#Emily Moses

[flaminghotjareau]

are you normal or do you often think about how the only time emily got sick at a crime scene was when she saw tsia's dead body

[gold-onthe-inside]

midst of writing the rest of season 6, wondering about an alternate storyline where both tsia and emily survive and hide out in paris together. feel free to drop any ideas in a comment, reblog, or hop into my inbox

[aaronwhorechner]

sometimes i really do want to crawl thru the screen and smack derek morgan upside his big dumb bald head

[scorpsik]

FIC: Upper Hand

She shot him. He was waiting for her and she shot him.

Doyle arc.

Canon typical violence.

She pressed her back against the wall, it grounded her, it made her feel like she was still a part of reality. Her arms stuck out in front of her like branches, ramrod stiff, her gun clutched between her hands, her shaking, sweaty hands. She could see the smoke from her gun, could smell it… could see the blood spatter across the room: the far wall covered in blood and meat… the smears where he slid down the wall leading to… to where he lay…crumpled on her carpet, his blood soaking into the pile.

Read more on AO3 with the link below xx

UPPER HAND

[sinceileftyoublog]

Martin Simpson and Thomm Jutz: A Wider Understanding

Martin Simpson & Thomm Jutz

BY JORDAN MAINZER

Martin Simpson & Thomm Jutz's recent collaborative album is specific in scope but infinite in potential repeatability. Both folk singer-songwriters and guitarists are endlessly curious consumers of historical songs from specific regions: for Simpson, largely music from the British Isles, and for the American but German-born Jutz, the American South. (While each has dabbled in studying and recording music from other regions, they've long honed in on England and the States.) Jutz, also a lecturer and essayist, had long been interested in a collection from English folklorist and song collector Cecil Sharp, “English Folk Songs from the Southern Appalachians," which spans 1916-1918 and was first published in 1932. The 274-song collection is chock full of ballads, hymns, nursery rhymes, and more. Jutz was particularly drawn to the songs of singer Mary Sands and folklorist/singer Jane Gentry. He wanted to do something with these songs, but what?

When longtime British folk music label Topic Records put Jutz in touch with Simpson--an artist he had long admired--they spoke on the phone and came up with an idea: In the spirit of the way in which an Englishman like Sharp ended up collecting songs from Appalachia, what if the two of them picked Sands and Gentry songs and asked various English and American folk artists to sing them over new arrangements? After all, even if the United States and England, throughout the years, have had unique histories, their folklore shares themes of class and archetypal gender struggles. So both Simpson and Jutz picked six songs and asked five artists, from their respective countries, to sing, saving one song each for themselves. The timeline from idea to planning to recording--which took place both in Nashville and England--was mere months. Nothing But Green Willow: The Songs of Mary Sands and Jane Gentry, released last fall on Topic, was born.

Indeed, Nothing But Green Willow is an inspired collection, pairing some of the world's finest folk interpreters, singers, and instrumentalists, with Simpson and Jutz's terrific dual guitar arrangements. Some, like Emily Portman, Angeline Morrison, and Fay Hield, who sing on "Far Annie", "The Suffolk Miracle", and "I Whipped My Horse", respectively, approach folk music in their own careers from the same analytical perspective as Jutz and Simpson, and so they were natural fits. Jutz himself emphasizes the beatific nature of a song like "Awake! Awake!", while country singer Tammy Rogers and actress/singer/model/former neonatal nurse (!) Odessa Settles pry at the innate weariness of "Married and Single Life" and "Pretty Saro". Other tunes are more upbeat, from Simpson's spritely guitar workout on "The Wagoner's Lad" to Tim O'Brien's fiddle jaunt on "Edwin in the Lowlands Low" and Sierra Hull & Justin Moses' deft tempo exercises on "Geordie". My favorite songs are the ones on which Simpson and Jutz's interplay even further plays off of the other featured artists, whether that's Cara Dillon's quintessential Irish twang on on "Come All You Fair and Tender Ladies" or Dale Ann Bradley & Tim Stafford's blaring vocal harmonies on "Jacob's Ladder".

Best of all, and what I gleaned most from listening to Nothing But Green Willow and a phone conversation with Jutz late last summer, is that the record was, truly, a labor of love. "It was nice to sit down and make music without thinking of who we had to please," Jutz said, "or how to craft a narrative around the project." As Jutz is someone who is both an original songwriter and arranger and interested in the technological impact on, and cultural importance of historic recordings, Nothing But Green Willow is an album seemingly perfectly suited for his ethos. And it's also an album whose process can be used to record, rearrange, and re-contextualize songs from any era and place.

Below, read my conversation with Jutz, edited for length and clarity. We talked about his historical relationship with the Sharp collection, his and Simpson's logic in pairing singer with song, and being a folk interpreter in a world of ever-changing technology.

Since I Left You: Around when did you get the idea for Nothing But Green Willow, and when was it recorded?

Thomm Jutz: My original idea to do something with the Sharp collection existed for many years, but I didn't know how to get to it. But when I was introduced to the folks at Topic Records, they introduced me to Martin. Once Martin and I discussed the idea a little bit, it became clear how we wanted to approach it. We had about 2-3 months of warm up time before recording, and that was it. It was recorded [late summer] 2021, half of it in Nashville. Martin was in upstate New York for Richard Thompson's guitar camp, and he flew down to Nashville to record about 7 songs. We flew to England together to record the rest of the album. It came together fairly quickly.

SILY: Do you remember the first time you became familiar with the specific songs on this album?

TJ: With these specific songs, it's a little hard to answer. Some, like, “Come All You Fair and Tender Ladies” and "The Gypsy Laddie", I've known for more than half of my life because of the Carter Family, Bob Dylan, and people like that. About 10-15 years ago, I really got into the Sharp collection and got the books. When Martin and I discussed making the record and focusing only on the songs of Jane Gentry and Mary Sands, I obviously got into [their specific songs] on a much deeper level, hearing the different versions of the songs. It's been a process going on for more than 20 years in one way or another.

SILY: What do all of the featured singers on the album have in common to you? Is there something that ties them together?

TJ: Yes. They all have a deep appreciation for folk music in the true sense of the world, music that comes from the oral tradition. They all come out of that tradition, even the bluegrass [musicians] like Sierra Hull and Dale Ann Bradley. They grew up playing music by ear from people they knew. They didn't study it. Everybody who is on these records love these songs and the true roots of American folk music just as it can be found in English music. It's that love and appreciation that unites these people, but it's also their capacity to interpret them in new ways. There are certainly other ballad singers out there in England and in the United States, but Martin and I didn't want to make this a ballads record where people sang songs a capella. That's been done, and it's great, but we wanted it to approach it a little differently.

SILY: Was it your and Martin's job to pick which singer would sing which song, or did you let the singers pick?

TJ: Once Martin and I looked at all the songs Jane Gentry and Mary Sands had contributed to the Cecil Sharp collection, Martin picked his 6 favorites, and I picked my 6 favorites. I said, "Why don't I [assign] 5 singers here in the States with a song, and you do the same in England." We suggested the songs to the singers, so as to avoid, say, 3 people wanting to sing the same song, or people picking [other] songs from the over 90 songs contributed by these two ladies. We felt pretty strongly about suggesting, "Hey, why don't you do this one!" It's a little risky, but it really worked out.

SILY: What factors did you take into account when making the assignment, from the qualities of each singer's voice to other songs they've sung in the past?

TJ: Not just musical considerations--though that's certainly a part of it--but thematic considerations. In the case of Sierra Hull and Justin Moses, who come out of the bluegrass tradition, I thought it would be interesting to have them sing "Geordie", which had been previously recorded by, among other people, Norman Blake and Tony Rice, which are huge influences in the bluegrass world and had a huge influence on Sierra and Justin. It was interesting to me to see how they would interpret that song that had already been interpreted by two of their heroes. In the case of Tammy Rogers, who is from East Tennessee, she remembers talking to her grandmother, [who would go] to see the Carter Family perform in school houses and court houses. For her, ["Married and Single Life"], which the Carter Family turned into "Single Girl, Married Girl" was interesting to me because of the family connection. Taking the song "Jacob's Ladder", I wanted Dale Ann Bradley to sing that because she's profoundly influenced by the Stanley Brothers, who recorded a version of "Jacob's Ladder" that's very different than the one we have on this album. It's almost like a different song. In the case of Odessa Settles, a wonderful African American gospel singer in Nashville, I thought the lyrics to "Pretty Saro" take on such a profoundly different meaning when sung by an African American person. That was really interesting to experience that.

Martin had his own criteria to pick the British singers, but it's a little harder for me to speak to that.

SILY: Were there any instances where the picked singer was wholly unfamiliar with the original song?

TJ: Oh yes. There were definitely people here in America who weren't familiar with some of the songs or had heard completely different versions. I can't speak to that for the people in England. I think the people in England are from a more serious folk ballad singing tradition, so they were likely a little more familiar with these songs than those on the American side.

SILY: Why did you decide to release "Come All You Fair and Tender Ladies" as the first taste of the record?

TJ: Cara Dillon's vocal makes such an incredibly beautiful statement. It's traditional, but somewhat contemporary in the way she sings it. She's also a very well-known artist over there, which was part of the consideration. It's also a song that's--I hesitate to use the word "popular"--well-known in the folk tradition in England and still to this day played on the Grand Ole Opry by The Whites in a different version. It's a thematic common ground for the audience. I also thought that the guitar parts Martin and I played on that were part of what makes our collaboration as guitarists interesting. It sets the tone well for what this record is all about.

SILY: Going into the recording, how much did you and Martin work on the arrangements?

TJ: Not at all. Martin doesn't read music, so he had maybe played the melodies to these tunes in their simplest forms without chordal accompaniment. I recorded [some chords] and sent it to him. We both lived with it and didn't do anything before we started playing. The only two songs where we had a little more of an idea [what we were going to do were] "The Wagoner's Lad", because Martin was singing it on the record and had a guitar part worked out, and "The Gypsy Laddie", which I sing on and had a guitar part worked out for it. None of the songs on the record took more than 2 hours to record. It was very much spur of the moment. The singers came in, some not knowing what key they wanted to sing in. Time signatures changed. That's the beauty of it. if you have people you can just sit down with and trust them that it's going to be good, it doesn't require a lot of pre-meditation or pre-production. To me, that's the most exciting way of making and recording music.

SILY: Someone like Fay Hield comes at folk music with both a performance and academic point of view. Does anybody else on here have a similar background?

TJ: I think Emily Portman is somebody who has a very deep understanding of where this music comes from and the different possibilities of interpreting it. Fay teaches music at the University of Sheffield and is an authority. She said a lot of things during the recording session that really opened my eyes and made me think about the music slightly differently. I'm a teacher at Belmont University, so you might call me an academic, though I don't think of myself as such. But I've spent a lot of time with this music and where it comes from.

SILY: How does your unique combination of perspectives affect how you approach these tunes?

TJ: Once you know where you something comes from in terms of place--place not just being a geographical location but in all of its sociopolitical manifestations--you listen to the lyrics differently. You look at the expression of class in the lyrics. Class was such an important factor in England when these songs were originally created, although we can't put an exact date of creation on them. That sense of class was very much prevalent in Appalachia, too, albeit in a different way and political context. The more you know about these places and the people who lived there, you might not understand the music deeper, but you understand it wider and broader.

SILY: Can you tell me about your relationship to the two songs on here that feature your voice?

TJ: "Awake! Awake!" is a song I didn't know before I got into this collection. It wasn't one I had originally selected for this album, and Martin neither, but as I explored, I was captivated by the beauty of the melody. I suggested to Martin when he got to Nashville that we shouldn't leave it out. He was on board, and we came up with an arrangement really quickly. It's a gorgeous lyric. It turns out the title of the album is part of the lyrics to that song. "Gypsy Laddie", or "Gypsy Davy", as a lot of people know it, is a song I've always loved. The opening line of that song--it's a little different in this version--but a lot of the versions I'm familiar with start with, "Gypsy Davy came through the woods, sang so sweet and gaily, made the woods around him ring and captured the heart of a lady." It's one of the most beautiful opening verses of any songs I've ever known. It's obviously not just about a gypsy riding through the woods singing, it's about an archetype, the creator, a sorcerer who can charm not just people but nature with their music. It's such a beautiful representation of making music. That song has always been really geared to me, and it's also a very open-ended song. At the end of the song, we don't know whether the lady is dead, sleeping, happy, or sad. She runs away from her children and husband and with this Gypsy Davy character. That's the beauty of those old songs. They're not so linear. There's a lot of room for interpretation.

SILY: How did the two of you come up with the track sequencing?

TJ: Honestly, I don't think I'm good at sequencing records, but sometimes I have to do it. In this case, it was Martin and me trying to figure out how to not have songs in the same key and tempo back to back. It was more musical than thematic considerations.

SILY: What's the story behind the album art?

TJ: The album art is by the former owner of Topic Records who sold the company but is still very much a part of the Topic family and has become a well-respected painter. He had this painting of this willow tree, so once we came up with the title, the folks at Topic suggested it. I always think it's nice to have original art as part of the musical project.

SILY: Are you planning on playing any of these songs live?

TJ: If the right circumstances come up for me and Martin to play together! It would be very difficult to tour this record because there are so many people involved, but I'd certainly consider playing "Awake! Awake!" and "The Gypsy Laddie" in some of my solo shows.

SILY: In the folk tradition, it shouldn't really matter that you might not be the singer on a specific recording when playing that same arrangement live, but do you think it would do a disservice to the vocalists?

TJ: I don't think so. I think it would add a different character or shade or meaning.

SILY: Ostensibly, you could play all of these songs.

TJ: I guess we could, yes. I don't know if the opportunity is going to come up for us to tour in a way that makes sense, since we're living in different parts of the world, but I'd be interested in pursuing it.

SILY: Do you tend to actively seek out folk songs you're not familiar with or you've never heard before?

TJ: It depends. In the context of American music from the South, yes, because I'm really interested in it. But I'm not a folk song collector or scholar in the sense I'm trying to collect folk songs from, say, a certain part of Mexico. I'm limited in scope.

SILY: On paper, due to technology, this seems like a perfect time for folk music to thrive, because there's so much more at our disposal, so much more quickly. What it is like to be a "scholar" of folk music in this day and age?

TJ: Research, whether listening to music or reading about music, has gotten so much easier because things are so much more accessible. You can look up a word in the dictionary really quickly, but 30 years ago, you had to dig into it, and in the process of finding one word, you find 10 others that are really interesting. Maybe we're missing out on that a little bit. Overall, I feel that we're all very oversaturated musically in the way music is made and consumed. It's not something I'm very interested in. I'm so unplugged from the mainstream that I shouldn't really speak to it. But in terms of accessibility to information about music, I think it's a good thing that so many things are easily available to people. If somebody is interested in the Carter Family, they don't have to go to a store and dig through. At the end of the day, though, if people do that, it might be a good thing.

SILY: It reminds me of what you said about having a wide versus a deep appreciation for music. It's easier these days to have a wider appreciation, but to have a deeper appreciation, you still have to go through the old routes, the exploratory nature of researching one thing and finding relevant tangents.

TJ: Right. Just because you can listen to music widely doesn't mean that you understand it deeply. You still have to do the work as a listener to develop an understanding of the people who made the music and when those songs were recorded. To me, that's endlessly fascinating, so the more information I can get about it, the better.

[philipkindreddickhead]

100 Fiction Books to Read Before You Die

The Namesake by Jhumpa Lahiri

The Book of Margery Kempe by Margery Kempe

The Bluest Eye by Toni Morrison

A Small Place by Jamaica Kincaid

The God of Small Things by Arundhati Roy

Frankenstein by Mary Shelley

We Need to Talk About Kevin by Lionel Shriver

The Prime of Miss Jean Brodie by Muriel Sparks

The Girl by Meridel Le Sueur

The Kitchen God's Wife by Amy Tan

The Secret History by Donna Tartt

The Color Purple by Alice Walker

The Poisonwood Bible by Barbara Kingsolver

Veronica by Mary Gaitskill

Americanah by Chimamanda Ngozi Adichie

Alias Grace by Margaret Atwood

Jane Eyre by Charlotte Bronte

The Bell Jar by Sylvia Plath

Mrs. Dalloway by Virginia Woolf

Kindred by Octavia Butler

Middlemarch by George Eliot

Pride and Prejudice by Jane Austen

To Kill a Mockingbird by Harper Lee

Uncle Tom's Cabin by Harriet Beecher Stowe

Their Eyes Were Watching God by Zora Neale Hurston

Passing by Nella Larson

The Left Hand of Darkness by Ursula K. Le Guin

Brideshead Revisited by Evelyn Waugh

Death Comes for the Archbishop by Willa Cather

Play it as it Lays by Joan Didion

The House of Spirits by Isabel Allende

Wuthering Heights Emily Bronte

Little Women by Louisa May Alcott

White Teeth by Zadie Smith

The Power by Naomi Alderman

The Street by Ann Petry

The Age of Innocence by Edith Wharton

Mary Barton by Elizabeth Gaskill

An American Marriage by Tayari Jones

Small Island by Andrea Levy

The Idiot by Elif Batuman

The Outsiders by S. E. Hinton

The Price of Salt/Carol by Patricia Highsmith

Room by Emma Donoghue

The Sea, The Sea by Iris Murdoch

Garden of Earthly Delights by Joyce Carol Oates

Wide Sargasso Sea by Jean Rhys

Wise Blood by Flannery O Conner

Gone Girl by Gillian Flynn

Picnic at Hanging Rock by Joan Lindsey

Rebecca by Daphne du Maurier

Salt to the Sea by Ruta Sepetys

Atlas Shrugged by Ayn Rand

The Awakening by Kate Chopin

Fried Green Tomatoes at the Whistle Stop Cafe by Fannie Flagg

The House on Mango Street by Sandra Cisneros

The Well of Loneliness by Radclyffe Hall

House of Incest by Anaïs Nin

The Mandarins by Simone de Beauvoir

The Lottery by Shirley Jackson

A Little Life by Hanya Yanagihara

Corregidora by Gayl Jones

Whose Names are Unknown by Sanora Babb

Half of a Yellow Sun by Chimamanda Ngozi Adichie

The Handmaid's Tale by Margaret Atwood

See Now Then by Jamaica Kincaid

The Lowland by Jhumpa Lahiri

Beloved by Toni Morrison

The Joy Luck Club by Amy Tan

The Goldfinch by Donna Tartt

Demon Copperhead by Barbara Kingsolver

The Ministry of Utmost Happiness by Arundhati Roy

To the Lighthouse by Virginia Woolf

My Antonia by Willa Cather

Democracy by Joan Didion

Black Water by Joyce Carol Oates

The Violent Bear it Away by Flannery O Connor

Sharp Objects by Gillian Flynn

My Cousin Rachel by Daphne du Maurier

The Fountainhead by Ayn Rand

I Must Betray You be Ruta Sepetys

The Haunting of Hill House by Shirley Jackson

The Mare by Mary Gaitskill

City of Beasts by Isabel Allende

Fledgling by Octavia Butler

A Wizard of Earthsea by Ursula Le Guin

The First Bad Man by Miranda July

Sense and Sensibility by Jane Austen

Moses, Man of the Mountain by Zora Neale Hurston

Disobedience by Naomi Alderman

Quicksand by Nella Larsen

The Narrows by Ann Petry

The Blood of Others by Simone de Beauvoir

Under the Sea by Rachel Carson

Go Set a Watchman by Harper Lee

Under the Net by Iris Murdoch

The Birdcatcher by Gayl Jones

Desert of the Heart by Jane Rule

In the Time of the Butterflies by Julia Alvarez

The Memory Police by Yōko Ogawa

@gaydalf @kishipurrun @unsentimentaltranslator @algolagniaa @stariduks @hippodamoi

[city-of-ladies]

"Women participated in war, an aspect of life that may be classified as political. Father Peter De Smet, the famous Jesuit missionary, recorded that Flathead women served as assistants in warfare: they retrieved arrows and intervened in the battle if a relative’s life was endangered. Point said of women’s battle role:

Several women rivaled the bravest of the men in courage. In the midst of the fray an elderly woman, hatchet in hand, hurled herself so violently between her son, whose horse was tiring, and a Crow on the point of reaching him, that the pursuer, despite his giant stature, judged it prudent to move away. Another younger woman went about on the battlefield gathering up arrows for those of her warriors who had run out of them. Another, who had advanced too far in pursuit of the enemy, made such a swift about face, at the very moment several arms were outstretched to grab her, that she galloped back to her own lines leaving the enemy stupefied. Still another, after having spent some time pursuing several Crows, returned saying, “I thought these great talkers were men, but I was wrong. They are not even worth pursuing.” 

Point further mentioned a female warrior in passing: “All the Pend d’Oreilles warriors rode out, led by Kuiliy, a young Pend d’Oreilles woman renowned for intrepidity on the field of battle.” Unfortunately, he did not further describe this woman. 

Another warrior woman was Colestah, wife to Chief Kamiakin, who participated in the Battle of Four Lakes and Spokane Plain against Colonel George Wright in 1858. She armed herself with a stone war club and fought by her husband’s side. When Kamiakin was wounded, she rescued him and - being a medicine woman - used her healing skills to cure him. It is apparent that women had the option of becoming not only assistants in warfare but warriors in their own right, either regularly or on an occasional basis. Plateau women apparently took part in peacetime politics as well as war. “It is no rare occurrence to see a woman step in during council and severely upbraid the chief”.

Before Plateau people were restricted to reservations, a few women participated in warfare on a voluntary basis, sometimes in defense. While under siege from the Assiniboine, a Flathead woman ran out of a besieged tent with a pistol and shot an attacker dead. Southern Okanogan women and children retired behind barricades during raids on the village. If an enemy approached too closely, a woman “with much power” (spiritual) seized weapons and fought even if menstruating. Her guardian spirit protected her and made her strong. Under such circumstances, a woman could touch weapons and retain the enemy weapons she had captured. 

Traditions of warrior women were collected in 1980 on the Colville Reservation. Emily Peone, a granddaughter of the great Chief Moses of the Moses-Columbia, narrated: 

Women fought in battles; went out with war parties. My mother’s father took his younger wife along. She dressed herself in her finest clothes so that if she died, she would be wearing her funeral clothes; they wouldn’t have to dress her. Women used a club on enemies, and lances too. They took stuff along to dress wounds. They helped the wounded and rescued men in trouble. Chief Moses was always noticeable by his fine clothes in battle. So his sister-in-law saw him fall in the fighting. She galloped to him and chased away his attacker. Then she fixed his wound. These were brave women. The warriors on the other side would kill women. 

The women who rode out with raiding parties were distinguished from other women only by their great physical courage: they had no unusual social status. Consultants did not recall where they obtained their weapons and shields, but they carried them. Since female combatants were as likely to be killed or captured as a male, they were prepared to fight. Most women saw their function as helping the wounded and rescuing men in danger, as in the narrative above. In the course of these activities, however, they did not hesitate to kill opposing warriors if the opportunity arose.

 A few women participated as warriors completely, as recorded by early missionaries in the area. Such full female warriors were not remembered on the Colville Reservation, but a female Nez Perce from Idaho participated in the war against the Euro-Americans. She was able to do so over the objections of her husband and two young children, indicating the extent of the autonomy that Plateau women exercised."

A necessary balance, gender and power among Indians of the Columbia Plateau, Lillian A. Ackerman

[spyskater]

With the casting of David Krumholtz and Emily Beecham as Supergirl's parents, this is the perfect time to talk about a thought that's been floating around my head the last 24 hours: It's a stroke of brilliance to not show the destruction of Krypton in the new Superman movie and to instead save it for the Supergirl movie immediately after. Like Martha and Thomas Wayne's murder in a Batman movie, the destruction of Krypton has been rehashed enough times for the audience to not need to see it again for a while. But doing it in a Supergirl movie changes our perspective of it and recontextualizes the catastrophe. Clark's perspective of the event is that of a baby sent down the galactic river by his parents (Moses imagery) and filmmakers often end up padding from there (Zack Snyder's Krypton sequence is 20 minutes and might as well be its own short film). But Kara was cognitive and fully experienced the destruction of her planet.

If you haven't read Supergirl: Woman of Tomorrow (which is the series the movie is based on and I highly recommend), Kara is a teenage girl when Krypton is destroyed. She watches as the streets of her city go up in flames, witnesses people die in the explosions. But Argo, the capitol city and Kara's home, survives the wreckage and floats out in space. What luck! Her father, being a prominent scientist, does everything he can to keep the city thriving, but wait! A disease pops up as a result of the destruction and begins killing everyone left. So not only is Supergirl traumatized by the destruction of her planet and the loss of her friends and neighbors and mother, but she then has to watch the rest of its survivors slowly die of disease until her father makes the hard choice to send her away on the space ship he manages to build for her.

We have spent years watching Clark being sent off in the final moments of Krypton, but imagine how devastating and heart-wrenching it's going to be from Kara's perspective, losing a home and culture and memories in a different way than Clark. We learn about Krypton through Clark with him as our stand-in. But through Kara, we experience Krypton.

[endlich-allein]

Thank you, the crew, without whom the magic of Rammstein would be impossible. As well as being great professionals who want to give their all, they are men and women with a huge heart, who are extremely kind and generous. Thank you to Tom, Paulo, Thomas and Hells Kitchens Catering, Michael, Katarina, Florian, Martin, Emily, Nando, Sascha, Marcin, Lutz, Simone, Leo, Joe, Wim, Dan, Tariq, Moses, Lino, Rossi, Xana, Toni, Nicolai and all the FFPFX crew, Robert, Carly, Marcus, Paul, Sven, Eric, Christoph, Andi, Gert, Simon, Jason, Chris, Jakub, Aaron, Lennert, Falk, Andreas, Aran, Kristof, Tim and all those I'm forgetting. Thank you also to the volunteers, medics and security guards present in the stadiums ❤️

© Danny Hall

[knight-a3]

Hazbin Hotel Sketchbook 2: Part 5

Masterpost

Angels

I wanted the angels to look more human. And instead of trying to figure out the anatomy of three sets of wings for the seraphim, I decided to do three sets of primary feathers instead. It gets a similar look while being easier for me to wrap my head around. Emily's are a bit different and were patterned after hummingbird wings.

I tweaked the clothing designs so I could wrap my head around the construction of their outfits. I also gave Emily formal and casual wear.

Because I don't want to have to draw them every time, angel wings can basically be turned on and off with magic logic. Vaggie and Lucifer do it in canon, so I can too.

Exorcists- I wasn't fond of the designs for Adam and the exorcists. I went with a more crusader/priest vibe. Lute has a white uniform because she's second in command. The average exorcists have black uniforms, and I used Vaggie as a model for it. I've made alterations to the halos since I drew these. I'll explain that another time.

I needed Adam to actually somewhat look like he could be the first man. That means he needs a beard. And I felt his hair should be more textured. So I used Moses from DreamWorks's Prince of Egypt as inspiration. I'm rather pleased with it.

[flaminghotjareau]

i’m at the doyle arc in my rewatch and i would totally watch a spin-off based on the jtf-12 team, like just that phone conversation between emily, tsia and clyde at whatever park in dc was enough to convince me of their team dynamic, also i love tsia i wish she had been in the show for longer

[gold-onthe-inside]

More of the Tsia & Emily relationship would be so interesting especially because Tsia’s fiancée betrayed them both, so there could be complicated feelings there. It would also make Emily’s return angstier for Piper, who might feel Emily was off romancing Tsia while the BAU grieved her.

I think piper been knew that emily has a thing for tsia, like there's definitely some kind of history there. like she is straight up disappointed when she finds out tsia and jeremy are engaged. I also haven't really decided how piper's going to react to emily being alive. she's very aware that everyone made the best choice they could in a difficult situation, but that doesn't help how angry she is, so it kind of turns inward (because that's what happens when anger doesn't have an outlet). there's also the fact that i don't know enough about tsia so figuring out that dynamic is gonna be hard.

[girlactionfigure]

List of 101 :

1. Naama Levy.

2. Lyri Albag.

3. Berger Lake.

4. Daniella Gilboa.

5. Karina Arive.

6. Galley Barman.

7. Ziv Berman.

8. Ethan Horan.

9. Yair Horan.

10. Arbel the Jew.

11. David Kuneo.

12. Ariel Cuneo.

13. Jordan Bibbs.

14. Solomon Mansur.

15. Oded Lipshitz.

16. Doron Steinbercher.

17. Emily Glory Damari.

18. Ofer Calderon.

19. Amri Miran.

20. The freshness of an era.

21. A fan of my people.

22. Diamond fan.

23. Nimrod Cohen.

24. Tamir Nimrodi.

25. Rum Breslowski.

26. Omer Venkrat.

27. Keith Seagal.

28. Roman for a protective name.

29. Yusef Hamis Al-Ziadana.

30. Hamza Al-Ziadna.

31. Dew they are.

32. Matan Zhengauker.

33. Providing an Angrest.

34. Moses Capricorn.

35. Sasha Tropanov.

36. Isham a-side.

37. Avra Mangisto.

38. Eli when I was hungry.

39. Sagi Dekel-hen.

40. Alon Ahle.

41. Guy Gilboa-Delal.

42. Elia Cohen.

43. Bipin Joshi.

44. The Age of Alexander.

45. Omer Nautra.

46. Alcana in Buchbot.

47. Evyatar David.

48. Omer shem-good.

49. Lovely Harkin.

50. Sagev Kalfon.

51. Or Levi.

52. Joseph Ohana.

53. סטיאן סוואנקאם.

54. Watchera saryon.

55. Pinta netpong.

56. באנאווט סהטאן.

57. Pongask grind.

58. Surask to Amanao.

59. Itzik Allegrant.

60. You have understood light.

61. Ethan Moore.

62. Songs of Bibs.

63. Ariel Bibs.

64. Kfir Bibs.

65. Bar Cooperstein.

66. Judy Weinstein-Hagi RIP.

67. RIP Amber Heyman.

68. Ofra Kidder RIP.

69. The late noble Aviv.

70. Rest in peace Sahar.

71. The late Colonel Assaf Hammi.

72. Sergeant Oron Shaul RIP.

73. RIP Guy Illuz.

74. RIP Tal Chaimi.

75. RIP Tamir Adar.

76. RIP Arya Zelmanovich.

77. RIP drinking era.

78. RIP Itai Svirsky.

79. Yossi Sharavi RIP.

80. Lieutenant Hadar Goldin RIP.

81. Gadi Hagai RIP.

82. Sergeant Itai Chen RIP.

83. Major Daniel Peretz RIP.

84. R.I.P. Manny Goddard.

85. Sergeant Oz Daniel RIP.

86. Lior Rudaif RIP.

87. RIP Uriel.

88. PM Mohammed Al-Atrash RIP.

89. RIP Dror Or.

90. RIP Yair Yaakov.

91. RIP Amiram Cooper.

92. Jonathan Samrano RIP.

93. RIP Ronen Engel.

94. RIP Eliyahu Margalit.

95. R.I.P. Ran Guilli RIP.

96. RIP Joshua Molito Molele.

97. Sgt. Shay Levinson RIP.

98. RIP Ethan Levy.

99. RIP Ilan Weiss.

100. R.I.P. Sonthia Akersari.

101. RIP Soutisak Rintlak.

Bat-sheva Mizan

[kittenfangirl20]

With that said, I don’t like this version of God either and I will explain why and how I imagine him looking and acting. Though I do like the idea of four eyes floating around his head like that. My version of Hazbin Hotel God looks like a slightly older version of Adam, but he still has the four eyes floating around his head as well as two eyes on his face. Why I imagine him looking so much like Adam is because I am going with how Adam was made in God’s image. His attitude is he is the type that he only speaks when he has something important to say so he is usually the quiet type. He can be wrathful, but he has to be pushed to that point like how Earth was during the time of Noah, the whole Moses story, and being forced to watch Yeshua/Jesus die very painfully. He is more open to Charlie’s idea, but have Charlie realize that some Sinners don’t want to be saved and some deserved to be cut down by Adam. He is mostly caring especially towards Adam (who he sees as one of his sons) and Yeshua/Jesus (his actual son that he was created from his very being before he had him put into Mary so Yeshua/Jesus could experience a human life. He definitely wouldn’t gleefully tell Emily how she was wrong to the point she was upset. I think this fan image of God looks too much like one of the angels when humans were made to look more like God according to everything I have read.

[scorpsik]

FIC: Losing Lauren

Lauren Reynolds has been killed in a car crash - and Emily tries to grieve, but she isn't sure how much of herself is left.

ANGST!!! ANGST!!! ANGST!!!

LOSING LAUREN

Drinking; anger; sex; depression. Tsia, Clyde.

[gothamcitycentral]

Judging by everything we know, in Hazbin Hotel’s lore there was no War In Heaven started by Lucifer that resulted in his damnation. Makes sense, the fruit of knowledge is certainly more iconic and it fits the story and characters more for that event to be what sent Lucifer (and Lilith) to Hell.

But y’know that’s a pretty big thing that happened, and it makes me interested if there will be some equivalent in the show, even if not carried out by Lucifer.

With that idea, it’s interesting that there’s two characters currently with a lot of parallels with Lucifer sitting in Heaven

Emily being the ‘second Lucifer’ is pretty blatant with:

“If you start to question, you could end up like Lucifer.”

“Fallen.”

There’s also the idea that Emily is literally Lucifer’s replacement. That with his fall, Emily eventually came into being to fulfill his role in Heaven. Her explicit purpose is to “keep [Heaven’s people] happy and joyful,” an entertainer. Which is very much what Lucifer is, not only from his theatrics but his design being a clown that has dressed himself as the ringmaster. His introduction during his days in heaven even has him creating confetti and fireworks. This certainly explains why there’s this very young seraphim, who for all intents and purposes seems to be very close to Charlie’s age.

Meanwhile, Lucifer’s fall (the first fall) is directly connected to him taking the form of a snake. Then, Sir Pentious, the snake demon, is the first to rise. The show also emphasizes Sir Pentious out of all characters when Charlie and Lucifer are struggling to connect, showing him tearing up multiple times and commenting “that was sssweet” when they do accept each other (possibly due to his own implied desire for a family). They are also both creators, Lucifer having “fantastical ideas for creation” and being implied to have brought Keekee, Razzle, and Dazzle to life and Sir Pentious being a steampunk inventor who possibly created his own minions.

They also both have their own set up to be leaders. Emily is established to be very close to the people of Heaven, and therefore someone many of them would follow. The show also emphasizes just how darn similar Emily and Charlie are, so it’s not hard to imagine Emily having her own “Ready for This” moment. Meanwhile we’ve seen Sir Pentious grow into a capable leader with his role in the resistance against the Exorcists.

Additionally (while this is not a part of every reading of course) one of Lucifer’s reasons for rebellion was which souls were allowed into Heaven. That he would “redeem all mankind, that one soul shall not be lost” (Moses 4:1), this being rejected because it would destroy the agency of mankind. What exactly redeeming all of mankind means is debated, but this concept is ripe for reinterpretation to be the cause of Emily or Sir Pentious starting the War in Heaven.

Frankly, I could see the show doing this with both of them. Emily starting the rebellion but this action being what causes her to fall, with Sir Pentious carrying on leading the rebellion following her departure. This is especially relevant given how in the war itself Lucifer takes on the form of a dragon, which fits in with Pentious’ own reptilian appearance (perhaps his ascension has come with a ‘higher form’ like Charlie has? One more draconic?).