#black American folk tales

[rachelthatsme]

All my pieces for Folktaleweek

[uzumaki-rebellion]

"There's Some Whores in This House" Geechee!Erik Killmonger (Part 2 of Ice Cold Jax)

Pairing: Geechee!Erik Killmonger x Black Female OC x Hoodoo!Terry Richmond (as the Crossroads Man)

Warning(s): 18+, Smut, Supernatural Horror, Period Piece, Erik Stevens AU, Terry Richmond AU, Black American Folktale. You have to read "Ice Cold Jax" First!

Summary:

P-Valley Meets Black Supernatural Goodness in 1940s Itta Bena, Mississippi as the second world war winds down to a close. Lulabelle hasn't seen her Geechee man for months, but there's a new whorehouse deep in the woods that's keeping her busy as they steal loyal customers from her juke joint and her stable of working girls. Lulabelle suspects the new Madame in the woods has something to do with Geechee Erik not coming around anymore and she intends on finding out what that heffa is all about, especially when previous customers start dropping dead near the crossroads. An old friend of Erik's, Terry Richmond aka High John the Conqueror, shows up to help. (Need to have read the first installment, "Ice Cold Jax With Geechee!Erik Killmoger")

Word count: 12.9K

"There's some whores in this house

There's some whores in this house

There's some whores in this house

There's some whores in this house..."

Frank Ski – "Whores in this House"

The first dead body appeared at the crossroads after the rising of Hunter's moon.

No one thought much of it because the deceased was a known pickpocket and rabble-rouser named Earl Lee Washington. Folks around Itta Bena didn't pay it no mind for about a week until they found another body in the exact same spot in the middle of a Saturday night. This time it was Reverend Mosley from the Hopewell Missionary Baptist Church and people fell out because why was Reverend Mosley out near the crossroads? The only thing around in that part of the woods was a creek for good fishing, and Lulabelle Humphreys juke joint and whorehouse called "Lula's". Since Mosley didn't have any fishing pole on him in the middle of the night, that only meant that he had been tippin' over to Lulabelle's place pretending to save lost souls for Jesus as he felt up a thick thigh or two with moonshine on his lips.

Lulabelle herself thought little about the dead men. Everybody had their time to go, but that third body stirred everybody up because it was a woman. Zadie Greene was married to Butchie Greene who worked as a Pullman Porter for the railroad. He had emptied his pockets at Lulabelle's on good pussy and strong corn liquor while listening to the hottest backwoods band on that side of the Mississippi River, The Midnight Ramblers featuring Gertie Mae Robinson, the nastiest woman singer to ever touch a stage with her vulgar lyrics and raunchy, good-time energy. The man stumbled across his own wife's body on the way home smelling like another woman's cooch and marijuana. Zadie had worn her J. C. Penney nightgown and a big overcoat hunting for her man and headed for the only place that could keep him from her bed.

The cow shit hit the fan then. Lulabelle couldn't afford folks getting spooked by the specter of death hanging near her establishment. She was an enterprising woman who sold a commodity that folks craved, whether they wanted to admit it. Death was terrible for the pussy business.

Zadie's death hung a pall over the town, and Lulabelle became worried once she started counting up days and putting two and two together. Her Geechee Man, Erik Stevens, hadn't been around for a long time. There might be a random shooting or stabbing that left a man wounded and his ego bruised for a few weeks, but rarely did folks outright die under mysterious circumstances. She became extra concerned when the problem hovered around his territory. Geechee Erik was the Crossroads Man. His dominion was the protection of the supernatural world and preventing otherworldly beings from coming around her. He had claimed Lulabelle as his woman and promised that no harm would come to her, and part of that harm wasn't just physical. Her livelihood meant everything to her. Erik kept the haints, boo hags, the Plat Eye, and the Devil away.

Something must've happened to him.

She fretted about it, reading the paper on the latest victim while sitting on her juke joint's front porch. Honey Boy, her part-time male whore for sweet men, rolled her hair in long metal duckbill clips. She had taken a liking to tight curls all around her head with a side part, and it wore her fingers out, putting the curlers in herself. Honey Boy curled and clipped and she stared at a church photo of Zadie Greene, a plain-faced woman with a big heart and four children to feed by herself now that her husband was gone. Lulabelle tutted under her breath.

"Business is already slowing up. I don't need dead people scaring off my money," she grumbled.

The war had ended and all the men in uniform were coming home once V Day had been declared. Dollar bills sat on Lulabelle's eyelids every day. The boom was heavy for an entire year until recently as it trickled off to regulars and the occasional cross-country traveler.

"If you ask me, ain't none of this mess started happening until them other ladies showed up," Honey Boy said as he twined hair around the clips with nimble fingers.

"What ladies?"

Lulabelle put down the paper and twisted her neck around to stare at Honey Boy.

"You ain't hear? There's a new madame in town. I hear she's got some of the finest women around. No one wanted to say nothin' to hurt your feelings, Lula."

"Eva!" Lulabelle shouted.

Eva, the juke joint cook, and barmaid stepped out onto the creaky porch. She smelled of fish grease and her fingers were covered in cornmeal.

"Why are you hollerin' like that?" Eva said, putting a heavy cornmeal hand on her plump hip.

The older woman looked crossed at being interrupted with her work.

"You know about some new woman setting up shop out here?"

"Sadie Blackstone," Eva said.

"Sadie Blackstone?" Lulabelle said.

"That's what she said her name was. She come 'round here about three months ago. You were in town shopping, and she come right up here introducing herself. She had a big ole fur coat and a fancy car too, filled with pretty girls. She got all the colors of the rainbow, just like you."

"Ain't not one of you heffas think to tell me some new bitch is horning in on my spot?"

Lulabelle swatted Honey Boy's hand out of the back of her scalp.

"She said she was opening a little dress and hat boutique over yonder. It was cheaper than tryna rent a building from the white folks and house her dressmakers in town. She looked all expensive and was using big words like she done came from up North. Y'know how them northern negroes like to act uppity," Eva said.

"That bitch rolled up here with a car full of hoes and everybody kept their lips shut? I oughta fire both of y'all right now!"

"Who 'gon fry up this fish then, gal?" Eva said, staring Lulabelle down.

"Y'all supposed to be loyal and warn me about interlopers. They sitting out there stealing my customers and taking money outta my purse... and yours."

"They ain't got no mens, so I'ma be alright," Honey Boy said.

He left the porch and went inside the juke joint to set tables and prep glasses for the night. Dust kicked up from the slope of the road that led to Lula's, and a black car rolled toward them.

"What is it now?" Lulabelle said. "Betta not be someone telling me they found another body at the crossroads or I will scream!"

Lulabelle and Eva waited on the porch until the car stopped twenty feet away from them.

"Lawd, Jesus," Eva said.

Eva kissed the cross around her neck and grabbed the knob to the screen door.

"Wait now, who that is?" Lulabelle said.

Her heart skipped a beat thinking it was Geechee Erik, but instead, another man with honey, caramel skin, and piercing green eyes that hid a dangerous cunning behind them approached the porch. His dark brown suit was tailored, crisp, and casket sharp. The brim on his head was stylish and new, with a small peacock feather in the band.

"You don't wanna mess with that one, Lulabelle," Eva whispered. "That there is High John the Conqueror."

"The conjure man from over in Yazoo?"

"He more than that. Send him on his way, and don't let him come inside!" Eva said.

Eva ran into the juke joint and locked the door. Lulabelle wasn't worried; she had keys to get inside clipped to her dress. She turned and faced High John.

"Sorry to bother you, Miss. I'm not from around these parts. I'm lookin' for a fella that goes by the name of Erik Stevens."

Lulabelle stayed on the porch. Something told her to stay there and not step down to the man. As fine and polite as he was, there was sinister energy around him. He stepped forward, and she held a hand up.

"You can stay right there, mister. I can hear you good from here," she said.

"He's a big strapping fellow, about your color. Not as pretty, though."

"Whatcha want with him?"

"You know him?"

"I know the Geechee Man," she said.

There was no sense in lying. The man came there directly, so he clearly knew Erik's stomping grounds. The Geechee wasn't human, so that man on her property probably wasn't human, either. Lula stepped closer to the door and kept her eyes on High John.

"Whatcha want with him?" she repeated in a firmer tone.

"I ain't seen him in a long time and that ain't so good for my business," High John said.

Lulabelle was worried herself.

"He hasn't been around here for a couple of months," she said.

"You're worried about him. You his woman?"

"I am."

"Hmmm. I see why he likes it around here so much. Big fine woman like you to lay up with."

Lulabelle's cheeks warmed up. High John moved in closer.

"Big hips. Big titties. Big legs. You sure you didn't swallow him up between your thighs, beautiful?"

Lulabelle squinted at the audacity.

"Maybe I need to spend some time with you and follow where he went," High John purred.

"You best move along, sir!" Eva shouted.

She ran out of the juke joint and flung a bowl of salt on the ground in front of High John. He chuckled and kicked black dirt over the white grains.

"That don't work on me, ma'am, but I respect your efforts," High John said.

He tipped his hat at Lulabelle.

"I'll be back around again. I can smell his scent all around here. Tell Elizabeth I may need her services soon," he said.

He hopped into his car and drove off.

"Who is Elizabeth?" Eva asked.

"Just an old friend of mine," Lulabelle said with a chill running down her back.

Elizabeth had been dead for nearly two decades. But her ghost still lingered around Lulabelle's juke joint and whore house.

Something awful bad must've happened to Erik, and none of that trouble started until Sadie Blackstone showed up in Itta Bena. Ghosts, the Crossroads Man, High John, and a northern bitch stealing her customers had her thoughts in a tizzy. Lulabelle wanted to sell pussy and moonshine in peace. That's what she aimed to do. She marched herself to her bedroom attached to the back of the whorehouse to find her best dress and shoes. It was time to meet Sadie Blackstone. Her mind was on her money, and money was on her mind twenty-four seven. No northern hussy was going to ruin her pockets. If she had to fight haints and conjure men, so be it. She lived in goddamned racist America. Money was the only thing that would protect her, and since Erik Stevens wasn't around anymore, she'd have to face the enemy all by herself. Human or not.

The new whorehouse was within walking distance of the crossroads.

Lulabelle trampled through the heavily trafficked path of grass and fall leaves that led past tall loblolly pines. She curved around a few rotting snag trees and swatted away annoying gnats that buzzed around her eyes seeking moisture. A clearing opened up and she expected to see a ramshackle house. Instead, a sturdy tan and brown craftsman home came into view. Lulabelle stayed hidden behind a trio of skinny trees. Although it was daylight, the house gave off a cold dread that overtook the warmth of the sun toasting her skin.

The land they were on used to be part of a plantation with an old manor that had long burned down to the ground four miles away. It had now become part of the overgrown woods. An unfinished stretch of railroad tracks sat near the property covered with overgrown brush that ran out behind the creek it tried to follow a long time ago. The train route that was supposed to pass through and flatten out that part of the woods never came into fruition, having been moved a couple of miles away by the railroad company. It was the main reason why Lulabelle picked that part of Itta Bena to do business in. Close enough for travelers far and wide to get to her, while also discreet enough to hide from main street's conservative prying eyes. The Choctaw words "itta bena" meant a house in the woods or a camp of trees, and the area lived up to the small city name. Shrouded with the canopy of branches and leaves protecting it from sunlight, the house looked out of place. Unnatural. Only decomposing trees belonged out there, and the whorehouse reminded Lulabelle too much of the Hansel and Gretel story from her childhood. Sadie Blackstone's place was a lure for straggling adults. Instead of a house made of candy and gingerbread, grown-ups came to taste the nectar between the legs of lascivious women. In the light of day, Lulabelle shivered and wondered if it was better to come back with other people. Being alone in the woods with a pristine house that looked too new, too bright, and so wrong brought goosebumps to her arms. She twisted her hands in the pockets of her dress.

Dollar bills weighed on her eyelids again and Lulabelle shook away her unease and focused on her task. Meet the enemy. Better to do it in the daytime when she could see everything out in the open.

She stomped her way to the house and marched right up onto the porch. Banging on the screen door, she waited with bated breath for someone to open up. Tapping her left heel on the porch, Lulabelle sucked her teeth and slammed a hand on her hip. She noticed the door frame had a thick lump of brown paint that bubbled up from a cheap paint job. Running her nail against the paint, Lulabelle peeled back a strip and crinkled her nose when a few termite larvae squirmed inside a rotted hole.

"Well, hello, neighbor," a silky feminine voice crooned behind the opened door.

Lulabelle squinted to get a good look at the tall, pretty, dark-skinned woman with a heart-shaped face and a bright, winning smile. Her teeth were whiter than the cracker cops that took a cut of Lulabelle's money to look the other way with her establishment. Naturally thick eyebrows were plucked perfectly over deep-set, dark brown eyes that twinkled with the promise of a good time or some good trouble. Her lush lips were covered in a thick coating of red lipstick. Lulabelle admired a dark woman who was brave enough to wear bold red like that in the daytime. It wasn't the norm.

"You must be Lulabelle Humphreys."

"I am."

"I'm Sadie. Sadie Blackstone."

"I knows who you are."

"Do ya now?"

Sadie opened the screen door in a welcoming manner. She wore a tight, spaghetti-strapped wild berry pink dress with a rose-tinted flower brocade. Lulabelle looked over Sadie's shoulder and observed a slithering den of good-looking women of all hues staring back at her from settees and chairs spread around an inviting front room.

"Heard you been stealing my customers," Lulabelle said, cutting to the quick.

"Stealing?"

Sadie tilted her head back to her stable of whores.

"You hear that, ladies? She accused me of stealing," Sadie said with an indignant chortle.

The other vipery women giggled back at the comment, infuriating Lulabelle.

"Sister girl, there are plenty of men in the world to go around for everybody," Sadie said.

"This is Itta Bena. Not the world, Toots. I've been selling pussy by the pound for five good years here, and I'm fixin' to keep on selling for many more years to come. This city ain't big enough for two cat houses—"

"Calm down your garters, Sister girl. The war overseas is done. No need to start World War three up in here. There's profit to be made for all of us. Plus, I hear you only sell pussy on the side. You got a juke joint, sell fish and chicken plates, provide musical entertainment… all we do over here are tits and ass. Nobody is cutting in on your profits."

Lulabelle reared her head back.

"You think you're gonna sit up here on my turf, comfortable as if pilfering a few coins ain't cutting into my bottom line?" Lulabelle said.

"You need a drink to cool down your temper. Come on up in here," Sadie said.

She opened the screen door and stepped aside, making room.

Lulabelle hesitated. But curiosity got the better of her. She switched her heavy hips into the place, letting Sadie see what down-home ass looked like in a tight dress too. The scarf she had on her head kept her curled hair safe from dust and debris in the woods.

The interior was larger than what the outside first impression gave her. In fact, the hall behind Sadie looked long enough for more rooms than Lulabelle's little whorehouse had back on the creek. The other women gazed at her with disquieting eyes while wearing red satin robes inside the cooler front room. Velvet furniture, Persian rugs, and stylish French alabaster boudoir lamps decorated the place. It had more of a European parlor flavor than a typical country house full of ill repute and cheap goods. Glancing around at the women again, Lulabelle felt more like a Brer Rabbit surrounded by hungry trickster coyotes. She swallowed hard and broke eye contact by staring at a fireplace mantle covered with several mason jars filled with moonshine. She counted ten jars across the top. Six were full, and the other four were empty. Next to the mantle was a liquor table filled with whiskey and assorted libations with fancy glass cups.

Sadie jerked her head toward her stable, and all four women stood up and sauntered to the back of the house.

"Too early for the hard stuff," Lulabelle said, waving at the mason jars.

Sadie grinned and picked up an expensive bottle of scotch. She poured herself a glass and one for Lulabelle, too. They clinked glasses, and Lulabelle took a small sip.

"Excuse me for a moment," Sadie said.

The woman left the front room to go to the back of the house. Lula put her glass of scotch down and inspected the oil painting above the mantle. It was a picture of Sadie and her women. All four of the whores sat on a baby blue and cream tufted French sofa with old-fashioned hairdos that Lulabelle hadn't seen since her grandmother had been alive. Sadie stood behind them, leaning forward with her arms draped across the back of the sofa. The painting unnerved her, and she couldn't put her finger on what exactly bothered her about it.

One of the clear jars filled with liquid caught her eye with movement inside of it. The sixth jar in the row had a tiny funnel swirl inside of it. It stopped when Lulabelle stared directly at it. She slipped her right hand around the jar. It was warm to the touch and seemed to grow warmer against her fingertips. She took her left hand and twisted the metal lid, breaking a seal around it. Lifting the lid, Lulabelle took in a whiff of sulfur, and clearly and distinctly heard a gravelly voice whisper from inside of it.

"Erik?" she murmured.

Another tiny funnel swirled, and Lulabelle watched the shape of Erik's lips and nose materialize in the liquid.

The clicking of heels moving toward the front room frightened her, and she twisted the lid back on the jar, going against her urge to pour the liquid out. She grabbed her glass of scotch and moved over toward a velvet chair, pretending to admire the texture by stroking it with her free hand.

"Had to see about some things. Forgive me for leaving you so long. I'm expecting a friendly crowd tonight," Sadie said.

Lulabelle turned to her and kept a tight-lipped expression. Sadie's eyes slid off of Lulabelle's face and glanced over at the mantle. Her dark eyes squinted for a second as she regarded the mason jars. Sadie shook her head and clucked her tongue.

"Just had to be nosy," Sadie hissed. "Good thing is, Sister girl, there's plenty of room up there."

The four other women slinked back into the parlor and surrounded Lulabelle.

"You like seeing thangs you ain't supposed to see, huh?" Sadie said.

Lulabelle watched the skin of Sadie's face grow puffy like a bullfrog getting ready to croak a loud belch in the creek. The flesh split like it wanted to turn itself inside out, letting her see the raw red insides of a slippery horror.

Sadie's hypnotic gaze kept Lulabelle's feet from running. Frozen in place by the menacing darkening of Sadie's eye color, Lulabelle couldn't even make a sound of protest. Her vocal cords became stiff and immovable. She couldn't even wiggle her fingers or toes. Only her eyeballs still had the ability to move, and they made a slow arc toward the open front door. A car had pulled up, and she prayed it was a customer who could help her escape.

The sound of a driver's side door creaking open shattered the quiet terror oozing all around Lulabelle. The crunch of heavy feet stepping on loose gravel became music to her straining ears.

"Hello?"

The male voice was familiar.

High John.

"Shit," Sadie grumbled.

The distraction freed Lulabelle, and she fled out of the house, leaping off the porch toward High John. He grabbed her arms to halt her frazzled getaway.

"Slow down now," High John said.

"They did something to me," Lulabelle blurted out.

She pushed her face into his chest to muffle her voice.

"Erik is in there. They have him in a jar on the mantle—"

"Shh," High John said.

"She's turning inside out… that woman… Sadie… her face…"

High John gripped her arms tighter as Lulabelle glanced around the woods and noticed that the sun had gone down already. It was only nine in the morning when she left her place, but by the looks of the darkening shadows stretching a night sky across the canopy of trees, it had to be at least five in the evening. They had her in that house for hours, and she didn't even know it.

Lulabelle squeezed her eyes shut. The screen door slammed loud and High John turned his attention to Sadie.

She looked normal again.

The deception lingered around her as Lulabelle watched the woman pat her cheeks like it was hot instead of making sure her cheeks had returned to their artful disguise.

"Let's go," Lulabelle pleaded, tugging on High John's arm and dragging him toward his car.

"Can I help you, mister?" Sadie inquired.

All four of Sadie's women stepped onto the porch with her, their satin robes discarded to show off sexy lingerie that highlighted their best assets.

"No ma'am, just came to pick up Miss Lulabelle here. Promised her a ride back," High John said.

He opened the passenger door for Lulabelle, and she scrambled in and slammed it shut.

"We're gonna be late," Lulabelle said, rushing High John along.

"A fine man like you should spend some time with us. I have a quality selection of ladies to choose from," Sadie said.

"I can see that you do, but I'm a little sweet on Miss Lulabelle's place," he said.

"Hmph. Suit yourself then. When you tire of your usual, come on back around here," Sadie said.

"Will do," High John offered.

He walked to his driver's door with a bounce in his step and hopped in with a whistle on his lips. They drove away without speaking until he reached a turn that led them riding over the crossroads towards her place. High John pulled over near a shrub of red buckeye that hid them from her juke joint. He stared at her, and she remembered he wasn't what he seemed to be, either.

"How did you know I was there?" she asked.

"I followed you."

"Why?"

"I knew you would lead me to the Geechee Man. Tell me what you saw in there."

"They gotta be witches or something—"

"A hag. She's a hag. Close enough to witches, I guess, for you to understand. The others are her minions, demons she's conjured up to act like whores to lure human bodies so the hag can ride them until they're dead."

"She's got a bunch of mason jars on her fireplace mantle filled with clear sulfur water or something. I opened one of them and heard Erik's voice… saw his features through the glass like they trapped him inside of it."

"She trapped his soul in there. What you described is something they do after they've taken a body."

"When she caught on that I had messed with one jar, her face… it started changing like it was flipping itself around… inside out."

High John sat back in his seat.

"He done got himself in a mess of trouble."

"He's still alive though, right?" she asked with a wavering voice.

"Only because he ain't mortal. Them other jars are dead souls. Little mementos for the hag to enjoy as playthings. That's why so many people have been found dead at the crossroads. Somehow, they tricked Erik and stole his spirit, leaving the crossroads unguarded for months. They can't kill him outright. But they can torture him… weaken him until he fades."

"Can you save him? Steal the jar and free him? I opened it, but I didn't know what to do. I was so scared."

"She cast a spell to keep him trapped. The problem is, even if you found that jar, we don't know where his body is. He uses a corporeal form to hide his essence, which helps him control his powers in this world. Without it, he can't come back."

"What the hell kinda powers do you have, then? Eva acts like you're the devil himself. She's scared of you, so you must can do somethin'."

"Sadie will come for you tonight. She can't afford for you to run your mouth about her house. I say, run your business as usual, and let me figure out a way to guard this place and find Erik."

Worry lines creased his face.

"What?" Lulabelle said.

"We ain't got much time. He can't be away from his body too much longer. It'll degrade over time, and it's already been three months on the mortal side of the veil."

"Veil?"

"This side of the spiritual partition separating humankind and us."

"What are you? Another demon? Haint?"

High John ignored her and appeared to listen to something she couldn't hear.

"Carry me up to my place so I can fix my hair and change my clothes," Lulabelle demanded.

High John nodded and put his car back in drive. They rode along in silence to the side of the juke joint where some of the band members she hired had already parked. Lulabelle jumped out and High John followed her. He stopped at the front porch and reached for a leather string around his neck. He pulled on it until a small blue handkerchief bundle the size of half a man's fist popped up. Untying it carefully, his nimble fingers reached inside and he pulled them back out. Brick-red dust colored his digits. High John squatted and traced a symbol in the dirt before walking all around the juke joint, pouring more dust on the ground. There shouldn't have been enough to circle the juke joint, but somehow, someway, the man completed the circle and sealed it back in front of the porch again. He tucked the mojo bag under his clothes again and clapped his hands together hard. The sound echoed all around, even scaring an old hooting owl that lived in a tree behind Lulabelle's Loving Rooms, where her clientele got busy with her girls after chowing down on chicken or fish.

"This spell will only last as long as the moon stays high. Once it drops… if we don't find The Geechee's body before moonset… my protective circle fades and they can leave the juke joint. He'll be a goner for sure then. Lost forever if we don't get that jar and man back together," High John said.

He turned his head toward the woods from where they came.

"Once the hag and her demons cross over this circle and go into your place, they're stuck inside until the moon goes away. That'll give us time to sneak back to their house and get Erik."

"We?"

"Yes, we. You opened the jar and broke the seal. That means you're the only one who can get him out."

"But we have to find his body first."

"That's where Elizabeth comes in."

"How do you know about her?"

High John winked at Lulabelle.

"I have my ways. Take me to her."

"I can't see her. I just get a feeling—"

"Take me to where you feel her the most," he said.

Lulabelle glanced at the juke joint.

"Eva said not to let you inside," she said.

"What would she rather have? Me helping you, or that hag stealing Erik's soul and ruining your business with all the body snatchin' she's been doin'?"

Lulabelle huffed and headed up the steps.

"C'mon, man."

High John followed her into the juke joint where the Midnight Ramblers were already set up on the small stage.

"Lula, gal, where ya been?" Gertie Mae said.

The lead singer of the Ramblers fussed her way over to Lulabelle.

"Honey Boy said you went to check out your competition, but when he went lookin' for ya, he couldn't find you," Gertie Mae said.

Gertie Mae looked at the scarf covering Lulabelle's hair.

"You not even dressed and ready yet. What's going on, girl?"

"Got busy with some business stuff. I'ma go get ready. Y'all get that music jumping and let these folks know that the party is starting!" Lulabelle said, flicking her right hand in the air.

She hustled High John away from Gertie Mae's prying eyes and took him to the back of the joint, where her usual seat was to watch the place in progress. Glancing around the area, Lulabelle threw out her hands.

"This is where I usually—"

She turned toward High John, catching him conversating with thin air. Lulabelle watched him talk in a hushed tone, pull out his mojo bag again, reach into it, and blow red brick dust in front of a chair. She glimpsed a ghostly figure, a woman with wavy long hair, and blinked back a tear or two as a bit of dust fell into her eyes.

"You should go get yourself gussied up, Lula. I freed Elizabeth to go find Erik's body," High John said.

He looked around the place as some customers high-stepped it inside just as the band struck up a hot, nasty jig that got folks hopping around before they even had their first drink. Honey Boy rushed over to her, and Lulabelle waved him away.

"I'm fine. Get these people liquored up and I'll get dressed," she said.

Gertie Mae eyed High John up and down one last time and yelled into her microphone.

"You gon' let that one hang his drawers low for ya?" Gertie Mae cackled.

High John howled with laughter, making everyone in the juke laugh with him. Lulabelle rolled her eyes and strode out of the juke joint through the hall that led to the Loving House creek bridge. Crossing it, she bypassed her girls, who flitted around in loose silk and lacy things. Making her way to a side room that she used for herself, Lulabelle poured water into a basin, stripped down, and rinsed off dust and the smell of the deep woods. It took her some time to get all the duckbill clips out of her hair. She combed, then fluffed out her tight curls, smoothing them into the perfect style. Make-up didn't take long to put on. Her plump lips smacked at her reflection in the mirror. Touching her stomach, she felt and heard the rumble of hunger, realizing she hadn't eaten a thing since breakfast. There was no time to focus on eating. She had to keep her wits about her. High John sent her former best friend, a ghost, to search for the rest of her supernatural lover's self. How could a hag trick the Crossroads Man? Erik was clever, powerful, and able to sniff out an inhuman creature from miles around. Ain't no way some slinky demon walked up on him and fooled him that easy.

Lulabelle took a moment and stretched out on her bed, calming herself. Too much was going on and all she wanted was for her man to come swaggering into her place again, showing her them shiny gold teeth, and lifting her onto that Daddy dick. She was tired of dead bodies showing up on her side of town instead of where the white folks were. A damn witch was making her life a mess. A knock on her bedroom door startled her agitated reverie.

"Who is it?" Lulabelle shouted.

The new girl, Altovise, stuck her head through the crack in the door. She had replaced one of Lulabelle's pregnant girls a few months back, right before Erik disappeared. Her short black bob of heavily greased curls made the room smell like bergamot.

"This man out here wants you, Lula," Altovise said.

High John pushed Altovise aside and stepped in, locking the door behind him. Lulabelle sat up, but he was next to her, sitting on the bed before she could feign decorum.

"Filling up fast out there. Good profitable business," High John said.

His fleshy lips said the words as his eyes raked down to her breasts that sat heavy and propped up with her good full-figure bra. Her cleavage spilled over the low cut of her dress. He reached over and dragged warm fingers up and down her arm.

"You look real nice, Lula. I cleaned up myself in that kitchen. Miss Eva let me use some hot water to bathe with and I changed my suit for you."

"No need to look good for me," she said.

He smirked. Without his hat, she could see his eyes clearly. Soft green ones with little flecks of pale jade toward the center. His cologne was spicy, like the kind the soldiers wore when they got paid and wanted to show off. The scent of nutmeg, anise and lemon tickled her nostrils with the odor of his breath reminding her of warm maple syrup. His wide nose complemented his full lips which had a playful twitching to them every time he said her name. Lulabelle tried to brush past him.

"I better get out there—"

High John gripped her by her arm tight and held her in place on the bed next to his hip.

"There needs to be a little discussion about payment," he said.

"Payment?"

She yanked her arm out of his hand.

"You said you were looking for him because he does business with you. A monetary transaction ain't got nothing to do with me, buddy," Lulabelle snapped.

"Who said anything about money, sweetheart?"

A lecherous pulling down of his lips made Lulabelle grit her teeth and huff under her breath.

"You want to fuck one of my girls?" she said.

"I wanna fuck you."

"This some bullshit, man. Why are men so typical?"

"I ain't no regular man."

"You act like one."

"You don't gotta pay me now. Let's just say you owe me, and I can collect later."

Lulabelle sucked her teeth.

"I'm just playin' girl. That Geechee said you don't enjoy being teased," High John said, slapping her kneecap.

He stood up and gave her a serious look.

"The moment they step in here, we have to play it cool and sneak away quietly. Hags only have power over their own dominion when they are in it. We get them preoccupied first, and then we can rescue Erik's spirit. The last thing we want is for them to harm anyone here," he said.

The old owl hooted outside, and High Joh turned his head in that direction. "I feel them coming," he said.

He clasped her hand, and they left the Loving House, crossing over the creek bridge and back into the juke joint. They pushed past excited dancers and the wall-to-wall patrons packed in her place. The Midnight Ramblers had Lulabelle's spot stacked like sardines in a can. Hot, funky, and full of spunk, Gertie Mae sang her ass off, and the crowd ate it up.

Outside on the porch, Lulabelle and High John spotted Sadie and her demon whores strolling out of the woods in stylish dresses and heels. Their movement seemed too fluid. Like they were floating instead of walking, but Lulabelle clearly saw their feet on the ground. Sadie shook her lean hips as she listened to the raucous sounds spilling out from the door.

"Ooh, sounds good in there, Lulabelle," Sadie said.

The hag eyed High John and gave him a wide smile.

"Thought you were expecting a crowd at your place," Lulabelle said.

"Later. We just wanted to come by and get some fried fish and listen to music. A little fun for my ladies before they have to work tonight," Sadie said.

One of the lighter-skinned whores snickered and held a finger under her nose like Sadie had said a funny joke. High John pulled out a toothpick and jabbed it between his teeth, making room for some new patrons to come inside. Lulabelle kept her cool.

"Come on in and see what good business looks like," Lulabelle said, mustering up a brave face.

Her heart pattered so fast in her chest watching Sadie and the others step across the protected threshold. She glanced at the moon that showed a glimpse of itself rising over the woods across from her juke joint. Opening the screen door, Lulabelle nodded her head toward the inside.

"Welcome," she said, grinning hard because Erik's life depended on it.

The women swept past smelling like strong perfume and trouble. She trailed behind them with High John just as Gertie Mae and the band whipped up another frenzy with a song talking about where to get the best sugar in town and everybody knew she was about to get filthy once she hiked up her dress and showed off gartered stockings.

Sadie and her demon girls wasted no time joining in with the dancing. They grabbed men away from other women and began grinding their breasts and asses against hips, groins, and hardening dicks. One bawdy demon, pretending to be a delicate-looking Black rose with succulent lips and feline eyes, took off her dress and slinked around a patron in her black bra and panties. She strutted her stuff, whipping up the thick crowd into another frenzy. Some men even had the nerve to throw money at her. Hoochie Coochie dancing began all around as if the crowd became infected with the seductively charged atmosphere. One demon girl jumped on the stage and thrust her narrow hips at the guitar player, nearly upstaging Gertie Mae who only fueled the fire by using her handkerchief that she used to wipe away a sweaty brow to fan the dancing whore on to more steamy shenanigans. Patrons sitting at the small tables stomped their feet and pounded the tables, making their liquor glasses and cold beer bottles jump with the brazen action.

Gertie Mae kicked up her heels and caterwauled into the microphone.

"I treats him kind but he don't do me right!

We fights and quarrel most every damn night

I can't have no man's got such low-down ways

Cause the blue gum man ain't the style now'days

I brought him from the north and I'm sendin' him back

Else I'll use his head for a carpet tack!"*

Lulabelle gazed at the crowd who had no clue about the wickedness among them. There was nothing she could do to prevent them from mingling with evil. Gertie Mae howled into the microphone a new tune that always brought the house down.

"Oh, the white girl rides in a Cadillac

The yella gal rides the same

Black gal rides in a dusty Ford

But she gets there just the same!"

High John slipped his hand around Lulabelle's and pulled her toward the kitchen. They slipped out of the juke joint through the backdoor and ran to his car. He drove fast out of the parking area, heading for the deep woods where Erik was held captive.

Lulabelle's heart lodged in her throat when they arrived at Sadie's whorehouse.

"Let's hurry," High John said.

Leaping out of the car, Lulabelle followed him to the porch. He checked around the grounds for something, holding his hand back for her to stay put. He dashed over to a stump on the side of the house and pulled out his mojo bag again. Quickly moving his fingers over the stump, Lulabelle listened to the house creak like it was about to collapse on itself. High John glanced at the house, then moved over to her.

"It's safe now. I had to put my protective root over it so the house won't snitch on us being here. Sadie may have some tricksters planted inside, but they won't notice us now," he said.

They cautiously climbed the steps, and High John opened the screen door. He juggled the front doorknob, and it opened whispery quiet as if it expected them.

"Hold on," he said.

He pulled a matchbox from his coat pocket and struck it, allowing them enough light for Lulabelle to get to a lamp and turn it on.

"There, on the mantle," Lulabelle said, pointing to the mason jars.

"Grab the one that has him," High John said.

Lulabelle eyed the jars and honed in on the one she remembered touching. She lifted it, spun around, and showed it to High John.

"Open it!" he said.

She twisted the lid and held out the jar to him.

"What do I do now?" she yelped, wide-eyed and scared.

High John took the jar from her hand and drank down the contents like he'd been parched for one hundred years.

"Da fuck you doin' man?!"

Lulabelle snatched the jar away from him, but the man swallowed down Erik and licked his tongue around his meaty lips.

"You tricked me!" Lulabelle shrieked.

"Calm down, Lula!" High John snapped.

Lulabelle wrestled the jar away from him and busted him upside the head with it. Blood gushed from the split in his temple, and she dashed toward the front door. High John grabbed her arm and swung her back into his chest. Smothering her lips with his large mouth.

She thrashed within his firm hold on her and jerked her face away from his, breaking his hold on her lips.

"Lula, baby! It's me!"

Lulabelle stopped moving and gazed deep into High John's eyes. The voice coming out of his mouth was Erik's. She swooned and his grip on her tightened and he pulled her in close.

High John kissed her, but the moist lips, the feel of them was all Erik. She cradled his face.

"What's going on?" Lulabelle said.

Erik nuzzled her cheek.

"You saved me, baby."

He dragged her out of the house and down the steps.

"Over there!" Lulabelle said, pointing to High John's Packard.

He helped Lulabelle get into the passenger side and he ran to the other door. High John left the keys in the ignition. Her man, using High John's body, held the steering wheel with trembling hands.

"Erik? Is it really you?"

Tears welled up in Lulabelle's eyes. High John turned to her and caressed her face. He pressed his dewy lips against hers and she squeezed her eyelids shut, praying that it wasn't a cruel trick. The taste, the feel, and the urgency of the kiss were all Erik. His deep wet kiss fed her a tongue that reminded her of why she adored him. This was her man. The Crossroads Man. The opener of the way to the old African Gods and pathways to other worlds. Back where he belonged. With her.

He released her and she jumped in her seat as the eyes staring back at her belonged to some other beautiful man. High John. She whimpered next to him and High John hugged her, his muscular arms and scent so different from Erik's but feeling like him just the same. Her lips hungered to kiss him again and tongue him down to his socks, but she couldn't get over that he was housed in a different man.

"What is happening?" she said.

"High John is letting me use him as a vessel to carry me until I can find my body."

"You sent… I mean… he sent Elizabeth to look for it. Do you remember where you were last?"

"Near the crossroads."

"How were they able to get you?"

Her head swam with the incongruence of hearing Erik's voice come out from a stranger's lips.

"Don't cry, baby."

She rested her head on his chest, listening to the heartbeat whispering love in her ear. Three months felt like three years while he was gone.

"They used a piece of your hair to cast a spell pretending to be you. One of them made an offering at the crossroads for me and clouded my eyes," Erik said.

"Your affections for her helped them fool you," High John said, interrupting Erik.

The switch-up made Lulabelle's head spin. A two-for-one sat next to her, and she reeled from the dizziness it produced in her.

"They must've come into the juke and got close to her… stole some hair or maybe fluids from something she drank out of and conjured a vision that clouded your eyes, Geechee," High John said.

"I can't stay in him long," Erik said.

The green eyes piercing into her made Lulabelle fret.

"I missed you, woman," Erik said.

He pulled Lulabelle onto his lap, and she felt his body react to hers. The skin beneath her fingers thrummed with anticipation as the heat from him seeped into her. She closed her eyes so she could imagine being with Erik, but the frisky hands on her ass made her gasp and stare at High John's handsome face.

Strong hands lifted her up and down onto a covered, bulging erection that felt like a steel rod underneath her panties. Determined fingers tore her underwear off and she lifted her hips so that High John… Erik… could unfasten his pants and released his dick.

"Wait," Lulabelle said.

She wanted to wait until he was in his own body, but Erik's heavy breathing told her otherwise. Plus, High John was a fine specimen of a man with just as much sex appeal as the Geechee man.

"I need you right now… please…" Erik begged.

He snaked that thick tongue in her ear and licked her down to her breasts, pushing them together. His palms squeezed and lifted the lush mounds until he could kiss them fully across the tops.

"Ride me, Lula, let me feel you again."

High John's body made Lulabelle ache with desire and long-felt longing. Their lips collided again, and he renewed their vows of pleasure that had been stolen for three months.

"We have to go, find your body—"

He smothered her lips and dominated the arch in her back, bending her until her shoulders rested against the steering wheel. His hands pulled down the front of her dress and slipped around her lower back to release the hooks on her bra.

Big tits spilled all over his chest, and the groan out of his throat thrilled her. She was with two men at the same time in one body, and the heat of them made her feel damp between the legs and wanton.

"Lula," he moaned.

He lifted her again, and she slid down on his erection, holding her breath and clutching his shoulders. It felt like cheating, but it wasn't. Not really.

"Fuck," High John groaned.

Her wide ass rested on his balls, and they both sat still, getting used to the sensation of the connection. Lulabelle's head fell back and High John stuffed a big nipple in his mouth, sucking on her breast with a ravenous tugging that shot down to her clit and made her clench her slick walls all around the girth that stretched her beyond belief. She threw her arms around his neck and bounced on his dick with an off-kilter rhythm, as if the Crossroads Man was still figuring out how to work the strange form he was in.

"So wet… tight..." he huffed, pumping himself into her.

She soaked his lap with the pent-up arousal she kept between her thighs waiting for him to return. It wasn't the reunion she imagined, but she took it hard and fast. Loud gushy sounds rang in her ears, listening to the splashy sounds in her pussy and the heavy slapping of her ass cheeks on his muscular thighs. High John played with her breasts again, and she sensed an internal struggle by watching his eyes blaze into hers. The conjure man wanted a taste, and she knew for sure the entity she fucked now was not Erik. It couldn't be. The feeling was different. The hands on her breasts and the tongue on her ripe nipples were foreign to her skin.

Lulabelle hollered in his ear as he pounded her pussy, slapping her ass as he took what he wanted from her. She let him, indulging in the forbidden touch of High John.

"We have to leave… now…" High John's voice returned, and Lulabelle pretended like she didn't hear him, wanting to feel that heavy dick carve unfamiliar territory in her pliant pussy.

"Fuck me, Daddy," she grunted, slamming her ass down on his balls, wanting him to feel all the harlotry she planned on giving him.

She kissed him, licking and biting on his big lips to make him open his mouth so she could rest her tongue in the maple-scented wetness.

"Oh, my damn!" High John screeched, losing full control of the situation.

His hand fumbled with the driver's side door and a gust of humid early fall air gusted around them. He moved out of the car with Lulabelle still stuffed with his dick. His pants fell around his shoes as he corrected his balance. She wouldn't let go of him, sucking on his neck and whimpering for more thrusting of that big meat. Tears dampened her eyes as she begged for more pumping.

"Give me some more, Daddy," she pleaded, purposely not saying anyone's name.

The squelching of her pussy told her Erik was back in the driver's seat. He spun them around and plopped her on the hood, drilling her folds like there was no tomorrow. Watching her titties bounce as he hunched and hollered her name gave Lulabelle joy. She scraped her nails on his nape and cooed his name into his big lips.

"I'm finna cum," he yelled.

"It's your pussy!" she encouraged.

She didn't know if it was Erik or High John. Didn't matter no way. Her pussy was plowed to smithereens and ready to receive.

"You like how it feels?" she purred.

Erik grabbed her throat and pushed her down on the hood.

"Fuck me harder… harder… lemme feel all that big dick!" she demanded.

His eyes burned holes into her skull, but the face looking at her was High John. The conjure man's lips slammed on top of hers and kissed her breath away.

She felt the hot spurts of semen against her walls. It warmed up her insides as his dick pulsed with a prolonged orgasm.

"Lula!" he groaned, flicking his fingers across her clit.

"Cum in this tight pussy!"

Her walls throbbed all around his dick from the bottom of her pussy. She lifted in time to see her opening grip and release with a rhythmic throbbing that made her whimper for God. The damp curls of her pubic hairs were beautiful against his wild bush of dark moist pubic curls. He grabbed her breasts again to hold them once more as he shot one last coating of cum all over her walls.

Hot, sweaty, and spent from the exertion, High John pulled his fat dick out of her pussy. His ejaculate pooled out on the hood. She squeezed as much of it out as possible, and he groaned at the amount spilling all over the car. Wiping his face, he reached for his pants like a drunk man trying to dress.

"Got no time for this shit… gotta find this niggas's body," High John grumbled.

Lulabelle slide down the hood and fixed her dress. With no panties on, the air tickled her naked vulva. She fastened up her bra again and caught her breath. High John regarded her with his own lust, not Erik's. He was in control again.

"Gotta find Elizabeth and see if she found his body," he said.

"Where should we look for her?"

"The crossroads," High John said. "Get in the car."

She crawled back in, and he slipped in beside her. He started the car and drove carefully out of the woods.

The crossroads were empty, only moonlight high above, and the distant sound of The Midnight Ramblers at her juke joint met them there. High John stomped around and peered in every direction before stepping to the center that joined all the directions together. He kicked around some dirt and rested his hands on his hips.

"He loves you," High John said.

Lulabelle stared at him with a curious expression.

"That's the only way they got him. If he didn't love you, then the root they put together to bind him wouldn't have worked. Love is a powerful spell, Lula. An incantation that holds hearts together takes two to manifest the conjuring," High John said.

He looked at her with soft, knowing eyes.

"They probably would've fooled me too," he said, winking at her.

He gazed all around him.

"I figure… they moved into these parts and wanted to grab people roaming around late at night. Drunk. Confused. Not paying attention to the signs. Someone who regularly fed Erik might've missed a night making an offering to him. It weakened the veil and made him come look-see when bodies were found here. Can't nobody resist a pretty girl pretending to be lost. Not even a drunk man. Even a woman looking for her wayward husband would stop to help another woman in trouble. They get caught, and the hag rides their body for… draining them of energy and the will to live. Geechee came to see what was going on and a demon pretending to be you seduced him with a binding spell. Stuffed his essence in a jar for Sadie to keep. Buried him somewhere…"

His eyes glanced behind her.

A glowing ball of yellow light bounced above a thicket of kudzu.

"There she is," High John said.

He ran toward the light, and Lulabelle followed him. The kudzu was thick and High John yanked on it at the spot where they saw the light. She helped him, and they found a decaying lump of plant matter and unsettled dirt. Dragging their hands through it, Lulabelle squealed when they discovered Erik's body stuffed in a hole. She brushed the soil off of his suit and wept as she helped High John pull him out and lay him flat on his back.

"Erik," she said, stroking his moldy and mottled face.

The stench of decay was sickly sweet, and she covered her nose and mouth once they took in the full reeking of the decomposing form. High John stuck his fingers in Erik's mouth and scooped out more dirt. He wiped his nose too, and Lulabelle looked up to check the placement of the moon. It was still high in the night sky.

High John widened Erik's lips and covered his mouth with his own, vomiting the liquid he swallowed from the jar down into his throat. The retching sounds almost made Lulabelle puke, and she turned her head, pinching her nose from the powerful odor of sulfur. She looked over at Erik again when High John sat back and wiped his lips. They waited.

Nothing happened.

"Are we too late? Is his body too far gone?" Lulabelle asked.

High John looked worried, and he stood up and paced among the kudzu. An hour passed. The sounds of the woods at night gave Lulabelle the creeps, but she felt safe with High John. When another hour passed, she couldn't hold her tears back.

"Come on, man. Get your ass back here!" High John shouted.

He slammed a fist on Erik's chest. Despite that, nothing happened.

"We were too late," Lulabelle whined, wiping her eyes.

"Nah, his body is still good enough to restore."

"Then what's wrong with him? Use your mojo bag, cast a spell on him or somethin'!"

"Calm down, woman," Erik said.

Lulabelle placed her hands on his chest and watched him blink the dirt out of his eyes.

"It takes time to get acquainted with the body again. Always wanna rush people," Erik teased.

He sat up and dirt dropped from his skin all over and his face filled with his beautiful ruddy brown coloring again. She helped him stand, and he brushed off his clothes and shoes. He held out a hand for High John and they clasped palms and bumped shoulders.

"Came right on time," Erik said.

"Lulabelle was a big help. She found you before I did," High John said.

She stood between them feeling sheepish and a little embarrassed thinking about what had transpired between the three of them earlier.

"I got 'em trapped at Lula's juke right now. We best hurry back before the barrier I put around the place wears off. I got no choice but to take the hag down there. Couldn't do it until I found you, though.

"Understood," Erik said.

They trotted back to High John's car, piled in, and rushed over to the juke. The noise from inside seemed louder, and the dancing and partying going on shook the foundation.

"Go in through the back," High John said.

They snuck around the side and entered the rear with stealth. No one paid attention to them except for Eva, who fried up the last orders of fish and chicken for the night. Her eyes grew wide at Erik being with them, and Lulabelle held up a finger to her lips, warning her not to say anything. Erik went to the kitchen sink and rinsed his mouth out and washed his face. Lulabelle poured him some whiskey, and he took the glass and gulped down the contents. He leaned over and kissed her lips. She closed her eyes and accepted the warm, smooth feel of his mouth over hers. High John handed Erik his hat that he hung up in the kitchen.

"Keep that down so they won't recognize you in the crowd," High John said.

Erik pulled it down low, and they listened to the hard partying.

"This place is on fire," Eva said, monitoring High John. "These people are eating and drinking up everything!"

Lulabelle could see the dollar bills Eva was adding up with her eyes, thinking about all the money they were making.

"People are so busy in the juke, they barely going to the Loving House," Eva said.

"Go on out there and stay in the back. Lula, let Sadie see you so she'll think you've been here, but stay away from her," High John said.

The conjure man stared at one of Eva's cupboards, then waved his hand at Lulabelle.

"Go on, get out there," High John ordered.

Lulabelle grabbed Erik's hand, and they squeezed through bodies. She shook one hip and waved her hand at customers as if she'd been making the rounds as usual. Sadie sat perched at the front table near the band, and her girls were still half naked and urging debauchery everywhere. The people obliged with lusty kissing on the dance floor, and fingers groping and grabbing partners in their seats.

Lulabelle called out a loud, "Hey girl!" to Gertie Mae, who had sweated out her pin curls and make-up. Streaks of pancake foundation dripped down her drenched face as she sang a bluesy, slow drag. Her eyes connected with Sadie, who smoked a cigarette with a long cigarette holder, blowing smoke circles at the piano player. Lulabelle pretended to roll her eyes and moved through the patrons to the back. Erik kept his head dipped low as they scurried and hid behind the standing audience.

For the first time in months, Lulabelle could relax with Erik pressed into her back. He threw an arm around her chest and felt on her breast openly. No one cared. Their gazes were stuck on Gertie Mae and listening to her moaning lyrics. She leaned her head against his chest.

"I thought you left me and found someone else," she said.

She didn't have to speak louder than the music because his keen hearing could pick up the softest whisper from her lips. He rested his back against the wall, and she clung to his arm.

"I'ma go wash up back at the Loving House. Change clothes," he said.

She gripped him tighter.

"Don't worry, I'm here. You're here. Can't trick me with my real woman," he said.

He kissed her forehead and pushed through the throngs toward the hall. She circled the juke and collected money from Honey Boy who looked dizzy from all the business.

"These men are finally heading to the back," Honey Boy said. "Thought them hoes from the woods would leave soon, but they are hunkering down for the night. That Sadie ain't left that table yet. She don't dance or nothin', just watches her women and smokes."

"She ask about me at all?"

"Nah. She likes her moonshine and people gawking at her hoes."

"I bet," Lulabelle said, stuffing the money down her bra.

The juke was sweltering, with so many people bumping up against each other. Erik met up with her in the back wearing a fresh suit that she kept pressed and ready for him in her room. He held her close. His touch was electrifying on her skin. They swayed to the slow drag and before she knew it, he had her dress hiked up her waist in the back while he unzipped his clean pants. Her lips made an "O" as he took her right there in the crowd, their eyes transfixed on nothing but The Midnight Ramblers. Erik gripped her shoulders and thrust in and out slowly. His balls slapped against her clit and her body jerked to his pacing.

"You enjoyed fucking High John a little too much," he growled in her ear.

Her eyes watered from the stretching his dick gave her walls, and he was not kind about letting her catch her breath as he stroked faster in her pussy. He slammed a hand over her mouth to keep her from moaning too loud. The cacophony of music, call and response shouting at Gertie Mae, and Erik's hot, heavy dick beating down her wet slit with no mercy had Lulabelle mewling and crying softly with too much stimulation. His dick was thick enough to make her clit tug down on its own without his fingers stimulating it. He wouldn't let up, digging his heels into the floor and thrusting into her until she was almost on her tippy-toes. Her pants were loud in her own ears against his hand, and she creamed on his dick with a sudden loss of control. His erection swelled and his grunt of satisfaction pushed a flood of cum into her that weakened her knees. He held her up and whispered in her ear.

"When this is over, I gotta punish that pussy. You know that, right?"

She whimpered, and he spanked her ass, covering her cheeks back up with her dress.

"I ain't like how you acted in that car and out of it. Didn't even say my name like you usually do. You liked fucking his body," he said.

"I was fucking you," she said.

The gleam in his eye and the smirk on his lips told her he thought she was lying. He gave her a fat smooch on her cheek and slid his tongue in her ear and around the shell.

"Were you?" he whispered.

Lulabelle rounded her shoulders and avoided eye contact. High John stepped out of the kitchen and she shivered, thinking about him sucking on her titties while she bounced on his fat dick. All three of them kept watch over Sadie and her whores.

"Night Lula!"

Lulabelle held a hand to her chest, trying to calm the tightness there and the shortness of breath as she watched the last of her patrons leave her juke. She waved at the man who called out to her, the piano player, and kept her eyes on two of Sadie's demon whores who were topless and lounging on chairs near the stage.

Sadie herself sat at the piano, tickling the ivory, keeping her sultry eyes on Lulabelle. Honey Boy took the last of the cash she collected and headed out to the Loving House to check on the girls and rest. Eva slung a coat over her shoulders and lifted a covered plate of chicken from the bar counter and bid Lulabelle goodnight as her husband waited to scoop her up at the front door. She left a bag on the counter, waving for Lulabelle to ignore it as she walked out with her man. The last stragglers headed out and finally, they were alone with the hag and her ladies. Erik slinked away from the wall and took off High John's hat. Sadie squinted and stood up once she realized it was Erik. The hag snapped her fingers and her women jumped up and stalked across the dance floor toward the entrance. Lulabelle glanced at High John and he checked for the moonlight through the window. He grinned.

Sadie and her women came back in, the barrier blocking their exit from the premises. Erik pulled Lulabelle behind him and she stayed near the wall.

"Ain't nobody here now. Might as well show yourselves," High John said.

He pulled out his mojo bag and sat it openly on his chest. Erik moved next to him and flexed his fingers before pulling out his switchblade. Sadie checked the juke to make sure no one else was around.

"Why not?" she said.

Sadie's face puffed out like a bullfrog again, and she stripped out of her dress and underwear, revealing a gorgeous body that split and twisted, turning itself inside out until her skin fell to the floor in a wet splat at her feet. Without her skin, she was a walking, red, glistening wound. She grinned, and everything inside her mouth was black. Lulabelle couldn't see a tongue or teeth anymore. The whores behind her shed their phony skin and dropped to all fours, snarling and gnashing vicious teeth looking like hell hounds skinned raw, the lean muscles in their bodies a wet scarlet nightmare as their claws clacked across the wood floor.

Lulabelle couldn't turn her head away from the horror in her juke and a chill dragged along her spine as she sincerely wondered what High John and her Geechee man looked like under their skin.

"No tit for tat boys? We get undressed and y'all stay pretending? That's not fair at all," Sadie said with her midnight black mouth.

Her eyes were still seductive and sinister. She turned toward Lulabelle, and Erik stepped forward.

"I would love to ride you gal, then put your shiny little soul in a glass jar," Sadie said.

"Don't look at her, Lula. Turn your head, baby," Erik said.

She did as he said so she wouldn't be hypnotized again. He lunged for the hell hounds, distracting Sadie. The demons attacked Erik, but he cut them with his razor, deflecting their snapping teeth as much as he could. The hag jumped on his back, whipping her head back and forth as she gripped his chin, yanking it back.

High John sprang into action, snatching the hag's skin off the floor and running with it to the counter. He stretched it open on the bloody wet side and dumped the contents of the bag Eva had left behind all over it.

Sadie shrieked when she noticed his actions and jumped off of Erik. He continued fighting and cutting the hell hounds that gave off the smell of burning flesh. High John stepped away from the counter and allowed Sadie to pick up her skin. She shook it and cursed High John, throwing her outer covering back on. It sizzled and burned her flesh, and she clawed at her skin, enraged and frightened.

The hell hounds flopped around the floor like they were having convulsions, and black acidic foam bubbled out of their mouths, filling the room with the stench of burning rot. Sadie clawed at her once beautiful face.

"You motherfucker!" she screamed at High John.

Erik ran to the conjure man and High John poured the contents of the mojo bag into the Geechee's hand. Erik balled his hand into a fist, blew through a small hole he made on the side of it, then slammed his hands together. There came a loud clap of sound that reverberated like thunder and Lulabelle could never be sure if she saw what she saw, but The Crossroads Man, her beloved Erik, stole the moon from the sky, reached right through the juke window behind the stage, and plucked it with his fingers, replacing it with the sweet sugary colors dawn.

Sadie shrieked again and fled out of the juke, breaking through the screen door and tumbling down the steps with a roar pouring out of her wicked mouth. Lulabelle ran to the entrance and watched the hag head for the woods, but it was too late. Sunlight pierced holes through her body and she sparked up like a human torch, her flesh scorched into black ash that floated to the morning sky. One last horrid screech sounded from her lips before she vanished in front of Lulabelle's eyes.

"My God today," Lulabelle whispered with wide eyes.

She turned back into her juke and the hell hounds had vanished too, leaving no trace behind. High John wiped his hands.

"Eva's salt trick don't work on me, but Miss Sadie sho did go out like a whiny bitch!" High John said.

Erik laughed at him, and both men slapped hands and shook their heads.

"Hags always have a bad habit of leaving their skin out in the wrong places tryna be tough all the time," Erik said.

Lulabelle could only stare at them, mouth agape, and her thoughts jumbled with all the terrifying sights she'd seen in nearly twenty-four hours. She tossed a weary hand up at them both.

"I'm going to bed. This shit… this was too much," Lulabelle complained.

"Oh, you ain't about to do no sleepin'," Erik said.

Lulabelle stopped and put a hand on her hip.

"Whatchu mean?"

"Told you already. I'm 'bout to be knee deep in that pussy. Go on back there and get naked. You gotta make up for the disrespect," Erik said.

High John snatched his hat from the floor where Sadie had knocked it off of Erik's head. He placed it back on his own head.

"Guess I'll just mosey along then. Come see me Geechee when you done with her. I'll be waiting over at the crossroads. We got work to do," High John said.

"You ever gon' give that conjure man his body back?" Erik said.

"Maybe. Maybe not. I kinda like it. What you think, Lula?" High John said.

"Don't be askin' her 'bout nothin', man. Take that shit back. I don't want her looking at that face again."

"Scared of some competition, I see."

"Whatever, man. Take that nigga his shit back so he can do his work."

High John sucked his teeth at Erik and winked at Lulabelle.

"Sure y'all don't need me to watch?"

Erik raised a fist. Lulabelle grinned.

"Tell the truth, Lulabelle, was all that hollerin' you was doin' for me or him?" High John asked.

"Goodbye High John. Close the door behind you," Lulabelle said.

Erik stuck out his tongue at High John.

"So ungrateful. I'll be waitin' on your ass," High John said.

High John looked into the corner of the juke and tipped his hat to nothing she could see.

"Thank you for your help, Elizabeth. You are a true friend to these two," High John said.

"Tell her thank you for me, please," Lulabelle said.

"She heard you," High John said.

He strolled out of the front door and politely closed it for Lulabelle.

Erik spanked her ass.

"I'ma start with those big thighs first. Then I'll lick and kiss that juicy pussy with my sweet jewel at the top…"

Erik nuzzled his face against hers. She turned and wrapped her arms around his neck.

"Is it true that you love me?" she asked.

He kissed her softly and rubbed her shoulders.

"Yes."

"That's what got you in trouble," she said.

"One time. Won't ever happen again."

"Promise?"

"Promise."

"What will happen to those jars they left in that house?"

"Nothing. I'll pour them out and release their souls to heaven at the crossroads."

"Will you ever show me what you truly look like?"

"No. Your human eyes couldn't handle it."

"So I'll never see you?"

"Not until you're an old woman and you pass on. Then I'll guide you to the other side of the veil."

He kissed her again, and she admired all the gold in his teeth.

"You'll stay with me until I die?"

"Or until you get sick of me."

She shook her head and pressed her face against his neck, smelling his skin and feeling his warmth.

"I won't ever get sick of you."

He spanked her backside, and she yelped.

"Lulabelle, Lulabelle… time for us to go to the Loving House," he teased.

She threaded her fingers with his and thought of all the things she wanted to ask him about turning night into day and loving her so much that a hag could trick his ass into a jar. He tugged on her hand and she walked beside him across the rickety creek bridge. He slipped a hand under her dress and fingered her folds, slipping two digits inside of her as she walked slowly for him, letting him watch her big ass jiggle while he worked her pussy.

When they reached her soft, lumpy bed, she forgot about the moon, the sun, and the shiny mason jars. All she saw were stars in her eyes as she raised her big legs high to the sky, letting the Crossroads Man make love to her again, and again, and again….

Part 1 "Ice Cold Jax" HERE.

A.N.:

Aaron Pierre is my new face claim for John the Conqueror. I had someone else originally, but it's fun to switch up. Basically Killmonger and Terry Richmond tag teaming in this. This sequel was also written as a birthday read for @soufcakmistress in 2022.

[uwmspeccoll]

Staff Pick of the Week

My name is Elizabeth Voorhorst, and I am a new writing intern for Special Collections this semester. It is a pleasure to share this space, as I am excited to delve into the vast sea of books that Special Collections makes a home for.

I am an English major, with a focus on creative writing. Because of this, my time spent in Special Collections will be focused predominantly on fairy tales and folklore, perhaps dipping into mythology when curiosity and inspiration strikes hardest.

For this week, I wanted to focus on black creators and their works for Black History Month. Because my pride and passion is folklore and fairy tales, I thought it would be fun to take a look at what we have in our collection and share it with you!

Retellings are always enjoyable, as you get to see the way writers recreate and offer their own flare and heritage to the story. One such story is The Girl Who Spun Gold, a retelling of the German classic fairy tale Rumpelstiltskin. This retelling was written by Virginia Hamilton (1932-2002) and illustrated by Leo Dillon (1933-2012) and Diane Dillon (1933- ).The book was published 1n 2000 by Blue Sky Press, an imprint of Scholastic Inc.

The story is about a West Indian girl named Quashiba, whose mother lies to Big King that she is able to spin golden thread. The King takes Quashiba as his queen, expecting her to fill whole rooms with golden fabrics and finery, which of course she would be unable to do. However, she meets a creature who offers to help, but demands that in three days she must guess his name correctly or be bound to him forever.

Quashiba is now able to fulfill the King’s continuous demands, but is unable to guess the name of her helper, until the King reveals to her that he ran across a strange creature in the woods who was dancing and singing a song that included his name, Lit’mahn Bittyun. So, on the final night, after the room is filled with fabrics and wondrous goods, Quashiba plays dumb for the first two guesses, and on the last guess she gives him his full name and he explodes into a confetti of golden specks. The King repents his greed, but only after three years and a day does Quashiba reconcile with him.

The absolutely stunning illustrations for The Girl Who Spun Gold were made using a four-color process with gold as a fifth color. The Dillons comment on the painting process, stating:

Knowing the difficulty of painting with metallic paint as well as the difficulty of reproducing gold, we still chose to use it, for the story itself revolved around the concept of gold. The art was done with acrylic paint on acetate, over-painted with gold paint. The gold borders were created using gold leaf.

The book was printed on one-hundred-pound Nymolla Matte paper, and each illustration was spot-varnished.  Color separations were made by Digicon Imaging Inc., Buffalo, New York, and the book was printed and bound by Tien Wah Press, Singapore, with production supervision by Angela Biola and Alison Forner. Along with Leo & Diane Dillon, the book was also designed with help from Kathleen Westray.

View more work by African American artists.

View more posts concerning African Americans.

View more Staff Picks.

- Elizabeth V., Special Collections Undergraduate Writing Intern

[manwalksintobar]

After Winter // Sterling A. Brown

He snuggles his fingers In the blacker loam The lean months are done with, The fat to come. 

          His eyes are set           On a brushwood-fire           But his heart is soaring           Higher and higher. Though he stands ragged An old scarecrow, This is the way His swift thoughts go, " Butter beans fo' Clara Sugar corn fo' Grace An' fo' de little feller Runnin' space. " Radishes and lettuce Eggplants and beets Turnips fo' de winter An' candied sweets.           "Homespun tobacco           Apples in de bin           Fo' smokin' an' fo' cider           When de folks draps in." He thinks with the winter His troubles are gone; Ten acres unplanted To raise dreams on.                    The lean months are done with,           The fat to come.           His hopes, winter wanderers,           Hasten home. "Butterbeans fo' Clara Sugar corn fo' Grace An' fo' de little feller Runnin' space. . . ."

[intheholler]

the appalachian murder ballad <3 one of the most interesting elements of americana and american folk, imo!

my wife recently gave me A Look when i had one playing in the car and she was like, "why do all of these old folk songs talk about killing people lmao" and i realized i wanted to Talk About It at length.

nerd shit under the cut, and it's long. y'all been warned

so, as y'all probably know, a lot of appalachian folk music grew its roots in scottish folk (and then was heavily influenced by Black folks once it arrived here, but that's a post for another time).

they existed, as most folk music does, to deliver a narrative--to pass on a story orally, especially in communities where literacy was not widespread. their whole purpose was to get the news out there about current events, and everyone loves a good murder mystery!

as an aside, i saw someone liken the murder ballad to a ye olde true crime podcast and tbh, yeah lol.

the "original" murder ballads started back across the pond as news stories printed on broadsheets and penned in such a way that it was easy to put to melody.

they were meant to be passed on and keep the people informed about the goings-on in town. i imagine that because these songs were left up to their original orators to get them going, this would be why we have sooo many variations of old folk songs.

naturally then, almost always, they were based on real events, either sung from an outside perspective, from the killer's perspective and in some cases, from the victim's. of course, like most things from days of yore, they reek of social dogshit. the particular flavor of dogshit of the OG murder ballad was misogyny.

so, the murder ballad came over when the english and scots-irish settlers did. in fact, a lot of the current murder ballads are still telling stories from centuries ago, and, as is the way of folk, getting rewritten and given new names and melodies and evolving into the modern recordings we hear today.

305 such scottish and english ballads were noted and collected into what is famously known as the Child Ballads collected by a professor named francis james child in the 19th century. they have been reshaped and covered and recorded a million and one times, as is the folk way.

while newer ones continued to largely fit the formula of retelling real events and murder trials (such as one of my favorite ones, little sadie, about a murderer getting chased through the carolinas to have justice handed down), they also evolved into sometimes fictional, (often unfortunately misogynistic) cautionary tales.

perhaps the most famous examples of these are omie wise and pretty polly where the woman's death almost feels justified as if it's her fault (big shocker).

but i digress. in this way, the evolution of the murder ballad came to serve a similar purpose as the spooky legends of appalachia did/do now.

(why do we have those urban legends and oral traditions warning yall out of the woods? to keep babies from gettin lost n dying in them. i know it's a fun tiktok trend rn to tell tale of spooky scary woods like there's really more haints out here than there are anywhere else, but that's a rant for another time too ain't it)

so, the aforementioned little sadie (also known as "bad lee brown" in some cases) was first recorded in the 1920s. i'm also plugging my favorite female-vocaist cover of it there because it's superior when a woman does it, sorry.

it is a pretty straightforward murder ballad in its content--in the original version, the guy kills a woman, a stranger or his girlfriend sometimes depending on who is covering it.

but instead of it being a cautionary 'be careful and don't get pregnant or it's your fault' tale like omie wise and pretty polly, the guy doesn't get away with it, and he's not portrayed as sympathetic like the murderer is in so many ballads.

a few decades after, women started saying fuck you and writing their own murder ballads.

in the 40s, the femme fatale trope was in full swing with women flipping the script and killing their male lovers for slights against them instead.

men began to enter the "find out" phase in these songs and paid up for being abusive partners. women regained their agency and humanity by actually giving themselves an active voice instead of just being essentially 'fridged in the ballads of old.

her majesty dolly parton even covered plenty of old ballads herself but then went on to write the bridge, telling the pregnant-woman-in-the-murder-ballad's side of things for once. love her.

as a listener, i realized that i personally prefer these modern covers of appalachian murder ballads sung by women-led acts like dolly and gillian welch and even the super-recent crooked still especially, because there is a sense of reclamation, subverting its roots by giving it a woman's voice instead.

meaning that, like a lot else from the problematic past, the appalachian murder ballad is something to be enjoyed with critical ears. violence against women is an evergreen issue, of course, and you're going to encounter a lot of that in this branch of historical music.

but with folk songs, and especially the murder ballad, being such a foundational element of appalachian history and culture and fitting squarely into the appalachian gothic, i still find them important and so, so interesting

i do feel it's worth mentioning that there are "tamer" ones. with traditional and modern murder ballads alike, some of them are just for "fun," like a murder mystery novel is enjoyable to read; not all have a message or retell a historical trial.

(for instance, i'd even argue ultra-modern, popular americana songs like hell's comin' with me is a contemporary americana murder ballad--being sung by a male vocalist and having evolved from being at the expense of a woman to instead being directed at a harmful and corrupt church. that kind of thing)

in short: it continues to evolve, and i continue to eat that shit up.

anyway, to leave off, lemme share with yall my personal favorite murder ballad which fits squarely into murder mystery/horror novel territory imo.

it's the 10th child ballad and was originally known as "the twa sisters." it's been covered to hell n back and named and renamed.

but! if you listen to any flavor of americana, chances are high you already know it; popular names are "the dreadful wind and rain" and sometimes just "wind and rain."

in it, a jealous older sister pushes her other sister into a river (or stream, or sea, depending on who's covering it) over a dumbass man. the little sister's body floats away and a fiddle maker come upon her and took parts of her body to make a fiddle of his own. the only song the new fiddle plays is the tale about how it came to be, and it is the same song you have been listening to until then.

how's that for genuinely spooky-scary appalachia, y'all?

[pumpkinpaix]

Chapter Spotlight 8:

"'Censorship Made It Better': Anti-Fans and Purity Culture in English-Language Chen Qing Ling Fandom" by Abby Springman

Describe your topic/chapter in one sentence/one meme/140 characters.

Rejoice! MDZS has been cancelled!

What drew you to this topic?

When I got into CQL fandom and started lurking on its outskirts on Twitter, I started getting this weird sense of déjà vu. There was this bizarre similarity between the arguments I was seeing about the aspects of CQL/MDZS and their fandoms being "problematic" from a progressive, social justice point of view and the demands for censorship in American libraries that conservative groups were (and still are) making at an alarmingly increasing rate. In an attempt to make sense of this, I fell down what ended up being a really long rabbit hole, and, well, here we are.

Was there anything you were surprised to discover while researching?

I was surprised by the wide variety of fannish backgrounds found amongst members of English-language CQL fandom! I'm not used to seeing so many different "areas" of fandom intersect over a single piece of media like this. Some folks are primarily into the live action movies and TV shows side of things, some are mostly in bandom, some (like me) are traditionally a part of the anime, manga, and gaming contingent, etc. I think that's fascinating, honestly.

Did researching/writing your chapter change how you saw the text, the fandom, or the media? How so?

I didn't use the block button on Tumblr or Twitter for anyone in the fandom while I was working on my chapter. It definitely changed how I saw fandom on those platforms—literally. It really highlighted how much power social media algorithms have over what kind of content is presented to us front and center.

If there’s one thing you hope the fandom takes away from your article, what would it be?

I'll be thrilled if it makes people think about "problematic" content in less black-and-white terms. They don't have to necessarily agree with my conclusions! But if my words make even one person stop and think more about context before posting a reactionary comment, then that would be great.

If you were isekai-ed into MDZS/CQL, what sect affiliation would you choose and why?

The Lan. My existing skills are most likely to be applicable there (see: the library), it seems easy to find some peace and quiet when you need it, there are bunnies, and Hanguang-jun is there.

Chaotic one-sentence pitch to get your friends into MDZS/CQL?

My elevator pitch for CQL has historically been, "It's the adaptation of a book about a gay necromancer, except they can't actually show the gay romance or the zombies on screen."

What is one (1) book/media you would recommend to a MDZS/CQL fan? Tell us about it.

Strange Tales from a Chinese Studio by Pu Songling. It's probably the most accessible collection of Chinese stories of the supernatural available in English. If MDZS/CQL was your first exposure to traditional Chinese cultural beliefs about ghosts, exorcisms, and the like, this is a great introduction to the less xianxia-specific aspects. If that isn't the case for you, I still highly recommend it on its own merits!

Character you keep getting in those "which MDZS/CQL character are you" quizzes?

Wen Ning

Anything to say to potential readers of the collection?

Thank you, and I'm sorry—no, that's a joke. More seriously, I really am thankful for anyone interested in the collection. It's the product of years of hard work by many people, and I'm sure there's an interesting chapter in there for everyone.

(FAQ) (all posts on Catching Chen Qing Ling)

[greater-than-the-sword]

Imagine if Disney made a bold and woke movie about a young privileged white male coming to listen and learn and be humbled by the stories of African-Americans in a narrative that acknowledges the historical oppression experienced by Black people. And what if this movie also showcased the rich oral tradition of Black people by bringing to life traditional African-American folk tales with 2d animation. And what if it was called Song of the South

[theoutcastrogue]

Ballads of the Hanged: Swinging from the Gallows Tree

A mixtape of execution ballads and assorted tales of guilt, wrath, terror, and defiance on the gallows, where all men are brothers.

[on spotify]

21 tracks, 1h 15min in full (spotify lacks one song)

I teased this many moons ago, and I finally finished it. No booklet in PDF form (too much hassle), but I got extensive liner notes, which you can also read here, for more pictures and a wider format. Enjoy!

LINER NOTES

1. Hans Zimmer - Hoist The Colours

Heave ho thieves and beggars never shall we die

What a heartbreaking thing to say on the scaffold. But we have to start with theatrics and a drum roll, and our introduction needs no introduction.

2007, from Pirates of the Caribbean: At World's End OST lyrics: Ted Elliott & Terry Rossio music: Hans Zimmer & Gore Verbinski

2. Shirley Collins - Tyburn Tree (Since Laws Were Made)

Next stop, Tyburn: England's most notorious gallows. In The Beggar's Opera, the highwayman Macheath (later also known as Mack the Knife) observes that if they hanged rich criminals like they hang the poor ones, "'twould thin the land". Shirley Jackson subtly changed this to the better.

Since laws were made for ev'ry degree to curb vice in others as well as me, I wonder there's no better company on Tyburn Tree.

But since gold from laws can take out the sting, and if rich men like us were to swing, it would rid the land their numbers to see upon Tyburn Tree.

recorded 1966, released 2002 in Within Sound lyrics: John Gay, from The Beggar's Opera, 1728 music: traditional ("Greensleeves"), 16th century

3. Joan Baez - Long Black Veil

A country ballad about a man falsely accused of murder, who lets himself get dragged to the gallows because he won't reveal his alibi: an affair with his best friend's wife. It's been covered by a million people, here's Baez live.

The scaffold is high, eternity near, She stands in the crowd, she sheds not a tear, But sometimes at night, when the cold winds moan, In a long black veil she cries o'er my bones.

1963, from In Concert Part 2 lyrics & music: Lefty Frizzell, 1959

4. Oscar Isaac with Punch Brothers & Secret Sisters - Hang Me, Oh Hang Me

A poor boy who got "so damn hungry he could hide behind a straw", made his last stand with a rifle and a dagger, and has been all around this world, and is positively done with it.

They put the rope around my neck, they hung me up so high Last words I heard 'em say, won't be long now 'fore you die Hand me, oh hang me, and I'll be dead and gone Wouldn't mind the hanging, but the laying in the grave so long

2015, from Another Day, Another Time: Celebrating the Music of "Inside Llewyn Davis", after Oscar Isaac's rendition in Inside Llewyn Davis, 2013, in turn after Dave Van Ronk's rendition in Folksinger, 1962 lyrics & music: traditional American/unclear origin, folk song with various titles (I've Been All Around This World, The Gambler, My Father Was a Gambler, The New Railroad), first recorded by Justis Begley, 1937

5. Chapel Hill - Seven Curses

Cover of a Bob Dylan song, telling us the dark tale of a judge who's about to send a man to the gallows for stealing a horse, promises his daughter he'll show clemency if she agrees to sleep with him, and then reneges on his promise.

The next morning she had awoken to know that the judge had never spoken she saw that hanging branch a-bending she saw her father's body broken These be seven curses for a judge so cruel

2013, from One For The Birds lyrics inspired by Judy Collins's "Anathea" (1963), in turn inspired by the traditional Hungarian ballad "Feher Anna", who curses the judge "thirteen years may be lie bleeding" lyrics & music: Bob Dylan, recorded 1963, released 1991 in The Bootleg Series

6. Ewan MacColl - Go Down Ye Murderers

A song about Timothy Evans, a man accused of murdering his wife and child, which he denied until his last breath. They convicted him and hanged him in 1950. He was 25 years old. Three years later the real murderer, his neighbour John Christie, confessed, and the case played a major role in abolishing capital punishment in the UK.

The rope was fixed around his neck, and the washer behind his ear And the prison bell was tolling but Tim Evans did not hear Sayin' go down, you murderer, go down

They sent Tim Evans to the drop for a crime he didn't do It was Christy was the murderer, and the judge and jury too Sayin' go down, you murderers, go down

1956, from Bad Lads and Hard Cases: British Ballads Of Crime And Criminals lyrics & music: Ewan MacColl

7. Jennifer Lawrence - The Hanging Tree

One of the stranger things that can happen at the hanging tree is camaraderie. "On the gallows tree, all men are brothers", to quote A Feast for Crows, and when the state murders, then in defiance, an execution ballad can become a protest song. Many have in real life, this one is fiction, from The Hunger Games. Wisely, the director asked the composer for a simple tune, nothing elaborate, something that could be "sung by one person or by a thousand people".

Are you, are you coming to the tree? Wear a necklace of rope side by side with me Strange things have happened here, no stranger would it be If we met at midnight in the hanging tree

2014, from The Hunger Games: Mockingjay – Part 1 OST lyrics: Suzanne Collins music: James Newton Howard

8. Let's Play Dead - Heaven and Hell

A fairly traditional execution ballad written recently for the series Harlots. Margaret Wells sings it to herself for consolation and courage, as she sits alone in a cell, waiting to get dragged to the gallows.

I'm no more a sinner than any man here I'm no less a saint than the priest at god's ear But now I am snared, they will punish me well With a ladder to heaven and a rope down to hell

2018, from the single Heaven and Hell, for Harlots Season 2 Episode 7 lyrics & music: Let's Play Dead

9. Odetta - Gallows Pole

Probably the most well-known execution ballad of the 20th century, thanks to several iconic renditions. This one remains my favourite.

Hangman, hangman, slack your rope, slack it for a while I think I see my father coming, riding many a mile Papa did you bring me silver, did you bring me gold? Or did you come to see me hanging by the gallows pole?

1960, from At Carnegie Hall lyrics & music: traditional (Child 95 / Roud 144), known under many other titles ("Hangman", "The Maid freed From the Gallows", "The Prickle-Holly Bush"); this version is directly influenced by Lead Belly's "Gallis Pole" (1930s), and they both informed Led Zeppelin's 1970 version

10. Johnny Cash - 25 Minutes to Go

Peak gallows humour, uproariously funny and defiant, and somehow still conveying the terror of a man who's about to die and emphatically doesn't want to. Performed live at Folsom Prison.

Then the sheriff said boy I'm gonna watch you die, 19 minutes to go So I laughed in his face and I spit in his eye, 18 minutes to go Now here comes the preacher for to save my soul, 13 minutes to go And he's talking about burning but I'm so cold, 12 minutes to go

1968, from At Folsom Prison lyrics & music: Shel Silverstein, from his 1962 album Inside Folk Songs

11. Johnny Cash - Sam Hall

A classic execution ballad with many versions (see here for its complicated history), some of which are stoic and dignified, and others humorous. But this one brims with rage. Sam Hall will not be repenting on the gallows, and he'll see you all in hell.

My name it is Sam Hall and I hate you one and all And I hate you one and all, damn your eyes

2002, from American IV: The Man Comes Around lyrics & music: : traditional, 18th century broadside ballad, Roud 369

12. Nick Cave & The Bad Seeds - Up Jumped the Devil

A song about a man doomed from the start to play the villain’s part, and the origin of this blog’s #swinging from the gallows tree tag.

Who's that hanging from the gallow tree? His eyes are hollow but he looks like me Who's that swinging from the gallow tree? Up jumped the Devil and he took my soul from me

1999, from Tender Prey lyrics: Nick Cave music: Nick Cave & The Bad Seeds

13. NOT ON SPOTIFY: Dead Rat Orchestra - The Black Procession

This ballad imagines a sinister procession of 20 criminals (black tradesmen brought up in hell!), each with their own specialty (it's mostly thieves of some sort), on the way to the gallows. The last and worst of them is the thief-catcher, and if one of them is innocent, they'll all go free. But of course none of them are. It's written in thieves' cant (lyrics and more context here), and the chorus means: "Look well, listen well, see where they are dragged, up to the gallows where they are hanged."

Toure you well; hark you well, see where they are rubb’d, Up to the nubbing cheat where they are nubb’d.

2015, from Tyburnia: A Radical History Of 600 Years Of Public Execution lyrics: from The Triumph of Wit by J. Shirley, 1688 music: Robin Alderton, Daniel Merrill & Nathaniel Robin Mann

14. John Harle & Marc Almond - The Tyburn Tree

And where does the Black Procession lead? To Tyburn, of course. The dark gothic side of Marc Almond.

The Tyburn Tree, I weep for thee, blood in the roots 'Tis not a tree with bark and leaves of spring awakening 'Tis not a tree with blossom and fruit, 'tis not a tree No boughs to bend beneath the unruly breath of winter No memories of woods warmed by spring's sweet touch 'Tis not a tree — take a ride to Tyburn and dance the last jig

2014, from The Tyburn Tree (Dark London) lyrics: Marc Almond music: John Harle

15. CocoRosie - Gallows

Speaking of dark and gothic.

They took him to the gallows, he fought them all the way though And when they asked us how we knew his name We died just before him, our eyes are in the flowers Our hands are in the branches, our voices in the breezes And our screaming is in his screaming

2010, from Grey Oceans lyrics & music: Sierra Rose Casady & Bianca Leilani Casady

16. The Tiger Lillies - Hang Tomorrow

In their Two Penny Opera, the pioneers of dark cabaret reimagine Brecht’s Threepenny Opera, and take all the suaveness out of Mack the Knife. Here they also take all the fight out of him. What's even left? A pathetic empty husk, a bastard (let's not forget that Brecht's MacHeath is no rogue with a heart of gold, he's a horrible man) who can't even be intriguing. How disturbingly pedestrian.

So here I am in jail again, oh god it stinks of piss I've been in here since I was young, so I can reminisce It's looking rather grim this time, it's looking rather bad But if I swing tomorrow in some ways I'll be glad

2001, from Two Penny Opera lyrics & music: Martyn Jacques

17. Tom Hollander - Ballad In Which MacHeath Begs All Mens' Forgiveness

In The Threepenny Opera, Mack the Knife stands on the scaffold and asks for pity. No point being judgmental now, that he's about to die. He morbidly describes how his dead body will end up, and then he lashes out at everyone, cops and criminals (same difference), while still begging them all for forgiveness. Very VERY sarcastically. The ballad's concept is borrowed from François Villon (see below), and this translation is unusually bold (honorific, see here and here for other translations and context).

You crooked cops with your Mercedes, your mobile phones, your trendy jackets, your cuts from drugs and dice and ladies, your Scotland Yard protection rackets.

Let heaven smash your fucking faces, slash you and let the blood run free and break you in a thousand places. I've pardoned you. You pardon me.

1994, from The Threepenny Opera - Donmar Warehouse Original Cast lyrics: Bertolt Brecht 1928, loosely inspired by François Villon's "Ballad of the Hanged" c. 1489, translated by Jeremy Sams 1994 music: Kurt Weill 1928

18. Saga de Ragnar Lodbrock - Ballade des pendus

And here's the OG Ballad of the Hanged, written in the 15th century by the OG poète maudit, François Villon (translation here). It paints an indelible picture of strung up corpses swaying in the wind, decaying, pecked by birds, ravaged by the elements and time. And crucially, it's in the first person. The hanged speak, begging their fellow-humans for pity, and god for forgiveness.

Frères humains, qui après nous vivez, N'ayez les cœurs contre nous endurcis, Car, si pitié de nous pauvres avez, Dieu en aura plus tôt de vous mercis. Vous nous voyez ci attachés, cinq, six: Quant à la chair, que trop avons nourrie, Elle est piéça dévorée et pourrie, Et nous, les os, devenons cendre et poudre. De notre mal personne ne s'en rie; Mais priez Dieu que tous nous veuille absoudre!

recorded 1979, released 1999 in the Saga de Ragnar Lodbrock reissue lyrics: François Villon, c. 1489 music: Saga de Ragnar Lodbrock

19. Nick Cave & The Bad Seeds - The Mercy Seat

Honorary inclusion, a song not about hanging: the mercy seat is the electric chair. But the lyrics are a punch and this is a torrent of a song, a whirlwind, a masterpiece, a 7-minute cynic snarl. So it couldn't possibly get left out of this compilation.

And the mercy seat is awaiting, and I think my head is burning And in a way I'm yearning to be done with all this measuring of proof An eye for an eye and a tooth for a tooth (a life for a life and a truth for a truth) And anyway I told the truth, and I'm not afraid to die (and I'm afraid I told a lie)

1999, from Tender Prey lyrics & music: Nick Cave

20. Graveyard Train - Ballad For Beelzebub

And after? Welcome to Hell, ladies and gents, and bards. (Bards are rogues, too.) The Graveyard Train play a kind of Southern Gothic (but very southern, they're Australian), and here they entertain the thought of a band that ends up in hell and has to keep playing, without end, for an audience that can't hear. What a bleak prospect.

Well the air on the stage is burning our lungs And we're all going deaf from the beating drums And you can't see a thing for all the blood and the sweat in our eyes

Well we played till we died, and now we're all dead But the Man says we got to get up there again And you can't come down till the brimstone turns to ice

2008, from The Serpent And The Crow lyrics & music: Graveyard Train

21. Samuel Kim feat. Colm R. McGuinness - Hoist the Colours

Yo ho, all together Hoist the colours high Heave ho, thieves and beggars

But we won't end in hell. The only acceptable ending to this compilation is the triumphant version (wait for it) of its beginning: a pirate's end. Traditionally the gibbet, yes, but also the ghost ship that still sails, the ripple that still travels, and the story that still gets told.

Did I stutter the first time?

NEVER SHALL WE DIE

[seriouslycromulent]

The Math Ain't Mathing

So I'm sure people are going to accuse me of being a conspiracy theorist, but the more I think about the results of this US election, the more it's clear that things aren't adding up.

Now don't get me wrong. I'm well aware of the US's long history of racism and misogyny, and it is totally possible -- in theory -- that more people voted for a moronic straight, white male who is an ajudicated grapist and convicted felon over a more-than-qualified, intelligent, results-driven woman of color for a position as leader of the wealthiest nation on earth.

I'm not saying that couldn't happen. But did it? Legitimately?

The more I think about Trump's campaign, the more fishy this result seems.

So here was a man with ...

virtually no policies (that he could talk about openly),

no ground game,

no door knocking apparatus to urge folks to get out the vote,

no phone banking,

he was constantly running out of money and had to shill products to raise more,

stole money from down ballot candidates, putting their marketing strategies at risk,

found liable for SA,

found guilty of millions of dollars in fraud,

constantly rambles and shows clear signs of being mentally unwell,

invokes violent and hateful language against specific communities as well as individuals,

bragged about being a dictator on Day 1,

had over 40 former cabinet members declare him unfit for office,

was called a fascist by his own former chief of staff,

was not endorsed by any reputable economists,

saw a flood of lifelong Republicans -- literally millions of them -- abandon their party to vote for his opponent,

has been impeached twice,

has seen sharply, dwindling crowd sizes at his rallies for the last 6 weeks,

... and somehow he won the popular vote by 5 million?

Even though he never won the popular vote in 2016? Or 2020?

Suddenly he "found" a bunch of votes from people who liked him?

Um, no.

Just no.

One of Trump's biggest failings is that he and his team tell lies like children. That is, they've never learned how to keep things believable. Like a misguided 10-year-old who is desperate to impress someone with his whopper of a tale, he always exaggerates to the point of hyperbole and insults our intelligence.

For example, he told us his rally at Wildwood, NJ, this past summer had 108,000 even though the town itself only has 80,000 residents and the venue he held the rally in only held 20,000 people.

Or how he kept insisting that American kids are going to school and somehow receiving gender reassignment surgery over a couple of days and without parental consent before being sent home.

Each lie is so over the top and grandiose it makes him look infantile while at the same time insults our knowledge of reality.

And that's exactly what this feels like.

There is no way this man won the majority of the votes and the popular vote after only winning due to the electoral college the first time and not at all the second time. More people vilify him now than they did in 2016 and 2020, and that's saying something.

There just aren't enough voters in the US to give him a clear path to victory here no matter how committed his sycophants are to white supremacy. MAGA voters are not the majority of the voting electorate.

Also the fact that the exit polling data is suspiciously similar to the same tall tales Trump's been selling for the past year about how he had a ton of support in the Latino and Black communities, despite there being no data to support it at all. He was polling damn near 0% in some majority black communities like Detroit and Atlanta.

Yeah ... no.

This math ain't mathing.

I'm not a conspiracy theorist, but I know when something isn't adding up. And nothing about these results add up at all.

On top of that, they ran their entire campaign like they didn't care about people getting out to vote. They kept insulting different segments of the electorate over and over again, as if they didn't need the votes of single people or people without children.

Plus, we saw record voter registration leading up to the election. More people voting early in state after state, and millions of people voting for the first time in their lives. But somehow there were fewer votes cast in this 2024 election than in the 2020 election?

Hell, Georgia alone tripled its early voter turnout. So how is this election getting fewer votes than 4 years ago?!

There were historically longer lines than ever before in parts of the country that never saw long lines, and yet there were millions fewer votes counted so far this year? Are we really to believe that all those long lines and so many new voters managed to only add up to 136M versus 158M who voted in 2020?

I call bullshit!

Also, a number of folks are commenting on how quickly the states were called. In all my years of voting, I've never seen a US election turning around so fast.

Yeah, the math ain't mathing.

Sure, he could've eeked out a win via the Electoral College without the popular vote like he did in 2016, but given her momentum and the majority of the polls either favoring her or having had them tied, none of these results pass the smell test.

Meanwhile, Harris had a multigenerational, multiracial, multiethnic, multigendered coalition of enthusiastic supporters who volunteered, phone banked, door knocked, and fundraised in every state plus D.C. Her media strategy was savvy, her interviews were sharp and intelligible, and her demeanor was inclusive and congenial. Again, not putting anything past good ole American racism and misogyny, but all the data showed that her supporters were clearly larger in number and more enthusiastic than his.

Long story short --

I do believe we are witnessing the American government being hijacked and a dictator installed right before our very eyes.

[southernmermaidsgrotto]

Hoodoo, Rootwork and Conjure sources by Black Authors

Because you should only ever be learning your ancestral ways from kinfolk. Here's a compilation of some books, videos and podcast episodes I recommend reading and listening to, on customs, traditions, folk tales, songs, spirits and history. As always, use your own critical thinking and spiritual discernment when approaching these sources as with any others.

Hoodoo in America by Zora Neale Hurston (1931)

Mules and Men by Zora Neale Hurston (1936)

Tell my horse by Zora Neale Hurston (1938)

Let Nobody Turn Us Around: An African American Anthology by Manning Marable and Leith Mullings, editors (2003)

Black Magic: Religion and the African American Conjuring Tradition by Yvonne P. Chireau (2006)

African American Folk Healing by Stephanie Mitchem (2007)

Hoodoo Medicine: Gullah Herbal Remedies by Faith Mitchell (2011)

Mojo Workin': The Old African American Hoodoo System by Katrina Hazzard-Donald (2012)

Rootwork: Using the Folk Magick of Black America for Love, Money and Success by Tayannah Lee McQuillar (2012)

Talking to the Dead: Religion, Music, and Lived Memory among Gullah/Geechee Women by LeRhonda S. Manigault-Bryant (2014)

Working the Roots: Over 400 Years Of Traditional African American Healing by Michele Elizabeth Lee (2017)

Barracoon: The Story of the Last "Black Cargo" by Zora Neale Hurston (2018)

Jambalaya: The Natural Woman's Book of Personal Charms and Practical Rituals by Luisa Teish (2021)

African American Herbalism: A Practical Guide to Healing Plants and Folk Traditions by Lucretia VanDyke (2022)

These are just some suggestions but there's many many more!! This is by no means a complete list.

I recommend to avoid authors who downplay the importance of black history or straight out deny how blackness is central to hoodoo. The magic, power and ashé is in the culture and bloodline. You can't separate it from the people. I also recommend avoiding or at the very least taking with a huge grain of salt authors with ties to known appropriators and marketeers, and anyone who propagates revisionist history or rather denies historical facts and spreads harmful conspiracy theories. Sadly, that includes some black authors, particularly those who learnt from, and even praise, white appropriators undermining hoodoo and other african and african diasporic traditions. Be careful who you get your information from. Keeping things traditional means honoring real history and truth.

Let me also give you a last but very important reminder: the best teachings you'll ever get are going to come from the mouths of your own blood. Not a book or anything on the internet. They may choose to put certain people and things in your path to help you or point you in the right direction, but each lineage is different and you have to honor your own. Talk to your family members, to the Elders in your community, learn your genealogy, divine before moving forwards, talk to your dead, acknowledge your people and they'll acknowledge you and guide you to where you need to be.

May this be of service and may your ancestors and spirits bless you and yours 🕯️💀

[bestiarium]

The Weskwekkehs and the Ganiagwaihegowa [Native American mythology; Penobscot and Seneca mythology]

In the traditional belief system of the Native American Penobscot people, it was believed that if a black bear ate human flesh, the animal would undergo a supernatural transformation. It would completely lose its fur, gain supernatural power with which it could magically charm humans, and most importantly, the bear would develop a taste for human flesh. The resulting monster was called a Weskwekkehs, meaning ‘great hairless bear’.

According to one story, a Penobscot hunter ventured too far into the wilds and knew that he would not be able to return home that day. He built a makeshift shelter to spend the night and returned to his hunting camp the following day. But when he arrived, it became clear that something had happened in his absence, for the camp was a mess and his family was nowhere to be seen. He searched every nook and cranny and eventually found his children and wife dead, seemingly trampled by some terrible beast.

The grieving father buried his family and set out to find the killer, and he soon came upon a track of strange footprints. At first glance, they appeared to have been made by a bear, but the shape was somehow different and weird. As he followed the tracks, the hunter came upon a truly colossal tree, which must have been incredibly old. The branches all appeared to be rotting. On top of a large branch close to the very top of the tree, a horrifying monster was resting. It resembled a large, monstrous bear without fur, and the hunter knew at once that this creature must have destroyed his camp and killed his family.

Knowing that he was no match for the monster, he returned to the village and told his story. The men of the village gathered their weapons and hunting equipment and, after a night of rest and preparation, set out to fight the beast.

When they came upon the gigantic tree, the monster descended and howled with a noise that was so terrible, the very ground beneath its feet trembled from its growls. But the men were determined and fierce, and completely riddled their opponent with arrows. In fact, it was said that the bear resembled a porcupine because of all the arrow shafts sticking out of its body. Any natural creature would have died on the spot, but somehow the monster barely seemed to have noticed.

Luckily, the men were accompanied by the village shaman, a wise man who was very knowledgeable about supernatural creatures. He was told by a chickadee that the monster could only be killed by targeting its heel, for that was its only weak spot. He instructed the other men to back away, took aim, and shot an arrow straight into the Weskwekkehs’ heel. Indeed, the monster was now dying. It addressed the shaman and, speaking as if it were human, admitted his defeat. The beast said that the people managed to overpower him, and so he would never bother humans again. The dying Weskwekkehs stumbled into the water and was never seen again.

That is the short version of the Penobscot tale. There are multiple variations of this story, but they all have the same underlying structure. One of these regional variants comes from the Native American Seneca people, and as the folktale goes, the region that is now New York was once haunted by a horrible monster they called Ganiagwaihegowa. People who ventured alone into the woods were devoured by this beast, which resembled a huge, monstrous bear with no fur, and it was known to chase and eat people who had seen its footprints in the ground. The creature could not be defeated by ordinary hunters, for no wound could bring it down. Two local folk heroes, Hadentheni and Hanigongendatha, set out to slay this fiend and consulted a great and benevolent spirit for advice. The spirit told them that the creature had only one weakness: a spot on the soles of its paws.

Still, they knew that they did not stand a chance against the great beast in open combat, so the two heroes devised a plan to trick it. They collected bits of wood and built an effigy shaped like a human, which they erected outside of the monster’s lair. Ganiagwaihegowa, always hungry for human flesh, fell for the bait and walked right into the ambush. In the ensuing battle, the heroes managed to hit the creature’s sole with an arrow. After the great beast died, the two men burned its corpse to make sure it would never return.

There are several other local variations of the story, such as the Katcheetohuskw from the Naskapi people. Given that all of these variations were described as monstrous, hairless bears, I wonder if these stories originated from sightings of bears with mange.

Sources: Siebert, F. T. (1937), Mammoth or “Stiff-legged bear”, American Anthropologist, New Series, 39(4), pp. 721-725. Bane, T. (2016), Encyclopedia of Beasts and Monsters in Myth, Legend and Folklore, McFarland, 423 pp., p.133. (image source 1: Karen Sim) (image source: RPerboni on Deviantart)

[crooked-wasteland]

The rapresentation of abusers in helluva boss is something that particularly frustrates me, Stella in particular, it seems to be done just to victimaze certain characters not to show the complex dynamics of those relationships. It seems to me the writers aren't mature enough to handle these topics properly.

Abuse and Vivienne Medrano

Christmas 1962, a man renowned the western world over for his revolutionary approach to animation sat in a withering melancholy as he watched what could only be called a cinematic masterpiece based on a novel classic. Walt Disney, now in the twilight years of his life, saw the walls closing in and his legacy coming to a close. This man, who pioneered the animated feature film, saw his greatest accomplishment as his greatest obstacle. The man responsible for the tales brought to life of Cinderella, Snow White, Pinocchio, and Dumbo felt trapped in his achievement. “I wish,” Walt lamented, “I could make a picture like that.”

To Kill a Mockingbird was a piece that challenged its audience. The discussion of a white man defending a black man in southern America, years before the civil rights movement. The movement that, at the time the movie hit cinemas, was in its infancy. Released during the height of the historically revisionist counter movement taking place to combat the rising push of African Americans towards their human rights. The last film Walt Disney ever saw the production of before his death in 1966 was The Jungle Book, a movie that was the epitome of “Safe” and a message that upheld the status quo of segregation.

It wasn’t until 1972 that the media of animation became raucously adult with those political and challenging concepts Disney felt were unattainable. Fritz the Cat was an X-rated animated film composed of vignettes that were unapologetically perverse, violent, and aggressively political. Critical of politicians and the police with a sympathetic if exploitative lens towards the LGBT and racial minority communities Brooklyn-based director Ralph Bakshi grew up around. Bakshi proved that animation was not strictly a child-friendly media and that adult animation could be financially and critically successful.

(For more on Ralph Bakshi's career and animation history)

If one has ever had the opportunity to listen to a Brad Bird (director of Ratatouille and The Incredibles) interview, it is clear to see that the success of Bakshi was generally quite limited. That animation is considered a genre and not a medium of art has resulted in animated films being knee-capped in the box office. There is far more potential to animation, highlighted by Howard Ashton in his collaboration with Disney studios during the Renaissance. Responsible for resurrecting the feature-length animated movie through The Little Mermaid and credited for the monumental success of Best Picture Award winner Beauty and the Beast, Ashton once said that the potential animation was ideal for musical theatre. The limitless possibilities given the medium gave the possibility of introducing Broadway to the common folk who didn’t live in New York and otherwise couldn’t afford the theater. He was quoted saying that live action musical films were “an exercise in stupidity,” highlighting the freedom that comes with a blank page.

However, the success of animation, and media in general, comes down to the message the media wishes to send. The reason the Disney Renaissance films have enjoyed their position as cornerstones of pop culture and creativity was because it did introduce the artform of musical theater into homes and made them readily accessible to everyone with an even heightened sense of fantasy that revitalized Walt’s ethos of making films for the child in everyone.

With Bakshi, it was the loud and violently political message of a revolution taking place. This continues in adult animation with the Simpsons, a series critical of hyper-capitalist America and the fallout of Reagan’s economic disaster that the effects of which are still being felt today and a satire of toxic masculinity and abusive family dynamics.

So, ultimately, the value of a piece of media is a cross between its social artistic influence and the message the creators are intending to make. While Medrano’s influence on the field of indie animation is often mischaracterized as a “pioneer”, the fact is that indie animation and pilots have existed and been funded before Spindlehorse existed. It is simply that Medrano has had the spotlight handed to her for the myth surrounding the production and subsequent success of his indie projects. Artistically, her influence can be summarized as a double-edged sword. For some, she is the motivation for inspiring artists to connect with the community to one day, hopefully, create their own work. On the other hand, she is the cautionary tale of why investing in an indie project is a financial risk for an audience member and a risk to the community as a whole that poses a real danger of making the indie sphere financially cannibalistic, as her public persona is off-putting to “normies” and her show is simply not good.

Much like Disney, the man in 1962, and Disney the company circa 2023, the revolution of animating "because you can" loses its luster very quickly. Without something profound to say, an entire company, regardless of its social influence, can fade into irrelevance despite still being "successful". The story of Disney is a cautionary tale for Indie animation as a whole and Spindlehorse in specific.

And that is the other axis on this chart. Her narrative lacks a message worth telling, and that’s very much due to her not having anything worthwhile to say.

“I really liked when things and shows and stories allow the characters to be flawed, and allow them to grow and to change. And I think that’s something that’s, you know, the world is not black and white. And I like things that explore the gray and that and the complexity, of life and mistakes and of things like that.” - Vivienne Medrano

It is not for want of mockery that I carefully transcribe Medrano’s words in her interview. To read the words aloud tells the story just as clearly as I have set out to do here. This is someone who is highly inspired by better media, who has ideas and a belief that she has something to say. But that is where the belief ends. There is no conclusion to that thought any more than there is one in the unfocused and run-on sentences she rambles along throughout the interview. She talks of “Things” without clarity, because she herself is a fundamentally incurious individual who has never once spent the time critically analyzing herself, let alone the work of others to better grasp what about it resonated with her. She merely consumes art insatiably and without any substance. Like a diet of fruit, it has a superficial veneer of positive value. Fruit would be considered healthy as it is “natural”. However, it is the nutritional equivalent of candy, lacking vital components that are necessary to sustain basic life, it is pure sugar. Her work, similarly, lacks any value of depth that would qualify as meaning.

Which comes back to what the message is in her work.

When it comes to others in the field of indie animation, Medrano does not have many friends. In response to the Lackadaisy situation, creator Tracy explained why she returned Medrano’s donation. For one, the donation was not Medrano’s money, but money she crowd sourced from her employees. While the $5k for the producer spot of the fundraiser would have not been a dent in her personal wallet, Medrano is so uninterested in supporting fellow creators while presenting an impression of camaraderie that she instead took money from the people she is in charge of the paychecks for to get her name in the credits of another creator’s work. In regards to why Medrano was declined her support, it was due to numerous individuals who had such an awful experience working for Medrano that they did not want her involvement associated with the project to any extent. When the money was returned, she made the situation extremely public and encouraged harassment by liking tweets attacking Tracy and the Iron Circus team.

A well-known member of Medrano’s crew, Hunter B, was leaked speaking crassly of other animation projects that were still in the process of production, met with support from other members in the discord. One of these creators being Ashley Nicoles from Far-Fetched. A former friend and creative partner on the Hazbin Pilot whose podcast streams featuring Edward Bosco and Michael Kovach single-handedly maintained interest in the show until the winter of 2021, free of charge. Ashley once spoke of how Medrano would speak disparagingly of an employee to her, saying that this individual was “Too unstable to work with”. Which, regardless of whether or not that is Medrano’s honest opinion, counts as defamation by an employer. It is the exact reason why most previous employers will not give a negative, detailed review of a former employee, maintaining instead to verify facts of the employment. If Erin Frost was more experienced and less involved in social media exposed culture, they could have easily sued Medrano and Spindlehorse for damaging their reputation in their field of employment.

Which circles back to Medrano’s self-assigned message of her show:

“Abusers rely on your silence. They rely on knowing you can’t retaliate without consequence. That they can tell any lies and vague around without getting called out. But we see you, and you don’t have the power you think you do anymore. A message I put into my work. “Fuck you!” - Vivienne Medrano

Medrano, who has vague and sub tweeted individuals like Lackadaisy Tracy, The Diregentlemen, Michael Kovach, and Ashley Nicoles. Medrano who has instigated and incited harassment campaigns knowing that no one can call her out without severe and relentless backlash from her cultish fanbase that she personally encourages through positive reinforcement of liking the tweets of fans. Medrano who relies on the silence of other creators in the field due to the fear of her ire collapsing their projects before they even have a chance to begin.

Vivienne Medrano with an extensive abusive history that continues to this day, has something to say about abuse.

What Medrano has to say about abuse comes from someone who has the position of superiority in all of her relationships, but feels like she’s the outcast and bullied loser. Her self insert that is repeatedly expressed in every character at one point or another is how easily they abuse those around them just because they can, but that the narrative justifies their “acting out” because they are sad. According to the National Coalition Against Domestic Violence, “An abuser externalizes the causes of their behavior. They blame their violence on circumstances.”

Indeed, the lists of abusive characteristics and traits, according to the National Coalition Against Domestic Violence, overwhelmingly encompasses the characteristics shown by characters like Loona, Blitz and Stolas that Medrano repeatedly has attempted to rationalize, justify and minimize. Which, “An abuser often denies the existence or minimizes the seriousness of the violence [including emotional and mental abuse] and its effect on the victim and other family members.”

It is not surprising, then, that the conversation of abuse in Helluva Boss is often infuriating. The narrative underplays the harm done by characters we are supposed to see as “good”. Not allowing for them to grow or change, but ignoring and minimizing the behavior, justifying it through circumstances and perpetuating the false belief that victims are not, themselves, abusers.

One of the first blog post rants I ever made about mental health and abuse was the affirmation that not all victims of abuse are survivors. I wholly stand by that. Victims of abuse perpetuate abuse. A victim and an abuser are one in the same, whereas a survivor is someone who has actually done the difficult work of being self-critical. And the one thing we all are very aware of is how much Vivienne Medrano rejects criticism.

[uzumaki-rebellion]

"The nighttime brings promises I can't keep

Givin' in is the one thing that I don't need

Got ahead of myself, gotta retrace my steps'

Cause I lost me the moment I took a piece of you

And you may never believe, but I'm sorry

I never meant for it to go this way (this way)

Only wanted the best and I'm stickin' to my story

This was a moment for me, and this was all it could be"

Destin Conrad & Alex Isley –"Same Mistake"

The state of mental disarray Celeste lived in would've broken the average woman. Having a feral pack of vampires follow her home brought on a fear so acute that she fled her cottage that same night and stayed with Mercy until the next morning.

She didn't tell her friend about the encounter, knowing she'd be packed off to a mental ward, or at least temporarily placed under observation at the hospital where Mercy worked as a nurse.

Mercy wasn't stupid.

She sensed immediately that Celeste's distress was beyond the made-up story about a burglar trying to break into her house. Crime happened a lot in the Easy, and any normal person would call the cops and bitch about soaring crime rates. Nothing would come of it, anyway. Outside of homicide, the NOLA police department wasn't known to haul ass for a B&E —breaking and entering. Mercy's suspicions were affirmed by the way Celeste acted, peeking out of the window every half hour like the time an old boyfriend before Freddie harassed her with stalking and drive-bys to her old apartment. All of her clique knew Terry left the city. She told them he had his job to get back to and things weren't going to pan out long distance. Mercy's lips poked out like she was itching to know if Terry was the problem and the reason for running off to her place in the middle of the night.

Celeste slept on the couch in Mercy's apartment and stayed indoors there while her friend left early for work. Daytime was a safe time. Isn't that what the vampire myths claimed it to be? She stared at the old bite wounds on her neck, thigh, and breasts. How could she be so blind to what they were? Terry had her so twisted up in the fog of lust that she glossed over proof that bloodsuckers were fucking real.

She groaned and closed her eyes. Terry manipulated her trust to feed from her.

New Orleans was the popular gothic home of vampire lore in the south. Countless books, movies, TV shows and the like centered it as the breeding ground for supernatural creatures. People made stories about monsters to scare children into being obedient. Bloody Mary. The Boo Hag. Zombies. Shit, even Voodoo still gave folks around those parts the heebie-jeebies even though white people turned it into a commercial joke. They sold Voodoo donuts, Voodoo dolls, and even ran up and down the French Quarter pretending to be Voodoo Witch Doctors giving graveyard tours to visit Madame Marie Laveau.

Like her ancestors before her, Celeste knew Vodun was real. Hoodoo was real. African retentions stayed rooted in the diaspora, and New Orleans was the most African city in America, witnessing unspeakable horrors done to Black people. White people were monsters bringing them to southern American shores. Surely their monstrosity enabled wickedness to flourish on southern soil and everywhere else. Her people danced at carnival, dressed as skeletons, and masked to hide their true selves. What better city to feed in than one that openly courted secrecy, excess, and spooky vibes? If people disappeared or turned up dead, the law and society could blame it on American's natural inclination to be violent with one another…not anything supernatural.

Vampires walked among them.

She swiped the cracked screen of her smartphone, looking up old wives' tales about Terry's kind. None of them supported anything he would be averse to. He had a reflection in the mirror. Crosses didn't bother him. He shook a priest's hand and didn't freak out. Never even flinched when she wore her gold cross necklace. She fed him garlic in the shrimp she cooked. The only things that tripped her up was that he walked around in the daytime, and she never saw him with fangs. Obviously, his teeth were sharp enough to break her skin, but regular human teeth could do that.

Maybe he was a familiar.

Dracula had Renfield. Maybe Terry was The Deacon's Renfield, luring people to their doom.

Celeste rubbed her scalp and swallowed down the anger festering in her chest. She'd made a mistake trusting Terry. She let a pretty boy's face and five-star Michelin dick trick her into submission of diabolical evil. The only saving grace was Terry's absence from her life, and whatever else ran around the Easy that scared the vampires away. She heard them say Old Ones. Perhaps that's what landed on her roof, causing the bloodsuckers to flee. Whatever it was, it didn't harm her, so she had one less monster to worry about.

As long as she stayed active during the day and locked herself in for the night, the vampires couldn't touch her. Had they wanted her dead or sucked dry, they would've done it days ago when she came home from work at night. They seduced people easily. Moved fast. It wouldn't take much to kill her on a dark street. They wanted her alive for a reason: to get Terry.

She texted Mercy and told her she felt better about going home. Made up a story about getting a burglar alarm. While driving to her small neighborhood in Marigny, she kept her neck on swivel to check for suspicious activity. She spent the rest of her time sleeping. She was so tired lately. Fatigue came easy.

Come nightfall, she turned all the lights on in the house and carried a sharp meat-carving knife on her. In her bedroom, she watched the news on her laptop, feeling drowsy. She typed in the words Shelby Springs into the Google search bar and tried to figure out where Terry came from. He claimed that he lived not too far from the place where his cousin was murdered. Three other parishes surrounded Shelby Springs. Typing Terry's name in the search engine brought up pictures of other Terry Richmonds, all white and mostly old.

Going another route, Celeste typed in the name Michael Simmons with Shelby Springs, and a slew of articles filled her screen. She read about a corrupt police force and an attempted coverup. Not one article mentioned Terry's name. Stranger still, four of the officers involved in the corruption scandal had disappeared months after being charged to stand trial. The only members of the force still around happened to be a Black woman who was set to testify against her fellow officers. She quit the force and refused to comment on any of the charges with the media. Celeste wrote her name down: Officer Jessica Sims. A second officer, who had been shot by his own Police Chief, made a move across the country to work at another police force.

If Terry went to help his cousin, surely Officer Sims would have information about his address, or at least the name of the parish he came from. Celeste stared at the screen. Officer Sims' round face looked haunted by something.

Another thought occurred to her, and she grabbed her cell phone. She called her cousin Butchie, who was friends with Travis.

"Butchie, can you text me Travis's number? I need to ask him something."

"About?" Butchie drawled on the other end.

"None of your business."

Butchie sucked his teeth and twenty seconds later, Travis X's number appeared on her screen. She typed it in fast, hitting the send button.

"Who dis?"

"Is that how you answer your phone? It's me, Duchess."

"Sister Celeste? What's going on?"

"Can you tell me, or ask your brother, where Terry lives?"

"Who?"

"Terry. Terry Richmond."

"Who dat?"

"Whatchu mean who dat? Your friend you brought to the Indian practice last month…your brother Scubbie's marine buddy. The one with the green eyes."

"Scubbie was never in the marines and I didn't bring anybody to the bar with green eyes. Have you been smoking that funny herb?"

"He came with you outside when you lit up my cigarette. The pretty boy."

Travis stayed silent.

"Never mind. Sorry to bother you. I thought maybe you knew him. Goodnight."

Celeste tapped her cell phone against her thigh. Terry used Travis to get next to her. He probably induced some type of hypnotic state like those vampires tried to do at her house… Jedi mind-tricked Travis into letting him hang with them. Once he was no longer needed, the memory of Terry faded from his mind.

She shut off the laptop and curled into a ball with the knife in front of her face. Resting her fingers on the handle, she made plans to visit Shelby Springs the next time she had another two consecutive days off.

Celeste drank a red bull to perk herself up for work at the elder care facility. The new client who moved into Miss Irma's old room was a cranky white man who never seemed satisfied with his care there. He often complained that his room was cold and drafty.

"There's no draft and your room faces the garden, the sunniest and warmest part of the building," Celeste said, helping Mr. Crawley with the door so he could move with his walker better to get inside his room.

"I'm telling you people I have a draft in my room and it's too cold, even when I turn up the heat. I pay too much money for this place not to have controlled temperatures," Crawley said.

"May I suggest wearing one of your nice sweaters?" she said.

Celeste grit her teeth, listening to Crawley go off, but she assisted him and nodded her head as his list of complaints grew. She helped him sit at the desk near the window where he wanted to write letters and his autobiography. He probably complained about his life there, too.

"You feel that?" he said.

Crawley held his hand out toward the closed window where sunlight created a square of light on the teal carpet. He grabbed her hand and forced it into the light.

"See?" he said, his pale blue eyes pleading with her to pay attention.

She stood with her fingers splayed out, dust motes floating in the bright light. Where warmth should've been, there was only a cold spot. She moved her hand in different areas around the window and there was definitely an icy chill that shouldn't have been there. Glancing up at the air conditioner vent, she didn't hear it working at that moment. Only the fan whirred, giving a pleasant circulation of air.

"I feel the cold air, Mr. Crawley. I don't know what I can do about it. Is it bothering you?"

"If it stayed in that one spot it wouldn't be a problem." He leaned in conspiratorially, and she moved closer to him. "But it moves around."

"Moves around?"

Crawley's tone of voice lowered, and he genuinely looked agitated by Celeste's facial expression.

"The cold moves around in here," he said.

She glanced at the window and reached her hand into the suspect area. The sun warmed her hand up. The cold spot was gone.

"See? I told you. Now it's all warm and normal again, isn't it?"

"Yeah."

Celeste retrieved a sweater from the hook on the door and placed it on the back of Crawley's seat.

"I'll be back to take you to lunch," Celeste said.

She left the room and worked without incident until she walked down the hallway carrying a bag of collected trash and passed near Crawley's room. A large, cold spot sat in front of his door. The chill startled Celeste. The air in the building had slightly warmed up, but not enough to need the air-conditioning blasting more than it was. She walked through an icy gust and gasped at the sudden drop in temperature. Crawley's door was open. He furiously scribbled at his desk. Celeste moved back and forth between coolness and frigid air. Out of the corner of her eye, she glimpsed someone walking toward the employee break room.

Miss Irma.

Celeste stood cemented to the floor, and Miss Irma turned a corner and glanced back at her. A male co-worker pushed a cart of meds down the hall and stared at Celeste's confused face.

"You alright, Celeste?"

"Did you see someone walk past you?"

"Just now?"

"Yes."

"Nope."

She didn't want to walk down the hall. Ignoring a dead woman should've been easy, but Celeste moved along the corridor close to the wall. When she reached the corner, she prayed no one would be there.

"Oh thank God," she sighed, seeing another empty hallway.

She left the building out of the side door to throw away the trash in the dumpster outside. A supervisor named Diane met her back inside the break room. Diane snacked on a bag of chips and a bottle of coke.

"Celeste, can you get in touch with Terry Richmond? He hasn't returned my calls to collect his grandmother's personal effects," Diane said.

"I haven't spoken to him in a long time."

"Well…his grandmother has boxes in our storage room and I'd hate to throw it out. The clothes we can donate to Goodwill, but there are photo albums and books—"

"I'll take them to him. I get off at five."

"You will? That would be great. Do you have time now to get it and put it in your car? I can help you. Mr. Richmond was told that we can hold items for thirty-days and he said he would get them before he left the city. It's been past the deadline."

Celeste followed Diane to the large storage room, and in the back were four medium-sized boxes and two bags of clothes. They took two trips to her car, and she squeezed all the boxes in the back seat and the passenger side. She dumped the contents of an over-sized box into the trunk and folded it up to reuse later at her home.

"Thank you so much. This makes me feel so much better. There are photos and all kinds of irreplaceable things in them. I'd hate to see them dumped in the garbage," Diane said.

"No problem. I'll keep them at my house and he can pick them up the next time I see him."

Diane left her alone. Celeste grabbed her smokes from the glove compartment and took an extra break. She hid herself in the garden and sat on one of the wooden benches. Seeing Miss Irma unearthed troublesome emotions. She worried that her mind was teetering on the verge of mental collapse from the stress and fear. Seeing ghosts on top of vampires was too much. Puffing and fretting, Celeste closed her eyes. Feeling dizzy, she leaned forward, hanging her head between her legs. Goosebumps pricked her skin as the temperature dropped abruptly around her. She shivered in the direct blazing sunlight.

"It's the baby making you feel sick," an elderly female voice said.

Celeste kept her eyes closed and head low, too afraid to open them or move. Reeling, she prayed silently and hoped that she wouldn't pass out.

"Don't be afraid. You know I won't hurt you…I just have to talk to you."

Celeste opened her eyes and focused her attention on the grass beneath her feet. She looked slightly to her right and noticed a pair of feet encased in pretty yellow house slippers. Moving her gaze higher, she recognized the simple pink floral dress, and the pale wrinkled hands.

"I'm scared," Celeste said.

The hand of a dead woman pulled her up, and they looked at one another eye to eye on the bench.

"Is this real? Or am I losing my mind?" Celeste asked.

Miss Irma's eyes twinkled. She looked more alive and vibrant than her last days at the assisted living facility.

"Your mind is fine, baby. Just fine."

"You're really a ghost, then?"

"That indeed. May I?"

Miss Irma pointed to Celeste's stomach. Celeste sat back.

"You want to touch me?"

"Yes."

"Okay."

Miss Irma rested her soft hand on Celeste's belly. The warmth she exuded seemed so real. Ghosts were supposed to be smoky and floaty. Miss Irma sat next to her like the most solid and alive person on the planet.

"Well, now…Papa didn't waste no time," Miss Irma said.

"What are you talking about?"

"You are pregnant, child. It's still early, but you are about to become a mama for my great-granddaddy."

"That can't be true."

"Getting pregnant?"

"Terry being your great-granddaddy…he's not even…he's not…"

"You know it's true. I can see in your eyes you know his secret…what he is. On this side, they tell me that you've done the impossible, so now I must tell you something important…something I was too weak to say before I died."

Miss Irma cradled Celeste's hands, which shook so badly that the ghost had to clamp them down tight between her palms.

"You have my things. Look through them so you may know Papa's story. He was human once upon a time ago. I spent my long life documenting all I could for my grandson Michael, but he's gone and can't hold the secret for our family. Papa wanted me to tell his story. But my mind started fading and I couldn't finish my work. Now you have become my family, Celeste. There are beings in the world who mean Papa harm… and your baby, too. They hide in plain sight in other places, but because Papa came back here, they might come for him."

"Other vampires?"

"Les Gargouilles…gargoyles. They will seek him out and kill him. Their kind are enemies to Papa. Enemies to that child if they find out about you carrying a vampire's baby."

"I've seen a few gargoyle statues in the Quarter that were never here before."

"Oh no, then it may be too late."

Miss Irma rose from her seat and looked off into the distance. She paced in front of Celeste.

"They're not active in the daytime, so you're safe, even when they hunt at night. I've tracked many during my lifetime taking pictures of them all over the world. They protect humans and won't harm you because you're a child of God. The baby will be safe until it's born and out of your body…oh no…oh no…"

Miss Irma looked at her hands. They began to disintegrate, starting at her fingertips.

"Celeste! He loves you…he—"

Miss Irma's body broke apart and floated away like the graying ash of a dying fire.

Too stunned to move, Celeste sat on the bench for the rest of her shift. She wandered away only when the sun went down. Climbing into her car, she thought of what to do with the information given to her. After an hour of sitting in her driver's seat, she drove herself to the drugstore and bought an early detection pregnancy kit.

At home, she tested herself twice.

She was positive both times.

Chapter 11 HERE.

Masterlist

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[lifesarchive]

OUT THERE SCREAMING edited by JORDAN PEELE (REVIEW)

quickly: the ‘horrors’ of blackness have its natural and supernatural roots revealed (bad cop with a third eye / grandma’s love is deadly / wandering man running from nothing / in vivo alien invasion / unstable ex’s / sea siren with your sister’s face / dead man’s swamp revenge / serial killer targeting black robots / white men ruining the atmosphere / daddy’s secret / chaos in the dark / part woman part fish-devil / black magic as an HOA / grief and its blindness / games that ghosts play / negro folk tales as an american requiem / prison industrial complex goes A.I. / black magic as an addiction / whiteness as psyche and psychosis)

A fantastically original collection of short horror stories that span quite a range of horror sub-genres (sci-fi, thriller, romance, and even americana). All unapologetically Black. A superb addition to the limited number of Black horror anthologies (Tales from the Hood, anyone?).

My favorites were Wandering Devil (loverboy with wandering feet can outrun everyone but himself), The Rider (a dead man intervenes on behalf of two black women traveling alone), Flicker (an intermittent darkness unleashes chaos from the shadows), The Norwood Trouble (a group of black ‘practitioners’ will be damned if white rioters try to destroy their town), A Grief of The Dead (grief separates and reunites a pair of twin brothers), Your Happy Place (an incarcerated man must decide his reality after having it stolen from him), Hide & Seek (brothers learn to protect themselves with the same magic that wants to harm them).

★★★★★ Superb.

[uwmspeccoll]

Milestone Monday

The King's Hares, from Norway

The Princess with the Twelve Pair of Golden Shoes, from Denmark

Queen Crane, from Sweden

The Rooster, the Hand Mill and the Swarm of Hornets, from Sweden

Ti-Tirit-Ti, from Italy

The Adventures of Bona and Nello, from Italy

The Hedgehog Who Became a Prince, from Poland

The Flight, from Poland

April 1st is the birthday of American librarian and storyteller Augusta Braxton Baker (1911-1998). Born to two schoolteachers in Baltimore, Baker was a voracious student who read at a young age and careened through elementary and high school. With advocacy support from Eleanor Roosevelt, Baker was admitted to the Albany Teacher’s College and in 1934 earned a B. A. in Education and a B. S. in Library Science making her the first African American to earn a librarianship degree from the college.  

In 1939, Baker went on to work as the children’s librarian at New York Public Library’s Harlem branch, founding the James Weldon Johnson Memorial Collection of Children’s Books to showcase representation of Black children and life in books, and beginning a lifelong career with children’s literature and the New York Public Library (NYPL). In 1953, she was appointed Storytelling Specialist and Assistant Coordinator of Children’s Services, quickly moving into the Coordinator of Children’s Services position years later and becoming the first African American to hold an administrative position with NYPL. Throughout her career, Baker was active with the American Library Association, and chaired committees for the Newbery Medal and Caldecott Medal recognizing excellence in children’s literature. 

In celebration of Baker’s birthday, we’re sharing The Golden Lynx and Other Tales, a collection of international folk tales compiled by Baker and illustrated by Austrian artist Johannes Troyer (1902-1969). This is the first edition of the book published in 1960 by J. B. Lippincott and is signed by Baker, who writes in the introduction, “No story has been included in this collection that has not stood the supreme test of the children’s interest and approval”. 

Read other Milestone Monday posts here! 

View more posts on children's books here.

– Jenna, Special Collections Graduate Intern 

[soraya-snape]

Harry Potter characters/ships and the Taylor Swift song that reminds me of them:

Tedoire

She said, I was seven and you were nine

2 years age gap just like Teddy and Vicky

I dared you to kiss me and ran when you tried Just two kids, you and I

Vicky and Teddy growing up together because through Harry, Teddy is part of the Weasley family and Vicky developing a crush on Teddy but him only seeing het as a little sister

Well, I was sixtWell, I was sixteen when suddenly I wasn't that little girl you used to see But your eyes still shined like pretty lights

And then Teddy suddenly not seing her as a little sister but falling in love and them getting together when Vicky is 16 or 17

And our daddies used to joke about the two of us They never believed we'd really fall in love And our mamas smiled and rolled their eyes And said oh my my my

This is so Bill + Harry and Fleur + Andromeda/Ginny

Take me back to the time when we walked down the aisle Our whole town came and our mamas cried You said I do and I did too

Just imagine Fleur and Andromeda as well as Molly and Ginny crying at Teddy's and Vicky's wedding and the whole weasley family being there for the first Weasley grandkids wedding

Newtina

But something happened, I heard him laughing I saw the dimples first and then I heard the accent They say home is where the heart is But that's not where mine lives

Their first meeting was so chaotic but also cute

He likes my American smile Like a child when our eyes meet, darling, I fancy you

The way they acted in the second movie when newt talks about her eyes being like the ones of salamanders, they were so akward and I love it

So I guess all the rumors are true You know I love a London boy Boy, I fancy you (ooh)

I mean everyone else saw that they like each other before they did

They say home is where the heart is But God, I love the English You know I love a London boy

My American girl and her London boy

Just wanna be with you Wanna be with you Stick with me, I'm your queen

This is so them, they literally can't be without the other

Snily

Please picture me

Please picture me In the trees I hit my peak at seven feet In the swing Over the creek I was too scared to jump in But I, I was high in the sky

This reminds me so much of the first memory Harry sees in the prince's tale. Lily actually did jump

Cross your heart, won't tell no other And though I can't recall your face I still got love for you Your braids like a pattern Love you to the moon and to Saturn

Sev loving Lily even years after she died...

And I've been meaning to tell you I think your house is haunted Your dad is always mad and that must be why And I think you should come live with Me and we can be pirates Then you won't have to cry Or hide in the closet

Sev's father being abusive towards him and his mum and him hoping it will all be better in Hogwarts together with Lily (it wouldn't be)

Passed down like folk songs Our love lasts so long

Sev "passing" down his love for Lily and protecting Harry for her

Tedromeda

I just learned these people only raise you to cage you Sarahs and Hannahs in their Sunday best Clutching their pearls, sighing "What a mess" I just learned these people try and save you ... cause they hate you

This is so Andromeda being raised in the Black houshold and Bellatrix and Narzissa as well as the rest disapproving of her love for Ted

They slammed the door on my whole world The one thing I wanted

She loved Ted so much

Now I'm running with my dress unbuttoned Screaming "But Daddy I love him!" I'm having his baby No, I'm not, but you should see your faces

Just imagine Andy telling her father she loved Ted for the first time, Ariel style. And she was actually having his baby.

Dutiful daughter, all my plans were laid Tendrils tucked into a woven braid Growing up precocious sometimes means not growing up at all He was chaos, he was revelry Bedroom eyes like a remedy Soon enough the elders had convened Down at the city hall "Stay away from her"

Again so much Andy being raised as a Black and Ted just coming into her life with his "bedroom eyes" and everyone in her family disapproving but her going against the whole Black family becuase he is the one for her.

Thinking it can change the beat Of my heart when he touches me And counteract the chemistry And undo the destiny

Nothing could change her love for him

Now I'm dancing in my dress in the sun and Even my daddy just loves him I'm his lady, and oh my God You should see your faces Time, doesn't it give some perspective No, you can't come to the wedding I know he's crazy but he's the one I want

Her dad did in fact not love him so I actually don't know who came to their wedding but I still think it was a perfect

Romione

And in a blink of a crinkling eye I'm sinking, our fingers entwined Cheeks pink in the twinkling lights Tell me 'bout the first time you saw me I'll drink what you think, and I'm high From smoking your jokes all damn night The brink of a wrinkle in time Bittersweet sixteen suddenly

This is so Romione and you can't tell me otherwise. Just remember the first time he saw her...

Are you gonna marry, kiss, or kill me? (Kill me) It's just a game, but really (really) I'm bettin' on all three for us two (all three)

Ron did all 3. I mean he obviously did not actually kill Hermione but I think in 6th year he got close.

Truth, dare, spin bottles You know how to ball, I know Aristotle

No explanation needed

I feel like laughing in the middle of practice Do that impression you did of your dad again I'm hearing voices like a madman

Reminds me of the moments in the movies where Ron made her laugh

I'm going to add more...