#charles shaw jr

[tabithachrysanthemumscarlet]

The sins of the father...

Are to be laid upon the children.

[kris-mage-fics]

Smoke

A little introspective fic for Scarlet Hollow. Isaacs' thoughts as he waits for Haley Scarlet behind the diner on Wednesday morning. Spoilers for early Episode 3. (This hasn't been beta read, and I didn't edit it as carefully as my norm, so it's not really my best work. But perfect is the enemy of done, and it's done.)

Isaacs watched the smoke curl away from his lit cigarette after putting his phone back in his pocket. He'd sucked up his misgivings and texted Tabitha Scarlet’s cousin of all people. For some reason he thought he could trust Haley, even after he’d pieced together she was related to the boss. From what he heard they didn’t even know each other before this week. He just hoped if she did show up that none of the other miners found out, especially Zachs.

No matter who Haley's cousin was, she was the first and only lead he had about Sam since he disappeared about a week ago. None of the other miners bothered trying to find anything out. Then this Haley woman came around asking questions yesterday. Even slipped him her phone number on the sly. 

Before the others got to the diner that morning, he’d prodded Avery for gossip about her. Was surprised to find out she was a school teacher, didn’t seem the type to him. Haley had something cunning and sharp hiding behind that friendly smile of hers. Sure as hell didn’t strike him as someone who grew up sheltered and cushy, then became a teacher ‘cause she "just loved kids so much". You can find the rest here on Ao3!

[hellhoundmaggie]

Simpsons Hollow — I like to think Tabitha swears off men after the Wayne Incident

[brotherboletus]

Scarlet hollow MC Tarot card

Many people have done their art for their Scarlet hollow MCs, I wanted to do the same. Really like the results.

Some explanation for the art:

This is a scene from the haunt: when you first meet The Lover, but it has been distorted, like a memory by a passage of time.

The ram, of course, is an avatar for Charles Shaw Jr. His dismembered hands are outstretched, he is wearing six chains on his fingers, three on each hand. A symbol for six people in his possession: Stella, Rosalina, Kaneeka, Zane, Oscar, Avery.

Tabitha and Rosemary are pictured wearing the same clothes they worn during the haunt: for Tabitha, it's her trademark brown tailcoat and tan dress, socks and boots; for Rosemary, it's a dark blue dress fully covering their neck, arms and shoulders, reaching their ankles; it's their funeral dress, oxford shoes, socks.

On their necks is a chain binding them together. They are holding the links: Tabitha tugging at it in frustration, Rosemary examining it.

It's a familial link between them, the legacy they share.

It is the limited control Charlie has over them: he is able to trap them, but not harm them in any way.

The chains on their necks are easily removable, they just have to reach for them and take them off.

So, will they just shirk the responsibility? Or won't they?

The choice is theirs.

[itsss4t4n]

Who I write for /Rules

Masterlist

I'm new-ish to writing (i used to write fanfiction when i was like 13. i'm 19 now and write very rarely) but I really wanna do it again.

So this is a list of characters/fandoms I write for as well as some rules for asks. Some things may be missing from this list so if you dont see something on this list, feel free to ask. :))

Do add as much detail as you want to a request and please ALWAYS have at least some sort of prompt, as i'm really not good with coming up with storys on my own yet.

I WILL NOT DO SMUT SO DONT REQUEST IT! I might however do spicy stuff (Nothing more than making out or somewhat implied stuff tho).

My writing will be mostly pg 13 but please still be careful if the fic-warnings include sensitive topics, and i might repost some 18+ things so be careful when navigating my blog.

Please be nice and have manners when requesting.

Also please include what gender/pronouns you want the reader to have (i write for all genders). If its not included I will default it as gender neutral. :)))

I also write poly relationships and AUs.

Some things I will not write include: Pregnancy, toxic/yandere, student x teacher, love triangles.

(Also english isnt my first language, and even though, in my opinion, i speak it really well, if they are any mistakes, thats why.)

Heartbreak high

Harper Mclean

Quinni Ghallager-Jones

Darren Rivers

Spencer "Spider" White

Anthony "Ant" Vaughn

Malakai Mitchel

Sally face

Sal Fisher

Travis Phelps (male or gn readers)

Larry Johnson

Ashley Campbell

Harry Potter

Fred Weasley

George Weasley

Charly Weasley

Bill Weasley

Cedric Diggory

Olliver Wood

Draco Malfoy (+6th year only)

Theodore Nott (+6th year only)

Marauders

James Potter

Sirius Black

Remus Lupin

Regulus Black

Evan Rosier

Barty Crouch jr

Pandora Rosier

Lilly Evans

Marlene Mckinnon

Hogwarts Legacy

Sebastian Sallow

Ominus Gaunt

Gareth Weasley

Poppy Sweetings

Imelda Reyes

Die drei fragezeichen / the three investigators

Bob Andrews

Peter Shaw

Justus Jonas

Skinny Norris

Twilight

Jasper Hale

Emmet Cullen

Carlisle Cullen

Esme Cullen

Rosalie Hale

Alice Cullen

Sam Uley

Paul Lahote

Charlie Swan

Leah Clearwater

Jacob Black

Pjo

Let me know if you want book or show

Percy Jackson

Annabeth Chase

Luke Castellan

Clarrisse La Rue

Selena Beauregard

Charles Beckendorf

Ethan Nakamura

Nico di Angelo (no romantic fem readers)

Rachel Elizabeth Dare

Will Solace

Travis Stoll

Connor Stoll

Hazel Levesque (no romantic)

Jason Grace

Leo Valdez

Piper Mclean

Magnus chase

Magnus Chase

Samirah al Abbas ( no romantic)

Alex Fierro

Blitzen

Hearthstone

Mallory Keen

TJ (Thomas Jefferson jr)

MCU (Avengers)

Bucky Barnes

Steve Rogers

Tony Stark

Sam Wilson

Natasha Romanoff

Yelena Belova

Peter Parker (tom holland and andrew garfield)

MJ

Wanda Maximof

Piedro Maximof

Clint Barton

Scott Lang

Stephen Strange

Kate Bishop

MCU ( Guardians of the galaxy)

Peter Quill

Daredevil (Season 1)

Matt Murdock

Karen Page

James Wesley

X-men universe

Deadpool

Wolverine

Francis

Xavier

Mystic

Angel

Kurt

Venom

Eddie Brock

DC

Harley Quinn

Jason Todd

Dick Grayson (any version, young justice, robin, nightwing,etc.)

Wally West (youngJustice)

Artemis (young justice)

Roy Harper (young justice)

Disney Descendants

Mal

Evie

Carlos devil

Jay

Benjamin Beast

Chad Charming

Audrey Rose

Jane

Lonnie Fa

Uma

Harry Hook

Gil

Rise of red

James Hook

Hades

Bridget

Ella

Cloe

Red

Morgie

Kingsmen

Eggsy

Tiny Pretty things (Netflix)

Bette Whitlaw

Oren Lennox

Shane Madej (no romantic fem readers)

June Park

Jennifers Body

Jennifer Check

Colin Gray

Ever after high

all characters

Redacted Audios

(no x reader, just ships)

literally all characters

[billboard-hotties-tourney]

The Round Two Contenders

Hello, all! As we go into round two, I'll be accepting propaganda for only the following nominees:

Sting

Glenn Gould

Link Wray

Curtis Mayfield

Bob Seger

Oscar Peterson

Eric Stewart

Klaus Voormann

Paul McCartney

Gene Autry

Rod Argent

Fang

Freddie Mercury

John Paul Jones

Sly Stone

Tom Scholz

Justin Hayward

Roger Hodgson

Bo Diddley

Rick Wright

Gram Parsons

Geddy Lee

Ray Manzarek

Sam Cooke

Jimi Hendrix

David Gilmour

Noel Redding

Fats Domino

Eric Burdon

Jim Morrison

Bjorn Ulvaeus

Smokey Robinson

Nat King Cole

Dave Davies

Ray Brown

Ron Mael

Ian Curtis

Arlo Guthrie

Micky Dolenz

Syd Barrett

Chuck Berry

Renato Zero

Bruce Springsteen

Al Green

Miles Davis

Bill Bruford

Charles Brown

Mickey Finn

Bob Marley

Eric Dolphy

Neil Peart

Alan Parsons

Brian May

Neil Diamond

Mick Taylor

Robin Zander

Billy Preston

Mik Kaminski

Tony Bennett

Mick Ronson

Steve Miller

Tony Levin

Johnny Cash

Stevie Wonder

Gordon Lightfoot

Frank Zappa

Ernie Ford

David Coverdale

Marvin Gaye

Buddy Holly

Marc Bolan

Rory Gallagher

Todd Rundgren

Willie Dixon

Joe Strummer

Carl Palmer

David Bowie

Alvin Lee

Rick Danko

Clyde McPhatter

Cab Calloway

John Oates

Kenny Loggins

Roy Orbison

John Fogerty

Richie Havens

Ricky Nelson

Denny Laine

Otis Redding

Dave Vanian

John Coltrane

Elton John

BB King

Dean Martin

Rob Grill

Don Henley

Russell Mael

Jimmy Page

Cat Stevens

Tommy Shaw

Robbie Robertson

Phil Ochs

David Byrne

Steve Winwood

Donald Fagen

Carlos Santana

Peter Hammill

Tom Jones

Bev Bevan

Clarence Clemons

Sammy Davis Jr

Robert Lamm

Bobby Darin

Johnny Mathis

Tony Banks

Robert Plant

Brian Eno

Benny Andersson

Barry Gibb

John Deacon

Pete Seeger

Phil Lynott

Andy Gibb

George Harrison

Mickey Hart

Prince

Jack Bruce

Keith Moon

Those in bold have lots of propaganda already, so they're low priority. Rules for submitting propaganda are in the FAQ. If there are multiple people in the photo, please tell me which one the propaganda's for. Good luck to the round two musicians!

[marshvlovestv]

No game has ever made me sit down and start writing academic-level essays like Scarlet Hollow does. There are just... so many angles it could be analyzed from, and so many fascinating themes running through it. The personhood of children, the personhood of animals, things that are passed down through the generations, from the negative (generational trauma) to the positive (local traditions and folklore).

I'm not that knowledgeable on horror as a whole, but I know there's a notion that supernatural horror is often representative of more realistic fears, and from what I've noticed, the theme running through all the horror concepts in this game is a lack of autonomy, be it economic autonomy from living under capitalistic oppression, social autonomy from an overbearing parent, or bodily autonomy, with everything from the Ditchlings taking over animals' bodies to be hosts for their young to Charles Shaw Jr. hijacking the characters' bodies and using them as puppets.

As the most alive and reactive choice-based game I've ever encountered, I obviously see a lot of space to talk about choice and free will and morality (does it blow anyone else’s mind that so much of what happens in this town, right down to who lives or dies, is entirely dependent on the decisions of this one single person? How much power the player and by extension the cousin really has? It’s what makes it fun to play but it must also be so terrifying from the cousin’s perspective). And the comparative analyses that could be made with other games based on this too… My dream comparative analysis would be between Scarlet Hollow and, um, the Quantic Dream library? I’m sorry devs, I promise I don’t mean that as an insult - David Cage is a bad person who makes bad games but there’s also always been this boldness to the choices those games allow you to make and the ways they can branch that I kind of respect? I’m very glad I now have Black Tabby to look up to in that regard instead.

All of that, plus the game is a real masterclass in worldbuilding and characterization and pacing and humor… I would use it as a teaching aid in a creative writing class, for sure.

I’m sorry for the long post, it’s just that this game makes every neuron in my brain fire rapidly. I’m the kind of person who always tries to elevate my hyperfixations to the level of high art, because I like having this kind of stuff to analyze. Scarlet Hollow is the first fixation in a while that’s made it so easy. It really deserves to be elevated in such a way. Video game good. Make me think. The end.

[mcmusing]

Unlike ALL of their sequels, I'm not anti First Class. However, as more time passes, it's beyond clear that being the best X-Men movie truly isn't saying much. These flicks almost always fumble the ball in making mutants sympathetic, but following the CIA massacre, a severe lack of logic plagues characterization, especially regarding Raven and Erik. More on them momentarily.

While the massacre is a nicely filmed scene, its aftermath is handled terribly. To a jarring degree, considering the realistic emotions during it. Remember that in 1962, Pearl Harbor would be as fresh in many people's memories as 9/11 is to us now. An attack on an entire CIA facility to that magnitude would be another day of infamy. An executive order would have been issued to track and lock down mutants all over the country, complete with anti-mutant riots in the street. The really sad part is that because of how mercilessly ruthless the hellfire club was, there would be more arguments to justify the backlash than oppose it. Is it any wonder those different military forces attempted to bomb that beach?

Also regarding Shaw's band, how can anyone watch such overpowered beings needlessly stab, shoot, and burn all of those defenseless people and feel even an ounce of pity for mutants? Shaw's grandiose speech about how they will all eventually be captured and enslaved is utterly laughable, especially coming from him. This version of Shaw has powers so overblown that he could have single-handedly taken down the nazi regime, liberated those camps, and given mutation a heroic image. But no, somehow donning a swastika, torturing a mutant child, and trying to nuke the planet seemed like the superior strategies. It's exactly the same with Erik and those missiles. If he had simply seized and hurled them far away into the water, he would have proven that mutation itself is not the enemy. He and Surrogate Nazi Daddy both started something then wanted to play victim when their self-made enemies retaliated.

On the subject of Shaw Jr., it is reasonable that Erik would be wary of the CIA possibly having ulterior motives and hooking Charles up to random machines. However, with the massacre on top of learning that both he and Shaw are mutants, why isn't Erik disgusted with his very existence? Why does he automatically take a prideful stance? His powers are what got him on Shaw's radar in the first place, Shaw killed his very human mother, Erik turned out to be mutated like his tormentor, and said tormentor led a gang of other mutants in a murder spree against dozens of people who only wanted to capture Shaw, including the agent who housed and advocated for them. HOW does any of that add up to being anti-homo sapien, let alone pro-mutant? This is why Erik's longtime nemesis had absolutely NO business being a mutant! If anything, he should have been a regular human who wanted to exploit and recreate mutant powers in himself out of envy.

Onto Raven, her kitchen conversation with Charles already made no sense with that asinine "pets are always cuter when they're little, right?" remark. You're making that accusation towards someone who introduces you as his sister after a guy you hardly know just compared you to a tiger and encouraged you to walk around naked like some undignified lesser being? However, what really piles on the stupid is when she claims "no matter how bad the world gets, you don't want to be against it, do you?" WHAT is this bad of which she speaks? The worst deed she personally witnessed was committed by mutants, something that openly horrified her. What, is she referring to those two agents who mildly teased them a little? The one desperate agent who offered up the young mutants only after watching the cruel murders of his colleagues? Or is the bad all the people who Hank- another mutant- pointed out will never find her blue form beautiful? Something no one is required to feel towards her and something most would be unable to do due to biological evolutionary reasons that govern the laws of attraction. Absolutely nothing justifies her turn to Team Terrorism.

In trying to make Charles out to be this franchise's 'uncle Tom' of sorts, all they ended up doing was making Erik and Raven into glory-seeking, narcissistic, nonsensical, opportunistic, narrow-minded bigots.

[jpbjazz]

LÉGENDES DU JAZZ

HAMIET BLUIETT, LE PLUS MODERNE DES SAXOPHONISTES BARYTON

“Most people who play the baritone don’t approach it like the awesome instrument that it is. They approach it as if it is something docile, like a servant-type instrument. I don’t approach it that way. I approach it as if it was a lead voice, and not necessarily here to uphold the altos, tenors and sopranos.”

- Hamiet Bluiett

Né le 6 septembre 1940 au nord de East St. Louis à Brooklyn, dans les Illinois, Hamiet Ashford Bluiett Jr. était le fils d’Hamiet Bluiett Sr. et de Deborah Dixon. Aussi connu sous le surnom de Lovejoy, le quartier de East St. Louis était majoritairement peuplé d’Afro-Américains. Fondé pour servir de refuge aux anciens esclaves affranchis dans les années 1830, le village était devenu plus tard la première ville américaine majoritairement peuplée de gens de couleur.

Bluiett avait d’abord appris à jouer du piano à l’âge de quatre ans avec sa tante qui était directrice de chorale. Il était passé à la clarinette cinq ans plus tard en étudiant avec George Hudson, un populaire chef d’orchestre de la région. Même s’il avait aussi joué de la trompette, Bluiett avait surtout été attiré par le saxophone baryton.

Après avoir amorcé sa carrière en jouant de la clarinette dans les danses dans son quartier d’origine de Brooklyn, Bluiett s’était joint à un groupe de la Marine en 1961. Par la suite, Bluiett avait fréquenté la Southern Illinois University à Carbondale, où il avait étudié la clarinette et la flûte. Il avait finalement abandonné ses études pour aller s’installer à St. Louis, au Missouri, au milieu des années 1960.

Bluiett était au milieu de la vingtaine lorsqu’il avait entendu le saxophoniste baryton de l’orchestre de Duke Ellington, Harry Carney, jouer pour la première fois. Dans le cadre de ce concert qui se déroulait à Boston, au Massachusetts, Carney était devenu la principale influence du jeune Bluiett. Grâce à Carney, Bluiett avait rapidement réalisé qu’un saxophoniste baryton pouvait non seulement se produire comme accompagnateur et soutien rythmique, mais également comme soliste à part entière. Expliquant comment il était tombé en amour avec le saxophone barytone, Bluiett avait déclaré plus tard: "I saw one when I was ten, and even though I didn't hear it that day, I knew I wanted to play it. Someone had to explain to me what it was. When I finally got my hands o n one at 19, that was it."

DÉBUTS DE CARRIÈRE

Après avoir quitté la Marine en 1966, Bluiett s’était installé à St. Louis, au Missouri. À la fin de la décennie, Bluiett avait participé à la fondation du Black Artists' Group (BAG), un collectif impliqué dans diverses activités artistiques à l’intention de la communauté afro-américaine comme le théâtre, les arts visuels, la danse, la poésie, le cinéma et la musique. Établi dans un édifice situé dans la basse-ville de St. Louis, le collectif présentait des concerts et d’autres événements artistiques.

Parmi les autres membres-fondateurs du groupe, on remarquait les saxophonistes Oliver Lake et Julius Hemphill, le batteur Charles "Bobo" Shaw et le trompettiste Lester Bowie. Hemphill avait aussi dirigé le big band du BAG de 1968 à 1969. Décrivant Bluiett comme un professeur et mentor naturel, Lake avait précisé: “His personality and his thoughts and his wit were so strong. As was his creativity. He wanted to take the music forward, and we were there trying to do the same thing.”

À la fin de 1969, Hemphill s’était installé à New York où il s’était joint au quintet de Charles Mingus et au big band de Sam Rivers. Au cours de cette période, Bluiett avait également travaillé avec une grande diversité de groupes, dont ceux des percussionnistes Tito Puente et Babatunde Olatunji, et du trompettiste Howard McGhee. Il avait aussi collaboré avec le Thad Jones-Mel Lewis Orchestra.

En 1972, Bluiett avait de nouveau fait équipe avec Mingus et avait fait une tournée en Europe avec son groupe. Collaborateur plutôt irrégulier de Mingus, Bluiett quittait souvent le groupe avant de réintégrer la formation un peu plus tard. En 1974, Bluiett avait de nouveau regagné le giron du groupe de Mingus aux côtés du saxophoniste ténor George Adams et du pianiste Don Pullen, qui deviendrait plus tard un de ses plus fidèles collaborateurs. Il avait aussi joué avec le groupe de Mingus à Carnegie Hall. Bluiett avait continué de travailler avec Mingus jusqu’en 1975, lorsqu’il avait commencé à enregistrer sous son propre nom.

Le premier album de Bluiett comme leader, Endangered Species, avait été publié par les disques India en juin 1976. L’album avait été enregistré avec un groupe composé d’Olu Dara à la trompette, de Junie Booth à la contrebasse et de Philip Wilson à la batterie. En 1978, Bluiett avait enregistré Birthright, un magnifique album live dans lequel il avait joué en solo durant quarante minutes et qui comprenait un hommage à son idole Harry Carney.

En 1976, la même année où il publiait son premier album solo, Bluiett avait co-fondé le World Saxophone Quartet avec d’autres membres du Black Artists Group comme Oliver Lake et Julius Hemphill. Le saxophoniste ténor (et clarinettiste basse) David Murray faisait également partie de la formation. Surnommé à l’origine le Real New York Saxophone Quartet, le groupe avait amorcé ses activités en présentant une série de cliniques et de performances à la  Southern University de la Nouvelle-Orléans, avant de se produire au Tin Palace de New York. Menacé d’une poursuite judiciaire par le New York Saxophone Quartet, le groupe avait éventuellement changé de nom pour devenir le World Saxophone Quartet (WSQ).

Le groupe avait enregistré son premier album (d’ailleurs largement improvisé) sous le titre de Point of No Return en 1977. Jouant une musique diversifiée allant du Dixieland au bebop, en passant par le funk, le free jazz et la World Music, le groupe avait remporté un énorme succès (il est aujourd’hui considéré comme une des formations de free jazz les plus populaires de l’histoire) et avait reçu de nombreux éloges de la critique. Qualifiant le groupe de ‘’the most commercially (and, arguably, the most creatively) successful" de tous les ensembles de saxophones formés dans les années 1970, Chris Kelsey écrivait dans le All Music Guide: ‘’At their creative peak, the group melded jazz-based, harmonically adventurous improvisation with sophisticated composition." Commentant un concert du groupe en 1979, Robert Palmer avait déclaré dans le New York Times: “The four men have made a startling conceptual breakthrough. Without ignoring the advances made by musicians like Anthony Braxton and the early Art Ensemble of Chicago, they have gone back to swinging and to the tradition of the big‐band saxophone section.” Palmer avait ajouté: “Some of the music looks to the more archaic end of the tradition, to the hocket‐style organization of wind ensembles in African tribal music, and in doing so it sounds brand new.” 

Reconnaissant la contribution de Bluiett dans la création du son d’ensemble du groupe, Kelsey avait précisé:  "The WSQ's early free-blowing style eventually transformed into a sophisticated and largely composed melange of bebop, Dixieland, funk, free, and various world musics, its characteristic style anchored and largely defined b y Bluiett's enormous sound." Très conscient de l’importance de la mélodie, Bluiett avait toujours insisté pour que le groupe se concentre principalement sur les balades et l’improvisation. Il expliquait:  “I think melody is very important. When we went into the loft situation, I told the guys: ‘Man, we need to play some ballads. You all playing outside, you running people away. I don’t want to run people away.’ ”

Parallèlement à sa collaboration avec le World Saxophone Quartet, Bluiett avait également publié d’autres albums comme leader comme Im/Possible To Keep (août 1977), un enregistrement en concert qui comprenait une version de quarante minutes de la pièce ‘’Oasis - The Well’’ (en trio avec le contrebassiste Fred Hopkins et le percusionniste Don Moye) et une version de trente-sept minutes de la pièce Nali Kola/On A Cloud en quartet avec le pianiste Don Pullen. En novembre 1977, Bluiett avait enchaîné avec Resolution, un album enregistré en quintet avec Pullen, Hopkins et les percussionnistes Don Moye et Billy Hart. À peine un mois plus tard, Bluiett avait récidivé avec Orchestra Duo and Septet, qui mettait à profit différentes combinaisons de musiciens comprenant le violoncelliste Abdul Wadud, le trompettiste Oldu Dara, le pianiste Don Pullen, le joueur de balafon Andy Bey, le flûtiste Ladji Camara, le contrebassiste Reggie Workman, le joueur de oud (un instrument à corde d’origine iranienne) Ahmed Abdul-Malik et le batteur Thabo Michael Carvin.

Avec le temps, les albums de Bluiett publiés en dehors de sa collaboration avec le World Saxophone Quartet étaient devenus de plus en plus accessibles. En faisaient foi des parutions comme Dangerously Suite (avril 1981), qui était une sorte de bilan de la musique populaire afro-américaine, et Ebu (février 1984), enregistré avec John Hicks au piano, Hopkins à la contrebasse et Marvin Smith à la batterie. L’album live  Bearer of the Holy Flame (juillet 1983) documentait la collaboration de Bluiett avec un quintet composé de Hicks au piano et de deux percussionnistes. En juillet 1987, Bluiett avait aussi collaboré avec le trompettiste sud-africain Hugh Masekela dans le cadre de l’album Nali Kola qui mettait en vedette un saxophoniste soprano, un guitariste et trois percussionnistes africains

Littéralement passionné par son instrument, Bluiett avait également dirigé plusieurs groupes composés de plusieurs autres saxophonistes baryton. Également clarinettiste, Bluiett avait formé en 1984 le groupe Clarinet Family, un ensemble de huit clarinettistes utilisant des clarinettes de différents formats allant de la clarinette soprano E-flat à la clarinette contrebasse. Le groupe était composé de Don Byron, Buddy Collette, John Purcell, Kidd Jordan, J. D. Parran, Dwight Andrews, Gene Ghee et Bluiett à la clarinette et aux saxophones, de Fred Hopkins à la contrebasse et de Ronnie Burrage à la batterie. Le groupe a enregistré un album en concert intitulé Live in Berlin with the Clarinet Family, en 1984.

DERNIÈRES ANNÉES

Le World Saxophone Quartet avait continué de jouer et d’enregistrer dans les années 1990. Lorsque Julius Hemphill avait quitté le groupe pour former son propre quartet au début de la même décennie, c’est Arthur Blythe qui l’avait remplacé. En 1996, le groupe avait enregistré un premier album pour l’étiquette canadienne Justin Time. Intitulé "Four Now’’, l’album avait marqué un tournant dans l’évolution du groupe, non seulement parce que c’était le premier auquel participait le saxophoniste John Purcell, mais parce qu’il avait été enregistré avec des percussionnistes africains. Comme compositeur, Bluiett avait également continué d’écrire de nombreuses oeuvres du groupe, dont Feed The People on Metamorphosis (avril 1990) et Blues for a Warrior Spirit on Takin' It 2 the Next Level (juin 1996).

Lorsque le World Saxophone Quartet avait commencé à ralentir dans les années 1990 après la fin de son contrat avec les disques Elektra, Bluiett s’était lancé dans de nouvelles expérimentations comme chef d’orchestre. En collaboration avec la compagnie de disques Mapleshade, Bluiett avait fondé le groupe Explorations, une formation combinant à la fois des nouveaux talents et des vétérans dans un style hétéroclite fusionnant le jazz traditionnel et l’avant-garde. Après avoir publié un album en quintet sous le titre If You Have To Ask You Don't Need To Know en février 1991, Bluiett avait publié deux mois plus tard un nouvel album solo intitulé Walkin' & Talkin', qui avait été suivi en octobre 1992 d’un album en quartet intitulé Sankofa Rear Garde.

Depuis les années 1990, Bluiett avait dirigé un quartet appelé la Bluiett Baritone Nation, composé presque exclusivement de saxophonistes baryton, avec un batteur comme seul soutien rythmique. Mais le projet n’avait pas toujours été bien accueilli par la critique. Comme le soulignait John Corbett du magazine Down Beat, "Here's a sax quartet consisting all of one species, and while the baritone is capable of playing several different roles with its wide range, the results get rather wearisome in the end." Le groupe avait publié un seul album, Liberation for the Baritone Saxophone Nation’’ en 1998, une captation d’un concert présenté au Festival international de jazz de Montréal la même année. Outre Bluiett, l’album mettait à contribution les saxophonistes baryton James Carter, Alex Harding et Patience Higgins, ainsi que le batteur Ronnie Burrage. Commentant la performance du groupe, le critique Ed Enright écrivait: "In Montreal, the Hamiet Bluiett Baritone Saxophone Group was a seismic experience... And they blew--oh, how they blew--with hurricane force." Décrivant le concept du groupe après sa performance, Bluiett avait précisé:

‘’This is my concept, and it’s all about the baritone, really. The music has to change for us to really fit. I’m tired of trying to fit in with trumpet music, tenor music, alto music, soprano music. I'm tired of trying to fit in with trumpet music, tenor music, alto music, soprano music. It takes too much energy to play that way; I have to shut the h orn down. Later! We've got to play what this horn will sound like. So, what I’m doing is redesigning the music to fit the horn {...}. It’s like being in the water. The baritone is not a catfish [or any of those] small fish. It’s more like a dolphin or a whale. And it needs to travel in a whole lot of water. We can’t work in no swimming pools.The other horns will get a chance to join us. They’ve just got to change where they’re coming from and genuflect to us—instead of us to them.”

En mars 1995, Bluiett avait publié un album en sextet intitulé  New Warrior, Old Warrior. Comme son titre l’indiquait, l’album mettait à contribution des musiciens issus de cinq décennies différentes. Le critique K. Leander Williams avait écrit au sujet de l’album:  "The album puts together musicians from ages 20 to 70, and though this makes for satisfying listening in several places, when it doesn't w ork it's because the age ranges also translate into equally broad--and sometimes irreconcilable--stylistic ones.’’ Tout en continuant de transcender les limites de son instrument, Bluiett avait également exprimé le désir d’une plus grande reconnaissance. Il expliquait: "[A]ll the music these days is written for something else. And I'm tired of being subservient to it. I refuse to do it anymore. I refuse to take the disrespect anymore." En juin 1996, Bluiett avait publié  Barbecue Band, un album de blues.

Après être retourné dans sa ville natale de Brooklyn, dans les Illinois, pour se rapprocher de sa famille, enseigner et diriger des groupes de jeunes en 2002, Bluiett s’était de nouveau installé à New York dix ans plus tard. Décrivant son travail de professeur, Bluiett avait commenté: “My role is to get them straight to the core of what music is about. Knowing how to play the blues has to be there. And learning how to improvise—to move beyond the notes on the page—is essential, too.”

À la fin de sa carrière, Bluiett avait participé à différentes performances, notamment dans le cadre du  New Haven Jazz Festival le 22 août 2009. Au cours de cette période, Bluiett s’était également produit avec des étudiants de la Neighborhood Music School de New Haven, au Connecticut. Le groupe était connu sous le nom de Hamiet Bluiett and the Improvisational Youth Orchestra.

Hamiet Bluiett est mort au St. Louis University Hospital ade St. Louis, au Missouri, le 4 octobre 2018 des suites d’une longue maladie. Il était âgé de soixante-dix-huit ans. Selon sa petite-fille Anaya, la santé de Bluiett s’était grandement détériorée au cours des années précédant sa mort à la suite d’une série d’attaques. Il avait même dû cesser de jouer complètement du saxophone en 2016. Même si le World Saxophone Quartet avait connu de nombreux changements de personnel au cours des années, il avait mis fin à ses activités après que Bluiett soit tombé malade. Les funérailles de Bluiett ont eu le lieu le 12 octobre au Lovejoy Temple Church of God, de Brooklyn, dans les Illinois. Il a été inhumé au Barracks National Cemetery de St. Louis, au Missouri.

Bluiett laissait dans le deuil ses fils, Pierre Butler et Dennis Bland, ses filles Ayana Bluiett et Bridgett Vasquaz, sa soeur Karen Ratliff, ainsi que huit petits-enfants. Bluiett s’est marié à deux reprises. Après la mort de sa première épouse, Bluiett s’était remarié, mais cette union s’était terminée sur un divorce.

Saluant la contribution de Bluiett dans la modernisation du son du saxophone baryton, Garaud MacTaggart écrivait dans le magazine MusicHound Jazz: "Hamiet Bluiett is the most significant baritone sax specialist since Gerry Mulligan and Pepper Adams. His ability to provide a stabilizing rhythm (as he frequently does in the World Saxophone Quartet) or to just flat-out wail in free-form abandon has been appare nt since his involvement with St. Louis' legendary Black Artists Group in the mid-1960s." 

Tout en continuant de se concentrer sur le saxophone baryton, Bluiett avait continué de jouer de la clarinette et de la flûte. Avec son groupe Clarinet Family, il avait même contribué à faire sortir de l’ombre des instruments moins bien connus comme les clarinettes contrebasse et contre-alto ainsi que la flûte basse.

Refusant de confiner son instrument à un rôle essentiellement rythmique, Bluiett avait toujours considéré le baryton comme un instrument soliste à part entière. Il expliquait: “Most people who play the baritone don’t approach it like the awesome instrument that it is. They approach it as if it is something docile, like a servant-type instrument. I don’t approach it that way. I approach it as if it was a lead voice, and not necessarily here to uphold the altos, tenors and sopranos.” 

Refusant de se laisser dominer par les ordinateurs et les nouvelles technologies, Bluiett avait toujours été un ardent partisan d’un son pur et naturel. Il poursuivait: "I'm dealing with being more healthful, more soulful, more human. Not letting the computer and trick-nology and special effects overcome me. I'm downsizing to maximize the creative part. Working on being more spiritual, so that the music has power... power where the note is still going after I stop playing. The note is still going inside of the people when they walk out of the place." Doté d’une technique impeccable, Bluiett affichait une maîtrise remarquable de son instrument dans tous les registres. Le jeu de Bluiett, qui atteignait un total de cinq octaves, lui permettait de jouer dans des registres qu’on croyait jusqu’alors hors de portée du saxophone baryton.

À l’instar de son collaborateur de longue date, le saxophoniste ténor David Murray, Bluiett était un adepte de la respiration circulaire, ce qui lui permettait de prolonger son phrasé sur de très longues périodes sans avoir à reprendre son souffle. Reconnu pour son jeu agressif et énergique, Bluiett incorporait également beaucoup de bebop et de blues dans le cadre de ses performances. Très estimé par ses pairs, Bluiett avait remporté le sondage des critiques du magazine Down Beat comme meilleur saxophoniste baryton à huit reprises, et ce, sur quatre années consécutives de 1990 à 1993 et de 1996 à 1999. Décrivant la virtuosité et la polyvalence de Bluiett, le critique Ron Wynn écrivait dans le magazine Jazz Times en 2001: ‘’There haven’t been many more aggressive, demonstrative baritone saxophonists in recent jazz history than Hamiet Bluiett. He dominates in the bottom register, playing with a fury and command that becomes even more evident when he moves into the upper register, then returns with ease to the baritone’s lowest reaches.’’

Décrivant Bluiett comme un des saxophonistes les plus dominants de son époque, le critique Stanley Crouch avait déclaré: "He had worked on playing the saxophone until he had an enormous tone that did not just sound loud. And the way that Bluiett described Harry Carney's playing — he basically was telling you how he wanted to play: 'I want to be able to play that very subtle, pretty sound, way at the top of the horn, if necessary. I want to play a foghorn-like low note. And if they want a note to sound like a chain beat on a floor, I can do that, too.'"

Tout aussi à l’aise dans les standards du jazz que dans le blues, Hamiet Bluiett a enregistré près de cinquante albums au cours de sa carrière, que ce soit en solo, en duo, dans le cadre de petites formations ou en big band. Bluiett a collaboré avec de grands noms du jazz et de la musique populaire, dont Babatunde Olatunji, Abdullah Ibrahim, le World Saxophone Quartet, Stevie Wonder, Marvin Gaye, James Carter, Bobby Watson, Don Braden, Anthony Braxton, Larry Willis, Charles Mingus, Randy Weston, Gil Evans, Lester Bowie, Don Cherry, Eddie Jefferson et Arthur Blythe. Même s’il croyait que les musiciens devaient faire un effort pour se rapprocher du public, Bluiett était aussi d’avis que le public devait faire ses propres efforts pour comprendre la musique qu’on lui proposait. Il précisait:  "Get all the other stuff out of your mind, all of the hang-ups, and just listen. If you like it, cool. If you don't like it, good too. If you hate it, great. If you love it, even better. Now if you leave the concert and don't have no feeling, then something is wrong. That's when we made a mistake."

[canary0]

Did a quick analysis of the Chapter 4 Seal, and it is a doozy.

Spoilers after the break.

So, we have the snake, which, if you spoke with the good doctor without having drink the tea, you know represents The Witch/Sybil (I have a theory about her for another time). It ties all the other figures together. Specifically, its coils wrap around each figure, representing control.

We have two different orders to consider here, and I'll go over both. First is simply the rotational order. Since Oscar mentioned the seals look Greek, I'm going with those names for some of them, and we'll go counterclockwise since that's the way they're facing.

We have a male figure with a crown and scepter. The look reminds me of King Triton from The Little Mermaid. Clearly a royal figure, a patriarch.

A Lion

A female figure. I say this in part due to the lack of beard. That's an interesting part of this seal. Everything is distinctly gendered. Maybe the men aren't as irrelevant as Sybil claims.

A hornless goat with a beard.

A Pan-like or Dionysus-like figure.

A Ram.

A Bull.

Some of these are easy to suss out. The patriarch is Enoch. Besides the crown and scepter of kingship, Poseidon used to be a Cthonic God who was known to cause earthquakes. Shaw Mine, anyone?

The Lion is a mystery. The snake is draped over its arm, but also held by it. This may be someone that The Witch can't control so easily. There are so many people this could be. Tabitha? The protagonist? The Entity? It's right after Enoch, and is in conflict or control of the Snake, so my guess is that this is Teddy/The Entity.

The female figure is at least Edwardine, and likely also Pearlanne, since the figure is entwined twice, much like the goat. At the same time, it could be Vivianne, who we know was influenced by Sybil.

The goat is likely the same person the goat was in the basement - both Shaws, which is why it's entwined twice. They were both sacrifices, one made by Enoch and the other by Edwardine.

The Pan-like figure is obvious if you consider the feminine figure and the goat being connected to it, is undoubtedly Andrew Charles Scarlet, Edwardine's son by Charlie who totally "died" without any witnesses or burial. Gotta explain away a pregnancy and then no baby somehow.

Then there's the Ram. A mysterious figure, connected only to the snake and the Bull. All the animals aside from the Lion are sacrificial creatures, though, so a terrible end is likely.

The Bull, another sacrificial creature, this one connected back to the feminine figure. Perhaps the men connected to the Scarlet women aren't as irrelevant as Sybil claims.

So with that in mind, let's look at the snake order, using the names we established. Starting at the tail, we have:

Enoch. The snake begins at his scepter, implying control, but also wraps around his scepter arm tightly, controlling him and guiding his hand of authority.

The goat, part 1. Charlie Shaw Sr., a sacrifice made by Enoch along with the mine.

The female figure, part 1. Edwardine. Charles Sr.'s blood now flows in her veins due to the pregnancy.

The goat, part 2. Charles Shaw Jr. Connected to Edwardine through love, but he was also a sacrifice she made.

Pan. Andrew Charles Scarlet. Connected to Edwardine as her son.

The Ram. Connected to Pan. Possibly whoever adopted him? The Ram is also a sacrificial animal, though, so they may also have come to a bad end.

The Bull. Connected to the Ram. A mysterious figure. Have we been introduced to this person yet? Also a common sacrifice, but also a common uh... partner for certain women in Greek myth, whether as Zeus or just... ya know, a bull. Could there be a minotaur about, like there was Pan?

The female figure, part 2. Tied to the Bull by the snake. Could this have been a lover or a husband, like Edwardine's connection with the goat? The female figure here could be Pearlanne... or it could be Vivian. Could we be a metaphorical minotaur? Or could Tabitha?

The Lion. Even more mysterious than the Bull or Ram. The snake is barely draped over it, and it grips the snake firmly by the neck. Yet, rather than snapping back, it leans forward one more time to a female figure.

The female figure, part 3. The snake leans forward to whisper in her ear, yet is not draped around her. It has no direct control, only words. Could this be Tabitha?

This final tablet probably gives us more information than we have ever had about the Scarlets, but we'll have to wait and see how it plays or... or if any of this is right at all. XD

[tabithachrysanthemumscarlet]

uhhhh from the gallows from i dont know how but they found me fits charles shaw jr. and edwardine so well

[jazzandother-blog]

POWER TO THE PEOPLE

In the late 1960s a new style of jazz emerged that was not an extension of hard bop or free jazz. For a brief seven or eight years - after the assassination of Martin Luther King Jr. in April 1968 and the beginning of fusion in the mid-1970s - a new expression of black power appeared, wrapped in pan-Africanism in the works of black journalists, books on blackness by black intellectuals, folk paintings by black artists, and music by black jazz artists.

During these years, the music of a growing number of prominent jazz musicians embraced African culture and the idealism of African countries newly liberated from colonialism. The list of artists included Herbie Hancock, Miles Davis, Charles Lloyd, Pharoah Sanders, McCoy Tyner, Alice Coltrane, Archie Shepp, Freddie Hubbard, Woody Shaw, Jack DeJohnette, Larry Willis, Bennie Maupin and many others.

Among them was Joe Henderson, whose album Power to the People (Milestone) was and remains a landmark. Recorded in May 1969, the album featured Mike Lawrence (tp), Joe Henderson (ts), Herbie Hancock (p,el-p), Ron Carter (b,el-b) and Jack DeJohnette (d).

A finales de la década de 1960 surgió un nuevo estilo de jazz que no era una extensión del hard bop ni del free jazz. Durante unos breves siete u ocho años -tras el asesinato de Martin Luther King Jr. en abril de 1968 y el inicio de la fusión a mediados de los setenta- apareció una nueva expresión de poder negro envuelta en el panafricanismo en las obras de periodistas negros, los libros sobre la condición negra de intelectuales negros, las pinturas folclóricas de artistas negros y la música de artistas de jazz negros.

Durante estos años, la música de un número creciente de destacados músicos de jazz abrazó la cultura africana y el idealismo de los países africanos recién liberados del colonialismo. La lista de artistas incluía a Herbie Hancock, Miles Davis, Charles Lloyd, Pharoah Sanders, McCoy Tyner, Alice Coltrane, Archie Shepp, Freddie Hubbard, Woody Shaw, Jack DeJohnette, Larry Willis, Bennie Maupin y muchos otro

Entre ellos estaba Joe Henderson, cuyo álbum Power to the People (Milestone) fue y sigue siendo un hito. Grabado en mayo de 1969, el álbum incluía a Mike Lawrence (tp), Joe Henderson (ts), Herbie Hancock (p,el-p), Ron Carter (b,el-b) y Jack DeJohnette (d).

Source: JazzLife

[nem0c]

Vietnam War - Galaxy Science Fiction Magazine, June 1968

Sourced from: http://natsmusic.net/articles_galaxy_magazine_viet_nam_war.htm

Transcript Below

We the undersigned believe the United States must remain in Vietnam to fulfill its responsibilities to the people of that country.

Karen K. Anderson, Poul Anderson, Harry Bates, Lloyd Biggle Jr., J. F. Bone, Leigh Brackett, Marion Zimmer Bradley, Mario Brand, R. Bretnor, Frederic Brown, Doris Pitkin Buck, William R. Burkett Jr., Elinor Busby, F. M. Busby, John W. Campbell, Louis Charbonneau, Hal Clement, Compton Crook, Hank Davis, L. Sprague de Camp, Charles V. de Vet, William B. Ellern, Richard H. Eney, T. R. Fehrenbach, R. C. FitzPatrick, Daniel F. Galouye, Raymond Z. Gallun, Robert M. Green Jr., Frances T. Hall, Edmond Hamilton, Robert A. Heinlein, Joe L. Hensley, Paul G. Herkart, Dean C. Ing, Jay Kay Klein, David A. Kyle, R. A. Lafferty, Robert J. Leman, C. C. MacApp, Robert Mason, D. M. Melton, Norman Metcalf, P. Schuyler Miller, Sam Moskowitz, John Myers Myers, Larry Niven, Alan Nourse, Stuart Palmer, Gerald W. Page, Rachel Cosgrove Payes, Lawrence A. Perkins, Jerry E. Pournelle, Joe Poyer, E. Hoffmann Price, George W. Price, Alva Rogers, Fred Saberhagen, George O. Smith, W. E. Sprague, G. Harry Stine (Lee Correy), Dwight V. Swain, Thomas Burnett Swann, Albert Teichner, Theodore L. Thomas, Rena M. Vale, Jack Vance, Harl Vincent, Don Walsh Jr., Robert Moore Williams, Jack Williamson, Rosco E. Wright, Karl Würf.

We oppose the participation of the United States in the war in Vietnam.

Forrest J. Ackerman, Isaac Asimov, Peter S. Beagle, Jerome Bixby, James Blish, Anthony Boucher, Lyle G. Boyd, Ray Bradbury, Jonathan Brand, Stuart J. Byrne, Terry Carr, Carroll J. Clem, Ed M. Clinton, Theodore R. Cogswell, Arthur Jean Cox, Allan Danzig, Jon DeCles, Miriam Allen deFord, Samuel R. Delany, Lester del Rey, Philip K. Dick, Thomas M. Disch, Sonya Dorman, Larry Eisenberg, Harlan Ellison, Carol Emshwiller, Philip José Farmer, David E. Fisher, Ron Goulart, Joseph Green, Jim Harmon, Harry Harrison, H. H. Hollis, J. Hunter Holly, James D. Houston, Edward Jesby, Leo P. Kelley, Daniel Keyes, Virginia Kidd, Damon Knight, Allen Lang, March Laumer, Ursula K. LeGuin, Fritz Leiber, Irwin Lewis, A. M. Lightner, Robert A. W. Lowndes, Katherine MacLean, Barry Malzberg, Robert E. Margroff, Anne Marple, Ardrey Marshall, Bruce McAllister, Judith Merril, Robert P. Mills, Howard L. Morris, Kris Neville, Alexei Panshin, Emil Petaja, J. R. Pierce, Arthur Porges, Mack Reynolds, Gene Roddenberry, Joanna Russ, James Sallis, William Sambrot, Hans Stefan Santesson, J. W. Schutz, Robin Scott, Larry T. Shaw, John Shepley, T. L. Sherred, Robert Silverberg, Henry Slesar, Jerry Sohl, Norman Spinrad, Margaret St. Clair, Jacob Transue, Thurlow Weed, Kate Wilhelm, Richard Wilson, Donald A. Wollheim.

[ohwhatagloomyshow]

scarlet hollow fan theories as of 12/10

ok! i read some good theories in the tag today and wanted to join in the fun and write down my own thoughts - especially bc i’m like, unnecessarily confident in them and i want bragging rights, lol. spoilers for ep 4 below!

feels fair that i start this post by saying i’d seen the reese-as-werewolf theory in the discord since i s2g ep 1 and thought “that’s funny, y’all are funny,” so you can IMAGINE MY SURPRISE at ep 4. yeah, not technically a werewolf, but A CREATURE! absolutely knocked on my ass.

THAT SAID! FEELIN PRETTY CONFIDENT ABOUT THE REST OF THIS, LOL.

so i wrote my fanfic the sacrifice to get my biggest, earliest theories on paper:

1) the scarlets (enoch, specifically) made a deal with the devil to keep the mine going

2) the seals are part of the deal

3) the seals need blood

4) tabitha killed her mother as part of the sacrifice. it didn’t work, so she’s invited you down so she can try it again.

THIS BEING SAID, i don’t know if even i fully believe that tabitha is/has been planning to kill the player. i don’t know how much i think tabitha killed her mom, even! that’s just the way the story has been leading me to think, and they’re certainly interesting theories to ponder when looking at tabitha’s behavior.

I do firmly believe enoch made a pact with the devil, i firmly believe the seals are part of it, and i firmly believe the seals are activated with blood.

I’ve held these theories since ep 1 into ep 2. now ep 4 has tangled my timeline a bit, and i really need to reread the books on the scarlets in the library for more timeframe clarity. even typing this out, i realized one of my theories conflicts with another one, which i’ll get into below. post-ep 4, my theories are as follows:

1) my initial hunch was that enoch had made a deal with the devil to save the mines and the town. this required blood sacrifice, and led to the creation of the seals, one of the first seals was placed in the Shaw mine. enoch purposefully used the ruined wood to cause a collapse and create an easy sacrifice. however!

2) his brother teddy’s injury was an honest mistake, and enoch’s dealing with the witch is totally unconnected to the original dark deal.

OR!

1) enoch used the ruined wood in typical capitalist fashion: cheaper costs, screw the risks.

2) teddy lost the use of his legs in the mine collapse. enoch, consumed with guilt, went to the witch to make some sort of bargain - both to restore the mine and goodwill in the town, and for his brother’s health.

now, this part works with either option: enoch then lied about teddy’s death in the mines and locked him up in the estate because he couldn’t bear to lose his baby brother. i think whatever agreement he made with the witch gave teddy supernatural powers instead of giving him his legs back.

so, in in ep 3, avery plays teddy. this became clear to me upon a replay before ep 4′s release, where avery says something like they’d use those fine legs and get out of town. oh, i thought, that’s the sentiment of someone who can no longer use their legs. then bam: ep 4, teddy can’t use his legs, enoch says it’ll be fine, and we know the person in the estate could sense edwardine’s pregnancy. thus! teddy is given some sixth sense in exchange for his legs, as part of enoch’s bargain with the witch OR the devil (they could be the same! i’m differentiating them because i don’t think the witch is the cause of ALL the bad things).

assuming i’m correct and the seals need blood, where better else to put another one than in a hospital for people who cough up blood?

i do not know why there’s a seal under town hall (the library). i do believe edwardine had to kill charles jr there, specifically, and that it’s not a coincidence.

i also am leaning toward edwardine doing a lot of the other killings throughout the family history (except for her brothers, i do not think she went with them to kill them on D-Day, or forged those documents, lmao.) i’m VERY interested in the theory that charles jr’s son, andrew, wasn’t actually a stillbirth. i think there’s a reason a lot of the young girls have died in the family. i think there’s a reason your mom was basically driven out of town by the treatment from her family. 

additional theories: sybil is the cat, no question. i don’t remember when i started distrusting her - may lean on the side of tooting my own horn and saying even episode 1 because i didn’t like the way she kept secrets and talked about the ditchlings/duke’s death. she’s absolutely controlling kaneeka with the tea, though to what end i’m not sure. i don’t necessarily believe she’s fully sinister but she is absolutely an antagonist.

wayne. my pet theory on wayne now is he’s possessed by the spirit of an earlier scarlet. this is obviously incorrect from the romance option for him, but i’m trying to work out how i could be right without incest lmao. he’s a dead body possessed by a spirit connected to our family.

finally, returning to my fic, i don’t believe there’s a seal in our basement because, from the way the game has been going, we should probably feel connected to it, and we don’t at all. but maybe tabby’s already interacted with it? maybe that’s dulled our interest/pull to it? idk. just wanted to put it out there that i’m pretty sure that’s a bad guess on my end.

i do think we’re gonna find another one in the woods, around where our one relative died while hiking (was that enoch? definitely murdered)

man i just love this game so much, and would LOVE to talk about with anyone, especially if we’re strangers but you made it this whole way through after finding this post in the tag! i love you!

[beardedmrbean]

WASHINGTON - After deliberating for nearly two-and-a-half hours, a D.C. Superior Court magistrate judge decided to hold a 16-year-old girl at a secured juvenile facility in D.C. at least until her next hearing on Friday.

The teen from Waldorf, Maryland is charged with second-degree murder (as a juvenile) among multiple other serious charges, in connection with the stabbing death of another 16-year-old from Waldorf, Naima Liggon. 

It was a "dispute over sauce," Judge Sherri Beatty-Arthur told the court, ahead of her decision.

FOX 5 learned Monday that a group of young people drove from Maryland to a party in D.C. before stopping at the 24-hour McDonald's by U and 14th Streets Northwest.

It was said in the juvenile proceeding, that an argument began in the vehicle, apparently over sweet and sour sauce. It then turns physical. The teens at one point exited the vehicle, and a fight broke out right outside the U Street McDonald's.

An attorney for the teen charged claimed self-defense. They said that the teenage suspect was jumped in that fight. However, the prosecutor claimed the fight was over with when surveillance video allegedly captured that same teen suspect lunging at least once toward the victim, around the time Liggon went back to the vehicle.

This happened at around 2:10 a.m. Sunday. 

Liggon was stabbed in the abdomen and torso and pronounced dead at Howard University Hospital.

"She was a beautiful person. My son’s friend," said neighbor Rickey Graves Jr. "She was the first friend he met when he arrived here. It’s just – it was a shock for us because she’s a beautiful person. She had a great personality, always laughing – a lot of laughter. Her mom – very friendly, beautiful people. So, I’m just shocked that this kind of thing would happen to her."

"Listen to your parents," said Graves when asked what he and others can take away from this. "Check in with your friends, and sometimes we’ve got to stay away from things we know we shouldn’t – people, places we shouldn’t be around."

Graves told FOX 5 his son was too upset to speak.

Liggon was one of three teens killed in D.C. this past weekend. 

While there is a curfew on D.C.’s books, the fatal stabbing came a little before D.C. police are expected to begin targeted curfew enforcement in several selected areas starting Friday, Sept. 1. 

The U Street Corridor is on that list.

Residents and neighbors have been furious with the violence seen around the U Street Corridor. 

One community leader claims that violence spilling over – and an open-air drug market deeper into the Shaw neighborhood has forced multiple businesses to close down just this past year alone.

A Charles County high school principal announced counselors would be on hand at Thomas Stone High School to help students deal with this tragedy. 

Monday was their first day of school for the 2023-2024 school year.

"This is not the news a principal ever wants to share, let alone the day before we start a new school year," said Thomas Stone High School Principal Shanif Pearl in a statement to the high school community. "I ask that you please keep Naima’s family, friends, loved ones and our school community in your thoughts and prayers."

READ THE FULL STATEMENT:

"Dear Parents, Guardians and Staff:

I am deeply saddened to share with you the news about the tragic loss of a Thomas Stone High School student. This afternoon, we learned about the passing of Naima Liggon. Naima passed earlier this morning and news of her passing has been made public. My thoughts and prayers go out to her family, friends, loved ones and all who knew her.

We will have additional counselors and staff at school tomorrow to provide support to any student or staff member who needs help processing the news of Naima’s passing. I do not have any additional details about Naima at this time. This is a heartbreaking and tragic time for our school community.

This is not the news a principal ever wants to share, let alone the day before we start a new school year. I ask that you please keep Naima’s family, friends, loved ones and our school community in your thoughts and prayers. If you or your child need help with grief counseling or any other assistance, please let me know.

Sincerely,

Shanif Pearl

Principal"

[ulkaralakbarova]

When secretive new neighbors move in next door, suburbanite Ray Peterson and his friends let their paranoia get the best of them as they start to suspect the newcomers of evildoings and commence an investigation. But it’s hardly how Ray, who much prefers drinking beer, reading his newspaper and watching a ball game on the tube expected to spend his vacation. Credits: TheMovieDb. Film Cast: Ray Peterson: Tom Hanks Lt. Mark Rumsfield: Bruce Dern Carol Peterson: Carrie Fisher Art Weingartner: Rick Ducommun Bonnie Rumsfield: Wendy Schaal Ricky Butler: Corey Feldman Hans Klopek: Courtney Gains Dr. Werner Klopek: Henry Gibson Walter Seznick: Gale Gordon Vic, Garbageman #1: Dick Miller Joe, Garbageman #2: Robert Picardo Uncle Reuben Klopek: Theodore Gottlieb Detective #1: Franklyn Ajaye Dave Peterson: Cory Danziger Detective #2: Rance Howard Ricky’s Girlfriend: Heather Haase Steve Kuntz: Nicky Katt Ricky’s Friend: Bill Stevenson Ricky’s Friend: Gary Hays Cop: Kevin Gage Cop: Dana Olsen Walter’s Daughter: Brenda Benner Suzanne Weingartner: Patrika Darbo Voiceover Actor: Sonny Carl Davis Voiceover Actor: Moosie Drier Voiceover Actor: Leigh French Voiceover Actor: Archie Hahn Voiceover Actor: Billy Jayne Voiceover Actor: Phyllis Katz Voiceover Actor: Jeffrey Kramer Voiceover Actor: Lynne Marie Stewart Voiceover Actor: Arnold F. Turner Voiceover Actor: Gigi Vorgan Ricky’s friend (uncredited): Carey Scott Kid on Bike (Uncredited): Tony Westbrook Ray’s Boss (uncredited): Kevin McCarthy Film Crew: Sound Effects: Mark A. Mangini Casting: Mike Fenton Casting: Judy Taylor Costume Design: Rosanna Norton Original Music Composer: Jerry Goldsmith Director: Joe Dante Executive Producer: Ron Howard Production Sound Mixer: Ken King Hairstylist: Christine Lee Production Design: James H. Spencer Set Designer: James E. Tocci Producer: Larry Brezner Producer: Michael Finnell Additional Photography: John Hora Music Editor: Kenneth Hall Set Decoration: John H. Anderson Foley Editor: Ron Bartlett Makeup Artist: Daniel C. Striepeke Co-Producer: Dana Olsen Special Effects Supervisor: Ken Pepiot Editor: Marshall Harvey Camera Operator: Michael D. O’Shea Director of Photography: Robert M. Stevens Stunts: George P. Wilbur Associate Producer: Pat Kehoe Dolly Grip: Kirk Bales Key Grip: Charles Saldaña Stunts: John-Clay Scott Supervising Sound Editor: George Simpson Stunts: Eddie Hice Stunts: Gary Epper Stunts: Wally Rose Stunt Double: Brian J. Williams Stunts: Jeff Ramsey Stunts: John Hateley Stunts: Ray Saniger Art Direction: Charles L. Hughes ADR Editor: Stephen Purvis Stunts: Gary Morgan Stunts: Frank Orsatti Second Assistant Director: David D’Ovidio Sound Editor: Warren Hamilton Jr. Costume Supervisor: Cheryl Beasley Blackwell Makeup Artist: Michael Germain Foley Artist: Dan O’Connell Transportation Coordinator: Randy White Boom Operator: Randall L. Johnson Foley Artist: Kevin Bartnof Visual Effects Supervisor: Michael Owens Still Photographer: Ralph Nelson Jr. Script Supervisor: Roz Harris Leadman: Nigel A. Boucher Sound Re-Recording Mixer: Michael Minkler Sound Re-Recording Mixer: Gary C. Bourgeois Foley Editor: Aaron Glascock Sound Editor: Michael J. Benavente Chief Lighting Technician: Leslie J. Kovacs Costume Supervisor: Eric H. Sandberg Greensman: Dave Newhouse Construction Coordinator: Michael Muscarella Stunts: Roydon Clark Stunts: Sandra Lee Gimpel Set Designer: Judy Cammer Assistant Editor: Uri Katoni Lighting Technician: Brent Poe Grip: T. Daniel Scaringi Production Coordinator: Karen Shaw Lighting Technician: Ken W. Ballantine Special Effects: Michael Arbogast Studio Teacher: Adria Later Stunt Coordinator: Jeff Smolek Construction Foreman: Ciro Vuoso Production Accountant: Julianna Arenson Assistant Chief Lighting Technician: Benny McNulty Set Designer: Erin M. Cummins Property Master: Gregg H. Bilson Lighting Technician: E. Christopher Reed Stunts: Rick Sawaya Unit Publicist: Reid Rosefelt Special Effects: Jeff Pepiot Grip: Danny Falkengren Best Boy Grip: Hal Nelson Grip: Paul E. Sutton Special Effects: Thomas R....