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lovelytsunoda · 10 months

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foreign affair // charles leclerc

summary: it wasn't supposed to happen. but they say that the south of france is the most romantic place on the planet. so falling in love with her vacation fling should have been inevitable.

pairing: charles leclerc x female reader

warnings: vacation fling, allusions to sex, way too short but it is what it is, bittersweet and filled with longing.

a one in a million chance, you know the moment that you crossed over the line. a casual glance, no one has to read between the lines

in the south of france, it was spring time, special feelings come alive, "there's romance in the air, " so they say, love could be a small café

file it under foreign affairs

the hotel sheets were more expensive than what she made in a day.

this particular resort was divided in two: private villas for the rich and honeymooning, those with money to burn, and the hotel itself, where she was staying.

but they say that france is the country of love, a figure of speech that had proven to be very, very true.

“mon amour, you’re awake.” charles said softly, a towel wrapped around his still damp body, droplets running down his toned stomach as he leaned over the bed to kiss her lips. “I was trying to let you sleep in.”

“but it’s my last day.” she frowned, nipples springing to attention underneath the thin silk sheet wrapped around her body. “I want to be out there doing things.”

three weeks of holiday almost didn’t feel like enough. the trip had been a dream, all sun and sand until she met charles leclerc at the bar. she didn’t know who he was, which perhaps helped to build his attraction to her. and he never felt the need to say any more than “I’m an athlete” when asked what he did for a living.

she fell hard and she fell fast as he offered to be her tour guide. being from monaco and having french friends, charles knew his way around all of the best restaurants, sights and beaches.

it was no surprise that after just three days, finding herself tipsy on wine, she ended up naked in his hotel room, tangled in silk sheets.

“but you will be doing things.” charles smiled, leaning over the bed and pushing his lips against hers with an almost featherlight touch, water dripping onto the sheets. “you’re doing me.”

“you’re so bad.” she giggled, fumbling to throw his towel aside, raking her fingernails down his chest. “promise me you’ll make this last day one to remember?”

“oh, mon cher, i plan on it.”

they spent the morning exchanging kisses and orgasms in charles’ bed before she finally went back to her room, legs worse for wear and a little wobbly on her feet before she changed into her swimsuit and made her way to the resorts private beach. Charles had a standing rental for a cabana, so she settled in with her book and a glass of white wine.

the only way she would want to spend her last day: relaxing by the water.

charles had promised her that he had a surprise planned for the evening to come, and he had left to prepare it shortly after she got out of his shower. despite her attempts at getting the monegasque to give her any hints, the driver was silent about his plans.

“wear that tight red dress and those strapped sandals, and meet me in the valet lot.” was all that he had said in regards to the plans.

charles leclerc, european man of mystery everybody.

bags packed and by the door, ready for her early flight, she dressed in the red dress and sandals, curling her hair and spraying herself with bath and body works. sure enough, when she walked to the valet lot, charles was already waiting next to his Ferrari.

god, she was going to miss him.

the night was young as the sun began to set, hands sticking out of the sunroof and wind blowing her hit round her face as charles drove up the coast, the south of france lit up in the half light.

“can you tell me where we’re going yet?” she giggled, eyes closed as charles lead her though a parking lot.

“hang on, hang on, amour. almost there.”

she could feel the floor moving gently underneath her feet as she let charles guide her body, listening to his calming voice when he finally told her to open her eyes.

“oh, charles.”

she was standing on the middle of a large boat, the sun setting over the water and a picnic blanket set up in the middle of the deck as the vessel rocked back and forth in the harbour, the smell of the saltwater filling her nostrils as charles lit the tall candles that were set up around the picnic.

“one last night to remember?”

she smiled, joining him on the blanket as he popped open a bottle of red wine. “one last night to remember. I’ll miss you, leclerc. thank you for making the last three weeks one for the record books.”

charles smiled sadly, still looking like a greek god even with longing etched on his features.

“to the last three weeks, and to what could have been.”

TAGS;

@magnummagnussen @libraryofloveletters @scuderiamh @scuderiasundays @silverstonesainz @diorleclerc @daydreamingleclerc @sidcrosbyspuck @lorarri @thatsdemko @oconso

#charles leclerc #charles leclerc x reader #formula 1 x reader #f1 x reader #formula one x reader #tina: the series by lovelytsunoda #mini fic

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slavghoul · 1 year

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Interview from Upset Magazine 6/2023

Words: Steven Loftin

Like an apparition manifesting within a dense fog, it was through radio static that Swedish rockers Ghost were formed. In the kindergarten he attended as a young boy, Tobias Forge found himself enamoured with the music crackling through the little toy speakers. From this point forward, he began picking apart the notes and melodies - his journey toward the lore and canon coming into focus as he sat, trying to figure out how this black magic could be summoned.

While it would be many years before he would don his garb as Papa Emeritus, the essence of what his future would sound like was being set through his exposure to a wide variety of music. If any proof were needed, just look to the impressive list of covers Ghost have put their ghastly mark upon, including 2016's 'Popestar' EP, which included the band's takes on Echo & The Bunnymen ('Nocturnal Me') and Simian Mobile Disco ('I Believe').

Ghost's latest EP is another covers bonanza. A five-piece offering of Tobias's backstory, 'Phantomime' plays out like a Greatest Hits radio playlist - a fitting throwback to Tobias' first dalliances with music. Of course, when a group more aligned to the metal/hard rock community bust out covers, including Genesis and Tina Turner, eyebrows are raised. To this reaction, Tobias scoffs. "In 1991, Genesis was one of the biggest bands on the planet! That was a huge hit. In the mid-80s, when I had an older teenage brother who rented every VHS movie that came out, of course, we saw the fucking Thunderdome, and that was a huge hit, and it's still being played on Swedish radio. It's an evergreen; it's not an eclectic choice at all," he declares. "I grew up listening to Stranglers because my brother liked them. What else do we have, Iron Maiden - I mean, are you kidding? I'm a metalhead!"

Originally conceived during the sessions for their fifth album, last year's 'Impera', there were two folders on his computer's desktop: one named 'Impera', the other simply 'Covers'. As the ideas for 'Impera' grew, Tobias would enter his usual routine of working on a cover or two. "At any point, when you lose a little wind in writing your own things, it's quite nice to say, 'Today let's go in and work on the covers'; you can choose anything you want, you can work on absolutely anything you want. And you don't have to finish it, you don't have to release it, you don't have to do anything, but just continue working."

He likens it to the freedom of being a theatre owner who, instead of trying to pen the next greatest Broadway phenomenon, opts to have a go at something already timeless and perfected.

"Maybe you're like, 'Okay, so this fall we're just going to do a reinterpretation of Hamlet instead, that's going to be fine, and that keeps everyone working, and that keeps a project moving along! And I find a similar thing with working on covers. So as I was writing "Impera', the covers folder was also growing exponentially and at a point. I had this idea that was going to be a full-length album."

With COVID restrictions meaning the original producer for 'Impera' was stuck in the US, Tobias had to source a replacement. It would be Klas Åhlund who stepped up to the plate. But, on one condition. "He was pretty upfront. He was like. Yeah, I only want to make the record; I don't want to work on covers," Tobias remembers "Fine, fine, fine, that's fine." he shrugs. "So, after the 'Impera' recording was done, I felt as if making a completely different, whole record again: I didn't have time for that. I didn't have the energy for that. But once I trimmed down the number of songs to only these five to make a very rocky record, it loosened up the screws a little bit for me in terms of like, "Okay, so now I know what the EP is going to be - it's going to be a full, full-throttle rock one."

Ditching some rumoured softer covers, including U2, Misfits, and Motörhead. 'Phantomime is instead a delectable slice of Ghost doing what Ghost do best: creating theatrically big rock. It's Tobias's mark upon some bonafide classics, including Iron Maiden's 'Phantom of the Opera' which feels as befitting to Ghost as it does seeing Papa Emeritus kick the bucket ready for his next iteration. While the focus was on creating this small dose of Tobias's musical DNA, it also served another purpose; to simply be "not very complicated." The project began with the mindset of "we can make this recording loosely - quick but stress-free - as opposed to making a record which is your hard fifth record that needs to live up to certain standards. So it was just a very inspired, very simple recording, actually."

After the complexities of 'Impera' which wound up requiring two studios simultaneously running in parallel "to be able to work efficiently" - Ghost was morphing into a taxing experience for the band leader, "It was just a bigger thing [and] way more stressful."

Deciding to strip that covers folder down to the five tracks, by all accounts, 'Phantomime was a measured and reserved effort. "It ended up being me, an engineer, and an occasional musician coming in and doing something. It was so much looser, so much more mentally Feng Shui," he smiles, relief glowing in his voice. "And I think that that reflected a little bit on the two different records. They're meant to be related - they are definitely related - they were made roughly in the same time, but they're completely different things."

'Phantomime' plays out like a ghoulish social commentary. Starting with a searing rendition of Televison's 'See No Evil, the journey traverses the scourge of Televangelism (Genesis' Jesus He Knows Me') with a delightfully-fitting NSFW video, the instant gratification humans require to feel (The Stranglers' Hanging Around"); the pull back into cruel reality (Phantom Of The Opera"), and the resulting undying hope from a degraded society (Tina Turner's 'We Don't Need Another Hero"). Each offering is bolstered with Ghost's dramatic, theatric rock licks and Tobias's powerhouse vocals.

With 'Phantomime' in the bag and the European leg of the 'Impera' tour imminent (Tobias is currently holed up in preparation), the idea of reflecting on how he came to go from a young boy listening to the static sounds of pop hits on the radio to orchestrating not only a feverishly adored band and its lore but finding the capacity to embrace his inner music nerd, couldn't be more timely. Tobias's relationship with music has always been one of intrigue. He's a pop songwriter with the ambition and ideas of a stadium rock band, which, in essence, explains perfectly why Ghost can sit in a unique, exponentially growing and expanding space.

"My earliest inclination of wanting to transform into something else was definitely Twisted Sister," he recalls. "You know, "I Want To Rock' and 'We're Not Going To Take It' - that was a huge record in 1984, and in 1984, I was three years old," he says. "My brother was 16, so everything that was going on pop-culturally amongst teenagers was happening in my home."

It was thanks to his brother that much of Tobias's relationship with music was formed. He's introduced him to various giants of the time, like tectonic plates being pushed around, impacting and shaping his musical landscape. Translating for young Tobias the attitude of punk at the time, as well as everything else that was 'in', he remembers, "When I was a kid, and he was supposed to babysit me, as a pacifier he would put me in front of [Sex Pistols mockumentary film] 'The Great Rock 'n' Roll Swindle"," he laughs. "And then when that was over, he would just switch to [X-rated cartoon] Fritz the Cat. And I loved that stuff, of course. That was as much [about] the expression and the attitude. Of course, I loved the songs, but it was also filtered or combined with big songs for me." Those big songs ("Men At Work 'Down Under'," he initially cites, "those sort of songs still have a unique place in my in my writing") would eventually entwine with his darker side that he'd explore as he grew older. "Whilst my whole adolescence was completely in the name of extreme metal, I always had a very soft spot for Top 40 rock and pop radio always," Tobias explains. "And I've listened to that all my life. So it's almost equal portions of Venom as it is anything. that was on the radio."

Also, witnessing shock and glam-rock bands explode intrigued Tobias. He became swept away in the idea that not only could you push a boundary to its absolute limits with convictions and over-the-top grandiosity, but you could do so with songs that quantifiably bop. But, as time has gone onto prove, it wasn't pop music that enamoured Tobias enough that he wanted to become a pop star. It's the mythology and mystery that has become his calling card.

Tobias remained an enigma under the disguise of an evolving form of the iconic Papa Emeritus (now in his fourth incarnation) until 2017, after a lawsuit from a previous iteration of his backing band's rotating cast, the Nameless Ghouls. Visual and video components to releases are often hoovered up by the fandom, stripped apart for meaning and potential. Instagram posts are referred to as a '[Message From The Clergy]" (a phrase later claimed for 2022's Best Of playlist), and lest it is forgotten, the Ghost 'Grucifix' - the prominent crucifix deconstructed into Tobias's gothic 'G' logo - which ties together the vision, religious imagery and satire that would become a core part of the Ghost experience.

His musical ambition and education colliding in the middle of his Venn diagram between dark metal and pop magic is thanks to the likes of the aforementioned Twisted Sister and W.A.S.P., as well as his teen years in the black metal community. "Their first record was also a huge impact in Swedish media," Tobias remembers. "There was this big sort of Satanic panic thing going on at the time in the fall of 1984. Where you had essentially all those things happening. You had Mötley Crüe 'Shout At The Devil', which came out a year earlier, and they were there because they toured with Iron Maiden in 1984, so there was a lot of focus on these shock-rock bands. I saw that as a kid, and I was immediately blown away - it was the coolest thing I've ever seen. And I think that that was the trigger that made me identify as that is how I want to express myself."

Decoding the songs he'd hear also became an integral part of that expression. "That was the only thing I did for years before I started writing my own songs." Recalling his time in kindergarten, they had a piano and guitar, which Tobias became infatuated with. Instead of playing with the other children, he would find himself enraptured, listening to the radio or flipping over whichever cassette happened to be loaded at the time. He would then imitate the sounds he was soaking up. "A lot of those early beginnings of how to learn and how I've learned how to understand music filters through everything I do now," he explains.

The early records he'd find himself trying to unpack included KISS 'Alive' and Pink Floyd's 'Piper At The Gates Of Dawn' - disparate matches, but undoubtedly Ghost fuel with hard rock melodies and psychedelic tendencies. "I had the first and the second Pink Floyd on a double LP that was called 'A Nice Pair'. And that's the shit that I sat and listened to and played guitar to," he says proudly. "That's weird music, that's really weird chord sequences and melodies that sort of went nowhere. And, that coloured me a lot in my vision of this is how you write a pop song. Of course, I knew more conventional writing as well. But I figured that this resonates with me, and I want to write more like that."

Tobias is the first to admit that the influence his musical exposure has had on him isn't the most straightforward. "For all the years that I was in bands, up until Ghost, basically when I was in bands not doing well, I got a lot of, I wouldn't say stick, but it was always like, 'You write weird songs, there's something weird about them, and it will never really become anything because it has that sort of weirdness to it".

As he grew, the songs he'd heard reflected this inherent strangeness he'd constructed. Before the days of mass formulaic pop factories, the music emanating from the radio abided by the strictest rule of needing to at least be approachable, but within these confines, artists of the 70s and 80s would push the envelope as far as they could. Citing Nik Kershaw's 'The Riddle' as one example, "Holy shit, if you would have taken that song and taken it to a chord structure masterclass amongst pop writers now who want to write songs for Miley Cyrus or The Weeknd or any of that sort of level they would say, no, no, no, no, that this will never work. It's too strange. It's too weird. You can't do that; it doesn't have the normal chord progression.

"There are a lot of songs from the 80s that are like that," he reckons, "compared to the now, more informative way of writing, the 80s was braver actually, and it worked well. And those songs are evergreens in a way that a lot of the top radio shit from seven years ago is forgotten, and that's the stuff that I grew up with when I started playing the guitar."

Having made that inner sanctum, he would enter kindergarten a reality, one where he can explore those recesses of his mind shaken by the musical earthquakes he experienced; now, he's matured and deeply entrenched in the reality. "Throughout the modern day of pop writing, I know a few professional pop songwriters, and we continue having these conversations because in pop," he says, "where some of them work prolifically on really high releases, they're like, it's strange how the business wants everything to be so informative. Everybody wants a weird song, but still, all the big songs are usually very, very formatted [and] very, very simple."

While unpacking the songs he'd heard back in the 80s offered Tobias a chance to comprehend what makes a good song, it, more importantly, helped him to set out doing it on his own. When digging into crafting a new Ghost number, Tobias explains that "each new song is a little bit like virgin territory with its own riddle to be solved, and is always a combination of the horror of maybe not solving the puzzle, with the thrill when you do. And it's never easy because each new song needs something new. And so you constantly need to feed your ability with knowledge about how other things are."

Breaking it down into a figurative example, he likens it to being like a detective. "I'm assuming that part of being a great detective is to constantly have an open mind, but also constantly learning about human behaviour and wha people do. If you just had 100 forensic classes, but you know nothing about people and how they live their lives, it's gonna be hard to solve crimes." The same rings true for writers who have to read to improve and further understand language, while comedians pull from real-life experiences - music is no different. Tobias's early days of stripping down songs to their basic parts and then rebuilding them have remained a constant endeavour. "But that's how you write songs as well; you go and absorb new things."

The covers process, as mentioned, is a release for Tobias. When things are stuck when trying to piece together a new chapter for the Ghost bible, a cover offers up a chance for something lighter. "Working on covers can be equally euphoric," he confirms, "because it's fun to understand a song whereas, on the other hand, it can be almost demoralising because you're like, I can't believe that this song is so much better than anything that I've written! And it's so much easier. It's so simple."

"I find myself overcomplicating things often, but you might not hear the complicated detour that I took to end up at the more understandable, straighter version that ended up being the actual recording," he continues. "That's a never-ending struggle because that's how it's supposed to be. It's not like you write the one song. I don't think I know anyone or know of anyone who's content with the idea of having written one huge song. And then you know, okay, that's nirvana for you. You don't write the one song the same way that if you're a comedian, it's not like, 'Oh, I just told the funniest joke. So now I'm done".

While Tobias is one for wanting to keep the ball rolling and on a constant endeavour to continue his musical evolution, he knows there's a limit. Every release of Ghost must have a purpose. Nodding to the 60s method of firing singles out on all fronts, eventually compiling them for a full-length release, Tobias acknowledges his relationship with his fans is based on a more long-term understanding. "That's not how we do things; we make an album, and off of that album, there are singles - it's a 70s/80s thinking. And I don't want to refrain from that - I don't want too many singles to be these autonomous little creatures."

But the world is different now. It's a Wild West where being in the masses' consciousness is key, so things may have to change for him. Admitting that right now, he knows he's post-release of Ghost's last canon entry, 'Impera', which arrived back in 2022, and while 'Phantomime' is a reasonable enough bridge, sooner or later, he's going to have to play the game of ensuring Ghost ramp up. Earlier this year, Ghost collaborated with Def Leppard's Joe Elliott on a re-release of 'Impera' cut 'Spillways' which, while a fantastic addition to their arsenal, adds to the same notion Tobias is fearful of. "I'm slowly preparing for making a new record that's going to come out in 2024, which is way too long for the current contemporary music climate; you need to be ever-present," the last phrase hanging in the air ominously.

That doesn't mean he has to lower his standards, however. No Ghost release will exist just for content's sake. Everything must have its place. He even reckons a 14-track album is "a lot of music", and he still sees an album as being "22 minutes of music per side" - true to form, currently, no standard issue of any Ghost album breaches 12 tracks. He's even ready to aim for the likes of The Rolling Stones and The Beatles by swiftly lobbing a couple of spicy takes out. "Look, man, I don't even think that 'Exile on Main Street' is that good. Not even the fucking White album is that great - break it up! Both of those records would have been better if they were trimmed down to singular records."

That pop mind breaking through; Tobias is someone who knows that music is entertainment. Certainly, a medium which often leads to more bulky connotations, but it must entertain. It's why he doesn't pay any mind to those naysayers that yearn for Ghost to be more metal or to follow a different path. This is Tobias's game; we're just privy to the sermon. These days the floodgates are open and, when compared to previous decades, as Tobias remembers it, "you had to buy your own records. Whatever additional music you got, that wasn't maybe heard on the TV or the radio, when you took something from someone else, was usually a choice, so music styles could in some way be a little bit more insular back then just because you weren't subjected to as much." He mentions his beloved death metal as being a signifier of the changes happening. "Back in the day, when I was starting listening to extreme metal, that was completely embraced by a certain little subculture or group of mostly teenagers and 20-somethings. Whereas in the 2000s, when Vice started doing black metal reporting, all of a sudden you have indie personalities who were fans of Darkthrone, and so, obviously, what ended up that turned into this fusion, which was a positive and very natural thing."

This cultural shift is another reason Ghost's space is widening and its success growing. "Nowadays, people are a little bit more open," he admits. But, with this comes issues. "As time has progressed, metal and hard rock, as well as most genres that have been around for a while, [they've] gone from this youth culture to a conservative institution because so many of the fans are now aged." The passage of time waits for no one. But, more presciently for culture, it also means our understanding of what is 'good' and what should be where is moulded differently to when we were younger. "Unfortunately, that happens to most people regardless of who you were when you were 20," Tobias reckons, "or your ideals when you're like 40/50/60 years old. Your brain starts morphing into a slightly more conservative, slightly more nostalgic... You don't want things to change."

Tobias is the first to hold his hands up and admit the same has happened to him. He yearns for 1984 and even 1990-94. He would even be happy with 1987, back to those days with the crackling radio and a childlike spirit. "That would be so much cooler. I loved that way more than in this day and age. But I can't sit around and mope about that because it's not a problem that it's not 1987."

'Phantomime' is proof nostalgia can be a useful tool. It fuels with passion, and Ghost is Tobias's Neverland. "There's such a debate about what we are and why that is." Ghost are a band that, thanks to Tobias's musical education, transcend time. They exist on their own plain and with the evergreen, timeless sounds of yesteryear echoing around Tobias's head, long may Papa reign with his gloved melodic iron fist.

#the band ghost #tobias forge #interview #really good one 👍

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legendarytragedynacho · 8 months

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Young Tina Turner

#tina turner #ike and tina turner #music #musician #musica #singer #rock #pop rock #dance rock #soul music #rythm & blues

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musicrunsthroughmysoul · 6 months

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I have every intention of making a Fanny gifset highlighting June Millington playing slide guitar, but I also have to go with my gut which tells me that more people need to see Jean Millington's power and effort that she puts into Fanny's versions of "Young and Dumb" in the hope that folks will eventually go and listen to it and be equally as blown away.

#crystal visions of lilies in the valley #everyone needs more June playing slide guitar in their eyeballs but also hopefully in their earholes too #but Jean's performance singing ''Young and Dumb''...holy jesus. I mean even WATCHING it is like...a religious experience #(and I'm not religious!!). so for her I'm sure it is a lot like that except also a whole lot of effort to match goddess Tina Turner

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sharoscylla · 26 days

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Actually I think I deserve to be feral about Tommy 1975

it's a rock opera and it's got elton john and tina Turner in it, yeah, it's got the pinball wizard song, right, goofy times with the who

Tommy Walker is explicitly disabled in a way that reads nowadays as autistic and traumatized, and canonically experiences neglect, physical abuse, and childhood sexual abuse because of the ways in which he is disabled. he is sexually abused by his uncle and, arguably, his cousin, stepdad, and mom. (I think the beans/soap/mirror bedroom "Tommy Can You Hear Me" sequence is. unfortunately. an extremely thinly veiled metaphor.)

his disabilities combined with his talent for pinball turn him into an exploited child/young adult celebrity that his family uses to build their own personal wealth and he gets turned into inspiration porn for the pseudochristian cult they start, which expands further when he "miraculously" regains his sight, hearing, and speech as a 30 year old christ allegory. it's wretched because he does genuinely feel like he can help people by sharing his lived experiences with them, but it's too late - his parents have already turned his example and teachings into a pricey commodity and people who have paid every penny they owned for enlightenment end up violently rebelling against the lies they were (literally) sold, despite Tommy's best intentions.

and what does he get after a lifetime of suffering that culminated in his genuine attempts to help people? he sees his family murdered, everyone who ever supported him marching away into the distance, and he swims off into the sea and to apparent enlightenment, alone.

just. it's such a movie. I must've watched it a couple dozen times in my teen years. it's absolutely the product of its time but it's got a LOT to say about the exploitative nature of organized religion, cults, faith healing, "Disability Parents" (you know what I mean,) show parents/parent managers, cycles of abuse/exploitation, cycles of trauma, military worship, incest, heteronormativity/corrective rape, celebrity worship culture, etc... and like! it's not for everyone, but I still think everyone should have to watch it at least once.

anyway Tommy 1975 everybody. if you pick only one 50 year old Problematic Media to consume this year please pick this one. I need more people to talk to about Jack Nicholson's cameo and the Themes and the Bean Scene and the Ska Enjoying Cultists.

#tommy 1975 #tommy walker #tommy the who #blease someone watch this movie...#this movie is SUCH an experience #i would like more people to discuss this album/movie with tbh #i would love to like... explain any questions anybody has during a group watch tbqh #I had many questions when watching it 20+ years ago so it's only fair #clutches chest #you don't understand... there's SO much in this movie...

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breezingby · 5 months

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Notable Deaths in 2023 . . .

Tom Smothers (February 2, 1937-December 26, 2023)

Ryan O'Neal (April 20, 1941-December 8, 2023)

Legendary TV producer Norman Lear (July 27, 1922-December 5, 2023)

Sandra Day O'Connor (March 26, 1930-December 1, 2023)

Former first lady Rosalynn Carter (August 18, 1927-November 19, 2023)

Pulitzer Prize-winning composer David Del Tredici (March 16, 1937-November 18, 2023)

A U.S. Air Force fighter pilot and instructor at West Point, astronaut Frank Borman (March 14, 1928-November 7, 2023)

College basketball coach Bob Knight (October 25, 1940-November 1, 2023)

As Chandler Bing, a quick-witted, sarcastic member of the coterie of "Friends," Matthew Perry (August 19, 1969-October 28, 2023)

As the star of the trailblazing 1971 action movie "Shaft," Richard Roundtree (July 9, 1942-October 24, 2023)

Actress Phyllis Coates (January 15, 1927-October 11, 2023) "Adventures of Superman."

Character actor Burt Young (April 30, 1940-October 8, 2023)

Irish-English actor Sir Michael Gambon (October 19, 1940-September 27, 2023)

Actor David McCallum (September 19, 1933-September 25, 2023)

The songs of Jimmy Buffett (December 25, 1946-September 1, 2023)

Singer Tina Turner (November 26, 1939-May 24, 2023)

Canadian singer-songwriter Gordon Lightfoot (November 17, 1938-May 1, 2023)

. . . And MANY More...I just couldn't post ALL of them.

NOTHING Last Forever...! (Remember That)

#Notable Deaths in 2023 #photography #memories #. . . Don't Let Go !!!

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libraford · 1 year

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Okay what is this Lavendar scare you mentioned and what does it have to do with the golden age of Hollywood?

I see that post is making the rounds again.

I'm going to be brief on this because I only got like 10% battery.

The Lavender Scare overlapped the Red Scare in the 50s. Homosexuals were considered to be security risks and communist sympathizers, so we were removed from government positions because they thought we were more susceptible to being manipulated. There was also a lot of moral panic happening at the time.

Judy Garland has long been considered a gay icon, despite not being gay herself. She was young when she became famous and her private life was made very public- namely addiction and divorce.

Gay men sympathized with her struggles and her live performances were often packed with homosexuals. When asked about this, she said she didn't mind at all. During a time when we were losing jobs for our sexuality and forcefully outed by the government, this was a very big deal.

And that's why you see a lot of drag queens doing Dorothy impressions, but also other celebrities like Barbara Streisand and Tina Turner. A lot of people were maligned for being pro-gay, and this is one way that we honor their memory and our roots at the same time.

I'm probably missing some details because it was before my time, but that should get you started. There's a 2017 documentary called 'the Lavender Scare' that's worth taking a look, as well.

And now I'm at 6%.

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queenie435 · 3 months

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FIRST SUCCESSFUL FEMALE STANDUP COMEDIAN

Loretta Mary Aiken (March 19, 1897 – May 23, 1975), known by her stage name Jackie "Moms" Mabley, was the first successful female standup comedian and had a career that spanned over 50 years. Moms bridged the gap between vaudeville and modern stand up comedy. She was also the first woman comic to be feature at the Apollo theater and Carnegie Hall in 1962.

Moms Mabley was born Loretta Mary Aiken in Brevard, North Carolina, to a large family. She experienced a horrifying, traumatic childhood. Her firefighter father was killed in an explosion when she was 11 and her mother was later hit and killed by a truck on Christmas Day. By the time she was fifteen she had borne two children resulting from sexual assaults: the first by a neighbour when she was twelve, and the second, two years later by a local sheriff. Her stepfather, who had remained her guardian, gave both children up for adoption and then forced Moms to marry a much older man who she despised.

Aiken left home at the age of 14 and pursued a show business career, joining the African-American vaudeville circuit(aka Chitlin' Circuit)as a comedian under the Theatre Owners Booking Association, Fellow performer Jack Mabley became her boyfriend for a short time, and she took on his name, becoming Jackie Mabley, with "Moms" coming from her eventual reputation as a mentoring, mothering spirit.

Moms saw an opportunity to try out her own voice, and discovered that she was a natural at singing, dancing and telling a joke. Especially telling a joke. She realized she had something that many of her contemporaries didn’t - original material. Since her sheltered life had hampered any introduction to current comedy routines, Moms inevitably began to craft authentic pieces based on her own experiences, much of it based on Granny’s pearls of wisdom.

Moms talked to her audience as if they were her children. She delivered superbly solemn routines, original in their time yet amazingly, never bettered. As soon as Moms delivered her opening line “I 'gots' something to tell you...” she immediately captured the attention of everyone in the room - and those rooms were full for over fifty years.

By the early 1920s she had begun to work with the duo Butterbeans & Susie, and eventually became an attraction at the Cotton Club. Mabley entered the world of film and stage as well, working with writer Zora Neale Hurston on the 1931 Broadway show "Fast and Furious: A Colored Revue in 37 Scenes" and taking on a featured role in Paul Robeson's "Emperor Jones" (1933).

Starting in the late 1930s, Mabley became the first woman comedian to be featured at the Apollo, going on to appear on the theater's stage more times than any other performer. She returned to the big screen as well with "The Big Timers" (1945), "Boarding House Blues" (1948), and the musical revue "Killer Diller" (1948), which featured Nat King Cole and Butterfly McQueen.

By the late 1950s Moms Mabley was one of the highest-paid comics in the US, making $10,000 a week. Mabley's standup routines were riotous affairs augmented by the aesthetic she presented as being an older, housedress-clad figure who provided sly commentary on racial bigotry to African-American audiences. Her jokes also pointed towards a lusty zest for younger men.

Mabley began a recording career with her Chess Records debut album "The Funniest Woman Alive," which became gold-certified. Subsequent albums like "Moms Mabley at the Playboy Club," "Moms Mabley at the UN" and "Young Men, Si - Old Men, No" continued to broaden Mabley's reach (she ultimately recorded many albums). She landed spots on some of the top variety shows of the day, including "The Ed Sullivan Show," and graced the stage of Carnegie Hall.

Mabley continued performing in the 1970s. In 1971, she appeared on The Pearl Bailey Show. Later that year, she opened for Ike & Tina Turner at the Greek Theatre and sang a tribute to Louis Armstrong as part of her set.

Mobley had a starring role in the 1974 picture "Amazing Grace," which she was able to complete despite having a heart attack during filming.

Over the course of her life, Mabley had six children: Bonnie, Christine, Charles, and Yvonne Ailey, and two placed for adoption when she was a teenager. She died from heart failure on May 23, 1975, in White Plains, New York.

Actress Clarice Taylor, who portrayed Bill Cosby's mother on "The Cosby Show" and was a major fan of Mabley's work, staged the 1987 play "Moms at the Astor Place Theater, in which she portrayed the trailblazing icon.

Fellow comedian Whoopi Goldberg made her directorial debut with the documentary "Moms Mabley: I Got Somethin' to Tell You, which was presented at the Tribeca Film Festival and aired on HBO in 2013.

#black history month #black history #comdey #comedian #Loretta Mary Aiken #carnegie hall #vaudeville #Jackie Moms Mabley

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