*stuart little


endless list of favorite characters + Mary Stuart

“ I will let no one, not Elizabeth, not any usurper, take my country from me. Since I was a babe, I have been a Queen. Since a child, I have been alone on foreign soil. I know how to keep my life, my crown and I will. “

What Makes the Stones the Stones aka Stones vs. Beatles

The story is the stuff of rock and roll legend. Two old school friends run into each other on the London tube. One has a stack of records under his arm. The other can’t believe that they are the same then-little-known blues and rock and roll records with which he is obsessed. They get to talking and soon, with the help of a few new friends, a band is formed. We can all thank the fates that Mick Jagger and Keith Richards got on that train together.

In 1962 the first iteration of the “Rollin’ Stones” played their first show. The next year, the band’s original line up (Mick Jagger — vocals and harmonica, Keith Richards — rhythm guitar, Brian Jones — lead and slide guitar, Charlie Watts — drums, Ian Stuart — piano) found its groove. Performing covers of American blues and rock and roll songs, the Stones cultivated a following in London. They soon found themselves recording and signed to a label. Confronted with what songs to release, they regularly made decisions that, in hindsight, provide a neat contrast to their main contemporaries, and rivals for the spotlight, the Beatles.

It is impossible to understate the cultural impact of the Beatles. The first boy band. Beatlemania. The Ed Sullivan Show. Four scrappy lads from Liverpool with a love of 50s rock and roll introduced a whole new generation to the hip-shaking truth that Elvis first brought into popular culture. But their innovation was that they did so in a way that not only made teens scream, but also let parents (the hipper ones anyway) tap their toes too. Songs like “Please Please Me” are the kind of harmonizing, major-key rockers that made the Beatles a force to be reckoned with. The title also offers the kind of clever twist that make Lennon/McCartney one of rock and roll’s premier songwriting teams.

In contrast, the Stones put out altogether swampier, rootsier, and more deadly material. Even their more pop-oriented fare had a different edge (“Let’s Spend the Night Together” [more overtly sexual] “Mother’s Little Helper” [the horrors of suburban life laid bare] “It’s All Over Now” [a song about love that also summons the apocalypse in its title]). Released only two years after “Please Please Me” the Stones’ cover of Howlin’ Wolf’s “Little Red Rooster” — to this day the only blues song to be number one on the charts —  is everything the Beatles are not. It is slow, sinuous, and features a solitary vocal presented starkly against a slinking, unsteady slide guitar. As is so often the case with the Stones, as a counterpoint to the molten menace on top, there is an undeniable groove underpinning the whole ramshackle structure with Richard’s rhythm guitar melding perfectly with Charlie Watts’ sparse drumming and Bill Wyman’s tasteful bass.

The videos of the Stones performing “Little Red Rooster” provide another window into how they differ from the Beatles. When the Beatles performed for television, they were united. Brought together by their similar haircuts and matching suits, they bopped along amiably and wore their electric guitars in matching poses. Paul McCartney’s left-handedness meant that he and Lennon looked even more perfect; mirror images coming together to sing harmony parts and splitting into flawless reflections of each other on either side of the main microphone. In interviews, all four were affable and, while potentially snarky, always goofy and likable.

The Stones by contrast were a much surlier and more rag-tag bunch. Keith Richards has said: “You either wear the white hat or the black hat. They wore the white so…” This makes it sound like the band had no choice. The truth is the black hat fit more naturally on the Stones. There are two illustrative videos of the band performing “Little Red Rooster.” In one they are crammed together on a tiny “stage” surrounded by hip teens. Keith is playing a big acoustic guitar that he struggles to find room for, and Brian Jones has an electric that looks like it flew in from space. Mick struggles for space in the center, selling the lyrics with flicks of his expressive eyes, and Bill Wyman looks like a statue off to the side; one that happens to play bass. The group has no natural visual cohesion. They are shoved together by happy accident, the ties that bind them, strictly musical.

The other video of “Little Red Rooster” is much starker, almost shocking. The camera opens on a dark soundstage. Tree branches flicker in the front of the frame as mausoleum doors swing open. Mick Jagger stands alone on a blank set that is dimly reminiscent of a nocturnal graveyard. The camera swings down from its starting height and comes to fix on his face. As it moves in we see him lazily flipping a harmonica over and over in his hand. In that moment it may as well be a switchblade glinting in the moonlight.

The rest of the video is almost entirely focused closely on Mick’s face; the sole spot of light in the deserted studio. The band are revealed only as barely-lit specters at the very end of the song. Jagger throughout always knows which camera is on him at any given time. He switches his gaze between them effortlessly. Every hint of innuendo and danger in the lyrics is made explicit (but not cheapened in being revealed) by his subtle gestures and movements. This is not the Mick Jagger that dances across stadium stages, but the communicator. In this video, the enigmatic storyteller who can deliver any lyric, shows himself.

Imagining the Beatles even attempting something like “Little Red Rooster” is impossible. Envisioning any of them doing what Jagger does in that video is equally impossible. The Beatles and the Stones have many similarities. It would be foolish to deny that. However, there are also significant and important differences between the two bands. The Beatles, Liverpool boys from a working class town, and the Stones, middle class art school drop outs from soon-to-be-swinging London, were on similar but increasingly divergent paths. Thrust together by popular music’s appetite for opposition and their respective manager’s desire to cash in on the success of the other, the band members never harbored any animus towards each other. Even on their earliest recordings, the elements of what make these two pillars of contemporary rock and roll so wonderfully different were present. The Beatles had an ear for harmony and looked to early rock and roll to find their greatest inspiration. The Stones had an innate talent for drama and danger and found the blueprint of their voice in the work of delta and Chicago blues men as well as the harder rocking elements of the first wave of American rock and roll. These two starting points are what lead these two bands made up of men of similar ages with similar interests to, by 1969, record albums as exceptional and different as Abby Road and Let it Bleed.

stuart little as a movie fucks me up so much tbh.  like they just walk in a pick up this mouse from the orphanage? there are no papers or anything?  And they adopt the mouse when they have a cat at home?? not to mention are mice talking just accepted in the universe? cause the cat doesnt talk with people but mice apparently do and have a system for adoption with humans set up? wouldnt that make lab research unsettling, cause ya know, you could accidentally kill your coworker when testing.

god this movie gives me a fucking headache

why is going fishing seen as a fun family activity, but killing dolphins or whales is globally protested?

why is it seen as totally normal to kill and eat piglets, chicks, lambs, calves and ducklings, but people would be sent to jail for doing the same to kittens or puppies?

why is fur seen as cruel and unnecessary, but leather is the norm?

why do we hate cruella deville and the humans trying to kill babe or wilbur, but then financially and morally support those same actions each day ourselves?

why do we love nemo, simba, free willy, bambi and stuart little, but then kill them, eat them, enslave them or subject them to a life of experimentation?

why was there a global outrage over the yulin dog festival and cecil the lion, while we do much worse to other animals every single day?

why are we so violently opposed to seaworld holding animals captive for human’s entertainment, yet have no issue with paying for other animals to be killed, skinned, burned, cooked and packaged for our tastebuds and pleasure?


Because I couldn’t help myself….

Compilation of clips of Benedict Cumberbatch Singing from 2005 - 2016. Ranging from Ben singing “opera” in To the Ends of Earth to his latest signing feat of joining Pink Floyd on the stage of Royal Albert Hall.