#a superior james era

[dy3rs3v3]

James Hetfield on stage when Metallica performed as the headliner at Carling Festival in Reading, England, 2003

[starchasersunseeker]

"You're just like the nazis if you ship jegulus / if you like Regulus / Barty / Evan / any character that was a death eater"

What the fuck is wrong with you all??? That's not a good take you think it is.

My great grandparents were literally in concentration camps. How dare you make such an awful comparison? Comparing FICTIONAL CHARACTERS to real life events is actually very sick of you. To call someone a nazi or nazi sympathizers just because they enjoy exploring FICTION makes you a very gross person.

I don't care if you think you're superior for liking a different ship or for hating certain characters. You are not. You're actually well bellow everyone else for making such horrible comparisons. You are playing limbo with the underground with how terrible you are.

[rewritingcanon]

idk why im in such a bad mood rn but it actually PISSES ME TF OFF how the entire marauders fandom collectively decided to take this bum-ass loser character with one discernable impact on the storyline (regulus. im talking about regulus) and make him a super complex, three-dimensional MAIN character in the era that’s being literally paired with JAMES POTTER(???) when they could’ve taken a character who AREADY has existing complexities and everything they could ever want and develop them. but they won’t because that character is a fucking woman ☠️☠️

the way the black sisters would have the entire fandom in a fucking chokehold if they were boys. do you actually think sirius and regulus would be as cherished as they are now if they were women? hell fucking no, regulus would be hated on so badly. the way we were given narcissa and fucking andromeda too? here’s the entire fandom yapping on and on about how cool regulus is for rebelling against the dark lord when narcissa was doing it and fucking getting away with it too (because she’s better and doesn’t suck ass). here’s andromeda going against her entire bloodline ON HER OWN but yet shes still so overshadowed by sirius (who literally came after her). then you got bellatrix who is canonly one of the most powerful (and cuntiest) witches in the hp-verse and you decide to go and develop BARTY instead. think about it. they’re both crazy except one is more of a loser and is a male so of course the fandom will choose him.

and then. of course. lily evans who is literally the mother of the entire verse itself is still out here fighting for literal recognition and development from the fandom. and those mfs still give it to regulus instead ☠️☠️

[versatancore]

WHAT IF sirius was sorted into slytherin as he was supposed to be?? black brothers being the casanovas of slytherin while remus and james being the casanovas of gryffindor?? enemies to lovers wolfstar/jegulus?? first they hate each other but then evan and james slowly becoming friends so they get the chance to know each other without trying?? idk about you but i need this immediately.

[izzy-prizzy]

idk about anyone else but to me jegulus is the personification of someone thinking they are hard to love but then this person comes along and loves them like it's as easy as breathing.

you don't understand!

[siriuslylovejegulus33]

Star "idiots to lovers" chaser

[rinadragomir]

Cordelia trying to flirt: do you👉👈 want me👀to read something for you?😳or maybe you want to 👉👈play ...chess?🙊🙈 *I hope it didn't sound like I'm an obsessed fangirl god that's so embarrassing😭*

Lucie trying to flirt:

[elysianymph]

jegulily and their aesthetics

[stayshineee]

i have to admit

jily could've been the best couple in the harry potter series if only they had more time

[roalinda]

Second part of - marauders' era superior ship - jily part here

[vintagetvstars]

In light of James Earl Jones recent passing I thought it would be nice to celebrate his life and career by highlighting some of his major TV works.

Unfortunately most of these shows have not made the leap to online streaming and it’s possible they may have never even been released in any form of physical media. I hope one day we may see these shows available for viewing again but for now I’ll share what I could find of them.

Gabriel’s Fire (1990 - 1991)

“The main character, Gabriel Bird, was played by James Earl Jones. He was a former Chicago police officer who, over twenty years prior, had been wrongfully sentenced to life imprisonment for the murder of a fellow police officer. In fact, he shot the officer to protect a defenseless mother and child whom the officer was about to murder in cold blood during a 1969 police raid. Unbeknownst to Bird, the raid had been merely a pretext for the police to attack the members of a militant black nationalist organization.

This incident in the character's background was inspired by the 1969 death of Black Panther Party leader Fred Hampton, who was shot and killed during a raid upon his residence conducted by Chicago police and other law enforcement personnel. On the show, the street on which the raid involving Bird had occurred was identified as "Hampton Street".

After serving about twenty years in prison, a human rights lawyer decides to work for his release as his testimony is needed in another case. At first, Bird opposes any attempts to release him, as he became accustomed to life in prison, but after his release takes place against his will, he begins to get used to life as a free person and uses his time away from prison to help other people who are wronged by society or the authorities.

When Bird is released, he starts working as a private detective, hired by the lawyer who had helped free him.” (Source)

James Earl Jones won the Emmy for Outstanding Lead Actor in a Drama Series for his role in this show.

While this show is unfortunately unavailable on streaming services I was able to find someone who had uploaded a recording of the first episode on YouTube (unfortunately I could not find the rest of the series at this time). There do not seem to be any DVD or physical media copies of this show.

Paris (1979)

“Los Angeles Police Captain Woody Paris (Jones) is the supervisor of a team of rookie detectives, led by Sergeant Stacy Erickson (Cecilia Hart) and including officers Charlie Bogart (Jake Mitchell), Ernesto Villas (Frank Ramirez), and Willie Miller (Michael Warren). Hank Garrett portrayed Deputy Chief Jerome Bench, Paris' superior, and, in an unusual turn for police dramas of that era, Paris' home and off-duty life was given considerable attention, with Lee Chamberlin portraying his wife Barbara. Paris additionally moonlighted as a professor of criminology at a local university.” (Source)

This show is also unavailable online and I could only find DVD listings on a few obscure sites so it’s unclear if any physical media of this show truly exists. However I did find a short clip of its theme (unfortunately it’s just a short clip of James Earl Jones in the intro sequence followed by the rest of the music over a blurry image of him).

Pros and Cons (1991 - 1992)

"Gabriel Bird is a former Chicago police officer, who, over twenty years prior, had been wrongfully sentenced to life imprisonment for the murder of a fellow officer. He was exonerated and subsequently became a Chicago private detective (as seen on Gabriel's Fire). Bird then moves to Los Angeles, where he teams up with another private eye, Mitch O'Hannon. Bird also marries his love interest, Josephine, She had been the proprietress of a café where Bird had begun frequenting shortly after his release, at first for her good, homestyle cooking, but soon, primarily for her companionship." (Source)

Once again this show has not made the leap to streaming and there have seemingly been no DVD or physical media releases of it. However I did find a clip of a short promotional spotlight for the show.

Heat Wave (1990)

"Heat Wave is a 1990 American thriller-drama television film about the 1965 Los Angeles Watts Riots" (Source)

Heat Wave was a made for TV movie and also starred: Blair Underwood and Cicely Tyson.

James Earl Jones won the Emmy for Supporting Actor in a Movie or Miniseries for his role in this movie.

This movie is available for streaming on Amazon, Apple TV, and Fandango at Home. And it looks like there are some DVD copies for purchase on Amazon, Ebay, and other sites.

Here is a promotional trailer for the movie.

CW: Police Brutality and Racism

I hope this has bean able to shine a light on a lesser acknowledged section of James Earl Jones extensive acting career and legacy. And I hope one day those shows of his that have been seemingly lost to time may yet see the light of day once again.

[taylortruther]

also re: the racial component of TS/fan base, if you haven't you should watch Alex Avila's video on Taylor Swift, I think it was really well done

this is SO good. thank you SO much for this recommendation.

i really liked how avila noted how masterfully taylor blends authenticity and social normativity - "the reason taylor swift seems so authentic to young girls is because she's conforming to an image [of white patriarchal girlhood] that young women internalized from a young age." similarly, the popular feminism of 2014 (when 1989 was released) was flimsy and did not challenge patriarchal norms, and we see how she made feminism part of 1989's branding.

and he asks a question i often pose: is there anything subversive in idolizing the most popular cultural object? does poptimism (the critique of pop music as a serious form of art) simply reinforce existing power structures??

taylor swift and whiteness

understanding how someone becomes a legend and icon means understanding how they challenge, but also reinforce, the biases in society, which includes race, class, gender, and so forth. and "there IS something deeply white about [taylor's] image" (1:18:33). her image is cultural whiteness! taylor swift's relatability (which is and has always been part of her brand), her social capital, her social normativity, is directly tied to the neoliberal racial philosophy that, instead of calling whiteness superior, establishes whiteness as the norm (1:21:23).

millennials want celebrities to be morally pure. this is a mistake.

also - LOVE that he points out that millennials don't judge female celebrities by their sexuality or modesty anymore, but instead they judge based on political awareness, which is just another way of continuing the "patriarchal history of regulating narratives around women's actions" (1:42:39). avila focuses specifically on millennials here, cautioning us not to consider this a a sign of true political engagement from millennials. as he points out, systems of oppression adapt to our ever-changing culture. when we try to 'cancel' or 'hold a celebrity accountable' for their ideologies or missteps, sometimes it's because they're truly terrible, and other times it's because we hold women to "unrealistic standards of purity." ie, this isn't necessarily real political engagement, it is just another example of judging women. often it's both (pointing out missteps, and also being sexist.)

whiteness again

avila goes on to discuss how white women have long been held up as virtuous, moral centers of american families - and while this is a racist and sexist practice, given that woc aren't seen as virtuous, it also lays the foundation for why white women in particular dominate conversations about politics in the public sphere. it is an Event every time a white celebrity frames their political awakening as a personal, spiritual journey of self-realization. yes, this act is important, because women must learn about their own oppression, and talk about it, in order to educate others.

but when taylor (or any other famous white woman) frames politics solely through the personal, it relieves her of the obligation to critique systemic issues. her own political awakening is all that matters - she must prove her own political purity (instead of sexual purity, as before.) there is a deep problem in society demanding this, rather than larger systemic change, but we'll get to that later.

this personal political purity awakening earns her a lot of goodwill, but her resistance ends with herself. and this is a pattern that we see happen all the time, in what robin james calls "neoliberal resistance discourses" in pop: someone is damaged by oppression (sexism), she overcomes it brilliantly with an awakening (miss americana/lover/denouncing trump era), and she absorbs this goodwill into her brand. these individual damages and awakenings supposedly symbolize society's own awakening and resilience(!). (1:52:48)

🚨 some readers might be getting tired/annoyed at this; i can hear y'all saying "well, what do you even WANT from her omg!!!" just stay with me here. 🚨

she holds a mirror up to society, tho

what avila so brilliantly points out is that... this cycle of damages and resilience isn't helpful. it goes nowhere! and we are all at the mercy of the same patterns as taylor. it's not about taylor, it's about us, and how capitalism commodifies everything, including social movements! including personal 'goodness'! a neoliberal system wants individuals to care about their individual choices and looking like good individuals; it encourages the use of "purity tests" and "commodified algorithmic social movements" to discourage challenges to systemic issues (reminds me of the celebrity blackout situation earlier this year, and conversations we have about politics, well, daily on here.) and the pattern of a person failing politically as an individual is part of this machine. if we're too busy policing individuals for their purity, we won't ever organize together for shared material goals. unfortunately, unlike taylor swift, most of us are not extremely powerful, wealthy, and influential as individuals. she does have more power than us in this regard.

taylor as cultural hegemony

anyway, avila goes on to talk about how taylor had this musical renaissance with folklore, and became more honest about her masterminding her own career in midnights. she has shown herself not just to be a musical chameleon, but a cultural one as well, positioning herself as white teenage purity when the culture called for it (circa 2008-2010), neoliberal pop feminism (1989 -> lover), pandemic escapism (folkmore) - and the culture has become part of her brand, part of her music. music that is already heavily wrapped up in her own life. she is the brand she is the culture. of course she put the work in, and not just anyone could do this. but imo, her whiteness (which, again, gives her this "default" "neutral" background to work with) is part of this success. "sure, she's challenged the institution but all in the effort to become the new face of musical hegemony" (2:06:25.) she challenges systems to assimilate into them, or create them in a way that requires assimilation.

of course, this is all based on her REAL experiences, her REAL life. she is living her own life, and also living it in this metacognitive way that mirrors culture.

but we don't have to hate taylor, actually!

and MOST interestingly, avila closes out by suggesting: it's not actually super healthy to always be suspicious and critical of art (2:17:24.) yes, there is a long political history of "paranoid reading," of critique based on marx, freud, and nietzsche's philosophies. it is the basis of A LOT of our frameworks for thinking about the world, including art.

as i've said before, it's interesting to discuss taylor or celebrities because they hold a mirror up to society. but we can't just relentlessly critique ourselves - after all, the critique is supposed to protect us from being bad! the critique is what keeps us good! and it's why we project so much onto them (the celebrities, or "bad" people.)

this video dove into a term that may be new to a lot of people (i only learned of it recently) - "reparative reading." rather than relentlessly critique art or what-have-you, engage with it in ways that is "affirmative, creative, and caring." this does not mean you toss out critical readings - reparative readings can coexist, and give us hope, optimism, feelings of beauty/appreciation, and affirmation.

for example, it's why -while i enjoy critiquing taylor (or what she Represents) - i am also here to just... have fun. i don't want to linger 24/7 on her emissions, or what she hasn't done, or who she's friends with. it's also why, as a fan of color, i hate that she is often dismissed and minimized to "white musician making music for white women." i find affirmation in a lot of her music, regardless of her race; i find optimism and hope in the way women so deeply relate to her, and how queer fans (also like myself) relate to her! (which avila points out too 2:21:00.) it's why i stopped debunking stuff, because queerness - like any other aspect of the fandom - is such a critical, significant part of why her music is beloved. it's so important for people to recognize that she is more than just 'music for straight white heterosexual cisgender women.'

[v-h-lupin]

Maurauders Era Characters if they were Demigods (with explanations)

ive been listening to Epic and rereadng my harry potter writing (really trying to work on my fanfic, im just stretched kinda thin)

anyway

this is pt. 1 because I will be doing more, and golden trio era characters too

Remus Lupin:

This boy is the most Son of Athena kid i have ever seen in my entire life look at him He is so smart in so many different ways I just he's so quick witted and brave, and he was so ready to throw himself into battle. strategizing to use his unique attributes even when his superiors (who had political leanings) told him otherwise. But his intellect doesn't mean he has a lack of empathy he's also really crafty but not in the "hot gluing pieces of felt in the basement" type of crafty he's just got such a good mind

James Potter:

Ok ok so hear me out Hermes. Hermes Hermes Hermes. Hermes is the god of so many things-- Jack of all trades, really, and James is just so damn good at everything he does. He's also incredibly fast on a broom. He makes friends wherever he goes (pretty fitting if your father is the god of travellers) and is mischevious without dipping into the villain area (most of the time).

Sirius Black:

Aphrodite. Hands down. Did not have to think when I said this. Everyone at school is fully aware that he is attractive and he can charm almost anyone. he is very charismatic. He can speak French and I BELIEVE Italian... ok it just... makes sense to me... (btw regulus will be in pt. 2)

Peter Pettigrew:

Also Hermes. Let me explain-- Beyond the fact that it would justify him feeling closer to James, we can use the other side of the Hermes coin for this. Hermes is the god of pretty much anything you encounter on the road. Hermes is not evil or anything-- but he does technically protect thieves and liars. Peter and James have parallels that make me believe both of them would be sons of Hermes, but their hearts were different.

Lily Evans:

This one was hard. I was thinking Demeter- then Apollo- then Athena- Hestia isnt an option but like, it might fit if it was-- I'm gonna say Athena because while YES, she does learn healing magic, she's also just incredibly bright in general. She and Remus are both brainchildren ok She's also very witty in her comebacks and stubborn-- im referring to her behavior in general, not just when it comes to james. For example, even though Petunia hated her, she still was so determined to have a good relationship with her sister.

Mary MacDonald:

OO, oo, i want to say Aphrodite, but then I remember that sirius is aphrodite and that would be WEIRD but if sirius was anyone elses kid, mary would be an aphrodite kid, i just, like? look at her. she celebrates her femininity, she's so confident in herself, i love her

other than aphrodite, I might say... Hebe. Seems like a deep reach, but she's the goddess of youth.

Marlene McKinnon:

APOLLO. Apollo. Apollo. Marlene has always wanted to be a healer. She's also a great flyer. I don't know what else to say about it but like- Apollo? yes, yes

[reivelation]

literary references in evangelion

toji suzuhara, kensuke aida, and the last name horaki are lifted from characters within ryu murakami's novel ai to gensou no fascism / fascism of love and illusion.

nerv's motto is a quote from pippa passes, a 1841 verse drama.

"God's in his heaven— All's right with the world!

this line is also quoted in anne of the green grables.

"'God's in his heaven, all's right with the world,'" whispered Anne softly.

isao takahata's anime adaptation anne of the green gables also includes a scene similar to the ending scene of the anime series.

the name of episode 26 (the beast that shouted i at the heart of the world) is a reference to the book by harlan ellison, the beast that shouted love at the heart of the world, a collection of short stories. "i" sounds very similar to "ai", meaning love in japanese.

the greek tragedies, oedipus rex and electra which is fairly self-explanatory... i hope... with the show's use of freudian concepts (shinji's oedipus complex and misato's electra complex respectively.)

the human instrumentality project is a reference to the book series by cordwainer smith, instrumentality of mankind.

despite that, the human instrumentality bears a striking resemblance to the plot of Arthur C. Clarke's 1953 novel, childhood's end.

plot synopsis on goodreads:

The Overlords appeared suddenly over every city--intellectually, technologically, and militarily superior to humankind. Benevolent, they made few demands: unify earth, eliminate poverty, and end war. With little rebellion, humankind agreed, and a golden age began.

But at what cost? With the advent of peace, man ceases to strive for creative greatness, and a malaise settles over the human race. To those who resist, it becomes evident that the Overlords have an agenda of their own. As civilization approaches the crossroads, will the Overlords spell the end for humankind . . . or the beginning?

in asuka and kaji's introductory episode asuka strikes, there are four battleships in the UN convoy named after the shakespeare plays titus andronicus, cymbeline, othello and tempest.

in 2.22, kaji says he feels like urashima taro, referencing the japanese legend named after it's titular character, a fisherman named urashima taro. the legend goes that the fisherman rescues a turtle and is rewarded by a visit to the dragon palace where he is entertained for several days but when he returns to the human world, he finds that he had been gone for at least a century and everything around him has now changed. this is a metaphor for how kaji left tokyo-03 for only two years yet feels as though everything around him has now changed.

episode sixteen being titled (there are alternate titles to several evangelion episodes) sickness unto death after the philosopher soren kierkegaard's book of the same name exploring christian existentialism.

speaking of episodes being titled after philosophical works from the victorian era, is the hedgehog's dilemma. originally described in arthur schopenhauer's collection of philosophical reflections, parerga und paralipomena. the hedgehogs dilemma is a theme seen over and over again in evangelion with episode 4 being titled after it.

the title of evangelion 3.0 + 1.0: thrice upon a time references the book with the same title, thrice upon a time by james p. hogan.

It's amazing enough when Murdoch Ross's brilliant grandfather invents a machine that can send messages to itself in the past or the future. But when signals begin to arrive without being sent, Murdoch realizes that every action he takes changes the future that would have been...and that the world he lives in has already been altered!

Then a new message arrives from the future: The world is doomed!

as qmisato pointed out, anno has referenced james p. hogan's works previously as well (nadia: secret of the waters' final episode being titled inheritor of stars referencing hogan's novel inherit the stars)

[usnatarchives]

Paws and Claws for the Cause - American WWII Propaganda Posters Featuring Animals 🐕‍🦺🦅

During World War II, U.S. propaganda posters wielded not just patriotic fervor but also a diverse array of animal symbolism to rally the public. Faithful dogs, regal eagles, and even the humble wildlife of American forests became emblems of the home front's dedication to victory. Let's take a leap into the past and examine the role these animals played in U.S. wartime propaganda.

Dogs: Loyal Companions in the Fight for Freedom 🐶

Dogs in WWII posters often represented trustworthiness and the protective instincts crucial to American security. A notable poster from the National Archives shows a vigilant dog alongside a call to action for war bond contributions, encapsulating the role of dogs as both companions and defenders.

Eagles: The Winged Warriors of American Ideals 🦅

The American eagle soared across numerous posters, its powerful wingspan casting a shadow over threats to liberty, and its sharp gaze fixed on aerial superiority and victory.

Wildlife: Symbols of Conservation and the Nation's Resolve 🦉

Bears, squirrels, and other native animals symbolized the conservation efforts on the home front. These posters encouraged citizens to collect and contribute materials critical to the war effort, equating everyday actions with the strength and resourcefulness of America's wildlife.

Enemies as Pests: Propaganda's Vermin 🐁

Enemy forces were often portrayed as vermin, such as rats or insects, to emphasize the threat and repugnance of their ideologies. This stark animal imagery served to dehumanize the enemy.

These posters from the National Archives Catalog remind us of the power of imagery and metaphor in rallying a nation to unite against a common foe. As we explore these historical artifacts, we gain insight into the era's cultural mindset and the enduring impact of visual persuasion.

Read more:

[kemetic-dreams]

Go-go is a subgenre of funk music with an emphasis on specific rhythmic patterns, and live audience call and response.

Go-go was originated by African-American musicians in Washington, D.C., during the mid-60s to late-70s. Go-go has limited popularity in other areas, but maintains a devoted audience in the Washington metropolitan area as a uniquely regional music style and was named the official music of Washington, D.C., in February 2020.

Performers associated with the development of the style include Rare Essence, EU, Trouble Funk, and singer-guitarist Chuck Brown. Modern artists like Charles "Shorty Corleone" Garris continue the go-go tradition in D.C.

Origins

Although Chuck Brown is known as "the Godfather of Go-Go", go-go is a musical movement that cannot be traced back to one single person, as there were so many bands that flourished during the beginning of this era that they collectively created the sound that is recognized as go-go of today. Artists such as Marvin Gaye, Van McCoy, Billy Stewart, Peaches & Herb, Black Heat,Experience Unlimited (E.U.), Vernon Burch, Sir Joe Quarterman & the Free Soul, the Moments, Ray, Goodman & Brown, True Reflection, the Unifics, Terry Huff & Special Delivery, Act 1, the Dynamic Superiors, Skip Mahoney & the Casuals, the Choice Four, and the Fuzz that played soul music during pre-go-go era.

The term "gogo" (as it applies to a music venue) originated in France in the early 1960s, at the Whiskyagogo nightclub, named after the French title for the British comedy "Whisky Galore!".The club also featured go-go dancers. In January 1964, capitalizing on the emerging popularity of "go-go dancers", the name was licensed to a Los Angeles club, the Whisky a Go Go, and from there the term "go-go" spread nationwideThe Cafe Au Go Go in NYC was also in business during that time, gaining notoriety when Lenny Bruce was arrested there in April 1964. By 1965, "go-go" was a recognized word for a music club, as evidenced by the TV show Hollywood A Go-Go (march 1965-1966), or the song title of that year's hit Going to a Go-Go by Smokey Robinson & the Miracles (released November 1965). At a go-go club, dancers could expect to hear the latest top 40 hits, performed by local bands and DJ's. (The French Whiskyagogo had been one of the first venues in the world to replace live music with records selected by a disc jockey.)

In Washington D.C., minor group Wornell Jones and the Young Senators were formed in 1965, beginning a fierce competition with Chuck Brown and Black Heat on the local club circuit. The Young Senators later became known for their song "Jungle" released in 1970 by Innovation Records. Guitarist and bandleader Chuck Brown is widely regarded as "the Godfather of Go-Go".

Chuck Brown was a fixture on Washington and Maryland music scene with his band Los Lotinos as far back as 1966. By the mid-1970s, he had changed the group's name to The Soul Searchers, and developed a laid-back, rhythm-heavy style of funk performed with one song blending into the next (in order to keep people on the dance floor). The beat was based on Grover Washington Jr.'s song "Mr. Magic," though Brown has said in interviews that both he and Washington had adapted the beat from a gospel music beat found in African churches.

Washington, D.C., funk's early national chart action came when Black Heat (the first D.C. go-go band to be signed by a major record label) released their Billboard top 100 hit "No Time To Burn" from their second album on Atlantic Records in 1974. They then toured with such national acts as Earth Wind & Fire, Parliament Funkadelic, Ohio Players, The Commodores, and others. In 1976, James Funk, a young DJ who spun at clubs in between Soul Searchers sets, was inspired (and encouraged by Brown himself) to start a band—called Rare Essence (originally the Young Dynamos)—that played the same kind of music.