Which Author Wrote Stay Away, Mr. CEO! And Other Novels?

Lately I've been curating playlists for scenes that don't shout—more like slow, magnetic glances in an executive elevator. For a CEO and bodyguard slow-burn, I lean into cinematic minimalism with a raw undercurrent: think long, aching strings and low, electronic pulses. Tracks like 'Time' by Hans Zimmer, 'On the Nature of Daylight' by Max Richter, and sparse piano from Ludovico Einaudi set a stage where power and vulnerability can breathe together. Layer in intimate R&B—James Blake's ghostly vocals, Sampha's hush—and you get tension that feels personal rather than theatrical. Structure the soundtrack like a three-act day. Start with poised, slightly cold themes for the corporate world—slick synths, urban beats—then transition to textures that signal proximity: quiet percussion, close-mic vocals, analog warmth. For private, late-night scenes, drop into ambient pieces and slow-building crescendos so every touch or glance lands. Finish with something bittersweet and unresolved; I like a track that suggests they won’t rush the leap, which suits the slow-burn perfectly. It’s a mood that makes me want to press repeat and watch their guarded walls come down slowly.

Toy history has some surprisingly wild origin stories, and Mr. Potato Head is up there with the best of them. I’ve dug through old catalogs and museum blurbs on this one: the toy started with George Lerner, who came up with the concept in the late 1940s in the United States. He sketched out little plastic facial features and accessories that kids could stick into a real vegetable. Lerner sold the idea to a small company — Hassenfeld Brothers, who later became Hasbro — and they launched the product commercially in 1952. The first Mr. Potato Head sets were literally boxes of plastic eyes, noses, ears and hats sold in grocery stores, not the hollow plastic potato body we expect today. It was also one of the earliest toys to be advertised on television, which helped it explode in popularity. I love that mix of humble DIY creativity and sharp marketing — it feels both silly and brilliant, and it still makes me smile whenever I see vintage parts.

Vintage toy shelves still make me smile, and Mr. Potato Head is one of those classics I keep coming back to. In most modern, standard retail versions you'll find about 14 pieces total — that counts the plastic potato body plus roughly a dozen accessories. Typical accessories include two shoes, two arms, two eyes, two ears, a nose, a mouth, a mustache or smile piece, a hat and maybe a pair of glasses. That lineup gets you around 13 accessory parts plus the body, which is where the '14-piece' label comes from. Collectors and parents should note that not every version is identical. There are toddler-safe 'My First' variants with fewer, chunkier bits, and deluxe or themed editions that tack on extra hats, hands, or novelty items. For casual play, though, the standard boxed Mr. Potato Head most folks buy from a toy aisle will list about 14 pieces — and it's a great little set for goofy face-mixing. I still enjoy swapping out silly facial hair on mine.

I get a little giddy thinking about the weirdly charming world of vintage Mr. Potato Head pieces — the value comes from a mix of history, rarity, and nostalgia that’s almost visceral. Older collectors prize early production items because they tell a story: the original kit-style toys from the 1950s, when parts were sold separately before a plastic potato body was introduced, are rarer. Original boxes, instruction sheets, and advertising inserts can triple or quadruple a set’s worth, especially when typography and artwork match known period examples. Small details matter: maker marks, patent numbers on parts, the presence or absence of certain peg styles and colors, and correct hats or glasses can distinguish an authentic high-value piece from a common replacement. Pop-culture moments like 'Toy Story' pumped fresh demand into the market, but the core drivers stay the same — scarcity, condition, and provenance. I chase particular oddities — mispainted faces, promotional variants, or complete boxed sets — and those finds are the ones that make me grin every time I open a listing.

The phrase 'get away from me' translates to 'aléjate de mí' in Spanish, and the pronunciation can be a bit tricky, but it's super rewarding once you get it right! The 'a' in 'aléjate' sounds like the 'a' in 'father' and has an accent mark, so you emphasize that syllable, making it 'ah-LAY-ah-tay.' The 'de' is straightforward, pronounced like 'day,' and 'mí' is pronounced like 'me' but with a slight emphasis at the end, almost like 'mee.' When you put it all together, try saying it with a bit of confidence: it's 'ah-LAY-ah-tay de mee.' If you're feeling a bit sassy, you can add some flair to your pronunciation to really capture the emotion behind the words. Practicing in front of a mirror, or even with friends who speak Spanish, can help you nail the rhythm and flow. It's such a satisfying phrase to use when you need some space! Being immersed in Spanish-speaking culture can also help. Whether it’s through music, telenovelas, or simply chatting with friends, hearing the language in context really makes a difference. It's like unlocking a whole new level of communication! Plus, once you learn that phrase, you’ll have so much fun peppering Spanish into your conversations. Who doesn't love a little multilingual flair?

The end credits of 'Mr. Peabody & Sherman' leave quite a few fun hints that spark some serious sequel possibilities. As the credits roll, you're taken through a rapid-fire montage that showcases the characters and their adventures across time. One of the standout moments includes a peek into other historical figures and fun scenarios, which is a delightful nod to the vast potential for further exploration. I mean, who wouldn't want to see Peabody and Sherman jump into new time zones and face off with iconic characters from history? It's hard not to fantasize about what else these two could tackle; imagine them in episodes dedicated to famous events, like the Renaissance or the Wild West! In the world of animations, sequels are a common trend, especially when there's a rich character library to draw from. The chemistry between Peabody and Sherman is so endearing that viewers immediately think about the moments they’d love to experience next. Perhaps a thrilling adventure where they explore outer space? Not to mention, for fans of the original 1960s cartoon, a sequel could pay homage to those classic episodes while expanding on the characters and their narratives in a fresh way. It also raises the question—what would happen if they stumbled into modern times? Would they end up in a meme-filled internet world? How fun would that be to explore? All in all, the hints in the credits definitely spark hope in fans for more time-traveling chaos, and I think many of us are eager for more moments like the ones we cherished in the first film! Moreover, considering how animated films often create spin-offs or series on their characters, it's a delightful thought that 'Mr. Peabody & Sherman' might not be done just yet. It seems like there's plenty of room for their shenanigans to continue, so here’s to hoping the creative team feels the same!

If you want to light up a room or blast out of a long drive with everyone singing at the top of their lungs, drop 'Should I Stay or Should I Go' right when people need a jolt. I use it as an opener or a bridge in party playlists because its call-and-response chant is pure crowd fuel — people know the chorus and can’t help but shout along. For road trips it’s perfect after a mellow stretch of songs; that crunchy riff and stomping beat wake everyone back up and reset the energy. It’s versatile: throw the original Clash cut into a punk-rock block with 'London Calling' for an adrenaline surge, or sandwich a modern cover to show contrast and get people talking about versions. On the flip side, I love sneaking it into break-up or indecision-themed playlists where lyrics matter more than volume. Placing it near acoustic confessionals or yearning pop tracks gives that line “should I stay or should I go” weight — it becomes the moment of decision, not just background noise. I also experiment with tempo transitions: an extended intro from a softer track can let the Clash drop feel huge, whereas fading it in after a high-energy EDM tune softens its punk bite and makes it feel wilder. Covers and remixes are great for mood shifts too; an acoustic cover can make the same lyric feel fragile, while a remix amps it into a gym-ready banger. I still grin every time that riff hits, it’s a dependable mood-changer in my mixes.

Lately I’ve been obsessing over the tiny decisions that decide whether a print lives for a week or a century, and that curiosity led me to a rather nerdy breakdown of prints in darkrooms. If a print is properly developed, fixed, washed, and dried, and you then tuck it away in true darkness, it can last decades or even over a century depending on materials. Silver-gelatin fiber prints that were well processed and optionally toned (selenium, gold) are famously durable. Color prints are a different beast — they’re much more sensitive and won’t tolerate the same long-term treatment. In an active darkroom under safelight, though, the story changes: safelights (red/amber) are designed to let you work without fogging paper, but papers have different safelight ratings. Resin-coated (RC) papers tolerate safelight exposure longer than some fiber papers, but I wouldn’t leave a print sitting under a safelight for hours; fogging can creep in. Practically, I avoid leaving important prints exposed to any safelight for more than the short time needed to handle them; for overnight storage in trays I put them in envelopes or cover them. If you’re storing prints long-term, use archival, acid-free sleeves, stable cool temperatures, and low humidity. I’ve rescued prints that were decades old and still gorgeous because someone cared about processing and storage—proof that darkrooms can be safe havens if you respect chemistry and climate.