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natromanxoff · 5 years ago

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Queen live at Colston Hall in Bristol, UK - November 18, 1975

The photos could be from either night.

This article from the November 29 issue of Sounds chronicles the second night in Bristol.

Queen triumphant

QUEEN ARE the type of group that make a man want to abandon rock writing. They pose questions and never provide answers. They exist in their own space-time continuum, visible and audible but keeping their secrets to themselves.

On the surface they couldn't be a nicer bunch of people, but they carry English reticence to an epitome. It isn't, as Geoff Barton said two weeks ago, that they're boring, it's just that they're reserved. Or in writer parlance, they don't automatically provide colourful copy. All my instincts as a writer tell me that there is a great story in that band, but after two nights with them I'm hardly any the wiser.

Skin tight

That their insularity has a lot to do with them being one of the most amazing heavy-metal and/or rock bands in Britain - with all the signs that they'll end up monsters on the order of Zep - is fairly obvious, but just how much bearing it has on the matter is hard to say. The enigmas they might pose mightn't even have answers.

Is there any logical reason why they present an image and persona straight out of the Beatles school of interlocking chemistry?

John is reserved, almost nonchalant on stage, as if it's all in a small, personal joke. When asked how he saw himself within the framework of the band he replied, with a small smile, "I'm the bassist".

Roger is his opposite, the cheeky sidekick in a Clint Eastwood movie, and attracting a lot of cheesecake attention in America and Japan.

Freddie is an original - one of the most dynamic singers to tread the boards in quite a few years. His attraction is obvious.

Brian is perhaps the biggest enigma of all. What is this seemingly frail, gaunt astronomer doing on that stage, striding purposefully and blasting diamond-hard rock? They're all equally strong personalities - like the Beatles there's no one major focal point. Ask four fans who their dream Queen is and you'll get four different answers.

Only Queen are driven to better each previous album - which at this stage of the game is obviously producing some excellent results - and 'A Night At The Opera' turned into a saga - culminating in 36-hour mixing sessions in an effort to allow at least a few days for rehearsal. In the end they managed three and a half days at Elstree with four hours off to videotape the promotional film for 'Bohemian Rhapsody'.

Their first few dates had not been without errors and the quartet were still not feeling totally comfortable their second night in Bristol, fourth night of the tour. You'd never know it, though.

Like all other aspects of the group, the stage is sophisticated. A black scrim provides a backdrop bounded by a proscenium of lights both front and rear. At each side the p.a. rises like a mutant marriage of Mammon and Robby the Robot. Amp power is readily evident but the most extraordinary is Brian May's subtle set up: nine Vox boxes stepping back in rows of three. The only packing crate visible is holding a tray of drinks, and you may rest assured that no roadie will rush, crawl or lurk across the stage while the show is in progress unless it's to rescue Freddie's mike from the clawing crowd.

As the auditorium darkens the sound of an orchestra tuning up is heard over the p.a. The conductor taps his baton on the music stand and a slightly effete voice welcomes the audience to A Night At The Opera. The Gilbert & Sullivan portion of 'Bohemian Rhapsody' follows, a brief glimpse of Freddie is allowed, and then in a blast of flares and white smoke the blitzkrieg begins.

Roger is barely visible behind his kit, just his eyes and tousled locks. John is wearing a white suit and playing the-man-who-must-stand-still-or-it-will-all-blow-away. Brian is slightly medieval in his green and white Zandra Rhodes top, while Freddie is...

There have been sex objects and sex bombs, superstar potency and the arrogant presentation of this all-important area, but never has a man's weaponry been so flagrantly showcased. Fred could jump up on the drum stand and shake his cute arse, leap about and perform all manner of amazing acrobatics, but there it was, this rope in repose, barely leashed tumescence, the Queen's sceptre. Oh to be that hot costume, writhing across the mighty Fred!

Phallic

Freddie is not pretty in the conventional sense of the word; like Mick Jagger of '64, he is his own convention. Also like the Jagger of the time, his stage persona and action is unlike anything else. Although it borrows - like most of the group's plagiarisms - slightly from Zeppelin, in tandem with Freddie's supreme assurance and belief in himself - he always refers to himself as a star - it explodes into something that is a constant delight to watch.

He reacts to his audience almost like an over-emotional actress - Gloria Swanson, say, or perhaps Holly Woodlawn playing Bette Davis. At the climax of the second night in Bristol he paused at the top of the drum stand, looked back over the crowd and with complete, heartfelt emotion placed his delicate fingers to lips and blew a kiss. Any person who can consume themselves so completely in such a clichéd showbiz contrivance deserves to be called a star.

Freddie's real talent, though, is with his mike stand. No Rod Stewart mike stand callisthenics here, just a shortee stick that doubles as a cock, machine gun, ambiguous phallic symbol, and for a fleeting moment an imaginary guitar. He has a neat trick of standing quite still in particularly frantic moments and holding the stand vertically from his crotch up, draw a fragile finger along its length, ever closer to the taunting eyes that survey his audience.

Their show contains lots of bombs and smoke, lots of lights, lots of noise. They fulfil the function of supremely good heavy metal - i.e. you don't get a second to think about what's going on. When they do let up for a few minutes, it's only so you can focus in on the bright blue electric charge crackling between your ears.

Bulldozer

Dominating the sound is Roger's drumming, a bulldozer echo that bounces like an elastic membrane, meshing with your solar plexus so that your body pulses in synch with the thunder. Tuned into that, everything else is just supremely nice icing.

For three days rehearsal, after eight months off the road Bristol was extremely impressive. In speculative mood I quizzed people on how long they thought it would take to headline Madison Square Garden. I was thought a radical at a year and a half. John Reid smilingly assured me it would take a year.

That Queen should end up with John Reid is an entirely logical proceeding. Everything about Queen demands that the world eventually kowtows at their feet in complete acquiescence - so big that bodyguards have to accompany them at every step. Well, no - they found that an annoyance in Japan, but, you know, huge.

Such status demands a Reid or a Peter Grant, and whatever the causes for their leaving Jack Nelson and Trident, an elegant group like Queen is going to look for a man with class. Reid found the idea of managing a group interesting, and having to deal with four strong personalities a challenge. He only concerns himself with their business and ensuring that the year ahead is mapped out. In January they begin a jaunt through the Orient, Australia and America, by which time it's March and they begin preparations for the next album.

Reid's prediction of a year was proven highly credible the next evening in Cardiff. The band had still not paused from the rush up to the tour and spent most of the day relaxing and sleeping - no doubt a factor in their near recumbent profile. Also, unlike most groups, they were keeping their dissatisfaction with the show to themselves.

They stopped off at Harlech TV on the way to see a cassette of the video for 'Bohemian Rhapsody'. The general consensus was quite good for four hours, with much laughter during the operetta. Brian finds film of the group educational - the first time he saw himself was a Mike Mansfield opus for 'Keep Yourself Alive' - "It was 'All right fellows, give it everything you've got but don't move off that spot.' It was terrible." You don't like Mansfield, eh? "Oh, I hate him - we all do... I was horrified when I saw it - I couldn't believe we looked that bad. I looked very static - seeing myself has taught me a lot about stage movement. Some of the things I do are planned for effect, but it's mostly just feeling the audience and communicating that back to them."

Arriving at the motel - several miles out of town - Freddie immediately fell asleep, John held court of a sort, joined later by Brian, while Roger went jogging, a daily event when touring. Tuning in to rock via Bill Haley and Tommy Steele, he became a drummer because he was better at it than guitar. All through school he was in bands; he only went to dental school out of "middle class conditioning, and it was a good way to stay in London without having to work". His mother thought it a bit strange when he opted for a career as a rock star, but she doesn't worry too much now.

The concert starts in much the same manner as the previous night, but there are signs that tonight is work, with posing an afterthought. The endings to most of their songs are magnificent and majestic, especially 'Flick Of The Wrist' and the rapid harmonies of 'Bad Boy Leroy Brown'.

Maniacal

The audience, seeing their faces in town for the first time, are vociferous in their appreciation. Guys know all the words to every song, yelling enthusiastically at every effect and solo. The band picks up, Freddie receiving the crowd beneficently, telling them they’re beautiful.

As the show builds it is obvious that things are gelling more. The previous night Brian had seemed totally out of place, not moving too much, taking solos with the weirdest half blank half possessed stare, talking to himself; cocking ear towards guitar. He was the proverbial stranger in a strange land, one step removed from the plane inhabited by you and me.

Tonight he moves fluidly, the gonzo lead guitarist of a gonzo band. His expressions are just as maniacal, but it only makes him look more demonic. His solo in 'Brighton Rock', an exposition in riffing and echo, is a treat because of his physical response to both music and audience, complete with ham acting. Freddie gets into the same game on 'The Prophet's Song', where he conducts an acapella madrigal with himself. It's a pretty commanding moment.

It’s soon after this that Madison Square seems reasonable. About a minute into 'Stone Cold Crazy' it becomes very obvious that Queen have suddenly Plugged In. Found the metal music machine and Connected. Freddie's movements explode in perfect unison with the music, the lights and surroundings go crazy, and the audience goes berserk.

Freddie asks for requests and receives a roar out of which one can vaguely make 'Liar'. Fred walks along the stage, nodding, agreeing he will do this one and that one while the kids roar on. "I'll tell you what - we'll do them all!"

'Doing Alright' opens slow and portentously. Queen's variation of light and shade is one of the major factors in their popularity, but even so the quiet sections frequently find the audience's mind wandering. One kid starts getting a joint together, totally forgetting it when everything blasts off again; guys talk among themselves, only to instantly leap to their feet, fists flying to the beat.

'Doing Alright' changes into a cha-cha beat, Freddie snapping his fingers, the coolest hipster in town, and then instantly drops into faster-than-light drive - the whole row next to me leaps to their feet as a man, rocking back and forth as Brian roars into a blinding solo.

Two songs later, in 'Seven Seas of Rye', the kids break - very fast - and in five seconds half the audience is a seething mass in front of the stage, climbing on each other in pyramids, sudden openings appearing as a splintering seat sends a few bodies to the floor.

The rest of the show is equally intense, especially for a couple of minutes during 'Liar; where Fred and Brian merge into a tight little triangle with Roger while John stands in front of the bass drum, staring out with his small smile.

Freddie has treated his encores - 'Big Spender' and 'Jailhouse Rock' - differently on successive nights, once appearing in a kimono and in Bristol with rather rude tight white shorts, giving the song title new emphasis. In Cardiff, though, he doesn't bother to change at all. Later it transpired that Brian had twisted his ankle during 'Liar'. While he’s attended to, kids out front pick up chair slivers to keep as mementos.

On the bus back to the hotel Brian sits quietly at the back, chatting with two girls. John sits at the front, as always. Freddie stares out of the window, lost in his own world. Roger bounces around, starts a pillow fight with Brian - which stops as soon as Brian scores a direct hit to the face - then discovers an eight track of 'Sheer Heart Attack', punching it through the channels as he conducts the group. The two hours towards which they have channelled the day's energies are spent.

Ambition

That Queen have become a top attraction through a fair degree of plagiarism is amusing. Stealing is nothing new in rock (or any art for that matter) and mostly Queen use the borrowed material better than the originals. That they would be big I don't think anybody really doubted. All four have immense desire to be successful, and that kind of ambition will keep them slogging until they achieve it.

But there are popular heavy metal bands and there are popular h-m bands. From watching Queen's audience it is apparent that Queen speak for them in a way that bands such as the Who and the Stones and the Beatles spoke (and continue to speak) to their audience. Uriah Heep may be great at what they do, but five years after their demise who'll remember them? Creedence Clearwater Revival demonstrate the same thing - who remembers them? And yet five years ago they were the largest band in the world.

Queen will probably always be remembered, because as their tour is beginning to demonstrate, they have the ability to actualise and encompass the outer limits of their sense of self-importance. Queen and their music, presentation, production - everything about them says that they are more important than any other band you've every heard, and who has there been, so far, who has objected? Certainly not the 150,000 people (plus 20,000 a day) who bought 'Bohemian Rhapsody' in the first 20 days of its release. Certainly not me.

See you at Madison Square Garden.

[text © J. Ingham 2007; photos © Kate Simon]

~ You can see the photos which was mentioned on the article, from the link on the title. ~

#queen #queen band #roger taylor #freddie mercury #brian may #john deacon #queen concerts

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sylleboi · 5 years ago

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𝕾𝖊𝖊𝖐𝖊𝖗𝖘 | 25/11/19

When I initially heard of the content for this brief, I couldn’t help but get excited. I have a soft spot for illustration and concept art, as well as world building and writing (especially fantasy). After reading through the brief for “Seekers”, I immediately thought of a short story I have been writing for around a year and a half at this point, the plot and context fitting perfectly with the challenge that the brief sets.

During the morning we briefly went through the good things and the things that “need improvement” from the past two briefs;

Good:

Responding to the workshop and technical skills. This includes how each person within the class have responded to the challenged on a technical level, being really good.

Developing ideas past the workshop activities and building technical skill through repetition and synthesis. This is purely based upon the development each individual have gone through and made thus far and exploring beyond what the brief asks to do, as well as using more primary reseach at a higher rate.

Understanding technical terms and their use within the specific subject. This describes how well we do at resiting all the terms thrown at us.

Need improvement:

Drawing & Repetition Make sure to draw often; ideally every day, but in general just as much as possible.

Drawing from observation- draw from primary research! We do this a little, but we have to keep at it and stick to it.

Evaluate and conclude It’s important to make sure to evaluate and conclude at the end of each blog post; “What have I learnt and what will I do?” Also try and be more conclusive and forward with the evaluations. It’s also important that we make sure to keep reflecting upon everything we go through each day that we work.

Visual language Our research needs to talk more about the visual language; more about what you can see and why this is important to you and the work you have done and will produce.

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𝕾𝖊𝖊𝖐𝖊𝖗𝖘

(2D problem solving)

Aims and objectives

Be able to analyse and research a 2D problem in art & design.

Be able to use an integrated approach to 2D problem-solving in art & design.

Be able to use evaluation to support solutions to problems in 2D in art & design.

Using an integrated approach means to apply what other things we have learnt as well as integrating all the ideas we have, to create a successful concept, story and narrative for this brief.

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What have I learnt, and what will I learn now?

I have learnt:

Rotoscoping

Character turnaround

Model sheet

Frame by Frame = sequence

Illusion of life

Digital programs (photoshop & illustrator)

I will learn:

Character narratives

Fantasy

Frame by Frame animation

Key poses

Primary observation and research

Concept art

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Are there different types of characters?

Protagonist

Antagonist

Sidekick

“Damsel in distress” & “Male hero”- try and subvert to be inclusive and original!

Ice breaker task - Key terms

Find the definition for the following terms (these need to be presented in your production file in your own words to establish the character design part of your project):

Who is the Protagonist?

This is the main character or one of the major characters in a play, film, novel, etc. It is not at all unheard of that the protagonist is a heroic figure for. They make the key decisions and experience the consequences of these decisions and actions. Protagonists usually go through a journey to learn and evolve upon themselves.

Who is the Antagonist?

They are the rival of the protag. A person who actively opposes or is hostile to someone or something; an adversary. They are often portrayed as characters with a dark background; an example of this could be an evil ruler that grew up in an abusive environment or something alike.

What is an Archetype?

This can be defined as a very typical example of a certain person or thing, often very generalising/stereotypes, but this is not how you would define archetypes in storytelling specifically. Archetypes can be defined as for example; the sidekick or comical release character (the jester), the mentor (wise), the innocent, the explorer, the hero, the lover, the ally, the trickster, the guardian, the shadow, the ruler, the friendly beast. Essentially, they are different roles.

The protagonist should:

Be someone the audience can identify with through empathy.

Go through changes/stages during the quest (emotionally or physically)

Break rules and makes mistakes but is always good at heart, putting others before themselves.

Quest:

A quest is a journey that someone takes, in order to achieve a goal or complete an important task. Accordingly, the term comes from the Medieval Latin “Questo”, meaning “search” or “inquire”.

Heroic protagonist (definition given from the brief):

The main character within a story and told a narrative that goes on a dangerous mission against all odds to save a group of people or a society. Sometimes, the hero sets out on a quest to find a symbolic object or person and bring it or them back to his/her/their home. They also have a particularly large presence in Medieval romance, folklore and Greek and Roman mythology, and have been playing an important role in fiction since the earliest examples of English literature.

What does the fantasy hero look like?

Artists to take inspiration from

Good/Hero/Protagonist:

Simon Bisley

Andrew Maclean

Luke Pearson

Bad/Villain/Antagonist:

Frank Frazetta

Pendleton Ward

Jeffrey Alan Love

Task:

Put together 2 similar “slides” in keynote (hero/villain) with 3 visual examples on each. We then printed them out and then answered the following questions in note form around the artists we chose;

Describe the visual language (line, texture, tone, colour, shape, form) using descriptive words & sentences

What does this visual language (the way it looks) communicate about the character/personality?

In your opinion, what visual characteristics of the artwork make the example particularly heroic or villainous?

Good/Hero/Protagonist:

“Hey, you.”

Describe the visual language (line, texture, tone, colour, shape, form) using descriptive words & sentences

Tony Zhou Shuo is a very inspiration artist in my eyes. In the majority of his artwork, he manages to convey shape and readability clearly by using minimal strokes. This is something I have learnt to understand is key for illustrating concept art or general illustrative work for stories. An example, different from the use of shape, is the texture of the brushes he uses. They are rough, creating a feel of sand moving across the rocky desert.

What does this visual language (the way it looks) communicate about the character/personality?

To me, it feels mischievous, but not necessarily in a villainous way; which is what drew me in to this piece in particular when attempting to find some inspiration for my own character/characters. The hooded figure in the foreground is the main subject, looking back towards the sound of the strangers, thinking the hooded person is just the same to them, a stranger. This automatically makes your eyes wander to the figures in the background, that then point back to the hooded figure. It’s a very smart approach for conveying storytelling within a still image. As an illustrator in particular, it is crucial that you can convey the wanted message or meaning without the use of motion or sound; this is much like in film-making or book writing; if you are vague or limited in the way you tell the story, the viewer automatically fills in the blanks.

In your opinion, what visual characteristics of the artwork make the example particularly heroic or villainous?

The fact that the overall mood of the painting is portrayed to be bright and warm gives me a feeling of the character in the foreground not actually being “bad”, just questioned (the title being “Hey, you”) and potentially unwanted. I suppose an example of this could be Assassins Creed. The main characters within this world are feared and unwanted by many since they are assassins sent to kill, yet they are not portrayed as being the villains of the story, but in fact the opposite. It all depends on how you choose to portray the character in a given scenario. It can very easily be altered, which is what I did to prove that this point stands. I did this very quickly by just adding a multiply layer and some stars and highlights (as if the hooded guy now is in the spotlight, caught off guard, now indicating that they are up to nothing good.):

“Viking Boy”

Describe the visual language (line, texture, tone, colour, shape, form) using descriptive words & sentences

I absolutely adore the art style of Tim Mcburnie. It is very stylistic, but it has its own unique flare to it with the use of brushwork and texturing. Primarily this is seen in the landscape. I think he uses different pictures of watercolour and setting the layer mode to something like overlay to create those moody and strong, gritty textures. With the art style being heavily stylised compared to Tony’s work, he uses line very efficiently. Despite the line work being relatively loose and messy, it still manages to make the subject/subjects (the boy and the Viking huts ((village?)) + smoke in the background) stand out without feeling as if they are completely out of place.

What does this visual language (the way it looks) communicate about the character/personality?

The visual language used for this painting in particular, manages to communicate the rough environment that was the Viking age (793–1066 AD). Back then things worked more primitively; death often being brutal and inevitable if either sick or on the wrong side of the border to enemy territory.

In your opinion, what visual characteristics of the artwork make the example particularly heroic or villainous?

The composition I find to be really appealing in this particular piece. The way that the boy feels as if he’s gone from his home in the village behind him to begin a journey. He looks young and his expression resting on his face communicates that he seems nervous and wary of his surroundings. To me, he seems innocent and not a person based upon anything evil; like a hero in the making.

“Night Trip”

Describe the visual language (line, texture, tone, colour, shape, form) using descriptive words & sentences

For context, Night Trip is a short comic story done by the artist Mi Dong. I chose this piece in particular (the cover for the story) for multiple reasons, with the main one being his use of line. The comic itself is only illustrated using line work, which isn’t uncommon in comics, but even the cover itself portrays what you can expect in a very clear way. This is what really drives the interest to this Mi Dong’s work in particular. The use of colour and value for this cover picture has clearly been thought about; For the values, it is easier seen when making the illustration black & white;

When looking at the desaturated version, the values already speak clearly by themselves, even without the aid of colour. The subjects base value is much brighter than the backgrounds base value. This makes sure that the viewer can differentiate the subject from the background without a struggle. It is also worth mentioning that the choice of line has also been used to create texture, which works very well as a stylistic approach since it matches all the other aspect of this illustration that I have gone over previously.

What does this visual language (the way it looks) communicate about the character/personality?

The overall feeling that I get personally is a mix of “overwhelmed”, “daunting” and “fear”. This I believe is based on the fact that the texture of the line work plays such a big role in making the piece come to life. If there were no texture and only flat colour, it wouldn’t portray emotion as strongly and confidently as it does with the texturing applied. The texturing used in this drawing also indicates some kind of “danger”. This is purely because of the way that Mi Dong has chosen not to use any texture on the main subject; in fact, there has only been used flats for the foreground subject- signalling a sense of purity compared to the looming figure in the background.

In your opinion, what visual characteristics of the artwork make the example particularly heroic or villainous?

I think that with everything mentioned about this piece of artwork, It definitely leans toward the feeling of “heroic” if you focus on the main subject, but I also definitely shares traits of “villainous” characteristics if focusing on the background subject. Without knowing the content of the comic itself, the figure seeming to be looming in the dark and behind the subject, the figure might be a distorted version of the main subjects; indicated by their eye colours being the same; infant, they share all the same colours. Weather that’s nothing but a stylistic choice, or of a deeper meaning, it works quite well, because it lets your mind wonder “What does this mean?”, “Why does the person look so afraid?”, “What are they afraid of?- Why are they looking at me? am I the monster?” That is why this cover is successful. It makes the reader want answers, therefore willingly indulging themselves into the story, narrative and plot-line, on their own quest for answers based upon their curiosity.

Bad/Villain/Antagonist:

“Dragon hunters”

Describe the visual language (line, texture, tone, colour, shape, form) using descriptive words & sentences

I chose this piece for several different reasons. The obvious being; the dragon. My entire plot is based upon the lore of dragons and how they are hunted down by men, so this was great inspiration! The other reason is how my “villain” is not actually anyone in particular, but instead, it is the society living in the universe I have created. People are the ones killing what isn’t actually there to cause harm, but everyone believes that the dragons are cold-blooded killers. Loosely, this is the basic premise of which I base the plot in reality; We kill the earth in ignorance with pollution and plastics choking life, even in a literal sense. - In my story, mankind does this, but with the dragons. They are in the way, and the quickest way to get rid of them is by eliminating them. The drawing is highly rendered, which is what initially (alongside the use of perspective and scale) drew me into it. This illustration doesn’t need words to explain what is happening. The storytelling is so clear and loud, which is absolute key when portraying story within a limited amount of frames (or often even just by using a single canvas).

What does this visual language (the way it looks) communicate about the character/personality?

This question can be interpreted in different ways depending on who you refer to; the dragon or the hunters. The dragon seems to be fleeing from the hunters, trying to take it down. For some reason, the overall perspective and scenario reminds me of when you go hunting for the air balloons with your parents in the car to see where they land; it almost in itself feels like a quest. In the painting, it can be argued as to who the bad guy is, the dragon or the hunters? This is where, once again, ones imagination comes into play to fill out the “gaps” and attempt to answer all the questions it sparks. “Why is the forest burnt down?”, “Did the dragon do that?” If so, then why did it do that?”, “Is it evil or did the hunters agitate it or scare it?”.

In your opinion, what visual characteristics of the artwork make the example particularly heroic or villainous?

I think that the fight between whether the dragon or the men are the villain in this is what makes it stand out so much. It tells the scenario clearly, but yet there are so many unanswered questions left to be looked into. You could write an entire story just from this premise alone.

“Dragon Hunter”

Describe the visual language (line, texture, tone, colour, shape, form) using descriptive words & sentences

I chose this piece of artwork done by Julian Calle for several different reasons; one of them being the use of colour and a potential underlying meaning hiding. The colours used in this illustration are all very desaturated, which works well when referring to the content and scenario of what's happening. It gives off a strong and moody feel without the use of a wide arrange of colours. The other reason to why I chose this piece of artwork in particular, is to do with the fact that it most definitely is based on the Viking age (Which my concept is as well). You can tell by the types of weapons, tattoos and the shield in the background, all being very typical for this time period; Even the shoes are common for this time period.

What does this visual language (the way it looks) communicate about the character/personality?

Because it feels so messy despite the fact that it’s highly rendered, it gives off the feeling of the aftermath of a long battle. You can almost imagine the characters chest rising and falling to even out their breathing, with the sound of the crows’ flapping wings, settling around the dead bodies of the battlefield. - What I found to be particularly interesting is how a deeper meaning of “a new beginning” after an “end” might be lurking within the sky; behind all the fog and the dark clouds is a blue sky slightly peaking through. In old folk lore, it is not at all unheard of to have used the idea of death being a new beginning, so I thought this was a really smart detail.

In your opinion, what visual characteristics of the artwork make the example particularly heroic or villainous?

I put this in the “villain” section due to the fact that I personally really like how the hunter almost looks barbaric; fearless and bloodthirsty in battle. This is definitely something I will be considering for the design aspect of a specific army in my concept, thought it could also be interesting to try and translate this very “barbaric” design into something that leans more towards the role of a blacksmith or craftsman.

“Swords”

Describe the visual language (line, texture, tone, colour, shape, form) using descriptive words & sentences

“Swords” by the talented concept artist Max Steksov is a small collection of illustrations that focus on a heated battlefield. I have known this guys work for a while, and I really enjoy looking at his work. His eye for doing composition and making every aspect of a drawing move, despite it actually being still, is impeccable. Each detail has a meaning to it. He uses texture, but compared to the other artists mentioned in this list, the texture he uses is very fine and less saturated. I find this to be a great way of levelling out the clean feel of his style, while still conveying the gritty and harsh reality that battles that shed blood are.

What does this visual language (the way it looks) communicate about the character/personality?

To me, I find it to be very successful in conveying a lot of aspects related to war; how morbid humanity can be over things that, in the bigger picture, seems pointless at times. Since I myself have a war integrated into the plot of my story, I found this incredibly inspiring.

In your opinion, what visual characteristics of the artwork make the example particularly heroic or villainous?

As mentioned: war. Even if it’s portrayed as a heroic thing to do (fight for your pride, land, country or/and freedom), there are also some more villainous underlying factors hidden within this; at the end of the day, all these men battling and killing each other are just like one another; normal men. There are countless stories from WWI and WWII that talk about how soldiers from the enemy have become friends when holding some captive for a little while, to then be forced to murder them a few days later. It’s a dark concept, but that is also just the reality of it.

✄┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈

Once we had finished the task given, we went over all the different types of creatures and character roles that we could think of, dividing them up into the stereotypical “Good” and “Bad” and “Unsure”, as well as “Accessories” and “Historical inspiration”, all for the benefit of letting ourselves get inspired by the words listed below for our own concept;

��𝖞𝖙𝖍𝖎𝖈𝖆𝖑 𝖈𝖗𝖊𝖆𝖙𝖚𝖗𝖊𝖘:

Good:

Fairies Unicorn Pegasus Dwarf

Sage (wise/medical) Cleric Paladin

Fawn/Faun Genie Gnomes Knight

Blacksmith Druid Monk

Griffin Hyppogriff Mermaid

Berserker Phoenix Whisp

✄┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈

Bad:

Goblin Kelpie Boggart Minotaur Hydra

Pixie Krampus Medusa Banshee

The headless horseman Orges Orcs Nymph

Cyclops Triclops Cerberus Orthrus

Warlock Kraken Succubus Direwolf

Imp Manticore Cocotrice Gorgon

Basilisk Cthulhu Syrens Zombie

Ghoul Skeleton Wraith Gargoyle

Reaper Chimaera

✄┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈

Unsure:

Dragon Familiar Witch Demons

Yokai Trolls Yeti Giants

Centaur Kings and Queens Elf Samurai

Gladiator Rogue Prince and princesses

Kaijo Werewolf Vampire/Vampyr

Elemental Jörmungandr

✄┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈

Accessories:

Sword Dagger Katana Axe Wand

Shield Potion Spellbook

Crystal Cauldron Spear Broomstick

Crystal ball Scroll Flask Crossbow

Bow and arrow Hammer Witches hat/hats

Armour Helmet Jewellery Flail

Bottle Lantern Knife Torch

Cloak Sickle Sai Whip Pick

Scythe Nunchucks Chakram

✄┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈

Historical research:

Greek mythology Nordic/Norse mythology

Local witch trials Irish folktales

Scandinavian folklore Japanese folklore

Egyptian mythology Biblical references

Roman mythology

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radio-nano · 6 years ago

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A Riot At The Opera: Queen Triumphant by Jonh Ingham with my favorites parts in bold.

Skin tight

Is there any logical reason why they present an image and persona straight out of the Beatles school of interlocking chemistry?

Roger is his opposite, the cheeky sidekick in a Clint Eastwood movie, and attracting a lot of cheesecake attention in America and Japan.

Freddie is an original - one of the most dynamic singers to tread the boards in quite a few years. His attraction is obvious.

Queen have been busy lads these past few months. Having disassociated themselves from their former management and joined with John Reid, the fourth album was seen to. Reid decided that a tight schedule wouldn't cause them undue harm, and figured on two months to record before embarking on this current tour. Only Queen are driven to better each previous album - which at this stage of the game is obviously producing some excellent results - and A Night At The Opera turned into a saga - culminating in 36-hour mixing sessions in an effort to allow at least a few days for rehearsal. In the end they managed three and a half days at Elstree with four hours off to videotape the promotional film for 'Bohemian Rhapsody'.

Their first few dates had not been without errors and the quartet were still not feeling totally comfortable their second night in Bristol, fourth night of the tour. You'd never know it, though.

As the auditorium darkens the sound of an orchestra tuning up is heard over the p.a. The conductor taps his baton on the music stand and a slightly effete voice welcomes the audience to "A Night At The Opera". The Gilbert & Sullivan portion of 'Bohemian Rhapsody' follows, a brief glimpse of Freddie is allowed, and then in a blast of flares and white smoke the blitzkrieg begins.

Around his ankles his satin white pants flare like wings - fleet footed Hermes. Everything north of the knee is skin tight - tighter than skin tight - with a zip-up front open to AA rating. But further south, definitely in X territory, lurks a bulge not unlike the Sunday Telegraph . There have been sex objects and sex bombs, superstar potency and the arrogant presentation of this all-important area, but never has a man's weaponry been so flagrantly showcased. Fred could jump up on the drum stand and SHAKE HIS CUTE ARSE, leap about and perform all manner of amazing acrobatics, but there it was, this rope in repose, barely leashed tumescence, the Queen's sceptre. Oh to be that hot costume, writhing across the mighty Fred!

Phallic

Freddie is not pretty in the conventional sense of the word; like Mick Jagger of '64, he is his own convention. Also like the Jagger of that time, his stage persona and action is unlike anything else. Although it borrows - like most of the group's plagiarisms - slightly from Zeppelin, in tandem with Freddie's supreme assurance and belief in himself - he always refers to himself as a star - it explodes into something that is a constant delight to watch.

Bulldozer

That Queen should end up with John Reid is an entirely logical proceeding. Everything about Queen demands that the world eventually kow-tows at their feet in complete acquiescence - so big that bodyguards have to accompany them at every step. Well, no - they found that an annoyance in Japan, but, you know, huge.

Maniacal

Tonight he moves fluidly, the gonzo lead guitarist of a gonzo band. His expressions are just as maniacal, but it only makes him look more demonic. His solo in 'Brighton Rock', an exposition in riffing and echo, is a treat because of his physical response to both music and audience, complete with ham acting. Freddie gets into the same game on 'The Prophet's Song', where he conducts an a capella madrigal with himself. It's a pretty commanding moment.

On the bus back to the hotel Brian sits quietly at the back, chatting with two girls. John sits at the front, as always. Freddie stares out of the window, lost in his own world. Roger bounces around, starts a pillow fight with Brian - which stops as soon as Brian scores a direct hit to the face - then discovers an eight track of Sheer Heart Attack, punching it through the channels as he conducts the group. The two hours towards which they have channelled the day's energies are spent.

Ambition

But there are popular heavy metal bands and there are popular HM bands. From watching Queen's audience it is apparent that Queen speak for them in a way that bands such as the Who and the Stones and the Beatles spoke (and continue to speak) to their audience. Uriah Heep may be great at what they do, but five years after their demise who'll remember them? Creedence Clearwater Revival demonstrate the same thing - who remembers them? And yet five years ago they were the largest band in the world.

Queen will probably always be remembered, because as their tour is beginning to demonstrate, they have the ability to actualise and encompass the outer limits of their sense of self-importance.

Queen and their music, presentation, production - everything about them says that they are more important than any other band you've every heard, and who has there been, so far, who has objected? Certainly not the 150,000 people (plus 20,000 a day) who bought 'Bohemian Rhapsody' in the first 20 days of its release. Certainly not me.

See you at Madison Square Garden.

And Freddie in an interview a few later after this article:

He has been talking almost an hour and from the rapid increase in body twitches it's obvious he now wants to leave. He gets up to go but then thinks of something else.

A few weeks before I had written a story that adored in detail the tightness of Freddie's costume and the obvious bulge it contained. The Editor had not missed the opportunity to use an obvious headline.

"You know, your 'Cock Opera' piece has done me more harm than good. It was a wonderful piece, but My God, I've got to live up to it now. The insinuations of hosepipes and things, it's gotten really amazing. My God! A day hasn't passed when someone hasn't made a comment on it."

I was reminded of critic Lillian Roxon interviewing Tom Jones and wanting to poke her pencil there to see if it was all Tom. I guess only Fred's tailor knows for sure.

#queen #queen band #Freddie Mercury #roger taylor #brian may #john deacon #deaky #disco deaky #bohemian rhapsody

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thelimeonade · 6 years ago

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VALENTINE’S DAY TAG!!!

I know it’s march and we are a long long loooooooooong way from Valentine’s day but tell that to @selcouth-descendant who tagged me in this [Last night, I thin?] but anyways I LOVE DOING THIS SHIT REGARDLESS OF THE TIME SO THANK YOU FOR TAGGING ME!

And now to the questions:

1. How big part does romance play in your novel?

It’s not a main theme, it’s a side one like yea this hero will find love, this one won’t, etc. It is in no way related to the main plot of the boo but it helps define the characters and give reason to their actions like for example Character 1 will sacrifice their life for Character 2 because they are in love. Or maybe Main Character is missing so Sidekick who loves MC will go find them because they love them! but yea that’s it!

As much as I enjoy writing the love between two characters, I am absolutely repulsed by romance novels because of my own bad experiences with romance irl and I can never see myself reading or writing a romance novel

2.What is the nature of the romance in the story? Are there any tropes it follows? (Infatuation at first sight, enemies to lovers, best friends to lovers, etc?)

Nope. There are no tropes or themes. I am taking a hand-full out of every pile actually. From lovers to enemies (yes I meant this) , infatuation at first sight, from best friends to lovers, born to be together, settling in a relationship because they are not up for another heartbreak with other people, etc .

3. Why did you decide to pair specifically these two characters? What makes their relationship compelling?

Which pair?

Well I’ll take a sample out of every book then...

Pontifex: Xavier and Martha. Xavier is the big, scary guy with the tattoos and the scars and Martha is his smol little marshmallow that brings his soft side out and he would literally target every world leader and worse for her and she was not intimidated by him, she sees him for who he truly is, a broken person and not a psycho.

Evolve: ----- Spoilers so noooo

Extinct Galactic: Power and Crita. Power (Ajax) had always had every girl he wanted and every girl wanted him because he is a mighty high-being so to say that you slept with him is basically way beyond anything you can dream of. But Crita did not see Power as the power-hungry, blood-lust filled monster everybody claimed he was and the monster he posed as, she saw the man who liked to play pranks on his twin brother, who is smart and carefree at the same time, who knows how to smile and help others smile when the world is falling apart around him. As for Power, it wasn’t Crita’s body or beauty that had drawn him in [Especially since she was considered average.] it was how different and unique she was. She wouldn’t tip toe around him, she wouldn’t smile at his side-marks unless they were actually funny while other girls did to attract his attention. She was honest, kind and beautiful in her own way and so the monster who had sworn to never open up his heart or look weak before anybody after the suffering he had faced as a child, gave more than just his heart and soul to Crita and she gladly accepted. Not because he is the ruler of all Elluminums, but because he is just Ajax, her love.

4. At which point in your story do your characters realize that they’re in love?

Pontifex: Xavier realizes how much he loves Martha when she was able to sneak up on him and scare the living daylights out of him to the point he fell back into the water fountain.... and Xavier is an untraceable, unidentified, world-class hit-man and serial killer...

Evolve: ----- still nooooooooooope

Extinct Galactic: I don’t even know where to begin with their whole story but let’s just start with Ajax was in the library wearing a cloak so nobody would recognize him and when he walked out with books (not knowing you need permission to do that) Crita thought he was a thief and started hitting him with her bag lmfao

[For those who are confused.... Ajax has been with a lot of women so I DID NOT MESS UP THE CHARACTER NAMES. THEY ARE DIFFERENT WOMEN!]

And that is it...

Tagging: @mediocre-prose @adenhamcreations @thescribesloft @atbwrites @power-of-ages-writeblr

#thelimeonade #writeblr #writer #writers #new writeblr #writing #write #excerpt from a book i'll never write #excerpt from a book i'm writing #excerpt #excerpt from a story i'll never write

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brokendreamchan · 6 years ago

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VOICELESS pt3

With a strong resolution Hizashi turned in his career choice forms and school list to his homeroom teacher.

After reading Hizashi's form the teacher was pleasantly surprised, with a proud smile, the teacher adressed his student,

-All of these are great career choices Yamada, your fellow classmates always says you have excellent taste in music and always give great recommendations,

The teacher glanced down at the form before continuing,

-This might be a sensitive subject but you need to know, communication is important, teaching someone is not easy but is such a rewarding job. Also being a pro hero is a magnificent profession, I don't need to say anything about how rewarding being a pro can be or how dangerous, you are a smart kid, in fact your class ranking is 2nd. What I want to say not only will your actions be seen but how you Present yourself and people need to be reassured. Take All Might for example, he comes to the scene saying "I am here " to reassure the people he is saving and to tell them that everything is going to be ok. You have a good heart and you are very talented any of these choices will be great, work hard and you will be rewarded.

Processing his teacher's words of encouragement and advice Hizashi smiled and bowed deeply before signing,

***

After school on his way home Hizashi was thinking over what his teacher said,

All Might currently the number one hero, the man who on his deput saved many lives with a big smile.

Everything that man did was amazing, he was the symbol of peace, never hesitating and doing everything in his power to help .

How can him, Hizashi even want to compare to such a legend, refusing to use his quirk, or to use his own voice, how can he honestly be able to save anyone if he refuses to use all his strength.

-Hey kid! Be careful!!

Hizashi paused just in time, a few feet ahead a villain just threw a car towards him.

Hizashi's eyes widened just as he felt a pull, various strings attached to his uniform pulled him to the side.

He watched a young man in a jean like hero costume run towards him.

The young pro hero quickly captured and restrained the villain with his quirk,

-Are you okay?

Hizashi was stunned, his gaze turned towards the villain and then towards the hero, that was so cool!

-kid!?

Hizashi focused his attention on the hero who was glancing hin from the side,

<yes>

Hizashi nodded as well to make it easier on the hero to understand.

After making sure the kid was ok, the hero focused his attention on the villain and called the local police.

Soon the police came to put the villain under arrest. The young hero approached Hizashi,

-sorry for the excitement, are you okay? Do you need me to call someone or to walk you home?

Hizashi shook his head no, and bowed, to give his thanks,

The pro hero smiled, he posed and said,

-I'm glad you are ok, I am Best Jeanist,

Hizashi smiled, he began to sign,

The young hero seemed a little embarrassed when he said,

-sorry kid, I'm not very good at JSL,

Hizashi just smiled in response, he then grabbed a notebook from his bag and a marker too, holding them up towards the hero.

Best Jeanist smiled, understanding the young boy,

-Sure

Best Jeanist took the notebook to give the kid his autograph, when he noticed a piece of paper fall to the floor, it was a list, he picked it up and glanced it over,

[Hizashi's career choice list:

DJ,

TEACHER,

PRO HERO ]

-You want to be a hero too?

Hizashi shyly nods his head, Best jeanist, look down at the list again,

-Well kid here's a piece of advice, hero work is not easy, one must be flexible and sturdy as a good pair of jeans, also remember that quirk as amazing that they can be they can be also be very dangerous. Heroism is close to villainy, both are sides of the same coin.

Hizashi's smile turned sad, confusing the pro hero,

-Are you okay?

Hizashi got his notebook and wrote down,

[You are right, I don't like my quirk, I lost control and I ended up hurting someone,]

Best Jeanist stayed quiet for a bit till he said,

-There's a near by cafe, let's grab something to eat,

Hizashi was confused but he nodded, he followed the hero to the cafe.

Once inside Best Jeanist told Hizashi to order anything, that it was his treat.

After sitting down and ordering, Best Jeanist began,

-My name is Tsunagu Hakamata, my pro hero name is Best Jeanist, as you saw my quirk allows me to manipulate fabric, I'm a current sidekick to Lone Ranger, at his agency, barely two years of hero work, may I ask you about the reason on why you hate your quirk?

Hizashi was suprised, he bit his lip before grabbing his notebook and began to write,

[My name is Hizashi Yamada, I'm on my last year of middle school, my quirk is voice, it allows me to reach high volume, I can be very loud. When I was five, I threw a tantrum and because of my quirk my mom lost her hearing,]

Hizashi nervously handed his notebook to the older blonde to read.

-I see, so you can talk? Are you afraid to use your quirk and hurt people?

Hizashi nodded, after a brief moment of silence Tsunagu said,

-The fear of hurting others can paralyze and cause doubts, it's true that quirk especially dangerous ones can easily hurt and do more damage. As an individual it is one's duty to train and overcome that fear, you want to be a hero, then as a hero how can you save some one if you are still afraid, you need to use all of your strength, your quirk doesn't define you. With time and patience you will be able to control your quirk, no one is perfect on the first try, we all fumble and fall, the greatest improvements comes from failures. We just need to own up to our mistakes, learn from them and be able to move on. Not let fear or doubt chain you from becoming the man you will become. You have great potential, I can see it in your eyes and if you are serious I can help train you, teach you to control your quirk.

Hizashi was blown away, this recent pro hero, a few years older than him, who must be busy with being a sidekick on Lone Ranger agency, wants to spend his limited free time in helping him.

Hizashi grabs his notebook and wrote down a quick reply,

[Yes! I'll be honored,]

Best Jeanist smiled,

-Alright then kid, let's get ready to work,

#hizashi yamada #from my au of voiceless #pro hero #best jeanist #erasermic #bnha

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conjuringjustice · 7 years ago

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The past couple of weeks have been refreshing. Our county has been plagued with the laughable attempt of Team Morgan to masquerade as cops. The leadership they fail to provide the good law enforcement officers who deserve good leadership has been exposed. Morgan failed to deliver his promise. One may ask how that happen. The facts are that Morgan has worn out his welcome. People have started to call him out and see him as the emperor with no clothes. Not having the ability to bully his way into place, he has realized he must rely on intelligence and ability. Morgan gets a dose of reality and is aware he has neither, as it relates to law enforcement. The result of this revelation is a full blown all out-baby fit.

I would be the first to pay an increase in my property taxes to fund a raise for law enforcement officers. Sadly, for Morgan, I also believe that I had the right as that tax payer to verify he had been a good steward of my money to this point. Morgan is not capable of being accountable and is offended by anyone that questions him. His idea of what a public servant is obligated to do, does not include being held accountable for his actions. The public does not have the right to question his authority. Therefore, he does not get his budget. Morgan is defeated for the first time in 8 1/2 years. The public had an opportunity to see who Morgan really is–the Morgan, as he is described in the multitude of lawsuits, filed concerning treatment of employees.

I would be happy to see a sheriff’s office that had twice the officers and three times their pay currently. The officer is not the issue. Morgan creates a situation that causes the appearance that everyone wants to punish cops. Facts would support that Morgan has provided well for a few of the favorites. In past budgets, he gave staff members promotions and pay increases, created positions for staff, got a spare chief, and created a publicity empire. Is it fair to blame the public or county commissioners for taking pause at his arrogance to demand more money?

We associate addicts as being dependent on narcotics. When an addict can’t get a fix, they will become angry and hostile. An addict will destroy their life and the life of anyone around in order to feed the addiction. Morgan has demonstrated that his addiction to power and he is as destructive as a drug addict. The moment Morgan realized his power could be diminishing he began to destroy everything in his path to hold that power. Elected officials who are tasked with statutory fiduciary duties have been attacked by Morgan because they disagreed with him with personal attacks & spiteful actions designed to scare and shock the public. Morgan’s intentional acts to create chaos in the county he took an oath to protect is a direct violation of the public’s trust.

It is not difficult to see from the actions of some staff members that Morgan encourages rogue behavior. The B string chief is often seen berating citizens on social media. Any question posed to him results in an attack of your intelligence or a sermon outlining the superiority he has that you can’t possibly be able to question. The comments are arrogant and unprofessional. His attitude is offensive and one would sense he has the belief everyone is beneath him, exactly what Morgan would suggest when he sinks to childlike behavior because he doesn’t get his way.

The answer to officer retention is not as simple as giving a raise in wages. There need to be a raise in the effective leadership of the agency. This leadership should create strong work ethics and promote professionalism. The tactic of destroying people because you may disagree with King David is flawed. Fear motivates the weak or uneducated. Forcing compliance through fear eliminates any chance that a competent employee will make the ECSO a long-term choice. Knowing that you could be considered a foe for any reason deemed appropriate by Team Morgan does not promote the desire to be loyal or to stay with the agency. The feeling of dread we all face walking into the ECSO is not conducive to a healthy work environment. The lack of leadership in the Morgan administration has destroyed the agency to the point it may take decades to recover.

A quick look into the Morgan money reveals so many questionable practices that it prompts people to want to scrutinize all his financial handlings in the name of Escambia County. The B string chief receiving two raises in one year, two chiefs, two incompetent Majors, public relations team, and billboards cause any person with a calculator to stop and ask questions. None of the money spent on these positions is being put to the best use possible. We see that law enforcement isn’t the priority to David Morgan. The main priority of the ECSO is elevating Morgan to celebrity political status.

As if his behavior, to this point, isn’t embarrassing enough, Morgan goes a step further to produce a television commercial naming officers shot in the line of duty. The audacity displayed is appalling. This poser uses terrible incidents that have occurred to officers in effort to advance his self-serving ways. Had this imposter ever patrolled a single shift anywhere near any of the incidents he references, it is possible that could be tolerated. He has not and he does not get to steal the sacrifices those officers made so he can play dress up in his big boy cop uniform and bully those who oppose his strong-arm tactics. If he had a conscience, he would not be able to sleep at night knowing he exploited real cops to further the game he is playing. This is clear proof he does not value what those cops went through because he has no life experience to reflect on that resembles being an actual law enforcement officer

A person defending Morgan successfully would have to convince the public of many things at this point. Morgan has had dozens of employees file court actions against him. Many of those cases have been paid out and settlements reached out of tax payer money. Currently there are close to a dozen law suits pending. Morgan claims no wrongdoing. Consider that Morgan has fought with dozens of employees, BOCC, media outlets, over spending practices, extra duty employers and former elected officials. His administrarion staff (non-front line, cushy sedentary positions) has ballooned as has their salaries. Deputies will not stay at the agency to work. Crime is on the rise. Morgan’s answer to this. Pay for a billboard to give the big middle finger to people that have exercised a right to hold him accountable for his careless spending.

I suggest that the commissioners request an audit of the ECSO. Not the typical rubber stamp audit that Morgan refers to so often. Examine the employees that have separated in the past three years from the ECSO. A quick glance would reveal that the current B string chief could be the reason that retention is impossible. In the three years that he has been in that position the separation of officers compared to the previous three years is double. Is that just a weird coincidence? Add to that the proactive law enforcement activities plummeted in the same time. FYI that is why so many tickets are written for minor infractions. Because of incompetent leaders at the ECSO innocent people are subject to harassment from over achieving followers not equipped with the necessary skills or backbone to resist orders that are given to create an illusion of cops working hard on the street. The ones that do resist suffer retaliatory actions of Morgan.

Morgan often finds a partner to rally with to get what he wants. The budget issue is not different. Underhill has a love affair with Morgan that is somewhere between Fatal Attraction and Gone with the Wind. If anyone would suggest that Underhill should be considered when discussing Morgan budget ask them a few questions. First, would it be wise to take budget advice from an individual will the bankruptcy record he has? If I had children I would not hire a pedophile as a babysitter any more than I would consider Underhill’s budget advice. If I am ever in need of complete financial failure advice Underhill would be the guy. However, Underhill is doing well financially at Morgan’s side. Morgan has donated tens of thousands of dollars to Underhill’s pet projects. I should give Morgan credit for supporting all of those under privileged children lost in that terrible private school system and being forced into those menacing gifted classes. There is a possibility that without Morgan and Underhill those poor children would have to attend a regular college and miss the chance to attend an Ivy League institution.

Commissioner Bergosh is proving to be exactly what our county needs. I believe he was a quick study and has seen through Morgan and his sidekick. I hope that Commissioner Bergosh will ask for all the employees that have left the sheriff’s office and find a common denominator in the reason for separation. Find out how much money has been wasted on the appalling treatment of employees. How much money is our county spending on attorneys and settlements? I would wager that if he attempts that there will be another baby fit thrown by Morgan and minions. The fear they have for an outsider coming in and exposing the wrongs they have committed is too risky. They must fight to avoid true transparency.

My question at this point is simple. Morgan said he wants to go to Gov. Scott. I believe the statement was his bags are packed and he is ready. Why are you still begging then? They voted 4-1 that you will not get the budget you demanded. Your clothes will wrinkle if you don’t get them out of that bag. Either go to Gov. Scott or shut up. I would suggest that you cooperate and justify you spending but we all know that can’t happen. There is not ever a desperate situation only desperate people. We won’t buy what you are peddling Sir. David. The situation is not dire you but looking foolish is. Continue to threaten you will not do your job and you may just be invited over to see Gov. Scott.

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A Word from Within the ECSO The past couple of weeks have been refreshing. Our county has been plagued with the laughable attempt of Team Morgan to masquerade as cops.

#bergosh #DEPUTY #ECSO #misappropriation #UNDERHILL

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