#john lyons

[mariocki]

Sweeney 2 (1978)

"Hold it right there, squire. You're privileged to be looking down the barrels of a gold-plated sawn-off Purdy shotgun. Now as a bank manager, you'll appreciate that any man capable of cutting a gun like that in half wouldn't think twice about cutting you in half."

[kevinstrumpet]

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[hauntedppgpaints]

solitude - ella wheeler wilcox

on the inherent loneliness of being a goalie, pt 2.

( x. x. x. x. x. x. x. x. )

[gambitxrogue11]

"No daughter of mine is going down on a one yard line"

"If there was ever a point to you.. It's gone now"

The tale of two parents .. ironically Lorraine is Dot's mother by law while, Roy is Gator's father by blood .. Gator never stood a chance with a monster of a dad that can never love anyone other than himself.

[harveywritings92]

Iris, tugging on Ghost’s pant leg: Mr. Ghost you have to put a dollar in the swear jar.

Ghost, amused: Oh, Why?

Iris: Because you said (looks over her shoulder at her dads) The F-word.

{Soap snickering as he watches his step-daughter put Ghost in his place.]

Ghost, opening his wallet: Here’s $20, kid. That should cover me until lunch. *walks away.*

Soap & Smoke, gawking a Ghost in disbelief:....

Soap, to Smoke: Advance payment for swears is cheating, right? Like it defeats the whole purpose of a swear jar???

Smoke, shrugging: I-- I honestly don’t know, the swear jar was intended to stop Iris from swearing, I never thought about adult implication....Let’s just see how this goes.

[Needless to say. Iris made off with about $600 in one hour, just by being in the same room as the 1-4-1 soldiers.] 

[agelessphotography]

John Lewis, Atlanta, Georgia, Danny Lyon, 1963

[wgm-beautiful-world]

La Cathédrale et la Fountaine Saint-Jean-Baptiste, Lyon, Auvergne-Rhône-Alpes, FRANCE

[flam-kish]

Fallout: Wasteland Warfare Wave 8 - Capital Artwork

[chateau7afra]

Folklore in Fargo

Spoilers ahead, Sailor.

One of the things I loved about Fargo this season so far, is the incorporation of Folklore, suberstition and God. We meet Ole Munch (Sam Spurrell) in the first episode. He seems to be a regular hitman of sorts at first, who is set to kidnap the main character Dorothy (Juno Temple) He comes across a bit excentric and the way he talks and dresses seem very anachronistic. We also quickly learn, that Dot is not the regular homemaker and loving mum, she seems to be. Munch and his handyman set out to kidnap Dot, but fail miserably, because Dot is setting up traps and generally fights back, like a tiger. Munch's handyman gets killed in the process. We also get to know Roy Tillman (John Hamm) who was the one who sent Munch on his mission. We're not sure yet why the right wing cowboy goes through so much trouble just to kidnap the young mother. Because Munch failed the task, Roy is refusing to pay him, which sets off a rather bleak storyline in which Roy and his son Gator (Joe Keery, my love) try to put an end to Munch and vice versa. The most intriguing thing about Ole Munch is the ritual he performs at the Tillman Farm. He kills a goat, covers himself in it's blood and leaves a message for Roy over his Daughter's beds. The whole shebang is very occult and seems heathen. And then there is also the flashback to Wales in 1522. See now, this is where it gets really weird. And where I had to start googling some stuff.

In the flashback scene, we see a character, dressed in what seems to be clothes of the lower class, entering a house full of upper class people who are in mourning, dressed in black and weaping. We have a funeral on our hands here. The poor person looks like Ole Munch. Is it him? Is it an ancestor of his? We dont know! On the belly of the deseaced man, which is laid out in the house, a plate with food is situated. When Munch enters the house, there is a tense energy in the room. Munch walks up to the dead body and consumes the food offered on the plate in an almos animalistic fashion. The people in the room gasp, some of them disgusted, some of them afraid. Or both. Before Munch leaves, he gets two silver coins. Which must have been a lot of money back in the day, I did not research that. But we clearly witnessed some sort of ritual happening. It turns out, sin eating was a practice rich people took part of in Wales, Ireland and England in the 1600s. A willing poor person was invited to literally eat the sins of the deseaced person, so they could be welcomed at the pearly gates, with a clean record. All the sins are transferred, to the person who ate the food. A grewsome fate for people at the time, but hey, a mans gotta eat. The world is bleak, so I don't go with the rational reason in fiction, ever. I like to think that Ole Munch ate so many sins, that he became a spirit, that can not die, who is forced to wander around the earth forever, and for some reason chose america. His very beautifully written monologues would suggest that. They almost sound shakespearian.

But how does this play into the bigger theme of Fargo S5? Well, if you think about it, the whole season is about unpaid depts and consequences. Dot ran away from Roy and the farm, because of the ongoing domestic violence Roy inflicts on her. In Roy's book, she owes him, because she made a pledge to him, when they got married. Even though it's very clear, that Dot wasn't so much older than his own son Gator, when the vows were exchanged. Ole Munch sees a debt not paid, because he didn't receive paymant for "eating the sin" of kidnapping Dot. Dot's mother in law, who is a very rich lady played by the brilliant Jennifer Jason Leigh points out "What is the point of being a billionaire, if you can't get someone killed.", while on the phone with an ex-president, apparently Bill Clinton, if I remember right. The show tries to say, we never got over the sin eating, because with money and power, you can pay your way out of any circumstance, be it kidnapping or murder. There is always going to be someone who needs the money more than their soul. And there is always going to be someone who takes advantage of that.

Roy Tillman, quotes the bible a lot. He thinks of himself as a right and just man, as a leader, even though he likes to bend the law to fit his own agenda. He does not give a flying fuck about the law of the land as it is "dictated by washington" and funds a right wing militia with taxpayer money, to actually kill democracy from within. He is the law of the land. These scenes sent shivers down my spine and reminded me vividly of January 8th.

Anyway. All of the storylines in this show are so amazing and worth writing about. Go watch it, you won't regret a second.

[davidhudson]

Sue Lyon, July 10, 1946 – December 26, 2019.

With John Huston on the set of The Night of the Iguana (1964).

[blackswaneuroparedux]

Heraldry is the shorthand of history.

- Sir John Wheeler-Bennett

Rare photograph of the Court of the Lord Lyon (Scotland) and the College of Arms (England & Wales) at the coronation of King Charles III.

[jt1674]

Alto Saxophone – Jimmy Lyons Baritone Saxophone – Chris Woods Bass – Charlie Haden Bass Trombone – Jack Jeffers Clarinet – Perry Robinson Drums – Paul Motian Electric Guitar – John McLaughlin French Horn – Sharon Freeman Piano – Carla Bley Tenor Saxophone – Gato Barbieri Trombone – Roswell Rudd Trumpet – Michael Mantler Tuba – John Buckingham Voice – Linda Ronstadt Voice – Charlie Haden

[freddiemercurylegendabovelegends]

Queen Live Performance! Freddie Mercury on stage - Lyon, France, Palais des Sports, April 20, 1982

'Hot Space European Tour'

[jomiddlemarch]

Since you have -- with commendable initiative -- put the Foyle's War and Hour characters in the same version of postwar London, I'd be really interested by what might happen if Freddie and/or Bel were to pursue a story closer to the corridors of MI5. (I do love the story in which Freddie is dead but also, I love him. Also, I think the potential for Freddie meeting either of the Foyle men is great. Would he and Andrew get along a little *too* well?)

The story. The cover-up. The crime.

Freddie repeated the words to himself, as if they’d settle him, center him, remind him why he’d come, where he ought to go, what he’d meant to do, when he’d meant to do something other than what he was doing, frantically making a litany of a handful of words, to drown out the poetry that threatened to overtake him as he sat across from Andrew Foyle.

    “…But we will have a way more liberal, /Than changing hearts, to join them; so we shall/ Be one, and one another's all…”

It should be illegal, how it felt to look into the older man’s dark eyes, so different from Bel’s, so terrifyingly similar. It was illegal, to feel as Freddie did, to want what Freddie suddenly, tremendously wanted, what would come after Andrew reciting the poem, that pause that would be an end and a beginning, trapped in a caesura, knowing Andrew would smile, just the smallest quirk of his lips, if Freddie said caesura or took another drag from the cigarette in his hand, ash trembling at the tip.

The story. The cover-up. The crime.

Andrew Foyle knew something he didn’t. Something he shouldn’t. 

And now Freddie knew too and knowing, could not unknow it. The apple, bitten, could never be whole again.

Freddie trembled, like ash. Like Eve with Eden at her back. Like Andrew Foyle’s hand reaching for his glass of bitter.

“I shouldn’t be here,” Andrew said.

“You’re a source,” Freddie said, striving to sound like a professional journalist. “You’ll stay anonymous—”

“I meant, I shouldn’t have lived. I shouldn’t feel as I do—”

 “I don’t understand,” Freddie said.

 “I know. I saved the world for you, Lyon. But it seems you want more from me,” Andrew said.

 “I want the truth,” Freddie replied. 

 “No, but that’s a good thing to ask for,” Andrew said. “It’s always served my father well. It’s just that I’m not cut from the same cloth.”

[harveywritings92]

[Cami is pregnant and is helping out at her middle brother’s café, (She was going a little stir-crazy being at home all day.) And is currently dealing with a very annoying woman. Who will not stop snapping their damn fingers at her, Cami is organizing the till when.]

Entitled woman: *snap,snap.* You there! The pregnant one! Where is my waiter?! We’ve been waiting for over ten minutes!”

{Soap who’s stopped by for lunch is just annoyed at this woman’s attitude, while Cami just puts on a customer service smile and replies.]

Cami: He is on his way back with your adjusted meal, ma’am. You made quite a few modifications so it might take longer.

[She goes back to the counter, about to speak to Smoke who just arrived, but then hears the snapping again. Cami turns to face the woman again…]

Entitled woman: I wasn’t done with you! Hurry up and get us our drinks! We’re thirsty!

Cami: Ma’am, I am serving some other customers right now. Your waiter will be out very soon and he will gladly serve your drinks for you.

[Cami tries to turn away but the woman snaps her fingers at Cam, yet again! they’ve had enough.]

Entitled woman: When I snap my fingers, I expect you to come!

Cami:...

[Cami gives the woman a sly grin.]

Cami: Unlikely Ma’am, the only person who can make me come with their fingers is my husband. Good-day ~

{Cue Soap choking on his food while Smoke pats him on the back, trying hard not to laugh! the old woman’s face turns red and she starts screeching for a manager! Only to find out that not only was the “rude sl*t” not an employee, but she was also the café owner’s younger sister! Needless to say, that old hag asked for her food to go!]

{Cut to Soap and Smoke are driving Cami back to her and Koing’s house.]

Soap: I would’ve punch that old bat in the throat the second she started snapping her fingers at me like I were some sort of Shetland hound!

Smoke: I don’t know how you can handle people like that on a daily bases, Cam. You must have nerves of steel!

Cami: Did you two forget that I used to be a teacher? I’m used to dealing with entitled brats!

{When König comes home, he asked Cami how her day went? Needless to say, König wishes he could been there the see that old lady’s reaction and give his Cami a much needed high-five.]