Before he ever met Johnny Ghost he had a childhood friend named William Barricade who played secret agents with him. Johnny first met Johnny Ghost during his school years. They had many curious childhood incidents together, including Toast accidentally spilling Ghost's Barbies and replacing them with GI Joe, which gave Ghost's mother a fright.
Johnny Toast respects Johnny Ghost, and despite Ghost being younger than him and his childhood friend, Johnny Toast still refers to him as 'Sir'. He found out about Johnny's other side during a routine hunt, yet still sticks with him. However, he has found ways to pacify Jimmy Casket. Whenever Johnny Ghost begins to have an 'incident', Toast makes him a calming cup of tea and it often does the trick. He does have an alcohol problem, but he still manages to take care of his best friend, even when tipsy.
Never drink the tea from his favorite mug. Chances are there's whiskey in it. He always has a flask of whiskey on hand. He will fight for his whiskey, and sometimes pouts about it when Ghost takes it away from him. Whenever Johnny Ghost is around Johnny Toast, he finds his mind at it's clearest. No laughter, no drumming, as if his alter ego Jimmy Casket has no hold on his mind. Sadly, Johnny Toast can't be around all the time. It is known that Jimmy is held back by the lovely taste of Johnny Toast's delicious homemade tea.
During a rollerblading session, Johnny fainted and had an accident which Johnny's mother blamed on Ghost, because he was conducting an experiment to replicate the effects of Frankenstein's monster. It has been stated that Toast "Taught [Ghost] everything [he knows]" about ghost hunting, and is that Toast actually started the ghost hunting business, and not Ghost.
Johnny has written at least 3 books on ghost-hunting although one may actually be a cookbook. Around this time he was in the Boy Scouts. After school ended Toast returned to England whilst Ghost kept in touch with him as a pen pal, and occasionally via long-distance telephone. Toast went to Harvard University, Cambridge, where he earned his degree.
At some point, he settled down briefly and got married. One possible motive for his initial involvement in P. Interestingly his wife is said to have died in the s though at the time they appeared to be in the s so time travel may have been involved. When Light Zeron revealed he was a vampire he told Toast that his past was a lie and that it wasn't his real memories, he also said he wanted revenge for leaving him at the orphanage. Whether this means they are related or not is unknown.
Although this may have not been Zeron seeing as he had a different model and voice. Toast got the idea for becoming a Paranormal Investigator from his longtime friend Johnny Ghost, who had long spoken of his ambition to become one.
However, Johnny Ghost was too young to get a license, whereas Toast was not. During some point in time, Johnny Toast became a dealer of Macaroni , which today acts both as a side job and a way to pay for P. E's financial worries. Why he would have financial worries when he came from a rich family is unclear. During an investigation documentary that led him and Toast to the house of Swift Taylor , Toast was shot and killed with a harpoon apparently wielded by Bonnie ; however, he was revived with Taylor's balloons.
Later, Ghost was killed by an animatronic and revived, but in his case, he turned into a puppet. Taylor stated the only way to restore him was to jump off the tower and conquer his fear. He was unable to however and, much to Toast's alarm, floated off into space to meet "his people". Toast tried to use his superpowers to rescue him; however, Ghost fell and disappeared.
Taylor was then killed by Freddy and Toast fled the scene, alone. He then proceeded to shoot Toast in the head, saying, "Wake up, Johnny. Wake up. The real Toast was not featured for several weeks after this, although versions of him were present in Ghost's dream. In real life, he apparently tracked Ghost's progress and intercepted his return to Earth by boat on Hell's Island , Germany.
Unfortunately, the area was apparently involved in an unspecified epidemic which claimed the life of the Captain; the only survivor, later nicknamed Barnacle by Ghost and believed to be the sister of one of them, wore a gas mask and insisted that Ghost was infected. They proceeded through the town, trying to find a way to escape; in between episodes Toast used peanut butter to return Ghost to his human form; and Barnacle was revealed to have horribly decayed flesh, although she claimed: "it's just a bodysuit".
In the end, they escaped the island on a train; it is unknown what happened to Barnacle after that Barnacle presumed by some to be cardboard friend.
Ghost and Toast returned to America and P. Johnny Ghost and Johnny Toast were surfing off a coast when Toast performed a degree jump whilst whistling the British National Anthem at the same moment as an alien spacecraft came overhead and Ghost and Toast were caught in a tornado. Ghost was then hit over the head with Toast's board, knocking him out.
They were then transported to a medieval town via an unstable time warp that caused Ghost to occasionally phase through the space-time continuum and turn into Spencer. They sought out the leader of the town, Miraak , who asked them to help him defeat the enemy army and the dragons that threatened the town.
Though Toast was constantly trying to get at the Viking ale, they eventually did and subsequently left, erasing the Middle Ages in the process and creating The End. They spent several months in Lucario's Medieval Planet before returning home.
A time portal returning them home caused Ghost to become extremely short and they rematerialized in what appeared to be a factory. They started to investigate as they were getting paranormal readings. This article contains wording that promotes the subject in a subjective manner without imparting real information. Please remove or replace such wording and instead of making proclamations about a subject's importance, use facts and attribution to demonstrate that importance.
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The back insert of the CD in later pressings has the MCA distribution information erased with a black Sharpie mark as evidence of this. The CD features two different covers. The US edition features a painting by Matthew Joseph Peak and the European edition features the original film poster and stills from the film for its artwork.
A production issue arose as two titles were assigned the same number and this title was released with XCD as part of their Colossal Records series. Kunstler assigned a number, planned for released and cancelled. Legal issues arose after Disney changed the film's title caused the run to be withdrawn after it was prepared for release.
The Cat! The later US pressings featured a different cover that was a little more generic. Seuss' Horton Hears A Who! Kaczmarek VSD P. White's Charlotte's Web - Richard M. Ernest Green cond. VCL Jekyll And Mr. All titles and contents of this set are listed below. An error occurred during pressing as the title was assigned the catalog no.
Rather than cancel the run, the label reassigned it to this series. Retrieved 16 May Retrieved 16 May — via Amazon. But what does it take to listen to Johnny Guitar Watson's one note, and know that he's doin' that? Did you ever point that out to a reader? Did you ever get across that there's something more to it than rilly-rilly-ree?
Zappa : "I wouldn't say that Gatemouth sounded so blasphemous. Johnny "Guitar Watson" was an extremely evil-sounding guitar player at the time, but the smuttiest one I heard was Guitar Slim [Eddie Jones] The thing that I liked about the two solos I heard when I was 16 that really intrigued me — the solo on " Three Hours Past Midnight " and the solo on "The Story Of My Life" — was not just the tone of the instrument but the absolute maniac way that he spewed out these notes in a phrase with little or no regard to the rest of the meter or what was going on, but still being aware of where the beat was.
He was just yellin' it at you. Interviewer' : More like a voice, which is how you think about your own solo playing. Zappa : "Yeah, I think that's the most direct way to communicate with somebody, using speech rhythms. Once again, his memoirs sum up both the moment and his retrospective feelings about it:. As for myself, it was a symbolic gesture; it was in this hall that I had given my first recital in London [in ] and playing there for the last time in my life made me think of my whole career in the form of a sonata.
The first movement represented the struggles of my youth, the following andante [stood] for the beginning of a more serious aspect of my talent, a scherzo represented well the unexpected great success, and the finale turned out to be a wonderful moving end. Now that Rubinstein is dead, it is at last possible to assess his achievement as an artist.
No one will dispute that his audiences enjoyed his concerts. But there is a deeper question to be answered: just how well did Rubinstein play? There are something like one hundred of them, and they cover, with few exceptions, the repertory he played during his lifetime. Here are most of the great romantic concertos and many of the classical works for piano and orchestra; here too are almost all the solo works of Chopin, several of the most popular Beethoven sonatas, some of the most important solo works of Schumann, and a smattering of the earlier 20th-century music Rubinstein played not out of duty but out of liking.
And there are numerous examples here of chamber music for piano and strings, a genre which Rubinstein cultivated even at the times of his busiest concert activity. In his records, one always hears clearly articulated melodies, proudly carried high above their pianistic background.
The records are at their weakest, it seems to me, in performances of pre-Romantic music. Rubinstein was renowned during his American heyday as a Brahms interpreter, and those fortunate enough to have heard him play the B flat Concerto in concert as late as will recall the magisterial approach he brought to this work, A recording with Josef Krips and the RCA Symphony Orchestra and a concert recording with Witold Rowicki and the Warsaw Philharmonic demonstrate not only how completely Rubinstein identified with this style, at once knotty and luxuriantly romantic, but also how well its technical problems were under his control even as he grew older.
By contrast, his last recording of the piece, with Eugene Ormandy and the Philadelphia Orchestra about , though pianistically vastly superior to his final Beethoven concerto efforts, can be no more than a souvenir for those who remember the artist in earlier and better days. In his concerts, this tone was always in the forefront; though it did not always survive in reproduction on modern records, it can be heard in the numerous short solo pieces of Brahms recorded by Rubinstein in the early days of stereo.
Throughout his American career, Rubinstein was most famous as a Chopinist. His Chopin repertory was enormous, and he drew on it often in his recitals.
That picture is essentially ruminative, gentle, often introverted, and also often backward in rhythmic impetus.
The Chopin presented by the later Rubinstein is a poet rather than a virtuoso, a self-reflecting musician rather than the heroic lion of the keyboard. Even where Rubinstein evidently decides to gamble, to push his fingers beyond their comfortable competence, as in the later recordings of the two Chopin concertos, the result is forced and artificially brilliant; the whole somehow suggests those reproductions of paintings in which special care has been taken to make the colors seem bright and compelling.
To do this requires a kind of forcefulness Rubinstein clearly no longer possessed. Enough has been said here to paint the essential outlines of the Rubinstein we can now hear in stereo. His recordings of later music, including the Rachmaninoff C minor Concerto, the Paganini Rhapsody, and the Tchaikowsky B flat major Concerto, are still in the catalogues.
The late recording of the Rachmaninoff C minor with Eugene Ormandy and the Philadelphia is notey and tame, altogether inferior to the earlier stereo version still available with Fritz Reiner and the Chicago. The Paganini Rhapsody again with Reiner and the Chicago is a not very satisfactory account of a score Rubinstein learned relatively late in his life and with which he always had technical trouble. David Crockett's Speech Raid for Cattle Tennessee Babe Here's to the Ladies Ballad of the Alamo The Green Leaves of Summer General Santa Anna David Crockett Finale CBS Records CBS Records S Image supplied by souichi sugano.
Raid For Cattle Tennessee Babe Oh,Lisa Here's To The Ladies Ballad Of The Alamo The Green Leaves Of Summer General Santa Ana Image supplied by sarah. Columbia CL Overture Orchestra. David Crockett Arrives Orchestra. David Crockett's Speech J. Wayne with Orch. Raid For Cattle Orchestra. Tennessee Babe Oh, Lisa! Chorus - No Accompaniment. Here's To The Ladies Orch. General Santa Anna Orchestra. David Crockett J. Finale Chorus - No Accompaniment. Image supplied by Thomas Kiefner. Columbia Records CS David Crockett's Speech vocal John Wayne.
David Crockett vocal John Wayne. Columbia Records LLLabel: Cube Records - HIFLY 32 • Format: Vinyl LP, Reissue • Country: New Zealand • Genre: Classical • Style: Acoustic.