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opera-ghosts · 2 months ago

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The Hawaiian Nightingale, also known as “Hawaiʻi's Songbird: Ululani Robertson (1890-1970):

Born in Honolulu on January 5, 1890 (approx.), Ululani McQuaid was the daughter of James H. McQuaid, an Englishman, and Kapulani Kalola Nahienaena Leinaholo Papaikaniau, a native Hawaiian and descendant of ali’i (Hawaiian royalty and nobility) from the islands of Maui and Hawaii. According to Ululani’s recollections, she was primarily raised by her grandmother and attended the Sacred Hearts Academy, a Catholic school which was popular among the Island’s wealthier residents. The school was staffed mostly by Belgian nuns and Ululani grew up speaking Hawaiian, French, and English.

There is little known about Ululani’s earliest years, beyond information given in interviews conducted later in her life. Even her exact year of birth remains unclear as there is no birth record available and various obituaries listed her as 75 or 80 in 1970. Musicologist Dale E. Hall, who published a brief biographical portrait of Ululani in his 1996 article Two Hawaiian Careers in Grand Opera, was able to locate the 1910 census records which indicated her age as 20, establishing her probable birth year as 1890. Hall also went so far as to contact the Sacred Hearts Academy which was unable to confirm any records of her attendance at the school.

Ululani married Alexander George Morison Robertson, a Hawaiian attorney and jurist, on May 29, 1907. After her wedding, she begins to appear in newspaper records as Mrs. A.G.M. Robertson, and her activities are more closely documented in the social columns. The earliest clippings found describe her as a hostess for celebrities and dignitaries visiting Honolulu and the Hawaiian Islands.

It is likely that Ululani was introduced to singing by her grandmother who was a well-known Hawaiian chanter, and who probably instilled in her a deep reverence for the Hawaiian language and song traditions. In the early years of her marriage, Ululani began taking lessons with mezzo-soprano Elizabeth Mackall, one of Honolulu’s most noted voice teachers. Mackall helped to build Ululani’s knowledge of Western art music and develop her technique and repertoire.

Ululani’s first recorded recital appearance was in 1912 on a program featuring several of Mackall’s students. The next year, newspaper records give accounts of at least seven performances, both public and private. Ululani began incorporating musicales into the parties she hosted at her home.

Aside from her budding talent as a singer, Ululani was a noted hostess in Honolulu’s social circles. Both the Honolulu Star-Bulletin and the Honolulu Advertiser, Honolulu’s largest and second largest news publications, praised the grandeur of events she hosted. An active member of her community, she was a member of the Morning Music Club and The Outdoor Circle, and was a founding officer of the Hawaiian Art Society.

As a result of Ululani’s talent, gracious personality, and social position, her popularity continued to increase between 1914 and 1920. She began appearing as a featured soloist with local churches and choral groups around Honolulu, receiving enthusiastic encores and splendid reviews from local newspapers.

wo notable performances in 1918 solidified the young Ululani’s place in Hawaii’s musical community, the first being a solo recital given for the benefit of the Red Cross at Honolulu’s new Mission Memorial Hall, and the second a feature in a Hawaiian musical given by Prince Jonah Kūhiō Kalanianaʻole.

During World War I, the citizens of Hawaii did a great deal to support relief efforts, raising money and collecting clothing and food supplies. Ululani offered her talents as a singer, performing for events for Army and Navy groups stationed in the islands. Honolulu’s Ad Club sponsored a recital to benefit the American Red Cross on April 26, 1918 featuring Ululani Robertson (billed as Mrs. A.G.M. Robertson). Her program was a success, with nearly every seat filled. Encores included several Hawaiian songs, a tradition that the young singer would continue throughout her career. The concert was so well received that she was, from then on, known to the public as the “Hawaiian Nightingale.”

Later that year, with her notoriety as “Hawaii’s Nightingale,” Ululani was featured in a hookupu (traditional Hawaiian welcome ceremony for visiting nobles & dignitaries) given by Hawaii’s US Congressional delegate Prince Jonah Kūhiō Kalanianaʻole. The event was a welcome for US Secretary of the Interior Franklin K. Lane. On this program, Ululani performed traditional Hawaiian songs accompanied by ukuleles and a glee club from the Kamehameha Schools. Through this event she displayed herself not only as a fine singer of western art music but of the traditional and popular music of Hawaii. Throughout her life, Ululani would maintain her passion for performing and preserving the music and language of Hawaii.

Ululani continued performing and studying with Elizabeth Mackall. Sometime in late 1919 or early 1920, Mackall moved to San Francisco, California to join the music faculty at Mills College. Ululani took an apartment in San Francisco, travelling from Hawaii for periods of study with Mackall until 1921.

Having studied with Mackall for over a decade, in the spring of 1921, Ululani made the decision to seek a new teacher to further her musical accomplishments. Despite little connection to the musical world outside of Hawaii, she decided to seek an audition with Marcella Sembrich after reading an interview with the great prima donna in Mable Wangall’s 1899 book Stars of the Opera.

“When I went to New York I wanted to study with Madame Sembrich, not because someone had told me to go to her, but because I had read so much about this glorious woman. I had no letter of introduction to her. There was a long waiting list, so the secretary informed me.”

— Ululani Robertson, "Madame Butterfly Lauds Teacher, Mme. M. Sembrich." The Honolulu Advertiser. Page 27. January 20, 1935.

Having set her mind to meeting the renowned Sembrich, Ululani prepared to travel to New York. Her trip was hindered initially by a burglary at her San Francisco apartment and then when she contracted mumps on the long train ride. She arrived in New York City, but her prolonged illness delayed her seeking out Sembrich and caused her to miss Enrico Caruso’s final Metropolitan Opera performance, which she was to attend with fellow Hawaiian opera star tenor Tandy Mackenzie. After recovering, she began working to arrange her meeting with Madame Marcella Sembrich. After travelling five thousand miles and facing various trials and tribulations, her chance came on Easter Sunday of 1921.

Despite having no letter of introduction, the secretary spoke to Sembrich who decided to hear the singer and have a luncheon to discuss Ululani’s ambitions as a singer. Another interview recounts the audition with Sembrich:

“The studio accompanist, hard-working fellow, brought the song to a close with a resounding chord. Its soft, somewhat sad, melody had been strange to him, and its words stranger still, for it was a Hawaiian bit about the rain and a drenched flower. The singer, resting now by the piano, gathered herself together for the verdict. She had come five thousand miles from Honolulu to ask the great Marcella Sembrich to teach her. And Mme. Sembrich was before her now, about to decide. She speaks. “Where, my dear, did you come upon such – shall I say – Chinese-Italian? So was habe Ich nie vorher gehört.” (tr. from German: I have never heard this before”) The singer, for all the fact that this audition was for her a solemn affair, had to laugh. “That, Madame, was not Italian at all. It was Hawaiian.” “Ah so,” breathed the great teacher, “you come from those islands out there in the Pacific, to have Sembrich teach you? Well, we shall see!”

— from "Mrs. A.G.M Robertson Returns After Long Absence." The Honolulu Advertiser. Page 3. December 10, 1933.

Following her audition, Sembrich asked the young Ululani what she desired from a career in music. She boldly told Sembrich that she had no ambition for a career, only to perfect her voice and her art. Following her audition and interview, Sembrich sent Ululani off to await a decision. After three days passed, Sembrich contacted Ululani to accept her as a pupil, only on the condition that she pursue a career. She immediately took an apartment near Manhattan’s Bryant Park and set to study. Ululani and Sembrich worked well together and Ululani was soon fondly called Sembrich’s “little tropical flower.”

In the summer of 1921, Ululani travelled with her new teacher to “The Maples,” Sembrich’s Adirondack retreat in Lake Placid, New York. It was there that the only known photographs containing both Ululani Robertson and Marcella Sembrich in the same image were taken.

“All pupils loved my teacher. It made no difference whether they were successes or failures, they never forgot her magnetic personality. I spent my first summer with Mme. Sembrich at her home in Lake Placid. She herself was a marvelous cook and she planned her menus each day. I remember a little squirrel who, each summer, came to the back kitchen door to be fed by Madame. I think he got his winter store of nuts from her. Like people, he never forgot the gracious woman.”

— Ululani Robertson "Madame Butterfly Lauds Teacher, Mme. M. Sembrich." The Honolulu Advertiser. Sunday, January 20, 1935.

For the next four years, Ululani alternated between periods of study in New York and trips to Honolulu to visit family and give performances. It is during these years that her billing for concerts now included the line “Artist Pupil of Mme. Sembrich.” Reviews praised her abilities and her fine coloratura voice. Ululani, much like her Sembrich, was also known to accompany herself for encores, playing the piano or ukulele.

Sembrich moved her Adirondack summer retreat to Bay View, an estate on the shores of Lake George, in the summer of 1922 and purchased the property the following winter. Ululani was among the first students, along with sopranos Dusolina Giannini and Queena Mario, to take lessons in Sembrich’s new teaching studio (today The Sembrich) which was completed 1924.

Reviews indicate that Robertson showed great improvement in stage presence and the finer details of her artistry following only a year of study with Sembrich:

“Her dulcet tones, always so appealing to her many admirers, have developed a range, a power, a flexibility and a depth of feeling which have lifted her from the mere amateur class into that of the semi-professional, as all who hear her at her concert next Wednesday will agree. One year under the direction of such a noted singer has done so much for Mrs. Robertson, that one can have no doubt that in the next year’s work, which she is planning, she will easily reach the goal for which Madame Sembrich sets for her most promising pupils, a successful New York appearance.”

— from "Teacher Perpetuates Fame Through Pupils." The Honolulu Advertiser. Page 5. July 11, 1922.

Ululani returned to Lake George and New York City for extended periods of study alongside Sembrich’s students from the Curtis Institute and the Juilliard Graduate School, where she was director of the vocal programs. During her studies with Sembrich, Ululani began studying the roles of Mimi (La Bohème) and Cio-Cio-san (Madama Butterfly) by Puccini. Sembrich worked with Ululani to refine her diction, stage presence, and musicality, preparing for for a grand debut. However, the New York City debut that was the standard for Sembrich’s pupils never came as was decided between singer and teacher that a trip abroad for European study was more advantageous than an expensive Aeolian Hall debut:

“Mme. Sembrich felt that I should have European study. So, with my husband’s approval, I sailed for Italy and studied with Professor Guisseppi Benvenuto. I had already had four years of study with Mme. Sembrich. But there were languages to be studied, stage deportment, and a repertoire to be built up. I also had a few lessons with Mascagni, author of the opera, Iris, which I was studying.”

— Ululani Robertson in “Island Hostess,” Paradise of the Pacific. Page 32. February 1953

One of Ululani’s final performances as a pupil of Sembrich was in September of 1925 in the Italian play “Scampolo.” The event was held in the studio of Lake George resident and Sembrich pupil Polly Hoopes on her estate Stillwater. Following her final summer in Lake George, Ululani set sail for Milan, Italy to further her studies in Europe.

Following Sembrich’s advice, Ululani sought out several European teachers to help further her musical education, beginning in Milan, Italy.

While there, she took lessons with Giuseppe Benvenuto and Pietro Mascagni, studying roles from Puccini’s Madama Butterfly and La Bohème, Mascagni’s Iris, andCharpantier’s Louise. Ululani then set her sights on France, particularly Paris, for further study. She continued her preparations for a European debut with pianist John Byrne. In 1926, she made her concert debut at the Salle Comedia in Paris and garnered positive reviews, particularly for her inclusion of several songs from Hawaii.

“Miss Ululani Robertson, who had chosen the Salle Comedia for her concert, possesses a very pretty soprano voice with exquisite crystalline notes. She knows how to sing, she sustains a note and reaches the pianissimo with undeniable art... Where she was quite remarkable was in some “Lieder” by Grieg; in “The Answer” by Terry, which she was obliged to repeat, and, above all, in some Hawaiian songs, to which she gave a really artistic expression. The “Na Lei O Hawaii” by King, won her a unanimous encore.”

— Louis Schneider in "The New York Herald," Paris. July 9, 1926

Following her successful concert debut, Ululani began appearing for social club events and private salons in Paris. In April 1927, she made her operatic debut in the title role of Puccini’s Madama Butterfly in Bordeaux, France. Despite singing the role in Italian instead of French, which was customary in French opera houses, critics were enamored by her vocal ability and refined acting. Her debut was followed by 22 more performances of the role across the continent. Her career took her to Austria, Czechoslovakia, France, Italy, Germany, and Spain where she appeared on stages in Deauville, Florence, Liège, Leipzig, Lyons, Milan, Prague, Rouen, Vienna, and more. Billed as “Madame La Princesse Ululani,” news outlets praised her interpretation of the role, deeming her “an artist of unusual merit” and characterized her singing as “ravishing,” “charming,” and “superb.” Near the end of her tour, several news articles in Europe reported that Ululani would return to Honolulu to perform the role in 1928.

However, Ululani did not return to Honolulu and instead began study at the American Conservatory in Fountainbleau around 1928, coaching with pianist Camille Decreus, the long-time accompanist of the Polish Tenor (and friend of Sembrich) Jean de Reszke. During her studies, she continued to appear in concert and opera across the continent and her popularity in the European musical scene began to grow.

During this time in Europe, nationalism was a prevailing trend in the musical world. Folk songs, particularly those sung in original native languages, were garnering attention as the true expressions of national culture and identity. Ululani, being one of so few Hawaiian singers to achieve European fame, was made even more popular by her renditions of Hawaiian songs, her ukulele accompaniments, and her displays of Hawaiian dance for European audiences. Among the Hawaiian songs presented by Ululani was the popular song Na Lei O Hawaii by Hawaiian composer Charles E. King.

To date, no original recordings of Ululani’s singing have been located. The Victor Talking Machine Company has notes of two recordings recorded by Ululani in 1923, however, neither made it to publication. While Ululani was in Europe, another “Hawaiian Songbird,” named Lena Machado, began recording and popularizing the music of Hawaii in the United States. Machado’s 1928 recording of the work with traditional instrumental accompaniment is a definitive representation of the traditional Hawaiian vocal technique ha’i which is characterized by a distinct break between vocal registers and accompaniments.

Prior to her entrée to the European opera scene, Ululani was offered a position as a Hawaiian singer with a touring band. While she loved to sing the songs of Hawaii and perform the popular music for audiences, she still believed that the role of Butterfly best suited her. Although the operatic stage was her chosen home, Ululani did appear on several occasions performing popular Hawaiian music. One such instance was with a Hawaiian orchestra at the Colonial Exposition in Paris in 1931, which was broadcast on the radio and was heard by Ululani’s husband A.G.M. Robertson in San Francisco.

Ululani toured across Europe appearing as Madama Butterfly and occasionally in other roles such as Mimi in La Bohème. Then in 1931, it was announced that Mme. Ululani was to appear for several performances of Madama Butterfly at Paris’ Opera Comique, one of the most celebrated European venues with perhaps the most discriminating audience. This was the first time a Hawaiian opera singer would appear on the stage of the famous opera house. The night of her debut, Madame Sembrich cabled her fondest congratulations. Ululani’s husband even travelled from Honolulu to see her take the stage in Paris.

News of her lauded debut was announced in papers across the United States. Her achievements on the stage of the Opera Comique were the pinnacle of her international fame and solidified her place as one of the leading interpreters of Puccini’s Butterfly. The Parisian Critic Louis Schneider published this review of the Opera Comique performance in an unidentified Paris newspaper:

Louis Schneider, music critic, writes in a Paris newspaper…

Madame Ululani sang “Madama Butterfly” at the Opera Comique, on Monday night. Her carriage and extreme grace give her an exacting possession of the role in which she proves the fullest depths of the character in her interpretation. Her voice, although not of great volume, is sufficiently ample for the role; and if, on entering the stage, she was overcome with emotion, she affirmed herself in the succeeding acts with charm and beauty of her voice, and the seizing tenderness of her intonation. She sang quite remarkably “Sur la mer calmes,” and also the Berceuse. Her success was decisive and mounted act by act.

– from an unidentified French publication. Translated and printed in the Honolulu Star-Bulletin. Page 26. January 2, 1932.

Despite her success on the stage in Paris, in 1932, Ululani stated that she was needed at home in Honolulu to take care of her husband, and thus made the decision to end her European career, having achieved the success she initially sought. She remained in Europe performing and exploring the continent with her husband until the latter half of 1933 when she began her journey home.

On Thanksgiving Day of 1933, the Hawaiian Nightingale returned to Honolulu with her husband aboard the Lurline. Friends and acquaintances gathered at the port to welcome the newly minted international star home, showering her with flowers and leis. While she had ended her European career, Ululani continued to make appearances in Hawaii and rumors of a contract with the Civic Opera of Chicago and offers from New York managers abounded, but none proved true or of any interest to Ululani.

Upon her return to Honolulu, Ululani brought with her three Siamese cats she adopted while in Paris. The trio, Handsome, Poupoulle, and Big Boy, captured headlines and even won awards in the first official Honolulu cat show in 1935.

Ululani, like Sembrich, was a lover of nature and animals. In a 1953 interview, Ululani said:

“I am a great animal lover and I was always bringing home stray kittens to be cared for or little puppies who had no home. But I am especially fond of kittens.”

- from “Island Hostess” in Paradise of the Pacific. February, 1953.

One of her first notable appearances upon her return to Honolulu was on an NBC live radio broadcast commemorating President Franklin D. Roosevelt’s first year in office. Ululani was a featured soloist on this program. She performed a new composition by Charles E. King, dedicated to Mrs. Roosevelt, titled Makuahine O Ka Lahui.

Her debut with the Honolulu Symphony was initially scheduled for 1934, but was cancelled due to illness. Her debut with the Symphony finally came the next year when she appeared as a guest soloist, performing “Pleurez mes yeux” from Massenet’s Le Cid. Praise for her artistry was universal andthe only critique noted was “the aria was too short.” Ululani continued to appear in venues across the islands and was ubiquitous with Hawaiian musical life in Honolulu.

In 1936, Ululani was able to, once again, display her talents as both an operatic prima donna and a champion of the music and traditions of Hawaii. In March, she appeared in a Hawaiian pageant reenacting the High Chiefess Kapiolani’s defiance of the volcano goddess Pele. Ululani took the lead role as the High Chiefess and scored great success singing traditional Hawaiian songs and melodies.

About two weeks later, the Morning Music Club and the Honolulu Symphony announced that they would launch a joint production of Puccini’s Madama Butterfly with Ululani reprising her signature role. This proved to be a highly anticipated musical event in Honolulu as it was the first time the opera would be staged in Hawaii. American Tenor Frank Colson, who performed under the stage name Aroldo Collini, was brought to Hawaii from Los Angeles to star aside Ululani as Lt. Pinkerton. The opening of the opera was delayed by a day due to illness. The next night, the production opened and proved to be the musical event of the season, earning generous plaudits from the press. This was the last time Ululani appeared in her signature role on the operatic stage.

“Outstanding in an evening of excellence was the lovely and meticulous singing of Mme. Ululani Robertson. Effective and convincing was her sympathetic portray of the fragile Japanese girl. Her singing was of a high order, her phrasing was that of an accomplished musician in full command of her role, and her high tones rang out with real splendor. Mme. Robertson was considerate of every meaning of her music, her sense of dramatic values is schooled as it is in thoughtful European teaching and direction. Butterfly delighted by approaching the music through intelligence. A broad vocal sweep was evident in Mme. Robertson’s singing and she shaded her songs according to the meaning of the words.”

— from "Local Opera is Hit with Mme. Robertson Star" by Edna B. Lawson. Honolulu Advertiser. May 15, 1936

Over the next decade, “Hawaii’s Songbird” gave recitals, hosted musicales, and quickly reentered the social circles of Honolulu, becoming involved with local clubs and social groups including the Morning Music Club, The Outdoor Circle, and the Civic Club. In 1938, she was elected President of the Morning Music Club and began publicly advocating for the preservation of the music and language of Hawaii through a Hawaiian School of Music and presenting entire programs featuring the songs of Hawaii. Ululani was also featured in a serial column in the Honolulu Advertiser titled, “How’s Your Hawaiian?”

In 1941, following the bombing of Pearl Harbor, Ululani once again became involved in relief efforts. Following the devastation from the bombing, Ululani opened her home to several displaced families. Gayle Andersen, who was 15 at the time, was one of those displaced. In a 2017 article, Anderson recalled:

“‘I was let loose,’ reminisced Andersen about her short but memorable time at the house. ‘I could go anywhere I wanted to during the day. Mrs. Robertson didn’t care, so I played up and down both sides of the bank [of the stream], and the stepping stones were [just] slightly in the water, so you could go across.’ Andersen remembers the formal dinners she enjoyed in the company of Robertson and the host’s regal appearance. She recalled the host’s elegant muumuus, trailed over her arms as she walked down the stairs. Andersen also remembers admiring Robertson’s old opera costumes. ‘She wanted me to take home some clothes. I was fifteen, but I [even though I] only weighed 115 pounds, I couldn’t fit any of them. I was too big!’ exclaimed Andersen.”

— from “World War II Survivor Visits HBA High School” by Kayci Kumashiro in Eagle Eye. Honolulu. January 3, 2017

Similar to her efforts during World War I, Ululani organized performances for troops stationed in Hawaii during the second World War. Through her involvement with the Hawaiian Civic Club she raised funds for the Red Cross and organized events for the sale of war bonds. She also chaired benefit events for the Civic Club and served a term as President of the organization.

Near the end of the war, in July 1945, fellow Sembrich student Dusolina Giannini visited Oahu to sing for members of the armed services stationed on the island. Giannini and Robertson had studied together under Madame Sembrich in New York City, Lake Placid, and Lake George. It is no surprise that Ululani insisted on hosting Giannini for her stay and, in elegant fashion, threw a grand reception for her friend and fellow artist.

Following the war, Ululani performed less frequently, instead focusing on her involvement with social clubs and organizations. In 1946, she was named to the board of Public Parks and Recreation in Honolulu and played a large role in the beautification of the city.

It is also suspected that during this time, her husband’s health was in decline. In 1947, A.G.M. Robertson passed away, leaving his estate to Ululani.

In the final two decades of her life, Ululani rarely performed but stayed actively engaged in her community. In 1948, she remarried to Jan Jabulka, the managing editor of the Honolulu Advertiser. They held the event at Ululani’s home and her friends filled her home with flowers for the occasion. A small ceremony was held in the evening with the Nuuanu Valley as the backdrop.

In 1951, Jan Jabulka was named the Executive Director of the Hawaii Statehood Commission. The couple relocated to Washington D.C. and made their primary residence in the nation’s capital, working to secure statehood for the territory. Ululani anticipated that they would be away only three to four months. However, securing statehood for the Hawaiian Territory took nearly a decade. Reports of Ululani’s activities in Washington are scarce, but she does appear in attendance records for several events, occasionally singing by popular request. In 1959, Hawaii became the 50th state in the Union and the Jabulkas’ time in Washington DC came to a close.

Following Hawaii’s battle for statehood, the Ululani and her husband returned to Honolulu. Ululani was pleased to return to her Honolulu estate following nearly a decade living in apartments and hotels in Washington, DC. Ululani spent the 1960s as a socialite, presiding as a patroness of numerous club events. She passed away at her home in 1970 at the age of 80.

Following her death, Ululani’s estate home passed on to the heirs of her first husband and was eventually sold. The building still stands and is the administration building for the Hawaii Baptist Academy’s High School. Her second husband inherited her Tantalus mountain home and the rest of her estate. The majority of her belongings were sold at auction in 1971, aside from a few items that were bequeathed to family and friends. Her collection of ali’i jewelry was donated to the Bishop Museum and still remains in their collection. Honolulu’s Morning Music Club, of which Ululani was a dedicated member, established the Ululani Memorial Voice Competition, as a tribute to the late singer. A 1934 poem dedicated to the Hawaiian opera star by Maryjane Kulani F. Montano also appears in several publications:

Manu Memele (Original Hawaiian)

Hooheno i ka lai ehukai Lamalama po Mahealani Ko leo, e ka manu hulu Melemele Hoene malie i ka poli.

Mehe lehua pua kea a-la E haaheo maila i ka uka I po ke aha onaona Ko leo, e ka Manu Memele.

Yellow Bird (English Translation)

Bewitching the ocean spray’s fair clime, Brilliant as the full moon light, Your voice, O bird of yellow plumage Brings melody gently yo the breast

Like unti a pale yellow Lehua Proudly blooming at the uplands That pervadesits fragrant scent, Is your voice, O singing bird.

In 1980, following the death of Jan Jabulka, a gift of $1,000,000 was bequeathed to the Bishop Museum for the construction of a new open air entrance pavilion in honor of his late wife. The Jabulka Pavilion was completed in 1982 and continues to serve as the main entrance to the museum.

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nysocboy · 1 year ago

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The White Lotus: The Devil produces a series loaded-down with gay stereotypes

So I wasn't sure about the HBO Max series White Lotus, set in a beach resort in Italy. But someone told me that there were gay characters in Season 2, so here goes, Episode 2.1:

Scene 1: A beach resort featuring bikini models sitting under umbrellas. A woman with her breasts hanging out of her swimsuit starts a conversation with two women who just arrived from America. She's leaving in a few hours, but she praises the hotel, the staff, the food, and the wine. So she spent her entire trip on a beach that looks like every beach everywhere? Why not try to actually see the country? Her semi-bare butt goes into the water for one last swim -- and she bumps into a dead body!

Cut to hotel staff Rocco and Valencia watching body bags being hauled away. Several bodies of guests have turned up!

Scene 2: A week earlier. Two heterosexual couples on a boat, one distant and arguing, the other snuggling, kissing, and nose-rubbing. Then a depressed woman, Allora, walking through town. Her friend Mia asks what's wrong: "Massimo has a new girlfriend, and I'm jealous." Mia drags her away: it's almost time for the boat to arrive. So is this a flashback in a flashback, before the girls get on the boat with the heterosexual couples?

A boat arriving while the staff waves. "Smiles, everyone, smiles!' Allora and Mia look on from afar, wondering whic one "he" is. He who? A new boyfriend met on Tinder?

Down on the dock, Employee Valencia tells the Old Guy: "I'm surprised you are here. It's a long way from L.A., and you are quite old." Way to insult your guests! Next an unidentified older-younger same-sex couple; Cameron (Theo James, above) and wife, the kissing, nose-rubbing couple); Ethan (Will Sharpe, left) and wife, the distant, arguing couple (he forces her to drink wine); and a flowsy rich lady with a hundred suitcases, Ms. McQuaid. "I am your host, Mr. Roarke. Welcome to Fantasy Island."

Scene 3: The White Lotus resort is in an old hilltop convent, nowhere near the beach -- but with a view of Mount Etna. What kind of beachside resort is this, where you have to take a bus to get to the beach?

Employee Rocco tells the two couples, who are apparently all friends, the story of the testi morti: a Moor came to Sicily and seduced a local woman. When she discovered that he had a wife and kids back home, she cut off his head. It's a warning for husbands not to cheat.

Then he shows them that the two rooms connect through a secret doorway. Ethan is up for wife-swapping, but his wife disapproves: "We won't be using that." When the kissing, nose-rubbing couple leave, Ethan starts yelling at her. Jerk! Not into it means not into it.

Meanwhile, the older-younger same-sex couple turn out to be father Dominic and young adult son Albie (Adam DiMarco), traveling with Grandpa Bert, who flirts with a female employee until the others reigns them in. They're here to visit their ancestral town.

So far the only potentially gay guest is Albie, so I'll fast-forward to his story.

Minute 24: Albie gets out of the pool (nice chest shot, but every other guy in the vicinity is fully clothed0. He sits down next to Portia, a teenage girl who just got off the phone with a friend telling her to "get some dicks" while on vacation. SHe starts crying because "they" have half a billion dollars but won't let her have any fun. Albie consoles her.

Minute 46: They kiss. Ok, so Albie is straight. All of the other guests are married, hetero-horny, or both. Who is the gay one?

Research reveals that he is Quentin, one of those aristocratic, decadent, fey Quentin Crisp types (parents don't know that their kid is gay when he is born, so why do gay guys on tv always have tired stereotype names, like Quentin and Blaine?). This closeted jerk pays a group of straight men to have sex with him and introduces them as "my nephew and his friends." He's also a drug addict and a murderer. Pure homophobic sleaze.

Wait -- I didn't notice before, but this series is created by, written by, and directed by MIKE WHITE, aka The Devil. This is the jerk who wrote and starred in Chuck and Buck, about gay relationships being only for adolescents experimenting on their way to a "normal" heterosexual adulthood -- then had the monumental gall to advertise it in gay magazines! Apparently those poor souls who get stuck in their adolescent "gay phase" turn into decadent, fey drug addicted murderers.

#Mike White #The White Lotus #Will Sharpe #Theo James #Italy #homophobia

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kevinjmann · 2 months ago

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UKI -Episode 385

UKI: Episode 385 is now here on Mixcloud

Featuring:

1. Robert Vera - 2020 - Chuva Breve

2. Star Circus - Turn The Tide

3. JOANovARC - On My Way

4. Fatal Vision Music - Time Of Our Lives

5. Morpheus - Dreamer

6. Sarah McQuaid - If We DUB Any Deeper It Could Get Dangerous

7. World of Richey - The Moth

8. Anders Jivarp - Cheater

9. Red Moon Yard - Weird Song

10. James Atlas - Infinity

11. Cristina Jimenez - Tu Miirada

12. Harsh Language - Hear Hooves, Think Zebra

13. Soul de Vienne - Carlos And Elena

14. Christine Valença - John Riley

Broadcast on

Sword Radio UK - www.swordradiouk.com - Thursday 9pm

KrystalRadio Station - www.krystalradio.net - Friday 7pm

Pop Radio UK - www.popradiouk.co.uk - Monday 8pm , Tuesday 8pm and Wednesday 8pm

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YOUR LOCAL INDEPENDENT AND UNSIGNED MUSICIANS - PLEASE BUY THEIR MUSIC - KEEP THE SCENE ALIVE!

#radio #uk #independentmusic #independentartist #ukindependent #indieartists #unsigned #ukindie #spotify #independent

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newsnoshonline · 9 months ago

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Correzione dell'autore: Distruzione estensiva dell'ozono mediata dagli alogeni sull'Oceano Atlantico tropicale Studio sulla Distruzione dell’Ozono sopra l’Oceano Atlantico Tropicale Il recente studio condotto da un gruppo di ricercatori internazionali ha rivelato importanti informazioni sulla distruzione dell’ozono sull’Oceano Atlantico tropicale. Le ricerche sono state coordinate da vari istituti accademici in diversi paesi. Ricercatori Coinvolti nel Progetto Il team di ricerca era composto da esperti provenienti da istituzioni di prestigio in diversi paesi. Tra i partecipanti spiccano nomi come Katie A. Read, Lucy J. Carpenter, Sarah J. Moller, Anoop S. Mahajan, Dwayne E. Heard, Hilke Oetjen, Michael J. Pilling, John MC Plane, Matthew J. Evans, James B. McQuaid, Bruno VE Faria, Luis Mendes,

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if-you-fan-a-fire · 2 years ago

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"Sep. School Board Wants Traffic Police," Kingston Whig-Standard. May 10, 1933. Page 7. ---- Will Ask That Unemployed Men Be Restored to the Job --- Members of the Separate School Board, at a meeting held on Tuesday night, deplored the fact that men from the unemployed ranks had been taken off traffic duty at the dangerous crossings near the schools. The board passed a resolution instructing Trustee W. J. Coyle, chairman of the Management Committee, to wait on Chief of Police R. J. Robinson and discuss with him the possibility of having the traffic officers restored.

The matter was brought to the attention of the board by Trustee James E. McGuire. He said that since the traffic directors had been off duty he had received a large number of complaints from mothers of the children attending the Separate Schools. The people making the complaints stated that the men who had been engaged doing traffic duty had been doing good work and it was hoped that they would be re-engaged. "The men have been taken off the job just when we need them," said Trustee McGuire.

Chairman Frank Garrigan said that the protection of the children should be considered by the board.

Trustee Charles J. Ryan drew attention to several of the very dangerous street crossings near the schools.

On motion of Trustees McGuire and McCue, it was decided to have the chairman of the Management Committee wait on the Chief of Police with a view to having the traffic officers re-engaged.

There was a very light agenda before the board on Tuesday night, and the session was a very brief one. The business for the most part was of a routine nature.

Wilfrid Jackman, recently elected as a member of the board as a representative of Cataraqui Ward, to take the place of Arthur Tidman, resigned, was introduced and took his seat on the board. The chairman, Frank Carrigan, provided, and the other members present were Trustees Vincent L. Fallon, Rev. Father J. F. Feeney, James E. McGuire, Alphonse P. McCue, Stanley J. McQuaid, C. J. Ryan, David A. Stone and William R. Tisdale.

Trustee Ryan, chairman of the Property Committee, reported on the condition of the school yards. They were not in good condition in the spring of the year, but the committee wished to be as economical as possible and for this reason had not undertaken to have the yards improved. Trustee Fallon objected to cinders in the yards and suggestedgrass.

Trustee Stone said the Property Committee had been endeavoring to keep down the expenses. He pointed out that the board was under a very heavy expense this year owing to the cost of operating the schools. He felt it was up to the board to try to keep within their appropriation. If more money was to be expended, he predicted a cut in salaries for the teachers, although he expressed the hope this would not be necessary, as he did not think they should be given a reduction.

Trustee Fallon stated that when the board, had good schools it was a shame that the entrances should be spoiled by unsightly yards.

Following the discussion a motion sponsored by Trustee Fallon and)seconded by Trustee Tisdale was carried, to have the section in front of St. Vincent's' School grassed with sod or seed.

On motion of Trustees Ryan and McQuaid, the board decided to call for tenders for the supply of coal required at the schools for the next term.

Following the business session the board went into committee of the whole, on the suggestion of Trustee Stone, to consider the question of finances in a general way.

#kingston ontario #school board #regulation of traffic #fighting traffic #unemployed relief #relief work #traffic police #relief recipient #great depression in canada

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wandering-just-wandering · 7 years ago

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Bill Haverchuck from Freaks and Geeks is my literal son. As is McQuaid from Everything Sucks!

#freaks and geeks #bill haverchuck #james franco #Everything Sucks!#McQuaid

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sweet-dreams-internal-screams · 3 years ago

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My Request Page!!!

*=ask in inbox for more info

❤️=fluff ❤️‍🔥=angst 💞=Smut ⚠️=sensitive topics

What I write for:

Cobra Kai: Miguel, Hawk, Tory, Sam, Demetri, Moon, Yasmine, Aisha Robby, Young Johnny and Daniel and Piper

Wednesday: Wednesday, Xavier, Enid, Ajax, Tyler, Bianca, Lucas, Young Gomez and Morticia

FearStreet: 94-Deena, Sam, Kate, Simon, Josh, Heather, 78-Ziggy, Cindy, Shelia, Nick, Alice, Kurt, Tommy, Arnie, 66-Sarah Fier, Hannah Miller, Abigail, Lizzie, Issac, Ruby Lane,

CAOS: Sabrina, Roz, Theo, Dorcas, Agatha, Prudence, Ambrose, Nick, Harvey, Callahan

MBAV:Rory, Ethan, Benny, Sarah, Erica

Superheros:Spider-Man/Peter Parker 1, 2, 3, Miles Morales, Berry Allen/The Flash, Kara Danvers/Supergirl, iris west Allen,Kate bishop, Maximoff twins, killer frost, Yelena Belova, Natasha Romonoff, etc*

Marauders: Sirius, Remus, Mary, Peter, James, Marlene, Lily, Dorcas, Regulus, Alice, Frank

Teen wolf: Scott, Boyd, Issac, Erica, Malia, Kira, Stiles, Theo, Liam, Lydia, Allison, Derek

Boy Meets World: Cory, Topanga, Shawn, Eric, Angela, Jack

Jennifer’s Body: Needy, Jennifer, Colin, Chip

Pretty Little Liars(the perfectionist. Original Sin): Allison, Spencer, Emily, Hanna, Caleb, Toby Aria, Ezra*, Mona, Jason, Imogen, Mouse, Faren, Kelly, Noa, Tabby

Twilight: Bella, Edward, Jacob, Alice, Rosalie, Carlisle, Emmett, Seth don’t even THINK about asking for jasper the confederate

Everything Sucks!: Oliver, Emmiline, Kate, Luke, Tyler, McQuaid

Stranger Things: El, Mike, Lucas, Dustin, Steve, Robin, Nancy, Will, Eddie*****, Chrissy, Max, Johnathan, Joyce, Hopper, Argyle, Vickie,

Scream: just ask for a character there’s too many

No OCs

You can request any, body type, gender, sex or race? Idk about this one that much

No song lyric fics for the love of all things high and mighty the closest you’re getting is the name of a song

I can do insecurities and stuff

I will not write about SA (I don’t feel comfortable with that)

I won’t write for real ppl only characters!

That’s it happy requesting?!

Deadass will NOT do The Black Phone that’s weird😟

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satanicpornocultshop · 4 years ago

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Today my mammy asked me where the "womp womp womp" song came from bcuz my brothers are always singing it to each other and i was like uhhh james charles. And she was like hm. Like archbishop john charles mcquaid.

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pashka80 · 4 years ago

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Barbara Carrera is an American actress, two-time Golden Globe nominee. She starred in the films Fetus, Isle of Dr. Moreau, Lone Wolf McQuaid, and othersbest known for her role as villainess Fatima Blush in the James Bond film Never Say Never.

...

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andresdjkd096 · 4 years ago

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What the Heck Is Gta 5 Generator?

At the same time, due to the fact that GTA 5 is a little older regarding online games go, there are certainly some professionals of this title that have actually had the ability to build up an accumulation of money in the game. LaazrGaming Offers A Brand "NEW" LEGIT Grand Burglary Car V Online UNLIMITED Money Guide/Method.

Fight online in the massive military sandbox that is Arma 3. Kind a squad and collaborate versus your enemy in the main Defend and Take multiplayer circumstances.

Jio television For computer.

Or delve into among the lots of popular unofficial game settings established by the Arma 3 community. Experience a brand-new type of multiplayer in Arma 3 Zeus, where Game Masters LINUXWALLONIE have the capability to affect the combat zone of various other gamers in real-time. When I mosted likely to university, I uncovered text-based MUDs, or multi-user dungeons. I loved the fact that these sorts of video games had all these gamers playing at once - also when you were not playing, the globe carried on without you. Due to this, I started creating my own text-based MUD, yet I swiftly understood that with a lot of of them available, there was no other way that mine would certainly ever obtain discovered. So I began to search for a method to make my own stand apart, as well as the evident means, certainly, was to include graphics. With my game, I was attempting to replicate message MUDs at the time, totally as a pastime.

top 10 finest Android Emulators For Windows pc.

In this video I will be showing you an epic gta 5 online limitless money trick/tutorial and also guide on exactly how make an outrageous 352k every as well as 42k rp every game, This is not a "GTA 5 Money Problem". This technique is functioning after Patches 1.50 for Next Gen ps4/ Xbox one, COMPUTER. Without a doubt, before the invention of the term MMORPG, video games of this style were simply called visual MUDs. A variety of influential MMORPG developers started as MUD designers and/or players (such as Raph Koster, Brad McQuaid, Matt Firor, and Brian Green) or were included with early MUDs (like Mark Jacobs as well as J. Todd Coleman).

Gamers generally interact with each other as well as the world by keying commands that look like a natural language. Observations of MUD-play show designs of play that can be approximately classified.

Many games are provided at numerous web websites, such as The Mud Adapter. Traditional MUDs implement a role-playing computer game embeded in a dream world populated by imaginary races and monsters, with players picking classes in order to obtain specific abilities or powers.

Few gamers play just one means, or play one method regularly; most display a varied design. According to Richard Bartle, "People go there as part of a hero's trip-- a method of self-discovery".

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LaazrGaming Offers A Brand "NEW" LEGIT Grand Theft Auto V Online UNLIMITED Money Guide/Method.

At the very same time, because GTA 5 is a little older as for online video games go, there are definitely some veterans of this title that have actually had the ability to develop a stockpile of money in the game.

This technique is functioning after Patches 1.50 for Next Gen ps4/ Xbox one, PC.

In this video I will be revealing you an epic gta 5 online endless money trick/tutorial and also guide on just how make a ridiculous 352k every as well as 42k rp every game, This is not a "GTA 5 Money Problem".

Roleplaying MUDs, usually abbreviated as RP MUDs, urge or impose that players act out the role of their having fun characters in all times. Some RP MUDs give an immersive gaming atmosphere, while others only supply a virtual globe without game aspects. MUDs where roleplay is applied and also the game world is heavily computer-modeled are often referred to as roleplay intensive MUDs, or RPIMUDs. Oftentimes, role-playing MUDs try to differentiate themselves from hack and lower types, by going down the "MUD" name entirely, and instead utilizing MUX (Multi-User Experience) or MUSH (Multi-User Shared Hallucination). Monster was a multi-user journey game developed by Richard Skrenta for the VAX and also composed in VMS Pascal. It was publicly launched in November 1988. Monster was disk-based and also modifications to the game were prompt.

; originally multi-user dungeon, with later versions multi-user dimension and multi-user domain name) is a multiplayer real-time digital world, usually text-based. MUDs combine elements of role-playing games, hack and lower, player versus gamer, interactive fiction, and online chat. Gamers can check out or view descriptions of spaces, items, other players, non-player characters, and also actions performed in the online world.

Beast pioneered the strategy of permitting players to construct the game globe, setting brand-new challenges or developing dungeons for other gamers to explore. Monster, which comprised about 60,000 lines of code, had a great deal of features which seemed made to permit Colossal Cavern Adventure to work in it. Though there never ever were many network-accessible Beast web servers, it motivated James Aspnes to create a stripped-down version of Beast which he called TinyMUD. Many MUDs are run as pastimes as well as are free to play; some may accept contributions or permit gamers to buy online items, while others charge a month-to-month registration fee. MUDs can be accessed by means of basic telnet customers, or specialized MUD clients which are made to improve the individual experience.

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yesterdanereviews · 4 years ago

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The Shadow (1940)

Film review #428

Director: James W. Horne

SYNOPSIS: A mysterious criminal mastermind known only as The Black Tiger is targeting all of the city’s infrastructure and industries in order to make a fortune. The leaders of these organisations call on Criminal scientist and investigator Lamont Cranston to apprehend the Black Tiger. Unbeknownst to them, Cranston is secretly a masked vigilante who calls himself The Shadow, who takes on the villains without any oversight. The police believe The Shadow and The Black Tiger to be one and the same, and so Cranston must thwart the Black Tiger’s operations in secret while he is also pursued in his alter-ego...

THOUGHTS/ANALYSIS: The Shadow is a 1940 serial composed of fifteen chapters, based on the comics and radio plays of the same name. The plot of the serial follows Lamont Cranston, a criminal investigator/scientist who is tasked with stopping a criminal mastermind known only as The Black Tiger, who is launching attacks on the companies and industries of the city in order to amass a fortune. The plot of the serial is pretty weak: each chapter focuses on a different company or industry that is under attack and Cranston/The Shadow must protect (the target of next week’s chapter is shown in the trailer at the end of each chapter). The structure is quite similar to The Green Hornet, which also focused on various industries under attack by a criminal, and the lead also playing a masked vigilante who is also wanted by the police. There’s no overarching plot or evil plan by the villain other than to just get rich. There’s nothing wrong with villains just being villains, but if there’s nothing to tie the fifteen chapters together in terms of story and consequence, then viewers aren’t going to come back week after week to see how the story continues. Many serials have the same problem, but usually there’s an overarching objective to the serial, such as sabotaging American infrastructure to pave the way for foreign invasion (particularly in the wartime serials of the 40s), but The Shadow is especially weak in this regard.

Lamont Cranston, the serial’s lead protagonist, is a little different from the usual good looking, All-American hero. Victory Jory, who plays Cranston, was typically cast as villains, and his appearance lends itself to that. here though, while being the protagonist, he is also the masked vigilante The Shadow, whose appearance is meant to be more villainous. In his disguise, only the top half of his face is visible, and Jory’s piercing stare definitely has a nefarious look. His iconic laugh, known from the radio series, announces his arrival and definitely strikes fear into his enemies. On top of this, Cranston also has another disguise as a Chinese businessman and petty criminal, which he uses to get information from other criminals. The major problem here is that Jory is white, and using makeup to magically “become Chinese” by squinting his eyes, putting in a set of big false teeth and a fake accent is undoubtedly racist, as if everyone can suddenly no longer tell he is white. It is not uncommon for white actors to portray Asian characters in this era (and for some time after), but the racist caricature he adopts here goes beyond the usual makeup jobs and is wildly unacceptable. The character is very similar to the protagonist’s alter-ego Blinky McQuaid in The Green Hornet, who also provided a disguise of a petty criminal for undercover work. All of these different alter-egos and settings in The Shadow just come across as confusing and dilute the story somewhat. The Black Tiger, as mentioned, doesn’t have much in the way of motivation or character: he is suspected of being one of the company directors who are under attack, but the mystery of his identity is a familiar plot device to those who watch these serials. His ability to turn invisible when he enters the hideout to address his henchman is somewhat impressive, but it begs the question that if he can turn invisible, why doesn’t he use these powers to commit crimes himself? The extent of this power is never explained or explored, and makes very little sense. The rest of the cast are so unremarkable and standards of the serial format that they’re not even worth commenting on.

The cliffhangers for this serial at the end of each chapter are standard stuff, but there’s quite a lot of destruction in them, as roofs collapse on top of our hero and such. Whether he is caught in an explosion, trapped under debris or crashes off a cliffside, the cliffhangers always end the same way with The Shadow just walking away from all of these incidents which should have killed him. Given that he doesn’t have any superpowers, the resolutions are always a letdown and frankly inexplicable. However, the Columbia Pictures serials often had cliffhangers end this way with the hero simply walking away from certain death with no explanation. Since we never see The Black Tiger, all of his orders come from tiger heads which have light-up eyes whenever he speaks, which are pretty cool effects for the time. The settings aren’t anything too special, and I feel like there should have been more scenes of The Shadow actually in the shadows, rather than the mostly brightly-lit settings we got. The Shadow is not the worst serial I have seen, but it has some major flaws; from the lack of substance in the plot to the racist caricatures, there’s plenty of reasons to give it a miss. The Shadow is a decent masked vigilante with the iconic laugh that viewers would have wanted to hear on the screen, but otherwise there’s not much to see or anything memorable about it. You’re better off watching The Green Hornet, which is practically identical in terms of story and characters, but executed much better.

#movie #movie review #the shadow #serial #movie serial #film #film review #1940 film

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justfilms · 8 years ago

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I Sell the Dead - Glenn McQuaid 2008

#I Sell the Dead #Glenn McQuaid #James Godwin

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that-buckley-gal · 6 years ago

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Delirious #7 | Peas In a Pod

One Week Ago

Christian was Rooster’s roommate but excused himself as soon as Rooster and I entered. While Rooster went straight to his dresser to get a gym bag together, I demanded to know what it was I did wrong because he seemed to be fine all day when the parents were here and now that the day was nearly over, he decided to turn into a dick.

“Jesus Christ, Gemma! I just need to relax after today. Don’t you? I’m fucking tired as shit,” he said meanly as he stuffed clothes into the bag.

“Yet you still want to go the gym and ‘exhaust yourself some more’, huh?”

“Don’t start,” he breathed, walking past me to the bathroom.

I didn’t say anything else until he came back out. I knew he’d have to go by me again to get to the door in the first place.

I grabbed his arm when he walked by and he stopped. He didn’t pull his arm away until I let it go, which was strange for me as this isn’t how I thought that would go, especially with his reputation.

“Can you at least tell me what I did wrong?” I ask. “You were fine when I came here this morning and amazing when my parents and Teddy were here, but now that everyone’s gone? I get that you’re probably tired out from all that entertaining we had to do…”

“What’s your point?” Rooster asked, staring at the door rather than looking at me.

“We had plans, remember? We were just going to go back to my place and order a pizza and watch a movie…or two. Then you just decide to go to the gym with Zook and McQuaid?”

“I don’t treat your friends like shit,” Rooster stated simply before walking out of the room. It took me a moment to think of when I ever treated one of his friends ‘like shit’ before I remember my lack of communication with Christian earlier today as well as the not-communicating spiel we’ve had going on since the party. When I lost my respect for him because of his actions.

“THAT IS DIFFERENT!” I screamed, suddenly pissed at Rooster. “JAMES TATRO, GET YOUR SORRY ASS BACK HERE RIGHT NOW SO WE CAN TALK THIS SHIT OUT!”

I step out of the room and Rooster is still on the upper level, debating on whether or not he should stay or leave. The other open doorways in the hall slammed shut and Rooster sighed before letting his bag hit the floor.

“Well?” He asked in a bored tone.

“Well what?” I asked back.

“Aren’t you going to apologize?”

“What do I have to apologize for? For not talking to somebody? As far as I’m concerned, normal people don’t consider that as treating someone like shit.”

“What is your problem with him anyway, huh? Did he do anything to you?” Rooster asked back in a heated tone of voice. “Did he do anything to personally hurt you?”

I step back slightly. “Well, no. But – ”

“Then why the hell are you acting like a bitch?”

I stay quiet.

“I get that your last relationship was fucked. I was there! Remember? But that doesn’t automatically give you the right to judge everyone in a similar situation.”

“Jimmy.”

“You don’t even fucking know what happened between them, Gem. You heard Penny’s story and that’s all right? Did you even want to hear Christian’s?”

“Please, I – ”

“What about, uh, what’s her name? Jasmine? She barely scratched the surface of her story before you shoved her to the curb in order to go jump on Penny’s lap, but I guess that’s what you do, right? First Brooke, then Jasmine.”

“Where is this coming from? Christ, okay! I am sorry for not wanting to hear Christian’s side of the story and I will apologize to him for that!”

“Oh, don’t do me any favors now, Gem.”

“Shut the fuck up!” I yell at him. “You know the reason why I don’t want to talk to him, Rooster?”

“No! I know the reason why!”

“No you don’t!”

“Then tell me why!”

“Because it…” I swallow the lump in my throat and blink back tears that threaten to fall. “I don’t want to talk to Christian because it is too damn hard for me, Jim. Okay? Every time I see his face I just think of Pete and how he didn’t give a damn about me after two shots! Call me crazy but I just…

“You’ve never been cheated on, Rooster,” I sigh and close my eyes, feeling tears fall from both eyes. I open them again and look at Rooster, who looks ready to give up and apologize but I hold up my hand to stop him. “Just…you don’t understand, okay? And I don’t want to sit here and try to explain it because it doesn’t make sense, and I know that that’s probably hard to get, so… Go to the gym. With Brad and Zook. We can talk when you come back.”

I step back into his room and close the door. I only lock it when I hear footsteps approaching the door.

The knob jiggled and then there was knocking on the door.

“Gemma, open the door please,” Rooster said.

“No,” I said. “I need to calm down right now, please leave.”

Rooster knocked again and I sighed. I rested my forehead on the door with my hand on the handle, resisting the insane want to open the door.

“James,” I said. My voice was cracked as silent tears made their way down my face. “I need to be alone for a little while. We can talk when you come back from the gym so just go already.”

“I’m not going to leave you here while you’re upset,” he said. “Please open the door.”

I turned and sank to the floor and I could hear Rooster do the same on the other side.

I must’ve fallen asleep.

I stand up slowly and unlock the door, opening it slowly to see Rooster sprawled out in front of the door, a few cans of pop lying around him. I close the door again and debate on what I should do.

Take a break.

I take off the necklace that houses Rooster’s Greek letters and let it rest on his pillow before moving over to the window and step out onto the roof. I shuffle over a few rooms down to Zook’s room and sneak in through the window; grateful that he and McQuaid were heavy sleepers and didn’t hear my feet padding around.

Once I’m in the still-lit hallway, I peer over to Rooster’s room again seeing he’d rolled onto his back. I smile sadly at the sight and make my way down the stairs as quiet as I can. I see Christian asleep on the couch and ponder Rooster’ words from before.

Just because Pete was a douche doesn’t mean Christian was one. Brooke had the hots for Pete only because he was her boyfriend’s best friend and her Little’s boyfriend. Penny and Christian didn’t make their relationship known until after the news broke of Jasmine and Christian. Maybe the whole thing really was a misunderstanding.

A misunderstanding I would need to figure out later.

I step out of the frat house and sit on the porch swing, only then questioning the time as the sky was starting to lighten up already.

I pull out my phone to see it was 5:34 A.M. and I wonder if my parents were already up and awake in order to head back down South. I call my mom and when she answers, she sounds like she’s been awake for a while.

“Mom? Can you come get me please?”

“Of course I can. Is everything all right?” She asked.

“Yeah, yeah. I just really need to take a break right now; yesterday just really made me realize it.”

“Are you with Zook?”

“Yeah, I’m at his house.”

“Okay, I’ll send the car to come pick you up before it picks us up.”

“Thanks.”

Bonus bit: Jimmy's P.O.V.

Jimmy woke up the next morning on the floor in front of his room. It was early from what he could tell from the light coming in from the window at the end of the hall. He stood up and stretched slowly and went to the bathroom.

He checked the time on his phone to see that it was 7:13 A.M. and sighed. He approached his bedroom door with caution and knocked softly. There was silence from the other side and Jimmy thought that Gemma might still be asleep. He was about to go downstairs but instead opted to try the knob. The door was unlocked and he let out a breath, feeling relieved.

That relief was short-lived as he took in the empty room. Confused, he circled the room wondering when, and how, Gemma got out. Jimmy circled the room again before his eyes landed on the necklace resting on his pillow.

“What? No,” he mumbled to himself. “No, please.” He grabbed the silver necklace and fingered the charms with the Greek letters.

Giving Gemma his Greek letters was something he didn’t have to think about. He knew there would be repercussions from his frat brothers but he knew it would be worth it to have everyone on campus know that Gemma was his.

Some time passed before Zook tentatively poked his head in, wondering if everything was ok only to see Jimmy lying on his bed, staring at the ceiling.

“She’s gone,” Jimmy said.

Now

Zook’s been keeping me up to date about the lessons I’m missing; he told the instructors and my housemates that I got sick suddenly and was staying at his dorm.

He always locked himself in his room, without Brad, before calling me in order to keep our conversations private and my location hidden from Rooster although he’s already guessed my whereabouts.

I’ve turned the send receipts off on my phone so Rooster can’t tell that I’m reading his messages.

He also sent the necklace I left back to me. The metal felt cool on my skin even now.

Since my homework was all done, I was sat on my bed watching Mean Girls eating Fruit Loops straight from the box while a can of diet soda sat on my table.

“…with rainbows and sprinkles,” I quoted along with the movie before there was a knock on the door.

“Come in,” I say expecting to see Teddy or one of my parents. I flick a Fruit Loop at the screen and quote Damien: “She doesn’t even go here!”

The sound of a breath exhale from the nose makes me look at my guest, surprisingly unsurprised by the sight of my red-hawked beau.

“Took you long enough,” I say and scoot over on my bed, making room for him to sit. Jimmy gives me a surprised look before he shuts the door and comes and sits by me. We watch the movie in an awkward silence.

I pause the movie and sigh. “I’m sorry…for sticking my nose into someone else’s relationship. And for ignoring your friend. And for yelling at you. And leaving without saying anything. Ok? I’m sorry.”

“I’m sorry, too,” Jimmy said. “I’m sorry for yelling at you, and calling you names. And for not understanding your reasons for being upset. And for not coming here sooner. I thought you would’ve kicked me out.”

“I still can,” I smile briefly. We look at each other, and Rooster leans in. I turn away from him and instead he fingers the Greek letter charms on my necklace.

“You really are an idiot, you know that?”

“What?” I turn to him.

“Leaving this on my pillow and then leaving without saying anything to anyone? Jeez, you made me think we were done!”

“Well you are a nimrod, nimrod!”

“How?”

“Please, let me in,” I mock him. “You could’ve broke down the door or tried to get in through the window.”

“We wouldn’t get our security deposit back if I broke the door. As for the window, well… I thought – you said you wanted space!”

We fell into a tense silence.

“Can we just pretend that the fight never happened?” He asked.

“No because it did,” I said. “But we can try to work on issues that were brought up during it and move past it.”

He grabbed my chin and made me look at him. Our eyes were boring into each other’s and I leaned in and kissed him. He kissed me back instantly, his arms pulling me into him.

“You have no idea how much I love you, Jimmy Tatro” I said.

“You can bet that I love you more than that, Gemma Haythe,” he said.

#delirious #jimmy tatro #rooster #22 jump street

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