#Hammond School University

[pier-carlo-universe]

Danda lancia il suo nuovo singolo "Flowers": Un viaggio nei sentimenti tra magia e disincanto

A un anno dal suo debutto musicale, Alessandra Greco alias Danda torna con una canzone intima e potente che esplora l'effimera illusione dell'amore e la consapevolezza di una relazione perduta.

A un anno dal suo debutto musicale, Alessandra Greco alias Danda torna con una canzone intima e potente che esplora l’effimera illusione dell’amore e la consapevolezza di una relazione perduta. L’artista napoletana Alessandra Greco, conosciuta come Danda, ha pubblicato il suo nuovo singolo “Flowers”, disponibile su tutte le piattaforme digitali. Dopo il successo di “Mostro”, il suo esordio…

[cheeseknives]

Hello viewers. It's me, James May. And you're watching the disney channel.

[cosmerelists]

Cosmere Characters as Teachers

As requested by @little-cute-pink-horrible-being :)

If Cosmere characters were teachers, what would they teach & what would it be like?

1. Jasnah: History teacher

Let's just say that she has, uh, high expectations of her students.

Jasnah: Anyone can memorize facts and dates. Jasnah: You all will do that, of course, but you will also learn to draw conclusions from those facts, track historical trends, and maybe, if you work hard, you can come up with a theory of your very own. Bravest student: Uh, miss? We are seven. Jasnah: I do not tolerate excuses.

2. Hammond: Philosophy Professor

He has a hardcore group of students who are huge fans of his.

Student 1: Hey, you're in Professor Hammond's class? Student 2: Yeah. Student 1: Isn't he the guy who wrote that book So What if the Poor are Genetically Destined to be Poor? Revolution is Still the Answer? Student 2: That's him. Student 1: And that's why your an anarchist now, huh? Student 2: Listen, he's pretty persuasive.

3. Elend: Political Science Professor

Elend, a Political Science professor at a university, is the sort of teacher who assigns a LOT of reading.

Elend: Remember: politics is for people. Even when the people you serve suck. A lot. Student: You...sound like you're talking from experience? Elend: You have no idea.

4. Shallan: Art Professor

She mainly teaches drawing and painting classes.

Shallan: You all need to decide what your art means to you. Shallan: Whether it be capturing a moment or representing a person's essence or seeing into realms not normally discernable to human eyes--as long as it's art from your soul, it will be right. Student: What, uh, was that last part? Shallan: Art should be from your soul? Student: N-No, the part before that? Shallan: Anyway, everyone start drawing!

5. Painter: Also an Art Professor

I mean, it's literally his name.

Painter: The key to art is repetition. Painter: When a Nightmare is staring down at you, you don't want to be hesitating over what to draw! Student: Professor Nikaro, please, we've been drawing bamboo for a week! Painter: ...I'm not sure what the issue is?

6. Sigzil: Science teacher

Sigzil is one of those general science teachers you get in middle school.

Sigzil: Remember: the key to science is...? Students, as a chorus: Writing things down! Sigzil: That's right! Sigzil: Now let's see what's the heaviest thing we can stick to the wall using glue--last year we managed to stick me to the wall for a couple seconds! Students: [cheering] Sigzil: ...I'm better at this than I would have expected.

7. Wayne: Theater Teacher

Wayne teaches theatre at a high school.

Wayne: Acting is all about not acting. Wayne: You gotta just be the person. Wayne: Understand their past, embody their present... Student: ...wear their hat? Wayne: Exactly!

8. Kaladin: Also a Theatre Teacher

Look me in the eyes and tell me that Kaladin doesn't understand drama.

Kaladin: [talking to an school administrator off to the side while the class watches] And you can tell the school board that the next time they want to cut funding to the arts, I will be there. Kaladin: I will be there at every meeting where even a word of funding reduction is breathed. Kaladin: I will haunt those meetings, carrying pictures of my kids doing their plays and being happy. Kaladin: And I will make them look me in the eyes if they dare to vote to take that away! New student, hesitantly: Performance art? Student: Nah, he always talks that way.

9. Sarene: English teacher

If only because I don't think they have dedicated fencing professors at most places.

Sarene: English is not simply about reading books--it is about learning to think and interpret information. Sarene: You can take the skills you learn in this class and apply them very widely: to understand the news, to read between the lines of what a person says to you, to craft effective rhetoric to get your own way. Sarene: Read everything. Sarene: Remember: you cannot defeat an enemy unless you understand your enemy. Student: ...enemy? Sarene: Don't worry: you'll have enemies when you're older. Student: Yay?

10. Navani: Engineering

Navani would be an engineering professor at a college.

Navani: Your job, students, is to get this ball through that window high up on the wall. You can do it any way you want. Student: I'm immediately seeing: trebuchet. Navani [nodding sagely]: Go with your heart.

11. Pattern: Math teacher

...Listen, I'm not saying he's a good math teacher.

Student: [staring gloomily at their test] Friend: That bad, huh? Student: Mr. Pattern wrote "Mmmm delicious lies" all over it! Friend: So...you failed? Student: Yeah...

12. Raboniel: Chemistry Teacher

She may seem strict, but she actually quite likes kids.

Raboniel: ...And that, students, is how you build a very effective chemical bomb. Students: ... Raboniel: Any questions? Bravest student: Uh, miss? We are seven. Raboniel: So...basically adults, right? Wait, how fast do humans age again? Teacher's aide: [whispering frantically] Raboniel: ...I may have made an error.

[bleedingcoffee42]

Happy Birthday Chuck Grant!!!

Charles Ensworth Grant was born March 1, 1922 in Pittsburgh, Pa. He was the son of Francis Bingham Grant and Katharine Willis Grant Francis was a veteran who served in the cavalry and sold furniture. Katharine's family traces back to New England and her family moved west to California around the same time the Grants did. In the 40s Chuck would have her sister, his Aunt Elizabeth Willis Knapp and her family across the street from him as well as Grandma Willis who would move in with his parents later on. Katharine's brother Edward would live close by in West LA as well.

Chuck may have graduated from University High School in 1940 but he didn't take his senior picture so it's difficult to verify. He worked as a gas station attendant before taking a job with Vega Aircraft. He also listed his address on his draft card as that of a friend's father, a friend who's wedding he would be in as part of the wedding party. Later another member of that party would accompany him to Las Vegas as witness for his own wedding in 1946.

He fought every campaign with Easy company, from Toccoa to Austria. He is described by his fellow soldiers:

-"Loved life. Loved women. Sharp as a tack" -Babe (also memories.)

-"Sunny, quiet, golden-haired boy from CA"- Webster

-"Sinewy physique, excellent combat record..easy going but all man. "- Christenson (memories)

Chuck was promoted to Corporal at the same time Ranney, Petty and Harris were demoted to privates in 1943. Chuck received a Purple Heart for being wounded in Holland (shot in the ass) and was awarded the Bronze Star. He more than likely had more.

On May 27, 1945 he is shot by Floyd Craver of Item Company. Speirs, Foley and Roe loaded him up and took him to Battalion HQ where a sloppily dressed Captain said he couldn't do anything for him, so they loaded him back up and took him to Saalbach where they knew there was a hospital. Jack Foley kept his affairs in order while he was in the hospital in Austria and wrote his parents, as did Don Malarkey. Chuck's parents wrote him back and thanked him. After the war he is discharged from Hammond General Hospital in Modesto, California on November 3, 1945.

On November 2, 1946 Chuck Grant married Norma Jean Darland(She gets her own post), a marine, in Las Vegas with his friends Keith and Doris Morgan to witness. He and Norma move to San Diego where she is a cashier at the Naval Training station and he does get some veteran assistance. He fills vending machines 5 hrs a week. They have two children, Dan Edward Grant and Charles E Grant, Jr. In Sept 1954, Norma commits suicide by overdose and Chuck finds her in their bedroom. He takes the kids to a friends and comes back to call the cops. He never remarries. By 1960 he is back in Los Angeles area where he stays until his death in his home on Bracken Street Arleta, CA on October 12, 1982.

Chuck was an active member and officer of the Disabled American Veterans, Military Order of the Purple Heart and a co-founder of a chapter of the 101st Airborne Association in his area. He was present at most of the reunions. He visited members of Easy who were ill like C.T. Smith and went to Arlington for the dedication. He was voted to be the 506 representative in the 101st in 1980 and it was well deserved.

There is no evidence Chuck lived in San Francisco and he would have had to do it between 1956-1960 where he falls off the radar in my research. He is a disabled widower with two little boys, the common sense move is to go back to LA where he has family. The gentleman who owned Grant's Smoke Shop in San Francisco was Edward L. Grant who's parents were English immigrants and no relation to Chuck.(separate post).

Chuck struggled with partial paralysis but still was extremely dedicated to veterans, and Easy Company, and served years with vet organizations in the LA area. He appears to have never remarried, had one DUI, his stereo stolen twice.

Chuck appears in several photos besides Skip Muck (above), is included in the Niland story, and Hack Hansen was closest to him. He's not only the victim of what appears to be being in the wrong place at the wrong time, but not having a best friend who wanted to keep his memories alive and make sure he wasn't forgotten. He is way more than the guy who was shot in the head, but nobody was around to tell those stories to Ambrose.

Happy Birthday Chuck! And special thanks to my partner in research @noneedtoamputate who has been on this journey with me as we try to find out WHO was Chuck Grant besides 'the guy shot in the head'.

(under the cut- Dog Tags in possession of GMH. David Lowry's coveralls with Hack Hansen and Chuck Grant stenciled on them. Chuck from Easy Company photo at Fort Bragg. Chuck at a reunion which may be 1981 San Diego- from Winter's files. Also the write up from Christenson which seems to be were the tobacco and SF thing came from. 101st Airborne article and Bronze Start article).

[call-me-liquid]

Lily can't keep her own "Sympathetic" Villains rules Straight: Anthony Gramuglia edition

See Crim's edition for the rules and outlines. Here we go.

Lily's Response to Ant:

Lily's probably going to get a significantly worse score on this one because me and Ant I think have similar media diets. We begin:

1. In the book, 100% he is THE villain. The movie not as much. Still though, I think movie Hammond more than fit's Lily's criteria. -1 life found a way

2. We already went over this (yes I am still writing p.3 of my Magneto post.) -1 Anthro cow delivering your children

3. Kyubey's keeping the universe from ending Lily. How could you get closer to having a point than that? -1 timeline

4. See Crim's post. He does fail #2. Again though, by Lily's original parameters this was a valid entry. But I have to give her the point. +1 spider gets it's legs ripped off

5. I bet she thought this was clever. -1 gate keeper.

6.N/A

7. I don't even know what she's talking about here. -1

8. Del Toro sends his regards. -1 Nerdy fish man.

9. LILY HASN'T SEEN THE BROADWAY SMASH HIT PLANET OF THE APES THE MUSICAL, STARRING TROY MCCLURE!? For shame! -1 (has anyone else watched that movie recently? I'm not saying it's aged poorly, but like, it is profoundly unintentionally hilarious, watching it in the modern day. I know this was like, the whole thing back then-- leading men who were too cool for school, but Taylor is such a fucking asshole. Cornelius is the real hero of the film, and everyone bullies him for not matching their lunatic energy. #justiceforCornelius #GeorgeTaylorisoverparty)

10. N/A (Trekkies don't try me.)

11. N/a

12. N/A (I mean I feel like I've probably seen the whole Mummy franchise just through memes at this point but. Lily's reasoning here is fucking asinine though-- as per usually Ant us uniquely getting her goat.)

13. This is actually the first example that breaks rule #3. Sorry fam I love Elfen Lied too, but it's a bit of a hot mess. +1 dead puppy

14. Scar is a dead ringer to Lily's criteria. She straight up just didn't have a pot to piss in, so she just wrote "no." -1 Dwarf in a flask

15. For the record, my boomer mom has seen Ghost in the Shell. The movie anyway. -1 body on loan

16. I watched this as a kid but can't really remember anything about it, so, I gotta put it as N/A.

17. This might actually be the first time I've seen anyone else memtion this movie . . . But still. -1 burnt wheelchair

18. Not plus ultra. -1 for all

19. Oh fuck off Lily. Glass houses. -1 jutsu

20. Sai, Crim and Ant spoke pretty extensively about this one. -1 angry hair raise

21. This one too. -1 demon pig

22. Yes she is. -1 dad

23. See Crim's list. -1 Prisoner 24601

24. N/A

25. Read ANY book, Lily. -1 absent godly parent.

26. I've only read the first one. N/A

27. Lily's reason here is bullshit but I haven't seen Columbo either. N/A

28. Why not Lily? -1 Jimbo

29. YES SHE FUCKING IS LILY. Just because in a modern context her story is a lot more tragic doesn't mean she isn't intended to be a villain. Lily made up the rule "has a point," but if they have an iron clad one she just declares them not a villain. -1 head

30. OBJECTION! NOW YOU REMEMBER VILLAIN AND ANTAGONIST ARENT TRUE SYNONYMS FOR EACH OTHER!? -1 Lily if you could just ONCE try to engage with a media discussion honestly.

31. N/A. I'll get around to watching it.

32. Not in Dracula Untold. -1 Damn Luke Evans looks like he was cloned from Orlando Bloom. I can't tell those two apart.

33. DIFFERENT DRACULAS. HOLY SHIT. -1 Lily this rational is so piss poor it's embarrassing. Even for you.

34. N/A

35. Isn't he in Kingdom Hearts? -1 Ah Ha Ha Ha

36. Another non-surprise. -1 traveler on his way home.

37. I haven't played enough Kurby to know why Meta Knight is a sympathetic villain. N/A

38. I've played enough to know Lily's right on this one. +1 Deddeddeedeeededededeeedede

39. A) several characters on both Crim and Ants' lists have been protagonists. B) IT'S FUCKING COMMON POPCULTURE KNOWLEDGE DONKEY KONG WAS THE ANTAGONIST IN THE FIRST APPEARANCE OF BOTH MARIO AND DK. -1 Lily I'm fucking shocked you don't know this. Genuinely. That's saying something, considering it's you.

40. Solid Lily continues to be the worst one. -1 LIQUIDDDDDDDD

41. Yes she is. Her point is the magic is what keeps her fucking family safe. -1 gift

42. You'd probably like this movie actually, Lily. Not the book, but. Or maybe not, there's no incest lesbians I guess. -1 sexy tree

43. I'm going to give Lily the point to maintain consistency that mind-manipulation doesn't count as "a point." Before he put on the crown he's not really even an antagonist, so. He IS an example of a sympathetic villain, however. +1

44. THERE ARE OTHER ANIMALS ON THIS LIST. Another one who's spot on, so she can't figure out how to even pretend to argue against it. -1 Beauty who killed the beast

45. GODZILLA ISN'T LITERALLY A NUKE. -1 pop culture jokes don't substitute proper media analysis

46. The Kaiju Lily. Her name is the title of the film. It's not Ant's fault You're too lazy to Google shit. -1 Viking Relic

(Biollante would have been my personal pick for sympathetic Kaiju. And her dad. She would have broken Lily's first rule since she's probably not aware of exactly what's happened to her, but. Her father at least fits Lily's criteria. A lot of the Kaiju are sympathetic though.)

47. This is a perfect example as to why Lily's rules are ridiculous. John Kramer is, in my opinion, outrageously unjustified in what he does. He follows her rules though. Having a bad point is still having a point. How "well written" he is wildly different depending on the movie, but because he's at least well written sometimes I'm counting him. -1 foot

48. You haven't read Paradise Lost Lily. I know you haven't. -1 Satan crying for everything he's lost

49. God Lily I wish you'd actually read something for once because this is an even better example as to why your rules are a joke. -1 Facist Worm King

50. This is a specific example. -1 tears, it's a waist of good suffering.

LILY'S FINAL SCORE: 19/50

38% - F

Got wrong: 24

Got right: 2

Removing the ones I haven't seen:

19/39

48% - F

Removing the ones Lily hasn't seen:

15/37

40% - F

Removing the ones we both haven't seen:

2/26

7% - F

[fan-a-saurus-rex]

Sanctuary | Part 1

(Gif credits to @felixlefebvre )

Plot: It’s been several years since humans started sharing earth with dinosaurs for the first time in history. The massive creatures are now protected under law, but that doesn’t mean that they aren’t still in danger. That’s why you dedicated your life to helping them.

Pairing: Zach Mitchell (Nick Robinson) x Reader

Warning: none

Masterlist and Requests/Prompts

You had been at Jurassic World in December of 2014, the day of the incident. You had only been 17 at the time. You were on a school trip for Science Club. It had started out fun and exciting for the first few days, but the third day was a total disaster, as anyone who was there could attest to.

Shortly after recovering from your injuries, you celebrated the holidays with your parents and returned to school. Months later you graduated high school and started attending college. You decided to study paleontology.

You had always loved dinosaurs growing up and finally getting to see them was a dream for you. You had hopes that someday, you could apply what you learned in school to a future career.

What you hadn’t ever expected to happen was for dinosaurs to be living amongst human worldwide, outside of the confines of a zoo setting. They lived amongst the wildlife of modern day, amongst people.

When the opportunity to work at the Biosyn Sanctuary, now known as the Hammond and Lockwood Memorial Sanctuary, after the company had been shut down due to corruption at the highest level you couldn’t resist the offer. You started working amongst some of the top scientists in the field as well as other experts.

At the sanctuary you were in charge of the health and well-being of the prehistoric animals. They may be living wild, but are protected under law. Any animal that becomes ill or injured is taken care of at the sanctuary. The sanctuary is also in charge of taking in any rescued dinosaurs that being illegally trafficked on the black market.

At the moment you are in charge of monitoring any baby dinosaurs that were born at the sanctuary. It was likely, especially with the dinosaurs living in a natural setting, that any babies born would need medical attention, but it was still necessary to do from time to time. Since it was nesting season, things had been a bit busy for you.

“Y/n, found another nesting site, pretty sure it belongs to a herd of triceratops” you heard one of the technicians in charge of watching the security cams say across the room.

You walked over and looked on the monitor. “Interesting, lots of nests this season” you said smiling “thanks for the heads up, I’ll grab someone from security and head down to check them out”

“Good luck, I’ll keep a lookout as always, radio back if you need anything”

“Will do, channel 5!”

He gave you a thumbs up and you grabbed a walk-in-talkie from the desk and it tuned it to channel 5. You walked down the hall to Claire and Owen’s office to let them know you’d be heading down to the nest site and would need a security escort.

“Morning! They found a nesting site on the east side of the sanctuary, headed down now. I’ll need security to take me down” you said as you walked in, grabbing some necessities.

You hadn’t been paying too much attention to who was in the office at that time so it shocked you when you heard a voice that didn’t belong to Claire or Owen.

“I’ll escort you down”

You turned to see Zach, Claire’s oldest nephew sitting at Owen’s desk.

“Oh thanks Zach, give me just a minute” you said, blushing a bit, you’d had a bit of a crush on him since you met, even though he was your best friend.

Zach and his brother Gray had been at Jurassic world the day of the accident as well. But they were caught up in much more chaos than you ever were. You didn’t talk about it with him that often, neither of you liked to remember what happened.

Zach graduated the same time as you. You both ended up at the same university, though you hadn’t met till a few years ago. Just like you, his experience shaped him to love the prehistoric creatures that now shared the planet with you. While you took a more biological approach in your studies, he chose to study animal behavior of dinosaurs, inspired by Owen’s work with the Raptors. He was now working as a security escort for the scientists at the sanctuary. His expertise on animal behavior and tracking gave him a keen sense to look out for dangerous situations.

Naturally his younger brother Gray, had also studied paleontology in college. He was now working to get his graduates degree and was an intern at the sanctuary. He spent a lot of time studying with Dr. Allan Grant and Dr. Ellie Sattler.

You grabbed a few more things from the office and put them in your bag.

“Okay, let’s head out” you said heading for the door.

You both headed outside to the hangar where all the helicopters and armored vehicles were stored. You knew you weren’t permitted to drive so you got into the passenger seat, while Zach got in the drivers seat.

“Where on the east side are we headed?” He asked

“There is a rocky clearing just outside the forest, about a mile from the lake” you said showing him a map of the sanctuary.

“Okay, I know where that is” he said starting the engine and driving the two if you out there.

“So, anything interesting been happening lately?” He asked while driving.

“Besides monitoring 15 different nesting sites and chasing down new hatchlings that need to be given post hatch check-ups?” You asked laughing softly.

“Yeah” he said smiling

“Not really, just the usual. Owen has been keeping tabs on some sketchy dudes in Utah who were supposedly seen holding some Stegosaurus in a barn on a horse ranch. But the area was raided by local police and they didn’t find anything. They must have let the stegs go once they knew they’d been had.” You said laughing.

“Too bad, I was looking forward to arrivals”

“Me too, I’m tired of chasing down babies” you said laughing as you realized you’d finally pulled up to the nesting site, about 100 feet away as to not disturb the animals.

You got out quietly and grabbed your backpack. You headed over to the first nest and peaked inside. You heard a soft snort and looked over to see a mother Triceratops standing about six feet away.

You put your hand out to calm the creature “it’s okay Mama, just checking” you said as the female dinosaur began to calm down, shaking her head around playfully.

You bent down and counted the number of eggs, noting their condition. You did the same for each of the other 10 nests on the site, but the last one seemed…off, for lack of a better term.

“Zach, come here” you called.

As he approached you looked down at a nearly empty nest, aside from a few broken eggs.

“New mother?” You asked him curiously. Sometimes first time mothers were clumsy with their eggs and didn’t exactly monitor them as they should.

“Maybe” he said examining the nest further “the eggs were definitely crushed before they began to develop” he noted.

You looked around the area a bit more for other clues as to what might have happened. Suddenly you spotted something you’d never seen before.

A set of strange tracks were spotted around the area, headed in the direction of the wooded area. You’d never seen tracks like these before but they appeared to be from a creature that walked on two legs, most likely something big, judging by the size of the prints left behind.

“Shit….” You said, looking over at Zach.

“What the hell made those?”

“I don’t know….the look like nothing ever seen before” you said, taking out your phone to document the tracks. “Let’s get out of here before it comes back” you said.

Zach nodded and headed back to the vehicle with you. You radioed back to the sanctuary headquarters.

“Found some strange prints at the nest site, most likely from a predator. About 1 and a half feet in length. One of the 11 nests was compromised.” You said.

You heard Owen over the radio moments later “come back to the headquarters, well someone out to get plaster casts”

“Coming back now” you said.

You looked over at Zach, a bit concerned. The predators were usually kept at bay, feeding on local wildlife such as deer and elk, many of which were bred specifically for feeding purposes.

When you returned to headquarters you noticed some higher-up security personnel packing up to get plaster casts of the prints. You gave them the necessary information they would need, as well as showed the images you’d taken. They looked just as confused as you.

You went inside shortly after to share your findings with Claire and Owen.

A few hours later the team came back with a single set of cast tracks. You watched as Owen and Dr. Grant examined them.

“I’ve never seen anything like them, fascinating” you heard Dr. Grant say.

“And the eggs at the nest were crushed?” Owen asked you.

“Yeah” you said quietly. “Did the team find anything else while they were out there?”

“Unfortunately no, just the tracks” Owen said “we’ll continue to monitor the site, and all other known sites, just in case this thing comes back….whatever it is”

That one statement gave you a chill up your spine. ‘Whatever it is’ was not a comforting phrase to hear, especially after all the bullshit you’d witnessed in the past. Jurassic World scientists creating a hybrid, the heir to Lockwood’s fortune using the DNA from said hybrid to create his own abomination, and individuals breeding and training predatory dinosaurs as weapons of war was bad enough. Now this?

To be continued….

[steddie-fanfic-recs]

Dare to Eat a Peach

by ItCanBePalped

Rating: Explicit Archive Warning: No Archive Warnings Apply Relationship: Steve Harrington/Eddie Munson Characters: Steve Harrington, Eddie Munson Additional Tags: Omegaverse, Alpha/Beta/Omega Dynamics, Dual-sexed omegas, Alpha Steve Harrington, Omega Eddie Munson, steve harrington pov, Oral Sex, Mating Cycles/In Heat, Virgin Eddie Munson, or at least hints of it teehee, Vaginal Fingering, Blow Jobs, One Pump Chump Eddie Munson, maybe two or three, Hurt/Comfort, Canon Universe, Pre-Relationship, Background Steve Harrington & Benny Hammond, my benny hammond as ersatz parent for steve agenda will never die Words: 4,340 Chapters: 1/1

Summary

Ever since Steve first presented as an alpha and returned to school he’s been craving peaches. He’s pretty sure he smelled someone, someone special, but hasn’t managed to smell them again. He makes due with the fruit itself, tries to sate his hunger as best as he can- at least until his pups drag him along to track down Eddie Munson.

[knitrockbottom]

The headcanon of all time is that Twin Peaks and Stargate happen in the same universe, and Major Briggs is just General Hammond doing some undercover work. It makes sense! Major Briggs is in the Air Force, he is working on super secret space information, and Bobby is the right age to have young elementary school kids by the late nineties. I just love it

[coochiequeens]

I do think that trans athletes should be able to compete, and they should be able to have a chance to compete, but it should not be in the opposite sex's category, because … you do not see a biological woman beating the state record holder for [men]," Lilian Hammond, a female high school track athlete said. "We are seeing a biological man taking the state title from a woman, and I think that's just where Oregon and other states need to draw a line." 

By Dan Zaksheske March 24, 2025

Oregon is among the states that allow males to compete in girls' and women's sports, so long as the athlete identifies as a girl or woman. Lilian Hammond, a female high school track athlete in the state who has been outspoken about trans athletes, talked to OutKick exclusively about the unfairness associated with allowing males in girls' sports.

While Hammond doesn't compete against trans athletes directly, she and members of her team -- including those competing against trans-identifying athletes -- have expressed frustration behind-the-scenes and publicly, like when Hammond helped pen an op-ed on the topic for The Oregonian. 

"We had no idea that this was happening, that this could happen in Oregon," Hammond, a junior, told OutKick. "I knew it was happening in other states, but to see it happen right before my eyes and be watching it was very shocking to me." 

Hammond said that she and her teammates were upset to see a biological male winning races in the girls' division. 

"We were all very frustrated, especially because I do know somebody who has competed against [a trans athlete] and did at the state meet as well," she said. 

"It was very disheartening to see her lose and to know that there were so many other wonderful young women who were losing to a trans athlete… [even] a lot of the guys on my team were frustrated because they were saying, 'yeah, that's totally unfair.'" 

The athlete in question is 11th-grader "Ada" Gallagher, who competes at McDaniel High School in Portland. As Fox News Digital reported, Gallagher won both the 400-meter and 200-meter dashes at the Portland Interscholastic League in the girls' division last week. 

In the 400-meter race, Gallagher beat the closest female by seven seconds and set a school record in the process

Gallagher won an Oregon state championship last year, leading to an Oregon track coach, John Parks, calling for Oregon to create an "open" division for transgender athletes. 

Parks was fired for even suggesting a reasonable solution to a clear problem. 

Like Parks, Hammond previously expressed her issues with allowing males to compete in girls' and women's sports. As mentioned, Hammond wrote an op-ed for The Oregonian along with Anika Thompson, a member of the University of Oregon's women's track and field team. 

The girls were responding to radical left-wing columnist Bill Oram, who wrote a ridiculous article titled, "A transgender teen athlete’s life is not your cause" for the paper. 

Hammond said she wanted to write something to bring attention to the issue of males competing in women's sports, and the op-ed wasn't just about Ada Gallagher. 

"I am trying to spread awareness… that there are more people than just Ada. It just happens to be that Ada is the only person in Oregon racing against women," she said. "I have friends from Washington that have competed against men, and so I was just… trying to help people be aware that this was not just an Oregon thing. This was an everybody thing." 

While female athletes are often attacked for speaking out about the injustice of males competing in girls' and women's sports, Hammond says the response was mostly favorable.

"I received a lot of positive support because I think it helped people realize like, oh, this is a problem… I know it helped some of my friends who are more hesitant to speak out about this," she said.

While Oregon has trans-identifying male athletes competing in, and winning titles in, girls' and women's sports, the state has so far avoided federal government intervention 

Oregon is not one of the states currently being investigated by the Department of Health and Human Services under President Donald Trump for potential Title IX violations. 

Not only does Oregon continue to ignore the executive order, they appear to be doubling-down on allowing trans-identifying males in women's sports. Last week, the Oregon Department of Education released new guidelines around sex-based sports participation. 

"Nonbinary, intersex, genderfluid, Two Spirit, and other students who do not consistently identify with the gender binary cannot be prohibited from playing on athletic teams of either gender, in alignment with Oregon nondiscrimination law," the guidelines state. 

There's also a section relating to required uniforms, where schools are forced to "develop any athletic uniform policies with consideration of the needs of gender expansive students." 

While Hammond said she was excited that President Donald Trump signed an executive order to protect women's sports, she was very disappointed that her state has, so far, seemingly ignored it. 

"I was very, very happy for all of these women, but I was also so, so frustrated because Oregon has not taken a step to [follow the order]," she said. 

"It's frustrating to me that Donald Trump, the President of the United States, is telling Oregon, ‘you need to change this,’ and Oregon is saying ‘we want to protect these two [trans athletes], but these two [trans athletes] are making a huge difference in girls’ sports."

Hammond said she would like to see the government get involved. 

"It's just frustrating that nothing has changed. But I would very much, and I know other women would [as well], appreciate seeing Oregon being investigated for this, because I feel like it's so obvious that this is happening, and it is so obvious that it is wrong." 

Hammond also wanted to emphasize that she's not looking to keep trans-identifying males out of sports, but they should not be allowed to compete against, and win titles over, females. 

"I do think that trans athletes should be able to compete, and they should be able to have a chance to compete, but it should not be in the opposite sex's category, because … you do not see a biological woman beating the state record holder for [men]," she said.

"We are seeing a biological man taking the state title from a woman, and I think that's just where Oregon and other states need to draw a line." 

Written by Dan Zaksheske

Dan began his sports media career at ESPN, where he survived for nearly a decade. Once the Stockholm Syndrome cleared, he made his way to OutKick. He is secure enough in his masculinity to admit he is a cat-enthusiast with three cats, one of which is named "Brady" because his wife wishes she were married to Tom instead of him.

[wrestlinghistorywithkay]

Remembering A Hardcore Legend: Celebrating The Life And Career of Terry Funk

Today is the one year anniversary of the passing of the legendary Terry Funk. I hope this article helps you all understand who he was and why he is important to wrestling.

Terrance ‘ Terry’ Dee Funk was born to Dorothy and Dory Funk Sr. on June 30, 1944 in Hammond, Indiana . He had an older brother , Dory Funk Jr. the Funk family soon moved to Texas during the end of World War II. Terry and Dory spent their childhood in the wrestling business as their father was a wrestling promoter. After high school, Terry attended college at West Texas A & M University, where he was also an athlete. He was on the football team and on the amateur wrestling team.

Terry Funk had a career which took place for half of a century ( 50 years ) . He was also known for the hardcore style of wrestling , which he is considered one of the pioneers for . His career began in 1965 at his father ‘s wrestling promotion , Western States Sports out of Amarillo , Texas. He became the NWA World Heavyweight Champion in 1975 after replacing his brother , Dory, who was set to face Jack Brisco for the championship. Dory never showed up to the promotion for the match. He also had a rivalry with ‘ The American Dream ’ Dusty Rhodes , with Funk coining the catchphrase, ‘ Dusty Sucks Eggs ’ . He also spent part of his career in Japan in the promotion, All Japan Pro Wrestling ( AJPW ). This was from 1972 to 1991.

Funk soon found his way to World Wrestling Federation from 1985 to 1986. He also had a stint in World Championship Wrestling ( WCW ) from 1989 to 1990 and again in 1994 . He returned to Japan in 1994 as a part of the International Wrestling Association of Japan ( IWA). He participated in the King of The Death Match Tournament in 1995. He would also have a stint in Extreme Championship Wrestling ( ECW ) from 1993 to 1997. He would have rivalries with stars such as Cactus Jack ( Mick Foley ) , Raven, Stevie Richards, Sabu, and his protege , Tommy Dreamer. He was even ECW World Heavyweight Champion before losing the championship to Sabu during a Barbed Wire Match at Born To Be Wired in 1997. Funk would soon find his way back to the WWF in 1997.

Terry Funk would be a surprise entrant in the 1997 WWF Royal Rumble at number 24. He was in the match for 15 minutes and 18 seconds until being eliminated by Mankind ( Mick Foley ). He had a short retirement before returning to the company in December of the same year to become tag team partners with Mick Foley. He adopted the gimmick , ‘ Chainsaw Charlie ’. He would also form a tag time with 2 Cold Scorpio during his time in WWF as well. He would return to ECW in 1998 and had a rivalry with Tommy Dreamer before a second retirement in 1999. Funk would return to WCW in 2000. He make appearances in Ring Of Honor , Total Nonstop Action Wrestling and Major League Wrestling. He would also spend time on the Independent Wrestling circuit before making a few more appearances in the WWE. Terry alongside his brother , Dory , would be inducted into the WWE Hall of Fame in 2009 by Dusty Rhodes. However , Terry would be inducted into the WWE Hall of Fame as a solo wrestler by Mick Foley . In 2016, Funk was seen at Wrestlemania 32 giving advice to Dean Ambrose ( Jon Moxley ) , before his match against Brock Lesnar, which was a No Holds Barred Street Fight. Funk gifted Ambrose a chainsaw as a nod to his Chainsaw Charlie gimmick . He would return to the Indie scene the same year .

Terry Funk passed away at the age of 79 in Phoenix , Arizona. On the August 25 edition of Friday Night Smackdown , the WWE paid tribute Funk and Bray Wyatt , who passed away the next day. Thus , in honor of Funk , ‘ The American Nightmare ’ Cody Rhodes , came down to the ring and announced a Terry Funk Memorial Hardcore Tag Team match with the participants being The Street Profits and The Brawling Brutes.

Wrestlers such as Mick Foley , Tommy Dreamer, Eddie Kingston , and Jon Moxley have all credited Funk for influencing their careers. Bret Hart has also praised him for being one of the greatest in ring performers.

My Final Thoughts:

There will never be another Terry Funk. If it was wasn’t for him being so influential in hardcore wrestling , I think that we wouldn’t have promotions such as Game Changer Wrestling ( GCW ) , which is known for deathmatch wrestling and I don’t think hardcore wrestling would be popular . Terry Funk was one of those wrestlers who influenced almost everyone . Watching his matches on the internet and on Peacock, makes me wish I could go back in time and watch live . He is a reason why I love Deathmatch and Hardcore Wrestling. Long Live The Funker! Go watch a Terry Funk match if you haven’t ! You’ll be amazed!

1944-2023

Love You All,

- Kay

[garadinervi]

Orangeburg, South Carolina, February 8, 1968

Samuel Hammond Jr., 18 y/o, student at SCSU Delano Middleton, 17 y/o, student at Orangeburg-Wilkinson High School Henry Smith, 18 y/o, student at SCSU

(images: Jack Bass – Jack Nelson, (1970), The Orangeburg Massacre, with a new introduction by Will D. Campbell, Mercer University Press, Macon, GA, (1984-1996-)2002. Cover design by 9 Burt & Burt Studio)

(related resource: Cleveland L. Sellers, Jr. Papers, 1934 - 2003, Lowcountry Digital Library, Charleston, SC)

[jeannereames]

I'm new to reading about Alexander the Great, and I read your books first, then Mary Renault's. I like your Hephaistion a lot better, and Olympias (Myrtale), but the two novels were a lot alike in the story itself. I saw at least one reviewer said that yours was like a retelling of hers: "dangerously similar." So I wondered how much her first novel on Alexander influenced yours?

You’re not the first to ask, and the answer is: very little.

When I get that line about my novel being “too much like” Mary Renault’s, or even “fanfic” on Mary Renault, it tells me the reviewer is completely unfamiliar with the ancient sources themselves. For those who are familiar, I never hear this (perhaps because where we differ is obvious).

Unlike the novelist who makes up a completely original plot, when writing historical fiction, at least of this type, there IS a historical thread to follow. I’m not copying Renault. I’m following Plutarch, Diodorus, and, to a lesser degree, Justin. So is she.

Where we “cross” is on the historical elements in the original sources.

If you remove those bits, our two retellings don’t have much in common. Likewise, even in some of the elements from those sources, we differ in interpretations. My novel also begins a good deal later in ATG’s life. We do both end with the same event—I suspect because, when history gives you a “made for Hollywood” incident like the murder of Philip, you don’t turn it down. LOL. Also, for me, it’s the “natural joint” between Alexander-the-prince and Alexander-the-king. Just as the end of Alexander’s stay at Mieza with Aristotle forms the hinge between the two novels—or originally, the hinge between two halves of one novel. (Which is why I was able to divide it in half, when Riptide insisted that I do so in order to publish it, due to its original length.)

But the plain fact is I’d written my own before I’d ever heard of Mary Renault. I backed into Alexander as a result of some grad classes at Emory. He kept popping up in lecture, and I realized I had NO idea who he was. As an English major, I’d read Shakespeare’s “Antony and Cleopatra,” so I knew the “big” Roman-era names. But I’d managed to get out of both high school and my BA at the University of Florida without taking any (real) history classes. Now I was running into mentions of people (and places) with which I was completely unfamiliar.

So, I waltzed over to the Emory library and picked out two bios on Alexander: Nick Hammond’s Alexander the Great: King, Commander, and Statesman, and Peter Green’s Alexander of Macedon (the original version, with pictures…I picked it because it had pictures). As I’ve said elsewhere, I couldn’t have selected two more different views of the conqueror if I’d tried. And that’s what intrigued me…so I kept reading. Then I decided to write a novel about the “making” of him (coming-of-age), and the importance of Hephaistion in his life (because Green was so dismissive of the poor guy). Hephaistion was originally much clearer in my mind. In fact, he’s the (real) protagonist of Dancing with the Lion…certainly for the novel’s first half (Becoming). So I’m glad to hear you liked how I portrayed him.

It was only later that somebody said, “Oh, hey, have you heard of Mary Renault?” English major or no, I hadn’t. I did pick up her novels on Alexander but read only a little way before putting them down precisely because I didn’t want to be influenced by her work. In fact, I read nobody’s novels on him until I finished my original (way too short) rendition. Then I started on the second draft (which turned out to be way too long).

But by that point, my picture of Alexander, and even more so, Hephaistion, was quite set. As was the story I wanted to tell.

So no, Mary Renault’s novels had little impact on the genesis of Dancing with the Lion. But you are not the first person to wonder.

Ironically, Mary Stewart’s Crystal Cave and her subsequent Arthurian Saga had a much greater impact on how I chose to tell Alexander’s story. I did read those as a teen girl, and they fomented a fascination for King Arthur in me that lasted into college. The fact I wound up getting a PhD in Greek history is ironic, as I actively avoided it in high school and (undergrad) college, all my love given to Celtic and Scandinavian myth and history. I still do enjoy Celtic myth, btw. And it was with some amusement that I realized the tale of Alexander and Hephaistion was the foundation for the legend of Arthur and Lancelot. That probably IS part of why Alexander and Hephaistion gripped me so.

So yes, a “Mary” did influence me, but Stewart, not Renault. 😊

[jpbjazz]

LÉGENDES DU JAZZ

JOHN ABERCROMBIE, DU JAZZ FUSION AU FREE JAZZ

"{Abercrombie} should have had even more recognition for his contribution. When you go back and examine it, you can hear that warm, Jim Hall thing, but John definitely developed his own distinct voice on the guitar. He could really come together, adapt to any situation. But always with his own unique voice in the mix."

- Jack DeJohnette

Né le 16 décembre 1944 à Port Chester, dans l’État de New York, John Laird Abercrombie était le fils unique des immigrants écossais John Abercrombie et Elizabeth Beattie. Abercrombie a été élevé à Greenwich, Connecticut. D’abord attiré par le rock n’ roll de Chuck Berry, d’Elvis Presley, Fats Domino et du groupe Bill Haley and the Comets, Abercrombie adorait également le son du guitariste de jazz Mickey Baker du duo vocal Mickey and Silvia. À l’époque, Abercrombie avait aussi deux amis qui possédaient une impressionnante collection de disques de jazz, ce qui lui avait permis de se familiariser avec la musique de Dave Brubeck et de Miles Davis. Le premier guitariste de jazz qu’Abercrombie avait écouté sur disque était Barney Kessel. Abercrombie explique comment il était tombé en amour avec le jazz: "I heard Barney Kessel and immediately, I wanted to do that".Comme la plupart des adolescents de son époque, Abercrombie avait commencé à jouer de la guitare en tentant d’imiter Chuck Berry.

D’abord influencé par Barney Kessel, Abercrombie avait aussi été marqué par George Benson, Pat Martino, Wes Montgomery et Jim Hall. Mais loin d’être limitées aux seuls guitaristes, les influences d’Abercrombie comprenaient également Miles Davis et Bill Evans. Commentant l’influence de Kessel et Montgomery sur son jeu, Abercrombie avait précisé: “I realized that they had a different way to play than a lot of the other guys from their generation, and I liked the way they played better. Somehow it seemed more melodic, more lyrical; there was more space.” 

Abercrombie avait pris ses premiers cours de guitare à l’âge de dix ans. Après avoir obtenu son diplôme du high school, Abercrombie était entré, à l’âge de seulement seize ans, au prestigieux Berklee College of Music. 

Durant ses études à Berklee, Abercrombie s’était familiarisé avec la musique de Jim Hall, l’album The Bridge de Sonny Rollins et les albums The Wes Montgomery Trio (1959) et Boss Guitar (1963) de Wes Montgomery. Au cours de cette période, Abercrombie avait souvent joué avec d’autres étudiants au Paul's Mall, un club de jazz de Boston qui faisait partie d’un club plus large appelé le Jazz Workshop. Les apparitions d’Abercrombie au Paul's Mall lui avaient éventuellement permis de rencontrer d’autres musiciens de jazz comme les frères Michael et Randy Brecker. C’est aussi au Jazz Workshop qu’Abercrombie avait entendu pour la première fois John Coltrane et Thelonious Monk. Abercrombie étudiait toujours à Berklee lorsque l’organiste Johnny Hammond Smith l’avait invité à l’accompagner en tournée. C’est d’ailleurs avec Smith qu’Abercrombie avait fait ses débuts sur disque en 1969.

Après avoir décroché son diplôme de Berklee en 1967, Abercrombie avait fréquenté la North Texas State University durant une brève période. Il s’était installé à New York en 1969.

DÉBUTS DE CARRIÈRE

Toujours en 1969, Abercrombie s’était joint aux frères Brecker dans le cadre du groupe de jazz-fusion Dreams. Durant cette période, Abercrombie s’était également produit avec le groupe de Billy Cobham, même s’il le trouvait un peu trop orienté vers le rock aux dépens du jazz. Abercrombie avait enregistré trois albums avec le groupe de Cobham, qui mettait également en vedette les frères Brecker. Abercrombie avait enregistré trois albums avec Cobham: Crosswinds (1974), Total Eclipse (1974) et Shabazz (1975).

Un jour, alors qu’il faisait la première partie des Doobie Brothers avec le groupe de Cobham, Abercrombie avait commencé à penser que sa carrière était en train de prendre une mauvaise direction. Il expliquait: "One night we appeared at the Spectrum in Philadelphia and I thought, 'What am I doing here?' It just didn't compute."

Devenu très populaire comme musicien de studio, Abercrombie avait enregistré avec Gato Barbieri en 1971, Barry Miles en 1972 et Gil Evans en 1974. Il était également un collaborateur régulier du batteur Chico Hamilton. Il avait aussi joué avec le saxophoniste anglais John Surman et le trompettiste italien Enrico Rava.

Le désir d’Abercrombie de jouer avec un groupe plus orienté vers le jazz s’était finalement matérialisé lorsque le batteur Jack DeJohnette l’avait invité à venir jouer avec son groupe. À la même époque, le producteur Manfred Eicher, le fondateur et président des disques ECM, lui avait proposé d’enregistrer son propre album. Le premier album d’Abercrombie comme leader, intitulé Timeless (1975), mettait en vedette DeJohnette et le claviériste Jan Hammer, qui avait été son compagnon de chambre dans les années 1960. Abercrombie explique comment il avait commencé à jouer avec Hammer: ‘’He played in a strip joint in Boston, and I'd run down and sit in with him before the strippers came on." Comme quoi, les bars de danseuses peuvent parfois mener à des directions insoupçonnées !

En 1975, Abercrombie avait formé le groupe Gateway avec DeJohnette et le contrebassiste Dave Holland, avec qui il avait enregistré les albums Gateway (1976) et Gateway 2 (1978). Très influencé par le jazz de chambre, la musique du groupe était également très marquée par la musique de Jimi Hendrix et du groupe Cream.

Même s’il avait enregistré avec d’autres compagnies de disques au cours de sa carrière, ECM était devenu son principal port d’attache. Abercrombie avait d’ailleurs continué de collaborer avec ECM durant l’ensemble de sa carrière. Le groupe Gateway interprétait des compositions des trois membres de la formation, dans un style très influencé par le free jazz. À la suite de sa collaboration avec Gateway, Abercrombie avait aussi enregistré dans un style plus traditionnel trois albums intitulés Arcade (1979), Abercrombie Quartet (1979), et M (1981). Ces albums avaient été enregistrés avec un quartet composé de Richie Beirach au piano, de George Mraz à la contrebasse et de Peter Donald à la batterie. Abercrombie expliquait: "It was extremely important to have that group... it was my first opportunity to really be a leader and write consistently for the same group of musicians." 

Au milieu des années 1970 et 1980, Abercrombie avait également collaboré avec des groupes dirigés par DeJohnette et participé à d’autres sessions pour ECM dans lesquels il avait joué de la mandoline à l’occasion. Abercrombie avait aussi joué en tournée avec le guitariste acoustique Ralph Towner avec qui il avait enregistré deux albums, Sargasso Sea (1976) et Five Years Later (1981).

DERNIÈRES ANNÉES

Au milieu des années 1980, Abercrombie avait continué d’interpréter des standards avec le contrebassiste tchèque George Mraz. Il avait également joué du bebop avec le guitariste John Scofield. Au cours de cette période, Abercrombie avait aussi accompagné d’autres artistesde la compagnie ECM. De 1984 à 1990, Abercrombie avait commencé à expérimenter avec la guitare synthétiseur. Abercrombie avait utilisé l’instrument pour la première fois en 1984 dans le cadre d’un trio avec Marc Johnson à la basse et Peter Erskine à la batterie, ainsi que dans un groupe de free jazz avec Paul Bley. Selon Abercrombie, la guitare synthétiseur lui permettait d’avoir un son plus lourd et plus ouvert. Le trio d’Abercrombie avait enregistré trois albums mettant en vedette la guitare synthétiseur: Current Events (1986), Getting There (avec Michael Brecker en 1988), et l’album live John Abercrombie / Marc Johnson / Peter Erskine (1989).

Abercrombie s’était également associé à de nouveaux musiciens au cours des années 1990 et 2000. En 1992, Abercrombie avait enregistré un album de free jazz avec l’organiste Jeff Palmer et le batteur Adam Nussbaum. Par la suite, Abercrombie avait fondé un trio avec Nussbaum et l’organiste Dan Wall avec qui il avait enregistré trois albums: While We're Young (1992), Speak of the Devil (1994) et Tactics (1997). Le trio s’était transformé en sextet avec l’ajout du trompettiste Kenny Wheeler, du violoniste Mark Feldman et du saxophoniste Joe Lovano, ce qui avait donné lieu à l’enregistrement de l’album Open Land en 1999. Au cours de cette période, Abercrombie avait également travaillé avec un groupe composé de Marc Copland au piano, de Drew Gress à la contrebasse, de Joe Lovano au saxophone et de Joey Baron à la batterie. Évoquant sa collaboration avec le groupe, Copland avait précisé: "Playing guitar and piano together can be problematic, but with John it was effortless. We both liked to leave space, and often were rewarded with beautiful chordal washes of color."

Abercrombie avait aussi réuni le groupe Gateway dans le cadre de l’enregistrement des albums Homecoming (1995) et In the Moment (1996). Abercrombie avait également joué en duo avec le guitariste Ralph Towner et les pianistes Richie Beirach et Andy LaVerne.

Dans les années 1990, Abercrombie avait définitivement renoncé à jouer avec un pic de guitare, préférant utiliser ses pouces comme seul appui. Ce changement avait donné à sa guitare un son plus profond et plus rond, ce qui convenait parfaitement au style de jazz de chambre qu’il avait commencé à jouer à l’époque.

Abercrombie avait continué d’enregistrer et de faire des tournées jusqu’à sa mort. Il avait également continué de publier des albums pour ECM, avec qui il avait collaboré durant plus de quarante ans. Comme Abercrombie l’avait déclaré en entrevue, il avait toujours adoré l’approche véhiculée par ECM. Il expliquait: "I'd like people to perceive me as having a direct connection to the history of jazz guitar, while expanding some musical boundaries."

John Abercrombie est mort d’une crise cardiaque le 22 août 2017 à l’hôpital de Hudson Valley dans l’État de New York, à l’âge de soixante-douze ans. La santé d’Abercrombie s’était grandement détériorée au cours des dernières années de sa vie. Il laissait dans le deuil sa femme Lisa Abrams, qu’il avait épousée en 1986. Abercrombie vivait dans le comté de Putnam, dans l’État de New York.

L’année-même de son décès, Abercrombie avait publié un dernier album intitulé Up and Coming. Tout en réflétant le sens de l’humour pince-sans-rire d’Abercrombie, le titre de l’album évoquait le statut tantôt idéalisé et tantôt sous-estimé de la guitare comme instrument de jazz. Déplorant qu’Abercrombie n’avait pas toujours été apprécié à sa juste valeur, le batteur Jack DeJohnette avait commenté: "He should have had even more recognition for his contribution. When you go back and examine it, you can hear that warm, Jim Hall thing, but John definitely developed his own distinct voice on the guitar. He could really come together, adapt to any situation. But always with his own unique voice in the mix."

Au cours de sa carrière s’étendant sur plus de quarante ans, Abercrombie avait enregistré près de cinquante albums tant comme leader qu’accompagnateur. Guitariste polyvalent, Abercrombie avait été influencé par une grande variété de styles musicaux, allant du rock à la musique latine, en passant par le country, la musique électronique, le bebop, le classique, le swing et le free jazz. Comme professeur, Abercrombie avait également fait des lectures au Purchase College à New York.

Privilégiant souvent les instrumentations inhabituelles, Abercrombie avait même joué de la mandoline électrique sur l’album 4x4 de McCoy Tyner en 1993. Après sa mort, le batteur Jack DeJohnette, qui avait collaboré avec Abercrombie durant plus de quarante ans, lui avait rendu hommage en déclarant: "John could go anywhere – rhythmically, melodically, harmonically – at the drop of a hat. {...}. He had a very warm sound, and always played with sensitivity, dynamics. He could create atmosphere with his comping, and through his great use of space." Même si Abercrombie était de la même génération que des vétérans de la guitare électrique comme Sonny Sharrock et John McLaughlin, son tempérament le rapprochait davantage de jeunes guitaristes comme Pat Metheny, John Scofield et Bill Frisell. Abercombie était d’ailleurs devenu un pionnier du jazz-rock un peu par nécessité, car il n’avait pas vraiment de modèles qui auraient pu lui donner la direction à prendre. Il expliquait: "I had to figure things for myself. I grabbed onto every device I had in my arsenal — my knowledge of harmony and the guitar, the few little fuzztones or pieces of gear that I used at the time — and tried to fit in. When I'd play with Jack and Dave Holland, or some other players, I responded to what I was hearing around me, and let the sound of it all teach me what I was supposed to do."

Dans son compte rendu d’un concert d’Abercrombie avec le contrebassiste George Mraz en 1986, le critique John S. Wilson avait comparé le style du guitariste à celui d’un claviériste. Wilson écrivait:  “Mr. Abercrombie has a light, keyboard-like manner of developing performances, sometimes spreading from a sweeping line of single notes to a fullness that suggests an organ.” Commentant le jeu d’Abercrombie sur les balades, Wilson avait ajouté: “He moves through light, almost diaphanous lines that gain in strength through their rhythmic flow and increasing melodic exposition.” 

Mais même si Abercrombie avait brièvement joué de la guitare synthétiseur dans les années 1980 et 1990, il avait toujours refusé de se laisser dominer par la technologie. Abercrombie n’avait jamais cessé de se renouveler et avait toujours tenté de garder un regard neuf sur sa musique. Il expliquait: ‘’Even a tune you play over and over again — if you keep it fresh in your mind and you approach it with a fresh outlook, then it stays fresh. You don’t have to find new and exciting types of music to play.’’ Il avait ajouté: “That stuff just happens when your attitude is really good, when you approach things with an open mind.”

Évoquant ses principales influences à la fin de sa carrière, Abercrombie avait commenté: ‘’I like to listen to ethnic music, like folk music from different countries. I really like Asian music, like Japanese music, Chinese music and Indian music. I like classical music. I love Bach. And then the jazz I grew up on, which, after Barney Kessel, became people like early Miles Davis groups, John Coltrane and especially the Bill Evans trio. I still listen to that. I find I don't have too many new things that draw me in as much as the older stuff. I think there are some amazingly good players on the scene. But I always find myself coming back to the guys I listened to as a kid. I'd rather listen to Miles Davis than someone sounding like Miles Davis.’’

Malgré tous les avantages apportés par la technologie du multi-pistes, Abercrombie croyait qu’il était important de ne pas rater son coup lorsqu’on enregistrait. Il expliquait:

‘’All music is imperfect, but in jazz since you’re improvising, at least the way I play, I’m trying to follow my train of thought in a solo I have things that I’ve played before, but I try to think about that. I just play the song. And when you’re doing that, the imperfection is that I’ll flub notes or I’ll play notes I may not really mean. If I had a chance to overdub, I might go back and fix them. But the fact is, the actual first time you play something, it’s almost never perfect, at least to my ears. Every time I listen back to solos of mine I’ll hear something I like and then another phrase that I can’t stand. You have to live with what you play. And the recording medium puts that on us.’’

Abercrombie adorait citer cette phrase d’Eric Dolphy: ‘’Once you play the music, it’s in the air. It’s gone.’’ Abercrombie avait ajouté: ‘’That’s true. But when you record it, it comes back to haunt you sometimes.’’

©-2024, tous droits réservés les Productions de l’Imaginaire historique

[tortoisesshells]

Perhaps 'padlock' for the writing prompt?

Kind Anonymous Friend, if you're still here, this is almost certainly not what you were looking for, but there are pirates. I'm temporarily borrowing @widowshill's Dark Sails alternate universe, because the 1960s are nice and all, but golly I miss the 18th century.

She had not thought her life worth much, when the unknown ship raised a flag which signaled there would be no quarter given; the tension aboard the little Sally Jennet thick and suffocating, Victoria Winters had thought it only right to go below, and make her peace in the shabby little box which had been her living quarters these weeks and more. Purdy, who would have been an old man ashore, told her to pray it would be over quick – but the mate! Mister Vaughn had handed her a pistol, and told her to make the best use of it she could. It had been over out of her sight: when, still clutching the pistol in numb hands, she was brought out to the deck, she noted their flag had been hauled down without a shot fired in anger. The Sally Jennet’s captain had weighed their lives heavier than their cargo, and she was grateful for it – only – There was nowhere to go, at sea – save to the devil. And that had been days ago.

She alone of the crew and passengers of the Sally Jennet had been taken aboard the Requital, and though she had been made a prisoner, she was granted the privacy of an airless cabin, with a door that was not locked. Unbolted – but guarded. Victoria could go where she pleased, within reason. A chair was hers, if she wanted it, in the sun – rations were what they were, but poverty ashore was not much different than the deprivations of the sea – the monotony of a merchant ship was, through the light-winded horse latitudes, the same monotony as that suffered by pirates given no quarry to chase and fang. But then – how many of these liberties were the whim of the Requital’s grim captain, instead of right conduct at sea? Those thoughts haunted her, becoming a kind of an iron shackle of their own, the long chain of her fears rattling behind her wherever she turned.

Was this fair? Was she only having these thoughts because she was holding one hesitating fist to the door of the Great Cabin, afraid to make a sound? She had been invited. It had not even been a command – Devlin, the Requital’s master, had issued such invitations before, and waved off her polite refusals with a proud look, and the same remark: Well, you know your own mind, little governess. It had frightened her, and then irritated her, and then, at last, she’d agreed.

Arming herself with these thoughts, she knocked. When Devlin bade her enter, she did – keeping her spine straight and her eyes ahead, the best manners she had – idle curiosity was a fine thing, but not in such circumstances as these. Devlin stood, like a gentleman. His expression was not calculated to allay her fears.

“Little governess,” he started, and Victoria protested that her name was Miss Winters.

Devlin nodded. “Miss Winters, then. I have been wondering how you came to join us.”

“You know that, sir: I have been hired by Mrs. Stoddard, of Collinsport, to instruct her nephew. As I cannot fly, I had to make the journey by sea.”

“You are very young,” he said, helping her to her seat. It startled her – she had only seen it done on the stage, or for Lady Hammond, her benefactress – more things than the law of the realm could be overturned under the black flag, it seemed.

She worried at that thought, and took a sip of the wine. “I have been two years out of school, though I have been an instructor there for that time.”

“Why you?”

“My qualifications are good,” she said, with a certainty she did not feel, “As are my references.”

“There’s dozens of young women who can say the same,” Devlin replied, impatiently, “England having, at present, more bodies than lawful occupation for them.”

“I cannot be any more specific than that. All I know that a position was found for me, through our patroness. It may well be –”

But that was an ungrateful thought, and she tried to put it away unobtrusively – and failed. Devlin, wolfish, leaned forward; Victoria, miserable, trapped, stared down into her own plate, hoping for answers in the stewed mutton. There were none. She forced herself to wear a careful, neutral smile, even as Devlin pushed forward with his query. “It may well be what, Miss Winters?”

“As you say – I am young, and poor. I have nothing to tie me to England. That would make me an ideal candidate for such a far-away place, would it not?”

But this was not so amusing as he had been hoping for. A curious look came over him – a bitter one. “It would,” he replied.

They fell into quiet, for a few notable moments; she listened to the groan of the ship and the noises of the sea, which had been so constant as to constitute silence in the absence of other sounds. England seemed so far away as to have been a dream – dry land, a fancy. Devlin was still watching her, the bitterness of his look lurking in the set of his jaw; she reminded herself that, whatever comforts she had been given, she had first met him with a sword in his hand, and a pistol in her own. She forged on. “Captain Devlin, I would like to know why you ask these things of me.”

“Idle curiosity, Miss Winters. We have been – thrown – together.”

She protested before she could stop herself – if it was not rude, it was a harder position than she had meant to take.

“No, no, speak – by all means.”

“It was only after that I said I was for Collinsport that you took interest in me. I do not think I could call your questions idle, knowing this.”

“I was responsible for the disruption of your voyage. I merely hold myself accountable for the end of it.”

“Captain Devlin –”

“Had you rather go into Nassau or Tortuga, with the rest of them?” There was that wolfish look again; something in the lightlessness of his eyes and the set of his jaw – and then, she thought, if not wolfishness, then some other predatory thing. She had heard, from old Mr. Purdy, watching fins glide by, auguring something strange and terrible beneath, that sharks’ eyes were lifeless. Dark. Devlin, weathered and sea-going, wanted only those fins – by such a standard, at least. Victoria held to her chair a little more tightly, and leaned back. “Surely you’ve heard the stories. They’ve eaten alive hardier men than you.”

She shook her head. “I know to fear those places – and I know to fear this one, too.”

“In general, or in the specific?”

“Sir?”

Devlin repeated himself, and then, leaning forward again, with a particular purpose she could not entirely fathom: “Is it a general fear of piracy, Miss Winters, or a specific fear? Of – of the Requital?”

“I am law-abiding – god-fearing,” she answered, like reciting a catechism she did not particularly believe.

“Given the nature of divine retribution, that may be wise. But what have you to fear among us? We’ve done you no harm, as you have deserved none.”

“And what will become of me when you find those you intend to harm?” Victoria shivered, unintentionally – the heat, even in this place of constant breezes, was trying. “Shot does not distinguish. It is only metal.”

“You will go below,” he shrugged. “The day will be carried, and we will carry on, and you can come back to the air and sun. Pity us, instead, for our red work.”

“You have chosen it.”

Devlin looked at her incredulously – angrily. All that lightless malice of his bitterness was distilled down to a point, a snarl. “Chosen it? Chosen for me, little governess. To be accused of piracy is to be condemned to it – until death, one way, or another.”

“As you say, Captain Devlin,” she said, placatingly, “But –”

“You have no notion of it. None at all.”

“I am only a governess, sir –”

“To Mrs. Stoddard,” he finished, for her. “She is a god-fearing woman, by all accounts – a fearful woman, at any rate. You shall have to ask her about piracy – her, and her brother. They once thought quite highly of the black flag.”

There was no answering that. Victoria pushed her stew around for some time, and then, after a period which she had been taught was polite, excused herself.

[dust-n-roses]

My Favourite First Listens of 2024!

It's been a big year of discovery for me, continuing to delve into prog and metal and embarking on the extreme metal journey with my developing tolerance of harsh vocals. These albums, old and new (in chronological order of when I heard them) are the highlights of my first listens this year :)

#1: Misplaced Childhood (1985) – Marillion

I heard this either right at the end of last year or right at the beginning of this year, as my mum found her copy after Christmas when we got our record player. I only knew Kayleigh, which though a good track is very much an 80s ballad, so I was stunned to hear how proggy and conceptual the full album is and it quickly became a favourite. It has the quirkiness and quasi-symphonic sound of early 70s Genesis with the bombast of the 80s, and the flow of the album is wonderful – I'll never hear Kayleigh in the same way again now I know how Pseudo Silk Kimono leads into it!

Favourite tracks: Waterhole (Expresso Bongo), Blind Curve, Childhood's End?

#2: For All Kings (2016) – Anthrax

I finished the Big 4's discographies near the beginning of the year and was pleasantly surprised at how good latter-day Anthrax is. Their most recent album is full of great songs and has a well-constructed balance of heaviness and melodicism, with Joey Belladonna in great vocal shape.

Favourite tracks: Breathing Lightning, Suzerain, Blood Eagle Wings

#3: From Mars to Sirius (2005) – Gojira

I was skeptical at first at how a heavy album with plenty of harsh vocals could be a conceptual masterpiece as I'd heard, but after a couple of listens I started to get it. The music scratched an itch for something more intense and being a nature/animal lover I latched onto the concept and Gojira's overall philosophy quickly. The balance of groove-laden riffs, bludgeoning death metal and more ambient sections is just right for it to be intense all the way through without being exhausting to listen to, and it succeeds in taking you on its journey.

Favourite tracks: Backbone, From the Sky, The Heaviest Matter of the Universe, Flying Whales

#4: Orchid (1995) – Opeth

And so we come to Opeth, my biggest discovery this year. I'd heard of the band and was curious about their prog credentials but intimidated by the death metal side of things, however decided to give them a go having started dipping into heavier waters. Being their debut, Orchid was the first album I heard and it absolutely blew me away; I knew instantly that I'd deal with growled vocals if it meant I could listen to the music. Oh, the music – wonderful melodic lead guitars, folky acoustics, atmospheric and meandering song structures. It’s such a unique soundscape and an album that I only wring more joy from as I get further into the style.

Favourite tracks: In Mist She Was Standing, Under The Weeping Moon

#5: Ghost Reveries (2005) – Opeth

Fast forward a bunch of Opeth albums and we come to the first one that caught my attention after my initial deep dive. Ghost of Perdition was the first song I kept coming back to, and The Baying of the Hounds followed in its footsteps. The balance of clean/harsh vocals and soft/heavy music on this album is executed perfectly and the softer parts made it easier to get into as a newbie to the death metal aspects, but it keeps on giving now those parts are just as enjoyable. A well-sequenced album full of great, memorable songs.

Favourite tracks: Ghost of Perdition, The Baying of the Hounds, Beneath the Mire, Harlequin Forest

#6: Sorceress – Opeth (2016)

Ironically, since I came at them from an old-school prog background, I found the first couple of prog Opeth albums (Heritage and Pale Communion) harder to get into. Sorceress, though, I adored straight away and still do for its 70s hard rock style, a heavier take on the prog sound with abundant Hammond organ. I love the songs on it and the cohesive vibe throughout, plus Mikael’s gorgeous clean vocals really shine.

Favourite tracks: Sorceress, The Wilde Flowers, Will O The Wisp, Chrysalis, Era

#7: Foregone – In Flames (2023)

I was aware of In Flames’ Clayman album when I heard the newly-released bonus track from this, Become One, and fell in love. Listening to the whole thing cemented the thought that I needed to explore melodeath, as the Maiden-esque riffs coupled with death metal heaviness and a good balance of clean/screamed vocals was something I didn’t know I needed. Banger after banger, what else can I say?

Favourite tracks: Meet Your Maker, Pure Light of Mind, In The Dark, A Dialogue In B Flat Minor

#8: Hand. Cannot. Erase – Steven Wilson (2015)

I wasn’t convinced by the idea that Steven’s solo work could rival Porcupine Tree, just because I love PT so much. Boy, did albums like this prove me wrong! A prog-pop masterpiece imbued with the nostalgia that enamoured me with his songwriting in PT, Hand. Cannot. Erase has everything – instrumental prog weirdness, electronica, achingly melancholic soft sections, an evocative lyrical concept and even a poppy chorus in the awesome title track. It makes me feel so seen, musically and lyrically, and that’s what I love about him.

Favourite tracks: 3 Years Older, Hand Cannot Erase, Home Invasion, Happy Returns

#9: To The Bone – Steven Wilson (2017)

Another prog-pop masterpiece that emboldened my obsession with Steven, this is an eclectic yet well-curated bunch of songs that just connected with me immediately. It’s got beautiful ballads, perfect pop, experimental electronica and a couple of fantastic straight-ahead hard rock songs, with some of his best singing too. What more could I want?

Favourite tracks: Pariah, The Same Asylum As Before, Permanating, People Who Eat Darkness

#10: Hybrid Theory – Linkin Park (2000)

I finally got round to delving into Linkin Park’s discography this summer – good timing! This is the nu-metal album, and turned out to be my favourite LP record not only because of the great combination of heavy guitars and sometimes aggressive vocals with hip-hop elements, but because of the catchiness they incorporate.

Favourite tracks: One Step Closer, By Myself, In The End, Forgotten

#11: The Mantle – Agalloch (2002)

I saw this recommended in a thread discussing albums like Opeth’s Orchid, then heard In The Shadow of Our Pale Companion in a prog metal playlist and just thought, I need more of this. The sound of this album and band is so melancholic without being dull, a gorgeous musical marriage of folk, black metal and post-rock/metal that transcends them all. This album really does sound like you’re taking a walk in a snow-covered Scandanavian forest (even though these guys are American), contemplating existence with a healthy dose of pantheism. A masterpiece that I connected with straight away, and struggle to describe except to say: listen to it!

Favourite tracks: In The Shadow of Our Pale Companion, I Am The Wooden Doors, The Hawthorne Passage

#12: Blackfield II – Blackfield (2007)

Another entry for Steven Wilson, this time making art rock with Aviv Geffen. Of course, there’s a heavy dose of melancholia in Blackfield’s sound, but it’s got an accessible alt-rock feel and more straightforward song structures. That’s not an insult, though, as this is a great collection of songs with lovely vocals from both of them.

Favourite tracks: Christenings, Epidemic, Where Is My Love?, End of the World

#13: Luck and Strange – David Gilmour (2024)

This was the first album that I’d heard for the first time on vinyl, and from the first, so utterly Gilmour guitar notes, it had me in tears. Between the nostalgic lyrics, his singular guitar sound and voice, and the Pink Floyd references scattered through the music, my experience of this album was immediately emotional and to top it off, it led to an experience I never thought I’d get: seeing David Gilmour live. It still hasn’t sunk in, but between the magnitude of that event and the beauty of the music itself, this album had to be on the list.

Favourite tracks: Luck and Strange, Between Two Points, Dark and Velvet Nights

#14: Absolute Elsewhere – Blood Incantation (2024)

Amongst all the old bands still to discover, I don’t pay tons of attention to new releases, but discovering Opeth gave me an interest in anything labelled ‘progressive death metal’ and an album with space-electronica interludes was bound to intrigue me. Considering the disparity in styles between bludgeoning death metal and Berlin school progressive electronica, this album flows surprisingly well and feels cohesive in its ambitious fusion. It took a few spins to fully grasp the heavier sections, but this is an enjoyable listen and one that makes me glad I took the dive into more extreme metal.

Favourite tracks: The Stargate [Tablet I], The Message [Tablet II]

#15: Flowermouth – No-Man (1994)

No-Man is the next Steven Wilson project for me to explore, and despite my initial apprehension for something contemporary of the 90s, dance/hip-hop influence and all, their sound has been growing on me. This album has a spacey atmosphere amongst the dance beats, topped with gorgeous vocals from Tim Bowness, and has repeatedly drawn me back despite being a style I wouldn’t have expected to like much (that’s Steven’s songwriting, I guess, or just bias from my desire to like his whole catalogue). An intriguing soundscape and cool new vibe which I’ll continue to explore in the new year.

Favourite tracks: Angel Gets Caught In The Beauty Trap, You Grow More Beautiful, Things Change

#16: The Last Will and Testament – Opeth (2024)

Having gotten into Opeth at the beginning of the year, it was exciting that they were releasing a new album and even more so when it turned out to be a return to metal territory, fusing their recent symphonic prog leanings with their classic prog-death sound. To top it off, it’s a concept album! And it didn’t disappoint: there’s prog, there’s jazz, there’s death metal, there’s baritone vocals, there’s growls, there’s narration and even flute from Ian Anderson – all packed into seven unpredictable, immaculately composed ‘paragraphs’ and the beautiful dénouement of the ending track, A Story Never Told. Everyone’s playing shines, Mikael’s songwriting skills are as endlessly brilliant as always, and it flows as a full album like all the best prog records. Thoroughly enjoyable!

Favourite tracks: §3, §4, §6

[railwayhistorical]

The Low Spark of High Heeled Boys

Let me say something out of the blue—the original, studio version of “The Low Spark of High Heeled Boys” is one the best musical recordings ever made. Winwood is on piano, of course, but also the Hammond. The congas, drums, and bass move things along while we listen to Steve’s distinctive voice. (He wrote it along with band mate Jim Capaldi.) The far off, eerie sax, perhaps distorted by some newfangled, for the time, electronic device, is mesmerizing. And that final discordant note! This stuff, this intellectual and aural material, nourishes me.

[Update: while there is a sax in the mix here, the long solos in the 2nd half of the tune are apparently Winwood’s organ but piped through a fuzzbox.]

Of course, I may feel this way, assured of the recording’s greatness, because I listened to the wonderful, long, piece many, many times while at a certain age. Most often, perhaps, while I drove around rural southern Indiana in a large second-hand automobile with my friends. We may have consumed beer and/or weed, but that’s not certain.

Beyond any of that, however,  I believe I feel so strongly about this piece due to my brain. The cells of that organ, being at a certain stage of development, absorbed the notes and words and sounds and rhythms and wove it in with my dreams and deep-seated feelings. And then all of that wonder was stored, saved in a special place, deep in the center of my cerebral matter. I’m not special—most people love the music of their youth.

But how was it that I purchased and listened to this particular album rather than some other, more mainstream, pop music of the era (circa 1980)? Perhaps it was due to the fact that Bloomington was a university town, and I ran around with sons and daughters of professors, or that the famous music school may have been an influence on our burg in some kind of micro-climate fashion. My range of LPs included Mingus, Coltrane, Miles Davis but also Blind Faith, Led Zeppelin, and Peter Frampton (due to the live album no doubt). I also had an affinity for Duane Alman’s artistry.

Whatever it was that led me to this music—something contingent on my surroundings, or found within my acquaintances, passed like a gift, or due to some other unperceived, random combination of things or influences that cannot possibly be perceived let alone calculated—I’m grateful for it.

Final thought—put this piece of music on the next intergalactic space probe, burned into an LP made of gold, and launch it into space. We should do this if we want extraterrestrials, those ultimate others, to have a decent opinion of our race. You can listen to it here.