#THEY ARE JAMING OUT TO THE YMCA THEME

[intotheelliwoods]

Me slowly filling your inbox with art >:3

YELLS AT YOU!!!!!

[drifting-pieces-blog-blog]

Breaking down the comics: Doing good (Issue 34)

Moon Knight, Issue # 34: Primal Scream

Written by Tony Isabella and drawn by Bo Hampton. 

And Bonus short: The Vault of Knight

Written by Tony Isabella and drawn by Richard Howell.

Let's stop for a second. Take a little comic history lesson tour. 

This is not written by the usual Moon Knight team. 

Let's get into a little Moench history here and why he left. 

He did not really get along well with the then Marvel Chief editor James Shooter. Understandable. Here’s why: 

James Shooter got his start writing for DC then moved to Marvel. During the 70s and 80s, Marvel was experiencing a huge boom in content and new titles (like Moon Knight!) 

Further more, Stan Lee stepped away from monitoring comics to heading the animation works in LA right when Shooter became the cheif, leaving him fully in charge. 

Many felt that Shooter ran the place like a dictator, but there had been a huge influx of missed deadlines and Shooter put a stop to that. 

Despite keeping things running and overseeing a lot of new and important titles, he also alienated a LOT of long-time Marvel creators. 

Many of the long-time creators, like Moench, left Marvel to join with DC, who had a new editor. (He got to write for Batman!) 

NOTE: Shooter also enforced a policy forbidding the portrayal of Gay Characters in the Marvel Universe. In fact, the ONLY and first portrayal of a gay themed comic was of gay men attempting to rape Bruce Banner in the YMCA (which Shooter himself wrote), thus making Marvel to be widely considered Homophobic throughout Shooter's reign. (You should look into the history of LGBTQ+ in comics. It's a ride.)

I would like to point out that Moench's last issue during this time was about a reporter that was obsessed with making her deadlines and who wrote shitty pieces that were praised but awful and caused harm and eventual death in one character she wrote about. HMMMMM. 

When did he leave? Sources say the end of 1982, but those that understand the publishing timeline will note comic publish dates don't match the date they reach the shelves. 

So what is the official last Moon Knight Comic Moench worked on?

Let me put it this way... We aren't going to see Moench anymore for the 1980s run. 

He DOES come back for a bit later on, but it's short lived for a couple of limited run editions.

(And this is all new knowledge for me, who thought he originally finished the 1980s run and now I'm looking at an earlier review I did out of order because I'm an idiot and realize I've made a grave mistake.... Oh joy.) 

Farewell my sweet writer Doug Moench. Hats off to you. 

Now! That out of the way, let’s take a look at the first step we truly take away from Mr. Moench. 

For some reason, any time a guest writer sits in for early Moon Knight, they feel the need to over explain the character and introduce his past. Almost as if they were trying to explain who they are writing or getting a grasp on it for themselves. 

This is also a special double large edition. Another cause for writers to try to over explain characters as Marvel expects a bigger issue to draw in new fans. 

However, this is an odd story to push on the hopes of new fans. 

Let’s get into it! 

Yep. We open with a fast recap on who these characters are. 

It leaves me wondering what happened when Moench left. Did he have a script written out? Did he have to give notice and they knew he was leaving and this writer was already on the backburner? Or was this done in a hurry to get a planned comic deadline out on time? 

I would ALSO like to point out that when Bill left, he got a send off. Moench did not get a send off. He just disappears from the credits. It leaves a bitter taste in my mouth. 

"He was born Marc Spector and Spector wasn't a very nice man...Not so much evil as callous...A mercenary whose concern was reserved solely for himself and his Bankbook. 

That man could never have come to this deserted industrial wasteland on a mission made of equal parts mercy and vengeance." 

I disagree. Marc would be all over vengeance in a deserted wasteland. 

"Steven Grant could have. You've read about Grant... The committed millionaire about town...A pretty defendable guy as the upper crust goes. Still... 

Grant couldn't have found this place without Jake Lockley. Jake is the eyes and ears of Grant and Spector...A cabbie whose heart pulses to the beat of the city." 

Putting a bit on Steven, but he'd want to do good. But a gritty back alley is not really his style. 

"Ready for the kicker? Spector, Grant, and Lockley are all the same man...A man you know better as..." 

(A side note... We see Moon Knight running through a warehouse complaining it smells like a sewer. HE WOULD KNOW. And then he's startled by a cat. This is hilarious to me for so many reasons.) 

And that leads us to the title page where a young man is leaking off the crates above to tackle Moon Knight. 

"Frank? Hate to do this to a hopped-up kid, but the quicker I put him down...the less chance of his getting hurt! Though when I think of what he did to Gena..." 

He tosses Frank across the warehouse. 

Moon Knight again alludes to the damage this kid did to Gena's diner after getting high on some new 'junk'. 

Moon Knight is about to call in to Frenchie to get the medics out to take care of the hopped-up kid when the kid takes off. 

He isn't worried. The fight has been knocked out of him and the police shouldn't have an issue. 

Now we head back to the diner where we find Jake having a cuppa wihth Gena and Crawley. 

Crawley is talking about "The Raiders" which is a young men's social club (read 'Gang'). They are known to be brutal and even the police are afraid of them. 

Gena mentions about how she never raised her boys to run in gangs. Out back, we see Frank leading a group of gang members up to the back door of the diner. 

The gang busts in and attacks the patrons, demanding food. 

Jake isn't about to lay down and let it slide. 

He clocks one of the kids and worries about his friends. 

"Gotta get over to Crawley and Gena fast! They're not used to this kind of action!" 

Jake's heart is made of gold. 

One of the kids jumps Jake, growling and snarling. 

"A for effort, punko, but I've seen a real werewolf up close--And all you've got in common with him are lousy table manners!" And Jake flips the man off. 

Frank jumps on Genna while Jake is preoccupied. He cries out that he's hungry and he bites into her arm. 

Her cries distract Jake and someone bashes him on the back of the head, knocking him out. 

On waking up, Jake immediately asks how Gena is. He finds Gena loading up into an ambulance. 

"His name is Frank... So much for my perfect record. Find him before the police do, Jake." 

"I...Understand. I'll make sure the boy isn't harmed." 

"You don't understand! I want that ungrateful little maggot harmed! I want him harmed so badly he won't ever be able to walk upright again! I treated that boy like family! He treated me like today's hot lunch special! Get him for me, Jake! Bring me his stinkin' head on a platter!" 

Jake's pretty irked about Gena getting hurt, but... 

"But that's not what Moon Knight stands for, is it? I'm the agent of vengeance, not vengeance itself." 

That’s an interesting thought for Jake to have. Jake who so often slips out to let the others handle the Moon Knight mission. He trusts that they can handle things. But what is the difference between being an agent of vengeance and vengeance itself? Perhaps, looking to another comic is where we see that line and the difference between Moon Knight and the Punisher. 

He sets out to find Frank and his gang. He hopes having Frank brought in will help Gena. 

"Because I never want to look into the eyes of someone I care for and see so much hatred and despair there. I've seen it too many times before... Within myself." 

So this issue I’m just going to be crying over Jake the whole time. Okay. Good to know. 

Back at the diner, Gena is out of the hospital and facing her fears. 

Moon Knight is searching the hideout of the Raiders. He fllows the smell till he comes across a delirious woman with some sort of chemical burn blotches all over her. 

Looking around, he realizes, Steven Grant has been here before. An old factory he had been trying to save to create jobs has fallen into ruin. 

The factory is left to rot and all the chemicals inside are left there as well. 

He radios to Frenchie to make sure medical is on standby. These kids have been living in the toxic waste too long. 

He asks if the police got anything out of Frank when they grabbed him. 

Yeah... they didn't get him. He got away. 

And he's still looking for food from Gena. 

Back at the diner, we see Gena trying to clean up on her own. 

She is skittish as she cleans but tries to tell herself that no one's coming for her. 

"Besides, I'm not gonna let anybody or anything chase me away from what's mine!" 

And that's when Frank breaks back into Genas’.

Moon Knight finds one of the kids conscious enough to talk. Alcaide, their leader, didn't let them leave the hideout. He found drums full of a top secret toxic waste that drove people wild and crazy. 

Moon Knight recalls that Grant had learned that the factory used to work for the government. 

"Grant saw that in their public records. But the Spector part of me can't help but wonder if they didn't also do some more discreet research for the feds." 

Bingo bango. He finds the drums, filled with "Primal Project" chemicals. 

Oh! time for a Marc Spector flashback! 

"Spector was working for the feds at the time, escorting a man named Wenzel through a south American jungle..." 

They were heading to meet up with a professor in Manaus (that’s in Brazil!) to shut down the Primal Project. 

"It was supposed to slow a man's thinking process...Make him docile...Easy to handle. Something went wrong." Wenzel talks about the project. 

Marc stops them in their tracks. He hears something stalking them from the trees above. 

A creature leaps at them and Marc fires his gun. 

The beast is hit and lays dead. Deformed and animalistic. 

Marc asks if this is the work of the professor they're heading to see. 

"Spector...That IS the professor." 

They reach the campsite to find men dead across the site and more creatures running around. 

They are attacked adn have to fend off the beasts. They ended up blowing up the site to get rid of the beasts and the remaining chemicals. 

Apparently not all the chemical was destroyed. 

Now, Alcaide, the gang leader, approaches, fully a beast now. 

Back in the diner, Gena fights for her life. 

The cops have arrived at the factory and the paramedics are working on the gang. 

Moon Knight still battles the crazed beast and so does Gena. 

The next day, Jake stops in to see Gena. 

Most of the kids will make a recovery and their lawyers claim they were unter the influence of the Primal toxin. 

Gena is still shaken deeply. 

"I trusted Frank like he was one of my own, Jake...And every time I come in here all the pain comes back. Maybe it wasn't all his fault, but nobody forced him to join that gang. And is it right that I can't walk into my own diner without getting sick?" 

Jake tries to comfort her. Or perhaps, he reaches out to her in a way that he wishes he could with himself and with Marc. Because he knows that it does eat them up. It eats Marc up every day. He isn’t sure if it will ever stop eating them up.

"No. But you're too good a lady to let this eat you up forever." 

"Yeah... I'll work it out."

Poor Gena. 

She shoos them away. She needs to lock up for the night. 

This story is beautiful. This one time special guest writer, Tony Isabella and artist Bo Hampton really did a beautiful job here. 

They manage to keep the usual Moon Knight pace and story feel. We have Jake trying to protect his people. We have Gena facing a kid she helped to raise up, despite him not being her own, joining a violent gang and hurting her, we have Governmental neglect to clean up their mess and doing experimental biochemical weapons on unsuspecting people (a thing that really did happen in ‘Nam), we have economic failure for the factory that lead to the failure to clean up the toxic chemicals, and then we go back to Gena who is now facing trauma. 

No one in this story won. No one goes home feeling good about the day. They just have to pick themselves up again and move on. And they shouldn’t have to. Yet here they are, facing it all alone. 

This moves us to the short story afterwards. "The Vault of Knight." 

This is a weird one. Stranger still is that the short is written by the same person who wrote the main line. That’s pretty rare. Usually the short is done as a commission to be filler or bonus issues. 

Weirder still is the way it’s presented. A commentary on the main storyline! I've seen it done before. It's sort of like the Watcher to the audience. 

We have a strange looking character that addresses the audience. He's dressed like a baseball catcher with a Cubs cap on. Fitting. 

He calls himself "The Score-Keeper". 

And this... Let me tell you....

"Aloha, Adventure-addicts! Was twenty-four pages of gratuitous Do-Gooding enough for you...Or does your Hero-Habit demand even more of (yawn) Moon Knight's exciting escapades? I'm your sinister statistician, The Score-Keeper, and what I wanna know is... 

What is this Turkey in his cowled skivvies accomplishing? Does he really make a difference? Let's add it up. You can't lie to a Scorecard!" 

Interesting. A common question that pops up in Moon Knight comics. 

"Take last story for example. Sure he put ONE gang of teen terrors out of commission, but what's he doing about the rest of the anti-social adolescents in this city?" 

We see Moon Knight on a stakeout, waiting where someone's been hitting the same place for a week. 

The someone is two punks that dress up like werewolves and rob the shops in the area. In fact, they've hit five places in the past week alone! 

They hit a store where an old man cowers in fear....Until Moon Knight swoops in and knocks the thugs out. 

"You...You're that Moon Mensch fella! And you came into MY shop to save me from those Gonifs." 

"It's sort of my job." Moon Knight pauses. 

"Nu? To you, it's maybe a job. To me, if my store gets robbed, maybe I don't eat that night. So I thank you a lot, you and your job." 

"Friend, it was a mechaieh." 

Oh boy oh boy oh boy you have no idea how happy I am to hear Moon Knight say THAT. 

Back to the score-keeper, he's not impressed. "Why can't these heroes ever save Bloomingdales?" 

And the score-keeper starts talking about Gena and the previous issue. 

"What about Gena? One of Moon Knight's own team and he couldn't prevent what happened to her in this issue's other story. I don't think she's over it yet." 

We see Gena's boys Ray and Ricky head into the diner. 

"What did you want to talk to us about?" 

"I...I was talkin' to your uncle Rollie today, the one with the big restaurant out in Houston and he...Well, he kinda offered...I mean..." 

Score-Keeper scoffs. 

"Way to go M.K. While you're brushin' up on your Yiddish, one of your closest friends is bookin' this urban paradise. Maybe we should ask the rest of your little outfit what they think of you..." 

And this cracks me up because we get Frenchie, Marlene, and Crawley. Each one speaks of a different altar. And Frenchie is just SO pissy about it and so protective of Marc... He calls him his friend. Marc could always count on Frenchie back in the day. 

I’m…Not going to get into the “Faces of Eve” thing. It’s… A lot. But it was the big DID story and eventual movie that came out around this time that somewhat inspired a loose input into the creation of Moon Knight having DID. 

"You ask me, you care more about these guys than you care about Moon Knight." 

A misnomer. These people are what makes Moon Knight and keeps him going. In his adventures, helping him, and even when he fails them, they stay with him. 

Score guy jabs at it, noting that Moon Knight hasn't protected any of them. 

Frenchie's girlfriend, Marlene's brother, Crawley's son... 

He moves on to Detective Flint. 

Flint waits for him in a back alley. 

"Something happened --Didn't want you to read about it in the papers first. That Alaide kid you brought in was found dead in his cell an hour ago." 

"Yeah, that would've ruined my Breakfast all right." 

(Honestly, Jake is the one that reads the morning paper and eats breakfast. Jake would have been upset.) 

"Wasn't anybody's fault, guy. You know how crazed the kid was --He strangled himself before anyone could get to him." 

"That supposed to make me feel better?" 

"No...This is. It's the room number of the officer that was injured that night." 

Moon Knight pays the officer a visit. The officer is surprised to see him, thinking that he might not come. 

"Flint tells me that storage drum busted three ribs. I'm sorry. Maybe if I'd moved a little faster..." 

"It's all part of the job. But I don't have to tell you that...

You know, I figure you're pretty much a regular guy under that mask. Weird clothes, but no special 'powers'. I'll be honest... This job scares me a lot, like all the time. I was shaking when I went into that warehouse." 

Sometimes he doesn't see the good he does. 

Sometimes all he can see is the pain he leaves behind. Blaming himself for the pain of his friends. 

Maybe he doesn't really understand why this Daniels is thankful for him. But maybe in this moment he thinks it might be worth it. It might be why he is still trying. 

Back to Score-Keeper. It's time to add up the score. 

"Is Moon Knight doing any good or is he just swinging against the wind?" 

He looks at the results and seems surprised. Ripping up the scorecard, he tells us to figure it out for ourselves and leaves. 

A weird story, but I'm not mad at it. It ties into the main story line, shows the aftermath of what happened, and still shows their friends standing by them. 

It also lets Moon Knight take a moment to feel appreciated. 

And it does ask a question that Moon Knight has asked time and time again. “Am I doing good?” 

Is he causing the harm or is he just shouldering the blame because of his past traumas? The question remains over the years as things become more and more broken for them, and the answer has always been there. It’s just that sometimes it’s hard for them to see it… or accept it. 

[yououghtaknow]

skam brighton season 5 music analysis

hello :) i’ve gone through all the songs on previous seasons of skam brighton and explained why i used them and i thought i would do it for season 5 now that it’s over.

tw for disucssion of addiction, racism, pedophilia, transphobia and homophobia

trailer

we begin with a bang with “don’t blame me” by taylor swift. now it has been said about me that i am a swiftie and it is true. and nick braxton is a reputation era bitch. this song has quite literally it all for nick’s character - we got christian themes, reference to drug addiction and an unhealthy devotion to someone. this trailer has gone through many songs to find the perfect one, but i decided on this one because of the themes, and also because of the line “they say she’s gone too far this time” - which, in regards to nick, can be read in many ways. we got the nick going “too far” with his love for james in subtly trying to break liz and james up, nick and their drug addiction, and nick and their relationship with their gender identity - going too far in both the masculine and feminine directions. also it bangs your honour.

episode one

we!! begin!! with!! saturday night’s alright for fighting by sir elton john!!! because it is saturday night and, as we’vee seen, nick isn’t afraid to get into a fight or two. this song specifically was chosen because of the movie rocketman, which i drew a lot of inspiration from, with the themes of drug addiction and sexuality. also, once again, it simply slaps.

we then get “ymca” by the village people playing in the background over the rest of the party scene. i chose this song because it is a very stereotypically gay song, and a lot of what i wanted nick to deal with was self-perception in regards to stereotypes. he is very stereotypically flamboyant because it’s both the way he is and a defensive mechanism - leading to his bisexuality being erased and being seen as gay a lot of the time. he ‘s pretty much the opposite in regards to his asian identity, with him not being academically intelligent and outspoken and being very british in their speaking patterns. it’s about the balance and duality and all that stuff. 

then, as we are formally introduced to nick’s devotion to james, we get “where dreams go to die” by john grant. thank you to my friend katya for recommeding this song as a nick song because it is just. crazy. every line makes me want to scream. especially “this is like a well-oiled machine / could i please see that smile again? / it's all that makes me feel like i am living in this world”. like that just shows the extent of nick’s love - because sometimes you’re just in love with the idea of being saved rather than seeking help. is that poetic or am i just pretentiously talking about my trauma? who knows.

we then get “overprotected” by britney spears - because britney has been a nick staple the whole series. i first heard the song in the musical & juliet and i was immediately like “oh nick core”. the song opens with: “ i need time (time) / love (love), joy (joy) / i need space (love) / i need me (action!) / say hello to the girl that i am / you're gonna have to see through my perspective”. because we are literally seeing from nick’s perspective. i also wanted to introduce the gender dynamics early - including in the trailer, where nick refers to themself with she/her pronouns - and her nick is referred to in the text of the song as a girl. it’s also a very sad song about not having any control over your life with a fun pop backing track, which is very nick braxton.

we then get another party scene, that opens with “break up with your girlfriend, i’m bored” (by ariana grande) covered by sam fender. i chose this song because 1) i love the cover and 2) god is it a nick song. literally nick has so many wants (to be loved by their family, to get sober, to succeed in school, to explore their gender freely) but he focuses on wanting james and wanting james to leave liz because there are less achievable and thus safer. also the song fucking slaps.

we close with “happy little pill” by troye sivan, a mlm classic. a staple of 2014. i chose this song because 1) drug in title, easy get, and 2) it’s actually a really good song???? it’s about the dissociation. it’s very similar to the scene with bree in season 4 episode 1 where “chandelier” plays as she’s clearly not doing well but she’s pretending for the sake of her friends. nick and bree are narrative foils and i love them.

episode two

the first song of episode 2 is “be great” by lolandre and jeremy pope after we see nick and his dad’s dynamic for the first time. and it’s really something huh. it’s about how christian does want nick to be great, but christian has a very narrow idea of what success and happiness looks like.

the next bit of media we get in this episode is nick watching the first episode of euphoria. when preparing to write various seasons of skam brighton, i watched a lot of teen dramas to get a good feel for the vibe i was going for. euphoria was one of them and it’s a show i have a lot of mixed feelings for - i think it’s very well crafted and extremely interesting but i also do have issues with the sexualisation of teenagers on screen, even if it is mostly realistic. i chose this scene specifically because nick and rue are very similar characters, in regards to their relationships with their parents (i believe nick is more of a jules kinnie but more on that later). they both just want to be a good kid and make them happy, but they can never seem to do it. gia, rue’s younger sister, is also a parallel to nick’s brothers.

we then get “old eden” by honeywater which is just simply a song i like very much that had the vibes of the scene. also the lines “i want love / but i don't just want love, i want you / i see the beach house, your sweet mouth / but the terrible news / is that love is not how it seems on the screen / yeah, real love has problems / but it's what's in-between that's the best” is simply just nick braxton huh. ambiguous disorder.

we then get “generation why” by conan gray as nick storms out of their house after a fight with their parents. i chose it very simply for the vibes because i only listened to this song once and thought “i do not wish to listen to this in my free time but it is a nick braxton time”. it’s just the angsty indie pop main character walking down the street vibes.

we!!! end!!! with!!! a song i love very much - “sex drive” by austin mckenzie of dwsa fame. this song plays over nick getting “rejected” by james and resorting to grindr to feed their want for human affection - which is where the parallels to ms jules euphoria come from. i chose this song specifically because it begins with the lines “who’s driving?” on repeat, which calls into question who is in control in the scenario. as seen on screen, nick is the one who initiates the “date” but, at the end of the day, nick is an underage teenager and the person he’s on a date with is an adult man. also the song is simply a fun bisexual time.

episode three

we open with “hurricane drunk” by florence and the machine, a song that has been decidedly nick core since 2018. like “i’m in the grip of a hurricane / i’m going to blow myself away”...... nick braxton you crazy little person

“yours” by greyson chance plays over nick and james driving out to the woods to skip school together….. it is quite insane. “no matter who i'm with, it's you that i adore / if you're not sure / baby, i'm yours” like i scream and shout nick braxton has always been in love with the concept of james cohen

“myrtle ave.” by mxmtoon plays as nick is feeling isolated from his friends…. like they just vibe with the song and the lyrics so hard. nick is just. i have no words other than i love them.

we close with “st jimmy” by green day because. goddammit isn’t he. like james just comes out as bisexual (just like st jimmy in american idiot the broadway musical) and nick is like “you are like a saint to me, i worship you, i will do anything for you”. like it’s a song about drug addiction but it’s also about being bisexual but it’s also about the performance of masculinity and the performance of being a “rebel” that james and nick both do i love them so much.

episode four

we begin with “lucy in the sky with diamonds” by the beatles. i do not listen to the beatles but i think the song is about drugs and the beatles is a james cohen band in canon so it has the connotations babey.

we then get “seventeen” by troye sivan as nick goes on grindr to seek out adult men. it’s genuinely such a nick song - once again, the fun poppy music in the background and the deeply upsetting lyrics. also, as in season 4, i chose this song to emphasise the fact that nick is seventeen and a minor and should not be doing these activities.

we then get “dancing on my own” by robyn as we’re at the vaguely halloween-esque party. it’s once again about the boppy music and sad lyrics and like. nick voice i’m in the corner watching you kiss her ohhhhhh i’m right over here why can’t you see me ohhhhhhh i’m giving it my all but i’m not the guy you’re taking home ooooh i keep dancing on my own. like he’s fucking insane (he is both me and nick)

and then!!!! we get a scene very personal to me. nick watching rocky horror for the first time at a shadowcast showing and watching “the time warp”. i first saw rocky horror when i was about 10/11 because i saw it on glee and wanted to watch the real movie and it made me so so transgender and homosexual. it is such a non-binary little movie and the time warp is just an absolute bop. 

it’s followed by a brief showing of “sweet transvestite” because tim curry in that movie is such an experience for anyone involved. like oh to be gender questioning nick braxton and to see that. what a fucking experience. and also to be gender questioning 11 year old me and to see that and then find out my school is doing a kidz bop version of rocky horror. fucking insane transgender times.

we close with “cecily smith” by will connolly as milo and nick walk home together because. it is just such a sweet song. like life is not the things that we do it’s who we’re doing them with. and it is a very nickmilo song and i am the president of nickmilo nation. i love a non-binary romance i do i do i do.

episode five

we open with “halloween” by phoebe bridgers because it is literally halloween. insane. but it is also such a nick braxton song like come on man we can be anything…… nick braxton voice i’ll be whatever you want…… it’s about the people pleasing and the desire to be wanted and needed loved and goodness gracious. also nick braxton fig faeth kinnie for this song specifically.

and then!!!!! we get nick dramatically singing “girl crush” by the harry styles version in his bathroom mirror. because goddammit they do have a girl crush. it’s about the gender and the desire to both be with james and to be liz becausenick is non-binary babey……..

and then!!!!! in such a parallel!!!!! we get milo singing “inner white girl” from a strange loop on their instagram live. “a strange loop” was a big inspiration for this season, with very similar themes fo it (you should listen to it right now) and this song….. quite genuinely we have nick singing a song about wanting to be a white girl and then they hear this song….. like nick does cling to his inner white girl as a way of staying safe - they cling to the safe idea of mlm flamboyancy and humour to hide from their genuine emotions and gender……. like it is insane to me. also white girls can do anything can’t they!!!!!!!

we then get “the people who raised me” by gregory and the hawks after nick has a fight with their parents…. “but i won't mind no time spent to save me / just trying to be good to the people who raised me” literally nick is trying his best to be good but he can’t be and that makes him angry!!!!!! but that anger is born out of a deep, deep sadness that nick has no emotional language to express, but anger is a language he can speak and it is. insane. like it’s about masculinity, it’s about femininity, it’s about everything. fuck. 

we then get "search your heart" by george feeny as nick sadly vibes at school…. also this scene does parallel with the liz/mary scene in season 2 where their parents fight. like liz is shitty to her friends but stays for her sister and nick is great to his friends but leaves his brothers behind….. the range.

and then!!!! we get phoebe bridgers’ cover of “friday i’m in love” because it is friday and nick is in love huh.

and then!!!!!!!!!! a moment i have been building up to!!!!! we get “back to black” by ms amy winehouse after nick finds out james has a crush on alistair thee fletcher. and just like. god. this song has everything for nick. it’s a song about depression, addiction, leaving your lover, anger, bitterness, second choice ness….. and also he is literally going back to black with his hair colour!!!!! because he thinks being more masculine is what will make people love him and he views pink hair as un-masculine!!!!! and he’s also going back to his family, so he’s going back to trying to hide himself to fit into their expectations….. like god it is an insane little time.

episode six 

we open with “idk if i’m a boy” by blue foster - a song i got on my discover weekly and it was a deeply personal attack. like nick voice i don’t know if i’m a reject i don’t know if i’m a loser but i know that i’ve been feeling feminine since i’ve been teething…. and how the song uses humour as a way to cope with gender dysphoria like it’s nick bay bee.

we then get “green light” by lorde because god it is such a james/nick song i feel insane. like “did it frighten you / how we kissed when we danced on the light up floor?” because james and nick have canonically kissed many times before….. also lorde as an artist just has such intense nick vibes it’s so much fun

we then get "fluorescent adolescent" by arctic monkeys over a party scene because i’ve been told on the internet that it is a british teen party classic. unfortunately the rowdiest party i’ve ever been to is my cousin’s christening so i do not know if it is factual, but it does slap. 

we then get vérité’s cover of somebody else by the 1975 because i just simply prefer this version. but like. oh nick braxton. oh it’s about the rori and the james and the nick being afraid of being open and committing to someone but still wanting to feel the sense of being wanted by someone and being the sole person they want….. literally it is very crazy.

and then we end with “sugar we’re going down” by fall out boy!!!!! like it it such a good song nick voice am i more than you bargained for yet!!! i’ve been dying to tell you everything you’ve ever wanted to hear!!!! because that’s just who i am this week!!!!! like it fits so well with his character but also it is so funny that sugar we’re going down plays as they faint at the party……. i am a comedian sometimes.

episode seven

the first song we get in this ep is “demi moore” by phoebe bridgers as nick is detoxing in the hospital. like quite genuinely “i don’t wanna be stoned anymore!!!!!!!!” they don’t want to be alone anymore!!!!!!!!!

then we get “bite the hand” by boygenius. just. like. “i can’t love you the way you want me to” is just. such a statement for nick’s season. like he can’t love james the way james wants to be loved by nick, they can’t love their parents, their parents can’t love them…… it’s all about learning how to love in a way that is felt by all parties involved in the relationship be it romantic, platonic, familial or otherwise. like. it’s so insane it’s all about love

and then we get “relay” by fiona apple - which was a contender for the trailer song at some point. like nick @ alistair is very “i resent you for being raised right etc.” because he knows liz is fucked up and has flaws, he’s seen them, but alistair is easy to project all of his hatred onto. also just like evil is a relay sport thank you ms apple.

we then get “girls just wanna have fun” by cyndi lauper and “dancing queen” and “mamma mia” by abba sung at the lgbt youth club karaoke night because. i mean of course they are. also they are very fun gender songs and i enjoy them :)

and then. my friends. the moment you’ve been waiting for. nick braxton singing alanis morrissette’s “you oughta know”. now this is gonna be a long one.

the you oughta know analysis

first things first, i got the jagged little pill broadway behind the scenes book for christmas and there’s a whole chapter about you oughta know being a song about the queer struggle of being unseen and unheard and i feel so validated like that is exactly what the song is about.

but for nick. oh baby. it is them singing to james, to rori, to al, to liz, to bree, to his parents, to his teachers, to everyone who perceives them wrong. it’s their moment of standing up and saying i am angry and i am serious about this and i deserve to be listened to as a young person. i will now give an in depth analysis of every line i want to.

“the perfect version of me” - bree and nick have had so many parallels throughout the series, which bree can be described as a “better” version of nick. they’re in therapy, she’s taking care of herself, they’re bisexual and it’s accepted by everyone, she’s a good partner to rori, she has parents who love her, and she can be gender non-conforming in a safe way. but this line also applies to al - because nick and al have also been compared this season, with al talking about how he’s comfortable with his femininity and james liking al, who, despite claiming to be more feminine, is still more traditionally masculine than nick. al, bree and liz are all very academically smart. they are all very creatively gifted. liz doesn’t struggle for money. nick, in their mind, compared to all of these people, is a failure.

“so she speaks eloquently / and she could have your baby / i'm sure she'd make a really excellent mother” - this applied to both liz and bree, who both try to be seen as very eloquent speakers, and who are both afab, so therefore can have james’s baby - something nick wouldn’t be able to do. but we have seen in liz and bree’s seasons that they both have sexual trauma, and bree especially is uncomfortable with having children. it’s nick having this idea of womanhood and femininity being something so unattainable and required for james - that it kind of segways into al. because al is also assigned female at birth and could, as he is pre-t, hypothetically have a child, which is playing into some transphobic notions, but nick sees al as both more feminine and more masculine than him - making al just perfect for james.

“and every time you speak his name / does he know why you told me / you'd be there until you died / 'til you died, but you're still alive” - nick changes to he pronouns here, now directly talking about al. we’ve seen james flirting with nick and we know they’ve kissed in the past, and james and nick are incredibly close friends. but james still, in nick’s mind at this point, chose al over him.

“it was a slap in the face / how quickly i was replaced / and are you thinking of me when she fucks you?” - the conversation about how all the skam brighton characters relate to the line between sex and love is so interesting to me. it is also the reason i do not allow my parents to read this show. but anyways - nick does feel so genuinely replaced by everyone in his life, like there’s always a newer, better version waiting just around the corner. what nick doesn’t know is that that is how everyone else around him feels as well. and the line “are you thinking of me when she fucks you” is such a pointed line because it’s not a line of confidence or a joke. nick knows that no one thinks about them like that because they feel repulsive but try to play it off as a joke.

then we get the “i” section, which is, in the script, more “ayes” and “nahs”, but i wanted to change it to be the word “i” specifically because so much of the season is nick existing for other people. for their parents, for their friends, for their clients, for james. in this moment, they are choosing themself. they are standing up and saying “what i feel is important and i fucking matter”

“'cause the joke that you laid in the bed, that was me / and i'm not gonna fade as soon as you close your eyes / and you know it” - because nick’s sexuality and nick as a romantic partner is treated as such a joke throughout the show’s run, and james has been trying to turn every time he kissed nick into a joke that will go away, but it’s not going to go away because nick remembers it. even if james tries to deny his sexuality to nick’s face, nick is always going to remember that james was, at some point, attracted to men enough to kiss him.

“and every time i scratch my nails / down someone else's back, i hope you feel it / well, can you feel it?” - every time nick has sought out sex with strangers it’s because they feel rejected and insecure in themself. they seek out this sexual validation as a way to feed their want to be loved and noticed by people and he wants james and rori to feel hurt by it - he wants to have the power, he wants to have the control.

“and i’m here” - this line is just. so powerful to me. because it’s a line of defeat - after all this time, nick’s ended up at some crappy youth group with his little brother babysitting him, and he’s been dumped and cheated on and overdosed and everything is so awful. but then it becomes a line of celebration. of “yeah, all that shit happened to me, but i’m still here, i’m still standing, and no one can take away the fact that i am here and i am alive and i deserve to be respected” - something milo taught them when they talked about their tattoo 

“to remind you of the mess you left when you went away” - nick himself is the mess they all left - because they feel so abandoned and alone and like they are just a mess to be discarded, but he’s here to remind everyone that he’s here. it’s a call for help.

“it's not fair, to deny me / of the cross i bear that you gave to me” - this line i always saw as directed at his parents - they gave him this cross of being the perfect eldest sibling that ended up crushing him, and they deny that it ever happened. but nick knows it did. the same way he knows james like guys. the same way he knows rori didn’t like only him. the same way he’s been denying himself of the cross he bears of being non-binary, the cross of being an addict, the cross of being a mentally ill neurodivergent person. this song is him finally letting go of that denial.

“you oughta know” - he’s talking to everyone with that line. everyone should know about his pain, about his emotions, about what he’s gone through, because he’s kept it so bottled up for years. it’s not fair for him not to share it because he deserve to.

they don’t call me isaac tumblr user yououghtaknowmp3 for nothing.

episode eight

we open with “seven” by taylor swift as nick reads a letter they wrote to their younger self. like. “i used to scream ferociously any time i wanted” is such a line about being neurodivergent as a child and then being forced to mask as you grow up….. also the bridge is just james and nick core…. you should come live with me and we could be pirates…..

we then get “nonbinary” by arca because i feel like at this point nick would be trying to listen to more nonbinary artists because they want to see themself reflected rather than running from it!!!!

we then get “heather” by conan gray as nick and liz accidentally meet at the local mentally ill teen zone. because i am just fucking crazy like that. and yes, i chose that song before it got big on tiktok. but i think it’s funnier because it is a famous song.

we then get “falling” by harry styles as nick is being emo in their bedroom because nick is just the type of person who will dramatically listen to harry styles in their bedroom whilst being sad. it also completes the full circle of sad taylor swift to sad harry styles, but with no vehicular manslaughter.

we then get “400 lux” by lorde after james and nick have their big conversation because like it is just a them song. like you buy me orange juice. it’s also about the james/nick having a gansey/ronan dynamic in the way that nick is devotedly in love with him and james is just being homoerotic for the jokes. but not most other ways. honestly i haven’t thought about the skam brighton versions of these characters in trc….. many thoughts head full

episode nine

we open with “pink rabbits” by the national as nick redyes their hair back to pink. and i’ll be honest. i only chose this song because it has pink in the title. but it does still vibe with nick though.

we then get “be your own 3am” by adult mom as nick is dealing with some bad cravings. it’s just a very pretty song for listening to alone at night in your bed in that weird space between sleep and awake. i love it.

we then get “i am not a robot” by marina as nick walks down the street because nick is a marina bitch!!!!!!! and “you've been acting awful tough lately / smoking a lot of cigarettes lately / but inside, you're just a little baby / it's okay to say you've got a weak spot” is such a nick @ james line it makes me insane

also rich’s entire character and backstory is directly lifted from skins gen 3 because i am niche and make content just for me

we then end with “rager teenager!” by troye sivan because i have listened to that song exactly once, decided it had nick vibes, and just stuck it in an episode somewhere.

episode ten

we open with “strange torpedo” by lucy dacus because it is just. such a nick song. it is insane. i am insane. like it is about nick wanting someone but not being sure who or what it is because he just wants to be loved and discovers that sometimes being liked is better than being loved…….

we then get “used to you” by mxmtoon and like….. “tell me what i can say / and i can say it / tell me what i can do / and i can do my best / tell me who i should be / and i can change it” is such a nick early s5 lyric…… and how the song is kind of a love song but the line “now i’m just kind of used to you” is very nick about his feelings towards james

we then get “gay street fighter” by keiynan lonsdale as milo gets their sexy slow mo that all of the love interests get at some point. they deserve it.

and then “to be alone with you” by sufjan stevens plays as milo and nick have their first kiss in the pool because i always wanted to include that scene and thought “hey here is good”. and like. they are alone with each other a lot and they like spending time with each other….. they are friends, they are teens, they are falling in love a little <3

we then get “creep” by lena hall as nick has a little gender moment at school. lena hall played yitzhak in the broadway revival of hedwig and the angry inch and she just has so much gender. creep has always been a nick song and this cover just…. it’s them. 

we then get some ambient guitar music during the nick/rori scene and i chose some songs from “your city gave me asthma” by wilbur soot because it is a fucking great album and nick is canonically a mcyt stan so i simply had to. we end with “your new boyfriend”, which is a funnier, happier wilbur soot song and it is simply a fun time.

episode eleven

we open with “gender is boring” by she/her/hers which is just an absolute banger. like “gender never really meant that much to me / til' people started telling me how it was supposed to be” is such a great line and it is very nick braxton because. like. it’s just gender babey everything is about gender except for gender which is about having fun.

“dorothea” by taylor swift plays as james and nick have their final big scene together and like. it is such a homoerotic and fun song i love it so much thank you taylor friend of the show swift. “and if you're ever tired of being known / for who you know / you know, you'll always know me” is just……. god.

we then get “i do (end credits)” by kevin abstract as we open on the final scene of the season because a) it has end credits in the title and b) it is just another song i think nick would enjoy listening to.

we then get “they/them/theirs” by worriers as we get another little party montage because it’s a vibe time and like. i do love a they/them pronoun moment. it’s a very good and fun pronoun to use.

and finally we get “prelude” from next to normal as al comes in late to the party and awkwardly stands at the back. i chose this song because. well. you’ll see :)

thank you for reading my analysis that no one asked for, i just love having fun and talking about my silly little show :)

[blackkudos]

Canada Lee

Canada Lee (born Leonard Lionel Cornelius Canegata; March 3, 1907 – May 9, 1952) was an American actor who pioneered roles for African Americans. After careers as a jockey, boxer and musician, he became an actor in the Federal Theatre Project, most notably in a 1936 production of Macbeth adapted and directed by Orson Welles. Lee later starred in Welles's original Broadway production of Native Son (1941). A champion of civil rights in the 1930s and 1940s, Lee was blacklisted and died shortly before he was scheduled to appear before the House Un-American Activities Committee. He furthered the African-American tradition in theatre pioneered by such actors as Paul Robeson. Lee was the father of actor Carl Lee.

Biography

Canada Lee was born Leonard Lionel Cornelius Canegata on March 3, 1907, in the San Juan Hill neighborhood of Manhattan in New York City. His father, James Cornelius Lionel Canegata, was born on the Caribbean island of St. Croix, and as a youth had migrated to New York, where he married Lydia Whaley Gadsen. Raised by his parents in Harlem, Lee had an aptitude for music, and at age seven he began studying violin and piano with J. Rosamond Johnson at the Music School Settlement for Colored People. He made his concert debut at age 11, performing a student recital at Aeolian Hall. But after seven years of music studies, without explanation, he put away his violin and ran away from home. In 1921, aged 14, Lee went to Saratoga Springs, New York, and began a two-year career as a jockey.

Lee returned to his parents' home in Harlem in 1923 with no idea what he was going to do next. He considered returning to music, but an old school friend suggested that he try boxing. At one amateur match, fight announcer Joe Humphries saw the name "Canagata, Lee" on the card he was using. He tossed the card aside and instead announced "Canada Lee"—a name that Lee liked and adopted. In the amateur ring he won 90 out of 100 bouts and the national amateur lightweight title.

Lee turned pro at age 19, in October 1926, and became a favorite with audiences. At 5 feet 9 inches (1.75 m) and about 144 pounds (65 kg), he fought as a welterweight. His boxing statistics vary due to incomplete coverage and record keeping for the sport in the 1920s and 1930s. Boxing historian Donald R. Koss documents Lee having 60 bouts 1927–31, the majority of them taking place 1927–28. The New York Times reported that Lee had some 200 professional matches and lost only about 25.

During his victorious 10-round bout with Andy Divodi at Madison Square Garden on December 12, 1929, Lee was dealt a blow over his right ear that detached his retina. With treatment his vision could have been saved, but Lee feared losing his successful career and masked his injury. In time he lost all sight in his right eye. He quit professional boxing in 1933. Despite having made an estimated $90,000 during his boxing career (roughly equivalent to $1.7 million today), Lee was broke. "Just threw it away," Lee later said. Lee eventually lobbied for insurance, health care, financial consultation and retirement homes for fighters. "The average boxer possesses little education," he said in 1946. "If he winds up broke, he has no trade, no education and nobody to turn to."

As Lee's fighting career began to wind down, he put together a small dance band that played at obscure clubs. When an old friend, sportswriter Ed Sullivan, plugged him in his new entertainment column, Lee and his group began landing better engagements. His career as a bandleader peaked in 1933 when his group played at the Lafayette Theatre in Harlem. The following year he opened his own small club, The Jitterbug, which he managed to operate for six months. When it closed he had no prospects, and his mother convinced him to simply get a job.

Acting

All my life I've been on the verge of something. I'm almost becoming a concert violinist and I run away to the races. I'm almost a good jockey and I go overweight. I'm almost a champion prizefighter and my eyes go bad. Now I've got it, now I've got what I'm going to be.

Lee discovered a love for Broadway theatre during his years as a prizefighter. He remembered Show Boat as the first stage production he ever saw: "A big, tough fighter, all muscle, just sobbing," he recalled.

His acting career began by accident in 1934. While at a YMCA to apply for a job as a laborer, Lee stumbled upon an audition in progress and was recognized by playwright Augustus Smith. Lee was invited to try out, and won a supporting role in Brother Mose, directed by Frank H. Wilson. Sponsored by New York's Civil Works Administration, the show toured the boroughs, playing at community centers and city parks into the fall of the year. In October 1934 Lee succeeded Rex Ingram in the Theatre Union's revival of Stevedore, which toured to Chicago, Detroit and other U.S. cities after its run on Broadway. It was his first professional role.

Lee then was cast in his first major role, that of Banquo, in the legendary Federal Theatre Project production of Macbeth (1936), adapted and directed by Orson Welles.

"I never would have amounted to anything in the theatre if it hadn't been for Orson Welles," Lee recalled. "The way I looked at acting, it was interesting and it was certainly better than going hungry. But I didn't have a serious approach to it until … I bumped into Orson Welles. He was putting on a Federal Theatre production of Macbeth with Negro players and, somehow, I won the part of Banquo. He rehearsed us for six solid months, but when the play finally went on before an audience, it was right—and it was a wonderful sensation, knowing it was right. Suddenly, the theatre became important to me. I had a respect for it, for what it could say. I had the ambition—I caught it from Orson Welles—to work like mad and be a convincing actor."

Macbeth was sold out for ten weeks at the Lafayette Theatre. After an additional two weeks on Broadway it toured the nation, including performances at the Texas Centennial Exposition in Dallas.

After five months in a supporting role, Lee succeeded Rex Ingram as the lead in the stage production Haiti (1938), portraying Haitian slave turned emperor Henri Christophe. One of the Federal Theatre Project's most popular productions, Haiti was seen by some 90,000 people at the Lafayette Theatre in Harlem and at Boston's Copley Theatre.

In January 1939, with the end of the Federal Theatre Project, Lee won a role in Mamba's Daughters, a Broadway success that toured North America and returned to Broadway for another brief run in 1940. Lee took a break from the road tour to make his motion picture debut in Keep Punching (1939), a film about boxing. He made his radio debut as narrator of the weekly CBS jazz series Flow Gently, Sweet Rhythm (1940–41). As that regular series came to an end, he opened a restaurant at 102 West 136th Street, Canada Lee's Chicken Coop, which offered authentic South Carolina cuisine, jazz and blues. Lee kept it going despite chronic financial difficulties.

Lee played the lead role in the 1940 revival of Theodore Ward's Big White Fog. A 1938 Federal Theatre Project production, the play was remounted by the newly created Negro Playwrights Company, founded in New York by Ward, Langston Hughes, Paul Robeson, Theodore Browne, Richard Wright and Alain Locke.

Lee became a star overnight in his ultimate stage success, Native Son (1941), an adaptation of Richard Wright's novel staged on Broadway by Orson Welles. The show was a spectacular hit for both Welles and Lee, who starred in the initial New York run, a 19-month national tour, and a second run on Broadway with accessible ticket prices. "Mr. Lee's performance is superb," wrote Brooks Atkinson of The New York Times, who called him "certainly the best Negro actor of his time, as well as one of the best actors in this country." Wright also applauded the performance, noting the contrast between Lee's affable personality and his intensity as Bigger Thomas. The sympathetic portrayal of a black man driven to murder by racial hatred brought much criticism however, especially from the Catholic Diocese of Brooklyn and the Legion of Decency, and the ensuing pressure forced the play to close.

During World War II, Lee continued to act in plays and in films. In 1942, he played in two comedies by William Saroyan, and earned approving reviews despite the generally negative response to these plays. In 1943, his name was above the title on the marquee for South Pacific, a race-themed drama directed by Lee Strasberg that again was panned by critics but won Lee critical praise.

Perhaps Lee's most famous film role was in Alfred Hitchcock's Lifeboat (1944), in which he played ship’s steward Joe Spencer, one of 8 men and women who survive the sinking of the freighter carrying them from New York to London and are joined in their lifeboat by a survivor of the crew of the U-boat that destroyed their vessel.

According to a June 22, 1943, Hollywood Reporter news item, Lee was the first actor cast for the film. The script was criticized for making Joe "too stereotypical". Lee testified that he attempted to round out the character by revising dialogue, primarily eliminating repeated "yessir"s and "nossir"s that sounded subservient, and cutting some actions. An NAACP critique of the film condemned the role of Joe and praised Lee’s performance. The Baltimore Afro-American's review, while commenting on the character's shortcomings, praised Lee's portrayal. Historian Rebecca Sklaroff, while writing in 2009 that Joe's role was more "tokenistic" than black roles in the wartime films Sahara and Bataan, noted that Joe was depicted as compassionate, dependable and heroic. He is the only one who resists the impulse of mob fury that leads the other characters to kill the German. He is the only character who steps forward to disarm the wounded German sailor rescued at the end of the film.

Lee's successful radio career continued with New World A-Comin', which made its debut in March 1944. He narrated the first two seasons of the groundbreaking WMCA radio series that presented Negro history and culture to mainstream American audiences.

He became the first African American to play Caliban, in Margaret Webster’s 1945 Broadway rendition of The Tempest. Lee had admired Shakespeare since his turn in Macbeth; indeed, at the time of his death he was preparing to play Othello on film.

In 1946, Lee played a principal role in On Whitman Avenue, a drama about racial prejudice directed by Margo Jones. Lee produced the play, making him the first African-American producer on Broadway. The play spoke directly to the need for interracial housing following World War II and won the praise of former First Lady Eleanor Roosevelt, who wrote weekly columns encouraging readers to see it.

In the autumn of 1946, Lee made American theatre history when he portrayed the villain Daniel de Bosola in John Webster's The Duchess of Malfi. Presented in Boston and on Broadway, the production marked the first time a black actor had played a white role on the stage. Lee wore a special white paste that had been used medically, to cover burns and marks, but had never before been used in the theatre.

In 1947, he had a supporting role in Robert Rossen's Body and Soul, another boxing picture.

In 1948, Lee played his last stage role, that of a devoted slave in Set My People Free, Dorothy Heyward's drama based on the aborted 1822 slave revolt led by Denmark Vesey.

In 1949, he took a supporting role in Lost Boundaries, a drama based on William Lindsay White's book of the same title, a nonfiction account of Dr. Albert C. Johnston and his family, who passed for white while living in New England in the 1930s and 1940s.

Lee's last film appearance was the starring role of minister Stephen Kumalo in Cry, the Beloved Country (1951).

Civil rights activism

As an actor, Lee came into contact with many of the leading progressive figures in the country. Langston Hughes, for instance, wrote two brief plays for Lee; these were submitted to the Theater Project, but their criticism of racism in America was deemed too controversial, and neither was staged. Lee spoke to schools, sponsored various humanitarian events, and began speaking directly against the existing segregation in America's armed forces, while simultaneously acknowledging the need to win World War II. To this latter end, he appeared at numerous USO events; he won an award from the United States Recruiting Office and another from the Treasury Department for his help in selling war bonds. These sentiments would carry on throughout his life, culminating in his early firsthand account of apartheid in South Africa.

Lee was an early influence on physician and human rights activist H. Jack Geiger. They met in 1940 when Geiger, a 14-year-old middle-class Jewish runaway, was backstage at a Broadway production of Native Son. Lee agreed to take Geiger in when he showed up at his door in Harlem asking for a place to stay. With the consent of his parents, Geiger stayed with Lee for over a year. Lee took on the role of surrogate father and introduced Geiger to Langston Hughes, Billy Strayhorn, Richard Wright, and Adam Clayton Powell. Geiger eventually became a journalist, then a doctor who co-founded the first community health center in the United States, Columbia Point Health Center in Dorchester, Massachusetts. He became a founder of Physicians for Social Responsibility and Physicians for Human Rights, and established community health centers in Mississippi and South Africa. Geiger says he would never have moved so deeply in these worlds so quickly if not for his experiences with Canada Lee.

By the late 1940s, the rising tide of anti-communism had made many of Lee’s earlier contacts politically dangerous. In 1949, the trade journal Variety stated that under no circumstance was Lee to be used in American Tobacco’s televised production of a radio play he had recently starred in because he was "too controversial".

The same year, the FBI offered to clear Lee’s name if he would publicly call Paul Robeson a communist. Lee refused and responded by saying, "All you’re trying to do is split my race." According to newspaper columnist Walter Winchell, Lee stated that he intended to come out and "publicly blast Paul Robeson." However, the fact that the friendship between the two actors remained until Lee's death suggests that Robeson put no faith in Winchell's claim.

At the height of the Hollywood blacklist, Lee managed to find work in 1950 as the star of a British film Cry, The Beloved Country, for which both he and Sidney Poitier were smuggled into South Africa as indentured servants in order to play their roles as African ministers. During filming, Lee had his first heart attack, and he never fully recovered his health. The film’s message of universal brotherhood stands as Lee's final work towards this aim.

Being on the Hollywood blacklist prevented him from getting further work. Scheduled to appear in Italy to begin production on a filmed version of Othello, he was repeatedly notified that his passport "remained under review". Lee was reportedly to star as Bigger Thomas in the Argentine version of Native Son but was replaced in the role by Richard Wright, author of the novel, when Lee had to withdraw.

Family life

In December 1925, Lee married Juanita Eugenia Waller. On November 22, 1926, they had a son, Carl Vincent Canegata, who became actor Carl Lee. The couple separated while their son was young, and they were amicably divorced in 1942.

In 1934, Lee began a love affair with publisher and peace activist Caresse Crosby, despite the threat of miscegenation laws. They often had lunch in uptown New York in Harlem at the then-new restaurant "Franks", where they could maintain their secret relationship. When Lee was performing in Washington, D.C., during the 1940s, the only restaurant in the city where they could eat together was an African restaurant named the Bugazi. Crosby and Lee's intimate relationship continued into the mid-1940s.

In March 1951, Lee married Frances Pollack. They remained together until he died just over a year later.

Death

Lee died of a reported heart attack at the age of 45 on May 9, 1952, in Manhattan. It was later revealed by his widow, Frances Pollack, that he had been diagnosed with uremia and died of kidney disease, slipping into a coma and passing away 10 days after his diagnosis. He was buried at Woodlawn Cemetery in The Bronx.

[writingfortoomanyfandoms]

2K Writing Challenge!!

Yeah, that’s right guys! I hit 2K followers!!!! Thank you all so so so so so much for following me - it means the world that so many of you are out there reading my writing and sending me lovely messages

As I did with my 1K celebration, there are two parts to this - one is a blurb week (more than a week lads just saying I write for too many characters eek) and the other part is this: a writing challenge!!

This time around I decided to do a British Comedy Theme (yeah I was watching an episode of Outnumbered when I decided on this) so under the cut are the prompts, the characters and the rules!!

The Rules

1) You don’t have to be following me but it is a follower celebration so it would be nice :)

2) If your piece of writing is over 500 words, please use the ‘read more’ feature

3) Reblog this post to get the word out (and tag anyone who may be interested!)

4) It’s going to be one person per prompt but if needed I can add more prompts

5) Smut is fine but please leave warnings as appropriate

6) On the back of that one, no inappropriate pairings pleaseeeeee

7) Also please make sure you leave appropriate warnings at the beginnings of fics if any sensitive subjects are brought up (e.g. mental health etc)

8) Ships and OC’s are welcome

9) Tag me in your writing!

10) Use the hashtag #courts2KBCWC

11) If you want to enter send me an ask with the prompt you want and the pairing you’ll be writing it with

12) The deadline for this is 3rd August (this can be extended if y’all need it)

Happy writing guys!

Characters/People/Pairings

1) Ben Hardy (+ Warren Worthington)

2) Joe Mazzello (+ Eugene Sledge, Gardner Langway, Pat Murray, Dr Tim Murphy)

3) Gwilym Lee (+ Charlie Nelson)

4) (BoRhap!)Queen members (Freddie only platonically)

5) Roger x Reader x Ben

6) Joe x Reader x Ben

7) The Hargreeves Children (older!Five only)

8) Richard Madden (+ David Budd, Robb Stark, Prince Kit)

9) Taron Egerton (+ Eggsy)

10) Rocketman!Bernie Taupin and Ray Williams

11) Smosh Members 

You can write for other characters who I may have missed off the list just send me an ask asking if that character is okay and I’ll let you know :)

Prompts

1) “Can you get him to address his fascination with sulphuric acid?” Outnumbered

2) “This is for you. It’s a dream catcher. It’s made by the native Americans and it catches all your dreams to keep them safe forever.” “I had a dream about weasels eating me last night and I don’t want that one again.” Outnumbered

3) “I don’t like salmon, it’s too orange. I don’t eat anything orange. Except for oranges - because they admit they’re orange” Outnumbered

4) “Women can do things men can’t. Women can have babies” ''Yes, but I’d rather have a moustache than a baby. Then if you change your mind you can just shave it off. You can’t do that with babies” Outnumbered

5) “Imagine being mummified in an embarrassing position. Because you would have thought at least one person would have been on the toilet” “If a volcano’s exploding I imagine most of the town would be on the toilet” Outnumbered

6) “You have to treat everybody’s views, no matter what they believe, with respect” “What, even idiots?” Outnumbered

7) “One day of niceness doesn’t make up for thousands of days of horribleness” Outnumbered ( @writing-of-a-british-bitch w/ Warren Worthington)

8) “I’ll give you a cookie now, shall I?” “In England we call them biscuits” Outnumbered ( @davidbuddbg w/ Richard Madden)

9) “Well you shouldn’t be prejudiced against fat people, thin people… men who have turned into women, women who have turned into men, gay people, ginger people… people from Liverpool” Outnumbered 

10) “Do you think you could stop being so cheeky?” “Do you think you could stop asking stupid questions?” Outnumbered

11) “Stand back kids, this school’s insurance policy doesn’t cover blown minds” Bad Education

12) “The only thing you could contribute to science is your body” Bad Education

13) “If I was a font, I’d be comic sans” Bad Education

14) “How about you ‘fuck off’ and stop ‘trying to ruin my life’” Bad Education

15) “I gave this speech on our wedding day. Now I’d like to give it again with clothes on and you, our family, present.” Cuckoo

16) “I stopped believing in God when I realised it was just dog spelt backwards” The Inbetweeners

17) “I spend my entire life around people. As much as I would like to, it’s almost impossible to avoid them” The Inbetweeners

18) “At best I am ambivalent towards most of you, but some of you, I actively dislike” The Inbetweeners

19) “We’re very hufflepuff here, wouldn’t you be happier in slytherin?” Fresh Meat

20) “People with my accent make foreigners shit themselves” Fresh Meat

21) “It’s not that we don’t like you - obviously, we don’t really know you - it’s just that we think we won’t like you” Fresh Meat

22) “Is it a bacon sarnie or another one of your lies?” Fresh Meat

23) “If you open a car door it’s not… technically a car” Phil Wang, Taskmaster 

24) “I genuinely once returned to my flat to find her in my bed, eating biscuits and watching a documentary on Colditz” Greg Davis, Taskmaster

25) “What’s the best way to make friends “Tell a woman you love her, and she says ‘I think we’re just friends’” Jimmy Carr, Jon Richardson

26) “The only dance I do is YMCA, that’s more spelling than dancing” Jon Richardson

27) “Every triangle’s a love triangle when you love triangles” James Acaster

28) “There’s four things you can be in life: sober, tipsy, drunk and hungover. Tipsy is the only one that you’re not crying” James Acaster

29) “All of us hate ourselves on some level - that’s not weird, just to let you know” James Acaster

30) “Most people don’t realise the bell is called Big Ben and not the clock. The clock is called Tickety-Ted the Time-Telling Bitch” James Acaster

[blogaboutmusic]

Phillip Lester: a playlist

this was requested by @steverogerss-doll hope you like it! sorry it took so long, i blame school.

nightmare before christmas - oogie boogie song fall out boy - uma thurman panic! at the disco - say amen (saturday night) all time low - last young renegade britney spears - oops! i did it again bts - mic drop billie elish - watch harry styles - sweet creature green day - still breathing the neighbourhood - greetings from califournia steven universe - love like you maroon 5 - wake up call village people - ymca toto - africa (i have this canon of phil being in love with cheesy old songs?? yall cant convince me that he doesnt know all the lyrics to old bops) earth wind & fire - september kyle dixon & michael stein - stranger things john williams - indiana jones theme rhaeide - l’s theme thief - don’t believe you panic! at the disco - hurricane my chemical romance - vampire money the weeknd - can’t feel my face high school musical - what time is it? vampire weekend - oxford comma coldplay - don’t panic the 1975 - love me radiohead - fake plastic trees halsey - young god

i hope you like the lil’ list :)

I also made a Dan playlist, here’s a link to the spotify and the post: https://blogaboutmusic.tumblr.com/post/171091993509/daniel-james-howell-a-playlist https://open.spotify.com/user/mauddorien/playlist/70PPw7912u441GDczMdNl2?si=Q43c6mbSTxS6EO75RKgr-A

[opukblog]

Our NEW ORIGINALS campaign that was launched by us to celebrate people who embody what it truly means to #BeAnOriginal. This month we see Jordan Stephens step up as the latest New Original, to join the set of unique and inspiring trailblazers, all talented, influential individuals who all share our love for originality.

 Jordan Stephens is an actor, activist and artist of Rizzle Kicks fame, but most recently Jordan has been focusing his attention on changing the stigma surrounding mental health, where he fronts the organisation called I AM WHOLE which encourages young people to speak out, seek help and get support. As part of this New Original partnership Jordan has produced 50 limited edition Original Penguin x #IAMWHOLE t-shirts which will be used to support his efforts to spread a positive message about mental health. 

Watch the short film below which shows Jordan screen printing the t-shirts, which all feature his handwritten poem on the back.

Hand-picked from the Original Penguin Spring 2020 collection, the t-shirts proudly display the iconic circle logo, which Jordan draws on his palm to promote the #IAMWHOLE movement onto the left sleeve. The word ‘WHOLE’ is wrapped around the front and reverse of the t-shirt, sitting alongside a hand written poem from Jordan where he suggest that its ‘normal to be weird’. The t-shirts are available in this seasons colours; Impatiens Pink, Deep Lake green and timeless Bright White.

As part of the partnership, #IAMWHOLE will be hosting an interactive panel discussion for the employees of Original Penguin under the theme of ‘Mental Health in the Workplace’, encouraging a dialogue and providing an environment where employees can listen and contribute.

Original Penguin will also sponsor an #IAMWHOLE podcast hosted by Jordan Stephens as well as some other special guests (soon to be announced via our Instagram) which will centre around workplace mental health topics and extend the conversation and expertise to a wider community. If you would like to win tickets for you and a friend to the Original Penguin x #IAMWHOLE Live Podcast recording and a limited edition t-shirt screen-printed by Jordan Stephens himself, please enter our competition here. 

You can get Jordan’s Style with our Overhead Hoodies and Pin Point Tee’s 

#IAMWHOLE is an award-winning mental health campaign, founded by Matt Campion and Jordan Stephens, in partnership with the NHS and YMCA, the world’s largest youth charity. Launched on World Mental Health Day 2016 with a music video and social campaign introducing our emotive symbol of a circle drawn on the palm of the hand, the campaign immediately went viral. It was endorsed by a number of global superstars including Ed Sheeran, Liam Gallagher and James Corden, reached an audience of over 120 million, and was even mentioned in Parliament. 

Connect with I AM WHOLE: 

Facebook: https://www.facebook.com/WHOLEofficial/

Twitter: https://twitter.com/wholeofficial

Instagram: https://www.instagram.com/wholeorg/

Connect with Jordan Stephens: 

Instagram: https://www.instagram.com/jordanfstephens

Facebook: https://www.facebook.com/jordanfstephens

Twitter: https://twitter.com/jordanfstephens

[bluemagic-girl]

🔥Feb. 25, 1966: ‘Sixteen in Webster Groves’ offers a ‘hoked-up’ view of reality🔥

Feb. 25, 1966: ‘Sixteen in Webster Groves’ offers a ‘hoked-up’ view of reality

On February 25, 1966, CBS premiered a TV documentary, “Sixteen in Webster Groves.” Many St. Louisans were outraged when the program made many parents and teens look self-obsessed. Here was columnist Clarissa Start’s take on the program.”What did  you think of the CBS special, ‘Sixteen in Webster Groves’?” Many people have asked me, knowing that I live in that suburb and had written about the filming of the program.”Not very much,” was my honest answer.Last December, my interview with Arthur Barron, the show’s producer, quoted him as extravagant in his praise of what he’d seen in Webster. I have a letter from Barron complimenting me on my accurate reporting. I wish I could return the compliment.I found his film “hoked-up” from it’s opening shot: a scene of unnaturally somber youngsters. Why were they so sad, these “children of privilege?” the announcer intoned. Was something missing? Yes, something was. At that precise moment, it was a dead classmate, much loved, for whom they were holding a memorial service. From then on the show followed a “line,” the Madison Avenue theme that conformity rules the suburbs. In Webster, with its widely diversified population, more small town than suburb, this wasn’t easy. It could be done only by careful election and omission.I’m sorry they omitted the town itself, its tree-lined streets and rambling frame houses so unlike the pillared mansion shown.I’m especially sorry they didn’t set foot inside  the churches which are the pulse of Webster Groves. We invited CBS to meet the 16-year-olds in the church class my husband and I teach, a wonderful, bright, idealistic (and good-looking) group. Barron did meet some of their parents at our house, where he heard opinions expressed quite unlike the ones presented on the show.I’m sorry CBS ignored two institutions which affect the tone of Webster, Eden Seminary and Webster College. Barron taped a talk with Sister Jacqueline, high school graduation speaker, and told me it was “probably the best TV Interview” he had ever heard. Too bad “the best” ended up on the cutting room floor.Barron told me he “had trouble finding a Negro student to talk about discrimination.” He would have had no trouble finding a white student to express grave concern on that issue. Although at a school which has had a Negro campus king and this year had a Negro candidate for the yearbook queen, some of these students apparently do achieve recognition.

The community hoped the exposure wasn’t a repeat of embarrassing television special done by CBS in 1966.

A few fragments were familiar. Pressure and preoccupation with grades and the future. The delightful scene at Mrs. Janet Condon’s “dancing and deportment” class, which our son attended. I didn’t know it was “exclusive,” but I agree with Mrs. Condon that it’s the last outpost of civilization , and that kids can use civilizing. But then, I like silverware, viewed by CBS as a sign of decadent snobbery.I’m sorry they didn’t follow the “smart set” home to see the useful lives they lead. I’m sorry they ignored veteran teachers, although the newcomer they singled out did have a fresh approach.I’m sorry we had only a fleeting glimpse of the magnificent choir and of Miss Esther Replogle, a dedicated artist and salty character. I’m sorry the parents shown were limited in number and point of view.I won’t say the dinner table scene wasn’t typical of Webster, although few of us are as handsome as Clif and Nancy St. James, professional television performers. But I’ve been in their home, and what was shown wasn’t a typical scene there. Where were the rest of the kids?Therein, I think, lay the basic distortion. Teenagers in Webster, or in any other community, are not in a world apart. They live in homes with parents, brothers, sisters. They work at jobs and causes. I’m sorry CBS made no mention of the DeMolay, CYC, Scouts or YMCA, a powerful influence with its emphasis on world services.I’m sorry they left out the girl Barron told me was “so beautiful,” the one who said to him, “I want to go into the Peace Corps and help humanity.” I’m sorry they left out , that vast number of 16-year-olds of whom we couldn’t be I prouder.I’m always sorry to see slanted journalism because it reflects on all of us, including those who try to do accurate reporting. In this case the whole truth would have been as challenging to complacency. And much more interesting.By the way, how was the color photography? We saw ” the program on our old set, which coincidentally is 16 years old. In that “affluent suburb” of “status symbolism,” we don’t know anyone with a color television set.

Bertram Atwater was killed on the way to see his sweetheart. That led to the first double hanging in St. Louis on Feb. 16, 1897

In 1931, the St. Louis Star newspaper shared with its readers news about a huge lake being developed in mid-Missouri.

On Feb. 23, 1922, popular catcher Pickles Dillhoefer died, just five days after getting married. Here is the Post-Dispatch original story from that day.

Funeral procession for the Civil War hero and occasional St. Louisan featured a procession of 12,000 soldiers, veterans and notables on a winding, seven-mile path from downtown to Calvary Cemetery.

The victory by the U.S. men’s hockey team over the heavily favored Soviet Union on Feb. 22, 1980 is widely regarded as one of the greatest upsets in sports history.

August A. Busch Sr., the president of Anheuser-Busch, was suffering from heart problems and gout when he shot himself in his bed at Grant’s Farm. He used a pearl-handled .32-caliber revolver he kept by his bed.

The first St. Louisan is killed in World War I. David Hickey, 38, a former Post-Dispatch mailroom worker and baseball player, was the first of 1,072 area men to die in the war.

Bertram Atwater was killed on the way to see his sweetheart. That led to the first double hanging in St. Louis on Feb. 16, 1897

On Feb. 11, 1982, the Cardinals made the trade that turned future Hall of Fame shortstop Ozzie “The Wizard” Smith into a Redbird for most of his career.

The story of the Missouri humorist as publisher and how a wicked electrotyper’s trick nearly gave the fun-loving public a terrible shock.

It started out wet on Jan. 30, 1982, then dumped 14 inches of snow on St. Louis.

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[dirtdiggersanddinosaurs]

Stoke-on-Trent is a funny one as far as cities go! Made up of six towns, Hanley is known as the city centre locally, yet Stoke itself also has plenty to offer. But, for the purpose of this post I’m listing some great ideas to keep the kids happy while you’re ‘Up ‘Anley Duck’ as we say around these parts. We’ve all been there…trying to run errands or meeting a friend for lunch while wrestling whinging kids is no fun for anybody…so below you’ll find some kiddy friendly destinations within the city centre to inspire you. Whether you’re looking for a quick drop in, or a full day out there is something for you here:

Our Front Door Project

Either pick up a map from participating locations, or screenshot the one below…you can thank me later!

Map Provided by Stoke-on-Trent City Centre BID

Give your kids the map, (ooooh they love a map don’t they, you can almost see the power rush to their little heads!) and set out to find some fab hidden street art. If you’re really devious clever you could guide them around a route that takes in the shops you need to go to, ta da!

Beam them up, Scotty!

‘Our Front Doors’ is a project initiated by Stoke on Trent City Centre BID in partnership with Entrepreneurs Network, a gallery and printshop located on Hanley Piccadilly, and YMCA. The new and exciting venture endeavours to inject colour and vibrancy into the area via the provision of street art, and it also aims to provide a platform for the city’s creatives to showcase their stunning work. Interestingly, there are some countries in the world where painted doors are believed to bring luck, happiness and wealth but for Stoke-on-Trent City Centre BID, improving the look and feel of the town is the name of the game.

Credit: Stoke-on-Trent City Centre BID

I wouldn’t recommend something if we haven’t tried it ourselves so here are some of the photos I took when we spent an afternoon doing the trail.

We didn’t find them all, I think we discovered just over half which was plenty of walking for James (2 years) and it also leaves us another day to try and find the rest. The boys loved it though and their poses in front of the artwork got more creative with each discovery. If this is your thing, then there are some great pieces popping up all over the city from a giant snake in Longton to a Burleigh Blue Calico wall in Burslem – can you find them?

Intu Potteries: Free Soft Play

Generally, shopping with kids in tow is nearly as painful as giving birth to them but step up intu Potteries who have a kids zone to let them burn off a bit of energy between shops. Under 5’s can have a ball in the soft play area on the middle mall.

The purpose built 30 metre square soft play area has plenty of room for kids to jump, move equipment around and play games under the watchful eye of their parents before they head back to the shops and cafés.

Credit: intu Potteries

The Potteries Museum and Art Gallery

Free to enter but donations are welcomed, the museum has a host of exhibits and events to keep your little ones entertained, and the best bit is that they’ll be learning too! Each month the museum hosts a messy museum play session in the school room for £3 per child. We went along to a dinosaur themed one (I know, it’s a shocker) and had lots of messy fun.

Baked bean volcano

The next one has a spooktacular theme to get you ready for Halloween and will run on 16th Oct 10.30am – 12.00pm. Call 01782 232323 to book your place.

We also took in the space exhibition, where James tried on an astronauts space helmet and I grabbed an astronaut selfie on the #mystokestory selfie spot. The confectionary garden was a hit too and we happily got our Wonka on!

You can find out what’s on at the museum throughout the year by checking out the website. There are also natural history displays to discover, plus plenty to find out about our area’s fabulous pottery heritage all with some great interactive play stations dotted around . We dressed up to look at the cow creamers and frog mugs and James served me tea from an Emma Bridgewater polka dot tea set.

Which brings me nicely onto…

Emma Bridgewater Factory

If you’re brave enough to take your little ones into the best shop you can access the factory garden which is a lovely little area planted out to attract insects and butterflies. They grow a mix of flowers fruit and vegetables and sometimes the chickens make an appearance too.

You can also ‘paint your own pot’ in the Pottery cafe while enjoying a lovely cuppa or spot of lunch. As Emma Bridgewater is famous for her spongeware, there are a variety of sponges available which you can use that appeal to both adults and children alike.

Let them unleash their creativity and design their own mug! Prices start from £15 (for a half pint mug) plus £2.95 decorating fee. Advanced booking is essential and details can be found on the website.

Awarded two of Visit England’s top accolades for “Best Told Story” and “Quality Food & Drink” in 2017, visitors can head on a fascinating factory tour, try your hand at decorating a piece of your very own unique piece of Emma Bridgewater pottery, relax for lunch in the beautiful kitchen sat beside the spotty Aga, or enjoy an afternoon in the delightful garden behind the factory.

Credit: © Emma Bridgewater ™

There are also some spooky goings on planned for October half term:

Meet the Owls! Admire these magnificent birds up close in the courtyard. Wednesday 23rd & 30th October from 1pm. FREE

Follow the FREE Pumpkin Treasure Hunt and win a delicious treat!

Discover how all Emma Bridgewater pottery is made and decorated by hand on a FREE behind the scenes tour.

Hopefully you’ve now got some great ideas in your diary ready for half term, good luck and don’t forget to tag your adventures ‘up ‘Anley’ with #mystokestory to share them.

I’m proud to be a My Stoke Story Ambassador.

All images are my own unless otherwise credited.

Fun Finds for Kids: ‘Up ‘Anley Duck’ Stoke-on-Trent is a funny one as far as cities go! Made up of six towns, Hanley is known as the city centre locally, yet Stoke itself also has plenty to offer.

[handeaux]

One Hundred Years Ago, A YMCA Construction Crew Found A Pot Of Gold

Who buried the pot of gold unearthed during construction of the downtown YMCA?

James “J.M.” Armstrong was dead by 1917, but he once owned the land. He certainly had enough gold, but leaving pots of money lying around wasn’t his style. Armstrong was among the pioneer printers of the Midwest. His company grew into the United States Playing Card Company and he served briefly in the Ohio Senate. J.M. married well, too. His wife, Martha, was the daughter of Caleb Williams, an enormously successful builder of fine stone homes in Cincinnati. It was J.M. Armstrong who purchased, in 1867, the parcel of land at the northwest corner of Elm and Canal streets on which the Cincinnati YMCA sits today.

It’s also unlikely that Agostine “Gus” Solari left that pot of gold there. Mr. Solari was among Cincinnati’s early Italian citizens and sold produce at the downtown markets. When he managed to scrape a few dollars together, he bought real estate. That’s how he purchased the lot from J.M. Armstrong in 1884.

Cincinnati’ Young Men’s Christian Association grew rapidly in the early years of the Twentieth Century. The “Y” had established outreach programs to the city’s African Americans, to railroad workers, to suburban families, and to soldiers heading off to World War I. By 1917, they needed room for expansion. Their building at the northwest corner of Seventh and Walnut was ready for replacement just a couple of decades after it opened.

Although Agostine Solari died in 1904, his heirs still held title to the property along the canal and sold it to the YMCA. William Howard Taft, in between gigs as president and chief justice, popped into town to lay the cornerstone on 31 March 1917 for the new building on the north side of the canal.

A month later, workmen struck gold.

It was an African American laborer named Herbert Solid who found the gold, according to witnesses. Here is how the Cincinnati Post [27 April 1917] reported it:

“Herbert Solid, negro laborer, employed in excavating the site for the new Y.M.C.A., hit something solid with his pick. Investigating what the solid substance was, Solid discovered it was a crock. When he hit the crock a blow with his pick it broke and a flood of gold rolled out.”

A fat lot of good it did Mr. Solid. As all of his coworkers rushed to grab a share, Herbert Solid managed to snag only two $20 gold pieces. He gave one away and was almost immediately charged with grand larceny. The rest of his crew, seizing what they could, escaped into thin air.

Judge W. Meredith Yeatman of the Municipal Court very sensibly exonerated Mr. Solid because, without a victim, there can be no larceny and the fact was that no one knew who owned the gold.

Walter Weise, the contractor in charge of excavation at the YMCA site, said the gold belonged to him. His contract gave him ownership of any lead pipe or other salvage recovered during excavation.

Of course, as landowners, the Young Men’s Christian Association had a claim, and could have used the bonus to offset their construction costs.

The City of Cincinnati weighed in with an opinion that the crock was found on Charles Street, a public thoroughfare running north of the YMCA building. This is public land, not YMCA property, and therefore the gold belonged to the municipal government.

Since it disappeared so quickly one wonders who counted it, but all of the news stories agree that Mr. Solid’s crock contained $2,000 in gold coin.

The Cincinnati Post calculated that the owner, whoever he or she was, had made a poor decision burying the gold instead of entrusting it to a bank. Ignoring the bank panics of 1873, 1893, 1896, 1907, and 1910, not to mention a few miscellaneous recessions in between, the Post calculated that $2,000 invested in 1867 would have accrued something like $4,000 in interest alone by 1917.

The Central Trust Company picked up that theme in a newspaper advertisement [13 May 1917]:

“For years it lay deep in the damp earth, deep under the site of the new Y.M.C.A. building until it was turned up by the pick of a laborer. It did no work – no good. It drew no interest . . . The Lesson of the Pot of Gold should come home to you. We hope it will cause you to visit the oldest incorporated trust company in Ohio.”

A handy online inflation calculator suggests that $2,000 in gold in 1917 would be worth something like $38,000 today.

More recently, the YMCA underwent extensive renovations and reopened with fanfare on 21 July 2016. There seem to be no reports of unclaimed riches discovered during that project.

Rumors of buried treasure are not unknown in Cincinnati.

[steve-rogers-new-york]

Origins of Black History Month

Welcome to February everyone, and welcome to Black History Month! I have been looking forward to it since last year — So to kick off the month I thought I would do a quick history of how Black History Month came to be.

The celebration and education of Black History Month started its life in the early 20th century as the brainchild of Harvard graduate Carter G. Woodson. While taking part in the 1915 exhibition of Black progress in the 50 years since the Emancipation, he was inspired to push the further education of Black history. On September 9th of that year the Association for the Study of Negro Life and History (ASNLH) was formed by Woodson along with A.L. Jackson, George Cleveland Hall and James E. Stamps, in a meeting at the Wabash YMCA.

By the early 1920s Woodson was encouraging the promotion of the newly uncovered achievements within Black communities. At his urging, Woodson’s old fraternity (Omega Psi Phi) created the Negro History and Literature Week in 1924 — later renames Negro Achievement Week.

By 1945 Woodson was looking to expand the reach of the education programs — in February 1926 he produced a press release announcing the creation of Negro History Week. The celebration of Black history would be observed in the second week of February. This date was chosen for its existing significance within Black communities — it coincides with the birthdays of both Frederick Douglass (14th) and Abraham Lincoln (12th).

The response was overwhelming. With the cooperation of the Departments of Education in North Carolina, Delaware, and West Virginia, and city school administrations in Baltimore and Washington DC, Negro History Week was featured in many schools and in public across the country. It was published in the 1929 Journal of Negro History that the event had been made known to teachers in "every state with considerable Negro population" with the exception of only two, and official literature associated with the event had been distributed by officials from those States’ Departments of Educations. Churches also played a significant role int the distribution of these materials.

With the growth of the so-called “New Negro” — the Post War generation who characterised the Harlem Renaissance, and who were an expanding middle-class with buying power to consume Black literature and culture — this perspective of history was embraced by many in these communities. Black history clubs were formed, and teachers were demanding material for their classrooms — resulting in themed study materials being produced, including lessons for teachers, historical plays, and posters of important events and figures. And it flowed out of Black communities, with progressive Whites in cities like Syracuse getting behind the efforts to spread Black achievement and history. Some progressive high schools formed Negro History Clubs. ASNLH branches were opened across the country and in 1937 the Negro History Bulletin was established to focus on the annual theme.

In the 1940s efforts were made by the Black community to slowly expand the study of Black history in schools and other public settings. The Civil Rights movement of the 1960s further propelled this drive for education.

The progression from Negro History Week to Black History Month began as early as the 1940s, with West Virginia’s celebration of February as Negro History Month. By the late 1960s the shift to a month long celebration and the adoption of the current title of Black History Month had begun really taking hold. In 1976 the informal expansion of the week-long celebration to a month-long one was officially recognised by the US government.

It is interesting to consider whether Steve and Bucky’s school would have featured Negro History Week content, or not. Timing-wise, it could go either way. Depending on how progressive their school was they may have had the materials taught in the later years of their education in the late 1920s. Or they may have missed out by a handful of years depending on when they left school. Regardless, it was quite likely in the public consciousness and would have been something they were aware of, even just in passing.

For more information on the history of Negro History Week / Black History Month, check out the References for my source material, or have a look through my Research Notes for the topic on the blog’s Google Drive folder.

Carter G. Woodson | Source 20th Anniversary of the Association for the Study of Negro Life and History, 1935 | Source Letter to Thomas Barnes | Source

[papermoonloveslucy]

Together for Christmas

S1;E13 ~ December 24, 1962

Executive Producer  Desi Arnaz Directed by  Jack Donohue Written by  Bob Carroll, Jr., Madelyn Martin, Bob Weiskopf, and Bob Schiller.

Synopsis 

The Carmichaels and Bagleys are spending their first Christmas together in Danfield and Lucy and Viv do nothing but argue over their family's special traditions. In the end, however, the kids show Lucy and Viv the true meaning of Christmas.

Regular Cast

Lucille Ball (Lucy Carmichael), Vivian Vance (Vivian Bagley), Jimmy Garrett (Jerry Carmichael), Ralph Hart (Sherman Bagley), Candy Moore (Chris Carmichael)

Dick Martin (Harry Connors) does not appear in this episode, although he is mentioned.

Guest Cast

Tom Lowell (Alan Harper, right) makes his second of three appearances as Chris's prep school boyfriend.  

We learn that Alan Harper belongs to the country club. Although he sings with the carolers, he does not speak in this episode.  

Joe Mell (Ernie, the Butcher) makes the first of his five appearances as a background player on “The Lucy Show.”  He also appeared in a 1969 episode of “Here's Lucy.”  In 1964, he appeared in the TV special “Mr. and Mrs.” (aka “The Lucille Ball Comedy Hour”), which featured many of the Desilu regulars and was directed by Jack Donohue, who directed “Together for Christmas.”  In 1971, he was a Taxi Driver on “Lucy and the Lecher,” a cross-over episode of Danny Thomas's “Make Room for Granddaddy” in which Lucille Ball played Lucy Carter, her character from “Here's Lucy.”  

Bob Stephenson (Johnny, the Parcel Post Delivery Man) makes the second of his two appearances on the series, after playing the YMCA clerk (uncredited) in “Lucy Digs Up a Date” (S1;E2).

The Mitchell Boys Choir (uncredited). Fourteen young boys from the troupe play the YMCA carolers. Unlike the real-life Mighty Mites boys football team in “Lucy is a Referee” (S1;E3), they do not get screen credit.  

Robert Mitchell was an organist at St. Brendan Church in Los Angeles in 1934 where he organized a boys' choir that he directed for 66 years. In 1936, the Mitchell Singing Boys, as they were also known, were cast in their first film, The Girl from Paris. Other films in which the choir appeared included Going My Way with Bing Crosby in 1944, The Bishop's Wife with Cary Grant in 1947, and Blondie in Society in 1941. The Mitchell's Boy Choir soon became America's most popular Boys Choir and appeared in over 100 movies.

This is the first (but not the last) episode not to have Lucy's name in the title. This episode was filmed before “Lucy and Her Electric Mattress” (S1;E12) and saved for broadcast on Christmas Eve. During the roll of the credits after the main title sequence, the theme music has jingle bells added to it. This is the second time this music was changed to fit the theme of the episode, an enhancement that was eventually dropped. The first was in “Lucy Is a Referee” (S1:E3) when it sounded like a marching band.

This is the first Christmas the Carmichael and Bagley families have celebrated at home together. We learn that Lucy usually takes her kids to visit her mother in Jamestown and Viv usually takes her kids to visit her uncle in Philadelphia. It is unclear if this is Uncle Ned, who was mentioned in the previous episode “Lucy and Her Electric Mattress” (S1;E12). Both Lucy and Viv will be taking the train to their respective hometowns.  It has already been established that fictional Danfield is located on a rail line, not unlike New Rochelle, a real-life New York town also mentioned in the previous episode.  

The main conflict of the episode comes from marrying differing holiday traditions:

When Lucy and Viv argue whether to buy a goose or a turkey for Christmas dinner, Ernie the butcher jokingly suggests stuffing the turkey with a goose!  As silly as it seemed in 1962, the practice would become popular in the 1980s with the ‘turducken’ or ‘gooducken’ - a three-bird roast consisting of a a turkey or goose stuffed with a de-boned duck and chicken.  

About Viv's propensity for mistletoe, Lucy remarks that the only way a man could get into their house un-kissed would be through the coal chute. Coal delivery, a common home heating method before the popularity of oil heat, played an integral part of the final moments of “Lucy Builds a Rumpus Room” (S1;E11).  

In addition to buying gifts for the family and Harry next door, Jerry also plans to buy for Tommy and Amy Shaffer - all with $1.10. This is the first mention of Tommy and Amy.

Talking on the phone to Tommy, Jerry says, 

“I’ll bet we’re the only people in the world two have two Christmas trees. One is green and one is - you’ll pardon the expression - white.”  

This is a momentary acknowledgment of the headlines of the year. In 1962, President Kennedy dispatched troops to force the University of Mississippi (a state institution) to admit James Meredith, a black student. At the same time, he forbade racial or religious discrimination in federally financed housing.

Chris asks her mother whether it would be appropriate to buy Alan Harper a bottle of after shave, but Lucy is suspicious when her daughter confirms that he does indeed have whiskers!  Although Alan stands next to Chris in the episode’s final moments, he doesn’t have any dialogue.  

Sherman talks about Mr. Everett at the Y.  The YMCA was prominently featured in “Lucy Digs Up a Date” (S1;E2) and mentioned in a couple of other episodes. Jerry says he sang “White Christmas” for Mr. Everett and there wasn't a dry eye in the house!  The sentimental holiday song was written by Irving Berlin in 1942. The version sung by Bing Crosby is said to be the best selling single of all time. Jerry says he doesn't know “Good King Wenceslas,” a popular carol that dates back to 1852.

When their difference prove nearly irreconcilable, Lucy and Viv decide to give up on staying home for Christmas, and revert to traveling to see their families. Lucy says she left a note for the milkman. Until the end of the 1960s or so, most suburban homes had milk delivery, which involved leaving milk bottles on the porch (sometimes in a milk box).  If a customer did not wish to have milk (or other dairy products) delivered that day - or for a period of days - it was standard procedure to ‘leave a note for the milkman’. 

In the final scene, the carolers (including Chris, Sherman, Jerry, and Alan) enter singing “Deck the Halls” and then switch to “O Come, All Ye Faithful.”  Lucy (or Lucille) brushes away a tear.

VIV: Merry Christmas, Lucy. LUCY: Merry Christmas, Viv.

Callbacks!

Desilu started doing a Christmas tag at the end of “I Love Lucy” in 1951.  In 1956 they fleshed out the tag to a full episode featuring clips. It did not enter syndication and wasn't seen again until 1989 when the wrap-around segments (but not the clips) were colorized. The fully colorized episode was seen in 1990 and has become a holiday staple for CBS, airing along with a newly colorized  “I Love Lucy” episode.  

Although this Christmas Eve “Lucy Show” would remain in black and white, the series did air another holiday episode in 1965 when the series was in color. Like this episode, the ending also featured an established singing group, the St. Charles Boys Choir, although they were credited.  Like this episode, it also mentions Charles Dickens’ perennial favorite “A Christmas Carol.” 

Like Lucille Ball and Lucy Ricardo, we learn that Lucy Carmichael is from Jamestown, New York, and has a living mother.  While Vivian Vance and Ethel Mertz were both raised in Albuquerque, New Mexico, Viv Bagley hales from Philadelphia, Pennsylvania. This is likely to assure that she could convincingly travel home for Christmas within a reasonable time.  

Lucy and Viv sing “Jingle Bells” while decorating their trees. Although the song was sung in the “I Love Lucy” Christmas tag, in “Lucy Goes to Sun Valley,” a 1958 episode of “The Lucy-Desi Comedy Hour,” Lucy says that Ricky proposed to her at Christmastime, so their ‘song’ is "Jingle Bells,” or – as Ricky pronounces it - “Yingle Bells.”

The literal “trimming” of the branches of the Christmas trees was also done by Fred Mertz in “The 'I Love Lucy' Christmas Show.”

When Lucy and Viv angrily take turns ripping the decorations off each others trees, it is reminiscent of when Lucy Ricardo and Ethel Mertz ripped pieces off each others dresses while singing “Friendship” in “Lucy and Ethel Buy the Same Dress” (ILL S3;E3).  

Blooper Alerts!

Who? Johnny the Parcel Post delivery man mistakenly calls Viv "Mrs. Bradley" instead of "Mrs. Bagley". Then Lucy calls him Bob, the actor's real name. This dialogue overlaps Viv calling him Johnny, so the mistake is partially obscured.

Murmurs! When Lucy goes to the pantry to get the axe, a studio audience member can be heard to say “She's gonna chop it down!”  

Artificial! When Lucy and Viv are tying the two butchered trees together, you can tell that the trees are artificial. Viv must insert the severed top portion of her white tree into the 'trunk.'  

The two trees fastened together symbolizes that the two families have become one! 

“Together for Christmas” rates 4 Paper Hearts out of 5

[dbamountaineer]

After my usual Sunday morning activity, I decided to visit Center for Civil and Human Rights where I spent almost half a day of my time. From Doraville Station, I got off at Peachtree Center Station. And the station reminded me one of the longest escalator that I ever experienced. From Peachtree Center Station, I walked my usual path going to Pemberton Place since its not my first time to go there at that time. I walked straight towards the museum that I planned to visit that day.

Entrance/Exit Peachtree St NE

The name of the museum itself signifies that it’s not a typical or usual museum because it tackles a serious matter that affects everyone. Even though it exhibits a deliberate thing and most likely not so popular like World of Coca-Cola and Georgia Aquarium when it comes to visitor or tourist, one thing that made me decided to visit the museum was to find out what happened and Atlanta was able to build museum for a very important aspect of human beings to have. I was curious on the reasons behind to build such a beautiful and modern building to express information about civil and human rights. Before I entered to such a lovely building center in Pemberton Place, I appreciated the concept of modern architecture of the museum which for me means one thing, Atlanta or let say Georgia gives so much high regards about people’s innate rights to live.

Lobby

The moment I entered the building’s lobby, I immediately sense that the building’s modern architecture cannot only be seen from the outside but even inside of the museum. Its simple design is truly visible and portrays cleanliness of the center since the building just built a year ago before I visited the center. The lobby has glass wall from floor to ceiling to its front side while the rest of the walls was painted with white, it has stairs on the left side and beside it the information desk can be found. One thing that is noticeable in the lobby is the huge mural displays on the wall that depicts some of the civil and human rights theme showing a big hand at the center.

Exhibits

The museum has a lot of exhibits that showcases about  civil and human rights, but on this post I will at least emphasize the exhibits related to the theme of American Civil Rights Movement since its the exhibit that I have almost photos captured if not all. Then, the rest of the photos from other part of the exhibit will just be displayed with few details.

Rolls Down Like Water : The American Civil Rights Movement

“Rolls Down Like Water: The American Civil Rights Movement” is an interactive gallery that opens with examples of segregation in the United States as embodied in Jim Crow laws and signs designating facilities as “whites only”.[9] Designed by George C. Wolfe, the Tony Award-winning playwright, the gallery is broken up into multiple sections, each marked by a significant event in the civil rights movement, like Brown vs. Board of Education.[9] A number of the exhibits are interactive, including a recreation of a lunch counter sit-in complete with headphones that simulate the taunts and threats leveled at activists.[9]

Source : Wikipedia

Introduction 1950s/Urban South

This gallery explores life in the 1950s in the Urban South through displays featuring Jim Crow laws and the people in power who vocally and violently enforced segregation. This gallery also includes a map of Atlanta’s Auburn Avenue, which became a symbol of African American empowerment around the country of its thriving community and vibrant institutions.

Source : Civil Center and Human Rights website

From the lobby of the museum, I started my journey to find out what the museum is all about. At the beginning of my exploration, first thing to noticed are both side walls has old photos that shows the life in few decades passed. Facing toward the exhibits from the lobby, at my right side, shows the “Colored” and at my left side shows the “White”. At first, I did not understand what it meant until I finished checking and reading the notes displayed in each exhibits in that part of the museum.

I moved on to other exhibits and I discovered that because of color differences or racial differences, there were segregation happened in USA and my mind was blown away of surprise because all the exhibits showcasing that the colored (which commonly the black colored) and whites has to be separate in almost everything if not all. This segregation is actually called “Jim Crow” Law. This law is a state and local laws that mandated a separate but equal existence for non-whites, defining where they could live and work and go to school, how they could eat and drink, use public transportation – and vote. If this law was broke by African-American or negro, he/she has to faced arrest and most of the time received violent punishment.

The famous advocates of Segregation

One thing to learn in the museum was about the rise of the African-American even they lived in a limited spaces while the Jim Crow Law was implemented. They never stopped to strive for education and business institutions within the confines of segregation. But it was not easy as history tells us there were lots of sacrifices happened within the period of segregation was happening.

In the museum I discovered that City of Atlanta was able to developed a community composed of institutions for educations, businesses and cultural hubs that helped and supported African-American just after Civil War. The inspiring on this aspect was the time of its development was happening in the height of poverty and discrimination. Therefore, Atlanta is nationally recognized as symbol of African-American self-empowerment. Because of this information, I do understand why this museum is in the city, because the city itself has big role to achieved such a historical moment for the African-American rights.

Sweet Auburn

The exhibit also displays information that mentioning the place called to be “The Richest Negro Street in the World” in 1956 by Fortune Magazine which is Auburn Avenue (Sweet Auburn) where the hub for African-American commerce and social life with black-owned businesses, entertainment venues and churches in Atlanta are located.

Here are the following institutions for African-American within the vicinity of Sweet Auburn, all the summary excerpt information describes each establishments are came from the museum which I captured through my photos.

Ebenezer Baptist Church (6077)

Dr. Martin Luther King, Jr. maternal grandfather Reverend A.D Williams, pastored the church followed by his father Martin Luther King Sr. who helped lead campaigns against unfair merchants and was involved with a lawsuit to equalize the salaries of black and white teachers. Then, King Jr co-pastored the church with his father.

Wheat Street Baptist Church (6080 Right)

Led by Reverend William Holmes Borders. He was instrumental in the hiring of Atlanta’s first African-American police officers, led the campaign to desegregate the city’s buses in 1957 and established the nations’s first federally subsidized, church operated housing project in 1960s.

Prince Hall Masonic Temple (6080 Left, 6083 Right)

John Wesley Dobbs, the longtime leader of Prince Hall Masonic Temple and John Calhoun Jr. of the NAACP led numerous events to register voters across Georgia after the a court ruling that Georgia white primary was unconstitutional which resulted to more than 100,000 African-American Georgians registering to vote in 1946. This also resulted to desegregation of Atlanta police officer in 1948 and influenced mayoral elections for decades.

It was also home to Atlanta’s WERD Radio (the nation’s first black-owned radio station purchased by Jess B Playton, a professor in Atlanta. The radio broadcasted music, sermons and news programming.

Big Bethel Ame Church (6083 Left)

The church led by Reverend Harold I. Bearden. His sermons about racism and civil rights were broadcast over Atlanta’s WERD Radio.

It is a central meeting space for the community and a driver of social action.

It is also known for its annual performance of the morality play Heaven Bound.

The Royal Peacock (6085, 6087 Left) / Paschal’s Restaurant 

The Royal Peacock was the key Atlanta stop on the “chitlin circuit” of prominent African-American performance venues. The partygoers of Auburn Avenue would often dine at Paschal’s restuarant, enjoying such Southern specialties as golder fried chicken, collard greens and corn bread. Owned by two African-American brothers, James and Robert Paschal.

It was a hangout for intellectuals and students from the nearby Atlanta Univesity Center, and a key meeting place for civil rights gatherings. As Coretta Scott King said, “Paschal is as important as historical site for the American civil rights movement as Boston’s Faneuil Hall is to the American Revolution.

Butler Street YMCA (6087 Right)

It became a training ground for young leaders as well as residential lodge for many newcomers to Atlanta.

It served as the home location for the city’s first African-American police officers in 1948 due to lack of desegregated police facilities

Atlanta Life Insurance Company (6089 Right) / Citizens Trust Bank

Atlanta Life Insurance Company founder Alonzo Herndon viewed his investment in Atlanta Life as an opportunity to provide a valuable service to policyholders who had been cheated or discriminated against because of their race. It stepped up its support for the increasing efforts of African-Americans by posting bail for jailed students, and provided meeting space and printing and communications facilities to civil rights groups.

Citizens Trust Bank, founded in 1921, invested in the development of housing subdivisions throughout the west side of Atlanta, helping create neighborhoods that were among the most affluent residential areas for African-Americans in the country. It became one of the most important sources of capital for African-American homeowners, business owners and civic organizations in Altanta.

Atlanta Daily World (6089 Left)

It was the earliest and most widely circulated black newspapers. Founded in 1928, the paper became an important source of news regarding the African-American community-and an alternative political voice to mainstream newspapers regarding public issues.

It cover topics often ignored by other mainstream Atlanta publications, including lynching, police brutality, voter discrimination, and notable achievements of the African-American community.

Spelman College / Morehouse College

In Atlanta, the world’s largest consortium of African-American private institutions of higher education can be found which called as Atlanta University Center (AUC). This includes Atlanta University, Morehouse College, Clark College, Morris Brown College, and Spelman College.

W.E.B DuBois from Atlanta University was a powerful writer and model of a socially engaged scholar. Morehouse President Benjamin Mays mentored students, spoke out against racism and provided leadership in civil rights organizations. Faculty members like Samuel Williams, Carl Holman, Howard Zinn and Staughton Lynn offered crucial guidance and support during American’s civil rights movement.

Brown V. Board of Education

After learning about the “Sweet Auburn” and its importance to African-American community, I got a chance to learn about Brown V. Board of Education. And the information that I learned was something profound.

The Brown V. Board of Education decision was the first national victory in the legal struggle for racial equality. And this resulted to the demise of legally segregated schools in 1954. Historically, before Brown case won, its been decades that NAACP Legal Defense Fund laying the ground work by filing lots of lawsuits that challenge the segregation in higher education.

The Brown case itself challenge the very core of the “separate but equal” principle established by the 1896 Plessy v. Ferguson decision. But Thurgood Marshall, the NAACP Legal Fund’s director argued that the separation itself was inherently unequal with supporting arguments that resulted for a unanimous vote 9-0. Though the implementation of the decision took years to take effect but its a fight won to end of segregated education.

Aside from the information of Brown case, the exhibit also showcases historical facts displaying the theme of “Paving The Way Firsts and court cases Leading to Brown vs. Board of Education” where it listed all the first things where the Negro achieved their rights, acceptance and recognition in the society.

Showcasing the achievements of African-American in the society

In this part of the exhibits, I realized that changing the way people used to live is challenging because there are people who will oppose on the new customs specially if these people enjoyed and benefited more in that way of living. Like in slavery system, the people who hate to remove this system are the people whom receives much favor of it. This is where the color or racial discrimination in America exist because it was the after effect of abolishing slavery. Being elite in the society gave so much favors to the system as they are more advantageous on it while for the slaves its more detriment on them. One side of the people will go against the removal of the system and will do all their might because they are afraid to loose a lot of things they used to have and they used to experience, they don’t even want to think or dream that their life will change because of some movement or revolution. Even in the present time, equality in all things is something a wishful thinking in human race.

The next exhibits that I read on reveals how African-American tried to challenge the Jim Crow Law by going in to the places where establishments and public transportation has a clear sign of segregation.

Below are some of the stories that portrays challenging the segregation law to different institutions.

Transportation System

Montgomery Bus Boycott

There were two women tried to sit in white only seats on segregated bus. Though different results happened to Rosa Parks and Claudette Colvin, what it emphasize was they tried to end the unjust traditions wherein the white seats at the front and the colored seats at the back and cannot be sit in by colored riders as long as there are whites whose going to sit in. This kind of segregation made me think that during the heights of Jim Crow law, I never really thought that kind of system had been worked for decades. I felt how cruel the people at the time.

Education System

Ruby Bridges

The first black child to attend William Frantz Elementary School. Her story really made an impression to me whom white people were so strong to oppose the law even at the time that the desegregation in education has been decided. At her young age, as she used to in what kind of treatment they usually received, the story shown how brave she was. The white community, as they tried their might to oppose when Ruby was accepted in the school, both white students and parents boycotted the school.

The Integration of Central High (Little Rock Arkansas)

The story of the students that tried to integrate to Little Rock Central High School was the story that moves me in some ways. As the Governor Orval Faubus ordered to close the school’s entrance, even he agreed with President Dwight D. Eisenhower to allow colored student to enroll, but broke his word. At that moment, there was riot happened and the President sent the 101st Airborne Division (famous for its role in World War II D-Day Landings) to protect the nine students and enable them to attend the school. President Eisenhower inspired me of what he told that time that “We are nation, in which laws, not men are supreme”.  The school close to prevent the integration but after a year it opened as integrated school.

Understanding this part of history in USA made me realized, how truly brave the African-American students to surpass such kind of agony just to go to school and to end the segregation that’s been happening for decades.

Temple Bombing

Because the voice of the African-American is slowly gaining its momentum, as the opposing side of white community, there was a suspicion that the Temple Bombing was because the Rabbi of the temple at that time supports the racial justice. When I read this, I thought that at the time, the opposing side  of white community does not only hurt people physically just to show their angry of what is going on with desegregation, but they even can really kill people if necessary.

Lifestyle

Sit-Ins (Woolworth’s Lunch Counter)

The story of Sit-Ins, is something similar that African-American started to break or end the segregation in a specific establishments. These involves four freshmen at North Carolina A & T University in Greensboro North Carolina, sat down at the “whites-only” lunch counter and ordered coffee. But the staff refused to served them and asked them to leave. The inspiring moment that I saw here was the perseverance of these students to be accepted and to exercise their rights to be treated as equal with the white. They repeated the sit-ins as the numbers followed their acts grew tremendously and other students in other cities followed their civil rights movements.

People who contributed or influence so that African-American can be heard and appreciated even at the times where community is still confused and still opposing to end the traditions are the following:

Robert Woodruff

He was a longtime president of the Atlanta-based Coca-Cola Company, wielded enourmous power during his time. What I admired with him is he used his position and power to support racial moderation in the city. He was the one supported the dinner for Martin Luther King for his Nobel Peace Prize if not supported by local businessment, he threatened to move the Coca-Cola headquarters out of Atlanta.

William B. Hartsfield

He served as Atlanta’s Mayor from 1937 to 1962. And he developed the city at his time. As a politician, he was once segregationist but he adjusted as the block political power is arising at his time. He tried a very creative and save propaganda that benefited himself for making Atlanta as “the city too busy to hate”. He presided comparatively peaceful school integration compared to other Southern communities.

Ivan Allen Jr.

He served as Atlanta’s Mayor during 1962-1970. On his first day as mayor, he removed all “white” and “colored” signs in City Hall and helped desegregate the building’s cafeteria. From being pragmatic opposition to segregation, it became his personal conviction.

Ralph McGill

He was a journalist that became a voice for racial moderation in the South. He was once unwilling to criticize the segregation but but the US Supreme Court school desegregation decision, he told white Southerners to obey the law of the land and accept the civil rights changes.

The people who had influence or advocates to hear or appreciate African-American

Women’s Political Council (WPC)

Women has contributed a lot for the civil rights movement for African-American, if there were women bravely challenge the bus segregation even they faced to be arrested, punished and jailed, there are group of women who also helped to fight for their rights. One of them was the President of WPC named Jo Ann Robinson which helped to reform the segregation that no longer require that black surrender their seats to whites.

Another thing that inspired me while reading the texts or excerpts that accompanies the photos or displays in the museum was the portraits showing how well dressed the protester were. They want to fight for their rights not because of their appearance but to show their dignity within. The idea was to show the world that the African-American were the opposite of what the whites described them.

The protester in their modest look

Freedom Riders

A reconstruction of the Greyhound Bus that Freedom Riders rode in Anniston, Alabama in 1961 engages visitors with oral histories from the Riders, as well as a short film inside of the bus.

The exhibits displayed in this part of the museum opened my eyes what kind of persecutions that African-American or people who fights for their rights experienced during those time. It was a heart-breaking that while I was reading the stories of firebombed and mobbed buses that resulted of many people died and badly beaten. I was still contemplating what was kind of life before for these people to suffer. I was wondering why there were people denies the rights of others while they enjoys it for them. It was indeed truly the world was unfair and cruel.

For the campaign of Freedom Riders, there were lots of people sacrificed their life. But it was a worth fighting for. Most of the people joined this wave, accepted that they may loose their life but still they went through with it. These people risked their life to fight for the change and to fight for whats right for them.

The Freedom Riders (whom most of them died or suffered) fighting for their rights

Lunch Counter

After learning about the training involved in non-violent protest, guest are invited to participate in a lunch counter sit-in simulation and place themselves in the shoes of non-violent protestors in 1960.

This part of museum gave me a chance to experience through simulation how I would be able to feel if I was one of the non-violent protester in a lunch counter. All the painful words, I heard it in simulation and the crucial while listening was the beating part that I thought that I could feel that I was the one that people was beaten to death. My heart was pounding for each thrust that the listener received from people surrounded him. I felt I was a small person that everyone were persecuting me because of who I was, because of my race. I felt I was not a human being during the simulation. It was a deafening experience to realize how cruel to live at that time.

The March on Washington for Jobs and Freedom

One of the most iconic and joyful moments of the Civil Rights movement, the March on Washington uses multi-media to highlights the organization, organizers, speeches and songs of the day.

This part of the museum depicts what triggered the March to Washington and how the event was planned including its overall activities that I can say inspired humanity for what they bravely did.

People who had major contributions towards the March event

A. Philip Randolph

Dorothy Height

The Big Six (Roy Wilkins, James Farmer, John Lewis, Whitney Young and Martin Luther King)

Bayard Rustin

Lyndon Johnson

He was know to be defender of segregation but he was credited on many things happened for civil rights after he assumed presidency when John F Kenny was assassinated. History acknowledge the key roles that Johnson played to progress the civil rights cause.

All about the March event

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The Three Hymns

This gallery focuses on some of the shocking acts of violence that followed the March on Washington: The murder of four girls in the bombing of the 16th Street Baptish Church in Birmingham Alabama, the murder of Civil Rights workers James Chaney, Andrew Goodman, and Michael Schwerner and the murders of Jimmie Lee Jackson and Viola Liuzzo, with Jackson’s death serving as the catalyst to the march from Selma to Montgomery.

Four Little Girls

The violence did not end in buses. There were series of bombs happened after the March event in Washington which resulted the death of four little girls named Addie Mae Collins, Cynthia Wesley, Carole Robertson and Denise McNair. One thing that surprised me was the guilty bombers were just convicted in 1977 and the rest were only in 2001 and 2002.

Trolling

The death of the activist did not end in the bombing events, there were people also murdered by Ku Klux Khan (group for white supremacy). At first, the three people named as James Chaney, Andrew Goodman, and Michael Schwerner were missing and then were murdered. The event triggered wherein the Civil Rights Act of 1964 has been signed by President Johnson.

More life has been sacrificed. Two persons died again. Jimmie Lee Jackson died few days later due to police brutality. While Viola Liuzzo murderd by KKK members. These events triggered to passage of the Voting Rights Act of 1965 and voting rights legislation.

Edmund Pettus Bridge

Because of what happened to Jimmie Lee Jackson, the March from Selma to Montgomery in Alabama happened. The protesters lead by Hosea Williams and John Lewis experienced beating and trampling from state police and troopers when they were blocked when trying to cross Edmund Pettus Bridge. Even the event condemned by media, the violence did not end, the second march happened which lead by Reverend James Reeb was beaten and died of his injuries. The third march became successful when Alabama courts finally ruled that the police had to protect and not to attack the protesters.

There is a part of the museum where I was emotionally affected as I read stuff I just felt that my tears were falling into my face. I just felt how cruel the life for the living that they have to suffer because of something that individual has no control to have such as your color or race as human was born. And then I read the passing of the leader of the movement – Martin Luther King Jr.

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Spark of Conviction: The Global Human Rights Movement

“Spark of Conviction: The Global Human Rights Movement”, unlike the other exhibits, is non-linear in design.[9] The exhibit includes a rogues gallery of dictators, like Adolf Hitler and Augusto Pinochet, and counters them with images of modern-day activists who work to improve conditions of women and LGBT individuals around the world.[9] One activity, called “Who Like Me”, allows visitors to define themselves using a particular trait—such as their religion or gender—and shows them an individual who is persecuted in their homeland for that same trait.[9]

Source : Wikipedia

Here are some of the photos captured in the museum.

Mass Murder on An Epic Scale (These Perpetrators of Heinous Crimes Escaped Justice)

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Mapping Political Freedom and Economic Freedom

Here, I found where my country Philippines belong in terms of Political Freedom and its equality index between rich and poor, even where it is in poverty line.

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Here are the human and civil rights that are emphasize in this part of the museum

And these thoughts or ideas are inspiring

Here are the people whom does not recognized human and civil rights

Here are the people considered as Current Dictators

With the Mass Murderer

And here are the people who are champion in fighting human and civil rights

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Here are some of the prisoners of conscience

Voice to the Voiceless: The Morehouse College Martin Luther King, Jr. Collection

“Voice to the Voiceless: The Morehouse College Martin Luther King, Jr. Collection” contains personal effects that belonged to Dr. Martin Luther King, Jr.[9]The collection was obtained in 2006 when Dr. King’s estate decided to sell a number of his letters and papers at auction.[2] Before the auction took place, however, Mayor Franklin launched a bid to purchase them for $32 million, with Morehouse College owning the collection and the Center having the rights to display it.[2] The exhibit tells Dr. King’s story from his youth through to his assassination and its aftermath and includes such papers as drafts of “Letter from Birmingham Jail” and “Drum Major Instinct”, a sermon King delivered not long before his death.[9]

Source : Wikipedia

This was the last part of the museum that I visited. I don’t have much photos capture since it was not allowed to take photos here. The only thing I captured was the name of the room outside which was below.

In this part of the museum, all the personal letters made by King can be seen here. But I spent few minutes here since the museum was about to close for the day.

Notes: 1. Plan to visit Center for Civil and Human Rights ? – Please check latest information here 2. Entrance Fee – Please check here for latest updates Note: If you plan to visit other tourist spots in Altanta, I suggest to get Atlanta City Pass to get discounted prices. 3. Public Transportation Ticket – Use MARTA Breese Card,  here’s the official website, here’s alternative site for the card 4. Directions to Center for Civil and Human Rights using train : If you will ride within Red Line or Gold Line regardless which station you will come from, just remember to get-off at Peachtree Center Station. If you will ride in any of Blue or Green Line, you are required to transfer at Five Points Station and take Red or Gold Line and get off at Peachtree Center Station. At Peachtree Street, turn Right until you reach Baker Street NW and turn left towards Pemberton Place.

Center for Civil and Human Rights After my usual Sunday morning activity, I decided to visit Center for Civil and Human Rights where I spent almost half a day of my time.

[blackkudos]

Ralph Ellison

Ralph Waldo Ellison (March 1, 1913 – April 16, 1994) was an American novelist, literary critic, and scholar best known for his novel Invisible Man, which won the National Book Award in 1953. He also wrote Shadow and Act (1964), a collection of political, social and critical essays, and Going to the Territory (1986). For The New York Times, the best of these essays in addition to the novel put him "among the gods of America's literary Parnassus." A posthumous novel, Juneteenth, was published after being assembled from voluminous notes he left upon his death.

Early life

Ralph Waldo Ellison, named after Ralph Waldo Emerson, was born at 407 East First Street in Oklahoma City, Oklahoma, to Lewis Alfred Ellison and Ida Millsap, on March 1, 1913. He was the second of three sons; firstborn Alfred died in infancy, and younger brother Herbert Maurice (or Millsap) was born in 1916. Lewis Alfred Ellison, a small-business owner and a construction foreman, died in 1916, after an operation to cure internal wounds suffered after shards from a 100-lb ice block penetrated his abdomen, when it was dropped while being loaded into a hopper. The elder Ellison loved literature, and doted on his children, Ralph discovering as an adult that his father had hoped he would grow up to be a poet.

In 1921, Ellison's mother and her children moved to Gary, Indiana, where she had a brother. According to Ellison, his mother felt that "my brother and I would have a better chance of reaching manhood if we grew up in the north." When she did not find a job and her brother lost his, the family returned to Oklahoma, where Ellison worked as a busboy, a shoeshine boy, hotel waiter, and a dentist's assistant. From the father of a neighborhood friend, he received free lessons for playing trumpet and alto saxophone, and would go on to become the school bandmaster.

Ida remarried three times after Lewis died. However, the family life was precarious, and Ralph worked various jobs during his youth and teens to assist with family support. While attending Douglass High School, he also found time to play on the school's football team. He graduated from high school in 1931. He worked for a year, and found the money to make a down payment on a trumpet, using it to play with local musicians, and to take further music lessons. At Douglass, he was influenced by principal Inman E. Page and his daughter, music teacher Zelia N. Breaux.

At Tuskegee Institute

Ellison applied twice for admission to Tuskegee Institute, the prestigious all-black university in Alabama founded by Booker T. Washington. He was finally admitted in 1933 for lack of a trumpet player in its orchestra. Ellison hopped freight trains to get to Alabama, and was soon to find out that the institution was no less class-conscious than white institutions generally were.

Ellison's outsider position at Tuskegee "sharpened his satirical lens," critic Hilton Als believes: "Standing apart from the university's air of sanctimonious Negritude enabled him to write about it." In passages of Invisible Man, "he looks back with scorn and despair on the snivelling ethos that ruled at Tuskegee."

Tuskegee's music department was perhaps the most renowned department at the school, headed by composer William L. Dawson. Ellison also was guided by the department's piano instructor, Hazel Harrison. While he studied music primarily in his classes, he spent his free time in the library with modernist classics. He cited reading T. S. Eliot's The Waste Land as a major awakening moment. In 1934, he began to work as a desk clerk at the university library, where he read James Joyce and Gertrude Stein. Librarian Walter Bowie Williams enthusiastically let Ellison share in his knowledge.

A major influence upon Ellison was English teacher Morteza Drezel Sprague, to whom Ellison later dedicated his essay collection Shadow and Act. He opened Ellison's eyes to "the possibilities of literature as a living art" and to "the glamour he would always associate with the literary life." Through Sprague Ellison became familiar with Fyodor Dostoevsky's Crime and Punishment and Thomas Hardy's Jude the Obscure, identifying with the "brilliant, tortured anti-heroes" of those works.

As a child, Ellison evidenced what would become a lifelong interest in audio technology, starting by taking apart and rebuilding radios, and later moved on to constructing and customizing elaborate hi-fi stereo systems as an adult. He discussed this passion in a December 1955 essay, "Living With Music," in High Fidelity magazine. Ellison scholar John S. Wright contends that this deftness with the ins-and-outs of electronic devices went on to inform Ellison's approach to writing and the novel form. Ellison remained at Tuskegee until 1936, and decided to leave before completing the requirements for a degree.

In New York

Desiring to study sculpture, he moved to New York City on 5 July 1936 and found lodging at a YMCA on 135th Street in Harlem, then "the culture capital of black America." He met Langston Hughes, "Harlem's unofficial diplomat" of the Depression era, and one—as one of the country's celebrity black authors—who could live from his writing. Hughes introduced him to the black literary establishment with Communist sympathies.

He met several artists who would influence his later life, including the artist Romare Bearden and the author Richard Wright (with whom he would have a long and complicated relationship). After Ellison wrote a book review for Wright, Wright encouraged him to write fiction as a career. His first published story was "Hymie's Bull," inspired by Ellison's 1933 hoboing on a train with his uncle to get to Tuskegee. From 1937 to 1944, Ellison had over 20 book reviews, as well as short stories and articles, published in magazines such as New Challenge and The New Masses.

Wright was then openly associated with the Communist Party, and Ellison was publishing and editing for communist publications, although his "affiliation was quieter," according to historian Carol Polsgrove in Divided Minds. Both Wright and Ellison lost their faith in the Communist Party during World War II, when they felt the party had betrayed African Americans and replaced Marxist class politics with social reformism. In a letter to Wright, dated August 18, 1945, Ellison poured out his anger with party leaders: "If they want to play ball with the bourgeoisie they needn't think they can get away with it. ... Maybe we can't smash the atom, but we can, with a few well chosen, well written words, smash all that crummy filth to hell." In the wake of this disillusion, Ellison began writing Invisible Man, a novel that was, in part, his response to the party's betrayal.

In 1938 Ellison met Rosa Araminta Poindexter, a woman two years his senior. They were married in late 1938. Rose was a stage actress, and continued her career after their marriage. In biographer Arnold Rampersad's assessment of Ellison's taste in women, he was searching for one "physically attractive and smart who would love, honor, and obey him--but not challenge his intellect." At first they lived at 312 West 122nd Street, Rose's apartment, but moved to 453 West 140th Street after her income shrank. In 1941 he briefly had an affair with Sanora Babb, which he confessed to his wife afterward, and in 1943 the marriage was over.

At the start of World War II, Ellison was classed 1A by the local Selective Service System, and thus eligible for the draft. However, he was not drafted. Toward the end of the war, he enlisted in the United States Merchant Marine. In 1946, he married Fanny McConnell, an accomplished person in her own right: a scholarship graduate of the University of Iowa who was a founder of the Negro People's Theater in Chicago and a writer for The Chicago Defender. She helped support Ellison financially while he wrote Invisible Man by working for American Medical Center for Burma Frontiers (the charity supporting Gordon S. Seagrave's medical missionary work). From 1947 to 1951, he earned some money writing book reviews but spent most of his time working on Invisible Man. Fanny also helped type Ellison's longhand text and assisted him in editing the typescript as it progressed.

Published in 1952, Invisible Man explores the theme of man's search for his identity and place in society, as seen from the perspective of the first-person narrator, an unnamed African American man in the New York City of the 1930s. In contrast to his contemporaries such as Richard Wright and James Baldwin, Ellison created characters that are dispassionate, educated, articulate, and self-aware. Through the protagonist, Ellison explores the contrasts between the Northern and Southern varieties of racism and their alienating effect. The narrator is "invisible" in a figurative sense, in that "people refuse to see" him, and also experiences a kind of dissociation. The novel also contains taboo issues such as incest and the controversial subject of communism.

Later years

In 1964, Ellison published Shadow and Act, a collection of essays, and began to teach at Bard College, Rutgers University and Yale University, while continuing to work on his novel. The following year, a Book Week poll of 200 critics, authors, and editors was released that proclaimed Invisible Man the most important novel since World War II.

In 1967, Ellison experienced a major house fire at his summer home in Plainfield, Massachusetts, in which he claimed more than 300 pages of his second novel manuscript were lost. A perfectionist regarding the art of the novel, Ellison had said in accepting his National Book Award for Invisible Man that he felt he had made "an attempt at a major novel" and, despite the award, he was unsatisfied with the book. Ellison ultimately wrote more than 2,000 pages of this second novel but never finished it.

Ellison died on April 16, 1994 of pancreatic cancer and was interred in a crypt at Trinity Church Cemetery in the Washington Heights neighborhood of Upper Manhattan.

Awards and recognition

Invisible Man won the 1953 US National Book Award for Fiction.

The award was his ticket into the American literary establishment. He eventually was admitted to the American Academy of Arts and Letters, received two President's Medals (from Lyndon Johnson and Ronald Reagan) and a State Medal from France. He was the first African-American admitted to the Century Association and was awarded an honorary Doctorate from Harvard University. Disillusioned by his experience with the Communist Party, he used his new fame to speak out for literature as a moral instrument. In 1955 he traveled to Europe, visiting and lecturing, settling for a time in Rome, where he wrote an essay that appeared in a 1957 Bantam anthology called A New Southern Harvest. Robert Penn Warren was in Rome during the same period, and the two writers became close friends. Later, Warren would interview Ellison about his thoughts on race, history, and the Civil Rights Movement for his book Who Speaks for the Negro? In 1958, Ellison returned to the United States to take a position teaching American and Russian literature at Bard College and to begin a second novel, Juneteenth. During the 1950s, he corresponded with his lifelong friend, the writer Albert Murray. In their letters they commented on the development of their careers, the Civil Rights Movement, and other common interests including jazz. Much of this material was published in the collection Trading Twelves (2000).

Writing essays about both the black experience and his love for jazz music, Ellison continued to receive major awards for his work. In 1969, he received the Presidential Medal of Freedom; the following year, he was made a Chevalier of the Ordre des Arts et des Lettres by France and became a permanent member of the faculty at New York University as the Albert Schweitzer Professor of Humanities, serving from 1970 to 1980.

In 1975, Ellison was elected to the American Academy of Arts and Letters, and his hometown of Oklahoma City honored him with the dedication of the Ralph Waldo Ellison Library. Continuing to teach, Ellison published mostly essays, and in 1984, he received the New York City College's Langston Hughes Medal. In 1985, he was awarded the National Medal of Arts. In 1986, his Going to the Territory was published; this is a collection of seventeen essays that included insight into southern novelist William Faulkner and Ellison's friend Richard Wright, as well as the music of Duke Ellington and the contributions of African Americans to America's national identity.

In 1992, Ellison was awarded a special achievement award from the Anisfield-Wolf Book Awards; his artistic achievements included work as a sculptor, musician, photographer, and college professor as well as his writing output. He taught at Bard College, Rutgers University, the University of Chicago, and New York University. Ellison was also a charter member of the Fellowship of Southern Writers.

Legacy and posthumous publications

After Ellison's death, more manuscripts were discovered in his home, resulting in the publication of Flying Home and Other Stories in 1996. In 1999 his second novel, Juneteenth, was published under the editorship of John F. Callahan, a professor at Lewis & Clark College and Ellison's literary executor. It was a 368-page condensation of more than 2000 pages written by Ellison over a period of 40 years. All the manuscripts of this incomplete novel were published collectively on January 26, 2010, by Modern Library, under the title Three Days Before the Shooting...

On February 18, 2014, the USPS issued a 91¢ stamp honoring Ralph Ellison in its Literary Arts series.

A park on 150th Street and Riverside Drive in Harlem (near 730 Riverside Drive, Ellison's principal residence from the early 1950s until his death) was dedicated to Ellison on May 1, 2003. In the park stands a 15 by 8-foot bronze slab with a "cut-out man figure" inspired by his book, "Invisible Man."

Bibliography

Invisible Man (Random House, 1952). ISBN 0-679-60139-2

Flying Home and Other Stories (Random House, 1996). ISBN 0-679-45704-6; includes the short story "A Party Down at the Square"

Juneteenth (Random House, 1999). ISBN 0-394-46457-5

Three Days Before the Shooting... (Modern Library, 2010). ISBN 978-0-375-75953-6

Essay collections

Shadow and Act (Random House, 1964). ISBN 0-679-76000-8

Going to the Territory (Random House, 1986). ISBN 0-394-54050-6

The Collected Essays of Ralph Ellison (Modern Library, 1995). ISBN 0-679-60176-7

Living with Music: Ralph Ellison's Jazz Writings (Modern Library, 2002). ISBN 0-375-76023-7

Letters

Trading Twelves: The Selected Letters of Ralph Ellison and Albert Murray (Modern Library, 2000). ISBN 0-375-50367-6

[sandiegodjstaci]

Michelle & Michael's Trekkie Water Conservation Garden Wedding

Michelle & Michael's Trekkie Water Conservation Garden Wedding

Of all the San Diego wedding DJs calling America’s finest city home, Michelle & Michael chose me to DJ and MC their groovin’ Water Conservation Garden wedding on Saturday, April 6, 2019. The following write-up is based on San Diego DJ Staci’s crazy organized & detailed outline for this Water Conservation Garden wedding.

  (c) San Diego DJ Staci, the Track Star

THE WATER CONSERVATION GARDEN WEDDING CEREMONY

Prelude ➔ Hedwig’s Theme – Vitamin String Quartet, Island in the Sun – Vitamin String Quartet, Kingdom Hearts – Dearly Beloved, The Princess Bride (“Storybook Love,” Mark Knopfler cover) – Vitamin String Quartet, Canon in D – Violin Sisters

Wedding Party Processional ➔ Star Trek The Next Generation theme (Vitamin String Quartet) – Cue to 0:34

Bride Processional ➔ Bridal March – Violin Sisters

Interlude (unity candle) ➔ Harry in Winter (Harry Potter soundtrack) – Vitamin String Quartet

Recessional  ➔ Marry You (Bruno Mars)

  (c) San Diego DJ Staci, the Track Star

THE COCKTAIL HOUR & DINNER MUSIC

While San Diego DJ Staci offers couples pre-set cocktail & dinner playlists to choose from, Michelle & Michael opted to hand-select their background music for their Water Conservation Garden wedding.

  THE WATER CONSERVATION GARDEN WEDDING RECEPTION

MC Welcome ➔ “Good evening! Welcome to Michelle & Michael’s wedding reception!!! I am the Master of Ceremonies, DJ Staci. Please take your seats so we can officially welcome our guests of honor. If you need to charge your devices, I do have a mini charging station up here including some universal chargers.”

“Tonight I’m going to be sharing a lot of stories about Michelle + Michael with you. To get rolling, let’s tackle the first ‘I love you.’ On August 27th, 2015, at Birch Aquarium in La Jollla…Michael planned their date that day expressly so he could tell Michelle he loved her out on the ocean deck…how sweet!!! Ladies & gentlemen, put your hands together for the introduction of the wedding party…”

Grand Entrance ➔ Hedwig’s Theme (Harry Potter soundtrack) – John Williams

1. Give it up for Groomsman Brandon & Nick with Bridesmaid Shara!!!

2. Please welcome bridesmaid Audrey & Groomsman Aaron!!!

3. Show some love to Maid of Honor Stephanie & Best Man Thomas!!!

➔ Star Trek – Insurrection: End Credits – Jerry Goldsmith (cue to 0:20) ➔ “They met on June 3rd, 2015, at ‘wing night’ at San Diego Brewing Co. after getting to know each other on Ok Cupid. Not soon after, they started officially dating as boyfriend and girlfriend. Together they enjoy video games, summer concerts, snorkeling, going to the movies, theme parks, zoos & aquariums, hanging out with friends, & traveling. They are planning a honeymoon to Maui, Hawaii. Ladies & gentlemen, get on your feet to welcome–for the FIRST TIME EVER–Mr. & Mrs. H—–!!!”

➔ First Dance ➔  You and Me – Lifehouse ➔ fade early: 3 mins ➔ “On June 4th, 2017, to celebrate her birthday, Mike and Michelle went to Universal Studios Hollywood & dressed up in their Harry Potter robes. In front of the Hogwarts castle with all of their friends around, Mike surprised Michelle by getting down on one knee and presenting her with a ring he designed himself. We know how Michelle answered because we are about to welcome Mr. & Mrs. H to the dance floor for their first dance as husband and wife.”

➔ Newlywed Brief Welcome/Thank You Speech ➔ yes

5:45 pm ➔ Meal Served: Buffet ➔ Dismiss tables: Day-Of Coordinator

➔ Toasts ➔ champagne ➔ “Ladies & gentlemen, I hope you are enjoying your meals. On that note, may I have your attention please for the toasts. Welcome our first speakers:

➔ Parents of the Bride – Jon & Susan

➔ Best Man & Brother of the Groom – Tom

➔ Maid of Honor & Sister of the Bride – Stephanie

➔ Mother-Son Dance ➔ “Sweetheart Tree,” Johnny Mathis ➔ fade early: no ➔ “Now let’s welcome Michael & his mother, Rebecca, to the dance floor to share a special dance.”

➔ Father-Daughter Dance ➔ Michelle – The Beatles ➔ fade early: no ➔ “And now let’s welcome Michelle & her father, Jon, to the dance floor.”

➔ Group Photo on Dance Floor

➔ Open Dancing

8:30 PM +/- ➔ Formal Cake Cutting ➔ Sugar, Sugar (The Archies)

➔ Garter Removal ➔ Stray Cat Strut (Stray Cats)

➔ Garter Toss ➔ Pour Some Sugar on Me (Def Lepard)

➔ Bouquet Toss ➔ Run The World (Beyoncé)

➔ Money Dance ➔ How Sweet It Is – James Taylor, Can’t Help Falling in Love – Elvis Presley, You’re My Best Friend – Queen, In the Mood – Glenn Miller

9:00 pm ➔ Photographer leaves

9:57 pm ➔ Last Dance

  (c) San Diego DJ Staci, the Track Star

  MICHELLE & MICHAEL’S DANCE MUSIC RECIPE

Dance Music Rating ➔ PG-13 early on then some R/X-rated as it gets later

Play A Lot ➔ Top 40/Pop, 80s Pop/Rock/New Wave, 90s R&B/Boy Bands/Pop, Motown/Funk

Play A Few ➔ Disco, Oldies, Electronic Dance Music, 70s/Classic Rock, Slow Dances

♥ M U S T – P L A Y S ♥

Too Close – Alex Clare, Never Gonna Give You Up – Rick Astley (later in the night!), Cha Cha Slide, Cupid Shuftle, YMCA, I Want It That Way – Backstreet Boys, Island in the Sun – Weezer, Shut Up and Dance, Tearin’ up my Heart – NSYNC, Time of Our Lives – Pitbull, Thinking out Loud – Ed Sheeran

♥ P L A Y   I F   Y O U   C A N ♥

Fireball – Pitbull, Larger Than Life – Backstreet Boys, Crazy in Love – Beyoncé, Shape of You – Ed Sheeran, Can’t Stop this Feeling – Justin Timberlake, Give me Everything – Pitbull, Dynamite – Taio Cruz

♥ D O   N O T   P L A Y S ♥

Country, Chicken Dance, Whip Nae Nae

  (c) San Diego DJ Staci, the Track Star

  THE WATER CONSERVATION GARDEN WEDDING FLOOR PLAN

SAN DIEGO WEDDING VENDOR LIST

Here is the amazing team of San Diego wedding vendors I had the pleasure of working with on this Water Conservation Garden wedding:

Venue ➔ Water Conservation Garden (at Cuyamaca College)

Day-Of Coordinator ➔  Kes Event Planning

Caterer ➔  Taquizas Victor

DJ ➔ DJ Staci, the Track Star

Photographer ➔ Shot by Ellen

Officiant ➔ Pastor Manuel Retamoza

Cake Bakery ➔ DIY

Florist ➔ Sweets & Buds

Again, I was honored to be the one and only San Diego wedding DJ Michelle & Mike trusted with their Water Conservation Garden wedding. Thank you!

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  GIVE IT TO ME BABY

[newstfionline]

Evangelical retailer John Wanamaker built fortune by blending faith with business

Mark A. Kellner, Religion News Service, December 4, 2018

During his lifetime, John Wanamaker built two megachurches.

One tried to save souls.

Another sold clothes, jewelry and perfume.

And the two worked hand in hand, said Nicole C. Kirk, an assistant professor at Meadville Lombard Theological School in Chicago and author of “Wanamaker’s Temple: The Business of Religion in an Iconic Department Store.”

Wanamaker believed “his business interests and his religious interests were not in conflict,” said Kirk, and he could integrate the two without compromise.

“Over and over, and not defensively, (Wanamaker) speaks about how he doesn’t see a conflict and they are mutually supportive,” said Kirk, a Unitarian Universalist minister and historian of religion.

Wanamaker put it this way, said Kirk: “The store will be my pulpit and they are part and parcel of each other.”

In their heyday, the two Wanamaker enterprises--department store and church--influenced the community, raised the living standards of thousands of employees and church members, and melded commerce and Christianity in a way not previously seen in America, Kirk said.

His eponymous department store--now a Macy’s--in Center City Philadelphia contained a 10,000-pipe organ and presented religious-themed Christmas and Easter programs. His church, Bethany Presbyterian Church, drew thousands for worship.

Wanamaker, who also served four years as postmaster general of the United States, was foremost an evangelical Christian who melded faith and works, specifically the working of his retail empire. While building the first department store in Philadelphia, he also funded the growth of the city’s first megachurch, which featured a range of social services undergirded by a strong evangelistic outreach. He offered young male employees of his store guidance through a YMCA-like program aimed at promoting spiritual discipline. All employees could spend a summer vacation at a church-run resort, albeit with strict behavioral codes.

The merchant was so famous for his public expressions of faith he was satirized as “Pious John” in newspaper cartoons. But the ridicule did not deter him from his mission to blend faith and commerce, using his wealth to fund the YMCA, where he had worked before going into retail, as well as the Salvation Army, whose U.S. leader, Commander Evangeline Booth, became a close friend.

The wearing of religion “on one’s sleeve,” said Vanderbilt University professor James Hudnut-Beumler, was more conspicuous with Wanamaker than contemporary businesses.

Wanamaker’s store had a sacred Christmas display, complete with a creche, and religious displays at Easter. And no one boycotted them, said Hudnut-Beumler.

Hudnut-Beumler said Wanamaker’s public faith “is so much a reflection of the Protestant moment in American religious history when people either were Protestant of a certain sort or had to accommodate themselves to evangelical Protestantism.”

“Today, you can be philanthropic,” he said. “You can lead with a big heart, you can even be paternalistic, but you had better not infringe on other people’s religions if you want to have a huge market share.”

Along with his overt religiosity, Wanamaker “presaged the mid-20th-century evangelical revival led by people such as Billy Graham” through his interdenominational work, according to Hudnut-Beumler.

When revivalist Dwight L. Moody came to Philadelphia, Wanamaker remodeled the hall in which Moody conducted his campaign to make it more suitable. Some churchmen viewed the Salvation Army as “competition,” Hudnut-Beumler said, but Wanamaker endorsed its work of evangelizing those in poverty or addiction.

“The fascinating thing about Wanamaker is, even though he belongs to a ‘tribe,’ Presbyterians, he’s so much bigger than his tribe, when it comes to Christianity,” Hudnut-Beumler said.

Kirk said she was struck by the reaction of people when she mentioned her study of Wanamaker’s life and religion.

“What was exciting about this research was how people responded to my saying I was working on a book on Wanamaker,” she said. “Their eyes would light up and they’d tell me a story about a family member that worked there, made a career out of it, or going to Center City and seeing the displays. There is this grand nostalgia for the great American department store that no longer exists.”