with this man and his shitty family.

“$200. I’ll make it $300 if you bring flour to get all over my brat of a little sister. The ad said that you would do that.”

Ye gods, if this right bastard of a man thought that his little sister was a brat she must be terrible.

“Will you do it now?”

“…Fine.”

“Excellent. That’s what I thought your answer would be in the end, Simon. What’s your full name?”

“Simon Blackquill,” he ground out.

“And I’m Nahyuta Sahdmadhi. Can you promise to be as insufferable to the rest of my family and friends as you have been to me?”

#long post #ace attorney #fic #blackmadhiweek2022 #blackmadhi #simon blackquill #nahyuta sahdmadhi #and EVERYONE ELSE #shoutout to laura nerdyskeleton and also mr darcy the cat #I did not @ this time because this fic is old and I'm like. #oh god what if fanart for a 5yo fic is weird #embarrassing. but not enough to not post this #nevertheless if laura does see this HI and also YOU ROCK!!!!! #and also STAY AWESOME STAY COOL #SAY HI TO MR DARCY FOR ME #I could not possibly condense my thoughts on this huge fic #in this tiny tag section #it's over 300k and there's a sequel WHAT ELSE CAN I SAY #made me cry. made me scream. made me laugh so hard i cried. etc etc #when I say laura gets romcoms to the core. it's true #I actually almost didn't finish this because I was rereading the fic instead #I WAS TRYING TO FIND SCENES AND IT SUCKED ME IN #my friend once said wanting to re-experience something is the highest compliment #possibly related but I have read this fic in its entirety at least three times. now four #fic writers are the backbone I'LL SAY IT AGAIN #btw everyone who had Bad Time as their blackmadhi initiation fic... #go say something nice to the author. go on #thank you laura. just in general #side note: I cut a single line in the phone call because the $30 was already mentioned #in the comic format I chose!

[tea-with-evan-and-me]

„I noticed that almost all of Evan's gf's have had the same type of punk or alternate kind of style to them. Except for Emma maybe lol. But even Emma had something different to her in a way.  But generally with all women Evan has dated I can kind of see a pattern. For example, Jessica Origliasso was pretty rock, Alexia Quinn looked emo asf, Frances I would also consider alternative in her style and the art she does, then Halsey .... The only one who really sticks out here is Haley. Not only style but also energy wise. Maybe i didn't choose the right word to describe it but I hope you get the gist. Does anyone else see it? 😀“

I noticed that too. nevertheless there were also women with a „normal“ style: Laura Slade-Wiggins, Alexandra Breckenridge, Shana Mans, Sarah Jones and even Emma…. You can't really tell what his type is. somehow they all look different😅

it always depends on who you ask. there are people on here who swear all of his exes look the same lol but i do think they generally look different. but most have a similar edgy vibe. even emma back then.

[2111121]

baby name dictionary

ao3

– HER FATHER’S STUDY IS HOME TO MANY BOOKS. When they find the baby names book, it is tucked in a corner at the bottom of one of his bookshelves, clearly where all the miscellaneous works were relegated to. It is blue and worn and dusty. The corners are rounded and soft, and the pages have faded to a rich and dark yellow. Though the book is small, it is comically thick, and the girls find it unwieldy to leaf through. Laura opened it towards the middle. As soon as she did, Heather blew dust out of the pages, right up into Laura’s face, leading the other girl to shout and frown at her as she laughed.

“I’m sorry, I won’t do it again.”

“You’d better not.” Laura’s face is all puckered up, but Heather knows that she is perfectly harmless. She grins reassuringly and, though Laura says nothing, she knows that she is forgiven.

“Let’s do your name first,” Laura says, scanning the rows of small text like the diligent student that she is.

Heather has only seen glimpses of her at school. They didn’t share the same classes, but nevertheless, she has seen Laura’s neat and tidy desk, and her near-perfect scores she buries behind school newsletters in her orange folder. It was this, as well as the guarded distance she kept with her classmates, that made her seem meek and docile. The girls who attempted to lure her in as a new victim of their torment could attest to this. They tried to corner her, and Laura had slapped one of them viciously enough to draw out tears.

It was through such an experience that Heather had met Laura in the office. Heather had also been sent there for having punched a boy when he had insulted her, and was waiting at the desk for her father to pick her up. Laura received the same treatment, and both girls sat beside one another, waiting for their fathers.

It was Heather who had asked Laura her name first. After exchanging the experiences that had led them to being picked up early and suspended for three days, they returned to their original silence. James had arrived before Harry, and, after another redundant discussion with the counselor, led Laura away. The girl, with her pretty backpack and perfectly-ironed shirt and pants, turned around one last time and said: “Bye, Heather.”

She remembered that James had turned around too. Perhaps he was surprised that Laura herself had addressed another person of her own volition. He smiled briefly in her direction before finally leaving. It was a polite half-smile that looked strange on his face, as though he were unused to smiling in such a thoughtless manner.

They had become closer since then. They met each other in the library during lunch, and walked out to the carpool at the end of the day. It was Heather that often spoke more between the two of them. She liked to tease Laura for her stern expressions that betrayed a sweet and lovable innocence beneath. Though they were the same age, Laura felt like a younger sister to her. There was so much she didn’t know. For one, Laura still believed that people, on the whole, were very good; she believed in god and heaven and kindness. These were things that Heather had learned, from her father, were little more than hopeful wishes.

“Heather, I found your name.”

Laura points to a line of barely-legible text. She narrows her eyes and reads it aloud:

Heather. Derived from Middle English hather , for the variety of small shrubs with pink or white flowers, which commonly grow in rocky areas.

“That’s lame. Flowers? How many names are there for flowers?” Heather groaned, fairly unimpressed. She noted that the page was dog-eared, and wondered if her father had really selected such a name with her in mind. For a while, she was convinced that ‘Heather’ was a random backup name that he had devised on the fly. As a child, she was confused but generally excited to receive a new name; now, however, she found it a real drag.

“Maybe you should ask your dad to change your name, then.”

“He actually did. Didn’t I tell you? My name was Cheryl before.”

“Oh, that’s a pretty name.” Laura’s eyes flickered at the sound of it, as though she were completely enchanted. “Yeah, I remember now. Why did you change it?”

“It’s complicated. I’ll tell you about it some other time.” Heather sighed. “What a downgrade.”

Laura flipped about fifty pages back, and found the name ‘Cheryl’ underlined in pencil. She thought of Harry, young and inexperienced, lingering over this page, discussing the name with Heather’s mother.

She wondered if Harry had ever been married. It wasn't difficult to imagine him in love with someone, seeing how much love he raised Heather with. She thought of the nights she spent over at Heather’s house, where she would walk in on James and Harry at the table, carrying on a quiet conversation under a dim light. Harry always smiled at her, and got up to fetch her a bottle of water, as though she were his daughter all the same. She sometimes felt jealous of Heather, but never in a cruel way. Heather was funny and kind, gentle and strong; she deserved what goodness life brought to her. But Laura could not help but wonder how she would have been if she had been raised by someone like Harry—someone who was certain, someone who possessed an intense and selfless warmth.

Mary was like that.

Cheryl. Derived from the French cherie , meaning darling, or beloved.

Heather peered over Laura’s shoulder as she read. She wore a great, nostalgic smile as she listened to Laura’s voice bring the words to life. She looked in Laura’s direction in an attempt to read the expression she wore.

“I told you that ‘Heather’ was a serious downgrade.”

Laura shook her head. “Only special plants grow around rocks. I think that's why Harry picked that name for you too.”

“You're making it sound way better than it is.”

“I don't think so.”

Laura closed the book and put it back on the shelf. Heather sat up and frowned.

“You don't wanna look up your name?”

“I don’t think my name really means anything.”

“Then why’d James name you Laura?”

“He didn’t give that name to me. I think the church did.” She tilted her head to the side as she thought it over. “Cheryl’s a nice name, though. Your dad must love you a lot.”

“He does!” Heather said, beaming. “I know James loves you a lot too, Laura.”

“I know he does.”

Laura seemed soft as she said this, so much younger than she was. Heather wanted so much to tease her— you look a lot like James sometimes, Laura, especially when you're sad. Like a little doll, locked away behind a glass case, alone and beautiful. Laura and James wore melancholy like an old rain jacket, Heather thought. And sometimes, her father did too. She would see Harry—usually late at night or early in the morning—looking out their living room window at something she couldn't see. Was he unhappy? she would wonder. Who was he thinking about then? He never spoke of these things to her, but she imagined him sharing such thoughts with James—she never knew what they talked about, but she couldn't imagine their conversations being about anything else. It was for this reason that Heather treated James with a degree of cold indifference. If he didn't treat her father’s heart with care, then she would punish him, because her father would be too kind to do it himself.

“We don’t have to look up your name if you don’t wanna.” Heather said, patting Laura’s back. “How about we do something else? Let’s get some ice cream.”

“Don’t you ever have real food?” Laura scoffed, one corner of her lips turning up as she did. Heather grinned, seeing Laura return to her usual, harsh self.

“You mean like Cup Ramen? Cơm cháy? Shrimp chips?”

“Ew.” The other girl grimaced. “How do you and Harry live, Heather? James and I will have to give you two cooking lessons, or else you’ll die of malnutrition.”

“We can cook! We can use the microwave. Isn't that cooking?”

Laura laughed.

They bickered like this as they left Harry’s study, filling the little house with the sound of their laughter. They were eleven years old then, and their world was small and warm. A Saturday morning in spring, the air filled with flowers, the sunlight filtering through their windows and illuminating the day. They were very happy.

#nf #silent hill 1 #silent hill 2 #silent hill 3 #harry mason #james sunderland #laura #heather mason #everyone's viet bc i say so :)

[aion-rsa]

Revisiting The 1994 Miniseries of Stephen King’s The Stand

https://ift.tt/3gRQax7

This article contains spoilers for the 1994 miniseries The Stand and likely the 2020 series by extension.

The Stand is considered by many, to this day, to be one of Stephen King’s three or four finest novels. It is certainly among his most beloved by longtime readers, because of its sheer size (more than 800 pages when originally published in 1978, more than 1,000 in the unexpurgated version released in 1990) and the scope and breadth of its storytelling. A hybrid of horror, apocalyptic sci-fi and epic fantasy (King has said he explicitly wanted to create a sort of modern day The Lord of the Rings), it’s an eerie, surreal tale of the fall of civilization and the battle for the souls of those left alive in the aftermath.

A motion picture adaptation was first announced on the back cover of the paperback version of the book (with George A. Romero directing), but to many, a miniseries seemed like the only way to adapt The Stand due to its sheer size. King was against the idea for a long time, famously saying, “You can’t have the end of the world brought to you by Charmin toilet tissue.” But King’s thinking eventually changed, and in 1992 ABC — which had scored a tremendous hit with a two-part, four-hour adaptation of King’s It two years earlier — gave The Stand the green light.

King, an executive producer on the project, wanted Mick Garris to direct it after the two had hit it off on the set of Sleepwalkers, a movie based on an original King screenplay. Unlike It and a second ABC/King miniseries, 1993’s The Tommyknockers — both of which had been four hours — The Stand was developed as a four-night, eight-hour event, containing a little over six hours of content after commercials. Budgeted at $26 million, featuring more than 125 speaking parts, and shot over six months in Utah, Las Vegas and other locations, The Stand premiered on ABC from May 8 – 11, 1994.

The Stand begins with the spread of a military-created bioweapon that becomes known as the superflu or Captain Trips after it escapes from a high-security lab. The flu’s 99% mortality rate ensures that human civilization is all but wiped out, although the remaining 1% is completely immune for reasons unexplained.

As the survivors in the U.S. struggle to stay alive in a post-apocalyptic wasteland filled with tens of millions of rotting corpses, they are plagued by mysterious dreams that draw them to one of two places. Some head for Boulder, Colorado, where it seems as if decent, “good” people are gathering around an elderly Black woman named Mother Abigail who claims to speak for God, while others of a less kind bent congregate in Las Vegas under the rule of Randall Flagg, a “dark man” with supernatural powers who is a powerful demon in human form.

As the two groups assemble, it becomes clear that a confrontation is shaping up, with four of the Boulder Free Zone’s leaders — and four of our main characters — eventually heading to Las Vegas where they will make their “stand” against Flagg.

Even with six hours to fill, King and Garris had to do quite a bit of condensing to fit The Stand into its format. Nevertheless, just about all the major plot points and characters from the book make it into the miniseries, even if some don’t quite get the development they deserve. Yet the show moves along at a decent if unhurried pace, giving one time to invest in the story and the characters enough to care about what happens and who survives (many don’t).

Read more

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The cast is a grab-bag of faces from both the big and small screen. Gary Sinise — months away from his breakout role in Forrest Gump — is absolutely perfect as Stu Redman, the Texas blue collar everyman who is among the first to make contact with the superflu and walk away unscathed. Also quite effective are Rob Lowe as the saintly deaf mute Nick Andros, who becomes one of the leaders of the Free Zone, Ray Walston as the sarcastic sociology professor Glen Bateman, and Bill Fagerbakke as the sweet, intellectually disabled Tom Cullen.

Less impressive but improving over the course of the six hours is Adam Storke as the self-centered rock musician Larry Underwood. Larry is a crucial character in The Stand: it’s his ability to evolve from a selfish narcissist to a leader willing to sacrifice himself that is key to the triumph of good over evil. Storke has his moments and Larry does blossom in the latter stages of the story, but he doesn’t pull off the character’s transformation as effectively as one might have hoped.

More compelling are Laura San Giacomo as Nadine Cross (a character who, in the show, is a hybrid of the book’s Nadine and Larry’s doomed traveling companion Rita Blakemoor) and Corin Nemec as Harold Lauder. The former has promised herself to Flagg, while the latter is an incel on steroids; together they plot a terrorist attack to kill the Free Zone’s leaders before skipping town for Vegas. They too are doomed, but their collision course with each other and their fate is decidedly repulsive.

Of the major “good” characters, it’s sad to say that Molly Ringwald just doesn’t pull her weight as Frannie Goldsmith, the pregnant young woman who is the object of Harold’s desire but whom ultimately falls in love with Stu. Ringwald comes across as naïve and whiny, and her acting here is a pale shadow of her glory years in movies like Sixteen Candles and Pretty in Pink. More effective, excellent in fact, is Miguel Ferrer as Lloyd Henreid, the small-time crook and killer who becomes the take-charge right hand man to  Flagg in Las Vegas, and an over-the-top Matt Frewer as the Trashcan Man, a pyromaniac who Flagg entrusts with finding weapons left out in the Nevada desert by the government.

Which brings us to Flagg and his opposite, Mother Abigail. Flagg, a recurring embodiment of evil and treachery in many King novels and stories, was reportedly the hardest role to cast. Although King and Garris initially wanted a Hollywood star, they went with the lesser known Jamey Sheridan, who brings a kind of manic glee to the role even if his heavy metal wig is questionable. Ruby Dee was practically born to play Mother Abigail (she even told Fangoria magazine that “her whole life had been research” for the part), and while the character as originally written suffers from King’s tendency to create “magical Negros” for his stories, Dee still brings poignancy and dignity to the role.

ABC

If we’ve spent a lot of time on the casting, that’s because The Stand really does live or die — and in this case it’s the former — on the strength of the characters and their relationships. Even if some of the acting is more on a typical TV level (or even below), Garris and King and their cast succeed in making you care about what happens to these people as they first survive the plague and then summon the fortitude to not just restart civilization but face an ultimate evil before they can barely catch a breath.

But Garris brings plenty of other effective touches to the show, starting with the panoramic vistas that he shoots to emphasize just how empty the world has become. The show does have an epic sweep to a lot of it, even with the restrictions of TV back in 1994, and W.G. Snuffy Walden’s (who is best known for scoring The West Wing) spare, evocative score goes a long way toward setting the melancholic yet ominous tone that Garris evokes through most of The Stand’s six hours.

There are also some truly memorable setpieces, starting with the opening tracking shot of corpses strewn all over the underground military lab to the tune of Blue Oyster Cult’s “(Don’t Fear) the Reaper.” Stu’s harrowing escape from the lab in which he is kept is pretty terrifying stuff for 1990s television, and while we wish Larry’s walk through a Lincoln Tunnel stuffed with dead cars and bodies lasted a bit longer, it still packs somewhat of a punch. Although Mother Abigail’s home is clearly a set on a soundstage, the moment in which she looks back at it as she leaves for Boulder, knowing she’ll never see it again, is quietly moving, as is the moment when Larry, Glen and Ralph Brentner (Peter Van Norden) have to leave an injured Stu behind on their long walk to Vegas.

The climax, the “stand” of the title, is problematic, but that’s possibly because it’s always been a hotly debated moment in the novel as well. Stu, Larry, Glen and Ralph are instructed by a dying Mother Abigail to walk to Vegas and confront Flagg. As we mentioned, only Larry, Glen and Ralph make it; Glen is shot to death by Lloyd Henreid in his cell, while Larry and Ralph are to be publicly executed by dismemberment, in front of the entire population of Vegas, on Flagg’s orders.

Just as the execution is getting underway, a radiation-sick Trashcan Man returns from the desert with a nuclear weapon in tow. With the men of the Free Zone having shown their worth to God by facing Flagg with courage and offering to give their lives to defeat him, the Almighty takes over from there. He turns a little ball of electricity that Flagg used to fry a traitor in the crowd into a manifestation of “the hand of God,” detonating the bomb and wiping out Flagg, his minions, and our selfless heroes.

Read more

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While many have criticized this scene in both the book and miniseries as a “deus ex machina” climax, it actually makes sense: the Free Zone heroes can only do much themselves against an immortal, powerful being like Flagg. They can weaken him, but they can’t quite destroy him. Once they’ve proven themselves, however, by standing up to Flagg and his unknowable evil with faith and courage, God finishes the job. The problem is that in the book, Larry and Ralph interpret the thing in the sky as the “hand of God.” In the miniseries, Garris made it look like an actual hand.

That adds a layer of cheesiness to what is otherwise a strong climax, as does having Mother Abigail’s disembodied, cooing head float above the crib of Frannie’s baby in the hospital during the closing moments, looking like a cutout picture of Ruby Dee’s face slapped on the glass window of the nursery. It’s effective and emotional to have the show close on a shot of the baby, sleeping peacefully and virus-free and metaphorically carrying the future on her tiny back, but the Abigail phantom almost ruins it.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

For all its faults — its dated view of the American populace (even with 99% percent of the world wiped out, there are far too few people of color among the survivors), its creaky fashions, its occasionally cut-rate visual effects and its uneven acting — The Stand still holds up pretty decently. Sinise and the stronger actors do much of the heavy lifting, the story and stakes are clearly laid out, and the viewer becomes involved in the characters and their struggle.  Now more than 25 years later, The Stand is being adapted again by Josh Boone (The New Mutants) and Benjamin Cavell (King’s son Owen is also a producer and writer on the project). The 10-part miniseries will debut Thursday (December 17) on CBS All Access, and in addition to a different structure for the story, the series will feature a brand new ending written by Stephen King himself. In the meantime, the original 1994 version still has heart, plenty of it, and for King and Mick Garris, it was evidently a labor of love. It may be far from perfect, but one could say it stands on its own two feet.

The post Revisiting The 1994 Miniseries of Stephen King’s The Stand appeared first on Den of Geek.

from Den of Geek https://ift.tt/3nuLY9m

#aion-rsa #Den of Geek

[golfiyauniversity00]

Golf's Greatest Drivers

One of golf's best-known aphorisms is 'Drive for show, putt for dough' but your chance to make a putt is somewhat reduced if you can't find the fairway, and then the green. At the very highest level the quality of ball-striking is such that tournaments are often won by the guy who has a hot putter that week, but week in and out driving is the bedrock on which a golfer's game is built. Sam Snead went as far as to say that you should only practice driving and putting.

And as with putting, many players can drive the ball well for a limited period but few can maintain consistent excellence over the course of a career that lasts decades. No-one can do it well all the time - even the absolute best have their off days and weeks - but these golfers did it better for longer than anyone else who lived.

20. Harold Hilton

The Englishman with the marvelous middle name of 'Horsfall' never turned pro but won two Opens at the end of the 19th century, four Amateur championships and a US Amateur, in the days when the very best were from the unpaid ranks. His most conspicuous quality was the straightness of his driving.

19. Tom Watson

Has a fast tempo but a great, simple, repetitive technique that gets the job done time and again. The greatest Major ever - 1977s duel in the sun with Nicklaus - was decided on the 72nd hole when he split the fairway to set up his winning birdie. Like many in this list the quality of his ball-striking never left him but the golfing gods decide that very few can have it all for too long, so his putting stroke headed south.

18. James Braid

One of the Great Triumvirate, along with Vardon and Taylor, Braid was the longest driver of the three and found more than his fair share of fairways. Won his five Open Championships in a 10-year stretch and even at age 78 shot a gross 74. Went on to become a notable architect whose courses, not surprisingly, put a premium on good tee shots.

17. Lee Trevino

Like so many other great drivers, his stock-in-trade was a controlled fade that worked with remarkable consistency. But his real genius was that when he needed to draw the ball he could. Very few have ever controlled ball-flight with the unfailing accuracy of SuperMex so it was no surprise that when he joined the US Seniors Tour (as it was then) it became his personal retirement fund.

16. Robert Tyre Jones

Possibly the best there has ever been but the shortness of his career makes a true comparison with modern greats impossible. Thirteen Majors in seven years tells its own story and they were built on a loose, rhythmical, flowing swing that usually sent the ball exactly where it was meant to go.

15. Nick Faldo

Golf's Greatest Living Englishman calculatedly sacrificed some of the length of his youth in order to develop the metronomic swing that gave him six Majors. The benefits were never more clearly demonstrated than at Muirfield in 1992 when, under pressure from John Cook he nailed it on the 72nd hole to set up his championship winning par.

14. Joyce Wethered

Arguably the greatest woman golfer ever to pull on spikes, she was so impressive that even Bob Jones said he had never been so intimidated by anyone's play. Henry Cotton added: 'I do not think a golf ball has ever been hit, except perhaps by Harry Vardon, with such a straight flight by any other person.' She won five English Amateur and four Amateur Championships and retired far too early.

13. Byron Nelson

Also retired when still in his prime - at age 34 (because of haemophilia and a dislike of the Tour pro's life) and, unlike most in this list, eschewed a controlled fade or draw in favour of simply hitting it straight. It was something he did so well that in 1945 he won 18 tournaments, 11 of them on the bounce, for the greatest streak of all time.

12. Ernie Els

The affable South African does everything well but it all starts on the teeing ground and in the modern era he has the winning combination of both length and accuracy. He's such a powerful hitter that he can nudge his Titleist out there over 300 yards without apparent effort, so he invariably retains control.

11. Jim Furyk

US Open winners cannot afford to be wild off the tee and, while not up there with the longest in the game, Furyk's unorthodox style gives him the repeatability for which most golf pros would sell their grandmothers. Now recovered from wrist surgery he perpetually demonstrates that anyone who can hit fairways and greens will be tough to beat.

10. Ben Hogan

Hogan, like many Texans who grow up trying to hit the ball low under the wind, developed a chronic hook that almost put paid to his career but by bloody-minded determination and unceasing practice he made himself into one of the best drivers ever. So much so that the sixth hole at Carnoustie has been re-named 'Hogan's Alley' in honour of the narrow strip of grass between bunkers and OB that he found all four days in 1953 en route to victory and his only claret jug in the only Open in which he competed.

9. Annika Sorenstam

Her iron play, particularly from 100 yards in, is exquisite, she has a fine putting touch and probably the best brain in women's golf but long, straight driving is the platform on which the best golfer in the world's game is based. So relentlessly does she thrash her opponents that an alternative career as a dominatrix beckons when she gives up golf.

8. Harry Vardon

Six Opens, which remains a record, and one US Open are the Majors tally for one of the purest ball-strikers ever to pick up a brassie or spoon. Challenged throughout his career by JH Taylor and James Braid he nevertheless was first among equals, mainly because of his great ability from the tee.

7. Tony Jacklin

Like Hogan, Vardon, Watson and others in this list he continued to be a superlative striker of the ball long after his scoring ability was sabotaged by a dodgy putting stroke. But we shall remember him always for the athleticism and power of his tee shots, summed up by Henry Longhurst with the words 'What a corker!' as Jacklin unleashed a superlative drive on the 18th at Royal Lytham and St Annes in 1969 for his only Open win on this side of the Atlantic.

6. Jack Nicklaus

The greatest ever had a swing characterised as 'rock and block' that consisted of an upright action that, coupled with his strength, gave him the most telling power fade ever seen. He had the capacity to bludgeon a course but preferred to use brains as well as brawn and quietly pick its pockets. Eighteen Majors and 19 runners-up spots suggest that his driving was, err, really quite good.

5. Calvin Peete

Born black and dirt poor, with 18 siblings, Peete didn't even play golf until he was 23 and it was an unlikely sport to choose because he broke his left elbow as a boy and it wasn't set properly, leaving him unable to straighten his arm. Unexpectedly, the injury meant he was phenomenally straight and he topped the US Tour driving accuracy stats for 10 straight years. And as Lee Trevino said: 'He straightens his arm to take the cheque.'

4. Colin Montgomerie

For seven unbelievable years Monty never had to have his golf shoes cleaned because he didn't know where the rough was and simply walked down the middle of the newly-mown grass. He famously never practised - because he never needed to. Stroll on the tee, hit driver to right centre, find the green and hole the putt. Piece of piss to a trained athlete.

3. Sir Henry Cotton

It was said of the three-time Open winner (by US coach Bob Toski) that he was so unyieldingly straight from the tee that it was impossible to determine if his ball was in the left or right side of the fairway. Cotton knew how good he was and didn't shy away from telling others but most of them could see it for themselves whenever he drove the ball.

2. Sam Snead

Quite possibly the most naturally gifted player ever, Snead's swing was so fluid that it was likened to pouring molasses over treacle and the epithet 'Slammin' Sam' always did him a great disservice because he was a pure swinger, not a hitter. He won 84 US Tour events - a record still to be beaten, over six different decades, five Majors and recorded 34 holes-in-one. He remained good enough to finish third in the US PGA at age 62 and throughout it all his driving was the lynchpin.

1. Greg Norman

His career spanned the change from persimmon to titanium but he was equally good with either. Previously, golfers tended to be either long or straight but none before or since has combined the two to such telling effect. Like a Federer serve or Lillee bouncer, Norman's tee shot was the ace in his hand that he knew he could rely on when it really counted. Two Opens are scant reward for one so talented but his final 18 holes at Royal St George's in 1993 when he lifted the claret jug for the second time is possibly the greatest driving round ever seen. When the pressure was really on he showed frailty with his iron approach shots but with a wood in his hands he was peerless.

Huge but haywire Tiger Woods: Only a man with his genius could contend as often he does without ever finding a fairway. John Daly: The enormous backswing means that if his timing is just a fraction out - which it often is - then the ball could go anywhere. Laura Davies: Wallops it like an angry man, and just as unpredictable. Hank Kuehne: Tall, pencil-thin American who, like Gerald Ford, doesn't know which course he's playing until after the first tee shot comes to rest.

Back to the practice ground Thomas Bjorn: In this year's European Open put three balls into the River Liffey on the 71st hole before eventually signing off with an 11, on his way to shooting 86. Seve Ballesteros: Once suggested that all courses should have no fairways, so that everyone else would have to play from the rough, too. Jose Maria Olazabal: Often couldn't find a fairway with GPS but such are his powers of recovery, and iron play, that it didn't matter. Ben Crenshaw: Tom Weiskopf said of him: 'He hits in the woods so often he should get an orange hunting jacket.' Arnold Palmer: Only knew one way to play and that was to thrash it as hard as possible [https://golfuniversityau.com/], with rather inevitable consequences.

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Hip Hop Group Public Enemy - Pioneers In Music With Politically Charged Lyrics

With 12 platinum albums to his credit, Kenny Loggins has truly become one among the most iconic and enduring forces in music. He's recorded variety of smash-hit songs for movie soundtracks including "I'm Alright", "Footloose" and "Danger Zone". Kenny enjoyed early success as an ingredient of traditional sour cream party duo Loggins and Messina, selling over 16 million records which featured hits such as "Danny's Song," "House at Pooh Corner" and "Your Momma Don't Dance". Shortly after, Loggins moved in order to enjoy an extremely successful solo career which produced songs including "Whenever I Contact you Friend," "This Is It" and the 1979 GRAMMY-winning Song on the Year "What a Fool Believes," co-written with Michael McDonald. At the era of 28 he still is affected with this wreck. He can't drive down that same road acquiring to break into a sweat and having instant flashbacks. He might still see the decapitated head of he in the truck. He can still see his intestines laying on the land beside your pet. Hearing the song, "Brass Monkey" in the ric menello filmmaker puts him in to a frenzy because that was the song that was on the radio when the accident took place. A show reel with regard to TV commercial director also known as ric menello screenwriter works in the same way as a show reel. Each reel must showcase the director's best shots and highlight his/her best assets in the profession. "I Can't Sleep" by singer Clay Walker. Directed by Trey Fajoy, this video can be a classic. Clay Walker trails through the recording searching and determined to determine the woman whom is the explanation for he "Can't Sleep" including the end of the recording when he finds her, instead of getting a happy ending, she ends at the another people. The video is shot in Mexico and provides beautiful scenery, good lyrics, and outstanding screen practice. World of Warcraft is held four years after the real-time strategy Warcraft series which told the story of a 25 year struggle between humans, dwarfs, gnomes and elves and also the Horde. That is a magnificent game with regarding detail and much variety in the character conception. Should you die in the game the only penalty these items receive is the time it takes to back again in online game. There is even a map that fills in specifics of places you are so actually know your physical location in recreation. This game can be difficult to master nevertheless it's beautiful to check and lots of fun to play. And there are the setbacks. First there are the nominees who didn't increase the cut this season. 2011 won't be the year for hip-hop as both the ric menello and L.L. Cool J are passed done. Bon Jovi, perhaps undoubtedly the biggest selling range of the 1980s were also snubbed, as were the J. Geils Band. Disco's most iconic acts Chic and Donna Summer (who have been nominated before) will be waiting expenses for most likely shot in enabling into the rock community centre. Also not making the cut are Laura Nyro, Donovan, Joe Tex, and Chuck Willis. LL Cool J is not concerned one does attended those Music Appreciation core class. What they to be able to know is if you are able to work twenty four hours a day. Are you to be able to be stored on your grind whatsoever times being a to climb to the highest? Assuming you might be not trying to be a news report executive ultimately music industry, hands-on experience and personal connections normally override that college gradation.