anderson hunt

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Robotech Defenders, January - April 1985, published by DC Comics.  Cover art on #1 by Judith Hunt & Murphy Anderson, #2 by Mike Manley and Murphy Anderson.

The first ever Robotech comic wasn’t an adaptation of the Harmony Gold anime, but this unrelated 2-issue mini-series (note the cover for #1 states it would be a 3-issue mini, but issues 2 and 3 were edited into a single no-ads book length conclusion).  This was a tie-in to model kit manufacturer Revell’s Robotech Defenders line of mecha kits taken from various early-80s anime, including Super Dimensional Fortress Macross, Super Dimension Century Orguss, and Fang of the Sun Dougram.

Harmony Gold licensed Macross for U.S. distribution in 1984, but since Revell had already released Macross mecha kits, putting a damper on H.G.’s merchandising plans, the two companies signed a co-marketing agreement, part of which was that Harmony Gold’s edited Macross would be re-branded as Robotech when it was aired in America in 1985.

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GIF HUNT → COOPER ANDERSON

Below, you’ll find #187 gifs of COOPER ANDERSON aka Matt Boimer’s role on Glee. All GIFs were made by me, so please, don’t claim them as your own. Reposting these GIFs is strictly forbidden. All GIFS under 2 MB and are suitable for roleplay use. Please, like or reblog this post if you plan on saving these GIFs, of if you found this helpful in any way, shape, or form. Thank you, and enjoy.

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Mezzo-Soprano, Pappano's Classical Voices - BBC Four
Exploring the role of the mezzo-soprano, who often plays the rival or the villainess.

This episode is scheduled to air on BBC Four on July 12. Description from the BBC website: 

Series in which conductor Sir Antonio Pappano (music director of the Royal Opera House since 2002) explores the great roles and the greatest singers of the last hundred years through the prism of the mainclassical voice types - soprano, tenor, mezzo-soprano, baritone and bass. Through discussion, demonstrations and workshops, Pappano explores every aspect of the art of great singing.

The lowest female voice type, and the one closest to a woman’s natural speaking voice, the mezzo-soprano only rarely plays the name part. But when she does - in Carmen, Samson et Dalila, and La Cenerentola - the fireworks begin. More often, she’s the rival, and the villainess.

Antonio explores the particular effect the mezzo voice has on the audience. Her low, sultry tones make her voice perfect for the earth goddess, but also the enchantress, the siren. But she has to sing nearly as high as the soprano. So how does she do it? What is the ‘chest voice’ and what effect does it have? How do you sing ugly to convey the evil of a character without destroying your voice, and at the same time unearth some redeeming qualities?

Antonio finds out what makes the mezzo tick by looking at great performances from Giulietta Simionato, Kathleen Ferrier, Marian Anderson, Shirley Verrett, Cecilia Bartoli and Lorraine Hunt Lieberson, and taking soundings from Janet Baker, Christa Ludwig, Joyce DiDonato, Felicity Palmer and Sarah Connolly.

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The one thing I do believe as a feminist is that in order for us to have gender equality we have to stop making it a girl fight and we have to stop being so interested in seeing girls trying to tear each other down – it has to be more about cheering each other on as women.” 

Taylor being completely happy living her life with her friends in 2014. 

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