#alex somers

[whileiamdying]

Great Books Don’t Make Great Films, but “Nickel Boys” Is a Glorious Exception

RaMell Ross’s first dramatic feature, an adaptation of Colson Whitehead’s novel, gives the bearing of witness an arresting cinematic form.

By Richard Brody December 6, 2024

It’s harder to adapt a great book than an average one. Literary greatness often inhibits directors, who end up paying prudent homage to the source rather than engaging in the bold revisions that successful adaptations require. And even uninhibited directors may lack the stylistic originality of their literary heroes. It’s all the more remarkable, then, that the director RaMell Ross, in his first dramatic feature, “Nickel Boys”—adapted from Colson Whitehead’s Pulitzer-winning 2019 novel, “The Nickel Boys”—avoids both obstacles with a rare blend of daring and ingenuity. Few films have ever rendered a major work of fiction so innovatively yet so faithfully. In a year of audaciously accomplished movies, “Nickel Boys” stands out as different in kind. Ross, who co-wrote the script with Joslyn Barnes, achieves an advance in narrative form, one that singularly befits the movie’s subject—not just dramatically but historically and morally, too.

The movie’s title refers to Black youths (teens and younger) who are inmates of the Nickel Academy, a segregated and abusive “reform school” in rural northern Florida—particularly to two teen-agers, Elwood (Ethan Herisse) and Turner (Brandon Wilson), who become friends while incarcerated there, in the mid-nineteen-sixties. (The institution in Whitehead’s novel is inspired by the notorious Dozier School for Boys, but his characters are fictional.) Elwood, who is sixteen years old when he enters the facility, is being raised by his grandmother Hattie (Aunjanue Ellis-Taylor), who works on the cleaning staff of a hotel. He’s a star student, literary and politically passionate, in a segregated school. One of his teachers, Mr. Hill (Jimmie Fails), is a civil-rights activist, and he plays a Martin Luther King, Jr., speech on a record for his students. Elwood gets his picture in a local newspaper for participating in a civil-rights demonstration, but he’s only holding a sign; he longs to join in civil disobedience, but Hattie seems skeptical about the idea. Hitchhiking to a nearby college for advanced classes, he gets a ride from a flashily dressed, fast-talking Black man (Taraja Ramsess) whose car, unbeknownst to Elwood, is stolen. When the police pull the driver over, the innocent Elwood, too, is punished, resulting in his internment in Nickel.

From the start, Ross throws down a stylistic gauntlet: up until Elwood’s imprisonment, the action is seen entirely from his point of view—literally so, as if the camera were in the place occupied by his head, pivoting and tilting to show his shifting gaze, while his voice is heard offscreen. This device was famously used by Robert Montgomery in his 1947 adaptation of Raymond Chandler’s “The Lady in the Lake,” but it was no more than a gimmick. In Ross’s hands, the device becomes something overwhelmingly expressive: the images, rather than merely recording Elwood’s emotions, register the cause of those emotions and allow the viewer to partake in his inner world.

The results can be puckish, as when Elwood’s reflection appears in the chrome side of the iron that Hattie is sliding across an ironing board. But Ross’s technique is exquisitely responsive to the story’s depth and range of experience. The viewer shares Elwood’s naïve bewilderment when the driver of the stolen car, hearing a police siren, tells him not to turn around; similarly, one feels the anguished anticipation when Elwood awaits transport to Nickel. At this point, an extraordinary scene tears a hole in time, bringing the history of Black American life rushing in to overtake Elwood’s own: Hattie, with an air of unusual formality and seething indignation, recalls in excruciating detail her father’s death in police custody and her husband’s death at the hands of white assailants. But she expects better for Elwood.

Once the police have deposited Elwood in Nickel’s run-down barracks for Black inmates, Ross extends the dramatic force of his method while expanding its intellectual scope. At breakfast, Elwood meets Turner, who’s from Houston and much more streetwise. The impact of this moment is heralded in a coup de cinéma that is a vast amplification of the story: a repetition of the breakfast-table encounter, seen, the second time around, from Turner’s point of view. Once the pair become friends, both of their perspectives share the film, to mighty effect.

Elwood’s wrongful detention is only the first of the Job-like litany of injustices heaped upon him. In Nickel, sucker-punched and knocked out by a bigger kid, Elwood receives the same standard and brutal punishment as his assailant. Nickel’s sadistic supervisor, Mr. Spencer (Hamish Linklater), who is white, administers beatings with a strap in the so-called white house, far from the barracks. An industrial fan is used to drown out the victims’ screams, but it doesn’t quite do so, and Elwood, with his view of the horrors obstructed, hears them in terror while awaiting his turn.

Hospitalized as a result of the beating, Elwood gets a surprise visit from Turner, who’s also a patient (having skillfully feigned illness). Turner warns him that there are still worse punishments menacing the Nickel inmates, ranging from the sweat box—a brutally hot crawl space under a tar roof—to actual murder. (Such deaths were covered up by burial in unmarked graves and an official lie that the child ran away without a trace.) Elwood, inspired by the civil-rights movement and knowing that his grandmother has hired a lawyer, is confident that justice will prevail. He even keeps a notebook in which he records unpaid labor and which he thinks will help get Nickel shut down. Turner has no such confidence, insisting that no one gets out of Nickel alive except by getting himself out. The two teens’ visual perspectives, alternating through the hospital scene, embody their diametrically opposed views of American society, of their prospects, and of the destinies that await them.

Through Elwood’s and Turner’s eyes, in scenes that unfold in long and complex takes, the movie offers a formidable fullness of incident, intimately physical detail, and finely nuanced observations. The corruption of Nickel’s administrators and the legitimized absurdities of their cruel regime come to light as they’re experienced by the two teens, as do Hattie’s struggles to stay connected with Elwood and to seek legal relief. Lyrical snatches of daily life—passing moments of grace on a job outside Nickel’s grounds or during free moments in a rec room—are haunted by traces of past brutality and flickers of menace. Ross stages the action with a choreographic virtuosity that’s all the more astonishing given that this is his first dramatic film. (His previous feature, from 2018, is the documentary “Hale County This Morning, This Evening.”) His teeming visual imagination is matched by the agile physicality of Jomo Fray’s cinematography. As a first dramatic feature, “Nickel Boys” is in the exalted company of such films as Terrence Malick’s “Badlands” and Julie Dash’s “Daughters of the Dust.” Like them, it comprehensively creates a new way of capturing immediate experience cinematically, a new aesthetic for dramatizing history and memory.

Early on, the action is set in historical perspective by means of flash-forwards. Eventually, there are revelations about the atrocities at Nickel; the grounds are excavated, and human remains discovered. One of the friends (played as an adult by Daveed Diggs) gets wind of these investigations, having in the intervening years made his way to New York, found employment as a mover, and started his own business. In this later time frame, Ross continues to rely on point-of-view images, but with a piercing difference. The camera now floats just behind the character’s head, depicting work and home, love stories and painful reunions, fleeting observations and a reckoning with the past, as if from two points of view simultaneously—one visual and one spectral, bringing absence to life along with presence.

The onscreen incarnation of Elwood’s and Turner’s perceptions isn’t only intellectual or theoretical. The moral essence of Ross’s technique is to give cinematic form to the bearing of witness. Where Whitehead’s novel describes his characters’ physical torments in the third person, with psychological discernment and declarative precision, Ross’s movie fuses observation and sensation with its audiovisual style. It suggests a form of testimony beyond language, outside the reach of law and outside the historical record. It is a revelation of inner experience that starts with the body and all too often remains sealed off there and lost to time—except to the extent that the piece of art can conjure it into existence.

The movie’s twin aspects of witness and of point of view have a significance that extends beyond the drama and into cinematic history. There were no Black directors in Hollywood until the late sixties, and no Hollywood films that conveyed then what “Nickel Boys” shows in retrospect: the monstrous abuses of the Jim Crow era and its vestiges. In bringing the historical reckonings of Whitehead’s novel to the screen, Ross hints at an entire history of cinema that doesn’t exist—a bearing of witness that didn’t happen and the lives that were lost in that invisible silence. ♦

Published in the print edition of the December 16, 2024, issue, with the headline “Each Other’s Back.”

Directed by: RaMell Ross Screenplay by RaMell Ross and Joslyn Barnes Based onThe Nickel Boys by Colson Whitehead Produced by Dede Gardner, Jeremy Kleiner, David Levine, Joslyn Barnes Starring: Ethan Herisse, Brandon Wilson, Hamish Linklater, Fred Hechinger, Daveed Diggs, Aunjanue Ellis-Taylor Cinematography: Jomo Fray Edited by Nicholas Monsour Music by Alex Somers and Scott Alario Production: Orion Pictures, Plan B Entertainment, Louverture Films, Anonymous Content Distributed by Amazon MGM Studios Release Dates: August 30, 2024 (Telluride) December 13, 2024 (United States) Running time140 minutes Country: United States Language: English

[machazer]

When my brain is out.

[sinceileftyoublog]

Julie Byrne Album Review: The Greater Wings

(Ghostly International)

BY JORDAN MAINZER

Albums billed as being shaped by grief often don't follow linear rules, or at least a perfect pipeline of death to grief to songwriting. Famously, when Jeff Tweedy sang, "Tall buildings shake / Voices escape singing sad sad songs," on "Jesus Etc.", released in 2002, many listeners thought the line to be about 9/11, even though Yankee Hotel Foxtrot was finished before the attacks. More recently, Nick Cave & The Bad Seeds' Skeleton Tree hit shelves after his son Arthur tragically died from a fall; during its recording sessions, Cave amended many of the album's lyrics, which had been initially written by the time his son passed away, but to this day we don't know exactly what changed. On the title track to singer-songwriter Julie Byrne's new album The Greater Wings, she declares she will "name my grief to let it sing," rendering that grief a living, breathing entity, almost a character in the album. Halfway through the making of the record, Byrne's creative partner Eric Littmann suddenly passed away. After shelving it for six months, Byrne completed the album with producer Alex Somers, her first time in a conventional recording studio. The result is a stunning canvas of reflection on things that are no longer for this world, from people to relationships, filtered through Byrne's blue-colored glasses.

Really, a more apt timeline for comparison to The Greater Wings is Bell Witch's Mirror Reaper, an album that acts as a tribute to a former member while including documents of their physical presence, more living artifact than ghost. On Mirror Reaper, it was the late Adrian Guerra's voice; here, Littmann's synthesizers shine throughout the record, like his arpeggios harmonizing with Marilu Donovan's harp on "Summer Glass" and his wobbly instrumentation on "Conversation Is A Flowstate". To see how Byrne and Somers owned the material from there is breathtaking. It's hard to remember that before her previous record, Not Even Happiness, Byrne was a DIY folk singer. That album's glassy closing track "I Live Now As A Singer" not only informed The Greater Wings' expanded aesthetic, but it's proven to be a total turning point in Byrne's career. The production flourishes and additional instrumentation on The Greater Wings are sometimes subtle, but they move mountains. Synthesizers shimmer alongside acoustic guitar on the title track. Somers' backing vocals on "Portrait Of A Clear Day" nestle among Byrne's lead vocal turn, Donovan's harp, and Jake Falby's strings. "I get so nostalgic for you sometimes," Byrne sings, her hazy memories perfectly contrasting the crispness of the music.

In fact, contrast is a defining feature of The Greater Wings. On emotional centerpiece "Summer Glass", Byrne's words consist of recollections of specific moments in time ("You lit my joint with the end of your cigarette," "The tattoo you gave me lying in bed"), all-encompassing devotionals ("You are the family that I chose"), and broad therapeutic goals ("I want to be whole enough to risk again"). Even the instrumental "Summer's End" showcases the tactility of Donovan's harp against the atmospheric wash of the synthesizers and echoing bells. And Somers added textures to Littman's initial work on "Conversation Is A Flowstate", making it a harmonic, yet percussive and conversational push-pull as Byrne recites affirmations: "Permission to feel it, it's alright / Permission to grieve, it is alright / Healing can be heartbreaking, it's alright."

Making yourself "whole," or as close to it as possible, is not an easy or definite process, in life or in music. Even on a song like "Flare", Byrne goes through multiple so-called "stages of grief," including bargaining and acceptance, Jefre Cantu-Ledesma's modular synth buoying her words. The Greater Wings, then, is as close to universal art as it gets, a treatise on the human penchant for imperfection, for being naturally unable to fully appreciate something while it's there. "I tell you now what for so long I did not say / That if I have no right to want you / I want you anyway," Byrne sings with smoky heartbreak on "Lightning Comes Up From The Ground", a title that makes literal what happens when an event in your life shakes you to your core: It turns your world upside-down.

[bob-the-movie-man-film-reviews]

Nickel Boys (15): An Astonishing and Deeply Affecting Movie Masterpiece.

One Mann's Movies Film Review of "Nickel Boys". As the poster screams "A New American Masterpiece" and I quite agree. Stunning. 5/5.

A One Mann’s Movies review of “Nickel Boys” (2024) (From the 2024 London Film Festival). Wow… just Wow. If I hear the words “And the Oscar for Best Picture goes to…. Nickel Boys” I would be surprised… (I doubt it will get the marketing required)… but I would also be delighted. Bob the Movie Man Rating: “Nickel Boys” Plot Summary: It’s Tallahassee in the ’60s. Elwood (Ethan Herisse) is a…

[charseraph]

Letting myself feel to a nice song. Perfect melancholy.

[a-wayfairing-stranger]

Somer's "Eddie" vs Alex's "Richie" vs Leta's "Ibby" & "Eli." which one wins in making the nicknamed person melt the most?

[wornoutspines]

The Last Thing He Told Me (Pilot Review) | Surprisingly Faithful

I watched #TheLastThingHeToldMe when it premiered, because I like how it is cast and love the potential the story has but I'm surprised by show. #JenniferGarner #AngourieRice #AppleTVPlus #NikolajCosterWaldau

Creators: Laura Dave (Novel) & Josh SingerCASTJennifer GarnerAngourie RiceNikolaj Coster-WaldauAisha TylerGeoff StultsJohn Harlan KimAugusto Aguilera Review The end starts at the beginning and the beginning starts at the end. If you’ve read the book this will make sense in conjunction with the first minutes of the two-episode premiere. The show has a sleek look that gives makes it a little more…

[coire-non]

First chapter up; with thanks to @elhnrt ‘s incredible art pulling me out of my longest writing slump

Kimblings by Alex Somers has become the ongoing soundtrack to this, so the mood can only brighten from here!

[brokehorrorfan]

The End of the World As We Know It: New Tales of Stephen King's The Stand will be published in hardcover and e-book on August 19, 2025 via Gallery Books.

Edited by Christopher Golden and Brian Keene, the anthology features 34 short stories based on The Stand. It includes an introduction by Stephen King, a foreword by Golden, and an afterword by Keene.

Contributors include Wayne Brady & Maurice Broaddus, Poppy Z. Brite, Somer Canon, C. Robert Cargill, Nat Cassidy, V. Castro, Richard Chizmar, S.A. Cosby, Tananarive Due & Steven Barnes, Meg Gardiner, Gabino Iglesias, Jonathan Janz, Alma Katsu, Caroline Kepnes, Michael Koryta, Sarah Langan, Joe R. Lansdale, Tim Lebbon, Josh Malerman, Ronald Malfi, Usman T. Malik, Premee Mohamed, Cynthia Pelayo, Hailey Piper, David J. Schow, Alex Segura, Bryan Smith, Paul Tremblay, Catherynne M. Valente, Bev Vincent, Catriona Ward, Chuck Wendig, Wrath James White, and Rio Youers.

Since its initial publication in 1978, The Stand has been considered Stephen King’s seminal masterpiece of apocalyptic fiction, with millions of copies sold and adapted twice for television. Although there are other extraordinary works exploring the unraveling of human society, none have been as influential as this iconic novel—generations of writers have been impacted by its dark yet ultimately hopeful vision of the end and new beginning of civilization, and its stunning array of characters. Now for the first time, Stephen King has fully authorized a return to the harrowing world of The Stand through this original short story anthology as presented by award-winning authors and editors Christopher Golden and Brian Keene. Bringing together some of today’s greatest and most visionary writers, The End of the World As We Know It features unforgettable, all-new stories set during and after (and some perhaps long after) the events of The Stand—brilliant, terrifying, and painfully human tales that will resonate with readers everywhere as an essential companion to the classic, bestselling novel.

Pre-order The End of the World As We Know It.

[satvns]

closed starter for @scinglives

muse: alexandria 'alex' somers. mid-thirties. bisexual. she/her. pediatrician.

"oh ..―hey," she said abruptly to the familiar stranger sitting beside her at the bar who she vaguely could remember his name from their rather awkward first and only date. "if i knew any better i'd say you were stalking me," she joked for a moment as sipped on her glass of wine. "you're one of the groomsmen, right? um, malcolm, was it?"

[machazer]

Jonsi and Alex.

[briankeene]

F.A.Q. The End Of The World As We Know It: Tales From Stephen King’s The Stand

What follows are the Frequently Asked Questions for THE END OF THE WORLD AS WE KNOW IT: TALES OF STEPHEN KING’S THE STAND — a forthcoming anthology edited by myself and Christopher Golden. Please bookmark this page and check back from time to time, as I will update things as they develop.

Q: What is this, exactly?

A: An original short story anthology based on master storyteller Stephen King’s #1 New York Times bestselling classic The Stand!

Since its initial publication in 1978, The Stand has been considered Stephen King’s seminal masterpiece of apocalyptic fiction, with millions of copies sold and adapted twice for television. Although there are other extraordinary works exploring the unraveling of human society, none have been as influential as this iconic novel—generations of writers have been impacted by its dark yet ultimately hopeful vision of the end and new beginning of civilization, and its stunning array of characters.

Now for the first time, Stephen King has fully authorized a return to the harrowing world of The Stand through this original short story anthology as presented by award-winning authors and editors Christopher Golden and Brian Keene. Bringing together some of today’s greatest and most visionary writers, The End of the World As We Know It features unforgettable, all-new stories set during and after (and some perhaps long after) the events of The Stand—brilliant, terrifying, and painfully human tales that will resonate with readers everywhere as an essential companion to the classic, bestselling novel.

Q: Who is in the book?

A: Featuring an introduction by Stephen King, a foreword by Christopher Golden, and an afterword by Brian Keene. Contributors include Wayne Brady and Maurice Broaddus, Poppy Z. Brite, Somer Canon, C. Robert Cargill, Nat Cassidy, V. Castro, Richard Chizmar, S. A. Cosby, Tananarive Due and Steven Barnes, Meg Gardiner, Gabino Iglesias, Jonathan Janz, Alma Katsu, Caroline Kepnes, Michael Koryta, Sarah Langan, Joe R. Lansdale, Tim Lebbon, Josh Malerman, Ronald Malfi, Usman T. Malik, Premee Mohamed, Cynthia Pelayo, Hailey Piper, David J. Schow, Alex Segura, Bryan Smith, Paul Tremblay, Catherynne M. Valente, Bev Vincent, Catriona Ward, Chuck Wendig, Wrath James White, and Rio Youers.

Q: Who is the publisher?

A: Gallery Books, a division of Simon & Schuster, are publishing the hardcover, paperback, eBook, and audiobook editions in North America. Various foriegn language editions will be published by various foreign publishers.

Q: So there will be hardcover, paperback, eBook, and audiobook editions?

A: Yes. The hardcover and the eBook are already up for preorder via Amazon, Barnes & Noble, and all other booksellers. (Note: as of 10/16/24 Amazon’s hardcover link does not yet work, so check back often or use a different bookseller). You can also preorder from Overlook Connection and get a limited edition dust jacket by Glenn Chadbourne, as well as other cool collectibles.

Q: What’s the cost?

A: The hardcover is listed at $35. The eBook is listed at $16.99. The hardcover that comes with the extra dust jacket from Overlook is $69.95.

Q: Will there be a signed limited edition or a special collector’s edition of some kind?

A: Probably, but it is too early to say for sure.

Q: You listed the contributors above. Anything more you can tell us about the actual stories?

A: Sure. The book is split into four parts. Part One takes place during the initial spread of Captain Trips and the dreams. Part Two takes place between the migrations to Boulder and Las Vegas and the Hand of God moment. Part Three takes place after the conclusion of the novel, detailing the world in the decades that follow. And Part Four takes place… well, that would involve major spoilers.

Here is the finalized Table of Contents:

Foreword by Christopher Golden

Introduction by Stephen King

PART ONE: DOWN WITH THE SICKNESS

Room 24 by Caroline Kepnes The Tripps by Wrath James White Bright Light City by Meg Gardiner Every Dog Has Its Day by Bryan Smith Lockdown by Bev Vincent In A Pig’s Eye by Joe R. Lansdale Lenora by Jonathan Janz The Hope Boat by Gabino Iglesias Wrong Fucking Place, Wrong Fucking Time by C. Robert Cargill Prey Instinct by Hailey Piper Grace by Tim Lebbon Moving Day by Richard Chizmar La Mala Horla by Alex Segura The African Painted Dog by Catriona Ward Till Human Voices Wake Us, And We Drown by Poppy Z. Brite Kovach’s Last Case by Michael Koryta Make Your Own Way by Alma Katsu

PART TWO: THE LONG WALK

I Love The Dead by Josh Malerman Milagros by Cynthia Pelayo The Legion of Swine by S.A. Cosby Keep The Devil Down by Rio Youers Across The Pond by V Castro The Boat Man by Tananarive Due and Steven Barnes The Story I Tell Is the Story of Some of Us by Paul Tremblay The Mosque at the End of the World by Usman T. Malik Abigail’s Gethsemane by Wayne Brady and Maurice Broaddus

PART THREE: LIFE WAS SUCH A WHEEL

He’s A Righteous Man by Ronald Malfi Awaiting Orders In Flaggston by Somer Canon Grand Junction by Chuck Wendig Hunted to Extinction by Premee Mohamed Came The Last Night of Sadness by Catherynne M. Valente The Devil’s Children by Sarah Langan

PART FOUR: OTHER WORLDS THAN THESE

Walk On Gilded Splinters by David J. Schow The Unfortunate Convalescence of the SuperLawyer by Nat Cassidy

Afterword by Brian Keene

[rauthschild]

Executive Order 13818 — Blocking the Property of Persons Involved in Serious Human Rights Abuse or Corruption.

You are witnessing the death of the Pedo Elites and their twisted lifestyles. The false idols of the world are falling. It’s finally happening.

Celebrity homes for sale:

Ellen Degeneres, Johnny Depp, Mathew Perry, Eli Manning, Kat Von D, Shia Lebeouf, The Hemsworth brothers, John Legend and Chrissy Teigen, Brittany Snow, Beyoncé, Jay-Z, Cindy Crawford and Rand Gerber, Gene Simmons, Bella Thorne, Tom Cruise, George Strait, Emily Blunt, Alonzo Mourning, Jemima Kirke, Kevin Jonas, Chelsea Handler, John McEnroe, Tommy Lee, Jason Derulo, Alicia Keys, Frankie Muniz, Keith Richards, Lil Wayne, Peter Thiel, Pharrell Williams, Loris Loughlin and Mossimo Giannulli, Rosie O’Donnell, Kellie Clarkson, Cheryl Tieg, Joe Pesci, Suzanne Somers, Adam Lambert, Meghan Markle, Sean Diddy Combs, Billy Joel, Gary Levinsohn, Dr Phil, Barry Manilow, Mel Gibson, Diane Keaton, 50 Cent, Heidi Klum, Ryan Seacrest, Zsa Zsa Gabor, Jennifer Aniston, Katharine Hepburn, Christie Brinkley, Nicholas Cage, Ricky Martin, Angelica Huston, Charlie Sheen, Burt Reynolds, Emilia Clarke, J.Lo & Alex Rodriguez, Simon Cowell, Kris Jenner, Jeffree Star, Gordon Ramsay, Jason Aldean, Pamela Anderson, Jerry Seinfeld, Jimmy Fallon, Dave Ramsey, Jon Bon Jovi, LeBron James, Matt Damon, J.J. Abrams, Sugar Ray Leonard, Ellen Degeneres, Sylvester Stallone, David Bowie, Clay Mathews, Michelle Pfiefer, David E Kelley, Shonda Rhimes, Rihanna, Pete Townshend, Britney Spears, Joe Jonas, Sophie Turner, Robert Redford, Steve McQueen, Shaquille ONeil, Glen Frey, Sammy Hagar, Stockard Channing, Michael Chiklis, Tom Petty, Serena Williams, Bill Russell, Kathryn Bigelow, Don Rickles, Bruce Kovner, Adam Neumann, Leonardo DiCaprio, Barb Ellison, Alicia Keys & Swizz Beatz, Kate Beckinsale, Robert Herjavic, Josh and Heather Altman , Soleil Moon Frye, Jim Harbaugh, Anthony Kiedis, Fredrik Eklund, Meghan Trainor, Gideon Yu, Hellen Miren, Taylor Hackford, Bette Midler, Todd Phillips, Mitt Romney, Dianne Feinstein, Miley Cyrus, Kelly Clarkson, A-Rod, Bobby Patton-LA dodgers co owner, Dwyane Wade & Gabrielle Union, Michael Amini, B-52 Kate Pierson, Bill Guthy, Victoria Jackson, Will Arnett, Zac Efron, Wayne Gretzky, Katy Perry, Derek Jeter, Mike Piazza, Shane Smith, Bryon Cranston, DJ Khaled, Leonard Ross, Ted Sarandos- Netflix co Ceo, Dustin Johnson, John Fogerty, Melissa Rivers, Jamie Lynn Sigler, Lena Dunham, Lyndsey Vonn, PK Subban, Robyne Moore

Cara and Poppy Delevingne, Big Sean, Steph Curry, Chris Bosh, Phil Collins, Liam Payne, Bryan Singer, Tom Ford, Robby Naish, Tom Brady & Giselle Bundchen, Anthony Davis, Emilia Clarke, Clare Bronfmsn-Seagrams heiress with ties to Nxivm, Jane Fonda, Carmen Electra, Morgan Moses, Bobby Cox, Danny Masterson, Evander Kane, Kate Winslet, Mark Teixeira, Jonah Hill, Judd Hirsch, Carlos Santana, Kennet Chesney, Brooke Shields.

G. Serpent symbolism is all over the catholic religion. In St. Peter’s Basilica in the vatican the pope literally sits in the mouth of a serpent as the tongue and preaches deception.The Druze bloodline of Jesus are the descendants of “Jethro” ,The Priest of Midian in The Bible & “Torah” (Exodus 2:18).

The 16th President Of The United States of America “Abraham Lincoln” descend from The Kahlooni family.

To Governments around the world, WE THE PEOPLE have a message for you;

For too long you have kept us at bay, indoctrinated and asleep, silenced and used but those times are over!

You have used our labor to enrich yourselves at our expense.

You have lied to us constantly through MSM to further ur personal agenda of global dominance.

You have sacrificed us in wars to for personal gain.

You have poisoned us to keep us dependent upon Big pharma

You have thrusted satanic idolatry to affect our future generations

You have played with innocent lives for too long, that ends now!

Liberatores servitutis.

[matcheadz]

Host Of Seraphim: Reading Ambience :)

As promised (and I DID DELIVER) the reading playlist for Host of Seraphim. It starts at chapter 1 and ends at chapter 10. Everytime I update, I will be adding maybe 15 minutes of music and reblogging this post with the additional songs + clarifications on which chapter they're for.

If you read faster or slower, dont worry, I GENERALLY didn't try to link songs up to specific moments. Generally. Sometimes it'll work out like that. Maybe. You'll just have to see, huh? :)

Chapter 1: Dressed in Quiet Retrospect

Legacy - Kota Suzuki

Any Special Orders? - Hiromistu Maeba

At Night - Max LL

Suite bergamasque, L. 75: No. 2, Menuet - Arr. For Harp - Claude Debussy, Marie-Pierre Langlamet

Chapter 2: Hope All Abandoned

Charon's Burden - Max LL.

Constellations - Max LL

Live With Me - British Sea Power

Dirtmouth - Christopher Larkin

You've Got a Good Heart - Alexander Temple and Alex Seaver

Chapter 3: What You Know That I Won't

Eternal - From the Keys

Everyone Has Their Own Desires - Max LL

Stubborn To The End - Alex Seaver

Interlude - Akira Senju

Happiness - Akira Senju

Var - Sigur Ros

Chapter 4: Of Sunflowers and Angels

A Story of Opposites - Alexander Temple

Five (Instrumental) - Sleeping At Last

Isn't It Lovely? - Yoko Shimomura

Kairi - Yoko Shimomura

Riku - Yoko Shimomura

I Can Help Them - Alexander Temple

The Mist - Max LL

Falling Stars - Max LL

Chapter 5: Similarities and Differences

Instrument of Surrender - British Sea Power

Lullaby of Resembool - Akira Senju

Friends in My Heart - Yoko Shimomura

Home ~ a house on the hill~ - Akira Senju

Bistro Fada - Stephane Wrembel

Vulture Meets Culture - Daniel Pemberton

You Can't Escape the Past - Alex Seaver

Chapter 6: Our Inadequate Attachments

ZA/UM - British Sea Power

The Doomed Commercial Area - British Sea Power

Cordon de Plata - Gustavo Santaolalla

Ella - Gustavo Stantaolalla

Swimming & Horses - Michael Brook

Guarunteed - Humming Version - Eddie Vedder

Just Breathe (Instrumental) - Pearl Jam

The Wolf - Eddie Vedder

Vanishing Grace -Gustavo Santaolalla

Chapter 7: Your Silence Is Violent

'O Sole Mio - Mandolini di Sorrento

Fi's Lament - Hajime Wakai

Amelie - Pascal Desprez

Suite espanola, Op. 47: Asturias (Leyenda) - Isaac Albeniz, Narciso Yepes

Detective Arriving on the Scene - British Sea Power

Stella's Lullaby - Max LL

Chapter 8: Our Language Barriers

The Choice - Gustavo Santaolalla, Alan Umstead

The Alchemist - Akira Senju

Kairi II - Yoko Shimomura

Wash My Dreams Away - Borislav Slavov

You're a Jinx - Alex Seaver

Unbroken - Gustavo Santaolalla

In All Our Complexities - Max LL

Falling Stars - Max LL

Twin Decks -Arne Nordheim

Chapter 9: Hell Hath No Fury

Red Rock Riviera - British Sea Power

Last Light - Borislav Slavov

Children Are Burying the Doll - Theodor Bastard

Twisted Force - Borislav Slavov

Revenge - Alex Seaver

Chapter 10: Hear My Plea

Tiger King - British Sea Power

Far Beyond The Pasturelands - Max LL

Varðeldur - Sigur Ros

Hvalir í útrýmingarhættu - Sigur Ros

63º32'43.7"N 19º43'46.3"W - Sigur Ros

Sorry - Alex Somers

[monk-princess]

Schappelle Corby. John Frusciante. Eli Somer. Inka Williams. Ariana Grande. Steve Irwin. Peter Garrett. Kerry Armstrong. Alex Koenig. Bailey Smith. Clara Berry. Shauna Sand. Krishna.