#martin grahm

[love-at-first-bite-game]

martin as martin from the movie martin.

[kazperthegh0st]

RaTing TMA season 1 episodes

001: Angler Fish, the cigarette and disappearance one. Not very memorable. 5/10

002: Do Not Open, the will power this one man contains is greater than God, i swear. I probably would have opened that coffin tbh. 10/10

003: Across the Street, to be Grahm or Not to be Grahm, that is the question. Eating paper is not really my thing but you do you. 8/10

004: Page Turner, kinda boring to me but it introduces important people. 4/10

005: Thrown Away, it reminds me of that one short FNAF story where the girl finds her real body cut up in garbage bags. I liked this episode. 9/10

006: Squirm, I have no memory of this episode. 2/10

007: The Piper, All i remember is rats, a dead dude in a dumb ditch, and The Great War. It was a good read tho. 4/10

008: Burned Out, There was a Spooky Tree, an apple, and a box ( i think it had a necklace in it??). There is also the religious dude— i think hes also the jesuit dude that killed two people in a later episode but i could be wrong. 5/10

009: A Fathers Love, this one was so sad to me ngl. I have two questions: What happened to the mother (i know she died but theres gotta be more)? and also whats the necklace all about ( i might be crazy but wasn’t it in the box in burned out?)? I do think the dad is somehow innocent, like he was possessed or smth. 10/10

010: Vampire Killer, this was a cool, fun episode and I enjoyed the different approach to Vampires. 9/10

011: Dreamer, We hear some new stuff about what happened to Jon’s predecessor, outside of that its an ok episode. Elias is mentioned. 5/10

012: First Aid, don’t remember this episode at all but i looked at the episode tag on here and Gerry is in it so on principle it gets a 5/10

013: Alone, my mind is so blank about this episode. Jon was nice tho. 2/10

014: Piecemeal, i don’t remember it well but Tumblr tells me it was good. 5/10

015: Lost Johns’ Cave, this reminded me of those tiktok videos about idiots who get stuck in caves. But at the same time this episode was deeply unsettling and sad. 10/10

016: Arachnophobia, proof that spiders do not die no matter what you do. Lazy ass cat ( Major Tom, great name, unintended David Bowie reference ) 8/10

***All previous thoughts were made well after the episodes were read so i could be wrong or forgetful regarding some details.***Future thoughts will be made immediately after, or the same day as reading the episodes.***

017: The Boneturners Tale, more of the weird books. I think there was arson in this episode (?) 5/10

018: The Man Upstairs, This one was absolutely disgusting (in a good way?!?!) it made me want to throw up but at the same time was sooo cool. 8/10

019: Confession and 020: Desecrated Host, putting these two together. Why is there such a strong theme of cannibalism and removal of body parts in this podcast? It was really interesting and well written. 8/10

021: Freefall, not that interesting to me ngl. It wasnt bad tho 5/10

022: Colony, MARTIN!!! A real character! He is a sweet innocent baby who can do no wrong. The episode itself was super unsettling. Who is the woman again tho?

023: Schwartzwald, this was boring, sorry. I know i should have found it more interesting cause its a letter for Jonah Magnus but it just wasn’t appealing to me. 2/10

024: Strange Music, I love the aesthetic of Pipe Organs, always have. (Why is it now in the institute?!?!) the creepy dolls and the circus clowns were cool. I love that the movers came back again, kinda odd but thats expected. 10/10

025: Growing Dark, not too memorable but there is now another missing person. (Yay). 4/10

026: A Distortion, SASHA!!! Another Real Character! Nothing had better happen to Jon or Martin or else. I love them too much. Micheal seems interesting too. 8/10

027: A Sturdy Lock, the first episode I listened to while reading the transcript. Is there or is there not a lock on that door? Bro should invest in a pet tho. Average episode but still good. 7/10

028: Skin Tight, wasn’t Cambridge Military Hospital in another episode? Also who is the archivist? The voice ( im listening and reading ) is different from Jon’s and is not female so not Gertrude. Sarah Baldwin is also a familiar name. Skin peeling. Lovely. (Sarcasm) 10/10

029: Cheating Death, reminds me of 007. I think its neat that the person making the statement had the Institute write it for him. This was a cool story. I like how much of it was a folktale and then it took a turn. 10/10

030: The killing floor, oh the delights of the meat industry. What was up with Tom Haan tho? Why did he kill himself? Why is there a living meat pile?!?! 10/10

Shortly after listening to that episode i made steak. While making steak i listened to the next two.

031: First Hunt, I kept thinking of that “Run Rabbit” song. Im glad humans dont have natural predators. But as an American (unfortunately) as soon as I heard where this was and the guy made note of the whistling… I knew he was screwed. Jon is so dissmissive tho. First episode where i only listened to it. 10/10

I have no idea why the previous story made me decide to cook steak.

032: Hive, this wasn’t much of a real statement but proof that Jane is crazy. It was just “insects do be buzzing” the noises in the background were upsetting. (Listened only while cooking a steak) 10/10

033: Boatswain’s Call, We meet Peter Lukas ( who may or may not be Elias’s Husband? I saw it in a Tiktok ) and I think it was slightly unsettling how they all loaded into the lifeboat. Did they vote the dude out or something? (Read and listened) 8/10

034: Anatomy Class, body snatchers named John/Jane Doe traumatize a professor. I love how they’re all trying to pump their hearts to figure out how they’re supposed to beat. Im a big fan of anatomical sciences. (Read only) 10/10

035: Old Passages, It’s Gerry on the hunt for Leitners books! Another dead person and some secret passages. What happened to Jon. Why did the Delivery Duo Dudes show up with a package for him??? (Read only) 10/10

036: Taken Ill, the episode itself was boring to me but the end was interesting. Why is there a lighter, that i assume has connections to The Web? What does Elias want with it? (Read only) 7/10

037: Burnt Offering, boring. Sorry. Could the wicca and voodoo stuff in the woods be related to Jane? (Read only) 5/10

038: Lost and Found, This was Sad. Important things go missing, more so they cease to exist, until eventually its the Husband. Jons fear of spiders returns. And now for the end of Season 1. (Read only) 10/10

039: Infestation, I did find it funny when Jon called himself an idiot. Martin just needs to let my boy Jon be in (SEVERE) denial. Jon is being watched (the eye!) Tim is so excited that he almost died. Its odd. Oooh its Not Sasha! “Archivist.” “Shit.” (I listened to it and then read the transcript) 9/10

040: Human Remains, what did Not Sasha do with the tape… I do know what happened to Gertrude so Elias acting the way he does in this scene is funny. (I listened to it then read the transcript) 9/10

Really good podcast. I liked it.

— are the secret passages from 038 connected in anyway to the tunnels around the archives?

— what was it that got sasha in the end and is real sasha dead?

— does gerard start to pop up more often? As an actual cast member?

— what was Jane looking for in the written files?

[i-arch-my-backula]

Horror characters heights

I made a post about this awhile ago and I thought I would update it for y'all. All of the horror related characters I write for are on this list in order of shortest to tallest. Also this is based off my research so if you have a source saying something else let me know and I'll fix it because I usually base the characters height on the actors height unless canon says differently. With that out of the way here is the updated list. I do say which characters I couldn't find a set in stone height.

Amanda Young-5'3

Carrie White-5'3

Star-5'5

Billy Lenz-5'6 (Not set in stone)

Lester Sinclair-5'6

Adam Faulkner-5'7

Herbert West-5'7

Marko TLB- 5'7

Martin Mathias-5'7

Tiffany Valentine-5'7

Vanita "Stretch" Brock-5'7

Corey Cunningham-5'9

David TLB-5'9

Will Grahm-5'9

Baby Firefly-5'10

Danny Johnson-5'10 (I saw average height so I'm adding an inch)

Leslie Vernon-5'10

Michael Emerson-5'10

OG Michael Myers-5'10

Paul TLB-5'10

The Grabber/Albert Shaw-5'10

Dwayne TLB-5'11

Kurt Kunkle-5'11

Asa Emory-6'0 (Not set in stone)

Billy Loomis-6'0

Chop Top Sawyer-6'0

Dan Cain-6'0

Hannibal Lecter (Mads Mikkelsen)-6'0

Harry Warden-6'0

Mark Hoffman-6'0

Nubbins Sawyer-6'0

Otis Driftwood-6'0

Patrick Bateman-6'0

Peter Strahm-6'0

Severen-6'0

Bo Sinclair-6'1

Tommy Jarvis-6'1

Vincent Sinclair-6'1

Doomhead-6'2

Brahms Heelshire-6'3

Candyman/Daniel Robitaille-6'4

Norman Bates-6'4

Stu Macher-6'4

Jason Voorhees-6'5

Thomas Hewitt-6'5

Bubba Saywer-6'6

Jesse Cromeans-6'6 (Not set in stone)

RZ Michael Myers-6'9

Pyramid head-7'0

[foodlesoodlesdoodles]

(2-3/3) Primary Color Trio: Gothic Literature OCs Edition

OTTO BOYLE GRAHMS and MARTIN JAMES BLACKWATERS

Once again, I’ll leave in depth character summaries on their actual Victorian counterparts, as these are younger (college) modern versions to ease myself into the designs. Here’s a basic summary:

- Martin is a Librarian and writer, going into the family tradition of being specialized in literature. He adores symbolism and underlying themes of a narrative, and believes everyone should have a chance at education no matter the kind.

- Otto is a cook, French is her first language but they’re trying to get better at English due to his environment. A ride or die, loyal to the end— no matter how long or short the time is. Friendship & loyalty is very important to her, so, as a friend of 6 years she’s an interesting character.

Martin is He/Him and Otto is He/She/They

[yandere-trashcan]

Slashers:

Alien:

Bishop

Xenomorph

Candyman:

Daniel Robitaille

Carrie:

Carrie White

Chromeskull:

Jessie Chromeons

Chucky:

Charles Lee Ray

Chucky

Glen/Glenda*

Tiffany Valentine

Dracula:

Dracula

Friday the 13th:

Jason Voorhees

Pamela Voorhees

House of 1,000 corpses:

Baby Firefly

Captain Spaulding

Otis Driftwood

Predator:

Yatuja

Scream:

Amber Freeman

Billy Loomis

Mindie Meeks-Martin

Richie Kirsch

Sam Carpenter

Stu Matcher

Tara Carpenter

Hannibal:

Hannibal Lector (NBC)

Hannibal Lector (OG)

Will Grahm

Texas Chainsaw Massacre:

Luda Mae*

Thomas Hewitt

[uss-birdbrain]

List of things from Fugitive of the Judoon that make me wanna scream

Captain Jack harkness

Jack kissed Grahm

ANOTHER NEW REGENERATION

Ruth!doctor’s TARDIS is almost identical to a classic who TARDIS

Ruth!Doctor’s outfit gives me big 3rd doctor vibes

ANOTHER LADY TIMELORD

Captain Jack harkness

A mentioning of the cybermen

The Judoon themselves who haven’t been an episode villain in 12 years

Supportive yet confused fam

Angry doctor

Confused yet sarcastic doctor

Ruth!Doctor has a job

Captain Jack harkness

Jack stole a ship

The doctor looking for the master

Is this gonna fuck up doctor counting again?

Neither doctor remembers

Platoon of Judoon near that... lagoon

The fam are finally questioning the doctor

CAPTAIN JACK HARKNESS

In summary this is all I’ll be posting, thinking, and talking about for the foreseeable future. Thank you

[ussery-dfw-photo]

Fishboy at Harvest House on July 22, 2017

[capitanmorgancyberzine]

THE IRISHMAN press conference

London Film Festival 2019 

London Film Festival Director Tricia Tuttle presents The Irishman’s Director Martin Scorsese with producers Emma Tillinger and Jane Rosenthal. And the actors Robert De Niro and Al Pacino.

Il film è incentrato sulla memoria e stilisticamente offre all’occhio del osservatore una quantità innumerevole di elementi visivi accattivanti. Questa opera fa dispiegare lo sguardo in modo drammatico sugli avvenimenti che storicamente si susseguono, inoltre allo stesso tempo ci fa fluttuare come in una sorta di distillazione del tempo e del luogo in cui è ambientato. L’uso degli effetti speciali è straordinario e come per quasi tutti i film di Scorsese ci troviamo di fronte a un capolavoro di genere.

The film is focused on memory and stylistically offers the eye of the observer an innumerable amount of captivating visual elements. This work makes the viewer's gaze unfold dramatically on the events that historically follow one another, and at the same time makes us float as if in a sort of distillation of the time and place where it is set. The use of special effects is extraordinary and like almost all Scorsese's films we are faced with a genre masterpiece.

Regia: Martin Scorsese

Interpreti: Robert De Niro, Al Pacino, Joe Pesci, Romano Bobby Cannavale Anna Paquin, Stephen Grahm, Harvey Keitel

Paese: USA

Anno: 2019

Durata: 209′

di seguito l’intervista    ==>

Q:

Why did it take so long? You've known each other for decades. I know this project it has been in your mind for a while...

Bob De Niro: Yeah... he said, I just read it, it just had come out, I got to read that book... That was about three years earlier.. Marty was starting to show me ..

Martin Scorsese:

Some special work that Bob and I'm involved in for twenty somewhat years. that we were trying to get another project film, based on... Hollywood in the 70s 80s.. that developed into something else, about something else. We never quite settled on the project. The last time we worked together was in 1995: 'Casino'. So from that point on we would check on each other what we were doing, whether I could fit into his plan or vice versa. Ultimately we did, I think, in the winter of Frankie Machine... We decided we had to do something... maybe in 2010, no, 2008.. We thought this might be a project with possibilities... I was really looking for something that would enrich more or less where we had gone in the 70s and the 80s and early 90s.. to just replicate or trying to do the beginning of our careers wouldn't be anything enriching. So, you were about to direct the 'Good Shepard' - Eric ... was writing that... And Eric, knowing that we were trying to do something called 'Frankie Machine'  about a hitman who retired... Eric gave you a book called 'I heard you paint houses' by Charles Bran for research

MS:

Jean Gabin film like 'Touches pas gris be'??? Matfields too low (Toulaux) Le deuxiËme circle...pictures like that... Gabin character...

By the time you're doing 'Casino', I felt that presence was similar

Bob:

And then I survived to read this book that I 've been always wanted to read called 'I heard you paint houses'. I read it just as research character . When I had read it I got together with Marty and said: you gotta look at this ... So that was it.

MS:

You had the story about (on the telephone) Brad Brit?? right?

Lady:

So you were ready to comit to making Frankie Machine, financed by Paramount, we were all on call together to get the green light and in the middle of this conversation Bob said:  Well, this other book that we are thinking about, maybe we could combine these two movies . And Brad said: So you want to take a go with it and turn it into a development project?... That was 2007 ... Then we brought Steve Zillion on and Steve delivered (Steven, Marty and Bob worked together and did option 'I heard you paint houses' and Frankie Machine went away and Steve delivered the script in 2009..

MS:

The point is that we were trying to find something that we could ride /write with (I don't know how you define ride/write... it's ambiguous... kind of we felt comfortable in a way.. something we could not articulate and once he described this character to me, I felt that  he had a good sense of it so I said: this is maybe where we could really try to explore and see what we could come up with, that it might really be of value ultimately or as a creative point which is what he cared getting out.. to impress the cast ... so we took a chance... Steve pulled together a wonderful script, and it took a number of years...

Bob:

Steve wrote the script which is terrific, wonderful as Marty says, and it was a matter of getting everybody's schedules to line up. Marty was doing ... coming over here.. I don't know when you was doing Euro.. 2009/ 2010.. We would talk about what we were going to do, if there was availability, you wanted to do 'Silence'... I said to Marty I wanted to make sure he was okay if we would just let it out there.. usually I am very superstitious about that it usually doesn't happen... I felt maybe in this case since we got no backers, no people really interested in the idea that we were doing it with Al and Joe... if they were okay with mentioning that they were on board.. So we did that and then we had a reading of the script..

Lady:

the reading of the script January right before you left to go to 'Silence'. That was this one opportunity to get everyone together, and we taped the reading 2012... I thought that that would be all we would have of the Irishman, since it would be difficult to get financing. Then when everybody heard it , there was a new energy, but Marty and Emma went back to shoot 'Silence', so we had another delay.. A good one.

Al Pacino:

I've known Marty and Bob for very long time..Anthony called me about it, it sounded really interesting...The opportunity to work with them was very important for me. For years we always spoke together, Marty and I, about different things.. and of course Bob and I worked together  we had known each other since we were young actors

MS:

The first meeting we had about this, we talked about it in a hotel in LA

AP:

That's right! The hotel! It's all coming back to me now...

MS:

After all the discussions he looked at me and said, is this gonna happen, because... the complications and schedules and then of course, no real enthusiasm to say the least about financing, really made it something that is a nice dream and you said: that maybe the reading was going to be the only time you've heard it or seen it... we knew that from the beginning

AP:

I think that reading was very well orchestrated 09.06.72

Very effective...

MS:

Bob arranged it so there were the right kind of people there

Yeah, they got excited about it but still didn't raise the money

I remember, it was you, Al, Bob, ... Bobby Carneval, pauly Herman??? Joe pesci, Stefanie...

AL:

You can feel it that there was a live wire there.. I always thought it wouldn't happen...

Bob:

I got a call from Al...is it gonna happen..?

don't worry, they'll work it out...

Lady:

Thank goddness you did, because there were these fantastic time sugressions?? ..

Journalist:

Hello, Catherine Dreyer from Free Cinema... I just saw the film ', of course mind blowing.. one of those old epic things that make you like it to be in the cinema and watching it.. So thank you so much already for that. The question is... this is obviously a Netflix production, it's coming out very shortly after running in the cinemas. It seems to be a very good collaboration between TV / internet companies with the film industry.. Will we have at some point to redefine perhaps what is cinema?

MS:

...I think it's not just an evolving sort of thing, it's a revolution, even bigger a revolution that sound was for cinema, it's the revolution of cinema itself. A new technology, bringing things that are unimaginable... is it something extraordinarily good for narrative films, or stories told in motion pictures... it opens up the original conception of what a film is and where it's to be seen has now changed so radically that we may have to say, okay, this is a certain kind of film, it's made here... there might be a virtual reality films that have holograms, all sorts of things that are coming that we don't even know... Something that should always be protected as much as possible and that I think will always be there, is a comunal experience. I think that's best in the theater... Now, homes have become theaters, too... It's a major change... just keep an open mind... there is no doubt that seeing film with an audience is.... there is a problem though.. you have to make the film.. we ran out of room in a sense... there was no room for us to make this picture... for many different reasons, ultimately there was financial issue, too in terms of the CGI that we did and the reason why, the CGI is kind of complicated...because at a certain point if I made the film earlier they could have played younger and then at a certain point we missed that, and then they said, use younger actors who play them younger, and I said, well, what's the point of that... I want to find a CGI... let's see what they experiment, open it up... I mean CGI to that extend is really an evolution of make up... you'll accept certain make up, you know that she is not that old, she's not that young. You accept that as a norm. I mean you accept the illusion so to speak. Taking that and having the backing of a company that says, you have no interference, you can make this picture as you want, the trade off is its streams with the attribule distribution prior to that. That's the chance we take on this particular project. What streaming means and how that's going to define a new form of cinema, I'm not sure. I thought for a while maybe long form TV cinema- it's not! It simply isn't. It's a different viewing experience. You're going to get three episodes, two, four-ten... one one week, second episode the second week... that's not ... it's a different kind of thing, so there's got to be still what has to be protected is the singular experience... experiencing a picture, ideally with an audience... But there's room for so many others now, and so many other ways. There's gonna be cross overs... Value..? the value of a film that's like a theme park film for example, where the theme is becoming amusement parks... that's a different experience, it's not cinema, it's something else.. and it shouldn't be rated ?? by it.. That's a big issue.. We need the theater (audience?) to step up to that, to allow to show films that are narrative films. A narrative film could be one long take for three hours, too, you know. It doesn't have to be a conventional 120 minute film.

What Marty said, it will be in theaters and even when it goes on plate-work??? it still will continue to be in theaters, so audiences have their choice of whether we're going to watch it in theater and have an amazing cinema comunity experience or whether they want to watch it on the platform. Roma, for example, is still in theater around the world. So the audience has the choice of how they want to use something...

LADY:

Cinema has reached a point where changing has the option of having streaming as it were in this case...???

Journalist from AUSTRALIA:

Sergio Leone's 'Once upon a time in America', started de Niro, a film had small similar to this one,... do you think there are any references to that film here?... It's a long film, not as action packed as your early gangster films, I think they are very different to this.

But how is it different to your early gangster films?

MARTY:

Well, this underworld milieu... I guess the similarity is that it's very long and Bobby de Niro is in it.... I guess the two of us made a movie, when we were trying to get the  finances, I know how to do this... I know how to follow it through.. I just went with that..

What did you feel looking at  yourselves younger for the first time when you're looking back at the movie. Was it a bit crazy?

MS:

How does it relate to them? Well, back in 1973 we're 29, 30 years old, now we're much older and so we hope that maybe the... over time... that something has evolved, maybe deepened to a certain extend of our life... in a back it can be conveyed in a story, performances, in the way a film is put together, that would be some sort of an advancement, rather then just replicating what we have done in the past

New technology and all that... does it open a brand new world for everyone?

AP:

Considering everything is crazy. It was crazy. I don't know quite what you mean though, I'm sorry... what were you saying?

AP:

I don't feel that way, personally... this is a technique that is barely on? It's what they have said, it's a form of make up.. It could change things... But I don't think you feel that way -- as an actor -- I think you feel that as an actor, you're playing a role,... a role that more then likely hopefully you're suited for... so when you do that... it doesn't matter what you look like.. It is sort of true in a way... because, when I saw the film.. he showed it to me without anything... I just went with it and I didn't think anymore that.... this was a story... it was handled / delivered in such a way, alectorially, visually, costumage.. everything. And also the acting. I think that was what was taking me up... the story... I wasn't thinking about anything else after a while, I mean I didn't even think about when we first started.. Of course it was me ... I wasn't thinking about the wines, our faces or anything... this was accepting these people.. they existed, too, this is another thing. This was an interesting thing... because it's a story about real things that happened. people really lived.. Maybe that had something to do with my reaction. This whole thing can be innovative, of course, but at the same time it tells a story... I'm a little more concerned about that...

As I say, I did see the film without any work... and it was fine.. as a matter of fact, I'm the only one who felt that way

MS:

I think it is really good that we have that potential, it is stating what it's stating: the old days... some actor that we all knew and love and they put grey hair on him, we say, oh, he got older, but you accept it, because this is in the story

Bob:

I always joked that my career will be extended another thirty years... No, it's a whole industry... where / how it will evolve... I was just thinking about copyrights... likeness, and who gets it long after we're all gone, families and stuff like that. We even have that now in some way, using famous actors from years ago, commercial... to represent that product... I don't know, I'm just happy we're at the beginning stages of really being ... God knows where it goes... what excited me about it was that pablo helman was doing this thing and wanted to make it state of the art, the best it could be to date. That was an ambition for this movie, which was ambitious always... it fit the whole enterprise

MS:

It's also how you move... these are the little things

AP:

You're walking along looking... pretty and then you got to get up... (grimace)... hey, man, what are you doing, you're 39!  25.22.23

Question from German Journalist :

What was the biggest challenge for each one of you on this movie (directing - acting

MS:

Making (movies?) is a big challenge.. in terms of realm... the guys are performing.. so I cannot speak for them, but for me it's cutting through all the issues of how you perceive a story, the sweep of a story, what's essential, what isn't essential, making those editing choices right there, on the set. First of all even before set, before shooting begins, make those editing choices, and in shooting  even top around those editing choices because it's very complex.. in terms of technology... and staying on point, staying on what's essential to the story. Those are the characters, particularly Frank's character, and eliminating everything else around that was getting in the way. And this I think was a 108 day shoot. So this is one thing. And then the editing, too. So it's wrangling the picture, in a way.. always threatening to run a little bit out of control, but grabbing it again, and using Frank Sharon as the anchor. The whole picture took finally to wind up with him alone. That's what all film is about. That's just general of how you make a movie. Otherwise you sometimes make a movie you don't know what you're going to do when you get there on the set... I tried that once, it didn't work... for me it didn't work... I usually like planning and fighting my way through the whole process.. until we get, the best we can, to the end... resolve with the character...

BN:

Yeah, I mean, certain things.. like Marty, every so often, I would come in to narrate pieces that Marty figured that had to voice over to give information or whatever... That's a novel part of making a movie...

MS:

You went into the audio tracks... the voice stories and setting and then we'd go... tell me something

Interesting... and then try to find time to shoot it.. in the film, like give it to Emma and tell her to find some production time, please

Emma:

I'd say yes

Q:

So was that your biggest challenge...

Emma:

.. helping Marty realize everything?... yeah...

(laughter)

We want all of them to have the time...time to create and the environment,  a quite / safe space for them to do. You wanna wrab that at all... it's a challenge, but we are phenomenal partners, the best, we carved out that time in stakes, I hope

Q:

Why do you think we are constantly pulled back into talking about films about pain and trauma as in the Irishman, there's a lot on the macro level with the asasination section, but it really does go into personal individual pain

MS:

I think pain is an important story to everybody, pain, suffering... that idea what makes an interesting story... what do you think?

Bob:

Well I think, this was a simple story. It was about a guy who was caught between two people... powerful people.. One of them disappeared - we never knew what happened really to this day -  the other one was also -- Joe Galler (?).. for him.. you still don't know who did that to him... it had that to hang on someway... this political, this grand story with these historical (if you want) type of characters... a simple story

MS:

... and not so far - in terms of that - of what we were talking about these guys.. and on the other level you have JFK, Bobby Kennedy, Martin Luther King... all this going on.. and nobody knows really what happened there... I always say, would it make any difference now if we knew exactly who, when, how, and where..

... the dark course of it take over (???)... that are always present... these guys are right in the middle of it, in a way... they just walk by a TV and there is missles coming from Cuba... and that's your afternoon lunch... when we say a simple story is because the rest is so complicated

Q:

For me in many ways this is about reflection. I was wondering as you have amazing careers... do you guys ever sit back and reflect or do you always look to what's the next project

And I was wondering... do you think you could have made this ...now, cause you have lived and are still alive ..so that now that you're in a kind of position to understand better the texture of this narrative

MS:

you mean, if we had made this film earlier it would have been different

Q:

Yeah

MS:

Absolutely, I mean... I don't think we got together and said, let's make a movie and reflect... as I say, it's intuitive

[goldrolloverira]

DMR–Gold down on one-off, high volume trade

DAILY MARKET REPORT

Gold traded quietly overseas then hit a wall once again at the New York open reminiscent of last Friday’s waterfall price drop.  In both instances nothing significant occurred on the international news front – just what looks like a one-off, high volume, probably silicon-based trade executed at today’s COMEX open.  As it is the amount of damage is $5 per ounce, as this written, with the yellow metal now selling for $1281.  Silver thus far has escaped any glaring spillover – down 4¢ at $15.30.  We shall see as the day progresses whether or not the bulls see opportunity in the drop.

A couple news items worth noting in today’s report:

First, the U.S. Mint reports silver American Eagle bullion coin sales at 3,556,000 one-ounce coins through January 21 – a pace well ahead of last year’s (up +10% over all of January last year).  American Eagle gold bullion coins were also selling at a pace well ahead of last January’s.  The Mint’s January numbers follow a report published in The Alchemist of a 23% year over year increase in aggregate sales globally of gold bullion coins from the major global mints (Please see below.)

Second, Russia climbed into the number five position in official sector rankings for gold bullion reserves surpassing China – at least with respect to what we know publicly about that country’s holdings.  According to Reuters report this morning, Russia now holds 67.9 million ounces of gold to China’s 59.2 million ounces.  Russia’s build-up comes the result of purchases from its domestic mines which produced 8.8 million ounces over the period.  Central bank acquisitions were 8.5 million ounces indicating that 3 million ounces were acquired in the open market.

Here’s the chart on this morning COMEX gold trading:

Quote of the Day “At the quarter-century mark of 1925, the great bull market was under way, and Graham*, then 31, developed what he later described as a ‘bad case of hubris.’ During an early-1929 conversation with business associate Bernard Baruch (about whom he disparagingly observed, ‘He had the vanity that attenuates the greatness of some men’), both agreed that the market had advanced to ‘inordinate heights, that the speculators had gone crazy, that respected investment bankers were indulging in inexcusable high jinks, and that the whole thing would have to end up one day in a major crash.’ Several years later he lamented, ‘What seems really strange now is that I could make a prediction of that kind in all seriousness, yet not have the sense to realize the dangers to which I continued to subject the Account’s4 capital.’ In mid-1929, the equity in the ‘Account’ was a proud $2,500,000; by the end of 1932, it had shrunk to a mere $375,000.” – Frank K. Martin, A Decade of Delusions

* Benjamin Grahm, “The father of value investing”, 1894-1976, Security Analysis (1934) with David Dodd, and The Intelligent Investor (1949).

Chart of the Day

Chart note:   As shown in the chart, the market dynamic for gold and stocks suddenly switched in August of last year. Since then, gold is up 10% while stocks are down 8%. “If gold is anything to go by,” write Henry Sanderson and Neil Hume in Financial Times, “investors are increasingly anxious about the state of the world. Volatile equity markets and fears of a global economic slowdown have helped gold rally 10 percent from its August lows, putting it among the best performing metals over that period. It is a sharp contrast to much of the past two years . . . . “

[haitilegends]

CAROLE '' MAWOULE '' DÉMESMIN Carole Demesmin défend les valeurs de la culture traditionnelle du pays qui l’a vue naître : Haïti. A travers l’art, la musique et la peinture en tête, elle se bat ardemment pour transmettre la culture traditionnelle d’Haïti à la nouvelle génération. Elle travaille d’ailleurs énormément avec les jeunes afin que se valorise davantage la culture locale fortement ancrée dans les traditions africaines teintées par endroits de couleur caribéenne. Née à Léogâne, Carole passe pourtant une bonne partie de son enfance à Port-au-Prince. Adolescente, elle embarque pour les Etats-Unis pour poursuivre ses études secondaires à Boston. C’est durant cette même période qu’elle entame sa carrière de chanteuse, au sein du groupe « Haïti Culturelle ». Elle entame ainsi une longue carrière artistique qui se poursuit jusqu’aujourd’hui. Quelques années plus tard, elle commence à enseigner la culture haïtienne, la danse, les chansons du répertoire folklorique haïtiens aux jeunes enfants de Boston. En 1976, épaulée par le grand pianiste haïtien Gerdes Fleurant, Carole intègre une des écoles de musique les plus renommées de Boston : le « Berkeley College Of Music ». Elle y a d’ailleurs acquis d’autres aptitudes artistiques durant ses études. Infatigable, Carole entreprend également des études en peinture -sa première passion- au réputé « Massachusetts College of Art ». Dans la foulée, elle collabore avec le poète compositeur Jean-Claude Martineau et sort son premier album intitulé Carole Mawoule. Les textes et musiques de ce album écrit par Martineau l’a définitivement mise en orbite. L’hommage rendu, en 1978, à la grande vocaliste des années 1930, Lumanne Casimir, a popularisé Carole auprès d’un public de tous âges, tant en Haïti que dans les communautés Haïtiennes d’outre-mer. Des contemporains de Lumane Casimir y avaient vu un hommage doublement mérité vu, selon eux, le rapprochement étonnant du timbre de voix des deux chanteuses pourtant séparées de trois générations. Toujours encadrée par la plume de Jean-Claude Martineau, Carole sort son deuxième album, Minrara, en 1983. Encensé par la critique, le projet est récompensé et remporte d’ailleurs le prix de l’album de l’année dans la communauté haïtienne aux Etats-Unis et en Haïti. Cet album lui permet de partir en tournée -notamment aux États-Unis et en Europe- et de rappeler à son public l’importance de l’influence des principes hérités des rites africains en Haïti. En chantant particulièrement en créole, Carole Demesmin entend développer le sentiment de conscience nationale par rapport à la langue, tout en célébrant la culture traditionnelle haïtienne et son histoire. Parallèlement à la musique, elle entame un long voyage spirituel. Durant treize ans, guidée par le Ati Daagbo Max Beauvoir, elle suit une formation qui l’amène à comprendre et maîtriser les traditions spirituelles héritées d’Afrique. A la fin de cette initiation Vodou, elle accédé au rang de Manbo (prêtresse) -en 1984. Plus tard, elle suivra également une formation de sage-femme. En 1987 sort son troisième opus, Lawouze, enregistré pendant la période de son initiation Vodou. Supportée par ses amis musiciens et poètes dont, René Philoctète, Paula Clermont Pean, Tiga, Ronald Derenoncourt,Henry Celestin. Andre Azemar, Jean Michel Clermont, Ralph Boncy, Claude Marcelin, Raoul Denis Jr, Mushi et Joel Widmaer, Robert Denis, cet album marque un virage vers des sonorités et des paroles ancrées dans la culture traditionnelle haïtienne. Une nouvelle fois, une énorme tournée s’en était suivi sur des scènes d’Amérique du Nord et d’Europe. A côté de ses concerts de chants, elle organise des évènements, tels que le « Festival Anacaona a Leogane » ou encore le « Tom Tom Fest a Jeremie ». En collaboration avec feu Jean-Claude Garoute, dit Tiga, Dr Symphar Bontemps, elle a été l’instigatrice du Mouvement Drapeau Culturel National dont l’objectif est de promouvoir l’enseignement de l’histoire d’Haïti et ses authentiques valeurs culturelles aux jeunes de tous les départements géographiques du pays. Elle s’investit également aux Etats-Unis, où des ateliers de réflexions ont été mis en place en vue d’encourager les enfants d’origines haïtiennes à se rapprocher de leur culture -notamment dans les universités de Floride et du Vermont. Elle met également sur pied des cours destinés aux haïtiens désirant se reconnecter avec leur culture et le Vodou de leurs pères. Le 20 avril 1990, elle est présente à` New York sur le Pont de Brooklyn pour manifester avec plus de 100.000 compatriotes haïtiens et sur la scène du Brooklyn Collège avec le génial chanteur et compositeur Ansy et Yole Derose dans leur grand spectacle « FDA ou anraje », une manifestation culturelle contre le gouvernement américain, et plus particulièrement contre la FDA – Food and Drink Administration- qui avait interdit à tous les haïtiens de donner leur sang. Motif ? Les haïtiens sont, plus que tout autre peuple, porteurs de la maladie du Sida. Et à ce titre, les laisser donner leur sang représente un énorme risque sanitaire. Ce rassemblement est le plus important recensé depuis l’enterrement de Martin Luther King en 1968. Il réunit les haïtiens vivant aux Etats-Unis, mais aussi beaucoup d’afro-américains –notamment le révérend Jesse Jackson- et d’autres sympathisants venus marquer leur soutien au peuple haïtien. Après d’autres manifestations à travers le pays, Washington reviendra sur sa décision d’interdire aux haïtiens de donner leur sang à la fin de l’année 1990. En 1999, Carole préside une série de conférences sur la culture haïtienne destinées aux haïtiens vivants aux États-Unis et aux afro-américains. Cette même année, elle revient à la musique et sort son quatrième album, "Carole Bel Congo", qu’elle produit avec le grand compositeur et arrangeur Pierre Rigeau Chery. Mais son combat ne s’arrête pas à la chanson. En effet, poussée par son désir de prouver son amour pour sa communauté, elle décide de mettre ses talents spirituels et médicinaux au service de jeunes handicapés en Floride. L’année 2001 a marqué un tournant important dans la vie de Carole. Pour marquer ses vingt-deux ans de carrière, elle a réuni sur la scène du grand Hôtel Fontaine Bleu de Miami Beach, tous les artistes qui l’ont soutenue depuis le début sa carrière. C’était l’occasion pour elle de présenter le troisième drapeau culturel haïtien en Floride. Les années qui suivent ramènent Carole à son combat de toujours : la sauvegarde de la culture traditionnelle haïtienne. Elle met en place des séminaires destinés aux haïtiens-américains désireux de découvrir ou redécouvrir leurs racines culturelles. Mais l’évènement marquant, c’est surtout la création de l’organisation sans but lucratif supporté par un groupe d'artistes basés à New York : Michael Brudent, Gina Samson, Maryse Edouard, Dominique Volcy, Mario Baptiste, Ulrick Jean-Pierre, Michael Grahm, Ricles Garcia, Patricia Brintel, Paula Pean, Jean Claude Martineau, Jean Marie Eliscard, Joseph Moise, Darly Raphael, Pierre Richard Lespes, Roland Magloire, Dorcely III, Josselyn Joseph, Jerry Georges, Jean Guillot, Annel Stephan Nogaisse, Yvon Nicolas. La United Haitan Artists (UHA) propose l’éducation et le partage des racines de la culture folklorique haïtienne à travers le monde. Elle organise également des conférences et des séminaires, ainsi que des concerts permettant à des artistes haïtiens de démontrer toute l’étendue de leur talent en dehors de leurs frontières. Fort logiquement, elle crée son label, The Rainbow Of Yawe, dont le but est encore et toujours d’offrir une meilleure exposition médiatique aux artistes issus de son pays natal. Carole, jamais fatiguée, continue, par l’art, de promouvoir à tout prix ses racines culturelles. Elle expose des toiles de l’époque précolombienne au Musée Martin Luther King à New York. Pour la première fois, elle s’essaye en tant que comédienne dans le film Life outside of Pearl faisant la promotion du « lifestyle » haïtien aux Etats-Unis. Avec son association U.H.A, elle crée les Zepi Mayi Award, qui récompensent les pionniers et tous ceux qui combattent pour la mise en valeur de la culture et de la musique haïtienne. En 2009, elle redouble d’efforts ! A Chicago tout d’abord, où elle crée un comité avec différentes organisations pour soutenir le projet humanitaire de rouvrir l’hôpital de Sainte-Croix dans sa ville natale Leogane. Ensuite, elle demande au gouvernement de reconnaître deux dates très importantes pour le peuple haïtien : le 14 août, jour où ses ancêtres ont fait le serment de « Vivre libres ou de mourir » ; le 5 décembre, jour traditionnellement dédié à Christophe Colomb et qui devrait en fait l’être pour les Tainos, Arrawaks et les Caraïbes qui furent massacrés par les espagnols. Toujours en Haïti, elle encourage la création de constructions sociales qui doivent changer l’image traditionnelle du ghetto, tout en veillant à une meilleure qualité de vie, en termes de style de vie, d’éducation et de soins de santé. Cette même année, presque anecdotique, Carole fête déjà ses trente ans de carrière musicale lors d’un événement où elle en profite encore pour rendre hommage à son peuple. Le 22 novembre 2009, la « Haitian Artists Assembly of Massachusetts », en collaboration avec des officiels de la ville de Boston, lui rend le plus grand hommage pour ses 30 ans de lutte et d'engagement sur la scène culturelle défendant le nom d’Haïti. Une trentaine de trophées lui ont été décernés ainsi qu’un certificat signé du maire consacrant la date du 22 Novembre comme le « jour de Carole Demesmin ». Le 12 janvier 2010, la vie de Carole bascule. En effet, son île est terriblement frappée par un séisme ayant dévasté les vies et les biens de plusieurs centaines de milliers de ses compatriotes. L’immense médiatisation de cette tragédie ainsi que les mouvements d’aide arrivant de tous les secteurs venus de l’extérieur n’ont pas empêché Carole de s’investir corps et âme pour un autre combat. Elle convainc des grands groupes financiers d’investir en Haïti afin de reconstruire le pays et d’en faire un pays attractif pour les touristes. Lors d’une tournée européenne l’année suivante, elle contacte différents organismes ainsi que des gens issus de la diaspora haïtienne pour les convaincre d’investir en Haïti. Jusqu’à aujourd’hui, Carole Démesmin aura consacré sa vie à la défense de la culture de son pays et aura travaillé ardemment à la sauvegarde des valeurs traditionnelles haïtiennes. Elle est d’ailleurs impliquée dans diverses associations. Par exemple « Ti Moun Lakay », qui s’implique dans la création de centres pour jeunes en vue de reconstruire un espoir culturel dans chaque grande ville en utilisant l’art moderne comme outil d’éducation et en utilisant des chansons africaines, la danse haïtienne et les proverbes Vodou comme thème principal pour reconnecter les jeunes à la culture haïtienne. Le Mouvement Écologique National (MEN). Supportée par un groupe d'agronomes dont l’ingénieur agronome Joseph Felix, ce mouvement était dédié à la défense de l’environnement via les étudiants universitaires et les fermiers dans une collaboration nationale avec les agents du ministère de l’agriculture haïtien. Des suggestions de festivités devaient être organisées chaque mois de mai par le ministère de la Culture avec les étudiants qui pour l’occasion réunissaient des arbres à fruits pour leurs écoles afin de les utiliser pour faire refleurir leur région. Enfin, Carole est évidemment toujours active dans l’éducation permanente à travers le �� Kole Zepol Pou N Sove Kilti Lakay », qui fut créé pour promouvoir la nouvelle vague de musique traditionnelle « RACIN » en encourageant les jeunes musiciens à s’inspirer du répertoire Vodou pour créer un style de musique unique, influencé par la riche variété des sonorités africaines laissées par leurs ancêtres et la promouvoir au sein de la diaspora haïtienne à travers le monde. SOURCE:http://africultures.com/ #HUGO #CAROLEDÉMESMIN

[tanista]

...And that's that, save for final editing tweaks here and there.

Over 240,000 words, 36 chapters, 26 months start to finish.

I did it.

Wow.

I'm feeling kinda giddy. Or maybe I just need lunch.

(What follows is essentially the Author's Afterward in the next chapter from the posted story, but the sentiment still applies here.)

To the readers who have made it this far you have my most sincere thanks for indulging me in this OC-inclusive, canon-divergent, three-way crossover AU. This has truly been a labor of love, for the fantastic shows and their inspiring settings and characters that have been a part of my life for so long, as well as the entire sci-fi genre, both literary and on screen. The best thing about the Stargate fandom is the extensive scope of the series, and how it can allow for so many different approaches in an entertaining mashup of ancient mythology and science fiction, served with intelligence, humor, and heart. I hope that I've been able to convey some of that in my own fashion and allowed it to lighten your own lives.

Have you ever had inspiration come to you in a dream? The idea for the whole story's been in my mind as bits and pieces for the past twenty years (!!) and I'm glad I finally had the time, drive and wherewithal to start translating the images in my mind into words. And that I felt free enough to go as big and epic as it played out in my imagination. I'm also glad it's taken me this long to do so, since I'm not sure I would've been able to write the same story without the maturity and added experience that comes from just plain living.

To be honest I never expected my modest AU would turn out to be so big a project. The story's been my lifeline to sanity in these very trying times for our world, as I suspect writing and reading fanfic has been for you, dear readers. Long live fan fiction and all who enjoy it!

This is the end of this story, but not of the AU. There's plenty of room for more adventures, multichapters, one-shots and vignettes alike. And not only by myself.

I'm opening it up to anyone who wishes to play in my sandbox if inspired. Additions, remixes or creations of any kind are welcome, so long as due credit is given. Have fun, give a nod in my direction (or an "Inspired by" link on AO3), and please let me know in the comments there what you've done. Any point in the timeline listed is fair game so feel free to expand upon anything- John and Rodney's relationship in Alpha Base and Atlantis, Sam and Jack's or Mac and Janet's- even future fics are welcome featuring the next generation(s). In fact, any of my original characters listed in Ch. 2 of Timeline and Who's Who in Ad Astra and original concepts in A Linguist's Guide to New Earth can be used, with credit of course. Or add your own, the more the merrier as far as I'm concerned!

If there's interest I'll create a collection on AO3 called Stargate: The New Earth Chronicles and open it to any rating or pairing- or crossover, if you think it can fit. All I ask is to keep it in the same optimistic spirit of soft apocalypse with a glimmer of hope, because now more than ever we need those happy endings.

Okay, time for me to give credit where it's rightfully due.

None of this would've come to pass in the first place if not for a certain actor and the two leading roles he portrayed so brilliantly. So thanks first and foremost to Richard Dean Anderson for introducing me to the original Angus MacGyver and later on Jack (Two L's) O'Neill, sides of the same coin as far as I'm concerned. The inspiration for my OC Rebecca Grahme came out of a desire to give both of them more family, and a concrete reason for doing what they do.

Thanks also to Michael Shanks for his version of Daniel Jackson, the first character on TV I could truly relate to, and proof that even glasses-wearing geeks (like myself) can be heroes. Indeed (to quote Teal'c) my admiration for everyone in both series- cast and crew alike- knows no bounds, for bringing to life a truly epic universe and giving it heart and wit, adventure and excitement. They are the reason why I'm still a fan after all these years.

I carry a warm fondness in my heart for the original MacGyver and the invaluable lessons he taught me about applied nonviolence, seeking creative solutions to problems and the willingness to do the right thing and stand up for others in the face of overwhelming odds. Those are values I still admire and try to emulate even today.

Many thanks goes to Sourlander and her excellent Loyalties series, for letting me incorporate Dr. Alex Lorne and her children Nora, Grace and Caleb into my 'verse. More adventures with Evan and Alex and family are welcome from you anytime.

As stated earlier this epic story is a love letter to the sci-fi genre I've been reading all my life, which taught me to think big when it comes to worldbuilding. Story inspiration comes from far and wide, particularly tales of space colonies both failed and successful, accidental and planned: Marion Zimmer Bradley's Darkover Landfall, Anne McCaffrey's Dragonsdawn, Jack L. Chalker's The Birth of Flux & Anchor, and the anthology Star Colonies (Martin H. Greenburg and John Heffers, eds.). Ursula LeGuin's Ekumen in her Hainish Cycle series is the model for the Stargate Commonwealth. Other elements come from the Cyteen trilogy by C.J. Cherryh (council government) and the alternate history anthologies What Might Have Been Vol. I & II, edited by Gregory Benford and Martin H. Greenburg (Ascended Daniel and Oma Desala's discussion).

Inspiration for elements of Atlantis Colony in particular comes from some incredible SGA fanworks on AO3: Speranza's Written by the Victors, LtLJ's Retrograde and Retrograde Extras series, ArwenLune's Rock Happy 'verse and Atlantis Program for Essential Skills Training, Three Fates by auburn and eretria, Wild Card by GillianInOz, Domenika Marzione (domarzione)'s version of Atlantis with its extensive cast of OCs, and The Body Holographic by Leah (Taste_is_Sweet) and springwoof. All are absolutely fabulous and mind-blowing, I cannot recommend them enough.

Once again my profound thanks to you, dear readers, for taking a chance on this modest AU. I hope you enjoy reading this story as much as I did writing it. Feedback is greatly appreciated, and will always be. I'd love to hear your thoughts.

Peace to you all. May we treat each other kindly and with respect, and strive together to create a better future for everyone's sake.

Take care,

Tanista

April 2019-June 2021

[centinel2001]

China – Sanctions & War

Armstrong Economics Blog/War Re-Posted Apr 19, 2020 by Martin Armstrong

QUESTION: Marty; Now Lindsey Grahm is calling for sanction against China. This is starting to seem like the war drums are beating. What do you think?

WH

ANSWER: I am thoroughly disgusted with this entire pandemic nonsense. There is no way there is any evidence whatsoever that convinces me that this was some plot on the…

[xoanffxiv]

Xoan Grahm - Beginnings X

   Martin stood outside the door to the The Black Wing trading company's main warehouse, Grant had already taken the girl inside.  He looked over at his partner, the slender Miqo'te male with blue eyes watched the road intently, as Martin was supposed to be, but he found his thoughts drifting. This girl was a fine catch, young and blonde, and quite pretty.  He smiled a little, wondering if Grant would let him take a turn beefore they handed her over to the boss man.     He stroked the mace hanging on his thigh, a gesture that brought him some comfort as he played through the possibilities in his head. He was about to turn and say something to the man next to him when he heard something odd.  Laughter, and not any sort of regular laughter, but something that seemed more befitting comming from the mouth of a high voidsent than a man.      Two sets of eyes turned down the street and Martin felt his blood run cold.  The Highlander boy stood at the end of the street, his eyes replaced by two orbs of fiery crimson aether.  He was taller than he seemed in the alley when they had him and his girly pinned down and helpless.  That laugh though, hollow and malicious, inhuman, kept rolling between his lips.    "Bugger me!" His companion shouted, reaching for his crossbow.  He let fly with the bolt, the barbed piece of metal shrieking down the alley to carve a gash on the massive Highlander's arm.  Swearing the Miqo'te began to reload as Martin stepped forward, pulling the heavy mace free. He barely registered the movement at first, the kid was fast!  He barely got the face up in time to stop the heavy blow that would have taken him in the jaw.    Xoan howled, pulling the arm back as motes or aetheric fire swam frenziedly in the air around him. Martin's eyes widened as he felt the sheer heat coming off of him, it was like standing under the full force of the Thanalan sun at noon.  The big man tried to backstep, but his opponent was faster, one too large hand closing over the head of his mace and yanking forward.    Martin tried to hang on, contorting himself as the momentum of that tremendous jerk carried him closer to the dangerous Highlander. His companion finished reloading his bow and leveled it at the pair, Martin throwing himself backwards just as he fired.  The bolt buried itself in the heavily muscled abdomen of their berserk attacker, but if he felt that barbed bolt he gave no sign.    The roar that followed shook the seasoned fighter, rattling his teeth in his head from the sheer volume of it as his companion dropped the bow and turned to flee.  Martin tried to call after him but his voice caught in his throat as the large man turned, throwing his hand outward as those motes of aether solidified into a long chain, catching the Miqo'te around the waist and binding his arms to his sides.    With a great heave Xoan pulled backwards, stopping the running man fast and snapping his neck forward with the force of it.  Roaring loudly he pulled on that chain, immediately pulling the man off his feet and swinging him like some grotesque ball and chain.  Martin swung, the heavy head of his mace connecting with the man's shoulder with a crack before Xoan's spin brought him around.      He saw for a dizzying moment, the other guard fly through the air, then crash into the door hard sending splinters flying and causing the heavy oak to shatter inwards.  Xoan released the chain, turning his full attention to Martin. The veteran combatant swung again, aiming for the temple, anything to bring this monster down.  His blow stopped short as a massive hot forearm blocked it, the last thing he saw before the world went dark forever were the too sharp canines and trail of steam coming from the man's lips.  

   Grant heard the crash, and was already ordering the others to to front of the warehouse.  There wasn't supposed to be a raid on their warehouse today, the boss had paid their dues and the Blades were supposed to look the other way.  Taking his bow from a nearby alcove, he did a final check to make sure the girl's chains were fastened, then bolted for the front.      As he arrived, all he could see was chaos, and at the center of that maelstrom, the berserker from the alley.  He quickly fumbled in his pockets, looking for the flash of the aether dampening poison.  As he found it and pulled it free he saw the broken body of Martin, even with his face reduced to a bloody mound of bone shards and flesh he recognized the man's large stature and his blood ran cold.      Quickly Grant unstoppered the vial, pouring the remainder of the expensive concoction on the head of a readied arrow and lined up his shot.  In that short span of time he watched as the frenzied assault worsened, Xoan ripping a large axe from the hands of one of his men and in a single swing removing the head from another, slicing clean through a support beam in the process.      He wiped the panicked sweat from his forehead and took aim carefully, he couldn't afford a miss here.  His count made made for three dead, including Martin and the other guard.  He held his breath for a heartbeat, then two, then loosed.  The arrow streaked through the air, stopping an ilm from the 7 fulm Highlander's face.  Grant's look of disbelief turned to horror as he realized the man had caught it mid air.  Burning baleful eyes turned on him, and the stolen axe swung once, and then again, felling two more of his men in fantastic sprays of blood not unlike one would see from fountains in the Sultan's garden.    The man waded through the dead before him, literally carving a path as those tiny cinders of aether surrounding him began to condense, running over his body and igniting into crimson flames covering him.  The half-Elezen turned to flee, dropping the bow in favor of his family longsword he ran back towards the girl.  His only way out of this that he could see.    Her eyes were shining with hope, she knew who had come to rescue her, and he needed to be quick.  The bellowing roar behind him drove that point home and he caught the girl by the arm.  She fought, clawing and scratching at him until he thrust the cross-guard of his blade forward, splitting her lip and causing tears to well up there again.  He could hear that roar coming ever closer, and now he could smell smoke and feel the heat of the big man's body.    As the hulking man came into view, his blood ran cold.  A dozen cuts lined his body, but even as he watched he could see all but the more serious ones closing, knitting together with crimson threads of wild aether.  The man's face was inhuman, his grin more demonic than anything Grant could remember seeing.  Twin balls of flames regarded him as he opened those blood stained lips to reveal teeth far to bestial to be human.      "What the fuck are you!" The half Elezen shouted, holding the girl in front of him, sword to her throat.  What answered him, chilled him to the bone despite the insane heat filling the room.  He could hear the crackle of fire behind the too large man, a knocked over lantern had started a blaze among the flammable goods stored in the warehouse.    Xoan growled, a low rumbling noise starting low in his chest and then rising and contorting into a hideous laugh that burst through his lips.  He raised the axe high, taking a step forward as Grant held the blade even tighter, a line of red appeared on I'meri's white throat, and with another roar Xoan dove forward, axe driving downwards at the pair.  Grant screamed as I'meri gasped and then the world went black.

   He blinked, his vision blurry, his whole body hurting as he looked up.  The world spun on its axis and it was all he could do to not be sick.  The last thing he remembered he was laying wounded in the alley after I'meri was taken.  The pain on his arm from a fresh wound stun, but not as much as the deep horrible burn in his muscles.  He could feel a weight on top of him and began to struggle until he heard a gruff voice.    "Don't make me kill you boy.  Someone needs to stand trial for this!"      Xoan looked around, trying to get a look at who said it, and noticed that the weight pressing in on him were a trio of Brass Blades. The strong sent of smoke caught in his nostrils and he coughed, sending flecks of blood onto the stones of the Ul Dah street.  He felt his head swimming, like he might loose consciousness at any moment, but the last words he heard before everything around him faded into a haze would haunt him for the rest of his life.    "We count eleven dead inside, ten of them members of the trading company, and one Miqo'te girl of unknown origin." He heard a soldier give his report to the officer. "This one killed them all, that much is plain."      The horrible howl that escaped the boy on the stones echoed even over the crackle of the fire burning the warehouse down as Xoan succumbed to the exhaustion that extreme use of his aether cost him and passed out on the stones.

[i-arch-my-backula]

Master list

Slashers/Horror

Bo Sinclair

Vincent Sinclair

Lester Sinclair

Michael Myers

Billy Lenz

Billy Loomis

Stu Macher

Thomas Hewitt

Bubba Saywer

Chop Top Saywer

Nubbins Saywer

Brahms Heelshire

Leslie Vernon

Otis Driftwood

The Lost boys

Kurt Kunkle

Jason Voorhees

Baby Firefly

Tiffany Valentine

Herbert West

Carrie White

Amanda Young

Adam Faulkner

Candy man

Doomhead

Norman bates

Corey Cunningham

Tommy Jarvis

Stretch Brock

Harry Warden

Will Grahm

Hannibal Lecter

Peter Strahm

Mark Hoffman

Dan Cain

Severen

Jesse Cromeans

Martin Mathias

Asa Emory/ The Collector

Interview with the vampire

Louis De Pointe Du Lac

Lestat De Lioncourt

Dead by Daylight

Danny Johnson

Pyramid head

Call of duty

Phillip Graves

Konig

Simon "Ghost" Riley

Misc. Characters

Johnathan Crane/Scarecrow

[tupacisalive-blog1]

american police brutality

Everyday I see on my TV

A white police officer kills another man who looks like me

And everyday I ask myself why

What did we ever do to you to make you kill us out of the blue?

If anything we should be harming you

But instead we work to forgive you,

Even after all the pain and suffering you’ve put us through.

Are you scared of us and what we’ve accomplished?

Are you intimidated by our looks,

Or is it because you think we don’t belong

Because your views of “American” haven’t moved along.

If you take away the color it’s all just life

Stereotypes aren’t real,

All these lives we’ve lost to you are starting to make us feel

Feel like we aren’t a whole, ⅗  of a person at most

Like our lives mean nothing so all we can do is sell CD’s up and down the coast

But who are you to know what the future holds

Maybe one of us will take part in creating world peace

Now we’ll never know because you pulled the trigger

Then released.

So officers I am not begging,

Not pleading, not screaming, not crying.

I’m simply telling you what you have done is a crime

And you’re hurting families

Though you may think you are saving them

But really all you have done is murder a couple hundred who will never smile again.

So officers Move on

And society do it as well

Because being black is not a crime,

Though we all grow up with that in mind.

No one stops to take the time to realize

That underneath my skin I’m just like you,

I have a heart

I have a brain

Our organs are all the same

But all you think I am is black

And all you think with black is…

You see,

All you listen to are stereotypes

“yes officer”

I will put my hands up

And “Yes officer”

I see your gun

And “YES OFFICER”

I have a gun

But “no officer”

I’m not going to hurt you

And “No officer”

I’m just selling CD’s (Alton Sterling)

Im just driving with my girlfriend and child (Philando Castille)

I’m just going to my apartment (Ramarley Grahm)

I’m just making eye contact (Freddie Gray)

I’m just wearing a hoodie (Trayvon Martin)

“NO OFFICER”

I’m just living my life

The life I was given

The life my family worked to give me

The life I have a right to

The life you can’t just take away,

But,

You can.

Because the life I was given doesn’t matter to you

The life I have a right to can be taken away by you,

But WHO ARE YOU

To take it away,

And WHY SHOULD I

Die ?

Because I’m black ?

But what is that ?

Why is black bad,

Why is black to be afraid of,

Why is white the only race, the only people who deserve to be free,

The only people who shouldn’t die for

Selling CD’s

For driving with your girlfriend and child

For going to your own apartment

For making eye contact

For wearing a hoodie

And why,

Why?

Shouldn’t they be charged for taking away the life of a man of color

For taking away the life of a woman of color?

Why shouldn’t they be charged for actually committing a crime

For doing what they claimed we did?

Yes,

They have to live with what they’ve done,

But at least they get to live,

Unlike the thousands of innocent blacks who died

Died at the hands of the officers

Died because trained officers “felt unsafe”

But isn’t it your job to save us?

Us the innocent,

Us the citizens of the United States,

Not,

Us the white

When duty comes to call

Protect us all,

Because we all deserve life.

[ussery-dfw-photo]

Fishboy at Dan’s Silver Leaf on May 27, 2017 (Art Guards Album Release)