#1990s kids body spray

[y2kbeautyandother2000sstuff]

Bath and Body Works Coco Cabana and Island Punch Mini Body Splashes

1997-1998ish

Coco Cabana found on Pinterest, user G Johns

Island Punch is my personal picture from my collection

I also had the bag of Island Punch soap that I posted a while ago on here. That's one of my earliest BBW memories, before I even started buying art stuff!! I would buy the soap for my collection but it's too big and bulky.

[garne--tt]

x japan iceberg explained;

before i start, i probably didnt explain something right and if u want to correct me or add something, feel free and even dm me about it! + i will add trigger warnings for possible triggering content in this post

1.

formed in 1982 - x was formed in 1982 after toshis and yoshikis previous band disbanded

X --> X JAPAN - they changed their name from X to X JAPAN in 1992 in order to distinguish themselves from the american punk rock band X 

Saw IV - a horror movie from 2007, x japan did a theme song I.V. for the movie, it was their first song released since 1998

new album - an new x japan album that was supposed to be released lots of times over the 10+years but still (to this day) wasnt released

coachella 2018 - x japan performed at coachella 2018, many fans are saying how the sound was bad (usually blaming it on the sound production team?? or whatever its called) and apparently sugizo and yoshiki were seen arguing with the sound production team

we are x - a 2016 documentary about x japan (or rather yoshiki, because apparently it was mainly focusing on him)

psychidelic violence crime of visual shock - a slogan, mainly seen on the blue blood album cover, the term visual kei was derived from the slogan yoshiki, toshi, hide, pata, taiji - the most known lineup, from 1987 to 1992

2. tw// suicide mention

violet uk - one of unfinished yoshikis projects, started in 2002, didnt even debut but was supposed to in 2012

V2 - unit of yoshiki and tetsuya komuro, was active in 1992, they released one single and did one concert

ra:in - patas band, active since 2002, members are - pata, michiaki, die (also former member of spread beaver), ryu

noise/dynamite - toshis and yoshikis first band, formed in 1977 as dynamite, then they changed the name to noise, noise disbanded in 1982

s.k.i.n. - superband (group) of yoshiki, gackt, miyavi and sugizo, their only activity was in 2007 and it was live, they announced more activities but they were stopped

xfreaks - an international xjapan fan forum created in 2006

dope headz - band that had heath and pata as members, active from 2000 to 2003

hide with spread beaver - hides live band, other members were kiyoshi, k.a.z, hiroshi watanabe, satoshi miyawaki, d.i.e, i.n.a

zilch - supergroup formed by hide in 1996, other members were ray mcveigh,paul raven, joey castillo and i.n.a

lynx - one of heaths band, active from 2004-?, the vocalist for this band was issay from der zibet

yokosuka saver tiger - hides former band, he was member from 1981 to 1986 sugizo - luna sea guitarist, he joined x japan in 2008

hides death - hide committed suicide in 1998 (he hanged himself) update: this is what authorities said and what is official

3. tw// suicide

taijis death - in 2011 taiji was flying from japan to saipan, on the flight he got into fight with his manager (or flight attendant?), he was arrested after they landed in saipan and then he hanged himself with bedsheet in his cell

x japan translations - an site that had xjapan translations (like toshis book etc...), the site was active and up until 2018

taijis departure from X - taiji left X in 1992, but we dont know the exact reason why he left

toshi was in cult - toshi was member of cult known as home of heart from the late 90s (1998?)

1997 - the year x japan disbanded

yoshiki and queen elizabeth incident - in 2019 during royal windsor cup yoshikis scarf accidentally landed on queen elizabeth

yoshiki knows everyone - (not everyone ofc) but he met a lot of celebrities, politicians (barrack obama, johnny depp, prince phillip, bts etc,,)

art of life - a 29 minute song released released in 1993, it was was recorded only in english, the theme of the song are yoshikis suicidal tendencies, art of life was meant to be released in the jealousy album (1991)

yoshikis father - yoshikis father committed suicide when yoshiki was 10 years old

taijis cut off joint on finger - taiji when he was kid, showed his hand into a factory machine (his family owned factory) and cut off his first joint on his finger

yoshikis health problems - yoshiki has tons of health problem since he was child (asthma, he was always sick and spent most of the time in hospitals etc,,) and suffers from many of health problems even now

4.

toshis healing music - toshis music he made during the home of heart era

kaori moritani & masaya - kaori moritani is toshis ex wife, they met in around 1993 when they played in rock opera hamlet, they got married in 1997 and divorced in 2010, she introduced him to masaya (and got him, or rather manipulated him, into home of heart) 

masaya -  real name tōru kurabuchi - musician and leader of home of heart

-more about home of heart and the whole situation here: https://bloodydesertrose.tumblr.com/post/96662764536/support-toshi-dont-buy-or-listen-to-any-of-his-songs

debut in usa - x japan was supposed to debut in usa in the 90s (and even changed their name because of it, x-->xjapan)

extasy record - label formed by yoshiki in 1986, the first release under extasy records was x orgasm ep, the label had bands like xjapan, luna sea, glay, zi:kill tokyo yankees and more

yoshiki paid for taijis new teeth - after hides funeral yoshiki noticed that taijis some teeth were missing or chipped, so he handed him around 2 million yen (around 18 497 usd) to get his teeth fixed

l.o.x. - punk rock supergroup, yoshiki was drummer in this band, they also used to be named masami & l.o.x (masami was their vocalist), masami collapsed and fell into coma in 1989 and died in 1992 due to pneumonia in coma, l.o.x released one album with different vocalist (one of them which was toshi and yoshiki went by the alias shiratori rei here on the album) in 1990, l.o.x. released one song in 2002 in memory of masami

standing sex promotional shot & single cover - the promotional shot & single cover basically shows yoshiki nude (with his intimate parts covered of course + this wasnt the only time yoshiki has done something like this) 

rose & blood -indies of x- - an unofficial album with demos and unreleased x songs

unreleased & old songs - there are a lot unreleased songs + unreleased old songs or just old songs that dont get played anymore

5.

rosenfeld - crows in black - blue blood has similar guitar riff (i dont know how to say it) to this song (crows in black / b was firstly recorded on demo in 1986)

former members - x japan has big amount of former members - 11 former members (excluding taiji and hide from this)

terry - a former member of x, he was one of the original members (being a member from 1982 to 1985), terry died in 2002 in car accident

yoshiki got sued by hides brother - yoshiki got sued by headwax (hides company which hides brother owns) for using hides photos, apparently they had a contract but it expired and yoshiki still used hides photos even though the contract expired

x japan condoms - they were released in 1993 with the intent to help increase awareness and prevent the spread of AIDS. the reason why they probably did this is that toshis fan died at the age of 19 due to AIDS (toshi even dedicated a song to him - passion of love and became a active member and sponsor of association of struggle against AIDS)

heath cow story - when heath joined xjapan they celebrated it by drinking and then driving 2 hours to cow farm, then they drove to aquarium but it was already closed

heath leaving x japan - in 2009 there was a rumor that heath would leave x japan, apparently this was caused due to heaths contract problems (?) dementia - taijis former band, he was member from 1984 to 1985 and went under the name ray

pata was roadie for x - before joining x in 1987, he was roadie for x (or the member hally) around the time in 1986 (1985?)

6.

pink spider was a suicide note - this one is a rumor/theory that is circulating around, fans analysed the lyrics and came to conclusion that its suicide note

x stayed at different hotels than other bands - when x was on tour with other bands they were staying at different hotels than other bands, because one time (on tour with other bands and in hotel) hide got into drunk fight with juichi morishige (lead vocalist of ziggy) and sprayed the entire hotel lounge with fire extinguisher

taiji was homeless - taiji was homeless for around 2 years (1996-1998), due to financial issues + he got divorced at this time

heaths myspace account - there was heath myspace account, but it wasnt him, it was someone pretending to be him

weekend pv theory - (i dont know if i should have put this here to be honest) a theory that x members chose what their death would be in weekend pv (yoshiki - suicide, hide - suicide in drunken rage??, taiji - murder, pata - alcohol poisoning, toshi doesnt die in the pv)

7.

hide vocaloid - hides unreleased song co gal got finished via vocaloid (using his voice samples from various songs of his)

yoshiki lead singer - before toshi was chosen to be the lead vocalist for x, yoshiki was the vocalist (there is also a recording of stab me in the back with mostly yoshiki on vocals!)

hide and marilyn manson meet up story - im gonna just attach a screenshot of the story

taiji was murdered - taiji committed suicide in 2011 in his cell on saipan, but there are some things that point to the possibility that he was murdered (his manager insisted on cremating his body and got cremated without autopsy, money got transfered on his account, information missing from the internet?? etc,,) 

juns tape - demo tape recorded in 1986 by at the time X guitarist jun, tape contains instrumental recordings of unreleased songs right now, only way, tune up and one unnamed song.

ill kill you single cover - cover of 1985 X single ill kill you, it contains photos of victims of the vietnam war

feel me tonight - demo tape from 1985/1986, it contains songs feel me tonight and stab me in the back (all of them are under one minute here) sung by their at the time guitarist hally (apparently there aslo should be yoshiki version of it, but i dont know how much we can trust metal archives)

8. tw// eating disorder mention

yoshiki hired someone to kill taiji - this one is a rumor!!!, yoshiki was supposed to get/hire yakuza to kill taiji hide had an eating disorder - this one is unconfirmed!!! hide  suffered from bulimia (yoshiki walked on him purging - and this story was also apparently told by yoshiki???)

[maddie-grove]

Little Book Review: Her Body and Other Parties

Author: Carmen Maria Machado.

Publication Date: 2017.

Genre: Horror/literary fiction.

Premise: Ain't no party like a Carmen Maria Machado party, 'cause a Carmen Maria Machado party is weird. In eight stories, Machado discomfits readers with urban legends, fake (?) babies, shadow-selves, and Law and Order: SVU fanfiction. It's a good time.

Thoughts: The first story in this collection, "The Husband Stitch," is a retelling of "The Green Ribbon" (that story from In a Dark, Dark Room about the girl whose head is kept on by a green ribbon tied around her neck, which in turn is a retelling of Washington Irving's "The Adventure of the German Student," where the ribbon is black and the girl is a French Revolution ghost). Other urban legends of varying veracity are woven throughout the story--the famous Parisian hotel riddle, an account of a girl poisoned by her own dress, the eponymous "husband stitch"--to add to the heroine's sense of unease as she ages from bright, reckless young womanhood to weary, confused middle age.

This is a fitting introduction to the book, because all of Machado's stories seem influenced by the uncanny kid lit and playground lore that filled my own 1990s-2000s childhood: your Goosebumps, your Scary Stories to Tell in the Dark, your garbled recaps of Candyman that another third grader related to you on the bus. These stories aren't generally celebrated for their sophistication, but they can tap into everyday fears in a powerful way. (The Curse of Camp Cold Lake, for example, is a decent ghost story, but it's an absolutely terrifying tale about being socially awkward at camp.) Machado draws on that tradition and adds her own more literary style, and the results are a lot of fun.

Some notes on individual stories:

"The Husband Stitch": again, a great introduction, although I liked the asides and the set-up more than the ending, which felt like more could've been done with it.

"Inventory": I didn't realize that all of these stories were going to be weird until the dystopian elements started creeping into this story about a woman's sexual history. The element of surprise made it extra chilling, but its elegiac tone would've made it really good even if I'd known.

"Mothers": I didn't like this one so much. The line between the literal and the metaphorical was blurred in a way that was more frustrating than unsettling.

"Especially Heinous": Law and Order: SVU fan fiction! I'd read this one before, and I liked it more this time around.

"Real Women Have Bodies": This story had my favorite setting--a dressmaker's shop in a dying mall in a world where women are randomly becoming incorporeal.

"Eight Bites": This reminded me of Kit Reed's "The New You," but sweeter, more grounded, and more mother/daughter oriented. Very good.

"The Resident": My favorite! A truly terrifying story about everybody hating you at camp.

"Difficult at Parties": I don't remember a lot about this one, but I remember it was pretty good and reminded me of "The Spray" by Jonathan Lethem and "The Enormous Radio" by John Cheever.

Hot Goodreads Take: "I prefer for the books and stories that I read to have meaning, plot, character development, some insight, new perspectives. I could not care less about sex." Too bad those things are mutually exclusive, I guess?!? Shout-out to the lady who didn't really enjoy "Especially Heinous" but wanted to rewatch SVU after she finished it, though. I also watched an SVU episode after I finished this book. It was bad!

[heycreehere]

Highschool out of context valentines edition

"THATS MY N*GGA THATS MY BOOOOOYFRIEND" "we all need that support in our lives"

"Imma support the love. yall are in love. I love it" "fucking weird ass kids"

"awww look at how cute you two are"

"AUTUMN HAVE YOU WATCHED END OF THE FUCKING WORLD???" "yeah like three episodes" "RYAN KINDA LOOKS LIKE JAMES FROM THE SIDE"

"you cant have THOSE shoes on my court!!"

there was a pep assembly and my school is weird so we were watching a dancer, a swimmer and a cheerleader wrap themselves in like wrapping paper and as I was fully watching the cheerleader win my boyfriend taps me and goes "Look she gave up" so we watched one of the student leaders basically roll the girl so that she finished the challenge

after eating a warhead "its sOUR"

My boyfriend is taking me to go see Birds of Prey sheerly because I mentioned in passing that I was absolutely in love with Margot Robbie and that when I saw the movie I'd probably be like 😍😍 because pretty women

also my parents want to meet my boyfriend today and I'm just like AAAAAAAAAA

"10? 10 suck my dick"

"I'm gonna snort fun dip"

"my entire body is spicy right now"

"what the fuck did I read about old gods"

"did you hear about the PAC getting maced? it was jon. he took ____s pepper spray and was just like PSHHHH. the air was spicy. like it wasnt bad but you could taste it"

about the same pepper spray event "Yeah like it felt like you were breathing dr pepper"

"yeah you didnt know that when it smells like ass in the hallway that it's because someones spraying liquid ass in the vents?"

"I'm gonna be single today. I mean itll be after I get some dick but I'm gonna be single today"

My friend heard some random guy in his first period say "do I need remind you of your place" to the girl behind him like IT IS 8 IN THE MORNING YALL CALM DOWN

"if you don't have class. I ain't eatin ass"

"the ass eats YOU"

"you get fucking ecoli that's why you dont eat ass"

"am I the only one that wants to know what ghost sex is like???"

"if I see an old man dick I swear to go"

"I HAVE LITERALLY HAVE NOT SLEPT SINCE 10 AM YESTERDAY"

"could you drink it any faster???" "yes actually *drinks juice fast af*"

"apparently my ex had a dick??? idk"

"I NEED TO BE INSULTED! CALL ME SOME BULL SHIT!!!!"

"I almost threw up" "that's hot"

"I juiced!!"

"IT FEELS LIKE A MONDAY BUT ITS A FRIDAYYYY"

"and I'm not even high! *throws chair"

"Why are my hands WET"

"There was this lady at the store and she was like screaming like she was Barack Obama's sister"

"I'm trying to brain and it's not working"

"I will squeeze your kneecap dont test me"

"what are we doing today?" "I dont know about you but I'm playing poptropica"

“i’ll show you a gesture with my hand”

“this is why the suicide rates are so high”

"aren't golden retrievers like the 1990's of dogs"

"It looks like ballsacks"

"MY WEINER GETS TINY WHEN ITS COLD"

I watched (and recorded) a kid sitting on the hood of a car while it was moving and then when I stopped recording the kid waved at me

My boyfriend just played me fucking guitar and it was supposed to be all cute and shit but the whole time I was yelling at him for having over 400 dollars just scattered around his room

they're listening to https://youtu.be/IbxKEYGXvkA

^^^^

[shannonsfilmblogs]

Horror: Pastiche and commentary on the slasher subgenre of horror in The Cabin in the Woods

The Cabin in the Woods (2012, Drew Goddard) is a horror/comedy that follows five American college students as they retreat to a remote cabin which becomes the setting for their demise. Their getaway is covertly controlled by a secret organization, aptly called The Organisation, whose aim is to manufacture the perfect horror film scenario to please ‘The Ancient Ones’ – Gods that demand the sacrifice of five archetypal characters. Each of the students represents a classic slasher character archetype: The athlete, The Whore, The Scholar, The Fool, and The Virgin. The individuals chosen for these roles does not have to be a perfect fit, as they are chemically altered to conform. Once the students have been molded, they are subjected to a classic horror monster which hunts and kills them in ritualistic sacrifice. The film places emphasis on the importance of The Virgin, who in this case is called Kristen (Dana Polk), and her role in the manufactured narrative.

Kristen is overtly referred to as ‘the virgin’ multiple times throughout the film and, unlike her unfortunate friends, is given the option to survive her ordeal provided that she suffers greatly first. She is quite literally given the option to become the ‘final girl’ – a well-recognised characteristic of the slasher genre. Clover (1992) states that “The moment the final girl becomes her own saviour, she becomes a hero”, which is exceptionally true in the film’s finale. Kristen mutters “They made us choose how we die” as she stares a monster in the eyes through the glass of its containment cube. She and the only other survivor, Marty / The Fool archetype (Fran Kranz), pass by multiple creatures that could have been chosen to hunt them. The realisation of their manufactured suffering leads her to make the choice to destroy The Organisation’s headquarters by releasing the monsters via a literal ‘purge’ button, which results in a bloody montage/homage to horror monsters past and present. The pair run though endless corridors as the likes of the tree from The Evil Dead (1981), a clown similar to that from IT (1990), and Fornicus: Lord of Pain and Bondage – a nod to Pinhead from Hellraiser (1987) – massacre the staff. They pass one of the leaders of The Organisation who lays dying on the floor as he whispers ��kill him” to Kristen. The two finally reach the temple of The Ancient ones. This is where Kristen gains her agency and makes the choice to defy her masters, be it man or god. The temple shakes as the gods below stir from their sleep, angry at the incomplete sacrifice. Kristen and Marty are then given an ultimatum by a classic ‘final girl’, Sigourney Weaver, who famously played Ripley in Alien (1979). Weaver, who plays the director of the organisation, informs them that Marty must die or else the narrative of the ‘final girl’ will not be realised. Kristen aims a gun at him, almost fulfilling her destiny. She decides that humanity is ultimately not worth saving and the two sit down and share a joint as the temple collapses around them. This act of defiance enrages the gods, who then                                       burst through the earth and destroy the cabin, and the world.

In this way, the gods of this world are a strong metaphor for the film-viewing audience. They become enraged when the narrative deviates from what is expected of the genre. And the very fact that they demand the students are forced to undergo a formulaic series of slasher narrative tropes before their sacrifice furthers this point. As an example, The Whore archetype, Jules (Anna Hutchinson), and The Athlete, Curt (Chris Hemsworth), are sprayed with mind-altering pheromones under the guise of eerie fog that makes them want to have sex in the woods at night. One of the organisations leaders, Hadley (Bradley Whitford), comments “We’re not the only ones watching, kid. Gotta keep the customer satisfied” when an intern asks if it’s necessary for Jules to be getting naked as part of the ritual, once again alluding to the presence of the viewer. By focusing once again on audience expectations in slasher horror, it is evident that those who engage in sex are destined to die. “The cause-and-effect relationship between sex and death could hardly be more clearly drawn [in slashers]” (Clover, 1987) becomes gospel in The Cabin in the Woods. Jules, as the antithesis of Kristen’s virginal nature, is blatantly expected to die a horrific death for the simple act of engaging in sex because it’s what the audience has come to expect from the genre.

Despite all the gore, thrills, and commentary, The Cabin in the Woods remains a parody at is core. Heavy reliance on intertextuality and the audience’s prior knowledge of horror provides viewers with gratification as they spot homages and ‘easter eggs’ of well-known horrors films. Small things like the zombie father tilting his head slowly, like Michael Myers in Halloween (1978), to more universal references like the character archetypes all accumulate in the audience being excited by ‘being in on the joke’. However, the very nature of the viewer gaining gratification from experiencing these clichés is pastiche in of itself. We, the audience, enjoy seeing these same tropes over and over, repeated time and time again in the horror genre. If we find amusement in how overdone horror tropes are then we become part of the issue the film presents. As Kristen decided to end the world, and thus destroying all these horror icons, she essentially destroys the genre too. The Ancient Ones (the audience), become enraged and awake from their sleep to lay waste to the world, reflecting how audiences have changed the horror genre by standing against overdone clichés. This allows new material to be created as opposed to more sequels of seemingly never-ending franchises like Saw (8 films) or Friday the 13th(12 films). However, I am not saying that repetition is necessarily a bad thing. The reason these tropes are so widely used is because we do enjoy them, as evident in The Cabin in the Woods.

References:

Clover, C. (1987). Her Body, Himself: Gender in the Slasher Film. Representations, (20), 187-228. doi:10.2307/2928507

Clover, C. (1992). Men, women, and chainsaws: Gender in the modern horror film. Princeton, NJ: Princeton University Press

[bnkbgvbzbuf876986387nogj]

“   **From 2010**

It’s summer, and you know what that means? I’ll be wearing gigantic orientals, their sillage amplified by a quarter inch of sweat. It’s considered gauche to wear loud fragrances in summer, but I completely disagree; all the big orientals--Youth-Dew, Opium, Angel--seem positively designed for this kind of sweltering provocation. A good layer of sweat really brings out their come hither, you big man qualities. Speaking of Angel, I think it might have surpassed Youth-Dew as my all-time favorite perfume. I got my star refilled at Nordstrom last week for the nice price of $45 and I’ve been wearing it continuously for the past week. It’s just such an endlessly fascinating and disturbing fragrance, and it’s impossible to categorize or understand.

It was released in ‘92, well into the onset of what Chandler Burr calls the “anorexic oceanics of the 1990′s,” yet ut is a throbbing, room-filling fuck-off power-woman scent in the 80s Opium-Poison-Giorgio style. It straddles the line between male and female despite being intended for and worn mainly by women; an ultra-femme pink cotton candy note is strangled to death before your eyes by a virile, throaty patchouli. It is one of the most successful perfumes in history and is available at Wal-Mart but it does not in any way comply with the American imperative to smell “clean”--in fact. it smells positively raunchy, as though body odor and sweet musky shit-stained panties were layered with rotting fruit and topped off with a post-apocalyptic stripper pole. Its advertising is counter-intuitive and designed to distract potential customers from what it actually smells like; the packaging is light blue when the juice smells a sinister glittery brown. Sales associates will inform dimwitted women that it smells of chocolates and sweets when it actually smells of death and the infinite beyond. Ad copy refers to the “tender notes of Angel” and “memories of Thierry Mugler’s childhood”. Angel wearers clearly lost their innocence long ago and now confront everyone they meet with the olfactory tenderness of snorting jagged shards of blue sugar glass.

Angel is worn equally by conservative women (allegedly it is the signature scent of both Laura Bush and Hillary Clinton) and women of the night (numerous sources have told me of its popularity among erotic dancers). And it was a huge hit! More disturbing is the nicotine-like addiction that Angel induces in the wearer, necessitating the purchase of hundreds of bizarrely named ancillary products (”Celestial Showers Gel” “Perfuming Hair Mist”) in an effort to preserve the scent on skin for the rest of your lifetime. The addictive part of Angel, the really good part, is that first blast of body odor and rotten fruit that fades within a few minutes, so the wearer is forced to continually reapply to get that kick. The more you wear it, the more you become anosmic to it, so you keep putting on layer upon layer upon layer, achieving a Baby Jane-like flaking pancake makeup effect and making you smell truly filthy, truly like you have been living on the streets and selling your unclean body for weeks. As Anais Reboux says to Roxane Mesquida at the beginning of Catherine Breillat’s Fat Girl, “You reek of loose morals.”

They have a soda fountain-like refill stations at all major department store stores, for Christ’s sake. I indulge in dreams of taking foot-tall Slurpee cups to Nordstrom and demanding that an effete, tittering male sales associate fill them to the brim, at gunpoint. How on earth did you get away with it, Mugler? Around the time of its release, sales associates were instructed to forcefully spray it on the arms of confused women, look directly in their trembling eyes, and tell them, mantra-like, “This is a fragrance for a unique woman.No one else will smell like this. A unique, uncompromising woman would wear this.It is unlike anything else.” I’m not kidding, this is how it became a success. They still talk like that at the department stores, too, when they find out you’re an Angel fan, in the thick, lascivious tone of a depraved Madame speaking to a whorehouse patron with particularly exotic, violent, and possibly illegal sexual tastes. They’ll spray you with the latest seasonal version (”Angel Soleil au Fraiche Summer Fraicheur Energizing Oil Cream” or some such nonsense, available for a limited time only) and hold your arm with their lacquered dragon talons, hissing that there are lots of people out there who like Angel and you needn’t feel guilty or immoral for it. And it was a huge hit!

One of my best friend who happens to be a mortician told me an amazing and frightening story. While preparing a corpse for its funeral, she was handed a bottle of Angel and instructed to spray it all in and around the coffin because it was the deceased’s favorite scent. Angel, which already smells of death, follows its wearers to the grave.”

-FruitDiet

[avoutput]

Fresh Paint || Spider-Man: Into the Spider-verse

Immersion in the theater gets a little harder as you get older. You might find yourself watching a film while simultaneously thinking about the myriad of other things going on in your life. Still, every once in awhile a certain film resonates at a frequency that breaks through all of your mental blocks, liquefying solid walls built up around your pleasure center. You installed them solely to keep you focused on your future, forgoing the comforts of the present to secure a brighter tomorrow. But then, out of nowhere, that bright future flashed across the screen with a comic book pop, zap, and zang, pulling you into a world of pure, complete fantasy. The weight melted from your shoulders, you are able to feel the full immersion of the thick, gooey sights and sounds of Spider-Man: Into the Spider-verse, the most unexpected and deeply welcome new entry into the Sony owned Spider-properties. Tl;Dr: See it on the big screen, you won’t be disappointed.

Right out of the gate, the film blinds you with a bonkers title intro that knocks your eyeballs around a few times before it sets you in for simple but engaging story. This is one of those films that is difficult to explain, but easy to understand. Spider-verse follows the young Mike Morales (Shameik Moore), an aspiring street artist of Black and Puerto Rican descent who innocently finds himself bitten by a radioactive spider that gives him the powers of Spider-Man. Yada Yada Yada, he finds himself at the center of colliding universes, calling radioactive spider bitten beings from alternate versions of the same New York City multi-verse. This includes, Peter B. Parker (Jake Johnson), Gwen Stacy/Spider-Gwen (Hailee Steinfeld), Spider-Ham (John Mulaney), Peni Parker (Kimiko Glenn), and Spider-Man Noir (Nicolas Cage). They found a way to control all of this talent and give them all the screen time each character deserved. The script pens some great gags and scenarios that will have you busting a gut while being totally believable despite its very cartoon heavy design. Sony let seasoned animated feature directors Bob Persichetti, Peter Ramsey, and Rodney Rothman  really flex their stuff. They found a way to translate the unique perspective of comic book panels and spray them across the screen with a lighting pace that never feels rushed or out of place. Writer and screenplay creator Phil Lord was able to approach this story with an arch that only animation could have done. Real human bodies would have slowed the story with their flailing limbs and their inability to escape that indefinable presence we call reality. It really reminds you of the raw power animation brings to the storytelling table.

What makes this film really shine is that it found the perfect place between rehashing the same old story and bringing you something more modern. Basically, it casts a wider net. The 1990’s Fox Kids cartoon is in the rearview. The earnest neighborhood Spider-Man from Sam Raimi and Tobey Maguire's outing now a little outdated with the rise of nerd culture into the mainstream. No one seems to want to acknowledge Andrew Garfield’s attempt, though it has a couple of its own moments. Miles Morales is a completely fresh take, replacing Peter’s well trodden past with a new ethnic direction that most of Marvel has been lacking possibly since its inception. Peter’s deepest relationship to culture was being from a borough of New York. He really only ever represented one side of New York’s multi-ethnic populus, which is fine, but even the other characters in his life rarely had different roots. For the most part Spider-Man as a comic rarely faced any other cultures in any meaningful way. Into the Spider-verse retraces all the ways Spider-Man as a series has recreated Peter and his universe and juxtaposed a completely different point of view with Miles, his family, and the other Spiders. But I think what I loved the most was how this movie put on display how many different ways we can see the world, and even through all of our differences, we have so much more in common.

Spider-Man: Into The Spider-verse was the biggest surprise of last year. There are so many ways it could have gone wrong or could have been the same. Last year also saw Black Panther, a power in its own right, but it comes from a completely different arena and supported the multi-ethnic world cause in a very different way. Spider-verse is much closer to home, smaller in size, but just as much an important stone in the world of diverse storytelling. It would be a tragedy if you didn’t see this film on the big screen because it takes advantage of the size in a very meaningful way, in a way only animation can. I am really looking forward to more collaborations from the animation team that put this all together. They packed in more surprises and imagination into a superhero animation than I have seen in years. Grab a ticket, take a seat, and keep your eyes on the screen. Every second is worth it.

~* 10/10 *~

[hauntsofmissouri]

Ellisville, Mo

Also known as Lawford Road.  An eerie, spooky road that winds its way  through the hills of Ellisville and the shore of the Meremac River. Many  people who go there don’t get much footage, they mainly hear sounds of  unknown origin. It is also known to be extremely foggy and super dark.  Passerby’s have felt  weird chills, feelings of severe depression, and, as they  venture onto the roadway, the feeling of being watched. They hear footsteps  and voices as if they’re being followed. There are a couple of legends that exist  on Zombie Road. Years ago, when the trains were operational through there,  Della Hamilton McCullough was hit by a rail car and it is thought her spirit is  the one haunting the railroad tracks.  From time to time, people see her  walking by the tracks and being hit. Those who claim to have seen it say that  the phantom glows with bluish-white light but always disappears if anyone  tries to approach it.

Another story goes that some teenagers were rock climbing on the cliffs near the road. One of the kids fell to the ground and broke his neck. The others apparently left him there to rot. Police have supposedly confirmed the story about the teenager falling and dying. He haunts the area where he died and chases away trespassers. Another spooky thing about the road is that it never looks the same shape or the same length twice, even on the return trip. People have said that they felt the road would never end and that they would go on forever into deep darkness.

Within the urban sprawl of St. Louis lies a remote area called “Zombie Road”.  Urban Legend tells avariety of eerie tales which include being host to ritualistic and occult practices which spawnedinhuman and demonic entities while other tales tell of those who met their peculiar demise and stillroam this desolate road in the afterlife.  

With centuries of erosion forging a transversal path through the bluffs along the “River of Death”, sonamed by those who use to call this their home centuries ago, this area has seen many come throughits natural carved corridors to a crossable ford in the River below.  Its flint enriched bluffs offered an abundance of the raw materials necessary to make the tools and weapons needed for survival through time.  

Some say this is called Zombie Road because the railroad workers who once worked here rise fromtheir graves at times to roam about.  Some insist that they have heard old time music, seen anomalousmoving lights and other ghostly sightings from that forgotten era.  Another tale tells of a patientnicknamed “Zombie” who escaped from a nearby mental facility never to be seen again.  His blood soaked gown was later found lying upon the old road later named after him.  

Other tales include one of an original settler who met their demise upon the railroad tracks.  Anotherincludes a pioneer who lost his wife in a poker game then went back to his homestead and took hisown life.  Many still report seeing these lonely spirits even today.

During the age of Prohibition a nearby town housed speakeasies and the summer homes of well known gangsters.  Tales tell of individuals who were dealt a bad hand by such public enemiesresulting in their permanent placement within the ground or bordering river to never be seen again.

The bordering river has tragically delivered many to the other side through the years.  Children and adults alike have taken their last living breath within its dangerous waters before being found washed up on its shores.  Even during this new millennium, several children met their demise one day within its banks.  

The railroad still shows “Death hath no mercy” as many have met their final fate upon its tracks.  Local lifelong residents can still remember multitudes of tragic occurrences dating back to the 1950’s.  One of these occurred in the 1970’s when two teens were struck by an oncoming train.  Some of the local residents were used in search parties to find the body parts scattered about the area.

During the 1990’s a mother and her five year old child were crossing a bridge when an oncoming train met them.  The mother’s last action was pushing her five year old child off the bridge.  The engineer was able to stop the train and save the child. Although the mother died, this is still one of the happiest endings to a story this area will provide  

More recent past has seen this area become refuge for those wanting privacy to practice the occult and other rituals.  Who can really know what true doorways to the darkness or unknown were opened here.  This area also became a beacon for teens looking for thrills.  In the 1970’s a group of teens engaged in a practice called “huffing”.  While using a can of cooking spray to “huff” one of the boys fell unconscious and took his last living breath.  Other such drug related deaths have been noted as well over the years.

During the 1960’s a couple in their late teens were on top of the bluffs overlooking the road below.  The male somehow lost footing and during the fall caught his face in a fork of a small tree growing out from the side of the bluff.  His face and scalp remained while the rest of him fell to his death upon the road below.  Others have also met their demise from the high bluffs above.

The area has also seen its share of suicides and murders.  In the 1970’s a hunter stumbled across a car still running at the end the road.  Closer inspection revealed a hose running from the exhaust pipe to the inside of the car with the driver slumped over the steering wheel.  

Zombie Road Ellisville, Mo Also known as Lawford Road.  An eerie, spooky road that winds its way  through the hills of Ellisville and the shore of the Meremac River.

[accidental-drug-overdose]

Preventing Accidental Drug Overdose

Drug overdose accounts for nearly 75,000 deaths every year (NIDA). Since 1999, drug overdose became the number one cause of death for people in the United States under 50 years old. That’s not a comforting statistic, especially if you or someone you care about is currently struggling with a substance addiction. You might feel quite alone in the fear that one day you yourself could end up in the corner of a room pronounced dead from an accidental drug overdose. Or maybe you’re someone who already knows what it’s like to lose a friend or family member to an accidental drug overdose that could have been easily prevented.

Even if you don’t personally know someone who’s died too young from an accidental overdose, it’s not uncommon to turn on the news and see famous idols like Mac Miller, Amy Winehouse, or Prince ending their careers early through drug overdose– whether intentional or accidental, we might never know.

The death-by-drugs epidemic has been called a National Overdose Crisis for nearly twenty years now. But it’s simply one of the sad (and deadly) side effects which result from the overall addiction problem in our country. Chances are, you know someone personally who faces drug addiction and likely knows what it’s like to experience affliction.

Why Have So Many Americans Died from Drug Overdose?

There are several reasons why drug overdose happens so often. One of the leading reasons behind overdose is irresponsible drug use or improper dosage. Other reasons, like a rise in tolerance, impurity of the type of drug, or mixing substances can also cause fatal consequences that lead to overdose.

Whether “drug culture” or personal preference is to blame, many drug users like to push the envelope when it comes to seeing how much is enough just before too much. For example, look at drinking in social settings or parties. Often it’s encouraged to consume more alcohol as a means of looking cool or appearing stronger than someone else. But this mentality of “do more” until the body can’t take it anymore can lead to a lifestyle which breeds the risk of overdosing.

Even new drug users or experimenters can fall into the trap of trusting someone with a higher tolerance offer advice on dosing. Instead of starting small to feel it out, someone may succumb to peer pressure and take something they hardly know about, leading to a total lack of harm reduction in many situations. The rise in popularity of raves, music festivals, and a partying lifestyle that might seem luxurious has been a giant hub for all kinds of dangers with little harm reduction strategies in place.

Why Don’t People STOP Using Drugs?

This is a tricky question. Many people who have an addiction don’t operate in a way where they can simply “stop” one day and refuse drugs on their own. A substance abuse disorder trains the brain to literally depend on the substance(s) of choice– in a sense, it becomes a “life or death” situation to the addict. Addiction becomes a sort of instinct to the drug user, which makes life complicated when it comes to coping with normal daily tasks.

How Accidental Overdose Became So Common

Since the 1990s, or even starting much earlier, drugs have become more accessible and popular among the general population. Even kids in high school knew where to easily get their hands on Adderall, weed, oxycodone, and other potentially dangerous drugs for recreational, emotional numbing, or “academic” purposes.

Prescription drugs have become an ever-increasingly surge for medical emergency of all sorts, as well. The Center for Disease Control and Prevention (CDC) shows a rise in chronic illness and injury which often results in opioid prescriptions. Ironically, unnecessary opioid refills lead to addiction time and time again.

Over the past 20 years, even new prescription opioids have entered the medical market and therefore we continue to see a rise in the abuse of them.

Illicit Drugs Have Evolved

Illicit drugs are obviously still one of the major risk factors that lead to an accidental overdose. Because illegal drugs like meth or synthetic opioids aren’t regulated, people are left to their own guesstimates when dealing, buying, and consuming these substances.

What goes into a lot of common illegal drugs has changed over the years, too. Now, it’s pretty well-known in party culture that buying drugs from any random dealer at an event is actually pretty dumb. Many popular party drugs like cocaine, MDMA, ketamine, and even some psychedelics are sometimes made with dirty ingredients or fillers which can lead to illness, seizures, or simply a really horrible experience.

Heroin used to be considered a sketchy opioid that only hardcore drug users were known for. But now, we can see heroin in the hands of teenagers, homeless communities, housewives, and everywhere in between. Fentanyl, one of the most dangerous and easily-overdosed drugs in the world right now, is also being given to people of all walks of life as a means to avoid the high costs of heroin or other opioids.

Things have definitely changed over the course of twenty years, but one thing remains for sure: drug overdose death is a harsh reality we face in every community. And it needs to end.

How To Tell If Someone is Having an Overdose

It’s important to remember that not all overdoses end up causing death. Sometimes one drug overdose can look different from another. Some accidental overdoses can look like intentional suicides, and sometimes we’ll never know what exactly caused the overdose if a mixture of substances is present.

Different types of drugs also result in different physical reactions leading to an overdose. Of course, if you do end up using, it’s always crucial to know what exact drugs you’re taking, what dosage, and how the drug could react in your body. Perhaps the single most common mistake that can cause an overdose is ignorance about drugs themselves.

So how can we tell if an overdose is happening? There are a few common warning signs and symptoms to look out for:

Loss of consciousness after consuming any substance.

Bluish or purple tint to the fingernails, lips, or skin (especially with opioids and amphetamines).

Uncontrollable muscle spasms or bodily seizures

A dramatic increase or decrease in pulse or other vital signs

Pupils change: pinpoint pupils for opioids; dilated pupils for stimulants and many hallucinogens.

Vomiting, choking, foaming at the mouth, or a gurgling sound

Delerium, psychosis, paranoia, hallucinations

Loss of control over organs or kidneys

Excessive sweating

Heart attack, coma

Depression in breathing  or trouble gasping for air

Lack of motor control, the body may become limp

Remember, different substance cause difference overdose symptoms so be sure to know what overdose signs look like for specific drugs.

What Can You Do if You Witness an Overdose?

If you or someone you see has signs of a drug overdose, make sure you call 9-1-1 for emergency help right away. Don’t be afraid of getting in trouble– The Good Samaritan Law is effective in many states. This is a law that protects your privacy and situation where law enforcement is required to save a life instead of getting you in jail. Many people prevent calling for help when there’s an overdose because they fear the legal consequences– but don’t hesitate to get emergency help right away, as it could save a life.

If you’re someone who sees an overdose happen in someone else, you’ll want to wait with the overdose until authorities show up. Try to give the ambulance or medical examiner as much information as possible. This includes what drugs were consumed, how much, what the person’s mental state was, and what time drugs were taken.

You may want to call poison control, too (800-222-2222) in the case of toxic substances or illegal drugs.

Make sure aftercare is sought for whoever survived the overdose– it could take time for the mind and body to recover from any immediate or permanent damage.

Preventative Measures

Narcan

Naloxone– or Narcan– or other medications can be given to a patient if necessary. There are meds that prevent opioids from binding to brain receptors or temporarily reverse the “high”, which can save a person’s life in the case of an overdose. Narcan is a nose spray that quickly goes into effect to reverse the side effects of many opioids, like heroin, Fentanyl, and even some prescriptions. Some states even give it with prescriptions in case of emergency so you can keep some at home.

Awareness is Key

The surest way to prevent an accidental drug overdose is, obviously, to refrain from drugs use, period. But if addiction is present, this is highly unlikely, so second to the best way of prevention is this: BE AWARE OF DRUGS, EFFECTS, and DOSAGES.

When you’re aware of what is possible with drugs you consume, you’re better off knowing what not to do which can lead to overdose. This is not only true for yourself but any friends or loved ones who also partake in drug use or abuse. Teach others and stay as safe as you can in all situations. Remember to reach out for help if your drug use is unmanageable in any way.

Drug Test Kits

There are test kits that are available for as cheap as $25 which can prevent all kinds of drug overdoses. These kits test for the purity and quality of specific drugs– as mentioned before, many drugs these days are garbage. People mix them with “fillers” or things like bath salts, rat poison, or even meth to make for cheaper production of the substance.

Again, the safest way to 100% avoid any risk of overdosing is to quit using drugs completely. Help is out there for anyone even if you feel lost or hopeless. Recovery is possible. Reach out for help, as there are millions of resources around the country and professionals who strive to help you overcome addiction.

Dealing With Loss After a Drug Overdose

Overdose deaths involving any type of substance can wreak havoc on families, communities, relationships, and the nationwide drug crisis. What is one to do after the devastation of a loved one dying by overdose?

Although nothing can replace the human life and relationship lost, there are ways to continue on with life and grieve through the process in order to heal.

Join a support group (like GRASP or Al-Anon)

See a therapist who specializes in loss

Take time to grieve and let yourself cope with the pain

Avoid self-destructive patterns– sadly, many people in the drug scene who lost friends or family to drug overdose end up turning to drugs themselves.

Make sure to care for yourself well! Don’t neglect your needs

Stay close to your connection to the outdoors. Nature is extremely healing.

Look into resources in your local community for people who have lost loved ones to drug overdose and take part in events, shares, and fundraisers to help improve the lives of others.

There is Still Hope

Addiction can be a complicated disease which can require compassion. Sometimes there is nothing you can do except try to encourage them to get the treatment they need. Remember, addiction is a disease that is out of the person’s control to manage on their own. Sometimes it might require detaching from the situation or person because ultimately it can be difficult to witness someone destroy themselves.

Recovery is possible, so if you yourself deal with addiction, reach out for help as soon as possible. People of all walks of life enter into a successful recovery journey and learn how to live drug-free, fully thriving without risk of a drug overdose.

If you or a loved one needs help, call us at 949-617-1211.

[y2kbeautyandother2000sstuff]

American Girl by BBW Truly Me Eau de Toilette Spray

mid 1990s-early 2000s

Found on Ebay, user  vintage-rescue

[1079mixfm]

New Post has been published on https://mix1079.net/top-20-good-news-stories-of-2019/?utm_source=TR&utm_medium=1079mixfm+on+Tumblr&utm_campaign=SNAP

Top 20 Good News Stories of 2019

1.  A Kid Woke Up from a Coma After Getting a Big Whiff of Axe Body Spray.  It happened in England back in May.  He was in the coma for 13 weeks and finally snapped out of it when his mom sprayed him with his favorite scent.

2.  A Runner Who Wrote “Jesus Saves” on His Race Bib Collapsed and Was Saved . . . by a Guy Named Jesus.  The guy was a registered nurse named Jesus Bueno.  (He pronounces it HAY-soos, or if you’re a Die Hard fan, Hey, Zeus! )  He did CPR, and the runner survived.

3.  A Billionaire Paid Off the Student Loans for an Entire Graduating Class.  Robert F. Smith is the CEO of a private equity firm called Vista Equity Partners.  He announced it at Morehouse College’s commencement in May.  The roughly 400 students went nuts.

4.  A Guy Trapped in the Snow Survived Five Days on Packets of Taco Bell ‘Fire Sauce’.  It happened in Oregon back in February.  Then a few weeks later, their hot sauce also saved a life in Florida.  A car plowed into a Taco Bell right where a guy was sitting.  But luckily he’d just gotten up to get more hot sauce.

5.  A College Kid’s ‘I Need Beer Money’ Sign on “College GameDay” Raised Over $1 Million for a Children’s Hospital.  Busch Light was going to give him a lifetime supply of beer until a reporter found racist tweets he’d posted at 16.  So they decided to cut ties.  But it was still a lot of money for a good cause.

6.  An Ambulance Hit a Pothole, and It Saved the Patient’s Life.  His heart rate was dangerously high until the pothole knocked it back into a normal rhythm.

7.  An 83-Year-Old Finally Got His Christmas Song on the Radio, 54 Years After he Wrote It.  A station in Houston had him on a few weeks ago, and then other stations started playing it.  It’s called “Christmas Is Here” and it’s pretty good.  (Huge props to our friends at The Roula & Ryan Show on KRBE for making it happen!)

8.  A Kid Got Bullied for His Homemade Tennessee Volunteers Shirt.  Then the School Used the Design and Started Selling Them.  A portion of the profits went to the charity, Stomp Out Bullying.

9.  A Cop Ran a Race in Full SWAT Gear . . . Saved Someone’s Life . . . and Then Proposed to His Girlfriend at the Finish Line.  He’d been planning the proposal.  He had NOT been planning to do CPR before finishing the race.

10.  An Inmate Used His Car Theft Skills to Save a Baby from a Locked SUV.  He was out on work release fixing a median in the road.  Someone gave him a coat hanger, and he used it to break in while cops supervised.

11.  A Premature Baby Weighing Less Than 10 Ounces Went Home from the Hospital . . . Making Him the Smallest to Ever Survive.  His mom had an emergency C-section at 24 weeks.  Several months later, he was up to about seven pounds.

12.  A Mom Hit a Lottery Jackpot Because She Forgot How Old Her Kid Was.  She always plays her kid’s ages but forgot that one of them just had a birthday.  She ended up winning about $78,000.

13.  “Baby Shark” Helped a Toddler with Spina Bifida Learn to Walk.  A doctor in Florida has been using the song because it makes kids want to get up and move.

14.  A Woman Whose Real Name Is “Marijuana Pepsi” Got Her Doctorate.  She refused to let one of the world’s worst names hold her back and got her Ph.D. in higher education leadership.

15.  A Guy in Philly Scaled the Side of a Building to Save His Mom from a Fire.  She’s confined to a bed, and firefighters wouldn’t let him inside.  So he climbed 15 floors to get to her.  It turned out she was fine, and the fire didn’t make it to her unit.  But it still put him in the running for best son ever.  The cops could have arrested him, but didn’t.

16.  A Nine-Year-Old Learned the Heimlich, Then Saved Her Best Friend the Next Day.  She took a class at her local rec center, then put the knowledge to good use the very next when her friend started choking on a hot dog at school.

17.  We Found Out Cigarette Smoking in the U.S. Hit an All-Time Low.  Only 13.7% of adults said they’d smoked one or more cigarettes in the past year.  That’s down from 42% in 1965, and 26% in 1990.

18.  A Homeless Kid Got Accepted to 18 Different Colleges.  He picked The College of New Jersey to be close to his mom, and they gave him a scholarship.  A total stranger offered to cover his first year of room and board.  And people also donated on GoFundMe to help him out.

19.  A Guy with Dementia Fell in Love with His Wife Again and Asked Her to Marry Him.  She said yes.  They held the wedding in their backyard and danced to the same song they danced to the first time they got married.

20.  A Comcast Service Rep Realized a Caller Was Having a Stroke and Saved His Life.  They were over 1,200 miles away but heard him struggling to talk and called for help.  And because he got treated so quickly, he was out of the hospital in two days.

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[jurgan]

It (2017) movie review

             There have been roughly three hundred billion Stephen King adaptations in the last forty years, and most of them are pretty bad.  Non-horror stories like “Rita Hayworth and The Shawshank Redemption” or “The Body” (Stand By Me) tend to fare better than King’s more well-known scary tales. It (2017) breaks the trend, being both a faithful adaptation and genuinely scary, and is one of the best Stephen King horror movies I have ever seen.  I will be making frequent references to both the novel (though I haven’t read it in several years, so I might get some details wrong) and the 1990 miniseries in this review, and it will also be full of spoilers.  Even if you know the story, you might want to avoid learning too much about the movie, as some of the scares are newly created and work better if you’re surprised.

             One might argue that I shouldn’t judge this movie until I’ve seen the second part, but I disagree.  The intercutting between time frames from the novel is not present in the film.  Instead, it shows the complete story of the young protagonists until they defeat It and swear to return if it ever comes back.  As such, I don’t think of it as part one of a movie, but rather a full movie with an upcoming sequel.  If you knew nothing about the story, you could easily assume King’s entire novel was about a group of kids fighting an evil monster and winning, and then the filmmakers slapped on a sequel hook to wring more money out of it.  One major change prompted by this structure is that the kids’ final fight is against Pennywise and not against the monster spider. If you’d told me this, I would have been angry, as it was one of my major complaints about the 1990 minseries. In that version, the kids sprayed Pennywise in the face and shot him with silver, and that was all it took to drive him back for twenty-seven years.  In the novel, they had to fight it as a giant spider in both time periods. This worked because of the frequent inter-cutting.  The spider wasn’t revealed to the audience until the last section of the novel, and we saw the heroes confront it in both time periods simultaneously.  Narratively, the “final form” should not be revealed until the climax, and it’s smart for the filmmakers to hold back.  It works this time because their fight against Pennywise is difficult and several of them are nearly killed.  It takes many different forms besides the clown, you sense that it’s using a lot of power, and the kids fight it in multiple stages. The characters stand together and reaffirm their bonds, completing the arc they went through and overcoming their fears.  It was far more dramatic than a pudgy Tim Curry in a badly fitting suit grabbing a kid and waddling off, then getting hit in the face and stop-motioning down a pipe.

             Okay, let’s talk about the elephant in the circus. How does this Pennywise compare to Tim Curry?  Well, I first want to emphasize that that’s the least important question.  Good Stephen King (both his stories and their adaptations) focuses on characters.  Bad Stephen King focuses on monsters.  So I should probably talk about the kids first, but since the monster is what most people have asked about, let’s get it out of the way.  I think it was far better than the last version.  Now before the fangirls come at me: I love Tim Curry. He’s a great actor who’s had tons of memorable roles, and in It he gave a fun campy performance as a killer clown. Bill Skarsgard plays Pennywise very differently (though he shares credit with a lot of CGI when he changes form). In his first scene talking to Georgie in the storm drain, he is jittery and excited, to the point he’s almost jumping out of his skin.  He seems less like a clown and more like a monster pretending to be a clown, which is exactly the point.  In the 1990 miniseries, the effects were terrible but Curry was magnetic, so they had It as a clown almost all the time.  It occasionally changed to a mummy or something else, but mostly leaned on Tim Curry’s weirdness.  Curry’s camp act worked because he was mocking the kids’ fears, but he seemed like a human murderer most of the time.  The new It switches between different forms frequently, from a decaying leper to a deadly housefire, and as a clown it can stretch open its head to reveal row upon row of shark teeth.  It embodies the kids’ fears and can quickly change shape and size to be more of a threat.  The clown is just its most recognizable form, and its “finishing move” after terrifying its victims.  This makes it not only a more faithful adaptation, but also much scarier from my subjective point of view.

             What about the rest of the characters?  Well, the Losers’ Club is mostly perfect.  I always thought the kids in the 1990 miniseries seemed fake, like they were obviously actors reciting dialogue.  That may be because I know them too well from other things (especially Seth Green), or maybe it’s because some of King’s quirky dialogue works better on paper than on screen.  Regardless, these kids seemed real.  Beverly was probably the stand-out, especially in the scenes with her abusive father.  Mike got some good stuff about being trained to slaughter sheep but being too sensitive to go through with it (was that in the book or was it a movie invention?).  Richie’s humor is less polished than Seth Green’s, but I like it better that way.  His jokes tend to all be variations on “I fucked your mom/I have a big dick,” which is the level at which most pre-teens operate (ironic that you need an R rating to realistically portray eleven year olds).  He also freaks out when he sees a missing poster of himself, as though he were dissociating and afraid he was not really there before realizing it was a trick of the monster.  And in the end he gives a big speech where it sounds like he’s going to abandon Bill to the monster before rejoining the fight.  By the way, there’s a great visual that I’m pretty sure was invented for the movie: It has built a tower of corpses and debris and dead kids float around it.  Beverly also looks into Its “dead lights” and floats in the air comatose for a while before Ben revives her Sleeping Beauty style.  “We all float” pays off much better here.  As for the bullies: well, they’re still fairly one-dimensional. Henry Bowers now has a mullet instead of a pompadour.  More importantly, he is given some motivation for being an abusive monster.  An abusive father is a bit of a clichéd excuse, but it’s also realistic, and the kid shows genuine fear and rage when his father humiliates him in front of his friends.  Bowers is also less cold-blooded here: he doesn’t plot to trap and murder the kids, he just chases after them and lashes out.

             I could go on raving and listing great scenes for a while, but I should wrap this up.  The timeline is shifted forward so that the past scenes take place in ’88-’89 and the “present” scenes will be closer to today.  This doesn’t make much difference to the story, just that there are arcades, walkmen, and several references to New Kids on the Block.  Also a lot took place in an abandoned “crack house,” which I don’t remember from the book but is probably accurate.  This movie works, and I absolutely loved it.  I can recommend it both to fans of the novel and those who’ve never opened it.

 Rating: 4/4

[caveartfair]

13 Artists Who Highlight the Power of Words

Most of us are so used to reading that we forget each letter is a shape and each word its own composition. There’s a significant aesthetic dimension to the writing we read daily—in emails and books, on packaging and signs—and so it makes sense that visual artists have co-opted graphic design and typography strategies for their own philosophical ends.

Using language, artists transform a basic communication tool—the alphabet—into unique provocations. Language is also particularly malleable, cost-free, and renewable. “There’s a million different ways artists can use it,” said Jewish Museum curator Kelly Taxter. “Often, it’s artists who work with issues of politics or social justice.” Just as artists are still finding new ways to manipulate paint, canvas, and space, they’re constantly developing fruitful new reasons to turn words into art.

Jenny Holzer

All Fall Text: Truisms, 1977-79 (in English and Spanish); Living, 1980-82 and Survival, 1983-85, 2012. Jenny Holzer Sprüth Magers

Jenny Holzer turns common public objects into subversive artworks bearing powerful words. She engraves poetic statements about power, feminism, and individual agency into benches made from streaked Carrara marble, spotted granite, and royal blue-tinged sodalite. Holzer renders her phrases in all-caps and serif lettering, turning them into monumental proclamations: “PROTECT ME FROM / WHAT I WANT,” “IT IS IN YOUR SELF-INTEREST / TO FIND A WAY TO BE VERY TENDER,” “RAISE BOYS AND GIRLS THE SAME WAY.” They become creative mandates in shared spaces and benevolent counterpoints to state directives.

If Holzer’s benches transform public park fixtures into artistic media, her LED banners co-opt a structure associated with commerce and advertising. On screens that would typically promote sales, company names, or stock market updates, Holzer broadcasts punchy phrases such as “DON’T TALK DOWN TO ME” or “WITNESS,” along with longer, looping messages. The artist often repurposes her poetic phrases, or “Truisms,” building their power through repetition. (One of Holzer’s most famous messages, “ABUSE OF POWER COMES AS NO SURPRISE,” has been readopted as a protest mantra in the #MeToo era.)

“I like placing content wherever people look,” Holzer told fellow artist Kiki Smith in a conversation for Interview Magazine, “and that can be at the bottom of a cup or on a shirt or hat or on the surface of a river or all over a building.” Holzer turns the public realm into her exhibition space, gifting her thoughtful poetry to anyone who wants to sit or read a sign.

Mel Bochner

BLAH BLAH BLAH, 2016. Mel Bochner Gallery Art

Many artists working with words offer profound written statements in their work. Mel Bochner’s most famous pieces, in contrast, simply read “BLAH / BLAH / BLAH.” The artist plasters the essentially meaningless phrase on billboards and jams it in block letters across brightly colored paintings. The artist seems most interested in highlighting the banalities of contemporary communication. A 2017 monoprint, for example, juxtaposes collaged phrases such as “OH WELL, THAT’S / THE WAY IT GOES,” “IT IS WHAT IT IS,” “WHAT CAN YOU DO?” and “SHIT HAPPENS.” Bochner elevates non-committal conversations and bromides to fine art. Reading them, the viewer can feel a little indicted. Who hasn’t leaned on some of those clichés when making small talk?

In another series, Bochner renders a group of synonyms—for words like “money,” “obscene,” “obvious,” or “amazing”—in rows. The viewer is forced to consider both the subtleties of language and the garishness of English: We have an awful lot of ways to discuss commerce and convey hyperbole. Bochner’s style amplifies this sense of ornamentation; exclamation points and bright oranges, yellows, and reds abound.

Ed Ruscha

Mocha Standard Station, 1969. Ed Ruscha Hamilton-Selway Fine Art

Ed Ruscha’s iconic photography series “Twentysix Gasoline Stations” (1963) captured the signage and architecture of 26 gas stations between Los Angeles and Oklahoma City. Ruscha developed a new mythology about the American West as he emphasized the roadside signs that populated it. Though the pictures are, ostensibly, of buildings, nearly all of them contain words: “Conoco,” “Texaco,” “Stop/Save,” “Say Fina,” “Cafe,” “Mobil Service,” “Navajo Rugs,” “Beer & Liquors.” In fact, such phrases become inextricable from the landscape itself.

The series laid the groundwork for Ruscha’s career: Over the past five decades, he’s continued to link language and the environment. A painting from 1989 juxtaposes the phrase “Safe and Effective Medication” with a picture of dark clouds. In more recent work, the titular expressions “Pay Nothing Until April” (2003), “Wall Rockets” (2000), and “History Kids” (2009) overlie painted, craggy mountains. Viewers consider the association—or lack thereof—between the different elements as they wonder what any of those obscure phrases actually mean. Typography itself becomes as integral to a work’s mood as color or composition—Ruscha’s angular, thin, white lettering in all-caps is simultaneously delicate and declarative, mechanical and strange. It’s Ruscha’s own font, which he calls Boy Scout Utility Modern.

Sean Landers

Detail of [sic], 1993. Sean Landers Drawing Time, Reading Time, The Drawing Center, New York

According to writer Mark Prince, Sean Landers’s art has “always been embarrassing.” Landers conflates painting and drawing to indulge a diaristic impulse, using his art to share cringeworthy confessionals. On a 1990 ink-on-paper work titled Ouch, he made public such private musings as “I wonder what it is about Hellen that through [sic] me for a loop? Shouldn’t I be used to heartache by now?” and “I really do fear that this may be the stupidest body of work that I’ve ever embarked on.” In the sprawling [sic] (1993), Landers gets more graphic, wondering if he is “deluded enough to think that my jerking off in my studio was something higher than what it is.”

Newer paintings, from 2017, resemble doodles on canvas.Flicker Dimming Protocols features the artist’s first name in cursive; sketches of a dog, skeleton jester, and robot; and scribbled, melodramatic text: “youth passes so fast” and “Ageing is the penultimate / content of art / death is the ultimate.” In other works, he paints tree trunks that have been gouged with words, like “I Made Art → Lots of Art → Most of it Good → Some of it Very Good → And I Hope Everlasting.”

Adam Pendleton

If the function of dada, 2017. Adam Pendleton Galerie Laurent Strouk

Adam Pendleton’s raw material is language, but the artist often doesn’t care if his words make clear sense. His broad project “Black Dada,” which he began in 2008, co-opts the dreamlike, nonsensical aesthetics of European inter-war artists like Kurt Schwitters, Max Ernst, and Salvador Dalí, repurposing them for Pendleton’s own concerns as a black American. In his 2017 painting If the function of dada, for example, Pendleton silkscreens, inks, and spray-paints so many black letters against his white canvas that the viewer struggles to decipher any messaging. It’s a perfect strategy to convey contemporary dissonance and chaos.

Not all of Pendleton’s work with text, however, is illegible. He’s appropriated phrases from writer Gertrude Stein, artist Ad Reinhardt, and musician Sun Ra, and frequently overlaid varying backdrops (photographs of bricks or an African mask) with the word “INDEPENDANCE.” For the 2015 Venice Biennale, he created large-scale wall works for the Belgian pavilion that replicated the words “Black Lives Matter” in a loose, graffiti-like scrawl.

Kay Rosen

Something Happened, 2017. Kay Rosen Krakow Witkin Gallery

Using stencils of generic fonts, Kay Rosen paints words and phrases on gallery and museum walls, and also projects them onto façades. “ADD AND END,” she tells us in a bright mix of primary colors (Happy Ever After, 1994/2016). “JUMBO MUMBO,” she says, in blue-and-black lettering (Big Talk, 1985/2017). The titles infuse the works with additional humor. “The linguist in me wanted meaning to be carried by the structure of the words, not type style; the inner painter insisted that color convey meaning; the sculptor in me obsessed about the construction of letterforms through materials and process,” she wrote in Art in America in 2014. “Visual consistency gives text authority—which is the fundamental lesson I learned at my publishing day job.”

Rosen’s work is often about concrete poetry and wordplay. In fact, some of her canvases read as rebuses. Head Over Heels (2016), for example, features the words “fall over” toppling sideways—you might also read the text as “fal lover,” turning the title into a double entendre about both form and romance.

Jason Rhoades

Fuzzy Puddle/Turkey Beard, 2003. Jason Rhoades Phillips

In the late Jason Rhoades’s installations, neon words hang from the ceiling-like linguistic confetti suspended in space. His work literally lights up the gallery space with riotous, evocative slang. In My Madinah. In pursuit of my ermitage… (2004), for example, all 240 phrases refer to female genitalia. Visitors walk under a tangle of language that includes “Cock Alley,” “Cooze,” “Fuzz Box,” “Private Property,” “Ginger,” and “Fluttering Love.” Underneath lie overlapping towels, suggesting a Muslim place of worship. With his title, Rhoades indicated that the terms—and the female body itself—added up to a pseudo-religion for him. (Objectifying? Probably. But 2004 was…a different time.) In another work, Fuzzy Puddle/Turkey Beard (2003), the titular phrases appear in orange neon against a black sign. The latter hangs upside down. Lingerie lace loops over the bright, cursive wording—just in case the viewer couldn’t already guess what particular anatomy the phrases refer to.

Erica Baum

Erica Baum, excerpts from Dog Ear, 2016. Courtesy of Ugly Duck Presse, Brooklyn, NY.

Erica Baum doesn’t choose the words that she includes in her “Dog Ear” series, per se. In close-cropped photographs, the artist captures a dog-eared book’s page and the one hiding behind it. The viewer sees two separate triangular sections of text, one laid atop another in a square format. Neither the photographs nor their titles disclose the source material. In Enfold (2013), the dog-eared page simply reads “A,” while the page behind offers a kind of fragmented nonsense poem: “a wave would be hear / to enfold the note / spraying its foa / music. I gre / my thing / struck / in.” Viewers must choose to read the words and guess at the larger story. Alternately, they can opt not to read at all, and simply look at each work as a group of black forms against light pages. The letters become secondary to the concept: Baum’s work captures the physical evidence of reading—folded pages signify that readers have temporarily abandoned their books as they return to real life.

Christopher Wool

PARANOIAC from the Black Book, 1989. Christopher Wool Winston Wächter Fine Art

SPOKESMAN from the Black Book, 1989. Christopher Wool Winston Wächter Fine Art

According to legend, Christopher Wool developed the idea for his word paintings in 1987, after seeing graffiti scrawled in black lettering across a delivery truck. His subsequent canvases embrace their gritty conceptual origins. Across stark white backgrounds, he uses stencils to create blocky black letters, detached at their joints, erratically spelling out “Sell the House, Sell the Car, Sell the Kids” (a line from the film Apocalypse Now) or “TR/BL” (“trouble” with the vowels removed). Broken up into lines and curves, the letters become both heavy compositional elements and potential vehicles for additional meaning.

Yet given the limited palette and lack of any other context, the words stop short of real significance—“leached…of personality,” as Peter Schjeldahl wrote in a 2013 review of Wool’s Guggenheim retrospective. For the New York Times, Roberta Smith concluded: “These paintings conflate the act of seeing, reading and even speaking as you tease and sound out the meanings of their run-on or awkwardly broken words.” Time Out situated the work in a particularly historical context, asserting that Wool’s language “seemed to encapsulate a collective mood of foreboding and unease brought on by the Reagan administration and the various disasters—the AIDS crisis, the 1987 stock market crash, the savings and loan scandal—it left in its wake.”

Guerilla Girls

Guerrilla Girls Definition Of A Hypocrite, 1990. Guerrilla Girls mfc - michèle didier

The anonymous collective Guerilla Girls fits into a rich tradition of protest artists who employ words for explicitly political ends. In particular, the group uses language to reconsider gender discrimination and violence. “What do these men have in common?” one of their 1995 posters asks. Below the bold black wording, photographs of O.J. Simpson and minimalist artist Carl Andre appear. The answer to their provocation? The state accused both men of murdering women (Simpson: his ex-wife Nicole Brown Simpson; Andre: his wife Ana Mendieta). Both enjoyed acquittals and avoided jail time. The Guerilla Girls discuss the prevalence of domestic violence beneath the pictures. They also include a tagline at the bottom: “A public service message from Guerilla Girls conscience of the art world.”

Another famous work, Do Women Have to Be Naked to Get Into the Met Museum? (1989), critiques the lack of art by female practitioners in major institutions. Across the Guerilla Girls’s oeuvre, wry ideology becomes an art form. Their messaging—and its situation within the institutions it critiques—supersedes all other aesthetic concerns.

EJ Hauser

From 2008 to 2012, EJ Hauser used newsprint as a backdrop for her drawings. Up-to-the-minute writings about the world became literal foundations for the artist’s gestural marks. Hauser explicitly linked abstraction with earthly concerns, arguing against claims that non-figurative work is divorced from reality. In halted attempt at terrorism, white swishes of oil paint overlay text about a civilian-thwarted attack. In laker, a shower of vaguely patriotic red, white, and blue brushstrokes obscure the faces of two basketball players. The sports section, ostensibly, is just as good a background as the international pages.

For a 2013 painting, forget-me-not three, Hauser painted her own text to undergird ambiguous black shapes. Beneath lines, circles, and a pair of cartoonish legs, the viewer can just make out the titular phrase, “forget me not.” Written in off-white against a pale background, the words already look endangered, as though their disappearance and erasure is imminent.

In a body of work now on view at Derek Eller in New York, Hauser uses text as scaffolding for her images: Look closely at her marks and you’ll find the backbones and curves of various letters, jumbled together to eliminate the boundary between word and picture.

Barbara Kruger

Untitled (Your body is a battleground), 1989. Barbara Kruger "The Inaugural Installation" at The Broad, Los Angeles

Barbara Kruger co-opts the format of magazine advertisements in her prints, photographs, and silkscreens. They overlay black-and-white pictures (often of women) with white text inside red banners (“Your body is a battleground,” most famously). Commerce and feminism mingle uncomfortably: Kruger’s art often calls attention to the way that corporations, mass media, and the government attempt to control women. All the works feature a Futura typeface, turning the artist’s oeuvre into its own subversive brand.

It’s no surprise that Kruger began her career as a graphic designer. In the 1960s, she worked for Condé Nast’s women’s magazine Mademoiselle. Yet as an artist, she’s been able to significantly expand her palette. Her large-scale installations have grown to cover the walls, floors, and sometimes even ceilings of rooms at museums and galleries, immersing viewers in her loud, bold language.

Lawrence Weiner

PAST THE END OF THE DOCK (Cat. #771), 1996. Lawrence Weiner Galerie Hubert Winter

Art historians consider Lawrence Weiner one of the forerunners of Conceptual art. The artist is best known for rendering text directly on walls, letter by letter, often in his own invented sans serif font, Margaret Seaworthy Gothic. Flat against the wall, the phrases lack the objecthood that’s often an artwork’s prerequisite.

Despite lacking accompanying imagery, Weiner’s word art frequently evokes distinct settings and things. Stones skipped across the bay of Naples (2009) or Stacks of Severed Trees Laid Beside a Fissure in the Earth (2007), for example, suggest artworks and arrangements never made, just considered. As viewers read the piece, they complete Weiner’s projects themselves—conjuring a mental images of what he has merely described.

Alternately, other Weiner pieces focus on a sense of space. Raised High Above (2018) or The Right Thing in The Wrong Place (2016), for example, evoke more ambiguous objects and agency—who did the raising, or put something where it wasn’t supposed to be? “He has experimented with how language can perform as a public artwork, as a sculpture,” Taxter said. According to her, his work asks “Who owns what phrases?” New York’s new, as-yet-unfinished multidisciplinary arts center The Shed recently commissioned Weiner to make work for the entry pavilion. His two lines of text read “IN FRONT OF ITSELF”—one facing the building, and one facing away from it.

from Artsy News

[teachanarchy]

Like many teenage boys, Nathan and Caleb, 14- and 16-year-old brothers who were students at Clarkston High School in rural Washington, liked to play pranks. At least they did until an incident at school landed both boys with felony charges.

One morning the boys were in the same class with a substitute teacher watching a movie when they remembered the small bottles of fart spray they had with them. They unleashed the spray, causing students to complain with disgust and then spray their own cologne and perfume to mask the smell.

Later that day, Nathan was caught with the spray. When Caleb found out, he didn’t think it would be fair for his brother to get all of the blame, so he confessed that he had been involved in the prank, too. The boys were issued suspensions and told that their prank had caused a girl to have an asthma attack.

The boys’ father chastised his kids and agreed that the suspension was appropriate punishment. The family assumed that the suspension and punishment at home would be the end of it.

But when Nathan and Caleb returned to class after suspension, they were brought in for questioning by the police officer stationed at their school. A few weeks later, a letter from the prosecutor arrived in the mail. The boys were being charged with felony assault and disturbing the school — a charge similar to disorderly conduct that can be applied to students acting inappropriately in schools.

The family was shocked. How could a simple prank result in a felony assault charge that the boys might have to carry for the rest of their lives? The boys were scared. Would they be put in a detention center? How would it affect their schooling? When they came of age, would they even be allowed to vote?

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Nathan and Caleb Roberts

Eventually the charges were reduced, but not without first humiliating the boys and leaving the entire family traumatized. “It’s sad to think you could go to school one day with fart spray and come home a felon,” said their father, Robert. “And for their entire life, this system would want a kid to pay for that.”

This story may seem outrageous, but it is not uncommon. Every day in our nation’s schools, children as young as five are charged with “crimes” for everyday misbehavior: throwing a paper airplane, kicking a trashcan, and wearing sagging pants. In the 2013-14 school year, the most recent year for which statistics are available, schools reported over 223,000 referrals to law enforcement.

A 13-year-old Texas boy who attempted to pay for school lunch with a $2 bill that turned out to be fake faced prison time on charges of felony forgery. In Virginia, a middle school student was charged with assault and battery with a weapon for throwing a baby carrot at her teacher. The criminalization of typical youth behavior has engendered a bizarre reality — students are arrested in schools, places meant to provide safe haven, for behavior that is noncriminal in any other venue.  

The ACLU’s newly released white paper, “Bullies in Blue: Origins and Consequences of School Policing,” examines the origins of school policing, which has been driven by the same punitive criminal justice policies and assumptions that drove the overcriminalization of Black and Latino communities and spawned an era of mass incarceration. Tracing school policing back to civil rights struggles to end Jim Crow segregation, the report challenges assumptions that the function of police in schools is to protect children.

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By the 1970s, police regularly patrolled newly integrating or majority Black and Latino schools in 40 states, looking for behaviors deemed disruptive under the justification that it would prevent the outbreak of larger crime. In fact, when “broken windows” theory was popularized in 1982, its architects pointed to “rowdy youth” as a critical target of the strategy, further justifying the presence of police in schools even as youth crime went down.

At its inception, the concept of preventative policing in schools targeted relatively few schools. Heinous school shootings in the late 1990s, coupled with a growing, but misplaced fear in a coming juvenile crime wave of “superpredators”, led to an expansion of school policing. This expansion was fueled by an outpouring of federal funds and enshrined in federal criminal justice and education policy. Still, school policing continued to be concentrated in low-income neighborhoods of color, although the worst of crimes — these school shootings — occurred in majority-white suburban schools.

Given that school policing originated and is concentrated in Black neighborhoods, it should be no surprise that school arrests disproportionately affect students of color. Nationally, Black students are more than twice as likely as their white classmates to be referred to law enforcement. And as “Bullies in Blue” shows, in South Carolina, Black students are almost four times as likely as their white counterparts to be charged with “disturbing schools” — an unconstitutionally vague and broadly worded law that allows police to arrest students for any behavior deemed “disruptive” or “obnoxious.”

Federal COPS Grants Funding School Police Officers, 1995 - 2016

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Our report dispels mythology that has kept school police in place. Advocates for school policing, such as the National Association of School Resource Officers, describe the role of school police as that of disciplinarian, mentor, and teacher. “Bullies in Blue” argues that those roles should not be the role of police officers who have neither the training nor direct mandate to act as mental health specialists or trauma counselors. Trained professionals and educators whose responsibility is foremost to the students and the school should fill these roles.

The white paper identifies the significant risks to students’ rights when police are placed in schools. Law enforcement officers in schools often become involved in noncriminal matters, jeopardizing students’ rights to be free of unwarranted “search and seizure” in violation of the Fourth Amendment. Young people’s privacy rights are further undermined when police in schools surveil students, access student education records, and share this information with outside law enforcement.

School referrals to law enforcement and arrests also disparately affect students of color and students with disabilities. School policing must be assessed for its contributions to these disparate contacts with the justice system and for infringement of students’ rights to be free from discrimination on the basis of race and disability.

“The often toxic relationship between law enforcement and communities of color frequently begins in the schools,” said Dennis Parker, director of the ACLU’s Racial Justice Program. “The atmosphere of fear and mistrust experienced by many people of color on the streets as a result of abusive and unwarranted stops and arrests has even greater consequences when it occurs in schools, which are supposed to be safe spaces conducive to learning, not places to prepare young people for a place in the criminal justice system and correctional institutions.”

The fact is the use of police in schools oftentimes results in physical harm to children. “Bullies in Blue” reviews incidents where children have been body slammed, tased, pepper sprayed, choked, and placed in handcuffs. In one incident, a four-year-old was shackled in his pre-kindergarten class for throwing a temper tantrum. In another, a 16-year-old boy was arrested and struck 18 times with a metal nightstick — half of which occurred after the student had already fallen to the ground in pain.

New data from the New York Civil Liberties Union demonstrates that students are handcuffed regularly for incidents considered noncriminal even by school standards. Police are using handcuffs to “de-escalate” mental health crises or to interview students who have not done anything criminally wrong.

“As with other aspects of the school to prison pipeline, students of color are far more likely to be subjected to use of force and handcuffing,” said NYCLU Advocacy Director Johanna Miller. “In incidents involving Black or Latino students, police used handcuffs 34 percent of the time versus 26 percent of the time for white students.” When children have been injured — a wrist broken, a jaw broken — law enforcement has been quick to justify their actions as legitimate, blaming students for the need to exercise force and even lying to hide their actions.

The Expansion of School Policing Through Federal COPS Grants, 1995 - 2016

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The psychological impact of school policing on children has lifelong consequences. When schools respond to children, even teenagers, by engaging law enforcement for minor discipline issues, children experience alienation, anxiety, and rejection. They then associate schools and the adults within those institutions with potential harm.

Importantly, school policing also impacts how children understand and interpret notions of justice and fairness. The notion of procedural justice is critical here. If students have contact with law enforcement for minor and noncriminal reasons, they lose faith that the system of law enforcement is one that is fair. This can lead to further misbehavior and undermines student engagement.

Tim Kornegay, a formerly incarcerated activist whose first encounter with the police was in 1968 at the tender age of six, said of the police in schools, “They were there to label you as a criminal and to remind you that no matter where you were, you were always subject to police contact.”

Students carry the mark of an arrest with peers and teachers, who see them now as troublemakers, and school police officers, who may interfere with them more regularly. Arrests can also have consequences for student achievement and life attainment. A student who is arrested in the course of schooling is twice as likely to drop out of school. If it results in a court case, their chance of dropping out skyrockets to 400 percent. For those students who do drop out of high school as a result of an arrest, the chances that they will serve time in prison increases exponentially.

Police in schools do not make schools safer; caring and trained adults do. The “Bullies in Blue” report shows that there is no routine place for police in our public schools. Students with the greatest need for positive and quality education end up being those most punished in our schools.

If schools are to be positive learning environments for all students, places that nurture and protect the rights and capacities of all students, we must recognize how school policing and the criminalization of youth of color denies students access to an equitable future.

“Bullies in Blue” is designed to equip advocates and activists with the real hard facts behind school policing — where it came from, how it’s justified, and what its impact is on children. We hope that advocates will join the ACLU in calling for counselors, not cops, in schools.Like many teenage boys, Nathan and Caleb, 14- and 16-year-old brothers who were students at Clarkston High School in rural Washington, liked to play pranks. At least they did until an incident at school landed both boys with felony charges. One morning the boys were in the same class with a substitute teacher watching a movie when they remembered the small bottles of fart spray they had with them. They unleashed the spray, causing students to complain with disgust and then spray their own cologne and perfume to mask the smell. Later that day, Nathan was caught with the spray. When Caleb found out, he didn’t think it would be fair for his brother to get all of the blame, so he confessed that he had been involved in the prank, too. The boys were issued suspensions and told that their prank had caused a girl to have an asthma attack. The boys’ father chastised his kids and agreed that the suspension was appropriate punishment. The family assumed that the suspension and punishment at home would be the end of it. But when Nathan and Caleb returned to class after suspension, they were brought in for questioning by the police officer stationed at their school. A few weeks later, a letter from the prosecutor arrived in the mail. The boys were being charged with felony assault and disturbing the school — a charge similar to disorderly conduct that can be applied to students acting inappropriately in schools. The family was shocked. How could a simple prank result in a felony assault charge that the boys might have to carry for the rest of their lives? The boys were scared. Would they be put in a detention center? How would it affect their schooling? When they came of age, would they even be allowed to vote? CloseRead the white paperNathan and Caleb RobertsEventually the charges were reduced, but not without first humiliating the boys and leaving the entire family traumatized. “It’s sad to think you could go to school one day with fart spray and come home a felon,” said their father, Robert. “And for their entire life, this system would want a kid to pay for that.”This story may seem outrageous, but it is not uncommon. Every day in our nation’s schools, children as young as five are charged with “crimes” for everyday misbehavior: throwing a paper airplane, kicking a trashcan, and wearing sagging pants. In the 2013-14 school year, the most recent year for which statistics are available, schools reported over 223,000 referrals to law enforcement. A 13-year-old Texas boy who attempted to pay for school lunch with a $2 bill that turned out to be fake faced prison time on charges of felony forgery. In Virginia, a middle school student was charged with assault and battery with a weapon for throwing a baby carrot at her teacher. The criminalization of typical youth behavior has engendered a bizarre reality — students are arrested in schools, places meant to provide safe haven, for behavior that is noncriminal in any other venue.  The ACLU’s newly released white paper, “Bullies in Blue: Origins and Consequences of School Policing,” examines the origins of school policing, which has been driven by the same punitive criminal justice policies and assumptions that drove the overcriminalization of Black and Latino communities and spawned an era of mass incarceration. Tracing school policing back to civil rights struggles to end Jim Crow segregation, the report challenges assumptions that the function of police in schools is to protect children. Read the full white paperBy the 1970s, police regularly patrolled newly integrating or majority Black and Latino schools in 40 states, looking for behaviors deemed disruptive under the justification that it would prevent the outbreak of larger crime. In fact, when “broken windows” theory was popularized in 1982, its architects pointed to “rowdy youth” as a critical target of the strategy, further justifying the presence of police in schools even as youth crime went down. At its inception, the concept of preventative policing in schools targeted relatively few schools. Heinous school shootings in the late 1990s, coupled with a growing, but misplaced fear in a coming juvenile crime wave of “superpredators”, led to an expansion of school policing. This expansion was fueled by an outpouring of federal funds and enshrined in federal criminal justice and education policy. Still, school policing continued to be concentrated in low-income neighborhoods of color, although the worst of crimes — these school shootings — occurred in majority-white suburban schools.Given that school policing originated and is concentrated in Black neighborhoods, it should be no surprise that school arrests disproportionately affect students of color. Nationally, Black students are more than twice as likely as their white classmates to be referred to law enforcement. And as “Bullies in Blue” shows, in South Carolina, Black students are almost four times as likely as their white counterparts to be charged with “disturbing schools” — an unconstitutionally vague and broadly worded law that allows police to arrest students for any behavior deemed “disruptive” or “obnoxious.” Federal COPS Grants Funding School Police Officers, 1995 - 2016Click on the map below to see the details for each grant location.Privacy statement. This embed will serve content from carto.comOur report dispels mythology that has kept school police in place. Advocates for school policing, such as the National Association of School Resource Officers, describe the role of school police as that of disciplinarian, mentor, and teacher. “Bullies in Blue” argues that those roles should not be the role of police officers who have neither the training nor direct mandate to act as mental health specialists or trauma counselors. Trained professionals and educators whose responsibility is foremost to the students and the school should fill these roles. The white paper identifies the significant risks to students’ rights when police are placed in schools. Law enforcement officers in schools often become involved in noncriminal matters, jeopardizing students’ rights to be free of unwarranted “search and seizure” in violation of the Fourth Amendment. Young people’s privacy rights are further undermined when police in schools surveil students, access student education records, and share this information with outside law enforcement. School referrals to law enforcement and arrests also disparately affect students of color and students with disabilities. School policing must be assessed for its contributions to these disparate contacts with the justice system and for infringement of students’ rights to be free from discrimination on the basis of race and disability.“The often toxic relationship between law enforcement and communities of color frequently begins in the schools,” said Dennis Parker, director of the ACLU’s Racial Justice Program. “The atmosphere of fear and mistrust experienced by many people of color on the streets as a result of abusive and unwarranted stops and arrests has even greater consequences when it occurs in schools, which are supposed to be safe spaces conducive to learning, not places to prepare young people for a place in the criminal justice system and correctional institutions.”The fact is the use of police in schools oftentimes results in physical harm to children. “Bullies in Blue” reviews incidents where children have been body slammed, tased, pepper sprayed, choked, and placed in handcuffs. In one incident, a four-year-old was shackled in his pre-kindergarten class for throwing a temper tantrum. In another, a 16-year-old boy was arrested and struck 18 times with a metal nightstick — half of which occurred after the student had already fallen to the ground in pain. New data from the New York Civil Liberties Union demonstrates that students are handcuffed regularly for incidents considered noncriminal even by school standards. Police are using handcuffs to “de-escalate” mental health crises or to interview students who have not done anything criminally wrong. “As with other aspects of the school to prison pipeline, students of color are far more likely to be subjected to use of force and handcuffing,” said NYCLU Advocacy Director Johanna Miller. “In incidents involving Black or Latino students, police used handcuffs 34 percent of the time versus 26 percent of the time for white students.” When children have been injured — a wrist broken, a jaw broken — law enforcement has been quick to justify their actions as legitimate, blaming students for the need to exercise force and even lying to hide their actions. The Expansion of School Policing Through Federal COPS Grants, 1995 - 2016The map below shows localities that received a grant for at least one school police officer. Click play to see where COPS grants added school police officers between 1995 and 2016.Privacy statement. This embed will serve content from carto.comThe psychological impact of school policing on children has lifelong consequences. When schools respond to children, even teenagers, by engaging law enforcement for minor discipline issues, children experience alienation, anxiety, and rejection. They then associate schools and the adults within those institutions with potential harm. Importantly, school policing also impacts how children understand and interpret notions of justice and fairness. The notion of procedural justice is critical here. If students have contact with law enforcement for minor and noncriminal reasons, they lose faith that the system of law enforcement is one that is fair. This can lead to further misbehavior and undermines student engagement. Tim Kornegay, a formerly incarcerated activist whose first encounter with the police was in 1968 at the tender age of six, said of the police in schools, “They were there to label you as a criminal and to remind you that no matter where you were, you were always subject to police contact.” Students carry the mark of an arrest with peers and teachers, who see them now as troublemakers, and school police officers, who may interfere with them more regularly. Arrests can also have consequences for student achievement and life attainment. A student who is arrested in the course of schooling is twice as likely to drop out of school. If it results in a court case, their chance of dropping out skyrockets to 400 percent. For those students who do drop out of high school as a result of an arrest, the chances that they will serve time in prison increases exponentially.Police in schools do not make schools safer; caring and trained adults do. The “Bullies in Blue” report shows that there is no routine place for police in our public schools. Students with the greatest need for positive and quality education end up being those most punished in our schools. If schools are to be positive learning environments for all students, places that nurture and protect the rights and capacities of all students, we must recognize how school policing and the criminalization of youth of color denies students access to an equitable future. “Bullies in Blue” is designed to equip advocates and activists with the real hard facts behind school policing — where it came from, how it’s justified, and what its impact is on children. We hope that advocates will join the ACLU in calling for counselors, not cops, in schools.

[newstfionline]

‘I know they are going to die.’ This foster father takes in only terminally ill children

Hailey Branson-Potts, Los Angeles Times, Feb. 8, 2017

The children were going to die.

Mohamed Bzeek knew that. But in his more than two decades as a foster father, he took them in anyway--the sickest of the sick in Los Angeles County’s sprawling foster care system.

He has buried about 10 children. Some died in his arms.

Now, Bzeek spends long days and sleepless nights caring for a bedridden 6-year-old foster girl with a rare brain defect. She’s blind and deaf. She has daily seizures. Her arms and legs are paralyzed.

Bzeek, a quiet, devout Libyan-born Muslim who lives in Azusa, just wants her to know she’s not alone in this life.

“I know she can’t hear, can’t see, but I always talk to her,” he said. “I’m always holding her, playing with her, touching her. … She has feelings. She has a soul. She’s a human being.”

Of the 35,000 children monitored by the county’s Department of Children and Family Services, there are about 600 children at any given time who fall under the care of the department’s Medical Case Management Services, which serves those with the most severe medical needs, said Rosella Yousef, an assistant regional administrator for the unit.

There is a dire need for foster parents to care for such children.

And there is only one person like Bzeek.

“If anyone ever calls us and says, ‘This kid needs to go home on hospice,’ there’s only one name we think of,” said Melissa Testerman, a DCFS intake coordinator who finds placements for sick children. “He’s the only one that would take a child who would possibly not make it.”

Typically, she said, children with complex conditions are placed in medical facilities or with nurses who have opted to become foster parents.

But Bzeek is the only foster parent in the county known to take in terminally ill children, Yousef said. Though she knows the single father is stretched thin caring for the girl, who requires around-the-clock care, Yousef still approached him at a department Christmas party in December and asked if he could possibly take in another sick child.

This time, Bzeek politely declined.

Bzeek is a quiet, religious man who wants his foster daughter to know she’s not alone in this life.

The girl sits propped up with pillows in the corner of Bzeek’s living room couch. She has long, thin brown hair pulled into a ponytail and perfectly arched eyebrows over unseeing gray eyes.

Because of confidentiality laws, the girl is not being identified. But a special court order allowed The Times to spend time at Bzeek’s home and to interview people involved in his foster daughter’s case.

The girl’s head is too small for her 34-pound body, which is too small for her age. She was born with an encephalocele, a rare malformation in which part of her brain protruded through an opening in her skull, according to Dr. Suzanne Roberts, the girl’s pediatrician at Children’s Hospital Los Angeles. Neurosurgeons removed the protruding brain tissue shortly after her birth, but much of her brain remains undeveloped.

She has been in Bzeek’s care since she was a month old. Before her, he cared for three other children with the same condition.

“These kids, it’s a life sentence for them,” he said.

Bzeek, 62, is a portly man with a long, dark beard and a soft voice. The oldest of 10 children, he came to this country from Libya as a college student in 1978.

Years later, through a mutual friend, he met a woman named Dawn, who would become his wife. She had become a foster parent in the early 1980s, before she met Bzeek. Her grandparents had been foster parents, and she was inspired by them, Bzeek said. Before she met Bzeek, she opened her home as an emergency shelter for foster children who needed immediate placement or who were placed in protective custody.

Dawn Bzeek fell in love with every child she took in. She took them to professional holiday photo sessions, and she organized Christmas gift donation drives for foster children.

She was funny, Bzeek said during a recent drive home from the hospital. She was absolutely terrified of spiders and bugs, so much that even Halloween decorations creeped her out--but she was never scared by the children’s illnesses or the possibility that she would die, Bzeek said.

The Bzeeks opened their Azusa home to dozens of children. They taught classes on foster parenting--and how to handle a child’s illness and death--at community colleges. Dawn Bzeek was such a highly regarded foster mother that her name appeared on statewide task forces for improving foster care alongside doctors and policymakers.

Bzeek started caring for foster children with Dawn in 1989, he said. Often, the children were ill.

Mohamed Bzeek first experienced the death of a foster child in 1991. She was the child of a farm worker who was pregnant when she breathed in toxic pesticides sprayed by crop dusters. She was born with a spinal disorder, wore a full body cast and wasn’t yet a year old when she died on July 4, 1991, as the Bzeeks prepared dinner.

“This one hurt me so badly when she died,” Bzeek said, glancing at a photograph of a tiny girl in a frilly white dress, lying in a coffin surrounded by yellow flowers.

By the mid-1990s, the Bzeeks decided to specifically care for terminally ill children who had do-not-resuscitate orders because no one else would take them in.

There was the boy with short-gut syndrome who was admitted to the hospital 167 times in his eight-year life. He could never eat solid food, but the Bzeeks would sit him at the dinner table, with his own empty plate and spoon, so he could sit with them as a family.

There was the girl with the same brain condition as Bzeek’s current foster daughter, who lived for eight days after they brought her home. She was so tiny that when she died a doll maker made an outfit for her funeral. Bzeek carried her coffin in his hands like a shoe box.

“The key is, you have to love them like your own,” Bzeek said recently. “I know they are sick. I know they are going to die. I do my best as a human being and leave the rest to God.”

“I know she can’t hear, can’t see, but I always talk to her,” Mohamed Bzeek says.

Bzeek’s only biological son, Adam, was born in 1997--with brittle bone disease and dwarfism. He was a child so fragile that changing his diaper or his socks could break his bones.

Bzeek said he was never angry about his own son’s disabilities. He loved him all the same.

“That’s the way God created him,” Bzeek said.

Now 19, Adam weighs about 65 pounds and has big brown eyes and a shy grin. When at home, he gets around the house on a body skateboard that his father made for him out of a miniature ironing board, zooming across the wood floor, steering with his hands.

Adam studies computer science at Citrus College, driving his electric wheelchair to class. He’s the smallest student in class, Bzeek said, “but he’s a fighter.”

Adam’s parents never glossed over how sick his foster siblings were, and they told him the children were going to eventually die, Bzeek said. They accepted death as part of life--something that made the small joys of living all the more meaningful.

“I love my sister,” the shy teenager said of the foster girl. “Nobody should have to go through so much pain.”

About 2000, Dawn Bzeek, once such an active advocate for foster children, became ill. She suffered from powerful seizures that would leave her weak for days. She could hardly leave the house because she didn’t want to collapse in public.

The frustrations of her illness wore on her, Bzeek said. There was stress in the marriage, and she and Bzeek split in 2013. She died a little over a year later.

Bzeek chokes up when he talks about her. When it came to facing the difficulties of the children’s illnesses, the knowledge that they would die, she was always the stronger one, he said.

On a chilly November morning, Bzeek pushed the girl’s wheelchair and the IV pole that carries her feeding formula into Children’s Hospital on Sunset Boulevard. She was wrapped in a soft pink blanket, her head resting on a pillow with the stitched words: “Dad is like duct tape holding our home together.”

The temperatures had been bouncing up and down that week, and the girl had a cold. Her brain cannot fully regulate her body temperature, so one leg was hot while the other was cold.

On the elevator, her face glowed bright red as she coughed, her throat filled with phlegm, screaming for air. People in the elevator looked away.

Bzeek rubbed her cheek playfully and held her hand, waving it playfully. “Heeeey, mama,” he cooed in her ear, calming her down.

For Bzeek, the hospital has become a second home. When he’s not here, he’s often on the phone with her many doctors, the insurers who fight over who’s paying for it all, the lawyers who represent her and her social workers. Any time they leave the house together, he carries a thick black binder filled with her medical records and pages of medications.

Still, Bzeek--who had to be licensed through the county to care for medically fragile children and receives about $1,700 a month for her care--is not able to make medical decisions for her.

Roberts entered the exam room, smiling at the girl’s frilly socks and brown dress with fall-colored leaves.

“There’s our princess,” the doctor said. “She’s in her pretty dress, as always.”

Roberts has known Bzeek for years and has seen many of his foster children. By the time this girl was age 2, Roberts said, doctors said there were no more interventions to improve her condition.

“Nobody ever wants to give up,” she said. “But we had run through the options.”

But the girl, who is hooked to feeding and medication tubes at least 22 hours a day, has lived as long as she has because of Bzeek, the doctor said.

“When she’s not sick and in a good mood, she’ll cry to be held,” Roberts said. “She’s not verbal, but she can make her needs known. … Her life is not complete suffering. She has moments where she’s enjoying herself and she’s pretty content, and it’s all because of Mohamed.”

Mohamed Bzeek spends long days and sleepless nights caring for the bedridden child.

Other than trips to the hospital and Friday prayers at the mosque--when the day nurse watches her--Bzeek rarely leaves the house.

To avoid choking, the girl sleeps sitting up. Bzeek sleeps on a second couch next to hers. He doesn’t sleep much.

On a Saturday in early December, Bzeek, Adam and the girl’s nurse, Marilou Terry, had a celebratory lunch for the child’s sixth birthday. He invited her biological parents. They didn’t come.

Bzeek crouched in front of the girl--wearing a long, red-and-white dress and matching socks--and held her hands, clapping them together.

“Yay!” he said, cheerfully. “You are 6! 6! 6!”

Bzeek lit six birthday candles in a cheesecake and sat the girl on the kitchen table, holding the cake near her face so she could feel the warmth of the flames.

As they sang “Happy Birthday,” Bzeek leaned over her left shoulder, his beard gently brushing the side of her face. She smelled the smoke, and a small smile crossed her face.

[alisemartinez91]

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