#nine 1982

[uk07]

Nothing makes me angrier than thinking about the nspscp timeline

[basicallyanotherwitchesthing]

Sharon Whitby - Nine Days A-Dying - Robert Hale - 1982

[pintsofguinnesmakeyoustrong]

I've had it now. I need ice nine kills to do a song about basket case. I need Spencer charnas to climb his whole ass into a picnic basket for the video. They cant ignore me forever.

[astercontrol]

QUARK: C'mon, Rom. You must have some fantasy you'd like to live out in my holodeck.

ROM: Not for your prices, brother!

QUARK: You sure? I'll give you a free trial.

ROM: Nice try. I know nothing's free with you.

QUARK: Aww. And I saw how you looked at that visiting consul, too.

ROM: …Dr. Arridor? I-- don't be disgusting!

QUARK: Whadda ya mean? You don't think he's good-looking? You're disgusted by how you feel about him?

ROM: I'm not having this conversation! It's his morals I don't like. He's a doctor! He should be helping people! Not infecting them with diseases! Even if it's profitable to him!

QUARK: gasp Blasphemy!

ROM: I said what I said.

QUARK: Well. There's no accounting for taste, I suppose! But, if it's his personality you've got a problem with? --well, then, all that is changeable, within the world of a holodeck simulation!

ROM: I doubt you'd have the first idea how to program a character I'd like spending time with.

QUARK: Well, that's why I've outsourced some of my programming to AI, isn't it? My holodeck simulations are connected to vast training datasets of other works in all media. Syncing with your own favorites, the algorithm is guaranteed to generate a hologram who's got what you like about Dr. Arridor, and none of what you don't like! Simple as that.

ROM: …I'll try it. If only to see how horribly you're going to mess this up.

QUARK: Well, I'll just leave you to it then. Have fun!

COMPUTER: Simulation activating. Generating Arridor. Initializing player-controlled character creation mode. State parameters.

ROM: Uhhh …I mean… I like his jawline. And his laugh. And… I mean, I guess I like that he's in healthcare? …just not how he seems to feel about that job! I'd like him better if he at least wanted to help people. Even if he was part of a soulless corporate machine that left him utterly powerless to change any of it. I… I think I'd find that relatable.

COMPUTER: Processing. Accessing datasets from: twentieth century; twenty-first century-- Character complete!

HOLOGRAM: …Welcome, friend?

ROM: Wow. You look… different.

HOLOGRAM: Well, of course. I was changed. I'm not as consistent and non-volatile as folks like you, y'know? I can be read and changed in any order!

ROM: …are you even still Dr. Arridor?

HOLOGRAM: I mean. If it's all the same to you, I'd rather go by the name from the dataset that inspired me. (holds out hand) I'm Ram. I do actuarial calculations for a big insurance company!

ROM: …wow. I guess it actually kinda worked. Um… (shakes hands) …Greetings, hologram.

...

The fact that Dan Shor has played a Ferengi may have various implications, but the only one my Pattern Recognizer wants to explore is whether this means Ram has ever met Rom

[doyoulikethissong-poll]

Queen - The Show Must Go On 1991

Innuendo is the fourteenth studio album by the British rockband Queen, released on 4 February 1991. It was the band's last album to be released in lead singer Freddie Mercury's lifetime. It reached the number 1 spot on the UK album charts for two weeks, and also peaked at number 1 in Italy, the Netherlands, Germany, and Switzerland, staying at the top for three weeks, four weeks, six weeks, and eight weeks, respectively. It was the first Queen album to go Gold in the US upon its release since The Works in 1984.

The album was recorded between March 1989 and November 1990. In the spring of 1987, Mercury had been diagnosed with AIDS, although he kept his illness a secret from the public and denied numerous media reports that he was seriously ill. The band and producers were aiming for a November or December release date in order to catch the crucial Christmas market, but Mercury's declining health meant that the release of the album did not take place until February. Nine months after the album was released, Mercury died of AIDS-derived bronchopneumonia.

"The Show Must Go On" was written by Brian May, based on a chord sequence he had been working on. May decided to use the sequence, and both he and Mercury decided the theme of the lyrics and wrote the first verse together. From then on May finished the lyrics, completed the vocal melody and wrote the bridge, inspired by Pachelbel's Canon. The song chronicles the effort of Mercury continuing to perform despite approaching the end of his life. When the band recorded the song in 1990, Mercury's condition had deteriorated to the point that May had concerns as to whether he was physically capable of singing it. May recalls; "I said, 'Fred, I don't know if this is going to be possible to sing.' And he went, 'I'll fucking do it, darling' — vodka down — and went in and killed it, completely lacerated that vocal".

The song was initially not released as a single as part of promotion for the Innuendo album, but was released in October 1991 as the band launched their Greatest Hits II album. The video for the song featured a compilation of clips from all their videos since 1982. Due to Mercury's critical health at the time of its production, a fresh appearance by the band in a video was not possible.

"The Show Must Go On" was released as a single in the UK on 14 October 1991, just six weeks before Mercury died. Following his death on 24 November 1991, the song re-entered the British charts and spent as many weeks in the top 75 (five) as it did upon its original release, initially reaching a peak of 16. In 1992, the song was released as a double A-side with "Bohemian Rhapsody" in the US and reached number 2 in the US.

It was first played live on 20 April 1992, during The Freddie Mercury Tribute Concert, performed by the three remaining members of Queen, with Elton John singing lead vocals and Black Sabbath guitarist Tony Iommi playing rhythm guitar. A different live version featuring Elton John on vocals later appeared on Queen's Greatest Hits III album.

Since its release, the song has appeared on television and film, including Moulin Rouge!.

"The Show Must Go On" received a total of 85,2% yes votes! Previous Queen polls: #29 "Mustapha"

[spac3d0lls]

ride the cyclone PSA for you all:

a lot of people don’t realize that uranium city isn’t a fictional town. it is a fictionalized version of the real uranium city, a town established during the cold war era boom of uranium mining towns in the 1950s.

it was a thriving mining town, with business shining throughout the 60s and the town boasting a population of over ten thousand.

the sudden closure of its last mine in 1982 saw the population plummet from 4,000 to almost 400 people.

to most, it’s now considered a ghost town, with only between 50 and 90 residents depending on the season.

relics of when the town was thriving remain scattered throughout the area. candu high, built right before the population plummet, remained in operation for 4 years before shutting down.

the only remaining school only serves students from kindergarten to grade nine, meaning that the only way a high school education can be pursued is through private means. there exist no cafes, and the few hotels and apartments that existed in the area have since shut down.

uranium city is a lot more than a dead-end highway town in real life: it’s almost completely abandoned. assuming the musical takes place in 2009, it wouldn’t have been big enough to host a fair and a cafe wouldn’t have enough customers to maintain business. part of uranium are fictionalized in ride the cyclone but the town itself met an even worse fate than the fictionalized uranium.

just an interesting bit of history i wanted to share :)

[dragoneyes618]

"Two thousand years ago another Governor washed his hands of a case and turned over a Jew to a mob. For two thousand years that Governor's name has been accursed. If today another Jew were lying in his grave because I had failed to do my duty, I would all through life find his blood on my hands and would consider myself an assassin through cowardice."

- Georgia Governor John Slaton, June 21, 1915, commuting the death sentence of Leo Frank to life imprisonment.

In 1913, Leo Frank, a prominent Jewish Atlantan, was arrested and accused of murdering fourteen-year-old Mary Phagan, an employee in his pencil factory. Although the evidence against him was very weak, the prosecution insisted on trying Frank, carefully suppressing evidence pointing to his innocence.

Frank's arrest triggered an outbreak of antisemitism in Atlanta. Throughout his trial, the jury heard mobs outside the courtroom's open windows chanting, "Hang the Jew! Hang the Jew!" Subsequent to his conviction, "[a jury member confessed] to a northern reporter that he was not sure of anything except that unless Frank was found guilty the jurors would never get home alive" (Leonard Dinnerstein, "A Dreyfuss Affair in Georgia," page 101).

Despite the clear miscarriage of justice (among other things, the "star" prosecution witness against Frank had confessed committing the murder to his own lawyer, information that the lawyer apparently passed on to the judge), the US supreme Court refused to intervene, so that the decision whether or not to execute Frank was left in Governor Slaton's hands. Although assured by the powerful anti-Frank forces of a Senate seat if he let Frank hang, Slaton carefully investigated the case and became convinced of Frank's innocence. In the prevailing turbulent political climate, he was afraid to pardon Frank, hoping apparently that that would be done a few years later. Therefore, Slaton commuted Frank's death sentence, an act that permanently ended his political career.

Several months later, Frank was dragged from his prison cell by a mob consisting of, among others, two retired superior court justices, a former sheriff, and a clergyman. They lynched Frank; for decades, a picture postcard depicting his hanged body was widely sold throughout the South.

In 1982, sixty-nine years after the trial, eighty-three-year-old Alonzo Mann, who had been an office boy in Frank's factory, admitted that he had seen Jim Conley, ab lack employee at the factory and the chief witness against Frank at the trial, dragging the girl's body into the factory's basement on the day of the murder. Mann's mother had pressured him not to get involved in the politically charged trial. In 1986, the state of Georgia granted Frank a posthumous pardon.

-Jewish Wisdom, Rabbi Joseph Telushkin, pages 482-483

[silent-stories]

𝐇𝐄𝐀𝐋𝐈𝐍𝐆 𝐓𝐎𝐔𝐂𝐇

Pairing: Eddie x GN!Reader

Summary: Eddie was not used to a kind of touch that was not violent until he met you.

Warnings: angst, fluff, domestic violence, blood

1972

Eddie was seven years old and didn't know how to ride a bike.

His mom had left about a year before and Eddie was a child but he wasn't stupid: he knew she wasn't coming back.

His father had lost his job and Eddie didn't know what he did all day - and often all night - outside their house.

No one had ever taught him to ride a bike. But that hadn't stopped him from trying to learn when he found an abandoned bicycle next to a garbage can on his way home from school.

The other kids made it look so easy.

The first time he fell he grazed his knee, which started bleeding when his skin scraped against the asphalt after his jeans ripped.

He wanted to cry but his father said real men didn't cry, so he got up and tried again.

The second time he fell, his arm hit the ground and blood started coming from the scrapes on his elbow as well.

The third time he ended up with his face against the asphalt and a cut on his left eyebrow.

He tried again and again, until even his hands were covered in blood and bruised.

When he got home he used a bottle of whiskey to disinfect the wounds, he didn't know if it was really useful but his father always did it when he came home bleeding.

In his room then, he cried. Not really from the pain of the wounds and the bruises that were starting to form, but because his mom had left him, his father hated him and no one cared about him enough to even teach him how to ride a damn bike.

1974

Eddie was nine years old and he was used to seeing his father come home drunk.

"What the fuck do you want?" the man asked seeing his son as he was stumbling into the house.

Eddie just stood there saying nothing, watching his father struggle to remove his jacket and missing the coat rack, then heading to the kitchen and opening the fridge.

"I told you to buy some beer." He said closing it and turning to look Eddie in the eye.

"I'm nine. They said they won't let me buy it." Eddie muttered and it was the truth.

The father walked towards him and Eddie had to keep from stepping back.

When he reached out his hand for him Eddie flinched but the hand stayed in front of him.

"The money."

Right, his dad was waiting for Eddie to give back the money he didn't spend on beer.

There was just one problem. Eddie had spent that money on a book. He had seen it displayed in a shop window next to a supermarket and hadn't resisted, only now did he realize how stupid he had been.

"So?" Repeated his father, "the money"

Eddie shook his head.

"No?" Eddie could hear a note of anger in his off-balance words. "No what?"

"I don't have your money, sir." Eddie muttered. He shouldn't have bought that book, he never should have.

The father's outstretched hand shot forward the kid and grabbed ​​the child's face, squeezing it between his fingers.

"What the fuck did you do with my money?"

"I'm sorry" the boy murmured as tears formed in his eyes.

"What the fuck did you do with them!?" He raised his voice, his hand still gripping Eddie's face, probably going to have a bruise the next day.

"I-I bought a book." He finally breathed.

"A book?" the father asked, his bloodshot eyes staring into the boy's.

Eddie nodded and before he could understand what was happening his father's hand had left his face and the other, clenched in a fist, reached his face.

Eddie's vision blurred as the punch hit his cheekbone and sent him to the ground.

His head was throbbing and his ears were ringing but he still understood what his father said before disappearing into the bedroom.

"Next time remember not to spend my money on bullshit."

Eddie curled up on the living room floor as he began to sob, one cheek resting on the cold floor as the other felt like on fire.

He stayed there until the sun came up.

1982

Eddie was seventeen and hadn't lived with his father for several years, which was good, but people at school had started calling him "freak."

He pretended that it didn't bother him, that it didn't hurt him and everyone seemed to believe it.

They looked at him with contempt and disgust and Eddie honestly didn't even know why. Was it the way he dressed? Was it because he liked metal?

The jocks had started to bump on him on purpose when walking in the hallways making him drop whatever he was holding in his hands.

But he was already used to things like that.

1986

Eddie was twenty-one and trying to graduate, for the third time.

He was part of a band and at lunch he ate with the other Hellfire members, so he could tell he had found some friends.

But there was also something else. Someone. You.

He'd met you one night when you'd picked up the kids after a Hellfire campaign, complaining that you were sick of babysitting but greeting Dustin by ruffling his short, dark curls, showing that you weren't really mad at any of them.

The thing that surprised Eddie was that you introduced yourself shaking his hand, a common gesture that people did so often but which happened to him so seldom.

He had never told anyone that that gesture had made him feel more "human" and less "freak" than he had ever felt during the last years of his life.

Since that day, every time you went to pick up the kids after a campaign you stayed there a bit more just to talk to him, sitting on a bench outside the school for a few minutes, and Eddie thought it was really weird for him that sometimes he almost wished the game would end soon, to see you again.

You were kind, you were not scared to be around him and you always managed to make him smile.

Sometimes your leg brushed his as you talked and Eddie felt a weird sensation in the pit of his stomach but he couldn't quite figure out what it was.

He liked having you close, he liked when your hand brushed his, when your shoulder touched his or when you put a hand on his arm as you burst out laughing at something stupid he said.

And every time he felt something weird, simultaneously feeling the urge to pull away from you, not to let him touch him the way you did, and the urge to push you closer to him, to grab your hand with his and intertwine his fingers with yours or put an arm around your shoulders.

Another thing that amazed Eddie is that at school you would greet him every time you saw him in the hallways, even just with a simple "hey", but you did it every time. He didn't expect you to want others to associate you with him but it looked like you didn't care.

It was when you gave him a hug, one day, that he realized he was completely screwed, because he liked you. He liked you in a way he'd never liked anyone before and didn't know what to do.

"I knew you could do it!"

It was stupid to be so happy for him since it was his third time taking that math test and it wouldn't alone determine the final result of the year but when you threw your arms around his neck, Eddie felt his heart burn in his chest.

He placed his hand on your back and as he held you close, he found himself burying his face in your hair, breathing in your perfume and hoping that moment would never end.

When you walked away Eddie wanted to pull you against him again but you said you were late for art class and ran away before he could say anything.

Eddie stood in the empty hallway for a few moments, trying to sort out his thoughts, trying to figure out what was happening to him.

His thoughts led him to the last time he had had human contact that wasn't any kind of violence. He finally came to the conclusion that you were the first person in many years, or perhaps for the first time in his life, who offered him a gentle touch.

His uncle wasn't one to physically show affection beyond a pat on the back once in a while and his mom probably gave him a hug once or twice when Eddie was four.

That was all.

The rest were just things Eddie preferred to forget.

And now that you had shown Eddie how a hug, or even just a touch, from someone he loved made him feel, he didn't want that feeling to end.

Fuck, he thought locking his locker with the intention of skipping biology class, he was really screwed.

"Thanks for the ride," Dustin said as you got out of your car in the school parking lot.

"You're lucky I have to drive past your house anyway." You rolled your eyes.

"I swear I'm going by bike tomorrow." He said as you walked side by side towards the school.

"Hey" you nudged him lightly "it's okay. I'm just kidding. You know I can give you a ride every day if you need it."

A huge smile appeared on Dustin's face but before he could say something his gaze met the crowd of people gathered in a sort of circle in front of the school. Some shouted, others cheered and laughed.

"What the hell?" You asked before walking towards the crowd with quick steps, followed by Dustin.

When you arrived, it looked like the show was already over.

You shouldered some students to get a glimpse of what was going on. In the center of the circle, Jason Carver was talking agitatedly with a teacher.

"He started it! I just defended myself!" Jason practically yelled at the teacher as he tried to calm him down.

"That's enough. You know very well that fights are not allowed in this school."

Fights?

"I know. And like I said, it wasn't my fault. I didn't start it." He replied confidently.

Liar. Jason was always the first to start a fight.

"As soon as you got here, Mr. Jones, he ran away. It's obviously his fault and he knows it too." Jason's tone was filled with anger and contempt.

Only at that moment you noticed the blood stain on Jason's white shirt, even though he didn't seem to be hurt.

The professor looked around. "What are you all still doing here? Everyone go to class!"

The crowd around Jason and the teacher began to dissipate and most of the students walked away.

"Mr. Jones, you don't understand!" Jason exclaimed dramatically, "that freak has to pay for what he did."

As you heard that word you turned to Dustin and your worried gazes met.

"Eddie." You both said at the same time.

You'd decided your history class could wait and you started looking all over the school for Eddie, you had told Dustin that if you found him, you'd let him know.

After checking out the music room as well, one of the few classes Eddie really liked you figured that if he wasn't inside school then he must have been out.

You looked around hoping that no teacher would see you sneaking out and you went out the back door.

You found Eddie sitting on the ground, his back against the school wall, his head down.

"Hey." You announced your presence slowly walking towards him.

Eddie's head snapped up.

"Holy shit." That was all you could say.

The right side of his face was covered in blood from a cut on his forehead and around his barely open eye was a dark purplish bruise. There were marks on her cheek, as if his face had been pressed into the ground and there was also a small wound on his lower lip.

"It's nothing, really. I'm fine." He said avoiding your gaze. "I've had worse."

"It doesn't look like nothing to me." You squatted down in front of him and wondered if his eyes were watering from physical pain or for some other reason. Up close his face looked in even worse shape and the urge to kill Jason with your own hands escalated to extreme levels. What did he do to his pretty face?

"C'mon, let's go clean up and disinfect the wounds, mh?" You said getting up and holding out a hand to help him getting up.

He stared at it for a moment.

"Trust me. There's no one in the infirmary now." You said.

Finally he grabbed it and got up, his hand was warm against yours.

You pushed the door again and entered the school, you were still holding his hand as you guided him towards the infirmary.

"It will hurt a little." You said soaking a cotton ball in the disinfectant and approaching Eddie, who was sitting on a cot.

"You're missing a class because of this" He said "I can do it myself."

You shrugged, "I really don't like history. Too many dates." Then you focused on his face.

You gently placed a hand on his left cheek to keep his face still and placed the cotton on the wound on his forehead, which fortunately had stopped bleeding.

You expected him to flinch, you knew how much it could hurt, instead he just closed his eyes and leaned into the touch of your hand. He seemed calm.

You finished disinfecting his forehead and pushed his hair behind his ear to clean the blood that had stained his temple.

His eyes were still closed, his hand still gently resting on the side of his face as you disinfected his cheekbone and lower lip.

"All done" you said putting down the blood stained cotton, moving your hands from his face and noting that he already looked much better than before "are you okay?"

Eddie opened his eyes again and his chocolate brown orbs silently stared at you with a look that was very reminiscent of the one of a puppy.

"Eddie." You called to him again, trying to figure out what was going on, then you felt something brush your fingers and you looked down.

His ringed hand had met yours. You watched as he slowly brought it back to his face, not saying a word.

You ran your thumb up his cheek and he seemed to relax as you did it.

"Thank you" he whispered "I like it when you do that."

"When I do what?" You asked.

"Your touch. I like it when you touch me." He muttered.

"Oh Eds." You brought your lips to his forehead for a kiss and then to his cheekbone, just below the bruise, barely brushing his skin trying to be as gentle as possible.

Then you slowly wrapped your arms around him, pushing his body against yours, being careful not to hurt him. He rested his head on your shoulder and his hands gripped the fabric of your shirt in an almost desperate way, as if he didn't want you to leave him.

You held him as you stroked his back and left a few kisses in his dark hair.

You realized that his reaction was probably caused by the fact that he hadn't received much affection in his life and your heart ached at the thought.

He didn't deserve that. He didn't deserve all the awful things that happened in his life.

When you heard the bell announcing the end of first period, Eddie lifted his head and gently pushed you away from him.

"You should really go now."

You cupped his face but with one hand on his neck to avoid touching the wounds and you gently placed your lips on his cheek, on his jaw and then again on his forehead and temple.

"I love you so much, Eddie Munson, never forget that." You said then and he couldn't help but push you back in towards him for a hug.

"I love you too." he whispered.

You knew you weren't talking about that kind of love, not yet. And that was fine, for now.

You reached into his hair and dug your fingers into his curls, your nails scratching his scalp.

"You know what? I already skipped the first period, I don't think it will be a problem to take a day off. We can stay here a bit more."

He just pulled you closer.

[doomandgloomfromthetomb]

The Year In Doom & Gloom

Doom & Gloom From The Tomb celebrated its 15th anniversary this year, which is crazy. But what can I say, I keep finding cool live tapes and keep feeling compelled to share them with you ... whoever you are! A lot of this website is just me talking to myself, hashing and rehashing and re-re-hashing various obsessions, getting impossibly niche about some of my favorite artists, trying to shine a light into the darkest corners of music history. But that makes it sound like it's a serious endeavor. Mostly, it's fun. I hope it's fun for you too. So, if you need to catch up, here's a tip-of-the-iceberg rundown of what we checked out over the last 12 months ... as always, thank a taper!

Lou Reed - Sister Ray in the 70s

“Candy Says” - Lou Reed, Kongress Zentrum, Hamburg, Germany, March 29, 1979

Lou Reed - October 1974

Lou Reed - Lady Mitchell Hall, Cambridge, England, October 13, 1972

Lou Reed - City Hall, Sheffield, England, June 1, 1974

Lou Reed - Konserthuset, Stockholm, Sweden, May 14, 1974

Lou Reed - Parc Des Expositions De Colmar, Theatre De Plein Air, Colmar, France, August 12, 2004

The Modern Lovers - Radcliffe College, Cambridge, Massachusetts, October 27, 1972

The Modern Lovers - Sword in the Stone, Boston, Massachusetts, 1972

The Modern Lovers - Boston Center for the Arts, Boston, Massachusetts, February 23, 1974

Foggy Notion - The Bowery Ballroom, New York City, December 13, 2023

The Feelies - Daniel Street, Milford, Connecticut, July 22, 2011

John Sinclair - BAR, New Haven, Connecticut, September 28, 2003

Meg Baird + Chris Forsyth, Cafe Nine, New Haven, Connecticut, October 26, 2022

John Fahey - McCabe’s Guitar Shop, Santa Monica, California, December 1979

The Go-Betweens - The Gatekeeper To Your Soul

Frank Black - Wetlands, New York City, June 13, 1994

Jacobites - Hearts Are Like Flowers

The Replacements - The Ritz, New York City, June 21, 1986

Willie Nelson - El Rey Theatre, Los Angeles, California, December 20, 1997

Neil Young - Razor Love (1984-2020)

Neil Young & Crazy Horse - Control The Violent Side

“Peace Of Mind” - Neil Young & Crazy Horse, Community Theater, Berkeley, California, November 2, 1976

Neil Young & Crazy Horse - Festival Hall, Osaka, Japan, March 4, 1976

Neil Young & Crazy Horse - Copps Coliseum, Hamilton, Ontario, October 31, 1996

Neil Young & Crazy Horse - Shoreline Amphitheatre, Mountain View, California, October 1 / October 2, 1994

Fairport Convention - Harlow Town Hall, Essex, England, June 15, 1974

Richard & Linda Thompson - Dublin Stadium, Dublin, Ireland, November 10, 1979

Robyn Hitchcock & Richard Thompson - “First Girl I Loved (Incredible String Band),” The Barbican, London, England, July 19, 2009

Can - Nordseeheilbad, Cuxhaven, Germany, January 7, 1976

Bob Dylan and The Band - “Nobody ‘Cept You” (Outtake)

Bob Dylan & The Band - Chicago Stadium, Chicago, Illinois, Jan. 3, 1974

Patti Smith - Max’s Kansas City, New York City, September 1, 1974

Patti Smith Group / John Cale / Television - The Palladium, New York City, December 31, 1976

Television - Great American Music Hall, San Francisco, California, December 9, 1992

Television - Roseland, New York City, October 2, 2004

Grant Lee Buffalo - Shepherd’s Bush Empire, London, England, October 11, 1994

Tom Petty & The Heartbreakers - Vredenburg, Utrecht, The Netherlands, December 4, 1982

Wilco - Orpheum Theatre, Boston, Massachusetts, October 19, 2002

[loukaiitis]

Kip Kinkel: Thurston High School

Summary of the 1998 Thurston High School Shooting committed by Kip Kinkel. Note: this is for informational and educational purposes only. Post is below the cut. 

Background: 

Kipland Philip Kinkel was born August 30th, 1982 to Bill and Faith Kinkel. He had one older sister, Kristin, who was about six years older than him. The family lived in Springfield, Oregon; Bill previously taught Spanish at Thurston High School and Lane Community College, and Faith was a Spanish teacher at Springfield High. Kip was described as a relatively normal teenager with some odd hobbies and interests. He was on the football team and enjoyed the music of Marilyn Manson and Nirvana. He was also known for being “obsessed” with bombs and guns; this fixation would only grow over time.

The Kinkel family did not seem to have any major conflicts. Kristin was a successful competitive cheerleader in college, and Bill and Faith were both popular teachers. However, Kip had some academic struggles. It was recommended that he repeat the first grade, and he was later diagnosed with dyslexia. Despite having difficulty in some academic areas, Kip thrived in science and math; in fact, he was placed in a “Gifted” program.

Mental Health / Warning Signs

Kip’s behavior began to change as he became a teenager. He was twelve years old when he began hearing voices in his head. The first time it happened, he was walking home from school; according to Kip, a male voice told him, “You need to kill everyone, everyone in the world.” When he could not find the source of the voice, he panicked. He ran to his house, grabbed the rifle he received for his birthday, and hid in his bedroom until he did not hear the voice. Soon, one voice developed into two, and then three. These voices were all male voices and would talk to each other: either to fight or to work together to manipulate Kip. These voices terrified him, and he tried to make sense of them. However, his conclusions were all based in paranoia.

“I believed that the Disney corporation was working in conjunction with the U.S. government, and they had planted a chip in my head and so the voices were coming from this chip,” - Kip Kinkel (2021)

This paranoia developed rapidly, but he went to great lengths to hide it from others. He began believing that foreign countries would invade and kill him. These fears led him to have an increased interest in weapons.

 In seventh grade, he expressed an interest in building bombs and tried to obtain books such as the Anarchist’s Cookbook. He obtained a shotgun from a friend during this time as well. Faith Kinkel discovered his plans to obtain weapon-related books and grew concerned. Despite knowing about Kip’s violent interests, she did not intervene. It wasn’t until Kip started getting into legal trouble that some action was taken. In eighth grade, Kinkel and his friends were caught shoplifting CDs at the local Target. Sometime after this incident, Kip and a friend were arrested in Bend, Oregon for hitting a car with a rock from a highway overpass. These incidents led to Kip being brought to a psychologist. Kip intended to keep the voices and delusions he was having a secret. Dr. Jeffrey Hick would see Kip for nine therapy sessions and noted that he showed “no evidence of delusional thinking or other thought disorder symptoms.” It was apparent that he had a strained relationship with his parents, especially after his sister (who acted as a mediator for the family) had moved out. Kip described eating and daily functioning as a chore. He was eventually diagnosed with depression and prescribed Prozac.

“I remember freaking out. I had this plan, and this is a mess, but I had this plan to get into the military because if I got in the military, then I could get into the CIA, and if I got in the CIA, then I could get the right connects to find whoever in the government that put this chip in my brain. And being diagnosed as depressed..  this was something the voices pushed.. meant that I would not be allowed into the military. And I would not be allowed to own guns.” - Kip Kinkel (2021)

During the time of these counseling sessions (January 20th - July 30th 1997), Kip was suspended twice in late April. Despite this, he was seemingly progressing well in counseling; it seemed that Kip’s depression and anger were under control. Because of this, his father allowed him to purchase a 9mm Glock with his own money (under the agreement he would not be able to use it without his father’s supervision). In an attempt to bond, Kip and his father would go target shooting. Soon after, Kip purchased more guns: a .22 pistol from a friend (which he kept hidden) and a .22 semiautomatic rifle that his father allowed him to purchase. Kip’s obsession with explosives grew just as his obsession with guns did. In class, he gave a descriptive speech about the process of building pipe bombs with detailed illustrations.

Expulsion:

On May 20th, 1998, Kip was going to purchase another gun, a .32 caliber semi-automatic pistol, from a friend; they arranged the day before for Kip to purchase it at school. Kip paid $110 for the gun and kept it in his locker. However, this gun was stolen from the friend’s father. The father contacted the school, concerned that one of his guns was taken by one of his son’s friends. A list of possible suspects was given to Detective Warthen, but Kip’s name was not listed. After speaking to other students, Warthen questioned Kip about the gun. He confessed and was arrested, along with the friend he purchased the gun from. According to Detective Warthen, Kip was extremely worried about what his parents would think of him being charged with a felony. Bill Kinkel drove Kip home from the police station. They stopped at Burger King; Bill left Kip inside the building while he ate in the car. Kip felt as though his fears had become a reality.

“It was no longer, ‘I need to get this gun to protect myself from these very specific threats.’ Everything was a threat, everything was evil, everything was ugly, I got to the point where there was a mantra that the voices were saying, but also that I was experiencing, which was that I had to commit the crimes that I committed. The sense that I had no other choice was overwhelming. It became my reality.” - Kip Kinkel (2021)

Shooting: 

According to Kip, the voices in his head continued to get louder and more unbearable. The voices he was hearing were telling him to kill his father. Around 3pm on the same day as his expulsion, Kip grabbed his .22 rifle and shot his father in the back of the head while he was drinking coffee in the kitchen. Kip dragged the body of his father to the bathroom and covered him with a sheet. Between 3pm and 6:30pm, Kip’s home phone received numerous calls: a call from an English teacher at Thurston High School looking to speak to Bill, a call from a friend of Kip asking about Bill, and a call from one of Bill’s Spanish students asking about his absence. Kip gave vague, short answers to these calls before hanging up. The final call was between Kip and two of his friends. During this call, Kip explains that he did not know that the gun was stolen, and that he had no plans to use it. According to the friends on this call, he was impatiently waiting for his mother to come home and stated that “It's over...Everything's over... it's done... Nothing matters now."

Around 6:30pm, Faith Kinkel was in the garage, getting out of her car. Kip entered the garage, told her that he loved her before shooting her twice in the back of the head, three times in the face, and once in the chest. Kip covered her body with a sheet. That night, the voices convinced him that more people needed to die.

“I know it’s really hard for people to accept and understand, but there was something very clear inside me... like suicide wasn’t an option for me until I had done this thing that they were telling me to do. And they had promised me that once I did this thing I could kill myself.” - Kip Kinkel (2021)

The following morning, May 21st, 1998, Kip dressed himself in a black trench coat and packed his .22 caliber semiautomatic rifle, the 9mm Glock, and .22 caliber semiautomatic pistol into his backpack, along with ammunition. He taped a bullet to his chest (an extra bullet to kill himself, in case he ran out of ammunition) and a hunting knife to his leg. He drove himself to Thurston High School in his mother’s Ford Explorer.

Kip parked a block away from the school and walked through the back parking lot to enter the school. In a hallway near the school’s cafeteria, Kip shot two boys, Ben Walker and Ryan Attebury with the rifle; Walker being shot in the face and Attebury on the side of his face. He continued down the hallway to the cafeteria, where he shot the remainder of the 50-round clip. Determined to keep shooting, Kip tried to use his Glock, but he was tackled by five students after one shot. Two students were killed: Ben Walker and Mikael Nickolauson. Ryan Attebury, along with 24 others, survived their injuries. As Kip was arrested, he stated he just wanted to die or be killed. 

At the police station, Kip spoke to Detective Al Warthen. He was questioned about the moments leading up to the shooting, and Kip confessed to the murder of his parents. (Most of this recorded confession can be found online). Warthen left the room momentarily, and Kip managed to grab the knife he had taped to his leg. When Warthen returned, Kip yelled at Warthen to kill him before approaching him with the knife. Warthen escaped the room and locked Kip inside; He and another officer sprayed pepper spray into the room in an attempt to disarm Kip. 

As detectives entered the Kinkel’s house, “Liebestod”, a song featured on the CD soundtrack of Romeo + Juliet, could be heard on repeat at a blasting volume. Upon entering the house, detectives found explosives in crawl spaces, the bodies of Bill and Faith, and a note confessing the murder of the Kinkel parents.

“I have just killed my parents! I don't know what is happening. I love my mom and dad so much. I just got two felonies on my record. My parents can't take that! It would destroy them. The embarrassment would be too much for them. They couldn't live with themselves. I'm so sorry. I am a horrible son. I wish I had been aborted. I destroy everything I touch. I can't eat. I can't sleep. I didn't deserve them. They were wonderful people. It's not their fault or the fault of any person, organization, or television show. My head just doesn't work right. God damn these VOICES inside my head. I want to die. I want to be gone. But I have to kill people. I don't know why. I am so sorry! Why did God do this to me. I have never been happy. I wish I was happy. I wish I made my mother proud. I am nothing! I tried so hard to find happiness. But you know me I hate everything. I have no other choice. What have I become? I am so sorry“ - Kip Kinkel’s written confession

Trial:

On June 16th, 1998, Kip Kinkel was indicted with 58 felony charges, including four counts of aggravated murder that he was originally charged with. Kip spent approximately 18 months in solitary confinement. He was kept in a juvenile detention center until being transferred to an adult county jail after his 16th birthday. Kip was evaluated by different doctors that came to the shared conclusion that he showed signs of paranoid schizophrenia. Due to his age, he was not given a formal diagnosis and was only given medication for a brief period of time. During his confinement, the voices only gained more control over Kip. 

Just days before the trial, Kip decided to plead guilty instead of going forward with an insanity defense. He felt that a mental institution would be just as bad as prison, and he wanted to avoid a stressful trial in hopes that the voices would not bother him more than they already were. 

During the sentencing, survivors, family members of the victims, and doctors testified. Many called for the harshest sentence possible. When Kristin Kinkel tried to console her brother and block out the anger surrounding him, he allegedly said, “No, I owe it to them to listen.” Kip’s defense team attempted to get a lighter sentence due to his age and mental instability. However, the notoriety of the case led to Kip receiving the harshest sentence for a juvenile. On November 2nd, 1999, Kip Kinkel was sentenced to 111-years in prison without the possibility of parole. He apologized to the survivors and families of the victims.

Appeals / Recent News:

Kip and his legal team have made multiple attempts to appeal his sentence, with no success. However, Kip has made significant progress in his life in prison. He earned his degree in global studies in 2007 and has worked as a clerk in the prison library, a yoga instructor and an electrician. Kip’s mental health has improved with the help of proper medication and therapy. He continues to advocate for criminal justice reform today. In the summer of 2021, Kip Kinkel gave his first and only interview for an article by HuffPost.

“It’s hard for me to be able to say that because, so clearly, I had so many other choices. But in that time, that’s the horror of becoming fixated in a psychotic way... I felt like I didn’t want to do what I was going to do, I had to do it. That’s what was going on in my head.” - Kip Kinkel, speaking about his crimes

[justforbooks]

Teri Garr

American actor who brought superb comic timing to her roles in film classics such as Young Frankenstein and Tootsie

The American actor Teri Garr, who has died aged 79, once said: “I’ve spent a lot of time clawing my way to the middle.” That remark could have sprung from the lips of any of the fizzy, dizzy, nakedly neurotic women who were her speciality from the mid-1970s onwards.

In Mel Brooks’s horror pastiche Young Frankenstein (1974), she was Inga, the bubbly laboratory assistant who, when proposing a roll in the hay, means precisely that and nothing more. She played the wives of troubled men in two very different fantasies from 1977.

In Steven Spielberg’s Close Encounters of the Third Kind, she tries to keep her children chipper while their father (Richard Dreyfuss), a UFO obsessive, descends into madness. In the comedy Oh, God!, in which her husband (John Denver) is visited by the wisecracking Almighty (George Burns), she says tearfully: “I went to empty the garbage and two people blessed me. And then one of them blessed the garbage.” In both instances she invested stay-at-home sidekick roles with abundant warmth, humour and generosity.

Younger audiences came to know Garr as the mother of Phoebe Buffay (Lisa Kudrow) in the 1990s sitcom Friends, but her career high point was Tootsie (1982), starring Dustin Hoffman as a cross-dressing actor. Playing Sandy, his sometime lover waiting for her big acting break, Garr was touchingly grounded. She improvised some of her funniest moments, such as being locked in the bathroom and then resolving to use the experience in her acting work, and made comic capital out of the way in which the tiniest knock could send Sandy’s self-esteem plummeting. Most magically, she brought dignity to a part that could have come across as a doormat. Garr was Oscar-nominated but lost out to Jessica Lange for her performance in the same film.

The production was famously troubled, passing through so many writers and potential directors that there were rumours of an “I Also Wrote/ I Almost Directed Tootsie” club in Hollywood. Hoffman and the eventual director, Sydney Pollack, spent most of the protracted 100-day shoot either at loggerheads or communicating only through intermediaries.

Garr found Hoffman exhausting. “It’s not enough to give in to him,” she said. “You have to like what he wants too!” Such off-screen troubles only made the delightful end result all the more miraculous. In the escalating mania of the picture’s final stretch, Garr came into her own with her killer timing and gasping indignation.

She was born in Lakewood, Ohio, to showbiz parents: Phyllis Lind, born Emma Schmotzer, was a dancer with the Rockettes, while Eddie Garr, born Edward Gonnoud, was a vaudeville performer and actor who starred alongside a young Marilyn Monroe in Ladies of the Chorus (1948). After he died when Garr was 11, the family moved from their home in New Jersey to Hollywood, where her mother became a wardrobe mistress for film and television.

From an early age Garr harboured aspirations to be an actor and dancer. At 13 she performed with a professional ballet company in San Francisco. She was educated at Magnificat high school, Ohio, North Hollywood high school and California State University at Northridge before appearing in the West Side Story road show and Donald O’Connor’s revue at the Cocoanut Grove club.

Garr’s earliest film appearances were as a background dancer in Elvis Presley movies; she appeared in nine including Fun in Acapulco (1963), Kissin’ Cousins, Viva Las Vegas (both 1964) and Clambake (1967). She began taking acting lessons and found herself in the same class as Jack Nicholson, who was writing the deranged film Head (1968) as a vehicle for the Monkees. He doled out small parts to his classmates, providing Garr with her first speaking role as a woman who suffers a snakebite. (“Quick,” she tells Micky Dolenz, proffering an injured finger, “suck it before the venom reaches my heart.”)

She became a regular in the early and mid-70s on The Sonny & Cher Show – she based Inga’s accent in Young Frankenstein on Cher’s German wig stylist – and appeared on sitcoms such as The Bob Newhart Show and M*A*S*H.

Francis Ford Coppola gave her a small role in his surveillance thriller The Conversation (1974) and she was also part of the ensemble cast in two ramshackle US comedies by British directors: Michael Winner’s star-studded Won Ton Ton, the Dog Who Saved Hollywood (1976) and John Schlesinger’s Honky Tonk Freeway (1981).

After playing the young hero’s mother in the lyrical Coppola-produced adventure The Black Stallion (1979), Garr became part of the director’s Zoetrope Repertory Company, appearing in other films produced or directed by him.

“Instead of getting a big chunk of money for a movie, I’d take a weekly cheque or a small amount, because we were all going to share the profits later. After a while, even the small cheques stopped coming.” Zoetrope productions in which she starred included The Escape Artist and the stylised but commercially disastrous musical One from the Heart (both 1982). Of the latter, Garr said: “It was over-rehearsed. After you have done a scene 25 times, you have no energy left, you don’t care.”

She was one of the leads in The Sting II, a lacklustre sequel to the 1973 con-artist comedy film. She briefly reprised her role in The Black Stallion Returns and played the wife to a house-husband (Michael Keaton) in Mr Mom (both 1983).

A rare foray into straight drama came as a divorced woman taking up with a cad in Michael Apted’s Firstborn (1984), and she was wickedly funny in Martin Scorsese’s black comedy After Hours (1985) as a Monkees-obsessed, beehive-sporting waitress whose cupboards are stacked with cans of hairspray (a touch that Garr herself suggested).

In Miracles (1986), she and Tom Conti played a couple who reassess their relationship when they are kidnapped on the brink of divorce. Further roles included the gentle drama Full Moon in Blue Water (1988) and the crime caper Out Cold (1989), as well as supporting parts in Dumb and Dumber (1994), the Watergate comedy Dick (1999) and Terry Zwigoff’s wry comic-book adaptation Ghost World (2001).

In 2002, Garr announced that she had been diagnosed with multiple sclerosis. Three years later, she published an autobiography, Speedbumps: Flooring It Through Hollywood, which she originally planned to title Does This Wheelchair Make Me Look Fat? In 2006 she suffered a brain aneurysm that inhibited her speech and movement, though she recovered both after months of rehabilitation. Her last film appearances were in two well-liked indie comedy-dramas, Expired and Kabluey (both 2007), made before the aneurysm.

When she expressed her dissatisfaction with the roles that she had been offered, it was sometimes hard to tell if she was being comically self-deprecating. “Directors would tell me, ‘We want you to play a character a little less complex than you are.’ Yeah, sure. What they mean is, ‘You’re playing a dummy.’” No part inhabited by Garr, though, was ever so easily pigeonholed. Her particular talent lay in introducing a sparkling comic complexity far beyond what existed on the page.

She is survived by her daughter, Molly, from her three-year marriage to the actor John O’Neil, which ended in divorce in 1996.

🔔 Teri Garr, actor, born 11 December 1944; died 29 October 2024

Daily inspiration. Discover more photos at Just for Books…?

[odinsblog]

How Do Waves Not Break The Glass at La Jolla Restaurant The Marine Room?

If you’ve ever been to The Marine Room in La Jolla, you know that the restaurant is famous for ocean waves crashing against its glass windows. The real question is, how do the waves stay outside the restaurant?

The answer is relatively simple. But, it’s steeped in the history of The Marine Room, which stretches back to the 1930s when the Kellogg family founded the La Jolla Beach and Tennis Club (where restaurant is located).

While The Marine Room seems impervious to the crashing tides now, Mother Nature has breached the restaurant’s glass walls in the past. The first breach happened in 1941, when a roaring surge flooded the restaurant.

Eventually, The Marine Room rebuilt — and, this time, used bulletproof glass in its construction. This invention helped the restaurant keep the waves out until 1982. However, the bulletproof glass didn’t fail at that time. Instead, years of salt water exposure had corroded the steel I-beams.

After that incident, the restaurant took nine months to rebuild its iconic dining room. This time, it used reinforced steel covered in Gunite — a material used to construct swimming pools. The Marine Room also upped the ante with even more durable bulletproof glass.

(continue reading)

[victusinveritas]

Barbarian Queen (also known as Queen of the Naked Steel) is a 1985 American-Argentine fantasy film starring Lana Clarkson, directed by Héctor Olivera and written by Howard R. Cohen. The film premiered in April 1985 in the United States. It was executive produced by Roger Corman, and it was the third in a series of ten movies that Corman produced in Argentina during the 1980s.

Barbarian Queen was filmed in Don Torcuato, Argentina by director Héctor Olivera as part of a nine-picture deal between Olivera's Aires Productions and Roger Corman’s U.S.-based Concorde-New Horizons. Corman was looking to produce low-budget sword-and-sorcery films to capitalize on the success of Conan the Barbarian (1982), while Olivera sought to fund more personal film projects via the profits from his deal with Corman. Lana Clarkson, who had appeared in a supporting role as an amazonian warrior in the previous Aires-Concorde coproduction Deathstalker, was cast in the lead as Amethea. Clarkson performed all of her own stunts in the picture.

B-movie critic Joe Bob Briggs gave the film a tongue-in-cheek positive review, writing, "It's no Conan the Barbarian II, but it's got what it takes, namely: Forty-six breasts, including two on the male lead. Thirty-one dead bodies. Heads roll. Head spills. Three gang rapes. Women in chains. Orgy. Slave-girl sharing. One bird's-nest bra. The diabolical garbonza torture. Sword fu. Torch fu. Thigh fu (you have to see it to believe it)."

Also that poster is by Boris Vallejo.

[leonardcohenofficial]

as is tradition here are my top nine new-to-me watches of the year—in no particular order (l-r, top row to bottom row):

the african desperate (martine syms, 2022) not a pretty picture (martha coolidge, 1975) anatomy of a fall (justine triet, 2023) the girls (mai zetterling, 1968) network (sidney lumet, 1976) the year of the cannibals (liliana cavani, 1970) all the beauty and the bloodshed (laura poitras, 2022) straight on till morning (peter collinson, 1972) microhabitat (jeon go-woon, 2017)

i hit 150 total films and my continual goal of half of the films by women and nonbinary filmmakers, and still definitely need to keep up with deliberately seeking out films by directors of color! feel free to tell me your faves if you’ve seen any of these 🖤👀🎬🍿🎥

i'll tag @privatejoker / @wanlittlehusk / @majorbaby / @edwardalbee / @draftdodgerag / @lesbiancolumbo / @frmulcahy / @nelson-riddle-me-this / @firewalkwithmedvd and anyone else who'd like to share their top watches of the year!

full list of films for the year is included below, favorites are bolded in red:

Farewell Amor (Ekwa Msangi, 2020)

Hell Camp: Teen Nightmare (Liza Williams, 2023)

Blacks Britannica (David Koff, 1978)

New Year, New You (Sophia Takal, 2023)

Family Band: The Cowsills Story (Louise Palanker and Bill Filipiak, 2011)

The Color Purple (Blitz Bazawule, 2023)

The Apology (Alison Star Locke, 2022)

Close (Lukas Dhont, 2022)

Unintended (Anja Murmann, 2018)

Other People’s Children (Liz Hinlein, 2015)

Omega Rising Women of Rastafari (D. Elmina Davis, 1988)

The Gypsy Moths (John Frankenheimer, 1969)

Be My Cat: A Film for Anne (Adrian Țofei, 2015)

Insomnia (Christopher Nolan, 2002)

Chowchilla (Paul Solet, 2023)

Intimate Relations (Philip Goodhew, 1996)

Monument (Jagoda Szelc, 2018)

After Sherman (Jon Sesrie Goff, 2022)

Remnants of the Watts Festival (Ulysses Jenkins, 1980)

Network (Sidney Lumet, 1976)

The Taking of Pelham One Two Three (Joseph Sargent, 1974)

Down Low (Rightor Doyle, 2023)

Our Father, the Devil (Ellie Foumbi, 2021)

The Zone of Interest (Jonathan Glazer, 2023)

Youngblood (Noel Nosseck, 1978)

Joy Division - Under Review (Christian Davies, 2006)

Being Frank: The Chris Sievey Story (Steve Sullivan, 2018)

Sun Ra: A Joyful Noise (Robert Mugge, 1980)

Fanny: The Right To Rock (Bobbi Jo Hart, 2021)

Depeche Mode: The Dark Progression (Alec Lindsell, 2009)

Kraftwerk And The Electronic Revolution (Thomas Arnold, 2008)

Blank City (Celine Danhier, 2010)

Oliver Sacks: His Own Life (Ric Burns, 2019)

Monster (Hirokazu Kore-eda, 2023)

Black Is Beltza (Fermín Muguruza, 2018)

Werewolf (Ashley McKenzie, 2016)

The Humans (Stephen Karam, 2021)

Relative (Tracey Arcabasso Smith, 2022)

The Believer (Henry Bean, 2001)

Lost Angel: The Genius of Judee Sill (Brian Lindstrom and Andy Brown, 2022) 

Animals (Collin Schiffli, 2014)

Scott Walker: 30 Century Man (Stephen Kijak, 2006)

Novitiate (Maggie Betts, 2017)

Hunger (Henning Carlsen, 1966)

Late Night With The Devil (Cameron Cairnes and Colin Cairnes, 2023)

The Stunt Man (Richard Rush, 1980)

New York Doll (Greg Whiteley, 2005)

The Iron Claw (Sean Durkin, 2023)

Your Fat Friend (Jeanie Finlay, 2023)

Scarred Justice: The Orangeburg Massacre 1968 (Bestor Cram and Judy Richardson, 2008)

Targets (Peter Bogdanovich, 1968)

Uptight (Jules Dassin, 1968)

Messiah of Evil (Gloria Katz and Willard Huyck, 1973)

Plastic Paradise (Brett O’Bourke, 2013)

You Hurt My Feelings (Nicole Holofcener, 2023)

Pretty Poison (Noel Black, 1968)

The Shout (Jerzy Skolimowski, 1978)

Shakedown (Leilah Weinraub, 2018)

Class of 1984 (Mark L. Lester, 1982)

Betty: They Say I’m Different (Philip Cox, 2017)

Beautiful Boy (Felix van Groeningen, 2018)

Anatomy of a Fall (Justine Triet, 2023)

Gimme Shelter (Albert Maysles, David Maysles, and Charlotte Zwerin, 1970)

The Beach Boys (Frank Marshall and Thom Zimny, 2024)

High and Low (Kevin Macdonald, 2023)

Brats (Andrew McCarthy, 2024)

I Saw The TV Glow (Jane Schoenbrun, 2023)

The Talented Mr. Ripley (Anthony Minghella, 1999)

Altered States (Ken Russell, 1980)

This Closeness (Kit Zauhar, 2023)

How To Have Sex (Molly Manning Walker, 2023)

American Commune (Rena Mundo Croshere and Nadine Mundo, 2013)

Look In Any Window (William Alland, 1961)

Private Property (Leslie Stevens, 1960)

We’re Still Here: Johnny Cash’s Bitter Tears Revisited (Antonino D’Ambrosio, 2015)

The Wobblies (Stewart Bird and Deborah Shaffer, 1979)

Last Summer Won’t Happen (Tom Hurwitz and Peter Gessner, 1968)

Goodbye Gemini (Alan Gibson, 1970)

Keyboard Fantasies: The Beverly Glenn-Copeland Story (Posy Dixon, 2019)

The Most Beautiful Boy in the World (Kristina Lindström and Kristian Petri, 2021)

The Passenger (Carter Smith, 2023)

The Boys Who Said No (Judith Ehrlich, 2020)

Synecdoche, New York (Charlie Kaufman, 2008)

Karen Carpenter: Starving for Perfection (Randy Martin, 2023)

...And Justice For All (Norm Jewison, 1978)

I Used To Be Funny (Ally Pankiw, 2023)

Badlands (Terrence Malick, 1973)

Straight On Till Morning (Peter Collinson, 1972)

The Same Difference: Gender Roles in the Black Lesbian Community (Nneka Onuorah, 2015)

Thanksgiving (Eli Roth, 2023)

Sorry/Not Sorry (Caroline Suh and Cara Mones, 2023)

Am I OK? (Tig Notaro and Stephanie Allynne, 2022)

Joan Baez: I Am a Noise (Maeve O’Boyle, Miri Navasky, and Karen O’Connor, 2023)

No Direction Home (Martin Scorsese, 2005)

Shutter Island (Martin Scorsese, 2010)

Water Lilies (Céline Sciamma, 2007)

The Strings (Ryan Glover, 2020)

The Crucible (Nicholas Hytner, 1996)

Woman of the Hour (Anna Kendrick, 2024)

The Platform (Galder Gaztelu-Urrutia, 2019)

Tabloid (Errol Mark Morris, 2010)

Will & Harper (Josh Greenbaum, 2024)

Miller’s Girl (Jade Halley Bartlett, 2024)

Give Me Pity! (Amanda Kramer, 2022)

Landlocked (Paul Owens, 2021)

Perfect Love (Catherine Breillat, 1996)

Not a Pretty Picture (Martha Coolidge, 1975)

Seeking Mavis Beacon (Jazmin Jones, 2024)

Renfield (Chris McKay, 2023)

Compulsion (Richard Fleischer, 1959)

An Angel At My Table (Jane Campion, 1990)

Longlegs (Oz Perkins, 2024)

Rare Beasts (Billie Piper, 2019)

Nightman (Mélanie Delloye-Betancourt, 2023)

The Changin’ Times of Ike White (Daniel Vernon, 2020)

The Substance (Coralie Fargeat, 2024)

The Year of the Cannibals (Liliana Cavani, 1970)

Fanatical: The Catfishing of Tegan and Sara (Erin Lee Carr, 2024)

The Loneliest Planet (Julia Loktev, 2011)

Marjoe (Howard Smith and Sarah Kernochan, 1972)

Witches (Elizabeth Sankey, 2024)

Angela (Rebecca Miller, 1995)

The Morning After (Richard T. Heffron, 1974)

Beach Rats (Eliza Hittman, 2017)

Last Summer (Catherine Breillat, 2023)

The Fits (Anna Rose Holmer, 2015)

Hold Your Breath (Karrie Crouse and Will Joines, 2024)

What Comes Around (Amy Redford, 2022)

Dear Zachary: A Letter to a Son About His Father (Kurt Kuenne, 2008)

Priscilla (Sofia Coppola, 2023)

The Girls (Mai Zetterling, 1968)

Sweetie (Jane Campion, 1989)

Victim/Suspect (Nancy Schwartzman, 2023)

The African Desperate (Martine Syms, 2022)

Les Nôtres (Jeanne Leblanc, 2020)

A Sacrifice (Jordan Scott, 2024)

All the Beauty and the Bloodshed (Laura Poitras, 2022)

My Name is Not Ali (Viola Shafik, 2011)

Committed (Sheila McLaughlin and Lynne Tillman, 1984)

Chained (Jennifer Lynch, 2012)

The Hour of Liberation Has Arrived (Heiny Srour, 1974)

All Power To The People! (Lee Lew-Lee, 1997)

Night Moves (Kelly Reichardt, 2013)

Destroyer (Karyn Kusama, 2018)

Late Night (Nisha Ganatra, 2023)

The Year Between (Alex Heller, 2022)

Loved (Erin Dignam, 1997)

Girl In The Picture (Skye Borgman, 2022)

Microhabitat (Jeon Go-Woon, 2017)

Dear Ex (Mag Hsu and Chih-yen Hsu, 2018)

[mydaddywiki]

Dirk Blocker

Physique: Husky Build Height: 5′ 9″ (1.75 m)

Dennis Dirk Blocker (born July 31, 1957-) is an American actor. He earned his first regular TV role on Baa Baa Black Sheep (1976–1978), playing pilot Jerry Bragg. From 2013–2021, he starred as Detective Michael Hitchcock on the Fox/NBC comedy series Brooklyn Nine-Nine. His best known film credits include Poltergeist (1982), Starman (1984) and Prince of Darkness (1987).

A cute, bald and cuddly daddy, I think he has developed into a more fuckable daddy than his dad, Dan Blocker of Bonanza fame. What? His father was a big old bear that look like he'd just fuck you and leave. Dirk looks like he’d stay and cuddle.

Lets see… he was born in Los Angeles, CA, earn his bachelor of arts degree so he could teach K-12. Is married with two children. Honestly I don't even know why I mention it any more. I must be genetically predisposed to only being attracted to straight guys. Still, I can dream.

RECOMMENDATIONS: Brooklyn Nine-Nine (TV Series) - Numerous times shirtless. There’s… Johnny! (TV Series) - Open shirt and short shorts. MAS*H (TV Series) - Open shirt.

[flowercrowngods]

in which steve takes el to see her first meteor shower

Steve is pulling up at the Hopper-Byers house around ten at night, hoping that El remembers their little date. Hoping even more that the Chief will let them do this.

The door opens before Steve so much as closes his car, and a very excited teenager already runs toward him, laughing when she crashes into his chest, the impact of which makes Steve stumble back against the car.

"Good evening to you, too, you little menace." He ruffles her hair, excited to see how long it's gotten again, a mop of wild curls.

"Hi," she says into his chest, hands hooked behind his back, and they just stand there and cuddle for a minute. The night air is refreshing after the day's boiling heat, and it's good to bask for a moment.

After a moment, Hopper appears in the front door, framed by the low light coming from inside, but even in the dark, Steve thinks he can make out the expression on the Chief's face. How he tries for stern, but can't quite manage it. Not when they've all been through so much.

"Hey, kid," he says, approaching the siblings where they are still hugging. "You looking to kidnap my daughter?"

"Yes, actually," Steve grins. "Will you let me?"

Hop gives a long-suffering sigh and places a hand on Steve's shoulder. "If there's one thing I've learned, Steve, it's that I can't stop you from anything you set your mind to. So I don't think I've much of a choice in the matter, let alone a say."

El chuckles and leans up to press a little kiss to Hopper's cheek. "Thanks, dad."

"Yeah, yeah," he grumbles, and Steve snickers. "Get out of my sight, you two, but I expect to see you both at breakfast tomorrow."

"Eleven o'clock," Steve says in lieu of a groan, because he loves Sunday breakfast at the Hopper-Byers' place.

"Eight."

"Ten-thirty."

"Nine-thirty, last offer. Take it or leave it, boy."

"Deal," Steve grins, then turns back to El. "You ready to go?"

She nods. "Ready." Then turns back to Hop and gives him another kiss to the cheek and a quick hug. "Goodnight, dad."

"Have a good night, kid." As El bounds around the car to jump in on the other side, Hop turns to Steve, who's already moving in for a hug, too. "You, too. Be careful."

"Always. It's just stars, though."

"I know. Still."

"I know."

It's good. The hug. The worry. The way they care and talk and accept. Makes Steve think that it was all worth it, sometimes. Moments like this, under the stars. He gets to have this.

The Chief lets him to eventually and then they're speeding off. Steve is taking El to the weather top in the middle of the night, snacks and drinks and blankets in the back of his car. Because El has never seen a shooting star, let alone a meteor shower. And Steve is dead set to change that.

The other kids are gonna be so jealous when they hear that Steve and El went to watch the stars fall from the sky (well, not really, but that's what it looks like, and that's what Eddie weaves into his stories sometimes), but Steve doesn't care. This is for El. This is for the little girl, injured and weak and frightened, and for the boy who taught her the meaning of magic.

This is only for them.

They don't trek up to the real weather top, since it would be too exhausting of a trip, and too dangerous in the dark. Instead, Steve parks on the open field of a smaller hill that offers them a perfect, uninterrupted view of the sky. No trees, no houses, no excess light to bother them.

"Yeah, this is perfect," he mutters as he kills the engine.

They spread out the blanket together right beside the car, grabbing snacks and drinks and more blankets in case they get cold at some point. El immediately lies down and reaches for some cookies while Steve goes back to the car, putting on one of their favourite tapes. Kim Wilde's 1982 album. One of El's first ever favourite albums.

It makes Steve smile, especially when he hears the excited squeal when the first notes carry through the air.

He eventually settles beside her on the blanket, the music just loud enough to create a nice atmosphere in the otherwise quiet night, and Steve already feels like there's something incredibly special about this moment.

And then El gasps. "Steve," she whispers, pointing up at the sky above them.

He can see the last remnants of the shooting star that lit up the the night and, most importantly, El's face. She's gripping him now, frantically scanning the sky for more, and Steve chuckles, moving his arm in her grip enough to take her hand if that's what she wants.

"What was that?" she asks.

"A shooting star," Steve explains. "They're not real stars, though. There are rocks floating around in space, and sometimes the Earth will move through, like, a chain of them, and then they burn up when they enter the Earth's atmosphere. That's what makes them look like that. Pretty, right?"

She's nodding, refusing to take her eyes away from the sky, and Steve settles back, too, getting more comfortable on the blanket. It's not long before the next shooting star appears - a larger one this time, cutting through half the night sky before it disappears.

"Wow," El whispers beside him, and Steve wants to burst at that genuine wonderment in her eyes, her voice, the way she's squeezing his hand.

"You get to make a wish when you see a shooting star."

"A wish?"

"Yeah. But don't tell me. It has to be a secret wish, and then maybe it'll come true."

At that, El nods solemnly, always so damn serious, like wishing on a shooting star deserves to be treated with the utmost care and calculation. Maybe it does. Steve won't judge. It's not like El grew up with many serious opportunities to make a wish, let alone make it freely.

"Can I wish something for you?" she interrupts that particular train of thought, and Steve stops short, looking at her.

"You wanna wish something for me?" She nods. "What would you wish for me?"

She meets his eyes with a little frown. "It's secret."

"Oh. Right. Sorry."

"It's okay."

Oh, he wants to burst again. But he only squeezes her hand. "Yeah, I think you can wish something for me."

And then she only smiles, and Steve wants to know, wants to ask, wants to be seen just a bit less, wants to exist only between the stars and the wishes that El could have for him.

He closes his eyes, focusing only on her gasps, her hums, her chuckles, her little wows, and he smiles.

Later, he tells her about the constellations he remembers. Some he made up himself. Some that Eddie made up. His heart jumps a little at the thought of the metalhead he never thought to fall in love with. Eddie who loves the stars, who knows so many seafarer's tales about them, mythology that Steve doesn't know if it's genuine or if Eddie made it up. If he's writing his own mythology. Steve wouldn't put it past him.

It's long after midnight and silence has settled between them, both of them somewhere deep inside their own heads, yet anchored in the moment, together. It's serene.

Maybe it's that serenity that gets Steve talking.

"Hey El?"

"Yes?"

"I kissed Eddie."

She gasps again, but not because of a shooting star this time, and turns to face him. "You kissed Eddie?"

"Yeah." The smile is on his lips before he can even try to fight it, and he finds that he doesn't want to. "I was really scared to do it. But it was good. I think..."

"Yeah?"

Steve exhales slowly, seeking solace in El's hand, who immediately squeezes his again, her other hand coming up to run through his hair. A calming motion that never fails to ground him. El is the only one allowed to do this, the only one who does it right. "I think I might have fallen in love with Eddie."

She nods, smile on her face, and then falls forward, head landing on his chest. They don't really have a sense of personal space around each other and Steve loves it, combing through her hair now -- a motion that is just as calming.

"That was my wish."

"Come again?"

"My wish. My shooting star wish," she says, shuffling so she can look at him without moving from her spot. "I wished that you'd smile like you did when you told me you kissed Eddie. And if he makes you smile, he can stay."

"You'll allow it, huh?" Steve chuckles, but El is dead serious when she nods.

"I'll allow it."

And his chuckle turns a bit more genuine now, his lungs filling with the perfection of this moment. He has people that are fiercely protective of him. He has a pretty boy willing to kiss him that he doesn't have to share with those people yet. He has the stars above, willing to grant wishes despite the horrors they know he's seen. And he has El.

In a way, it's really all he could wish for.

El stays the night at Steve's, though he has to carry her inside from his car and wake her like he used to. They share a bed like they used to, and in the morning she'll wear his clothes like she used to.

It's good. It's perfect. And when they arrive for breakfast at ten, Hopper doesn't even call them out on being late when he sees the happy, content smiles on their faces. He just very discreetly kicks Steve's butt, but he had that coming.