#ma and pa kelley

[spawksstuff]

Atlanta Parents See Star on Screen

Atlanta Journal 28 February 1947

They're so proud.

Best part is the last two paragraphs!

[superman86to99]

Action Comics #700 (June 1994)

"THE BATTLE FALL OF METROPOLIS"! Metropolis falls, quite literally! But, on the bright side, so does Lex Luthor, because Lois Lane finally busts his ass after 700 issues (give or take).

This super-sized anniversary issue starts with Lois recapping all the dirt she's dug up on "Lex Luthor Jr." during the past several months, including the fact that he's actually the original, supposedly dead Lex Luthor in a clone body. Lex tried to have Lois discredited by planting wacky headlines with her byline at the Daily Planet's computers and framing her for financial crimes (on top of blowing up her apartment), but now she finally has hard evidence of his crimes thanks to her informant at LexCorp, only known as "Deep Quote." (Is this the first reference to Linda Lovelace's oeuvre in a Superman story? Comics and/or porno historians, sound off in the comments.)

Despite having been fired from the Planet (see: "wacky headlines" above), Lois manages to present her evidence in front of Commissioner Henderson, Perry White, and Planet owner Franklin Stern... who still thinks this cloning business sounds like "science fiction." That's a weird thing to say when you live in the DC Universe. Hell, there's a whole government agency devoted to cloning just outside Metropolis! Or maybe I should say there was, because, right when Stern is about to apologize to Lois, everyone hears a massive explosion coming from Project Cadmus' direction -- as seen last issue, some of Lex's armored henchmen just dropped a goddamn mountain on Cadmus while fighting Superman and Superboy.

Superboy, who was all laughs last issue but seems to be taking his friends' apparent deaths much harder now, wants to look for survivors, but Superman again tells him there's no point, because "there's no one alive in Cadmus that needs our help anymore." Instead, they go look for the Lex-Men who caused this whole mess so they can bring them to justice. They're soon joined by Supergirl, who takes every opportunity she can get to destroy LexCorp property since breaking up with Lex himself in her recent miniseries (and that was before she found out he's actually a creepy old guy in a young body).

Meanwhile, Lex (whose clone body is rapidly deteriorating) is hiding in his yacht with his most faithful cronies, his scientific aide Dr. Sydney Happersen and his long-time physician Dr. Gretchen Kelley, the same woman who pretended to be his "mother" for the Lex Jr. ruse. Since Lex is gonna be here for a while, Dr. Kelley volunteers to go to the city and pick up some meds for him. Lex thinks that's a great idea... until he sees Kelley on TV, spilling the beans on his whole operation to Lois. That's right, Kelley was "Deep Quote" all along! Which was pretty obvious if you've been paying attention, but then again Lex has a long history of rejecting the obvious.

Kelley also spilled the beans on Lex's location to Superman, who suddenly bursts into the yacht to nab him once and for all. But Lex has an ace that he's been hiding up his sleeve for a long-ass time: a slew of "sonic torpedoes" reverse engineered from tech left behind by the alien invaders from DC's 1988 Invasion! crossover, which he hid somewhere under Metropolis in case he ever felt like pulverizing the city. Lex, who thinks he'll die any moment, seems perfectly willing to take millions with him -- until Superman asks him if he really wants the people of Metropolis, "his" city, to remember him as the guy who blew the whole place up. The "American Hitler," as Superman puts it.

Lex, who got into this whole mess in the first place because he wanted people to love him more than Superman, breaks down and agrees not to launch the torpedoes.

And then, for the first time in his life... Dr. Happersen disobeys Lex Luthor's wishes. Too bad those wishes were "let's not destroy a city."

After years of quietly taking abuse from Lex, Happersen finally snaps and launches those torpedoes. Lex tries to stop him by shooting at him with the death laser in his iron lung (of course Lex Luthor has a death laser in his iron lung), but it's too late. The torpedoes are activated, meaning that the city is as cooked as Happersen himself, who dies in Superman's arms seconds later.

Superman asks Luthor where the torpedoes are buried, but Lex, who looks genuinely distraught, honestly doesn't know. He always let Happersen handle little details like that.

Before Superman can even reach Metropolis, one of the torpedoes has already hit the WGBS building. He gets there right in time to race against the torpedo headed for the Daily Planet... but, as you might have guessed from this issue's cover, the torpedo wins the race.

If the city hadn't been evacuated a few issues ago due to the Underworlders' terrorist attacks, everyone in the Planet's staff would be dead now (thanks, ugly sewer mutant terrorists!). Superman does manage to prevent Lois, Ron Troupe, and, unfortunately, Jimmy Olsen from getting rolled over by the Planet's iconic globe after the building collapses, but only by destroying what's left of it. Perry White is following the action from the Planet's temp offices outside the city, and he looks about as emotionally devastated as he did in the issue when his son died.

Meanwhile, the other underground torpedoes are doing their best to turn Metropolis' skyline into a flat line. The only major building spared is the one belonging to Clark Kent's old employer, Newstime Magazine, but only because its owner happens to be a demonic entity with torpedo-deflecting powers, Lord Satanus. To his credit, Satanus does plant an idea in Superman's mind for how to stop the rest of the torpedoes: digging a big ditch all across Metropolis to intercept them (thanks, demonic entity posing as media magnate!).

As Superman, Superboy, and Supergirl stop most of the torpedoes, Satanus helps them out by redirecting the remaining ones to a more deserving target: LexCorp's giant L-shaped building, which is now shaped like a bunch of rubble.

With the torpedo problem solved, Luthor is finally arrested and exposed to the citizens of Metropolis as a no-goodnik, as Superman begins the long task of rebuilding the city by putting the Daily Planet globe back together. Yes, Metropolis is in pretty bad shape, and even Superman himself seems discouraged for a moment, but as Lois correctly points out: hey, at least it ain't Coast City!

Creator-Watch:

This issue marks the end of Roger Stern's distinguished run as Action Comics writer, which began exactly 100 issues ago... sort of, since he started writing Action when it was a weekly series and Superman only got two pages per issue. When John Byrne suddenly left the Superman books some months after that, in late 1988, Stern was an obvious choice to replace him, given his closeness to Byrne, his ample talents, and, well, the fact that he was already there.

Since then, Stern became one of the main architects of the over-arching storyline that made this era in Superman comics so special. His role as the Super-Squad's resident "continuity cop" enriched these comics tremendously. For instance, according to Dan Jurgens, it was Stern's idea to bring back an obscure character called Hank Henshaw as the Cyborg Superman instead of creating a new baddie for "Reign of the Supermen," which is the sort of thing that makes digging through hundreds of backissues worth it. Stern also wrote the bulk of the years-long Eradicator saga, Supergirl's evolution from lump of goo to proper hero, and, of course, Lex Luthor's long, strange journey leading to this issue (more on that later).

It's hard to imagine our beloved '86-'99 period without Roger Stern. Good thing he'll be back before too long, albeit in a reduced capacity...

Character-Watch:

With this issue, we a bid adieu to doctors Sydney Happersen and Gretchen Kelley, two of the most memorable characters ever to serve as Luthor's lackeys. Both were introduced in Byrne's Superman #2 (1987), and it's interesting that both were instantly portrayed as somewhat sympathetic: Happersen doesn't want to remove the kryptonite from Metallo's chest because he thinks it'd kill him (and looks shocked when Luthor pulls it out anyway), and Kelley is the one that warns Lex about Lana Lang's bizarre allergy to truth serum.

(Probably didn't help that they had a serious mold problem in that room.)

It's also interesting that Kelley was the only lackey on a first-name basis with Lex, hinting at the backstory that was revealed in Action #660: she was a small-town doctor until a young Lex swept her off her feet and turned her into his lover, only to ditch her for someone with larger boobs. Kelley became an alcoholic and ended up in jail, ruining her medical career, until Lex came to "reclaim" her and gave her a permanent job. I'm guessing the "old lovers" bit was added mainly to make the Lex Jr. story seem plausible, but it also helps explain why someone like her would stick with Lex for so long. She was clearly still in love with him, and the Lex Jr. ruse allowed her to imagine an alternate life where they were more than just employer and employee. I always like this bit from Action #676, before readers found out Lex Jr. was Lex Sr.:

In the Lex Jr. storyline, Kelley wasn't just lying to the world; she was lying to herself. Until she just couldn't lie anymore, I guess.

As for Happersen, he never had a backstory, but he didn't really need one. He was the prototypical meek henchman who'd do anything for his boss despite being treated like trash, which is why I found his breakdown at the end both logical and satisfying. Kelley and Happersen will each get a couple of flashback appearances after this issue, but they've been completely ignored by every revamp and reboot since. As much as I like them, I'm completely okay with that because their stories are over, and that's such a rare thing in comics.

Plotline-Watch:

The big subplot in this issue is Lana Lang's wedding to Pete Ross, which she said she wanted to hold "as soon as possible" after encountering Bizarro (and confirming that she's absolutely over Clark) in Action #697. Lois, Clark, and Supergirl are a bit busy to attend, but Ma and Pa Kent are there and even lend Lana their farmhouse for the ceremony. Other than Pa watching the chaos in Metropolis on TV, these scenes are completely disconnected from the rest of the issue, and I suspect they're only here for two reasons: 1) to tease readers with "Someone's getting married!" in the preview blurbs (remember that Lois and Clark had been engaged for a few years by now), and 2) to give Superman legends Curt Swan and Murphy Anderson some work. That last part makes the scenes worth it, in my opinion, especially since we even get a peek at how Swan would draw the Super-Mullet when Lana is thinking back on everything she's gone through with Clark.

The "we've had buildings dropped on us" scene Lana remembers is from Action #644, and the one who dropped the building was actually Supergirl/Matrix when she was suffering from Eradicator-triggered insanity. The "I've been kidnapped" issue, meanwhile, is Byrne's classic Superman #2, which leads us to...

Intentionally or not, there's a good numbers of parallels between this issue and the aforementioned Superman #2: Lana's most tragic moment and Lana's happiest moment; Happersen and Kelley's introduction and their exit; Superman angrily bursting into Lex's office and triumphantly bursting into his yacht; Lex getting away with it and Lex getting arrested. But the most significant connection is the fact that Superman #2 was the first time Lex put on his kryptonite ring, which is what sets off the long chain of events leading to this issue: him getting cancer (Action #600), faking his own death (Action #660), moving his brain to a younger body (revealed in Action #678), being infected with a clone-only disease (circa Man of Steel #31), and ending up as a sick, raving lunatic in an iron lung outfitted with death lasers.

What's definitely intentional, knowing Stern, is the fact that Lex's last stand happens in the Sea Queen, the same luxury yacht where he first met Superman (The Man of Steel #4). Both issues end with Lex getting arrested, but presumably he'll be behind bars for longer than two hours this time -- or maybe not, since the last time we see Luthor, he's thinking that "there are cards I've yet to play!" We'll find out what he means in Action #701.

While Lois is presenting her evidence against Lex, we learn that she first came into contact with Dr. Kelley/"Deep Quote" at the end of the "Bizarro's World" storyline, right after she learned of Lex Jr.'s sickness/shocking baldness (Superman #88). Unsurprisingly, Lex didn't like Lois seeing him like that and ordered Happersen to capture her, but Kelley helped her escape and they hit it off.

When exactly did Kelley decide to turn on Lex? A flashback suggests that it happened during the Supergirl miniseries, where she has an uncharacteristic outburst towards Lex for the way he "uses" Supergirl even though she loves him. We didn't even comment on that scene at the time, but now it seems pretty obvious that, even though Kelley does care for Supergirl, she was actually talking about herself.

Deep cut: at one point, Superman tries to find Lex by taking a Lex-Man's helmet to Professor Hamilton, who says that he recognizes this technology from the armor Lex once trapped poor Jose "Gangbuster" Delgado in, forcing him to act as a remote-controlled bodyguard (Adventures #451). Hamilton's efforts go nowhere, but I appreciate being reminded of Jose's most delightfully bizarre misadventure ever. Miss that dude and his horrible luck.

I also appreciate the shout out to Invasion!, and I wonder if Stern was planning Lex's sonic torpedo gambit from way back in Superman #28, which includes a scene in which Pentagon officials give Lex access to the alien weapons recovered in Australia. I also wonder if Lex thought to himself, "Hmmm, Australia... seems like a nice place to pretend to be from if I ever clone myself a new body."

Something that doesn't pay off is the implication that Colin Thornton/Lord Satanus would become a major villain now that Luthor is (temporarily) out of the picture. He'll pop up here and there, but something tells me that if Stern had stayed on Action, he would have made sure Satanus factored more heavily in big storylines going forward (or even just one big storyline).

Patreon-Watch:

This post ended up being double-sized like the issue itself, so this time we owe double-thanks to our patrons Aaron, Chris “Ace” Hendrix, britneyspearsatemyshorts, Patrick D. Ryall, Bheki Latha, Mark Syp, Ryan Bush, Raphael Fischer, Kit, Sam, Bol, and Gaetano Barreca, for helping us take the time to write it. Double-thanks! Join them at https://www.patreon.com/superman86to99

And believe it or not, we have even more to say about this issue, so don't miss Don Sparrow's section after the jump...

Art-Watch (by @donsparrow):

We begin with the cover, and it’s something of a strange one for such a huge numbered issue.  Jackson Guice rightly recognizes that the destruction of the Daily Planet is the most arresting image within the story, so that’s what he highlights, Raiders of the Lost Ark-style, but it’s a bit hard to know what to focus on here.  It’s not the best figure drawing of Lois Lane, with her hands in a claw like shape, but she’s still front and centre.  The other possible area of focus is on the Daily Planet globe itself, which then boasts an uncomfortably spread-eagle Superman trying to stop its roll.  But, I give points to Guice for going with a moment from within the story, and not just a generic “this is an anniversary issue” type cover, like we often see. Plus the cross streets of Jurgens/Grummett/Bog/Kitson on the street sign is a fun find.

Inside, we’re greeted immediately with a full splash of a satisfied Lois.  Guice’s Lois has always looked photo-referenced to me, for better or worse.  In this case, I think Guice is a little let down by the colourist, who extends the pinkness of Lois’ bottom lip all the way to the corner of her mouth which turns her smile into more of a smirk than I think the inks on their own intend.

On page 6 we get another version of Guice’s rubble pits—not a strength for him as much as someone like Tom Grummett, who was born to draw rubble (And everything else!) as the edges of the pit always look a little sharp to me.   

Superboy’s rage at the destruction of Cadmus is well-observed—and Superboy looks very much like the youth he is—he can sometimes be drawn like a small adult, instead of having softer, teenaged features, but Guice does a good job on this page. Supergirl’s coy expression as she lets the libidinous Superboy down gently on page 14 is a funny drawing, and a great character moment in all the action, to boot.

It may just be novelty, or nostalgia, but the quieter moments back in Smallville, as Lana Lang prepares for her wedding ceremony, are my favorite pages.  Curt Swan’s gentle, naturalistic lines are a nice counterpoint to the hectic pace of the fall of Metropolis.   

The entire page of Lois revealing Lex Junior’s crimes to a live television audience is all well drawn—there’s an urgency in Lois’ posture to the camera that feels very real as you read it.  This, followed up shortly by Lex’s horror at Dr. Kelley’s betrayal is another great piece of drawing.  Then, on the very next page, Superman Kool-Aid-Man-ing his way through Lex’s hideaway is maybe the best single image of Superman in the book. 

There’s a cute tribute to former Super-teamster, Jerry Ordway, as Peggy (who shares her first name with Jerry Ordway’s real life wife) plays De Koven and Scott’s “Oh Promise Me” not on a Steinway piano, as she might have on our Earth, but rather a “Jordway” piano.  If the lyrics we see sound familiar, it could be because this same wedding song appeared in numerous film and TV weddings, including All in the Family, Mama’s Family and, for you Canadian readers, the Sullivan-produced Anne of Green Gables: The Sequel, during Diana’s wedding.  I do wonder if Revered Brewster was supposed to look like Ordway—his hairstyle is similar, though Brewster is a little heavier set than Ordway.

Back to the “action” of Action #700, pages 33-35 all make great use of a diagonal panel layout, to maximize the space as Superman gives chase to the missiles, which unfortunately find their target, the Daily Planet.  Perry White’s shattered expression as he watches the place he loves fall apart is particularly haunting. 

The effect of Collin Thornton’s demonic helmet overlaid his human form is a great visual.  Lastly, for those of us old enough to remember the attacks of 9-11, there’s an eerie prescience to these images of tangled debris and smoking skylines.

On the whole, the events here—Luthor going full villain, Metropolis being reduced to rubble—seem fitting in scale for a nice big round issue number like 700.  But, given how relatively quickly these changes are undone in the issues to come, it also feels symbolic of the post-Death-and-Return era of comics—just trying status-quo changing “events” and trying to recapture the buzz they stumbled into with the death storyline.          

SPEEDING BULLETS:

There’s a funny in-joke during Lois’ phone call with Superman, as editor Mike Carlin slips in a warning to Tom Grummett about an issue being late.  Though Grummett is not normally known for lateness, at this time he is drawing both Superboy and Robin comics monthly, so he can be forgiven for the odd slip.

Jonathan Kent railing at the television in response to Lex’s seeming impunity feels completely modern to me, reading it in 2024.  Honestly, couldn’t you see certain political factions of today defending Lex’s actions, had they been perpetrated by the de facto leader of their party?

How do we feel about Lex not being quite villainous enough to blow up Metropolis?  Does it feel like a cop-out, or would it have put Lex into a level of villainy the writers didn’t want to go to?  Story-wise, I have to admit, it feels strange that the disasters seen on the cover and throughout bear the fingerprints of Sidney Happersen, and not Lex Luthor, the greatest criminal mind of our age. [Max: I like it! Lex is evil, but he does seem to love Metropolis in his way, and he wouldn't spend so much time on philanthropic ventures if he didn't need people's adoration on some level. I think this is an interesting conundrum Stern put him in, and having Happersen do what Lex couldn't is a clever way to make sure the issue didn't end in a big anti-climax.]

GODWATCH: As with many a Roger Stern script, religious references abound in this issue, particularly during the wedding scenes, where the newlywedded Lana and Pete certainly seem devout. The unabashed love the Kents show for Lana is very moving throughout. [Max: There's also Lex saying "God forgive me" when he admits he doesn't know how to stop the torpedoes, which is a scene that's always stuck with me. THAT'S his real punishment: not jail, but actually experiencing guilt for a moment.]

As this entire issue is a study in contrasts, we jump from a country church wedding to a demonic character named LORD SATANUS giving Superman the firebreak idea that saves the city!  There’s something very funny about that.

Does Collin Thornton know that Clark Kent is Superman?  It doesn't seem like he does, but with his array of observational powers, you’d think he’d have figured it out. [Max: I'm sure there's something somewhere that contradicts it, but I like the idea of Thornton offering Clark that editor job years ago because he knew his conscience had been compromised by the Eradicator and he wanted a superpowered pawn to use against Blaze.]

Do you agree with Supergirl, that Dr. Kelley is someone to be admired, or given mercy?  Sure, she helped bring down Lex in his latest evil, but she went along with so much, for so long, she’s hardly heroic, is she? [Max: I assume that by "I hope the courts are merciful," Supergirl means "I hope they give her prison library access and not the electric chair." I do feel sorry for Kelley, but she definitely deserves to go to jail for a long time for all those other horrible crimes she didn't prevent, starting with Lana's torture.]

[sleepyspudbrainrot]

Carry You Home (Pt. 3)

Roman Reigns x Lale (OC) | 18+, NSFW, eventual smut, fluff | 2281 words

Pt. 3 of that fluff piece... hopefully y'all enjoy this part as much as the other two.

This is based off of the August 11, 2023 Episode of Smackdown (I absolutely had to go back and watch it recently in order to get my brain back together.)

And let me not forget to tag ... @southerngirl41 & @tshepisho❤️️

“Deuces Uces!”

Lale’s hands clasped over her mouth, her shock not nearly as audible as the rest of the stadium that surrounded her.  A sea of signs that had once blocked out the led screens that encircled the stadium, were now crumpled at the feet of the frantic crowd.  Some frantic to reach their hands out to the departing Uso, other’s looking between themselves and the dazed form of Roman Reigns in the ring below.  Lale couldn’t figure out where to look.  At Jey Uso, a friend to her and cousin to Roman, or to the fallen man in the ring.  

The vibrating of her phone was nearly not enough to bring her out of her daze.  Even now, she still held one hand clasped over parted lips, her other hand thumbing open the screen.  A text scrolled across her screen from Kayla Braxton, the main backstage correspondent for Smackdown and one of her closest friends.  An invitation backstage, to get a feel for the chaos seemed to be spreading through the Scotiabank Saddledome.  It was almost as if someone else had control of her limbs.  She’d grabbed Cathy Kelley’s hand at some point, mumbling something about backstage.  Thankfully she didn’t seem to question it.

By the time they made it backstage, Kayla was nowhere to be found.  In her place stood the three people she’d least expected to find lingering in Gorilla.  Joe, Paul, and last but not least Sefa.  “I can’t believe those two.  This is what they’ve been hiding from us all week?”  The trio were deep in conversation, clearly just as thrown by the events that had unfolded in the stadium as the rest of the crowd was.  Lale hung back, fingers brushing the black curtains that marked the hallway that led out to the main stadium.  

“You’re not going to go say hi?”

Lale blinked over at Cathy, who stood beside her with a knowing grin.  “Kayla didn’t summon me back here to meet up with her did she…”  Cathy shrugged, not giving any indication one way or the other, which was an answer in and of itself.  “He looks busy… I don’t want to get in the middle of all - -” She gestured vaguely at the trio, who were now turned to look at her.  Joe’s face had quickly shifted from the storm of frustration, to something that could’ve been easily misconstrued as… amusement? Nope there was no misconstruing that. He was amused.

“Never knew you to be the type to crash backstage ma.”  

Lale rolled her eyes.  “I normally don’t unless invited and since you clearly weren’t about to, Kayla did.” She sighed softly, running a hand through her tousled hair.  “Thanks for the tickets by the way, you really didn’t need to send those.  I was half expecting another car to sweep me away for another private dinner.”  Cathy’s eyes widened beside her.  “Or was that supposed to be our secret?”

“Looks like you got your bite back… I’m surprised after tonight.  Thought your jaw would never come up off the floor after what Jey pulled…”

Lale blinked up at Joe, seeing a flash of the earlier frustration cloud his features.  “So I take it creative didn’t exactly - -” Sefa was quick to cut her off.  “They fuckin’ didn’t tell us anything.  All these last minute changes, it’d be nice to know about some of them so we’re not having to improv as much.”  Paul didn’t say much, but Joe’s features shifted.  “It makes for a better story, you and I both know that.  It wouldn’t make sense for the betrayal to have come from such… superficial reasons.  No one ever does anything just for the tribal chief.”

There it was, that flash of Roman Reigns who’d been out there on that stage.  The persona that filled rooms and turned the normally eloquent and put together Paul Heyman into a quivering mess.  “I’ll have to have a talk with creative.  I understand not telling you guys, so that the reactions are genuine but not telling me?” Paul clicked his tongue.  “Anyway, since it seems you guys have plans and I do not want to be the one to keep you from them.  So I’ll see you guys tomorrow? Hopefully I’ll have better news.”

Paul’s departure left a gap in the conversation, one that Sefa struggled to fill.  Thankfully Cathy seemed to pick up on that and offered to walk with him back towards the lockers in the hopes that she could track down Kayla.  Which then left Lale all alone with Joe.  While she’d been big talk when Cathy was beside her, something about not having back up had left her feeling vulnerable.  She’d been joking about the private dinners.  Joe and she hadn’t been truly alone in months.  They’d been texting consistently, the older man sending her food on days he knew were rough, but outside of that, their interactions had been limited to just that.

“So what was that about a private dinner?”

Lale settled into the plush leather of the Escalade beside Joe, a comfortable silence filling the luxurious blacked out vehicle that he’d summoned to take them away from the Scotiabank Saddledome and towards their destination for the night.  Somehow, even with last minute notice Joe had managed to get them a table at an upscale italian place downtown.  She’d had to resist the urge to check the menu, and honestly see what the actual hours were because she had a feeling that he’d called in a favor or two.

“Am I over or under dressed?”

Joe had been lost to his thoughts, blinking slowly at the woman beside him inquisitively.  “What?”

“Am I over or under dressed for where we’re going?”  Lale would’ve normally been annoyed at having to repeat herself, however given what had just went down at the stadium.  Regardless of the reality. She could almost sense the moments playing out in his head and knew he deserved a little bit of grace.

“You look perfect.  It’s after hours, so I can guarantee that they’re not going to give a fuck about a dress code.”

It was something that she herself should’ve realized.  The man beside her was clad in a pair of gym shorts and a tshirt that clung to his well defined muscles.  Compared to her crop top and jean shorts, they were about evenly match in terms of potentially violating a dress code.  Silence fell between them once more.  The smooth ride of the Escalade allowing to watch the world outside of them with very little interruption.

When they arrived at the restaurant, Lale was surprised to see a few cars sprinkled throughout the parking lot.  Joe seemed to sense her confusion, resting a casual hand on her back as they made their way inside.  “Couple of friends were already planning on joining us ma, nothing to worry about.  We’ll still have our privacy.”  A sly wink as he held the door open for her, her eyes wandering across the elegantly decorated space.  Tables with plenty of room between them, alcoves that seemed to hold a table for two, then others with tables that seemed to be able to accommodate a whole party. The floors beneath her feet were a deep mahogany, the walls adorned with very little to allow emphasis on the wall to wall floor to ceiling windows.  The same windows that allowed for a gorgeous view of the city as well as the stars that flickered in the night sky.

“Too much?”

Lale could only hope that her mouth hadn’t been hanging open for too long.  “It’s stunning Joe… and I absolutely feel under dressed.”  Too much skin exposed, not enough elegance, and yet somehow they weren’t looked at any differently than the few patrons who remained in suits and dresses.  

“Order anything you’d like, my treat.”

He’d been treating her so often lately and yet she still felt like she was taking advantage of his kindness.  Perhaps it was payment for all the times he’d teased her and given her a hard time.  Even tho… did he really owe her for any of that?  She sighed softly, settling into the chair across from Joe, smoothing the napkin on her lap.

“Whatcha thinkin’ about mama? I know that look.  You tend to get that look any time an interview doesn’t go your way.”

There it was, the jabs she’d been expecting.  Somehow that actually brought a sense of comfort, to a night that had absolutely thrown her for a loop.  “Trying to figure out what all this means?” It was out of her mouth before she could stop herself.  “Between Kayla texting me and meeting up with you instead.  This private dinner, when they’d really been limited to texting ever since that night a couple of months ago…

“You’re wondering why tonight.  Why after all the drama, why I’m not out with the boys, or giving the twins an earful.  And I’m instead out here with you, wining and dining you in a way that doesn’t quite line up with anything we’ve been doing.  Sound about right?”

“Please remove yourself from my brain, thanks.”

The laugh that escaped Joe shook his shoulders, his head shaking along with it and his hair falling into his face from where it had fallen from his hair tie.  “Have you ever considered that your thoughts are practically broadcast on your face ma? Or at the very least… I know what the texts and the food deliveries and everything else have felt like the last two months?  Friendly support and this…”  He gestured to the intimate setting, the alcove that protected them from prying eyes while still leaving them a perfect view of the floor to ceiling windows. “This is more.  Though I would’ve thought we crossed that more threshold that first night.  But again, that’s just me.”

His teasing wink sent color spreading across her cheeks.  “I honestly… I don’t know how to count that night.  It was appreciated and… unexpected… considering how much trouble you’d given me in the past.  I… thank you Joe.”  She realized as the words left her mouth, that this was the first time she’d properly thanked him for the emotional support he’d provided.  From saving her from herself that night.

“So this is something that’s been in the works for a while hasn’t it.”

Joe raised an eyebrow, his lips twitching upwards in what Lale could only assume was a smirk.  “Certainly cutting to the chase aren’t you.  Yes I’ve thought about this for a while, no it’s not exactly been in the works.  I didn’t want to put pressure on you with everything else that’s going on in your life.” He reached across the table to rest his hand on hers.  “But tonight wasn’t exactly in the cards.  I was just so frustrated with creative not sharing these last minute changes, with the improv that Sefa brought to the table… that seeing you…”  He shrugged, shifting in his chair, his gaze moving away from hers.  “Seeing you was exactly what I needed.  And I owe Kayla big time for getting you back there.”

Her suspicions confirmed, Lale released a breath she hadn’t intended on holding. “I think… I also owe her big time for this.”  She turned her hand under his, her fingers curling around his.  It was a gesture that Joe returned with a soft squeeze, his expression softening as they held on to one another across the table.  

A few hours later, the pair stumbled out of the restaurant.  Joe’s arm comfortably around Lale’s shoulder, her hand resting against his chest as they headed back towards the waiting Escalade.  The dinner had flown by with conversation, laughter, and at least a bottle and a half of wine between them.  Lale was lost in the warmth and presence of the man beside her and, if she was being honest with herself, didn’t want this night to end.

The car sat idling beside them and both were hesitant to open the door.  To start the journey back to their hotel that would signify the end to their night.  Joe was looking down at her now, large calloused palm brushing hair out of her face, grazing her cheek on it’s way by.  “Lale…” He leaned in close, strong arms framing her against the vehicle.  “Joe?” She looked up at him through her eyelashes, tongue wetting her lip, letting her hands rest comfortably against his chest.  

“Can I?”

She knew exactly what he was asking and nodded.  His lips descended upon hers.  A gentle gesture given the size of the man, as well as the character he played for the masses.  Her eyes drifted closed, arms wrapping around his shoulders.  His arms moved from the car, one arm wrapping around her waist, the other reaching up to cup her jaw and deepen the kiss.  Her lips parted eagerly, his tongue sliding between to claim hers.  Fireworks went off from somewhere. Or if she’d been paying attention, the light of a camera flash. Either way, she was too lost in the moment for any of it to matter.

He pulled away after a moment, resting his forehead against hers, his chest heaving.  “Come back to my room with me?”  

Lale was not quite that tipsy.  She looked up at him once more, an eyebrow raised as she met his gaze.  

“Okay, not like that… like that first night yeah? Just… this time don’t go hiding in the shower first?”

Lale snorted, teeth worrying at her bottom lip as she considered.  “Alright, as long as you’re good with stopping by my room first.  I would like to actually shower this time… deal?”

“Deal.”

[abridurif]

En ce qui me concerne, je suis capable de lire un article que j’ai écrit et de ne me souvenir de rien. Je ne me souviens pas de l’avoir écrit. Parce que sa structure est complexe. Je ne me souviens pas de mes recherches, des déraillements. Je lis ça, et j’ai oublié tout le travail effectué. C’est logé quelque part mais ça a disparu. À ma connaissance, les œuvres d’art ont ce pouvoir : elles peuvent vous rappeler de manière répétée des choses que vous avez oubliées. Pour moi l’inconscient est – faute de pouvoir le dire autrement – une sorte d’appareil de socialisation. Il se débarrasse de tout ce qui est problématique et l’enterre dans des compartiments pré-catégorisés de l’expérience, pour qu’on puisse retourner à un mode d’être plus normatif. On doit constamment retravailler, retravailler, et toujours la même chose, indéfiniment, on voit perpétuellement revenir le même matériau, encore et toujours. C’est quelque chose dont est capable ce genre de « concasseur » qu’est l’art. Il peut secouer et agiter ce matériau, de manière répétée, mais il a besoin d’être perpétuellement reconfiguré. Il faut qu’il y ait cet élément de surprise. Et s’il existe une excuse pour la position avant-gardiste, c’est tout simplement celle-ci : la surprise est nécessaire, pour accomplir ce boulot. Mike Kelley, conversation avec Jean-Philippe Antoine, in Les Cahiers du Musée d’art moderne, automne 2000

[wonder-kid-pugh]

World Champions - (Rose Lavelle x reader)

For this one the reader is a male so sorry about it but I kinda need it for it to be a guy for this because he's going to be on the French Men's National Team

Y/n's Pov

I fix my cap on my head as I walk through the streets trying not to be recognised which is even harder now with the women's world cup on in France. And it's not hard to pick them out as there are fans carrying their countries flags and where their home colours. I smile when I see a French jersey walking the streets.

I smile when I see a bunch of kids playing with a ball. One kid had the ball and started juggling it and tried to do an around the world but loses the ball as it rolls towards me. I smile as I stop the ball and start juggling it while walking back toward the group of kids. I kick the ball up and balance it on my back. While I'm hunched over I take off my sunglasses as I hold out my hand to shake one of the boys hands. The boy gasps as he jumps up and down before shaking my hand. They start speaking in rapid french as I laugh and talk to them for a bit. I take a few quick pictures before I'm on my way again.

I walk down the street to my original destination my favourite ice cream parlor. The shop was a small quiet one that kinda hidden on a side street that I stumbled soon one day and have been coming to since. To come here you would either have to know where your going or you just happened to stumble across the place.

When I walk in I see a group ahead of me having trouble ordering. The owners are friendly with me seeing as I'm a regular here. "Salut Pierre, tu as besoin d'aide?" (This came from google translate so sorry if this isn't correct. Hi Pierre, do you need some help?"). "Ce serait super merci Y/n" Pierre nods (That would be great thank you Y/n). I turn back to the group but I freeze when I realise who I'm talking to.

"Sorry we were here first" the defender says as she narrows her eyes at me. I shake my head and smile at them, "No no no. It's not like that. Pierre doesn't speak English so I was just wondering if he needed help with your order as I guess none of you speak French". The small red head blushes, "Oh sorry". "Would you mind ordering for us. Our french isn't the greatest" one of the blondes speak up. I smile, "Of course what are you having?". They all tell me their orders and then I turn to Pierre, "Puis-je obtenir un chocolat, une fraise, un citron, un oreo, une route rocheuse et mon habituel s'il vous plaît?" (Can i get one chocolate, one strawberry, one lemon, one oreo, one rocky road and my usual please?") Pierre nods and tells me they'll be done in a minute and they'll be dropped down to the table.

"Merci beaucoup" I thank him before turning to the girls, "they'll bring them to the table in a bit". They nod as they follow me to a booth and sit down. "Thanks for helping us. I don't think we ever would have been able to order if it wasn't for you" the brown haired midfielder smiles. "You know I would have thought you would have been fine seeing as one of you played for PSG when they were younger" I tease as the blonde blushes, "In my defense it's a bit rusty". "So I take it you know who we are so?" The freckles defender asks from beside me. I chuckle, "Well I mean who doesn't know one of the best teams in the world".

"We never got your name" someone asks. It's then I realise I never took off my hat and sunglasses. When I pull them off I can see all their mouths drop open causing me to laugh, "I'm guess you know who I am as well it seems". "Your Y/n L/n! Of course we know who you are!" Sonnett exclaims. "And your Emily Sonnett, Lindsey Horan, Kelley O'Hara, Mallory Pugh and Rose Lavelle of the US women's National Team" I answer. "You watch womens soccer?" Rose asks. "Of course I do. I always watch your games. You have some of the best players in the world on your team" I smile looking directly at her which causes her to blush and look down slightly.

Before anyone else can speak Pierre comes with a tray with our ice-cream and hands them out while he passes me my big sundae. Sonnett's eyes go big, "What is that?!" I smirk, "One of the greatest things you will ever taste". "Can I try some?" Rose asks shyly. "Sorry World Champions only" I tease, "maybe if you win the world cup then I'll share". "Yeah Rose world champions only" as Kelley swipes some of my sundae before I can stop her. I laugh as I fist bump Kelley as Rose pouts but I slide the bowl toward her as she tries some of mine. Rose smiles happily at me while taking some of mine.

I continue to talk to the girls about the world cup and everything else until we're eventually done our ice cream which was finished a lot quicker due to Rose stealing mine. Right before we leave I walk up to Pierre and pay for everyone. "You didn't have to do that you know? We could have paid" Rose smiles. I shrug, "You can pay me back when you finally get equal pay". Kelley snorts, "That may be a long time".

I shake my head, "Honestly it's ridiculous but I don't think you should be getting equal pay-". Before I can finish Kelley interrupts me  trying to size me up but it doesn't work as I kinda tower over her, "What did you say?" I laugh, "You didn't let me finish! I don't think you should he getting equal pay with the men's teams when you are clear better than them. I think you should he getting paid more. Like they didn't even qualify for the world cup, which you have won 3 times already". "About to be 4!" Mal shouts as Lindsey and Sonnett join in. Once again Kelley's face turns pink, "Sorry...again". I shake my head, "It's fine. I understand where your coming from".

Kelley smiles at me before she runs ahead and jumps on Mal's back leaving me to walk behind them with Rose. "This is your first world cup yes?" I ask as we walk. Rose nods but I can still her bite the corner of her lip, "Yeah. I just hope everything goes okay". "Well from what I've seen your one of the best midfielders in the game so I don't think you have anything to worry about" I say as I nudge her shoulder slightly. I can see a slight pink tint come to her cheeks, "Well unless you face France that is". She nudges me as I laugh loudly which causes the ones in front of look back at us.

For the rest of the walk I learn more about the American midfielder and she is extremely excited when I tell her about my little husky Bella. Sadly we reach their hotel which mean going our separate ways, "Well this is us". I nod, "Well if I don't see you again. I wish you the best of luck with your games and the equal pay". Mal smiles at me, "Thanks Y/n. We should meet up again if you have time so we can pay you back for the ice cream". "Your fine consider it a thank you for all your doing to impact women's soccer" I shrug. "Will you be coming to any of the games?" Emily asks as I catch her giving Rose a quick look. Rose elbows her as I laugh, "I will definitely try to come to some of your matches".

The rest of them smile before saying a quick goodbye and heading inside which leave Rose and myself alone. "I don't think they're very subtle are they?" I ask as I motion to them trying to hide as they watch us. Rose sighs and shakes her head, "Not at all". "Well I hope this isn't the last time we meet. I enjoyed talking to you" I smile down at her. She blushes crimson, "Yeah it was fun". I think for a moment before chancing it as I gently take her phone out of her hand, "Well how about if you ever want to explore France you can give me a call and I'll be your tour guide" I say as I type my number into her phone. Rose laughs and nods, "You'll be my first call".

I smile as I kiss both of her cheeks which causes her face to go completely red as I chuckle, "Jusqu'à la prochaine fois ma belle fleur".(Until next time my beautiful flower). She tilts her head at me, "What does that mean?" I shrug and smile, "Can't remember. Au revoir Rose". And with that I walk home leaving her flustered behind me.

XXX

I sigh but clap as the referee blows his whistle signalling the end of the match which ends in the US favour. Although I'm happy they won it was bittersweet seeing as they were after knocking out France of the running. I find myself on the pitch consoling some of the players. "Pas de veine. vous avez bien joué, vous méritez d'être allé plus loin" I say to Henry. (hard luck. you played great you deserve to have gone further). She nods glumly before walking off to talk to her teammates. My eyes trail to the American side watching them celebrate their well earned victory. My eyes land on a certain midfielder who's jumping up and down celebrating with her teammates.

I start to walk over but I decide against it and let her celebrate the win. I walk toward the tunnel when someone calls my name. I turn to see Kelley running up to me with a big smile plastered on her face. "Hey Kelley. Great game". She smirks at me while raising an eyebrow at me, "Are you that upset we knocked out France that you left the pitch instead of talking to us?" I toss my head back and laughs, "I thought I would let you celebrate the win instead of bothering you guys". "Well I don't think Rose would mind you bothering her" she teases as she wiggles her eyebrows at me. I cough as I try to hide my blush when I hear the clitter clatter of cleats walking towards us.

I look down the tunnel to see the team walking towards us. When Rose spots me she jogs up to us and hugs me, "I didn't know you were coming today!" "Well I said I would come to some of your matches didn't I? You played great by the way" I compliment. Again her cheeks tint pink while everyone smirks at us, "Thanks". "You mad we knocked out France?" Emily teases as she pokes my cheek. I roll my eyes as everyone laughs, "I'm sad they didn't get farther but I'm happy that they lost to you guys".

"Does that mean you'll buy us more ice cream?" Mal jokes. I snort, "Come back to me when your World champions and I'll see". "Well I want the one you got last time" Rose smiles. "Do you not remember? That's for world champions only. You gotta win first" I tease. "Yeah Rose have to be apart of the world champions club" Kelley teases as she wraps an arm around Alex. "Fine but that means you have to be there watching when we get to the final" Rose grins.

I shrug, "Okay but I'll need to get a jersey so everyone knows who I'm supporting". "You should wear your favourite players jersey" Lindsey smirks. "Maybe I will. I already have someone in mind" I smile. "Who would that be now?" Rose asks a smile gracing her face.

"Tobin Heath of course" I smile cheekily. Rose pouts while everyone laughs and I high five Heath. Everyone starts to walk to their dressing room which leaves us alone again while she still pouts at me, "Are you seriously going to wear her jersey?" "Well I mean she is an unreal player AND she's a world champion". She shoves me as I burst out laughing, "Your mean". "I'm joking! I'm joking! I'll probably wear number 16's jersey. She's been on fire recently" I say once my laughter ceases. "Yeah I hear shes a pretty good player" Rose smiles. "I guess I better go find one of her jerseys then" I grin.

We stand there for a bit longer and I laugh as I can hear the shouts coming from the girls locker room, "I better let you get back to your teammates". "Yeah before someone comes looking for me" she nods. "Au revoir ma belle fleur" I whisper as I kiss both her cheeks again. I smile as her face heats up again and groans, "What does that mean?" I shrug before I start walking away down the tunnel.

"Win a world cup and I'll tell you"

"Your insufferable!"

XXX

I was up on the feet as Rose scored the second goal of the match against the Netherlands. The stadium was deafening as all the US supporters were on their feet celebrating. I watched as Rose was swarmed in hugs on the field before she runs to the bench and hugs her teammates. As they jog back to their half I see her look around before she lands on me and smiles seeing me on my feet clapping.

The rest of the game passes by slowly as the Dutch doesn't give in and keep playing. But it seems that Roses goal solidified their victory as finally the final whistle blows. The sub rush the bench as the stadium is in up roar as the US become back to back World champion's.

I smile as I can see some of the girls start to cry as they celebrate their victory. As the stage is being built the girls go celebrate with their families in the stands. I was surprised to see Rose jogging over to me as I catch her in a hug. "Congrats Rose I knew you would win!" I shout over the crowd. "Now you and Kelley can stop teasing me about not being a world champion" she tells me. I laugh, "Welcome to the club champ". She's about to say something but she's being called away by the girls. "Go join your team ma belle fleur" I tell her. She sighs and looks back at the girls, "I expect to see you at the party later as well. I'll tell them to let you in". "I'll be there" I smile.

She grins before she runs back over to the girls celebrating their world cup win.

XXX

I walk into the party a bit awkward seeing as I don't really know anyone here. "Y/n!" I turn and see Lindsey and Emily have spotted me and had already had a few drinks in them. "Hey guys" I laugh as Lindsey stumbles towards me with Emily close behind, you okay there?" "Never better! We're world champions!" Emily cheers sloshing her drink a bit.

"Any ideas where Rose is?" I ask. They both start giggling excessively as they both turn and walk from where they came from, "Rose!! Lover boy is looking for you". I scoff as I can feel my face heat up as I spot Rose talking at the bar with Mal. The whole bar pretty much turns to look at me as Lindsey and Emily start pushing me towards Rose. Mal waves at me before dragging the two blondes away leaving me with Rose who's still laughing at my expense. "Yeah yeah two of your best friends just embarrassed me infront of the whole bar. Laugh it up" I roll my eyes as she eventually stops.

"Well you clearly haven't see the news yet then" she giggles. I look at her confused before she pulls out her phone and shows me an article of us two hugging as the article talks about how the two of us are dating because I was wearing her jersey. "Well then. They got that done quick" I sigh as I run a hair through my hair. "Does that mean you'll buy me my ice cream tomorrow boyfriend?" She teases as she takes another drink. "If you remember that tomorrow then sure" I laugh as I get my own drink.

"So how is it feeling to be a world champion?" I ask. "Great you want to know why?" She smirks. "Okay I'll bite why?" I ask. "Well it's great being a world champion, but you know what's even better? Being a world champion who scored in the world cup final. Not that you would know" she says grinning in my face. "Oh okay then. I admit defeat. "You are clearly the superior player" I smile. "Now your getting it" she laughs.

For the rest of the night is spent dancing and a lot of drink as well as singing 4 stars. For a short while we were able to slip away into a corner under a bunch of fairy lights. "Well seeing as your my boyfriend now. Does that mean you would like to come to the ESPY's with me?" She asks as she looks up at me. I smile down at her, "I will on one condition". "What is that?" She asks. "This" I cup her face and bring my lips to hers.

When we break apart we were both breathless. "Woah" I breath out which causes her to giggle, "Not a bad way to end a great day".

"Who said it had to end ma belle fleur?"

Okay I'm sorry if this isn't really great. I had this for a while and every time I tried to write it, it was a bit eh so this is the best I could come up with. But it's longer than usual ones! I hope you liked it!!

[fitnessjournalowel]

HAPPY SONG DAY 2

Henloooo! Its the second round ng aming paglead sa class with our Happy Song choreographies. I admit, medyo na-tempt aku mag-absent since tapos naman na ko, but ang scary kasi ni Ma'am Tal when it comes to mga ganun chz. Pero ayun, syempre bilang support sa ming friends na hindi pa nakakapag present, makikisayaw din ako today!

✨Week 11 Friday Session✨

There are some thought kahapon at saka nung isang araw na sana pala nag second day na lang ako kesa nug first day para sana mas napaghandaan ko pa yung dance ko, pero ok na rin ito, at least hindi ko sya inisip kahapon aat may iba pa kong gawaing nagawa. Plus, this session has some really good dances!

Macabeo - Get Me Bodied

Rate: 9/10

Remember my bias about main pop gurlies? It certainly applies here. Its, GET ME BODIED for pete's sake, its like, on the top of dance song pedestal, so it feels like an honor to have an icon, like Macabeo, to choose this song. In this household, we stan the kween bee. Kaso, by choosing a Beyonce song means a certain responsibility and the pressure to do the song justice. Upon knowing the song choice, I know 10 ang ibibigay kong rating kay Macabeo, kaso lang hindi ganun ka up to par ang kanyang mga steps. Its a Beyonce song! gusto ko wagwagan! but other than that, it was a good opening for today's session! hart hart!

Jasmine - You Can't Stop The Beat

Rate: 9/10

I really like it when miss Jasmine dances. Nakikita ko sa kanyang mga mata ang eagerness to be fit and also yung fun habang ginagawa ang mga workout. It was very evidetn sa performance na ito, yung enjoyment na meron sya, na-transfer sa aming mga gumagaya (di ko lang alam yung sa iba pero ako nag-enjoy ako). Plus, I have a very different bias for show tunes. I WAS SO GLAD someone finally danced to a show tune! My musical theatre heart is pumping with adrenaline. Infairness din kay miss JAsmien, very clean ang kanyang choreography and kahit sobrang haba nung song, di sya nakakaboring to a certain point.

Clarice - Hips Don't Lie

Rate: 9/10

So many 9s this session! Guys, finally, someone did a zumba choreography! And I'm so glad ginamit nya ang hit ng latina kween herself Shakiraaa! My bias for main pop gurlies from my childhood applies here kaya na- enjoy ko sya ng sobra, plus yung adrenaline pa from the two previous high intensity workouts, bongga diba. Plus, ang galing ni miss Clarice mag sakto ng steps sa music and lyrics, including the rap part so kudos to you miss Clarice!

Elle - Get Down

Rate: 7/10

I kinda like miss Elle's work, kaso just like miss Erika's work last session, mukha syang hiphop choreography than a hiphop-infused aerobic dance. It was fun to dance to (well, its an iconic song by the Backstreet Boys so its really fun to dane to talaga) kaso medyo mahirap sya sabayan kasi complicated ang mga steps. May repetitions naman, kaso it was just hard.

Gladys - Shut Up and Dance

Rate: 8/10

Another very nostalgic song for meeee, wala akong masabi sa dance na ito bukod sa its very fun to dance tooo, and malinis din ang choreo ni sis Gladys!

Benjamin - Naruto Soundtrack

Rate: 8/10 (But the song choice is 10/10)

Thanks boss benjamin. THANK YOU. Someone raised the flag for the anime stans. This is a breath of fresh air from all the commercial pops na sinayaw namin earlier tsaka nung wednesday. Halatang boss benj had such a good time while doing this!

Kaitleen - Hey Buddy

Rate: 7/10

Another kpop track in the house! Mukhang mababalik ako sa kpop phase ko sa dami ng mga kaklase kong kpop stans! This routine is very fuuun, malinis ang choreo kaso may parts na medyo confusing, tsaka it could use a little more energyyyy.

DJ - Too Good

Rate: 6/10

I super like the vibessssss, kaso lang medyo low energy. By the song choice alam kong makakavibes ko si Boss DJ, but the routine somehow lacks energy, but malinis naman ang choreography so that's a plus!

Katherine - Vintage

Rate: 8/10

This is my jam, yes, miss NIKI serving this bop is iconic, and miss Katherine is equally iconic for choosing this bop! Actually after talaga ng class (at nung class ko aftee this class) I streamed this song, coz I forgot na this is one of my faves before. As for miss Katherine's routine, it was soooo fun! Very doable and easy to follow through!

Kenneth - Live While Were Young

Rate N/A

Well, I think its criminal to give a rate sa sayaw ni boss Kenneth dahil hindi ko naman to nakita, hindi ko to nasayaw, kasi right after miss Katherine's dance, nagpaalam na ko kay Ma'am Tal dahil may pa-oral exam si Sir Bryan sa Theatre 104. Pero kung hihingian talaga ako ng rating, siguro it will all be based sa bias ko sa song choice. #OneDForevs

[ao3feed-batcat]

Release Your Inhibitions

read it on the AO3 at https://ift.tt/3ipYLag

by Just_here_for_a_laugh

When a burst of toxin hits Wonder Woman, Superman, and Batman the JLA rushes them to the Watchtower medbay. As Wonder Woman and Superman wake up it becomes clear that this gas makes its victims lose their inhibitions, and the team shudders to think what the Dark Knight will do with no reservations and a missing no-kill policy. However, once the Bat does rouse, he just might give them the shock of their lives

The 'Star Trek:The Naked Time' AU no one asked for a.k.a. Bruce loses all filters and won't shut up about his kids

Part 4 of my Justice League discovers the Batfam series!

Words: 5252, Chapters: 1/1, Language: English

Series: Part 4 of The Justice League and the Batfam

Fandoms: Batman - All Media Types, DCU, Justice League - All Media Types

Rating: Teen And Up Audiences

Warnings: No Archive Warnings Apply

Characters: Bruce Wayne, Clark Kent, Diana (Wonder Woman), Barry Allen, J'onn J'onzz, Arthur Curry (DCU), Oliver Queen, Hal Jordan, Alfred Pennyworth, Martha Kent, Dick Grayson, Jason Todd

Relationships: Bruce Wayne & Everyone, Justice League & Bruce Wayne, Batfamily Members & Bruce Wayne, Selina Kyle/Bruce Wayne, Alfred Pennyworth & Bruce Wayne, Jason Todd & Bruce Wayne

Additional Tags: tim drake - Freeform, Damian Wayne - Freeform, Barbara Gordon - Freeform, Stephanie Brown - Freeform, Cassandra Cain - Freeform, Duke Thompson - Freeform, Harper Row - Freeform, Cullen Row - Freeform, Carrie Kelley - Freeform, Terry McGinnis - Freeform, Matt McGinnis - Freeform, Jarro - Freeform, Jerry the turkey - Freeform, batcow - Freeform, Alfred the cat - Freeform, ace - Freeform, Titus, goliath - Freeform, Kate Kane - Freeform, Commissioner Gordon - Freeform, Talia al Ghul - Freeform, selina kyle - Freeform, I put those as tags instead of characters because they are all mentioned but not present, batfam, Batfamily (DCU), Fluff, Domestic, Domestic Fluff, photo albums, Identity Reveal, Family Fluff, Bruce Wayne is a Good Parent, Good Parent Alfred Pennyworth, Good Grandparent Alfred Pennyworth, Alfred Pennyworth is the Best, Ma and Pa Kent - Freeform, kent family farm, Diana has a longsword, and also a bow, Swearing, Rated T for swearing, the naked time au, Star Trek References, poisonous gas, Batfamily Meets Justice League, Sparring, silliness, Pranks, concerned Justice league, Secret Identities, Ma Kent makes the best pies, Bruce Wayne Has Feelings, Bruce Wayne is Bad at Feelings, Cuddling, lots of hugs, Diana likes hugs, three idiots all being ridiculous, Barry is a Star Trek Nerd, and so is Hal, Confusion, Shock, Lots of laughing

read it on the AO3 at https://ift.tt/3ipYLag

[icedanceupstarts]

2019 US Junior Nationals Preview

Gold, silver, bronze and that world famous pewter are on the line here. Out of the thirteen teams that qualified to Junior Nationals, five of them are siblings, which is not a ratio you are likely to see anywhere else in the world.

As a warning to those who haven’t already heard, due to recent unfortunate events there is a brief discussion of allegations regarding sexual abuse of a minor under the cut.

Ella Ales/ Daniel Tsarik

Age: 17/17

Coach: Igor Shpilband and Pasquale Carmerlengo

Season's Best: N/A, scored 140.14 at Midwestern Sectionals

Sectionals Result: 2nd at Midwestern

Rhythm Dance: La Cumparsita

They are a new team this season and train in Novi. Ella was a singles skater until recently and this seems to be her first dance partnership, he competed with Amanda Miller last season. Until just a few years ago, he was also a competitive ballroom dancer. Look at him go!

We first saw Ales/Tsarik at Dance-Pairs Chicago, where they had some glimmers of promise but weren't even close to being soup. They're proof of just how quickly a young dance team can pull things together and show massive improvement and growth as a team in a very short amount of time. They have nice posture skating in hold, and fluid, expressive upper bodies as well as a charmingly hammy performance style. Combined with their massive technical strides over the past few months and they surprised quite a few fans by rocketing seemingly out of nowhere to grab silver at their Sectionals with fairly competitive scores. They're not likely to qualify for the junior world team, and they don't have the minimums, but they can get a great jumpstart on next season and make a statement by having a good finish here.

Oona Brown/ Gage Brown

Age: 14/16

Started Skating Together: 2012

Coach: Andrew Lavrik*** SUSPENDED

Season's Best: 133.83

Sectionals Result: 2nd at Easterns

Rhythm Dance: La Cumparsita/Tangled Up

Free Dance: Still Got the Blues

Sibling teams and color names, a US ice dance specialty! 5th at Novices last year, these two made quite the splash in their first junior season. They're great skaters with a lot of projection and maturity for their age, as tiny as they are. They've got such a great sense of showmanship and musicality, and are quite polished too. While it's their basic skating and charm that makes up the bulk of their marks, crowd pleasing elements like the hydroblading in their free dance or Oona lifting Gage while giving incredible face and sass are just a sample of great highlights that commit these two to memory. Their inexperience shows in some of their level struggles and stumbles, and they got called for a music violation in the free dance at their first JGP, and they had to rework the program from its original incarnation. It's still great even with a more obvious rhythm change, and we love their confidence and attack. With a team this young, some stumbles and mistakes are honestly more expected than not, and some low levels are not an issue either. Here's hoping that they deliver two fabulous, confident performances and start making their mark, regardless of the results.

***We have been struggling with how to address this, and it's an awful situation all around, but it would be remiss of us not to mention that while Andrew Lavrik has been their coach and choreographer all season, he has been suspended both by the rink and the Professional Skaters Association due to his arrest on January 7th for alleged sexual abuse of a minor. While we separated this section so as to try to not take the spotlight from where it's supposed to be, the Browns and their talent, it would be naive and shallow of us to say we hope that this doesn't affect them at Nationals. We do not want to speculate further, but at the very least the Browns are in a very stressful, upsetting situation as well as in the position of having to find a new credentialed coach to at least accompany them to Nationals. Our hearts go out to them and every other person affected, directly or indirectly, by Lavrik's alleged crimes.

Molly Cesanek/ Yehor Yehorov

Age: 17/19

Started Skating Together: 2018

Coach: Elena Novak and Alexei Kiliakov

Season's Best: N/A(142.03 at Sectionals)

Sectionals Result: 1st at Pacific Sectionals

Rhythm Dance: Mas Alla Del Sur

Free Dance: Flamenco Medley(25:00 on the video)

Another new team, Yehor previously competed for Ukraine last year. They started their season finishing third overall at Lake Placid and later pulled out a surprise victory at Pacific Sectionals over several more experienced teams who competed on the JGP this season. As a newer team their connection isn't automatic but they've really developed and are showing lots of promise. They’ve obviously been very focused on the skating and elements with that concentration on getting through the steps showing in their performance, but they’ve already managed to match each other well. They do have great energy in their free dance which helps distinguish it from their rhythm dance. If they continue their steady improvement of the past few months and continue to develop their connection and performance, they could place much higher than you might expect.

Katarina Delcamp/ Maxwell Gart

Age: 14/16

Started Skating Together: 2016

Coach: Svetlana Kulikova and Mathew Gates

Season's Best: 122.09

Sectionals Result: 4th at Midwestern

Rhythm Dance: Otra Luna/Libertango/Tango Amore

Free Dance: Italian Folk Medley

The 2017 Novice Silver medalists are one of the most charming young teams we have the pleasure of watching, but unfortunately also one of the messiest. We're not sticklers for polish, but Delcamp/Gart have a habit of slipping off their deep edges at the wrong moment and losing levels. They have incredible energy, speed, and commitment, but something about their skating lacks the innate security that makes everything feel planned, and it can leave you on the edge of your seat, and not in a good way. They are incredibly talented though, fast and expressive, with a strong connection, and they use her flexibility to create great elements and highlights in the choreography. The upbeat, chaotic energy of their free dance suits their skating very well and showcases their strengths while minimizing the areas where they're not quite as developed.

They've both been around despite their young ages, and he in particular found success with other partners, like his 2016 Intermediate silver medal with Avonley Nguyen. He was also the 2014 Juvenile silver medalist and 2015 Intermediate bronze medalist with Molly Cesanek. That previous experience does shine through for such a young, new team. They'll be looking to harness their strengths of energy and performance quality and add a refinement and maturity to make the judges sit up and make note of them for next season.

Alina Efimova/Alexander Petrov

Age: 17/20

Started Skating Together: 2016

Coach: Igor Shpilband, Pasquale Carmerlengo, and Adrienne Lenda

Season's Best: 131.50

Sectionals Result: 4th at Pacific Sectionals

Rhythm Dance: Toute Tourne/Ontra Luna/Pa Bailar

Free Dance: Who Wants to Live Forever

We've enjoyed Efimova/Petrov for the past couple seasons, and were very pleased to see them finally get a JGP in their last season of junior eligibility. They're a really fun, expressive team, and are so lovely to watch. While there have been a lot of great, enjoyable tangos this season, most of them tend to be pretty serious, whether they go for a classic drama, a more sensual elegance, or something more flamenco styled. These two have a really fun, upbeat, sassy tango that borders on downright playful at times. They clearly love their free dance and commit to every second. We personally might recommend a little less exuberant grinning for Who Wants To Live Forever, but perhaps we have found the answer to that question! It's a thrilling, engaging performance regardless. They weren't at their best at Sectionals, but they're more than capable of rebounding for a higher finish at Nationals than you might expect, and ending their junior career on a good note.

Sophia Elder/ Christopher Elder

Age: 15/17

Started Skating Together: 2011

Coach: Kelley Morris-Adair, Donald Adair, Igor Shpilband

Season's Best: 137.42

Sectionals Result: 3rd at Midwestern

Rhythm Dance: Tango Classico

Free Dance: Halo Theme

A sibling team sans color last names! Two JGP assignments this year after making their debut on the 2017 circuit and placing twelfth is a great showcase of how much young teams can improve when given the opportunity. Their programs this season are a great showcase of their flow and ease of skating together as well as a bit of drama. Their free dance is a nice step up in maturity with unique choreographic twizzles and spin matched well with the music. They have great tango posture and feel for the style, and there's drama in their movements and choreo even if they could at times bring a little more of that expression to their faces. With the added international experience under their belts, we expect these two to make a major push in the standings from their 11th place finish last season.

Caroline Green/ Gordon Green

Age: 15/17

Started Skating Together: 2009

Coach: Elena Novak and Alexei Kiliakov

Season's Best: No ISU SB, 157.41 at Mentor Torun Cup

Sectionals: 1st at Easterns

Rhythm Dance: "Essa" by Ostra Aires

Free Dance: The Devil Violinist

Sibling teams with color names part 2! Two time novice National champions, top 5 at their first junior Nationals in 2017 when they weren't age eligible internationally, reigning junior national silver medalists, earned bronze at both JGPs in their international debut and went on to finish sixth at their first junior worlds. An impressive resume for a team so young, and one that made them seem the obvious next top junior American team with Lewis/Bye on hiatus and Carreira/Ponomarenko moving up to the senior level. Unfortunately Caroline got sick and they were forced to miss the first half of the season, leaving Nguyen/Kolesnik to fill the gap.

Even with the late start, they're great skaters in good shape. Their performances at Sectionals and Golden Spin were a little reserved, but they got a level 4 on every element in both programs at Golden Spin. They started really coming alive at Torun, where they performed with their more customary levels of speed, expression, and attack. They've always been fast, dynamic skaters, and the tango works well with those strengths, but they've also really grown up over the past year. There's an added power and maturity in their skating this season, and their long lines are well displayed in both programs, although especially the rhythm dance. Caroline's free dance dress is literally a violin, which is a neat sartorial choice, although a trip through Wikipedia indicates that Gordon is neither the devil nor making a deal with one. It's a pretty powerful vehicle for them, and is clearly telling a story, albeit apparently not a more classical adaptation of The Devil Went Down to Georgia. There's such a natural drama to their skating which this program takes perfect advantage of. If they can marry their technical performance from Golden Spin with the more engaging performance from Torun, they have a shot at not just the junior national title, but setting themselves up for a junior world medal.

Eliana Gropman/ Ian Somerville

Age: 17/18

Started Skating Together: 2009

Coach: Elena Novak and Alexei Kiliakov

Season's Best: 148.51

Sectionals Result: 1st at Midwestern

Rhythm Dance: Nuevo Tango

Free Dance: Mozart L'Opera Rock

The reigning National pewter medalists will be looking to move up at least one step on the podium and make their first junior world team. Gropman/Somerville won their first JGP medal this season but were off the podium at their second assignment due to some errors. They still need to add more power and size in their skating, but they have lovely glide across the ice, and their lines and edges in the pattern dance are simply beautiful.

We've been watching Gropman/Somerville for a few years now and they have really grown up. He's such a strong lead in the tango and her movements are so placed, and they just have really fluid, seamless partnering. They're one of the teams where you can just tell that they've been together a long time. Their free dance is charmingly offbeat and clearly has a story behind all the movements. If they avoid some of the twizzle errors and other bobbles that nagged them at earlier events, they should have no trouble moving into the top 3 and making their first junior world team.

Jocelyn Haines/James Koszuta

Age: 16/20

Started Skating Together: 2016

Coach: Blanka Szijgyarto, Carly Donowick

Season's Best: 123.02

Sectionals Result: 2nd at Pacific Sectionals

Rhythm Dance: Sentemientos/ “Sweet Dreams(Are Made of This)”

Free Dance: Pearl Harbor

In ice dance, it pays to get together early, but these two are determined to succeed despite their rushed timeline. Haines/Koszuta won the 2017 Novice title in their first season together, and age out of juniors after this season. They are a team small in stature but with impressive lifts nonetheless, in particular their curve and choreographic lifts in the free dance. Their free dance in general in a great vehicle for them with a triumphant build they match in performance. They had some technical issues in the rhythm dance at Sectionals, but came roaring back in the free dance to win that portion of the competition and very nearly overall. If they can clean up their levels and skate full out, they have every chance of leaving their junior career on a high note.

Avonley Nguyen/ Vadym Kolesnik

Age: 16/17

Started Skating Together: 2017

Coach: Igor Shpilband and Pasquale Carmerlengo

Season's Best: 165.63

Sectionals Result: N/A

Rhythm Dance: Building the Bullet/Vuelvo Al Sur

Free Dance: “Demons” by Imagine Dragons/Experience by Ludovico Einaudi

The only team in the field who didn't have to qualify through Sectionals, Nguyen/Kolesnik have had a great breakout season. They were high on charm in their debut last season, but have developed enough technical prowess over the last year to challenge for the top of the junior field, and not just domestically. With the entire junior world team from the year before being absent from the junior circuit for one reason or another, they were able to take full advantage and make huge strides up the ranks, and now they're looking at their first national medal as a team, and possibly the title. They'll want to drill their tango to do that, as their size difference means their patterns are never their most comfortable element, but they make up for it with speed and charisma, and fabulous lifts. They had some issues on their twizzles at JGPF, which they'll want to avoid here to take the title. If they bring the attack and security in their elements that they displayed at JGP Ljubljana, it's going to be tough for any team to beat them out for the gold.

Katarina Wolfkostin/ Howard Zhao

Age: 14/16

Started Skating Together: 2016

Coach: Igor Shpilband and Pasquale Carmerlengo

Season's Best: 127.58

Sectionals Result: 3rd at Pacific Sectionals

Rhythm Dance: Differente

Free Dance: Dr. Zhivago

The reigning Novice national champions may not have the highest season's best, but they're definitely still a team to watch. They have a number of fantastic qualities and they're great skaters, but at the moment their technical abilities outstrip the rest of their skating, leading to lower scores. They've been losing a lot on GOE, but at JGP Ostrava their free dance BV was the highest of the entire event, and their BV in the rhythm dance was pretty solid too. There did seem to be some moments where they were more focused on making sure their edges were clean and precise than on skating as big or as fast as they could. That's perfectly fine-- they're building a strong technical base for the future, and depending on how training has been going, it could already pay off for them this week.

While you can see all the places they need to tighten up their skating in order to start raking in the GOE, they're still a wonderful team to watch. While a number of junior teams their age have approached the tango with noticeable timidity, these two attack it and give amazing face throughout. Their free dance is much softer and downright playful at times, as they toss off in sync salutes with a wink and a smile. Hopefully they've worked on smoothing out their elements and transitions, because these two are really a delight. We hope that they bring their best here to set themselves up well for next season.

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BARRY KELLEY.

Filmography

1947: Boomerang I

1948: Force of Evil

1949: knock on any door

1949: Mr. Belvedere Goes to College

1949: Ma and Pa Kettle

1949: Too Late for Tears

1949: Red, Hot and Blue

1949: The Undercover Man

1949: Fighting Man of the Plains

1950: Wabash Avenue

1950: The Black Hand

1950: Right Cross

1950: The Asphalt Jungle

1950: The File of Thelma Jordon

1950: The Capture

1950: Love That Brute

1951: Hell in the clouds

1951: The Well

1952: Carrie

1952: Woman of the North Country

1953: Remains to Be Seen

1953: South Sea Woman

1953 - Vice Squad

1953: Law and Order

1954: The Long Wait

1954: The Shanghai Story

1955: Trial

1955: New York Confidential

1955: Women's Prison

1956: Accused of Murder

1957: The Mask of Pain

1957: Monkey on My Back,

1957: The Wings of Eagles

1958: Buchanan Rides Alone

1958: The Buccaneer

1960: Elmer Gantry

1960: Ice Palace

1961: The Police Dog Story

1962: The Manchurian Candidate

1962: Jack the Giant Killer

1964: Four Chicago gangsters

1964: Rio Conchos

1965: How to Murder Your Wife

1966: Boy, Did I Get a Wrong Number!

1968: The Love Bug

1969: The Extraordinary Seaman.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Barry_Kelley

[gabrielmeo-info]

Gabriel Méo, le monde est in the pocket !

Comme si le moi pouvait être un ensemble de sentiments, d’affects, de sensations, d’humeurs, de désirs, sans autres contenu qu’eux-mêmes... Comme si le moi était une structure sensible sans matière et sans objets, une structure sans le monde ... 

Jean-Charles Masséra, Amour, gloire et CAC 40

                Dans un monde meilleur, l’art n’aurait plus sa place. Sans aller jusqu’à penser avec Dominique Noguez que ses formes changent, mais qu’il « continue d’être le grand épongeoir du malheur et du sang, un exorcisme obstiné », il est bien vrai que l’art n’existe que dans l’agitation du monde qu’il regarde. Qu’il perçoit. Qu’il traduit. L’art n’a pas besoin de dire avec ostentation quoi que ce soit du monde, il appartient au monde. On n’attendra donc pas le monde meilleur comme une libération. Celui-ci nous donne l’art, ce qui est déjà pas mal, et devenant meilleur nous en priverait à coup sûr. L’art, pour être source de plaisirs l’est autant de tortures, et, pour celui (ou celle) qui le pratique, une expérience parfois violente lui faisant accéder au statut singulier d’artiste, dont il ne sait finalement pas si l’acquérir est une chance ou une malédiction. Certains du reste cachent cette identité. Ou ne l’assument pas. Il n’empêche : l’art est une quasi bénédiction des dieux. Ou du diable. Gardons-le dans tous ses états, y compris dans celui qui s’en prend à lui-même !

C’est ainsi que personnellement je suis sensible à une œuvre : dès lors qu’elle m’apparaît justifiée dans son existence. Cela vaut pour une peinture, une installation conceptuelle ou une performance. En un mot, lorsque cette œuvre nous dit quelque chose du monde (entendons par là, et une fois pour toutes, ce qui entoure son apparition) en même temps que de son auteur (je parle moins de ses secrètes douleurs que du point de vue de ce qui l’engage esthétiquement). J’ai, pour ma part, en plus d’être artiste, confronté donc à cette situation pour moi-même, été professeur dans plusieurs écoles d’art, et eu le privilège d’être en présence de jeunes gens et jeunes filles, assujetti.e.s, à ce stade de leur formation, par leur âge comme par un contexte extérieur, à cette question de l’incarnation de l’art : être artiste. Rien de sacré dans l’opération, mais un sérieux défi, à relever sans naïveté quant à ce que cela signifie. Marcel Duchamp a savonné la planche il y a un siècle, et le goguenard Picabia, le « moderne incroyant » jeté le doute sur le sérieux de l’entreprise. Mais bon, l’art existe encore, et les artistes de « talent » continuent de remplir les institutions, les galeries, de leurs œuvres. Ce n’est pas que l’on se bouscule au portillon, mais cela fait du monde, tout de même, de par le monde !

Le talent, justement. Parlons-en. Mot insaisissable pour définir un mystère assez inexplicable. On l’emploie pourtant à toutes les sauces. Pour l’art, il fait problème. Ce n’est pas un terme technique, il ne dit rien de ce qu’il qualifie. Ou plutôt trop de choses contradictoires. Mais « être artiste », cela ne se discute pas. Professeur, combien de fois, nous sommes nous dits entre collègues, parlant de tel ou telle étudiant.e possédant des qualités évidentes, qu’il ou elle n’était pas pour autant artiste. Il ne s’agissait pas présager s’il, ou si elle, seraient reconnu.e.s dans le « monde de l’art », le « talent » pouvant précisément y faire illusion, mais de reconnaître cet être à antennes vibrionnantes qu’on dénomme artiste.

Gabriel Méo, est de ces êtres à antennes vibrionnantes. C’est donc un artiste. Je l’ai précisément connu étudiant, dans le contexte d’une formation ad hoc en école d’art, celle de Nice. C’était un étudiant « doué », maîtrisant les savoirs faire techniques des arts visuels, avec, on peut employer là le mot, un certain « talent », c’est-à-dire, en l’occurrence, une forme d’élégance, assez vite perçue comme inutile, ne correspondant ni à sa personnalité, ni au rapport réel qu’il entretenait avec une culture impure ou disons mixée, la sienne, populaire, sur laquelle s’était greffée la curiosité à l’art, à son histoire et à son actualité. Bon point immédiat, les écoles d’art se distinguant des autres établissements d’enseignements en cela qu’elles ne se limitent pas à l’acquisition de compétences, mais qu’elles poussent à leur mise en question, Méo avait par exemple compris que ne se cramponnent aux techniques bien apprises que ceux, ou celles, confondant l’art et l’artisanat ; ou, dit autrement, ceux qui oublient d’être un des « symptômes du monde dont la maladie est l’homme », pour reprendre une formule saisissante de Gilles Deleuze (que l’on peut apercevoir sur un T. shirt de Gabriel Meo). 

La question de l’art se situe évidemment ailleurs que dans les techniques à condition, si on s’en tient à elles, de ne pas en être l’esclave. C’est une règle élémentaire. Le risque dominant est d’une autre nature. L’artiste doit se méfier de l’air du temps. Rester alors dans sa bulle ? Ou perché sur quelque cime à l’atmosphère raréfiée ? La vision romantique d’un art hors du monde des vivants, est aussi déplacée que la critique laborieusement sarcastique d’un art contemporain interchangeable, décalcomaniaque, bluffeur, tourné en ridicule par une presse aux relents réactionnaires en mal de sujets de société, ou aujourd’hui par quelques films se penchant sur un monde « à part » peuplé de snobs et d’artistes à l’égo dévorant, avec ses rites incompréhensibles, entretenant un rapport particulier à l’argent et au pouvoir. Emblématique de ce point de vue The Square du cinéaste suédois Ruben Ostlund, qui, pour dénoncer les ambiguïtés de le monde si bizarre de l’art, en vient à singer, au sens le plus littéral du terme, la performance d’un supposé artiste, terrorisant simiesquement les donateurs d’un musée d’art contemporain, par un cascadeur spécialisé dans la gestuelle des gorilles.

Ces considérations égrenées, ne sont pas sans rapport avec l’art que pratique Gabriel Méo, conscient de la situation inconfortable de l’artiste, devant transgresser ses savoirs et ses compétences pour accéder à une singularité qui n’échappera ni au monde, ni à l’époque. Gabriel Méo appartient de fait à une génération du désordre scénographié, ou scénarisé. Le critique d’art américain Jerry Saltz a eu, au début des années 2000, l’heureuse formule « esthétique du foutoir » (clusterfuck aesthetics) pour qualifier les installations « cacophoniques », carnavalesques, proliférantes, recourant pêle-mêle aux éléments les plus divers (peintures, sculptures, objets décoratifs, mobiliers, vidéos), « architectures sans architectures », filles du Merzbau de Kurt Schwitters, des bazars regorgeant de kitscheries made In China, et des entrepôts Emmaüs, royaumes de la seconde-main. Saltz les décrit comme « très masculines », sans plus argumenter (il cite de fait Mike kelley, John Bock, Jason Rhoades et Jonathan Meese), ce qui n’est pas si sûr (Isa Genzken ou récemment Baseera Khan, Sara Cwynar, Fabienne Audéoud). Cet élargissement éclectique envahissant rivalise, en négatif, avec l’opulence obscène de la société dite de consommation, le débordement des images et des informations. Mais Gabriel Méo laisse apparaître une jouissance particulière du « foutoir » que constitue le monde réel et ses représentations, sorte d’« Apocalypse joyeuse » rejouée volontairement sur un mode contrefaisant l’art « naïf ». Il introduit par là une réflexion biaisée entre le « grand art » et l’art populaire (le fameux High & Low post-moderne). Ce n’est plus simplement une opposition entre l’un ou l’autre qui serait réglée par une mise à distance critique, consolidée par un ciment théorique irréprochable, mais un parasitage rongeant les jugements de valeur d’ordre culturel. Le spectateur le perçoit, confronté à des céramiques boudinées encadrant des images de magazines hâtivement retouchées (beaucoup de basketteurs américains), dans un goût que l’on ne qualifiera de mauvais que parce que faisant irruption dans le « grand art », des peintures sur tissu de mamies en ehpad, des collages de centres aérés, des tableautins à motifs exotiques agrémentés de plumes idiotes, des potiches armoriées de fausses pierres précieuses, un vêtements lacéré tenant par des épingles de nourrice, vidé de tout corps, surmonté d’un masque plat, calciné comme une galette oubliée dans le four. Monde du déchet et de la customisation, du bibelot niais et des gladiateurs modernes frappés de numéros des arènes sportives. Sociologie de bistrot. ? Non, monde pris en considération. Et ornementalisé avec les moyens du bord. Œuvres précaires, esthétique domestique. C’est Présence Panchounette, couleurs hip-hop. 

L’art, disions-nous, disparaîtrait dans un monde meilleur. Il n’y serait plus à la fête car sans nécessité. L’artiste appréhende le monde en quelque sorte de l’intérieur ; les spectateurs, les « regardeurs », les critiques, de l’extérieur. Gombrowicz fait la différence de la sorte : « Lorsque vous opérez un homme qui souffre d’une appendicite, il est pour vous un objet, vous l’opérez exactement de la même manière que vous répareriez une auto ou un engin quelconque […] Mais du point de vue du malade, de celui qui vit l’opération […] : c’est quelque chose de particulier, d’unique de personnel, c’est son opération à lui. » L’œuvre est l’opération vue du côté du malade. Je ne dis pas ça, en voulant suggérer que Gabriel Méo est atteint d’une pathologie particulière, mais pour souligner l’idée de l’art comme symptôme du monde, et de l’œuvre comme objet transitionnel. Deux thèmes affleurent dans son travail récent qui l’illustrent clairement : les vêtements tailladés composant des zombies en lambeaux, et une théâtralité revendiquée (World in A Stage). Précisons : il pourrait évidemment y avoir quelque chose de la rage, ou de l’accès maniaque, ou d’une punkitude formelle, dans la lacération, mais ce n’est pas du tout de cela dont il s’agit. Le corps est ici morcelé et recomposé, ou plutôt rafistolé par bribes. La globalité n’est qu’une enveloppe fragile. C’est en fait un non-corps comme pixellisé. Le réel pourtant est bien présent sous formes d’éclats, des éclats de bombes de pyrotechnies de carnaval. On est à la salle des fêtes, pas au théâtre rouge et or cher à Cocteau, mais le spectacle est là. Fantomatique.  Les acteurs en chair et en os, ont désertés. Restent les oripeaux d’une transcendance à l’échec annoncé. Affects, émotions, humeurs, désirs, tout y est pourtant. Mais sans aura. Le trivial a gagné. Le monde est in the pocket !

Arnaud Labelle-Rojoux. 2020

[superman86to99]

Super Titles Round-Up (February 1994)

This month: the Superman family nearly doubles! Plus, some pointless tie-ins.

Superboy #1 (February 1994)

Superboy (it's all right to call him that now) gets his own series! The first issue is about the No-Longer-Metropolis Kid going to Hawaii as part as a promotional tour with his sleazy manager Rex Leech, Rex's daughter Roxy, and his psychic DNAlien chaperone, Dubbilex. Superboy and Roxy are faking a rescue stunt to get the attention of the locals and sell some t-shirts when they run into Sidearm, a small-time villain with robot arms Superboy had previously tussled with in Metropolis (which confused me as a kid, because we haven't seen that fight yet: it'll happen in Superboy #0). Below: Superboy being a gentleman.

Superboy defeats Sidearm and the issue ends with teases for future issues: something escaping from a secret lab under Pearl Harbor, a super-strong stripper (a real knockout, you might say) seeing Superboy on TV and looking intrigued, something about a gang called the Silicon Dragons, and the cliffhanger: Superboy telling some reporters he's only planning to stay in Hawaii for three hours, when he sees that one of those reporters is his friend Tana Moon (AKA the reason why "three hours" turned into "50 issues").

Supergirl #1 (February 1994)

Supergirl gets a series too, but only a limited one (and for 4/5s of the salary, probably). Most of the first issue is about Supergirl having her powers tested in various ways by her beloved Lex Luthor Jr., who would never do her wrong and surely has her best interests in mind. At one point she stops by Smallville to visit Ma and Pa Kent, but then Pa ruins a perfectly nice evening by daring to doubt the purity of Lex's intentions. Supergirl gets uncomfortable and leaves to continue the tests... and then, of course, we find out the real reason Lex is so interested in her powers: he's trying to clone her, and in fact he already has a room full of nude Supergirls sleeping in pods.

Incidentally, my favorite part of the issue is when Dr. Kelley, Lex's physician/former lover/fake mother (long story), covers a hidden camera to prevent Lex from snooping on Supergirl's physical test. I'm taking this as confirmation that Lex DOES know about that camera in the ladies locker room at LexCorp and possibly installed it himself, the old horndog. You know, on second thought, the idea of Superboy being Lex’s clone doesn’t seem that far-fetched...

Steel #1 (February 1994)

Steel gets his own series too! And I'm not feeling it (yet). In this issue, John Henry Irons goes back home to Washington DC to track down whoever is selling the "Toastmaster" guns he designed when he worked for a weapons manufacturer, and visit his family while at it. I like that his entire family immediately knew he was Steel when they saw him on the news -- no secret identity crap. Among others, we meet John's bright young niece Natasha and her troublemaking brother Jemahl, whose juvenile delinquent friends use some sort of drug that turns them into Hulk knockoffs.

Highlight of the issue: John taking down a whole squad of armored goons from the company he used to work for with nothing but a frying pan his grandma threw at him. Later, John uses what's left of their armors to build himself a new Steel suit, meaning that his dramatic decision to quit superheroing lasted about two months (or like two days in comic book time).

Outsiders #4 (February 1994)

The Eradicator is, at least at first, getting along surprisingly well with the Outsiders considering he ripped a team member's arm off last issue (the guy already got himself a new one, though). Together they storm the castle occupied by the vampire who framed the Outsiders for murder and manipulated the Eradicator into fighting them. After causing the vampire to escape the castle like a coward, the Eradicator is like "eh, good enough" and quits the team, making it clear that he doesn't give a crap about helping the Outsiders clear their name. He'll be back in a few issues anyway.

L.E.G.I.O.N. '94 #63 (February 1994)

A (completely unnecessary) tie-in to Superman's mini-space saga: Lobo tracks down Superman again just to take him to a space bar and prove to the regulars there that the two are totally buddies now. However, their friendship ends when Superman saves Lobo from being thrown into the nearest sun and then mentions the rescue in front of the alien drunkards, against Lobo's express wishes. It's a funny ending, but I'm pretty sure Superman just caused everyone in that bar to get murdered by Lobo twenty seconds after he left.

New Titans #104 (February 1994)

Lex Jr. appears in this issue for two pages when Roy Harper/Arsenal comes to ask him for help in manufacturing some weapons, and Supergirl appears for one when she tells Lex she has to speak with him and he brushes her off. I guess this will tie in to the issues where Supergirl joins the team? I'll be reading those when the time comes but I'm not looking forward to it, because this whole era of the New Non-Teen Titans is extremely boring to me (the Tom Grummett-drawn issues that came right before were pretty cool, though).

[christophe76460]

Joyce Harrington, 93 ans, a été guérie de COVID-19 malgré les pronostics du médecin de l'hospice et a rendu gloire à Dieu.

Lorsque Joyce a été admise avec des symptômes de COVID-19 le 25 mars, elle et ses trois filles ont du faire face aux propos peu rassurants du médecin au téléphone: «Espérons pour le mieux; planifiez le pire».

 

Alors que les chances de survie de Joyce étaient minces, ses filles et elle-même n'étaient pas terrifiées. Elles croyaient que la foi et le corps de leur mère étaient forts. Joyce était dans la paix et avait foi en la volonté de Dieu. Kelley a déclaré que sa mère avait prié pour la volonté de Dieu se fasse, quelle qu'elle soit, mais s'est engagée : "Si Dieu veut que je vive, je lui rendrai gloire.", Selon Bpnews.

 

"Vraiment, le médecin m'a dit que je n'allais pas y arriver", a déclaré Harrington aux médias. "Alors, j'ai parlé au Seigneur. J'ai dit: Seigneur, je suis prête maintenant. Je suis prête à voir les anges venir me chercher. Je me suis sentie en paix depuis le début mais maintenant en plus,  je persiste à dire aux autres que Dieu m'a guérie. " elle a ajouté.

 

Les filles de Joyce, Rhonda Harrington Kelley, épouse du président  du séminaire théologique baptiste de la Nouvelle-Orléans Chuck Kelley, et Mitzi Woodson, dont le mari est médecin en Oklahoma, se sont réunies tous les soirs au téléphone avec leur mère.  Elles étaient inquiètes car la quarantaine ne leur permettait pas d'être avec elle, mais la "bénédiction la plus douce" était rendue possible par téléphone portable. Rhonda a dit qu'elles partageaient du temps dans la prière  ensemble par conférence téléphonique chaque soir.

 

"Mère était prête à rencontrer Jésus", a déclaré Woodson à Bpnews. "Elle n'avait pas peur, jamais."

 

"Il y avait tellement d'émotions qui ont surgi, alors j'ai fait beaucoup de prières différentes", a expliqué Joyce, 93 ans, à la presse. "J'ai prié pour ma famille tous les jours et j'ai prié pour d'autres choses très importantes, des choses qui se passent actuellement".

 

Joyce Harrington se remet maintenant dans un centre de soins infirmiers qualifié, respirant d'elle-même et gagnant en force et veut garder son engagement de glorifier Dieu avec sa vie retrouvée.

 

Elle a enregistré son témoignage d'une minute, comme beaucoup d'autres baptistes du Sud postés pour Pâques, et avec l'aide de Kelley, l'a publié sur les réseaux sociaux. Alors que des centaines de personnes à travers le monde ont suivi ses progrès  sur les réseaux sociaux, elles ont publié des commentaires sur l'impact de "Mme Joyce" sur leur vie, louant ses bonnes actions envers les autres, a rapporté le journal.

 

 

"Maman a touché des vies parce qu'elle aime les gens", a déclaré sa fille Mitzi. Le moment de sa maladie a rendu Pâques plus réel. "Sachant que je serai ressuscitée tel qu'Il l'a été, cela a rendu les choses tellement réelles", a déclaré Harrington.

 

La famille a également mentionné d'autres personnes en deuil en ces temps de crise. "Nous, les êtres humains, ne le comprenons pas", a souligné Kelley. "Nous devons simplement faire confiance à sa volonté et à son plan parfait. En tant que croyants, nous devons pratiquer notre foi. Dieu est souverain et il est aux commandes. Il est avec nous. Nous pouvons savoir qu'il nous donnera la paix et le réconfort, quoi qu'il arrive . "

 

Kelley a exprimé la gratitude de toute la famille à ceux qui ont prié fidèlement. "Dieu nous a été très fidèle", a déclaré Kelley. "Nous sommes tellement reconnaissants pour les prières des gens ! A Dieu soit la gloire."

[papermoonloveslucy]

Lucy Puts Main Street on the Map

S5;E18 ~ January 30, 1967

Synopsis

Trying to think of a way to help bring the town of Bancroft's story to the rest of America, Lucy and the town fathers stage a gun battle to get national news coverage.  

Regular Cast

Lucille Ball (Lucy Carmichael), Gale Gordon (Theodore J. Mooney)

Mary Jane Croft (Mary Jane Lewis) and Roy Roberts (Mr. Cheever) do not appear in this episode. 

Guest Cast

Mel Tormé (Mel Tinker) returns to play Lucy's neighbor Mel having previously played the role in “Lucy in the Music World” (S4;E3) and “Main Street U.S.A.” (S5;E17). Tormé was a musician nicknamed ‘the velvet fog’. He was best known as a singer of jazz standards. He was also a jazz composer and arranger, drummer, an actor in radio, film, and television, and the author of five books. He composed the music for “The Christmas Song” (“Chestnuts Roasting on an Open Fire”) and co-wrote the lyrics with Bob Wells. He died in 1999 at the age of 73.  

John William Sublett (John Bubbles) was known as the "Father of Rhythm Tap,” and was the original Sportin' Life on Broadway in Porgy and Bess (1935). Since he did not read music, George Gershwin had to teach him the songs note by note. Sublett was his birth name but his stage name was Bubbles, which he uses as his character name here. He appeared in the previous episode “Main Street U.S.A.” (S5;17). He had a stroke and had to retire from show business. He died in 1986.  

Although not the first black face on a Lucille Ball sitcom, Sublett has the distinction of being the first to be be billed as a guest star and to be an integral part in the storyline.  

Paul Winchell (Doc Putnam) previously played himself in “Lucy and Paul Winchell” (S5;E4). He was born Paul Wilchinsky in 1922. Coming into the public eye in 1948, he became one of the most famous ventriloquists since Edgar Bergen. He hosted the enormously popular children’s television show “Winchell-Mahoney Time” (1964-68) in which he shared the spotlight with Jerry Mahoney, one of his most popular characters. Winchell is fondly remembered as the voice of Winnie the Pooh’s pal Tigger and (later) Papa Smurf. He played Doc Putnam in “Main Street U.S.A.” (S5;17), as well as doing two episodes of “Here’s Lucy.” Surprisingly, Winchell was also an inventor who is credited with the artificial heart, among other innovations. He died in 2005.

Paul Winchell was most famous as a ventriloquist, but he does not do ventriloquism in this episode. He cherished the opportunity to act without his dummies. Winchell learned to play violin for this episode. 

Hal Smith (Mr. Weber) is probably best remembered as Otis Campbell, the town drunk, on “The Andy Griffith Show,” even though in real life he never drank alcohol. He appeared with Lucille Ball in the 1963 film Critic’s Choice. This is the third of his three appearance on “The Lucy Show.” He reprises the role of Mr. Weber last seen in “Main Street U.S.A.” (S5;E17) and did one episode of “Here’s Lucy” in 1972.

In the previous episode Mr. Weber could not get his tuba from around his waist. In this episode he is still wearing it! 

Burt Mustin (Old Uncle Joe) was born in 1884. He didn't do his first film until age 67, although his stage and radio career started earlier. He was generally cast as the stereotypical little old man. He is probably best remembered as Mr. Quigley on “All in the Family” and Mr. Lanson on “Phyllis.” He played Old Uncle Joe in the previous episode and did a 1973 episode of “Here's Lucy.” Mustin also played Uncle Jeff in Lucy’s Mame (1974). He died at age 92.

Carole Cook (Aunt Carrie) played Thelma Green on the series when it was set in Danfield. She was a protege of Lucille Ball’s during the Desilu Playhouse years. Although born as Mildred Cook, Ball suggested she take the name Carole, in honor of Lucy’s great friend, Carole Lombard. Cook also went on to appear in five episodes of “Here’s Lucy.”

Aunt Carrie is a relative of Mel Tinker. The character did not appear in the previous episode. 

Dan Rowan (Dan McGowan) was the comedy partner of Dick Martin, who played Lucy’s boyfriend Harry on season 1 of “The Lucy Show.” He is best known as the co-host of “Rowan and Martin’s Laugh-In” which aired from 1968 to 1973 and earned him a 1972 Emmy Award. In 1966 he had appeared with Lucille Ball on “The Dean Martin Show.” This is the second of his two appearances on “The Lucy Show.” He died in 1987 at age 65.

Dan McGowan is a TV reporter with the National News Service.

Roy Barcroft (Police Chief Tinker) had more than 375 screen credits from 1931 to 1970. He played the Marshall in the screen adaptation of Oklahoma! (1955). This is his only appearance with Lucille Ball.  

The character is the father of Mel Tinker.

Bennett Green (Cameraman with National News Service, uncredited) was Desi Arnaz’s stand-in during “I Love Lucy.” He does frequent background work on “The Lucy Show.”

Some of the Bancroft Townspeople (uncredited) are played by:

Walter Bacon was last seen in “Lucy Wins a Racehorse,” a 1958 episode of “The Lucy-Desi Comedy Hour.” Bacon played 'townsmen' on many TV westerns.  

Joan Carey was a frequent background performer on “I Love Lucy” and “The Lucy Show,” where she often served as Lucille Ball’s stand-in. 

Nick Borgani appeared with Lucille Ball in the 1937 film Stage Door. He will also be seen in two episodes of “Here's Lucy.”

Victor Romito was last seen as the Bartender in “Lucy Meets John Wayne” (S5;E10). He also appeared in four episodes of “Here’s Lucy.”   Romito was an extra in the 1960 Lucille Ball / Bob Hope film Critic’s Choice.

Glen Walters was a Canadian actress who's career spanned from 1926 to 1973. This is her only appearance with Lucille Ball.

Judith Woodbury makes the seventh of her eight (mostly) uncredited appearances on “The Lucy Show.” She also appeared in one episode of “Here’s Lucy.”

The actor with the gray beard and overalls who is referred to as 'Farmer Brown' in the previous episode “Main Street U.S.A.” (S5;17) returns in this episode. 

Other citizens of Bancroft are played by uncredited background artists, most of whom were likely in the previous episode as well.

This episode was filmed in mid-December 1966, shortly after the completion of “Main Street U.S.A.” (S5;E17). Although stand-alone in their plots, this episode is a continuation of the previous one, which also takes place in the small town of Bancroft. 

This is the only episode of season five that is still under copyright protection and not in public domain.  

Coincidentally, this episode first aired on Dick Martin’s 45th birthday. He previously played Lucy Carmichael’s boyfriend Harry on the series. His comedy partner Dan Rowan plays a reporter in this episode.

The dance sequences were choreographed by Jack Baker.  

Bancroft is supposedly located in California, but feels more like a mid-western or northeastern town. Although this is a fictional location, there is a Bancroft outside of San Francisco.  At the time of filming, however, it was known as Hookston, is an unincorporated community in Contra Costa County.  

Mel Tormé wrote the original song “Main Street U.S.A.” especially for these two episodes. It was first sung at the end of the previous episode and is reprised at the start of this one. Here we learn that it was Lucy Carmichael who wrote the songs lyrics to Mel Tinker’s music. Torme also wrote and sings the ballad “In Our Home Town,” a tribute to small town life. In 1944 he had a hit with another ‘town’ song titled “Stranger in Town” and in 1959 released an album titled Back in Town.

As ‘Carrot Top Carmichael’ Lucy says she plans to be the “most vicious, cold blooded killer since Ma Barker.”  Kate Barker (1873–1935, inset photo) was the mother of several criminals who ran the Barker gang. She traveled with her sons during their criminal careers. FBI director J. Edgar Hoover described her as “the most vicious, dangerous and resourceful criminal brain of the last decade.” Barker was last mentioned in “Lucy and the Great Bank Robbery” (S3;E5). Ma Barker was parodied as Ma Parker in a 1970 episode of “Here’s Lucy” (above) starring Carole Cook (who plays Aunt Carrie here).

Behind the TV camera atop the station wagon is a shop called Grandma Thompson’s Bakery. This is likely a tribute to director Maury Thompson and producer Tommy Thompson, who were not related.

Marl Young is credited with the dance music for John Bubbles. 

Callbacks!

Back in Danfield, construction of a new freeway was the cause of the destruction of their roadside cafe when “Lucy and Viv Open a Restaurant” (S2;E20).

The residents of East 68th Street planned a big block party when Ricky Ricardo came home from Hollywood in “The Homecoming” (ILL S5;E6).  

Blooper Alerts!

Sound Slip! Mel plays “Our Home Town” on an old upright piano, but on the soundtrack it is not a piano, but a harpsichord.  

Popular Print! The painting above Lucy’s left shoulder in the Tinker parlor was previously seen in Lucy’s Danfield living room and later in Viv’s bedroom. 

Smile For The Camera(s)! When Lucy and Mel break into song for the TV news, they perform with their backs to the camera, which is still atop the station wagon behind them.  

Bloody Bad Idea!  Even though the gun battle is staged to woo reporter McGowan to Bancroft to publicize a good cause, a pile of bullet-ridden corpses and a whopping lie seem a dubious way to bring attention to the joys of small town life. Ironically, right after the corpses get up, Mel sings “it's peaceful and quiet, there's never a riot, in my home town.”

Soft Goods at the Hardware Store!  A sign in the window of the Hardware Store advertises an unusual item - Matador Scarfs!  Why would a small-town hardware store stock matador scarfs? 

Ready! Aim! Kerplunk! When 'Carrot Top Carmichael' surrenders, she throws her guns aside and knocks a bright yellow tea kettle off the hardware store porch. When the tin kettle hits the deck, the lid pops off and rolls across the set! 

Roll Call!  Bancroft's Mayor (played by Barry Kelley in the previous episode) does not show up for the big block party / gun battle. Surely this would be an occasion suitable for the Mayor’s participation. Perhaps he disapproved of the entire escapade?  More likely Desilu needed to keep their budget in mind in this expensive episode. 

FAST FORWARD!

Years later, Paul Winchell’s daughter April wrote about her father’s relationship with Lucille Ball, her mother Nina, and this episode:

Not everyone loved Lucy. My mother, for example, couldn't stand her. And Lucy returned the favor. In fact, they had a showdown on the set of ‘The Lucy Show’ that remains the most artful display of bitchery I ever witnessed. 

It all started when I was about six years old. I remember my dad getting off the phone and yelling for my mother. He had just been given a recurring role as Lucy's Grandfather [*], and he was as excited as I had ever seen him.

It was a demanding part. He had to dance quite a bit, and even learn to play the violin. And since he was only about 45 at the time, he had to do it all wearing heavy old age make-up and a full wig. He spent hours under the hot lights, sometimes getting lightheaded in his three-piece tweed suit. All things considered, it was probably one of the hardest jobs my father ever had. And he loved every minute of it. My dad, Paul Winchell, was a ventriloquist, and by this time, he was already a very successful man.

Naturally, a puppet-free gig like this was important to him, and he took it very seriously. He rehearsed difficult dance routines in our garage at night, and worked long days on the set without complaint. And along the way, he and Lucy developed a lasting friendship based on mutual respect, a common work ethic and a shared affection for recreational drugs. Yes, my father loved his drugs. My mother, determined to save their marriage, began watching him vigilantly, and attempted to rid him of every acquaintance he used with. Unfortunately, she couldn't broom Lucy from their lives. And so the three of them tried to find an uneasy peace, which was impossible. 

It all came to a head during rehearsals for an episode called, "Lucy Puts Main Street on the Map". This was a big two-parter, with lots of guest stars. On this particular day, my father was rehearsing a parade scene. This was a big, complicated musical number with close to a hundred people on the soundstage. There were majorettes, townspeople, a marching band, and of course, Gale Gordon, Vivian Vance [*] and Lucy herself, wearing white go-go boots and a white patent leather vest. My mother and I sat in the bleachers that would later hold the studio audience, watching my father work. And he was working very, very hard. Over and over again, he would run out into the middle of the street, do a jig, play a violin solo and disappear back into the crowd. My father had polio as a kid, and one of his legs was shorter than the other. 

All the standing and dancing was taking a toll, so when Lucy stopped the action to look through the camera, he politely asked her if he could take a break. She was very understanding, and told him to sit with us for a while. She asked if he was thirsty, and when he said yes, a glass of orange juice instantly appeared. Dad made his way over to the bleachers, and we watched the scene for while. After drinking about half of the juice, he handed the glass to my mother, who took a sip. Suddenly, Lucy stopped the rehearsal.

"Wait a minute, wait a minute, cut, cut, cut," she shouted. 

The playback music of the marching band stopped abruptly, and everyone fell silent. Lucy turned and looked at my mother. 

"What are you drinking?" she yelled. 

"Who, me?" 

"Yes, you. What are you drinking?" 

"Orange juice." 

"Did I buy that orange juice for you?" 

"I gave it to her, Lucy," my father said sheepishly.

"That's not the point, Paul. I bought that juice for you. If I knew she was going to drink it, I'd have made her pay for it." 

This was bad. This was very bad. My mother was not afraid of anyone, and I really expected this to get ugly in a hurry. She rose to her feet, and I braced myself. All the blood drained from my father's face. Time stood still. Then she did something surprising. My mother turned to me, and held out her hand. I took it, and we began to leave. I looked over my shoulder and saw the entire cast watching us, stock-still. My mother pushed through the heavy stage door into the sunlight, and we were on our way.  

By the time we got back to the studio, everyone had gone to lunch. My mother understood where my father was, and headed straight for Lucy's trailer. She led me up the steps to the door, and without knocking, went in. Lucy and my father were sitting on the couch, eating lunch. When he saw my mother, he froze in terror, certain that the angel of death was passing over his career. 

"Lucy," my mother said, "I have something to say to you." 

Lucy eyed my mother cautiously. "Yes, Nina?" 

"I want you to know how sorry I am about what happened this morning." 

My father's shoulders sagged with relief. 

Lucy was stunned. "Well, I . . . that's okay, Nina. Don't worry about it." 

"No," my mother continued, "I feel badly to have taken advantage of you when you've been so kind to us." 

"Forget it," she said. 

"I will. But only after you've accepted this gift."

My mother held out a gaily-wrapped box from Saks. Lucy genuinely did not know what to say. She looked at the box, then at my father, then at my mother, then me, then the box again. She took the box and carefully opened it. Inside was a pullover sweater made of glittering gold yarn. Metallic knits were all the rage those days, and it was obvious that mom had spent a good deal of money on it. Lucy held it up against herself, delighted. It set off her red hair and blue eyes beautifully. She looked up at my mother, who was smiling beatifically. 

"Thank you, Nina." 

"You're welcome, Lucy." 

My father was beaming. The next day, Lucy showed up on the set wearing the gold sweater. A few hours later, my mother arrived, wearing the exact same sweater in silver. I learned an important lesson that day. You can catch more flies with honey than you can with vinegar. And once you catch them, pull their little fucking wings off.

[*] These small facts are slightly incorrect. The character is not Lucy’s Grandfather and Vivian Vance was not in the show or on set. Chalk it up to the memory of a six year old!

“Lucy Puts Main Street on the Map” rates 2 Paper Hearts out of 5  

[amilliiondreams]

oc muses that i’ll have here are:

charlotte kelley ( aka my shann.en do.herty )

christian kelley ( patr/ick demp.sey )

thomas ‘tommy’ kelley ( dyl/an mi.nnette

elijah townsend (ma/rk pa/ul gossel/aar)

cleo hart (ne.ve camp/bell)

scotty thornhart (ans/el elg/ort)

dexter richards (orl/ando bloo/m) teacher

portia delacriox(ha/ley ben/nett )

[inshallahjaimonmaster]

Grosso merdo j’en suis là

I/ Naissance de la revue

a- Identité et parcours intellectuels et politique des auteur-e-s

(René Ménil, Thélus Léro, Etienne Léro, Jules-Marcel Monnerot, Auguste Thésée, Michel Pilotin, Maurice-Sabas Quitman et Pierre Yoyotte. simone Yoyotte)

Etienne Léro

Parmis les contributeurs “les plus connus” on retrouve Etienne Lero, considéré comme le fondateur de la revue.  Les élèments biographiques à son sujet restent flous et contradictoires. Dans Black Brown and Beige,  Kelley et Rosemont partagent comme année de naissance et de décès 1910 -1939, Léro, serait mort prématurément au front à l'age de 29 ans, cependant René Ménil dans un hommage postum évoque la mort prématuré de Léro à l'age de 25 ans. Cependant on sait qu'Etienne Léro est issu de la famille Lero, famille d'intellectuels influente en Martinique (Thelus Lero, Senateur, Yva Lero, militante féministe historique en Martinique). Etudiant en philosophie à Paris, il était membre du groupe d'étude pour la phénomenologie humaine, a contribué à la revue Luciole, fondée en 1925 par Oscar Manoni et Gilbert Gratiant, à la revue du monde Noire, fondée par les soeurs nardal et Sajou mais aussi à d'autres revues surrealistes (le surrealisme au service de la révolution, document 34). Il evolue donc dans des milieux intellectuels assez divers. Un hommage postum de René Ménil publié en octobre 1985 dans le journal Justice témoigne de son relatif anonymat. “Etienne Léro : Restituer un visage”, un court article cloturé par un cliché d'Etienne Lero, le 1er publié. “C'est sans doute à ma connaissance, la première fois que se trouve publiée une photographie d'Etienne Lero dont il est tant parlé dans les livres qui traitent de la littérature moderne du Tiers-Monde. On peut s'interroger sur le pourquoi de cette étrange absence quand le visage des autres écrivains de la même époque, menant dans la même voie la lutte des idées (DAMAS, SENGHOR, CESAIRE et tant d'autres), sont de véritables icones largement répandues par le monde”. Bien que René Ménil dans cet article ne souhaite pas “determiner le role qu'il a joué dans le mouvement littéraire déclenché dans l'empire colonial français les étudiants antillais dans les années 30”, il sous entend bien qu'Etienne Lero est un des précurseurs de la négritude, le citant aux cotées de Damas, Senghor et Césaire, et en manifestant son vif interet pour “la chose nègre”.

En effet on garde en tête qu'Etienne Léro est précurseur, Kelley et Rosemont dans leur anthologie sur ce qu'on pourrait nommer “l'Afro-Surréalisme” (sur les surréalistes Africains et la diaspora) le réfèrent comme le 1er surréaliste Noir.

René Ménil peut etre considéré comme le 2eme contributeur le plus connu : C'est à son sujet que l'on retrouve le plus d'élément biographiques, il est resté actif jusqu'à son dècès en 2004. Ceci est aussi du au fait qu'il ait préfacé la réédition de la revue, et qui est la seule version accessible. Contrairement à Etienne Léro, René Ménil, né en 1907, est issu d'un milieu modeste. Comme Etienne Léro, il fait ses études secondaires au Lycée Schoelcher et part étudier à Paris où il rencontrera les autres contributeurs de la revue Légitime Défense, mais aussi d'autres figures du milieu surréaliste à travers les reunions du groupe littéraire surréaliste où l'on retrouve Paul Eluard, Tristan Tzara, Louis Aragon, André Breton entres autres. Dans une petite biographie établit par Geneviève Sézille Ménil qui se trouve être aussi sa compagne, est mis en avant dans le parcours de jeunesse de Ménil, les diffucultés rencontrées du au racisme et à la précarité (qui en plus d'être du au fait d'être issu d'un milieu populaire, est aussi du à son parcours militant, en effet il voit une de ses bourses d'étude suspendue à cause de ses idées politiques le contraignant à retourner en Martinique). Cette periode d'effervessence intellectuelle à Paris, l'ayant ammené à être contributeur de la revue Legitime Défense, est pour Ménil fondateur : “tout au long de sa vie René abordera ses activités selon les objectifs définis dans Légitime Défense tout en apportant les modifications critiques qu'imposera le long cours des évènement”. René Ménil est aussi connu pour etre une figure importante du partie Communiste en Martinique. Son rapport au marxisme que l'on pourrait qualifier de très “orthodoxe” façone sa manière de penser les thématiques raciales (et aussi de ne pas les penser) et ceci sera un point de tension important avec certains intellectuels affilié très directement à la négritude (comme Senghor notamment) mais aussi Césaire.

Parmis les autres contributeurs on retrouve Jules Marcel Monnerot, qui sera un membre très actif du milieu surrealiste à Paris mais qui au cours de son parcours, se tournera vers l'extrême droite. On peut aussi retenir Simone Yoyottr, considéré comme la 1ere femme Noire surréaliste par Rosemont et Kelley, membre actif du groupe surréaliste de Paris et contributrice à la revue Le surrealisme au service de la révolution et son frère Pierre Yoyotte, noté parmis les contributeurs mais dont le texte n'apparait pas. On peut noter qu'il ait signataire du texte “Murderous Humanitarianism”, texte virrulent à l'encontre de l'imperialisme et du colonialisme occidentale dont d'autres contributeurs de la revue sont signataires, et aussi de “réflexions conduisant à préciser la signification antifascite du surrealisme”, publié dans la revue surrealiste belge document 34. Simone et Pierre Yoyotte seraient morts assez prématurément.

b- Cadre historique et éléments historiques

La revue légitime défense n'apparait pas dans un lieu et une période au hasard. Elle est imprimée et diffusée dans un premier temps à Paris en 1932, à l'entre deux guerres. Paris durant l'entre deux guerres était un vivier de pensées anticoloniales, anti impérialistes. Bon nombres de figures intellectuelles et politiques, comme les Afro-Américains de la Renaissance d'Harlem, mais aussi bon nombre d'étudiants issus des colonies, les contributeurs de légitimes défense au même titre que d'autres étudiants comme Aimé Césaire, Suzanne Roussi, Leon Gontran Damas, Leopold Sedard Senghor, mais aussi des avocats, ingénieurs, tirailleurs et ouvriers constituait ce noyaux.

Phillippe Dewitte dans son article “Le rouge et le nègre” note que depuis 1921, avec la revue “le messager dahomeen créé et publié à Paris par Louis Hunkanrin, un instituteur, qu'il "réside la volontée d'union entre tous les Noirs de la diaspora”. On retrouve ce désir d'union et de construction de solidarité, dans des revues aussi assimilationnistes que révolutionnaires, entre Noirs mais aussi plus globalement entre colonisés (les continents, la voix des nègres, la race nègre, le paria, le libéré, dépeche africaine …). On peut dire qu'une tradition de revue “indigène” nait. Etablit par des colonisés, pour des colonisés. On ne peut pas non plus ignorer ce qu'il se passe durant ces mêmes périodes dans les caraïbes, à Haïti [A completer] mais aussi en [à completer] avec la revue Luciole, fondé par Gilbert Gratiant et Oscar Manoni, revue à laquelle Etienne Lero contribuera en 1926.

Pour Phillippe Dewitte c'est dans ce contexte et dans cette continuité qu'apparait La Revue Du Monde Noire, créé par Leon Sajoux, Me Henry Jean Louis et Paulette, Jane et Andrée Nardal, revue historique considéré comme fondatrice de la négritude, revue necessaire pour comprendre l'apparition de Legitime Défense. La revue du monde Noir né en 1931, les soeurs Nardal, originaires de la martinique jouent un role fondamental. Cette revue a pour but de réhabilliter la “civilisation” Noire et la culture Noire dans toute sa globalité, culture Noire aussi bien Africaine que diasporique. Elle veut être un point d'union entre les Noirs d'Afrique, d'Amerique et d'Europe. [voir en détail LRDMN, notamment l'intro, pour completer] On y retrouve des journalistes, des poètes, des chercheurs scientifiques dans le domaine de l'anthropologie, de la sociologie … pour des productions divers sur des thèmes assez larges aillant pour point commun, les Noirs. En parallèle à LRDMN, apparait les salons des soeurs Nardal, qui matérialise ce point d'union entre Noirs de tout horizons, bon nombre d'intellectuels Noirs se rendent à ces salons et contribuent un peu plus à l'émergence d'une pensée Noire. Elle permettra d'ailleurs à bon nombre d'intellectuels de diaspora divers de s'unir et collaborer. [voir hommage de René Ménil à Nardal] Ménil, Lero et Quitman seront contributeur de la revue du monde noire. Cette revue, à vocation internationnaliste, dans le sens où elle souhaite être un point d'union entre tous les Noirs, une revue d'ailleurs bilingues, regroupe essentiellement des Noirs issus de classes aisées. Ne se retrouve pas dans les préoccupations revolutionnaires d'un Lamine Senghor par exemple. Pour Phillippe Dewitte, LRDMN se réapproprie mais retourne aussi certains discours et rethoriques negrophobes, faisant des Noirs déficiant en terme d'intellectualisme, de technique, mais avancé en ce qui concerne l'art et la culture, qui seraient plus lié à l'emotionnel. Ce discours est d'ailleurs commun dans le surrealisme (d'où leur interet pour le “primitivisme”, “l'art africain”) {comme en témoigne Breton dans une interview de Bélance pour un journal Haitien } [placer la citation là ou attendre la partie suivante ?]

C'est en réponse à la revue du monde Noire que la revue Legitime Défense apparait, marquant alors une scission entre ces deux courants. Une partie sera consacré en détail à cette scission.

Le milieu surrealiste était lui aussi

[je peux peut etre ajouter un truc sur le surrealisme, parce que dans les années 30 c'était aussi très à la mode, avec le texte de Brent Hayes et Black Brown and beige]

[En 1931 est publiée la revue du monde noire,

1932

1 an après la revue du monde noire (1931) et en réponse à ça. Voir P. Dewitte

imprimé à ?.

entre 2 guerres

autres publications la RDMN, lucioles

ecrivains noirs à Paris (auteurs afro americains)]

c- Les mouvements politiques dans lesquels la revue s'inscrit (ou une partie essentiellement sur le surrealisme ?)

[Brent Hayes, Lori Cole, la revue, Ménil]

coté negritude et anti colonialisme :

La revue légitime défense s'inscrit dans cette continuité de revues Noires. Elle part du point de vue situé de la caraïbe pour dénoncer “la bourgeoisie de couleur”. Il s'agit là d'une critique interne, sans doute faisant référence à la revue du monde Noir, d'après Phillippe Dewitte. Pour se faire elle emprunte au surréalisme, au matérialisme dialectique et au marxisme.

-parler du mixe surrealisme et marxisme : texte de Lori Cole

Le choix du surrealisme à cette époque là dans une perspective anti coloniale semble aller de soit dans le sens où le surrealisme s'empare des critiques anticolonialistes et de quelques critiques antiracistes, et manifeste de manière assez problématique un interet global pour differents groupes racisés ethnicisés.

C'est avec André Breton et d'autres surrealistes que des membres de légitime défense signe le texte Murderous Humanitarianism, traduit par Samuel Beckett et publié uniquement en Anglais, un véritable texte anticolonialiste et anti imperialiste. Le surrealisme se veut allié des causes anti racistes et anticolonialistes. Ils dénonceront l'exposition universel et ses zoos humains, se veut une tribune pour beaucoup d'artistes, sportifs afro américains.  Cependant ceci se fait aussi de manière problématique. Le surrealisme ne se cache pas d'une fétichisation et d'une objectification de l'autre. Le primitivisme en est une illustration. L'interet porter pour certains artistes, representant une “authenticité Noire” d'après eux, illustre une essentialisation raciste. Le propos d'André Breton lors d'une interview par René Bélance illustre bien cela :

“ R.B : Je sais que l'une des démarches essentielles du surréalisme est d'aboutir à l'abolition "des différences existant entre les hommes”, pensez vous que les méthodes préconisées par vous on des chances de parvenir à ce résultat ? Quels avantages les peuples de couleur, enjeu éternel de l'impérialisme, peuvent-ils tirer d'une adhésion totale à cette forme de penser, de sentir et de vivre qu'est le surréalisme ?

A.B. : Oui, tout compte tenu des barrières de classes et autres dont il faut, d'abord, avoir raison par d'autres moyens, je pense que le surréalisme tend, est seul à tendre systématiquement à l'abolition de ces différences. Vous savez, en effet, qu'avec lui l'accent a été déplacé du moi, toujours plus ou moins despotique, vers le soi commun à tous les hommes. Mais cela m'entrainerait à retracer toute la démarche surréaliste de ces vingt ans.

Le surréalisme a partoe liée avec les peuples de couleur, d'une part parce qu'il a toujours été a leurs cotés contre toutes les formes d'impérialisme et de brigandage blancs, ainsi qu'en temoignent les manifestes publiés à Paris contre la guerre du Maroc, contre l'exposition coloniale, etc.; d'autres part, parce que les plus profondes affinités existent entre la pensée dite “primitive” et la pensée surréaliste, qu'elles visent l'une et l'autre à supprimer l'hégémonie du conscient, du quotidien, pour se porter à la conquête de l'émotion révélatrice. Ces affinités ont été mises en évidence par un écrivain martiniquais, Jules Monnerot, dans un ouvrage récemment paru: La poésie moderne et le sacré. Je crois que la lecture de cet ouvrage est absolument convaincante à cet égard.“

Cette citation fait vaguement écho à une citation de Senghor "l'émotion est nègre, la raison est hellène” très critiqué par René Ménil qui formulera sa critique de la négritude notamment autour de cette citation.

{Nous nous réclamons du matérialisme dialectique de Marx, soustrait à toute interprétation tendancieuse et victorieusement soumis à l'épreuve des faits par Lénine. Sur le plan concret des modes figurés de l'expression humaine, nous acceptons également sans réserves le surréalisme auquel -en 1932- nous lions notre devenir.}

La revue se revendique du surrealisme et du marxisme leninisme

surrealisme (liens avec Andre Breton, place dans le mouvement surrealiste) le potentiel antiraciste (anti fasciste) du surrealisme : texte de Yoyotte et murderous humanitarianism, critique de la blanchité ? (mais relativiser ça car surrealisme => fetichisation, primitivisme ?)

marxisme, se revendique du matérialisme dialectique, critique de la bourgeoisie de couleur

voir texte de Lori Cole sur surrealisme et marxisme

[negritude ? référence aux mouvements noirs, auteurs noirs (claude McKay, Langston H., solidarité avec les AF.AM)]

II - Conflits, tensions et scissions

a - Thèmes, arguments, références faits abordés dans la revue

Ce premier (et unique, car censuré) numéro de légitime défense est axé essentiellement sur la critique de la bourgeoisie de couleur.

La revue est composée d'une introduction signée par Etienne Léro, Thelus Léro, René Ménil, Jules Marcel Monnerot, Michel Pilotin, Maurice Sabas Quitman, Auguste Thésée et Pierre Yoyotte, de quelques essaies polémiques et est clôturée par des poèmes.

“Ceci est un avertissement”, c'est ainsi que débute ce manifeste. C’est dans l’introduction qu’ils font allégeance au marxisme, au  surréalisme et à la psychanalyse, ils font part de leur volonté d'être en quelque sorte l’élément perturbateur de la bourgeoisie de couleur, “des traîtres à la classe”. Voué à l’échec ou à la réussite, ceci leur est égale, cette revue est un “outil provisoire” ils sauront se renouveler (“s’il casse nous saurons trouver d’autres instruments”). Ils s’expriment de manière instantanée sans se laisser figer.

Cette revue est fait par et pour les jeunes antillais français et s’adresse spécifiquement “aux jeunes noirs”, aux enfants de la bourgeoisie noire “à ceux qui ne sont pas sont pas encore tués placés foutus universitaires réussis décorés pourris pourvus décoratifs pudibonds opportunistes marqués”, “ceux qui peuvent encore se réclamer de la vie avec quelque apparence de vraisemblance” car ils ont le capital (matériel et culturel) pour accéder à cette revue, mais aussi par leur place social spécifique dans la société coloniale qui leur confère “un potentiel plus élevé de révolte et de joie” et les appels à les rejoindre dans leur trahison et leur ‘haine’ du “monde capitaliste chrétien bourgeois” et ses valeurs.

Leur basculement entre critique socio-structurelle et culturel de la société coloniale reflète leur double allégeance au marxisme et au surréalisme pensée comme contradictoire, on peut y voire la dichotomie “base/superstructure”, Légitime Défense mêle sans cesse les deux. La revue est composée de 5 petits essais : ”Note touchant la bourgeoisie de couleur française” de Jules Marcel Monnerot, “Le Paradis sur Terre” de Maurice Sabas Quitman, “Généralités sur “l’écrivain” de couleur antillais” de René Ménil et “Civilisation” et “Misère d’une poésie” d’Etienne Léro, un extrait traduit de Banjo de Claude McKay clôture cette série d’essaie (et illustre en quelque sorte leurs propos)

L’assemblage de ces différents essais à une certaine logique et commence avec un texte de Jules Marcel Monnerot sur la bourgeoisie de couleur (“Note touchant à la bourgeoisie de couleur française”)

Jules Marcel Monnerot dresse en quelque sorte une monographie de la bourgeoisie de couleur en Martinique et le continuum esclavagiste de sa position de traître à cette bourgeoisie.  La bourgeoisie de couleur joue un rôle particulier, ces petits fils d’esclaves sont amenés à reproduire les mêmes logiques que la bourgeoisie blanche. Pour Jules Monnerot la société post esclavagiste est un leurre, les blancs sont les détenteurs des terres et du capital et la situation du prolétariat noir reste peu différente de celle des esclaves noirs (“Les blancs créoles à qui profitaient l’esclavage et au profit de qui, principalement, il existe encore sous forme du salariat (le sort des coupeurs de canne en 1932 n’est pas meilleur que celui des coupeurs de canne de 1932), constituent une société fermée”), ce qui peut paraître inédit est l’apparition d’une bourgeoisie de couleur qui ne représente pas de danger pour la bourgeoisie blanche, au contraire. La bourgeoisie blanche, numériquement faible, peut se servir sans problème des bourgeois de couleur (l’exemple pris est celui des élections de représentants) qui sont eux même dans une espèce d’entreprise de blanchiment au fur et à mesure qu’ils s’élèvent socialement (“Ils s’y montrent avides de se conformer aux moeurs et caractères de la majorité de leurs condisciples Européens” “Les blancs n’ont pas de mérite, qui sont nés blancs. Eux, à force de conformisme se font une blancheur.”). Certains d’entre eux réussissent et n’hésitent pas à récupérer le flambeau des colons blancs.

Le texte Paradis sur Terre de Marcel Sabas Quitman met plus en avant la position du prolétariat noire en s'interrogeant sur le rôle de la bourgeoisie de couleur dans leur oppression et la question du capital culturel. Il démarre son propos en s’attardant sur la question de l'illettrisme : Le taux d’illétrisme en Martinique est très important, à titre d’exemple, sur 700 recrus de l’armée, 500 sont illettrés, 500 personnes du prolétariat noire car “l’instruction se mesurant à la fortune, on peut aisément répartir la société en classe qui existent”. L’exploitation “salariale” (avec des guillemets car pour Quitman le salaire est si faible qu’on ne peut parler de salaire, ce qui revient donc à dire que les salariés sont en réalité toujours des esclaves) en est la cause et engendre un cercle d'illettrisme : Malgré le nombre d’école en Martinique, un enfant de travailleur des champs par exemple ne peut se rendre à l’école, il doit aider le foyer familiale dès son plus jeune, et il en sera de même pour sa descendance. Et ce cycle se poursuit avec la complicité de la bourgeoisie de couleur, qui privilégie son ascension et son enrichissement à la solidarité de race. La solution à ce problème est pourtant simple “il faut donner aux pauvres le moyen de les [école] fréquenter, et pour ce faire améliorer leur situation”, cependant qui risque d’arriver pour Quitman, car il est peu confiant vis à vis de l’intervention de l’Etat coloniale et capitaliste, est la révolte.

René Ménil, dans “généralités sur “l’écrivain” de couleur antillais”, revient sur cette minorité lettrée, qui, si on base le précédent travail de Quitman, est issue de la bourgeoisie de couleur. Il revient sur l’aspect idéologique de la colonisation qu’il met au même niveau que l’exploitation matériel (“ les gendarmes, les administrateurs, les outils de travail et de police”). L’aspect idéologique compte dans le maintien et la reproduction de la société coloniale, aussi bien culturellement qu’économiquement “Si accidentellement, l’Antillais de couleur utilisé pour des fins économiques, même quand il fait profession de penser, tourne son activité vers la littérature, ses oeuvres manifestent un effort ennuyeux pour être pareil au blanc colonisateur”

critique de la bourgeoisie de couleur,  solidarité avec les AF-AM, poesie, exercice de style critique de la litterature caribeenne à l'époque (Gilbert Gratient, René Maran) critique de la revue du monde Noir

{Cette petite revue, outil provisoire, s'il casse, nous sauront rouver d'autres instruments. Nous acceptons avec indifference les conditions de temps et d'espaces qui, nous définissant en 1932 Antillais de langue française, ont ainsi délimité - sans nullement le circonscrire - notre premier champ d'action. Ce premier recueil e textes est plus spécialement consacré à la question antillaise telle qu'elle nous apparait. (Les suivants, sans abandonner cette question, en aborderont bien d'autres). Et si, du fait de son contenu, il s'adresse plutôt aux jeunes antillais français, c'est qu'il nous semble opportun de faire porter notre premier effort sur des gens dont nous sommes loin de sous-estimer les possibilités de révolte, s'il s'adresse plutôt aux jeunes noirs, c'est que nous estimons qu'ils ont particulièrement à souffrir du capitalisme (hors l'Afrique, voir Scottsboro) et qu'ils semblent offrir - en tant qu'ils ont une personnalité ethnique materiellement déterminée - un potentiel plus généralement élevé de révolte et de joie. A défaut du prolétariat noir à qui le capitalisme international n'a pas donné les moyens de nous comprendre, nous nous adressons aux enfants de la bourgeoisie noire, nous nous adressions à ceux qui ne sont pas encore tuées placés foutus universitaires réussis décorés pourris pourvus décoratifs pudibonds opportunistes marqués; nous nous adressons à ceux qui peuvent encore se réclamer de la vie avec quelque apparence de vraisemblance. }

b - La question de la race, du marxisme, de l'impérialisme et du tiers monde

“Certes, le discours de Légitime Défense, considéré dans son unité et sa structure d'ensemble, n'est pas un discours de la négritude. Alors que la négritude affirme la priorité de la lutte culturelle par rapport à la lutte politique, la priorité des "valeurs nègres” par rapport à la lute politique, la priorité des “valeurs nègres” par rapport aux contradictions sociales - Légitime Défense, au contraire, soucieux au principal e la lutte anti-impérialiste qui dresse les peuples colonisés contre les bourgeoisies occidentales et leur propre bourgeoisie, siture l'action politique dans le cadre marxiste des transformations sociales et ne conçoit le développement des “valeurs nègres” qu'à l'interieur de ce combat politique.“

Primoté de "la lutte des classes” qui pour LD, comprend “la lutte des races”. Vision contraire à celle de Césaire qui sera d'ailleurs à la base de tension entre eux et notamment Senghor.

“Ce projet est plus fanoniste avant la lettre que Senghorien ou même Césairiste - encore que, à cette date, Césaire aurait, sur ce point, à se prononcer lui même. ”

Légitime Défense se veut critique des tropes et représentations racistes présentes dans la littérature à ce moment.

analyser linéairement la revue faire un parallèle avec la revue du monde noir, voir intro de Ménil.

usage du marxisme

c - Les dissensions avec d'autres mouvements, auteur-e-s

critique de Senghor et Cesaire : Cette revue, considérée comme une inspiration du mouvement de la négritude, a justement été critiqué en grande partie par les auteurs de la négritude communément cité, principalement Césaire et Senghor. René Ménil y fait référence dans la préface de la réédition “la lecture que Senghor fait aujourd'hui de Légitime Défénse, auquel il reproche, entre autres choses et de façon inattendue, de n'avoir pas en 1932 "proné l'independance de l'Afrique, encore moins celle des Antilles”.  La raison de cette faute impardonnable, selon lui, serait que les signataires de Légitime Défense s'étaient fourvoyés dans le marxisme.

Critique de Sartre sur Etienne Lero :

Critique de Ménil et du groupe, Autocritique :

Critique de Cesaire, interview de Depestre, Cesaire juge L.D. assimilationniste (Ménil répondra de même)

critique de la négritude, d'une certaine negritude, celle de Senghor (préface de Ménil, qu"on retrouve dans son ouvrage Antilles Tracées)

III - Héritage

a - Tropiques

On retrouve des contributeurs de L.D. dans la revue tropiques qui se revendique elle même surréaliste, qui se verra elle aussi critiquée et censurée par l'Etat. Peut on voir en Tropiques la réalisation du projet de légitime défense ?

b - Ménil - Fanon ? parallèles et continuités

Voir intro de Ménil et premier article. rapport à la négritude et la race similaire.

c - L'oubli ?

oublie évoqué par Ménil dans la réédition de L.D., peu traité dans le milieu académique, peu de référence politique, culturelles semblent faites à L.D.

Cependant il faut reconnaitre l'influence de L.D. : pour la négritude, Damas, Cesaire malgré ses critiques. L.D. inspiration de la revue “l'étudiant noir”. Inspiration pour Tropiques. Inspiration outre atlantique, Tedd Joans. Considéré comme pionnier d'un mouvement Afro surrealiste (d'après Robin Kelley) . L.D. évoqué dans de récentes revues panafricaines. Oublié des récits du surréalisme , oublié des références marxistes, mais pas de l'historiographie Noire (?)

ou

a - influences :

“Il ne fallut pas attendre bien longtemps pour que Pigments de Damas (1937) et Cahier d'un Retour au Pays Natal de Césaire (1939) viennent répondre à cette faim de littérature dont la revue était l'expression passionnée.” Influence de la revue sur Damas (retrouver l'interview dans présence africaine), revoir l'intro de Black Brown and Beige sur l'influence de Césaire. Malgré les critiques, Légitime Défense reste une influence majeur du mouvement de la négritude

Edouard Glissant

Ted Joans,

Revue Panafricaine

b - “s'il casse, nous saurons trouver d'autres instruments” (ou switcher a et b)

Groupe Légitime Défense, groupe Front commun, et Tropiques ?

(revoir Ménil)

c - L'oubli ?

retour sur les sources etc, mes recherches. Pourquoi un manque d'accessibilité en France. Oublié du surrealisme, oublié du Marxisme en France. Meilleur reception outre atlantique, Robin Kelley, Paget Henry(?)