#some types of statements that I think the usher foundation has:

[annabelle--cane]

I like the subtle world building implications in the differences between the usher foundation and the magnus institute. if the usher foundation and the magnus institute were meant to be direct parallels to each other, then the usher foundation would have been established in like the 1870s in boston or nyc, but no, it's in dc and was founded no earlier that 1955, and that gives me less "old respectable academia" vibes and more "insane reagan era project comissioned to weaponize the supernatural in the cold war that didn't work but was never officially shut down."

[legendary-dumpster-fire]

Warning: If you are a twin, PLEASE take care when reading this!

Statement of Juno Russel, regarding the replacement of their twin sister, Charlotte Russel.

Statement taken February 21th, 2015 at The Usher Foundation, Washington DC

Yeah, I know this sounds weird and unrealistic as hell, but please, hear me out.

Charlotte and I, we were the twins who always looked near identical. We weren't COMPLETELY identical, like I was shorter, she had a thinner face, ect. But there were ALWAYS adults that could just never tell us apart, no matter how long they've known us.

This nightmare started when Charlotte started dating her fucking boyfriend, John.

He never sat right with me, even from day one. John started at school back in mid-November, and from day one had a thing for Charlotte. And for some reason, she had a thing for him back, which was VERY out of character for her. That wasn't the only weird thing about this situation. Every time I try to picture John, I see nothing. All I see is a vague humanoid shape in the back of my mind, which is NOT normal for someone you see every day. I don't even think he has a last name, just John.

I thought that was really fucking weird, and I told Charlotte as such, but she just blew me off and said I was just biased since I wasn't really attracted to guys.

Anyways those two started dating, things changed. I never really saw Charlotte as often. She always sat with him at lunch, was always on dates, and just in general not in the house as often.

Then two days ago, on the 19th, John invited Charlotte over to his house for the night, and that's when it all went to shit.

I immediately told Charlotte "no, don’t do it" but she told me I couldn't tell her what to do. I told her that if I couldn't get her to decline, that she should at least text me when she got there. She agreed, and went to go find John.

And that was the last time I saw her. Well, not technically, but I'll get to that.

Anyways, I went home, and waited for the text. It should have only been 30 minutes TOPS, but then an hour passed. Then two. Then three. I was getting very nervous by this time, and then my phone vibrated. Charlotte finally texted me HOURS LATER. But the text I received was the furthest from ANYTHING my sister would write.

Charlotte’s texting style has always been lowercase and full words, with an unintentional type here and there. The only texting acronym she’s ever used is “lmao.” This text? Near illegible. What was sent could probably not even be considered English: “im @ J’s. ttyl b.” Then I thought she did it just to fuck with me, that she was still pissed that I didn’t want her to go. Looking back, I should have known something was terribly, horribly wrong.

I spent the rest of the night doing what I always did on a Thursday night: homework, dinner, ect. I never got another text from Charlotte before I went to sleep that night.

I woke up feeling something was “off.” I couldn't place it, so I just went to school like normal. I waited for Charlotte at the front gate to our school building, but at three minutes till homeroom, I gave up.

Charlotte still wasn’t there when the bell rang. Our teacher, Ms. Jones, started calling role, and when she got to “Charlotte Russel” the door opened, and in walked somebody I had never met before, but felt like I should have. “Sorry, Ms. J, time just slipped away from me this morning.” Ms. Jones' next words will haunt me for the rest of my life: “It’s okay, Charlotte, just don’t let it happen again.” The girl sat where my Charlotte always sat, and everything sunk in all at once. That girl was supposed to be my sister.

My Charlotte had semi-curly light brown hair that went about mid back and dressed like a twelve year old boy. She had glasses too, brown plastic frames that were rectangle-ovalish, But this one? This girl, this not-Charlotte, I guess. looked NOTHING like the person I grew up with. She was a natural blond, with pin-straight hair almost hitting her ass. And there were no glasses in sight. And her clothes? Probably cost more than our RENT.

The rest of the morning I tried my very very best to avoid not-Charlotte as much as I could. I succeeded. Until lunch. I went to our normal table and started eating, and not two minutes later she appeared in the lunchroom. Everyone acted like they knew her, which was really odd, because I was pretty sure none of us had seen her before that morning. We locked eyes, and I felt my stomach drop as she made her way to where I was sitting.

Those next moments were probably the worst five minutes of my life. Not-Charlotte said things, things that only my Charlotte would know, things nobody else knew. When I asked her what sick game she was playing, her exact words were, “Ever since I got here this morning from John’s house, you’ve been treating me like I’m a complete stranger. What did I do wrong?”

And that was it. That was the final straw that broke the camel’s back. I packed up my things as quickly as possible, grateful I never actually used my locker, and got the fuck out of there.

I got home in record time, thanking every deity out there that my parents weren’t home. I ran around the house, trying to find every family photo we owned, seeing if I was somehow the crazy person.

Every photo I found was the same: my mother, my father, a brown-haired child, and a blond. Picture after picture depicted the same, and I was slowly losing it. Until I opened my polaroid shoebox. Where picture after picture was of the familiar dumbass I grew up with. I broke down right then and there, grateful that my Charlotte wasn’t just an illusion, and confused why these polaroids were the only proof.

I stayed in my room the rest of the day. At about 4pm I heard the front door open and close, then the door to Charlotte’s room. I stayed completely silent, not wanting to draw attention to that thing that replaced my sister. Then my parents called us to dinner, and I had no choice but to interact with it.

I observed my parents during dinner, seeing if they noticed not-Charlotte. They didn’t. They interacted with it that same way they always had with Charlotte. And I think that's what scared me the most; my parents treating it like it like it was their daughter.

And that was the last meal I will ever share with them.

That night I packed up my backpack with all the essentials, waited until I thought everyone was asleep, and got the fuck out of there.

And now I’m here, in Washington DC, giving my statement to a bunch of stuffy academics who may or may not believe me.

I hope you’re happy.

Archivist notes: attached to the statement are two photographs: one obviously printed at a drugstore, the other a polaroid. They look to have been taken just moments apart, but there is one major difference between the two. The polaroid depicts two teenagers, obviously twins, both smiling, the photo as clear as a polaroid can be. The drugstore photo, however, depicts two wildly different people, without context you would never guess that they were siblings. The different person in the photo looks blurry, almost like it was a bad photoshop job.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Out of all of the 15 Powers, The Stranger has always been the one that has affected me the most. When I was younger, I was DEATHLY afraid of mannequins, taxidermy, ect. When I was 8 - 9, I had a dream about mirrors and didn’t look in a single one until I was around 11 - 12.

I’m not as afraid of these things now as I was earlier in life, but I still haven’t looked in a mirror the same way again. And full taxidermy can not, under ANY circumstances, be in a full environment behind glass. It can be just the critter, no landscape, but add in a backdrop, foliage, ect? It's too Real™ and I have to nope the Fuck out of there.

And to make matters worse, I am a twin. My biggest fear is that one day I will wake up and they are no longer the person I shared a room with for 17 years. 

So I wrote this fic. It hurt like a motherfucker to write, but I did it.

[inklingofadream]

hey ok 3 seconds into tma rewatch and i have Thoughts:

Now, the Institute was founded in 1818, which means that the Archive contains almost 200 years of case files at this point. Combine that with the fact that most of the Institute prefers the ivory tower of pure academia to the complicated work of dealing with statements or recent experiences and you have the recipe for an impeccably organised library and an absolute mess of an archive. (MAG 1)

So this is on a Doylist level part of the justification for why the archives gang do so much practical research on the statements, but the early installment weirdness on not quite knowing how the institute functions yet, but that plus jon a bit before this stating he’s familiar with their “ongoing projects and contracts” and later in the season tim talking about the grad students implies that the institute also does a lot of like. Books and articles about the supernatural. (idk where these are being published bc it sounds like they aren’t necessarily respected enough for most academic presses or journals lol)

But we know Jon was in Research, along with tim and sasha. And later he goes up to help out with the influx of new garbage statements they get around Halloween (MAG 55). So clearly someone  is gong through the new statements,although based on the description they’re mostly p lightly researched- probably calling up ppl mentioned besides the statement giver and saying “hey did this happen?” and when the friend or whoever says “no he said he was gonna go give y’all a statement for a goof” it’s marked closed.

What I would like to posit is that the institute has several functions practically:

the library probably gets a fair bit of funding, so they can get basically any relevant work published and add it to their collection.

This is where you’ll have a lot of the grad students hanging around. probably a handful of other academics from various institutions, too. In addition to the students working on paranormal stuff, I’d guess you also have a fair number from history, folklore, psychology, and a smattering of other disciplines who’re there for rlly rlly niche projects on physics or architecture. Like i’d imagine anyone in the area doing work on spiritualism ends up in the institute library eventually- if they have any primary sources like journals or manuscripts from jonah’s whole gang, for example, i’d assume they’re in the library bc the archives seem to be exclusively statements.

Honestly Im like 50% sure the institute has contracts with whatever like ghost hunting type shows exist in the uk to contribute research and have someone respectable looking come do talking head segments as needed. this goes up to 100% for the usher foundation, bc i KNOW we have hella programs like that in the states. like Finding Bigfoot has a donor plaque in the foyer of the usher foundation

Other contracts and projects are probably with a handful of other, non-entity orgs devoted to the paranormal, plus whatever the Lukases, Fairchilds, et al decide they want.

Research, I would like to propose, is supposedly all one big department, but in practical terms contains 2 factions:

The segment Jon worked with for the most part, following up on statements and artifacts. probably smaller, except when they manage to draft the rest in for like halloween and such. the regulars are probably mostly the ppl jon gets annoyed at for being credulous and thinking every statement’s legit

the rest are ppl under the institute banner who are working in the library, doing research for outside contracts, institute wide contracts, and writing whatever gets published out of the institute. probably mostly more concerned with the supernatural as like. an intellectual exercise than jon would be, instead of finding out what’s legit and what isn’t. otherwise they’re mostly more jon’s type of ppl, with the academic distance etc.

Artefact Storage is prolly a host unto itself. Sometimes research’ll get tagged to get an item’s history but like. only ppl who work there go there

The archives are also their own thing. no one goes there.

Why does this matter? I would like to posit 2 reasons.

The first is that it explains part of why the Institute isn’t v respected academically. Everywhere else would have whatever primary source stuff and unique books they have down in the archives/special collections with the statements. I don’t know a ton about library science, but I don’t think things usually end up split/mixed like they are at the institute. Plus, there is very much an area where the Institute could be a valued collection! If the archives were organized. In theory, the Archives should be a valued and respected resource for folklorists! No one in folklore studies cares if a story is true; as far as they’re concerned, the archives are full of memorates that could be really useful. Like academic texts in folklore will generally have quotes from ppl’s ghost stories (or tall tales or folk songs etc) intercut with analysis of patterns and what they mean. But they’re organized so terribly. If they were devoted to folklore instead of the supernatural, you’d expect a taxonomy of subject- our collection here at my university stuff organized by like “supernatural: religious” “supernatural: non-religious” “customs” etc. But no one would be terribly put out combing through them if they were organized by date or like. at all.

The second is that since the archives and artefact storage are pretty much self contained, most of the daily interaction between institute employees is between people in research and the library. Giving you people like Jon as a put upon minority among “ivory tower” types, from that sub population of researchers and the ppl in the library. Jon’s worked at the Institute for like 5 years, and he’s too himself for a proper rivalry, but it’s very easy to see the people like him and tim who believe that Some Things Are Supernatural and would like proof bumping heads with the rest. Giving him a general dislike for people from the library. AND! an extra reason he takes an extra dislike to martin instead of going “o thank goodness, libraries are way more like archives than research what do we do?” :)

[amwritingmeta]

hey! i was just wondering if you think spn will actually make destiel canon by the finale? it seems like in interviews they're trying to let us down gently w/a cas death (which possibly makes it seem like cas's ending might be related to his empty deal?) + all the parallels between saileen and deancas, and it looks like dabb and co (while not rly bringing arcs into conclusion and generally making a mess of spn) are fighting to make it canon, i was wondering what ur take on it was, esp after ep09

Oh, my dear, my heart is swelling with love for those two right now. I just watched the show through from 12x19-15x13 and I swear, that moment they share in 15x12, clinking those glasses and sharing all those smiles was like balm. It’s not even five minutes of screen time, and still it was like, okay, yes, good, thank you for the room to breathe. :D

It seems to be that Cas hearing Dean’s prayer has ushered in some much earned peace between them. They’re shown to be on the same page and taking each other’s side unquestionably. Dean trusting Cas’ judgment regarding Jack without pause. And that’s a good word for it: there’s trust between them, mutual respect, understanding. It’s so lovely, isn’t it?

So, there’s this line that’s sort of stuck with me. Actually, there are two things that have stuck with me (apart from all the gorgeous symbology baked into every episode) and it’s that the word “complete” has been mentioned twice.

Once in reference to Mary in Heaven, and once by Amara in reference to God.

Then we have a line that’s recurred twice: I had to die to get what I want.

The fact that its spoken verbatim twice made my antennas perk up a bit. It may mean nothing, as some things in this narrative sometimes do mean nothing, but it’s still interesting to take these things into account: that we’re searching for completion and that sometimes, in order to get what you want, you have to die.

So. Will Cas die?

I don’t think so. I don’t think so for many reasons that I’ve laid out here (I just posted this) (it was like you read my mind that this was coming today), but foremost because I cannot see how him dying does anything for his character arc, or for his joint journey with Dean.

You know, dark!Kaia (Kaia’s Shadow) going back to the Bad Place (Kaia’s unconscious) and accepting the ending waiting there, releasing our!Kaia back to the world where she belongs, makes me think, more than ever, that the integration of the main character’s Shadows are a necessity. 

The Empty, way I see it, is representative of Cas’ Shadow, his unconscious, all the repressed and suppressed emotions of guilt, shame and doubt that has kept his self-worth down until Jack came on the scene. 

And this is just my reading of this situation, but I’m not sure I can see Cas defeating the Empty in the Empty, if you know what I mean? The last time Cas intruded, the Empty made him suffer greatly. I don’t think Cas holds any sway there, nor should he. 

To me, the weapon our conscious has against our unconscious ruling our decisions, is our ability to grow aware of our own impulses, our own thought patterns, and making choices to break away from them.

I think Cas can only beat the Empty through making a choice and, well, for a long time I’ve felt that choice should be to become human, because by making a final choice of who he is and who he wants to be, he brings himself into awareness, integrating his Shadow in the process, and narratively nullifying the Empty’s hold on him, since humans don’t go to the Empty when they die: they go to Heaven. 

But that’s wishing and hoping and speculation, of course.

Here’s where the Destiel question comes in though.

Do I believe they’ll make it canon?

Personally, I can’t think of anything more a part of our story than the love story between those two, but I know what you mean. You mean a representative, tangible, clear, statement type of making it canon. Textualising it, so that there’s no room for doubt whatsoever. No more arguments, no more queer baiting complaints, just Destiel in plain sight. Undeniable. 

I do and I don’t.

Watching these last few seasons through again made me realise what a different feel to them this last season has, because the emotional stakes for Dean and Cas have everything to do with what they mean to each other. Yeah?

Dean taking his anger out on Cas and it pushing Cas into a turning point where he chose to leave, to move on, which was a moment of clear independence a statement of his sense of self-worth, and it in turn pushing Dean into a turning point where he faced a side to himself that he’s needed to name since forever, admitting to not having any control of himself, which is something he has to acknowledge if he’s to move into trusting himself fully, all of this has been gosh darn breathtaking to get to witness.

And having them land back in this ease, where they work together seamlessly as a team, being kept together more than not, the framing of them, all of this makes me feel like they could give us canon Destiel. I’m not going to say they absolutely won’t. 

I believe the writers want it. I believe the actors want it. But, again, that’s just what I take from the narrative itself, because the subtext is stronger than ever this final season. 

Especially with Sam and Eileen being reunited.

Because it’s been that clear parallel you mentioned, but it’s been that clear parallel to those of us who see it. The echoes of the Saileen romance that trace through the Destiel progression won’t be as resounding to those that don’t.

And because of that, at this point, I also feel quite reserved with my belief that Destiel could become canon. Because there’s so much, but there’s also nothing. There’s so much for us to enjoy, there’s so much evidence they keep throwing at us that the writers support this reading of their story, but still, there’s nothing, really, to let on that they’re building towards these two men, at some point, declaring their love for each other.

There has been zero textual foreshadowing of that.

There have been throw away moments, like the cop flirting with Dean, for example, but he frowned at that, and then got sincerely flirted with by a woman, so that deescalated that very quickly. 

There was Dean at first rejecting Garth’s compliment of “You smell SO good”, becoming uncomfortable, to then, by the end of the ep, tell Garth he didn’t smell half-bad either.

And there was that amazing moment with Cas calling out Sam being “sexually intimate” with Ruby and Dean repeating the words as if he can’t believe Cas even knows how to pronounce them.

So, there’s... you know, stuff?

But it’s not foreshadowing if it can be overlooked by the wider audience.

That said.

This show isn’t about this love story of ours. The fact that it’s so downplayed could mean that what we’ll get is something textual, but extremely subtle. I mean, for me, lingering eye-contact and a shared smile in a context that makes us understand they’re choosing each other would be enough.

If, by canon, you mean do I think we’ll get them kissing, then the answer is I want to believe that we might get that, because they could build towards that on the foundation of ease and trust that they’ve put down over the last few episodes and they could build it effectively, but I just don’t know if the studio (who own the characters) is onboard. 

My hope is that they are, because the topic of healthy representation is so hot right now, and the question of the longevity of Supernatural to the younger generations (you know, you young ones who are proving exceedingly more open-minded and looking for something beyond the superficial brothers-hunting-monsters aspect of the show) would bank on the show opening itself up to the possibilities of solid representation already seeded throughout its run.

But Dean has flirted with more women than men this season. You know? I mean, he hasn’t flirted with any men. So. 

Look, I’m not going to say I don’t think we’ll get it, because I don’t know. 

I watched S15 yesterday and finished it today and suddenly I feel this wave of hope that it actually might happen, because they’ve already changed how Dean and Cas interact, they’ve given them so many scenes with just the two of them, and we have Sam clearly meant to end up with Eileen, and doesn’t Dean and Cas deserve that same happiness? That same sense of completion? That internal peace of loving unconditionally and being loved in return?

Sam and Eileen could be foreshadowing. These writers are subtle and they could be gleefully rubbing their hands together at the thought of springing textual Destiel on the GA, you know? The green light from the studio might make them diabolical. *sadism* And I love that thought.

Because that’s been the point of the love story for me, this slow, slow build to the moment when Dean and Cas have reached a point in their progression when what they’ll have together is a healthy, balanced, loving relationship because they’ve both let go of the past and are looking to the future.

But I won’t expect textual Destiel. If we do get it, I’m going to treasure it as a big cherry on top of an already perfectly inviting and exquisite pie.

What I do believe, more than ever, that we’re getting, though, is closure. Even if it’s only at the subtextual level, I believe that those of us who read the subtext will have Destiel verified beyond a shadow of a doubt. And yes, I will be quite surprised and disappointed if we don’t get that. Because of how these first 13 episodes have been shaped and how strong the subtext is in them.

I believe we’ll end on a hopeful note.

And wouldn’t that just be gratifyingly phenomenal?

(it really would) (honestly I just need to know that they are happy and alive and together and well and finding peace and carrying on) (you know?) (thank you and amen) :)

xx

[duskdragon39]

dust can’t settle: Commentary

I thought you were done with credits and notes and commentaries, I hear you say. You had an entire chapter dedicated to credits and notes. Why do you have more notes?

If you don’t know what I’m talking about, @stellarfoam​ and I wrote a thing for @pod-together, got a whole ton of talented people to help us read it, and created the first ao3 relationship for the tag “Original Fear Entity Avatar Characters & Original Fear Entity Avatar Characters (The Magnus Archives)” except the tag was too long so the “the” got dropped. You can find that here. If, however, you have already read/listened to/somehow otherwise experienced our oc/self-insert-heavy original statement fic, welcome! I assume you’re here because you wanted to listen to me ramble on for yet another thousand words. If you’re not looking for that, well, here it is.

Under the cut, anyways

The World of DCS:

This is, very technically, the Magnus Archives fanfic.

I say technically, because nowhere in this does canon appear. It appears in the inspiration and base worldbuilding, but other than that... yeah no.

So this started when Kai and I looked at the worldbuilding TMA has for the U.S. and went “yeah there’s got to be more than one institute.” Thus the San Francisco Institute for the Unusual and Paranormal was born, along with its satellite offices in Denver and Chicago. Those same satellite offices also serve The Usher Foundation in DC. The branch offices collect statement, both written and recorded, and other research on the paranormal. Every five years, SFIUP sends along a couple of archival assistants to go and transfer those files to long-term storage in San Francisco or DC. The relationship between the branch offices and SFIUP can be best summed up as follows:

Chicago & Denver: Bigger archives are always bossing us around :( San Fran & DC: Alright but can you like, actually store your statements Chicago & Denver: No.... San Fran & DC: Okay, so...? Chicago & Denver: DON’T TELL US WHAT TO DO

Also, we said screw you to Smirke’s 14. There’s every chance that by defining and putting boundaries on the 14 he actually helped shape them into those roles, and we figured that different places would have different mergers and interpretations of those 14. Most of our statements merge or ignore the defined fears- Something There is Dark/Hunt/Eye, Hung is Vast/Buried, Beauty is Eye/Vast, Shasta Lake is just a weirdly big fish, Dragon’s Cauldron might be Hunt? It’s more just a “alright but wouldn’t it be COOL if...”

We also have another giant document about how the fears might manifest in different parts of America.

Because there is never an end to the worldbuilding.

The Car:

Some random facts about the car for your enjoyment: - It woke up because something something knowledge = power and Lee and Dusk (LD) kept reading it statements - So now the equation knowledge = power = energy = matter = mass applies, which is to say that the trunk is a transdimensional space that LD primarily use for storage of random things. - Also a flesh monster. - It’s just back there. - It tried to kill them at one point while crossing through Minnesota. They shoved it in the trunk. It just sort of. Remains there. For awhile. - The car did not approve. - In case your wondering, the car is more or less a traveling archive, and LD are its archivists. - However LD did not sign up for this, and so their road trip culminates eventually with them killing the car. It is a long and terrible battle, and the two of them nearly die. - I have, somewhere on this computer, right now, a recording of the Car’s lovely voice actor Lynx doing a variety of absolutely terrible voices, including petulant teenager and valley girl.

Statements:

We have two pages worth of statement ideas still that we’ll get around to writing someday. If we stop adding to them. Here’s the stories behind some of the ones that made it into the fic, and some other general things I wanted to talk about.

Chapter 1: Archivist’s Note, San Francisco, Shasta Lake:

The recording classification system does not have much thought put into it, but follows the following format

[Media type];[Supernatural Classification].[Year].[Month]:[Employee(s) responsible for the case]

So in the case of [S;F15.2015.06-09:LD)], it’s: Statement(s);Multiple fears.2015.June-September:Lee & Dusk

Is this a perfect system? Hell no. Did this get as deep into archive classification systems as I wanted to go for a 15k fic? Yes. 

The Shasta Lake statement pulled heavily from several sources, including the Shasta Lake fishing website, Wikipedia, and an actual news story about a couple of guys who saved a sturgeon from choking on a catfish. It’s kinda an amazing story, especially since the fish was actually about 8 feet long.

Things I don’t want to run into, thank you.

Chapter 4: Empty City, Gas

Empty city was, as mentioned in the fic, inspired by a statement @laurenbrightwing​ gave to us. And yes, LD absolutely have gone and explored graveyards and abandoned buildings for the Aesthetic of it. 

Gas, however, came from The Car, an absolutely beautiful TAU fic by Feneris. Don’t ask what it runs on. You don’t want to know. Chapter 6: Greenway

Fic-Dusk used to work for the Denver Branch Office before going to San Fran. The branch office never forgave them for their treachery.

Chapter 7: Hung

Eastman Chemical Company is an actual company stationed in Tennessee, and this statement was very heavily modeled after Mag 124: Left Hanging, except with more buried vibes.

Needs more buried should be a motto.

Chapter 9: The Dragon’s Cauldron

Guess who went down a research hole? It me. 

Research notes for this statement can be found here. 

Sources: Debunking the Myth, Fear of Yellowstone (U.S. National Park Service) Native Americans and Yellowstone National Park: Hot Springs, Legends and Sacred Places Explore the Fort Yellowstone Historic District (U.S. National Park Service) Whittesly Yellowstone Myths.pdf Timeline of Human History in Yellowstone - Yellowstone National Park (U.S. National Park Service) Legend of the Sheepeater Indian Tribe in Yellowstone - My Yellowstone Park The History of our Local Tribe: The Sheep Eater Indians - Bitterroot Ranch Dragons in Yellowstone - Yellowstone National Park (U.S. National Park Service)

Chapter 10: Something There, Archivist’s Note 2

RIGHT. This is a fun chain of events that have taken about three years to mature into this story. 

Something There started off with a nightmare about something stalking me through my house. I was thoroughly creeped out, and then promptly forgot about it for the next day until I went to walk through my house at night and thought I heard something moving behind me. 

About a year later, my composition teacher told us to write a speech. I think the prompt was truth? 

So I went off about the thing supposedly living in my house, how no one would believe me if I told them, and implying that I absolutely was lying about the entire thing. My teacher loved it, and I got the highest grade I’d gotten that year for that assignment. (“They lauded me for that, did you know?”)

If that sort of vaguely existential crisis sounds like something you’d have fun reading, the full speech can be found here. 

A bit later, I read the same speech for an open mic. One of my friends there yelled out that she believed me- something that did make it into the final version. (“One of my friends told me she believed me, once. I… I just shrugged and told her that there wasn’t actually anything there.”)

It eventually made its way into this project via me trying to figure out what the hell to use for a more spooky statement and stumbling across the speech sitting in my google drive. 

I managed to scare myself to the point of not being able to go upstairs in the dark for about a week with the updated version.

 I wrote it. 

This seems counterintuitive.

Does this make this a self insert story? No. Statement giver here does not in any way respond like I would have in this situation, and they’ve since drifted even farther into full OC territory.

The “they can’t hurt you if you’re watching/if you see them comes from the lovely tma time travel fic “Strangers in the Dark” by Mayarene Rose. 

MouseK also gave us the closing line for the fic! It wraps it up so nicely, and I’ve already squeed about this in the fic itself, but they deserve more because the line’s amazing and I love it. Conclusion:

Thanks to everyone who gave us statements, inspired us, and helped us with the project. It’s been an excellent time, and there have already been discussions of either statements collected on this journey or short stories set in the same universe being written. 

Thanks for reading!

- Dusk

[onestowatch]

Nilo Blues Pays Homage to Cult Anime Film Akira in “Akira Harakiri” [Premiere + Q&A]

Photo: Frank Lin

The city of Toronto never ceases to amaze us. What can arguably be considered the epicenter for a new wave of hip-hop, Toronto has become notorious for generating underground sensation after sensation. Through their cultivation of hypnotic and innovative soundscapes, to their impeccable flows and lyricism, Toronto has solidified an extensive roster of industry frontrunners, and Nilo Blues is proving to be the newest addition to the team.

Despite being a self-proclaimed poster child for Generation Z, the 21-year-old is anything but ordinary. Growing up in the Toronto art scene, Blues encompasses what it means to be a multi-hyphenate creative, utilizing his talents as a singer, rapper, dancer, and producer to tell stories that grapple with his Asian identity within the context of western society. 

His debut single, “No Risk Involved,” is an intrepid statement on Asian cultural identity and showcases how Blues’ struggle to live and create beyond rigid stereotypes has ultimately fueled him to pave his own way, in music and life. His nuanced and complex approach to the modern trap soundscape mirrors that of his own evolution and understanding of his own personal identity. Woven within his uncompromisingly honest storytelling and conviction lies the infectious hooks, melodic arrangements, and unsparing production of a true, multi-hyphenate artist. And despite “No Risk Involved” being the official introduction to his discography, we’re here to tell you that it’s just the tip of the iceberg for Blues.

As we patiently await his debut EP, set to release this summer, Blues gives us a peek at what’s to come with his most recent drop, “Akira Harakiri.” Explosive and audacious, this track has the power to cause havoc to the silencers of a corrupted system. Compiled within roaring trap-laden beats and terse hip-hop rhythms, Blues’ adroit vocals and dynamic fluidity convey a sense of fervor, all while challenging the status quo of Asian representation within American culture. 

“Akira Harakiri” pays homage to the anime that Blues grew up with, most notably the raw tenacity of Akira and the thriving energy of Dragonball Z, which influenced its sonic foundation and cinematic execution. In an effort to gain a more comprehensive understanding of his artistry, we spoke with Blues about his position in the current Toronto-trap soundscape and what motivates him to create breakout tracks like “No Risk Involved” and “Akira Harakiri.”    

Ones To Watch: It seems like dancing used to be a significant part of your life before music. What sparked your transition?

Nilo Blues: Growing up I was surrounded by music, whether it be at home or in the dance studio. I always had this natural appreciation for music grow in me because of all the different sounds I was surrounded by. I remember having 10-hour dance rehearsal days and then coming home to record photo booth videos of me and my best friend spitting melodies and lyrics over beats we found. I started producing at 16 when I discovered the iMaschine app for iPhone. I would spend hours trying to cook up beats until one day I decided to learn Ableton Live. My mentor cracked it on my laptop and started showing me the ropes, instantly I was hooked. My musical journey honestly started out from me just wanting to make music I could dance to. I owe a lot of myself to dance. 100%.

Has being a dancer influenced your creative process at all?

Dance has influenced me creatively in many different aspects of the process. Growing up as a dancer, you immediately instill a high level of discipline and work ethic as a young child. We were training like athletes and expressing like actors. It shaped the way I hear music (especially my own), it developed my approach on execution and staying on my P’s and Q’s, and it allows me to perform and add a visual component to the sonics. I grew up admiring Michael Jackson, James Brown, JT, Usher and now Bruno Mars. They all hold all aspects of their art to such a high standard. I’m trying to set that exact same standard and quality, through my own vernacular.

Growing up in what can be considered as the epicenter of Canadian hip-hop, do you think Toronto, and the artists that have put it on the map, have influenced your sound at all?

I started learning how to make music right when the 2015-2016 Toronto rap boom happened, so definitely. I feel like Toronto artists collectively do such an amazing job at emulating the vibe of Toronto. At a time where Toronto was only synonymous with Drake (the GOAT), The Weeknd, and PND, Toronto artists really stepped up to the plate and let the world hear the type of shit we’re on. It's super inspiring, and I just want to keep pushing the envelope. I’m trying to land where no one has before, and make my mark in everything I set my mind to. I’m hungry and I want to get great shit done. I thank Toronto and the lively music scene in the city for sparking that.

Your first single “No Risk Involved” highlights the misrepresentation of Asian identity in mainstream culture. Why was it so important for you to create your own narrative and debunk westernized versions of Asian culture and identity?

My family was the main inspiration for wanting to evoke that conversation. Western media loves to exploit the great ideas from different cultures without ever giving credit to the cultures that cultivated them to begin with. They perpetuate false narratives and generalize us in order to keep control. I’ve seen what my family has gone through in order to even be here. My mom is Filipino, and my dad is Viet-Chin, so I’ve had my fair share of perspectives at a young age. One thing I can guarantee is that Asians aren’t as one-dimensional as the media portrays us to be. It’s about genuinely telling our stories, and being able to control the narrative in the world we share with the culture.

How was it filming the “No Risk Involved” video? Did you have a vision for how you wanted it to look?

It was amazing. I definitely felt back in my element while performing on-screen. The positive energy and hard work by everyone on set was the difference-maker. I feel like that energy shines through the video. I’m so grateful to have had such an amazing cast and crew, they fucking killed it. As for the concept, NRI was one of the very first concepts I started developing with my team. Had my first meeting with Angelica Milash, the director of the video, and everything clicked. The inspiration was drawn from aesthetics you’d see in legendary Hong Kong movies like Young & Dangerous. We also based the female looks on different characters from movies that included Asian characters with exaggerated Asian female stereotypes.

You once tweeted “I love good music but when an artist can pull off a great visual it tells you a lot about that artist.” Do you think it’s important for artists to be active creative directors in the videos they come out with?

Personally, I love dipping my fingers in every pot when it comes to my creative direction. I believe it takes a strong team in order to create beautiful shit, and, as the artist, I want to lead the team to victory. If one of us wins, we all win. Being active as a leader is what’s important. Sharing ideas, and building with the people around you. That’s how the best ideas shine through. You just gotta be a leader with this shit. Take control of your vision and work together to execute. If you aren’t paying attention to every aspect of your craft, you’re only going to see one perspective. At the end of the day, no one will execute your own ideas better than yourself. We all have that capability.

Your newest single “Akira Harakiri” is inspired by the 1988 cult cyberpunk film Akira. How did this iconic anime influence your lyrical and production process?

I wanted the essence of the track to emulate the same essence of the movie. The production was what sparked the idea. Colin Munroe was working on the beat while we bounced ideas around and I instantly felt the beat belonged in an anime. Akira was an automatic click. This song is supposed to feel like a song The Capsules gang would bump around Neo-Tokyo. I loved the dynamic between Kaneda and Tetsuo in the film, and wanted to combine the charisma and poise of Kaneda with the maniacal energy of Tetsuo. That’s also something I want to tap into on the visual component as well. This song is an homage to a visual masterpiece, as well as an iconic moment in film and culture.

What are some of your favorite anime films?

I grew up watching anime on TV like Dragonball Z, Yu-Gi-Oh!, Pokémon, Digimon. As I grew older, I wasn’t exposed to as much as before, but I rediscovered my love for it in high school when I binge-watched Death Note twice in succession. Now I’m trying to watch as much as possible. I feel like I have so much to catch up on lol.

What are some of your goals for 2020? Both as an artist and as a human being?

I want to work on killing the urge of having a cigarette or vaping again. I quit at the end of 2019, and started working out four times a day with my trainer. I’m trying to stay consistent in doing my laundry but that shit fucking sucks. I'm trying to meditate more, as I’ve recently picked up on transcendental meditation and want to keep consistent. Other than that I wanna keep dropping cool shit and repping what I know best. I wanna keep pushing myself to my limits and keep evolving. I hope people find strength in my music and I want to evoke new thought and conversation.

What can we expect to hear more of in your future projects?

More genuine energy. You’ll definitely be able to feel exactly how I felt when creating the music, from the growing pains to the gratitude. More singing too. You’ll be able to identify the spectrum of my sound, and how dynamic it is.

Who are your Ones to Watch?

I’ve been on my hip-hop shit as of late, so I’ve been bumping a lot of Kaash Paige, Fivio Foreign, The Kid LAROI and shit. Deb Never is an artist that I've been wanting to work with personally. Out of Toronto, definitely keep your eye out for Stefani Kimber. One of the most talented artists I’ve ever heard and a great human being. She’s definitely one of my top Ones to Watch artists.

[maryanntorreson]

Introducing the launch of the TED-Ed Innovative Educator Alumni Innovation Projects

TED-Ed Innovative Educators

In 2015, TED-Ed launched the TED-Ed Innovative Educator (TIE) program, a year-long professional development program for dynamic educators who are dedicated to celebrating the ideas of students and teachers around the world. Six years later, we have 104 alumni representing over 20+ countries, constantly thinking of new ways to innovate in education.

2020 brought on unpredictable levels of global change: a pandemic, racial reckoning, and world-wide political upheavals. The traditional system of schooling has experienced significant disruptions in the past year.

These changes signaled a call to action: the TIEs, coming from rural, urban and suburban communities, in roles including classroom teachers, adjunct professors, superintendents, librarians, college advisors, district tech specialists, and more, are coming together to build some solutions.

First, the TIEs identified problems in global education and turned them into four main Opportunity Statements:

1. Redesign instruction: Reimagine how instruction can comprehensively meet the needs of all students. 2. Redesign how we address inequities: Reimagine how to empower teachers and communities to address race, equity, inclusion, and justice issues. 3. Assess innovations in pandemic: Assess how to carry forward the innovations created during the pandemic into full-time in-school instruction (and continue to build a culture of school/district innovation). 4. Reinvest in educators’ well-being: Reinvest in how best to support our teachers and admin, professionally and personally.

Next, each TIE has chosen one Opportunity Statement to work on for their Innovation Project. Follow their journey over this year as they collaborate, design, test, and share their innovations; we will be reporting back through the project development.

Explore why some TIEs are working on their chosen Innovation Project:

Redesign instruction

Alejandra Guzman (Texas, USA)

I have worked in the curriculum and instruction department in two different school districts over the last 6 years. I know that in many schools, some parts of instruction, curriculum, and assessment are out-dated, focused too much on standardized assessments and not on deep learning, making connections with other content areas, and application to solve real-world problems. This type of instruction will strengthen student critical thinking, problem solving, and communication skills. I believe rethinking what instruction should and can look like and creating a realistic instructional model will help many educators go back to focus on what the true meaning of education should be.

Christie Simpson (Perth Western, Australia)

I work at school in a low socio-economic area. We have high rates of poverty and transiency and over 60% of our students have some developmental trauma. Only 35% of our Year 7 students arrive at high school able to read at grade level. 35% are still learning to read with fluency and 30% are still learning to decode words. How do teachers cater for this? Mostly, they try to muddle through the vast amounts of content in our curriculum, often using ineffective – though well-intentioned – discovery or inquiry based learning practices. I know there is great value in those models, but I also know that our students need strong foundational literacy and numeracy capacity as well as concrete background knowledge which they can draw on as they start to inquire. I’d like to see us arm teachers at both ends of the instructional spectrum, so that they can competently and effectively meet their students at their point of need.

Georgios Villias (Athens, Greece)

I honestly believe that living in a world which overwhelms us daily with information, it is humanly impossible to stay focused on something unless it is useful, exciting, and meaningful for you. This reality applies to schools as well. Instruction should be much more than just content knowledge. Instruction should also care about developing skills, showcasing each individual’s unique talents, engaging learners to act in real-life situations, nourishing and inspiring youngsters’ minds, teaching moral values in a social context and so much more. Molding students’ character, encouraging active citizenship, and raising the next generation of ethical problem-solvers always start from family and school. I would be honored as an educator to make even a minor, constructive contribution to my students’ lives towards that direction.

“Instruction should be much more than just content knowledge.”

Kristin Leong (Washington, USA)

Students and teachers deserve more diverse, timely, and dynamic resources and more support. Teaching is hard. Online teaching during a pandemic, a civil rights uprising, and an insurrection is really hard. In addition, the news cycle is relentless. The Sisyphean task of educators to constantly find great resources to build an engaging curriculum that responds to quickly-shifting current events is profoundly challenging. Lastly, our students are increasingly diverse in race, culture, sexual orientation, and gender identity, while our teachers remain mostly white, female, and heterosexual. Connecting with young people across these divides, when you instruct 30+ students at a time, only compounds the challenge of designing original curriculum. As a former QPOC teacher myself, I know teachers need more support and a reliable flow of trustworthy and updated resources by diverse sources to connect their classrooms to current events in ways that inspire students to engage with the world and their learning.

My weekly newsletter ROCK PAPER RADIO is one way I’m offering support to teachers. Every Thursday, I share three multimedia stories by diverse thinkers and creatives delivered via email for free. The newsletter is quick (less than five min to read), and organized by format (an audio feature, an essay or article, a human interest story). All stories are linked to current events and framed for personal engagement.

The Black Lives Matter movement has shaken awake all of the systems that make up society, including our education system. Young people are paying attention and rightfully demanding more inclusive and more current curriculum now. I’m thrilled to be part of this TIE alumni group working to usher in that much-needed change with heart, innovation, and more than a little bit of courage.

Mahrukh Bashir (Tangerang Selatan, Indonesia)

I have encountered instructional models dominated by the ideas of transfer of content and knowledge with the implicit understanding that learners are merely vessels to be filled. This system had, and still has, standardized curricula delivered in standardized ways and the effectiveness assessed using standardized testing. On the other hand, I have been refreshingly greeted by ideas of developing students’ talents and dispositions, differentiation and individual needs. However, the perfect instructional model that takes into account individual needs and delivers academic rigor and deep learning is yet to present itself. I want to explore and implement an innovative model of instruction that comes closest to this, what has effectively become “the holy grail of modern education.”

Reimagine how we address inequities

Craig Zimmer (Ontario, Canada)

I love the fact that we are having some real conversations here. We need to advocate for students and show that, as educators, we are on their side no matter what. In 2021, we have to ensure that education is inclusive and accessible to all students. This is going to require very big changes and it all starts when we go to work to bring about real reform.

Fred Sagwe (Kisii, Kenya)

I believe the approach to inequities on race, equity, inclusion and social justice issues means different things depending on the region and countries. For example in Kenya and most parts of sub-Saharan Africa, the challenges have a gender-based perspective. There was the challenge of FGM among young girls who, after circumcision, are married young, hence dropping out of schools. Also, marginalization in less developed regions in Kenya also hinder favorable educational outcomes. School infrastructure is a concern too, including the availability of reliable internet connectivity. The government is trying to remedy the situations.

Jen Ward (Michigan, USA)

This past year has served to highlight in so many different ways the divides, gaps, and inequalities that are systematized in our educational spaces. I selected this project because I believe as a global group of change-makers, we are able to come together, dig deep, and put forth proposals for real change to ensure that all students have an opportunity to learn, grow, and be heard.

Sandy Chambers (North Carolina, USA)

Working to change a system that perpetuates inequities is my calling. Working with others who believe that change can happen is inspirational and hopeful. As an administrator, I have more “power” than I think. I know we can make a change!

“Empowering starts with radical truth-telling, which means listening to all stakeholders, especially students.”

Shameka Williams (Georgia, USA)

I want better for all students that have unfair disadvantages due to a system that was not historically designed with all children in mind. I want better for each generation, so they do not experience the same setbacks as those before them and have to work harder to prove themselves as equal. Moreover, I want to tackle this problem with others that bring different perspectives so that the narrative and outcomes are inclusive of everyone! One perspective cannot be the solution to this global issue.

Tim Leistikow (Minnesota, USA)

I am not sure how we achieve any meaningful change in our system (I teach in the USA, but I assume similar issues in other countries) until we start telling the truth about the history that led to the inequities that exist and persist today. Empowering starts with radical truth-telling, which means listening to all stakeholders, especially students. I have done a project with students on creating the ideal education system for the past 10 years, and every cohort sees addressing inequities around race, gender, religion, sexuality, socio-economic status, and more, as being a primary first step to making schools a better place for students.

Wiputra Cendana (Tangerang, Banten, Indonesia)

Equity and equality become great challenges especially for the students who have learning difficulties, connectivity issues, and other variables. This project is to give a new learning model as I synthesize from a particular current teaching experience. I truly hope the project will be a small sparkle and idea which can equip educators around the world to confront these issues. Entrust the learning essence and ‘meat’ will be absorbed well by the students across the world. Let’s think globally, connect intentionally, share clearly, and act locally.

Assess innovations during the pandemic

Lisa Winer (Florida, USA)

I found that during Hybrid teaching, I couldn’t see my students’ work – they used to work on whiteboards or I could walk around and see how well they understood. But even then, I didn’t hear from or see everyone. For my capstone project for my EdD, I am researching how to add ed tech to the classroom to help capture student thought and to include the voices of the students who are quiet or who aren’t risk-takers. I want to hear from all students and showcase them all as well. This was something brought forth from the pandemic because never before had I not been able to see the work of my students as they were thinking.

Maggie Muuk (Kching, Malaysia)

I would want to know more about innovation as many of my students were left behind by this pandemic. Many of them do not have sufficient access to gadgets or internet to enable them to stay aligned with the lesson. Currently, we are only using WhatsApp to communicate. I’m looking for low technology to make them want to study.

Małgorzata Guzicka (Legnica, Poland)

I truly believe that because of the pandemic, we have rediscovered online learning. Teachers are learning how to use different platforms and educational apps to enhance online learning; students are doing projects in groups using educational websites. I think it would be awesome if students and teachers from different countries could work and learn from one another, do projects together and meet online. I am thinking about a project that could help teachers and students learn from one another about their cultures.

Shawn T. Loescher (California, USA)

The pandemic has represented a time of tremendous learning for our educational and social institutions. Within the pandemic, nearly 1.5 billion children around the world have had disruptions to their typical educational environment. Through this disruption, we have learned that there are multiple modalities and ways of learning. To me, the challenge we face as we emerge from the pandemic is which of the many successful lessons we’ve learned should be adopted and institutionalized to advance academic performance, address inequities, and redesign our schools, in order to create a more human-centered experience that is sustainable in scale and scope.

“The students we will meet on the other side of this pandemic will deserve better than a return to the ‘old normal.’”

Susan Herder (Minnesota, USA)

Educators and students were forced to change suddenly in the midst of the pandemic, often without adequate support. I chose this project because as we return to a combination of in-person and online classes, teachers need to be able to let go of the practices that are not effective and continue to use innovations that engage students and close gaps and eliminate inequities.

Tim Couillard (Virginia, USA)

Well frankly, there is no going back. The students we will meet on the other side of this pandemic will deserve better than a return to the “old normal.” I suspect (and secretly hope) they will demand it. Amid the toll and tragedy of this past year, I hope we find a way to get education “unstuck,” to shed the lockstep factory model of learning once and for all. Let’s hope that necessity is still the mother of invention. I suspect that we have all had a chance to cultivate some new habits of mind that will be as useful in-person as they are at a distance. I’m excited to see where that leads us.

Lastly, I hope that we abandon, or at least push back against, the anxiety-fueled march of “more is more” when it comes to education. Students are people first, learners second. They are more than the test data the system can coax from them to tout their “success.” If we truly believe in social and emotional learning, we need to reject it as a mere tool to boost productivity. We need to not only mean what we say, but ask ourselves if our actions match our words. Ultimately, I hope we can look back on all this and say, tired as we are, we still found the strength to work for a world where what we have gained from this pandemic will be greater than all we have lost.

Umar Anjum (Lahore, Pakistan)

I am working on this as I have seen that inequalities and gaps in the education system have been growing and merely adding more resources is not helping. That is why I believe the answer is hidden in the Innovations.

Reinvest in educators’ well-being

Sarah Harkin (Shanghai, China)

Self-care isn’t just a buzzword; it’s critical. So much is asked of teachers. I hope to find real ways to help build teacher capacity and systemic support within schools in order to better prioritize teacher well-being, specifically mental health and work-life balance.

“Self-care isn’t just a buzzword; it’s critical.”

Sharon Hadar (Raanana, Israel)

During the pandemic, most things have become accelerated – emotions, thoughts, worries, health issues, financial difficulties, and more. On top of this, education systems and educators have been put under the microscope. We get so much criticism from parents, the media, politicians, our administrators, and more.

We, the educators, are the foundation and base for our communities. Our well-being is essential for our communities; teachers have to support each other, be strong, and stay united. It is also making sure there is a way to release and vent, while at the same time find the strength to continue doing our job the best way we can. I want to find the right way to do this, together with the rest of the TIEs, as a part of a strong and cohesive group that can change people’s viewpoint about teachers. It’s time for us to take care and support each other. I am sure that with this project we will find the best way to achieve this!

Introducing the launch of the TED-Ed Innovative Educator Alumni Innovation Projects published first on https://premiumedusite.tumblr.com/rss

[raven-komskaikru]

For the lovely @roanofazgeda for her current Minty kick <3 I hope you enjoy! Legit I finished writing this and posted it, so apologies for any inaccuracies.

Monty sits in the corner of the café, drinking a cup of tea as he pours over his textbook. It’s still a month from finals, but he knows that he should start on his papers and review his materials. He loves this café, the peaceful atmosphere. It also helps that his friends work as baristas so he occasionally gets free drinks when he’s on a study binge. Dropship is a techy café with free wi-fi and an excellent view of the city’s main street, far away from campus that he doesn’t have to worry about being overwhelmed by other students.

What he doesn’t expect is when there’s a mob of people running down the road in fear. Monty knows that there’s been an increase in supervillain activity these past few months, but that doesn’t change the fact that the world keeps moving.

Ducking his head out of the door, he tries to usher as many people out of the street as possible. There are two strong supers going at it nearly a block away, and the collateral damage creates billowing clouds of ash and steam as their conflicting fire and water abilities clash. The influx of people pushes Monty out into the street, eyes wide as the supposed villain’s water attack inundates the road, knocking the student to the ground.

He picks himself up, clothes drenched, just in time to see a tidal wave pushing one of the parked cars directly at him. Monty starts moving, but he knows he’s not going to make it out of the way in time.

Closing his eyes, he braces for impact—

…only to feel a hand on his shoulder and everything to go silent and dark.

“You okay?” a guy asks, squeezing Monty’s shoulder. His voice is gruff but caring.

“I’m not dead?”

“No… but you’re stuck in the janitor’s closet of Ark University’s library.”

“How did I get here?” It takes a second before realization dawns. “You’re a super?”

“Guilty.”

“Haven’t heard of a teleporter at all.”

“I don’t like the spotlight.” The guy laughs bitterly. “More of a thief than a hero.”

“Pretty heroic for a thief, then.”

“Wait a few minutes before leaving. I don’t exactly have a super suit.”

Monty can now feel the chill of the water beginning to soak through his clothes. “You saved my life. That’s easy enough to do.”

There’s faint light as the guy exits the closet. Monty tells himself that he’s not going to tell Jasper about this guy. Definitely not. He can already feel his cheeks burning.

*

It’s the week before finals when Monty finds himself in another daunting situation. He was just minding his own business, typing away on his laptop in the school’s garden, enjoying the nice weather, when there’s the sound of explosions from nearby. There’s the sound of screams, so he closes his laptop and starts off running for his apartment. It’s not that far away, just a few city blocks. He puts the laptop away in his bag as he moves.

Seriously, he’s getting sick of all of these supervillains making their home in the city. Is it so much to ask for a single week without some nefarious plot to take over the world or massive destruction of the city’s buildings?

Turning the corner to the apartment he shares with a few friends, he’s caught off-guard by an explosion that creates a blast wave. He’s knocked off of his feet again, this time back up to standing in a matter of minutes. He feels someone grab his arm and tug him out of the way just as another explosion rocks the foundations of the nearby buildings.

“You really don’t know how to stay out of the line of fire, do you?” It’s a guy he’s seen a few times at school, one of the guys who normally sits at the check-out.

Monty frowns, recognizing the voice. “What, no janitor’s closet?”

The guy seems to be taken aback by that statement before grinning. “Not today.”

“I just wanted to get home. Can’t they stop for five minutes?”

“What’s your name?”

“What’s yours?” Monty retorts.

“Swear not to tell anyone I’ve got powers.”

“I swear.”

“Nathan Miller. I was in your bio class freshman year.”

“Monty Green.”

“At least I’ve got a name for the powerless guy who keeps going into the line of fire.”

I don’t mind so long as you’re the one saving me, Monty wants to retort, but he holds his tongue. After all, that’s blatantly flirtatious. Thankfully, there’s another blast that draws Nathan’s attention so that he doesn’t notice the pink staining Monty’s cheeks.

*

They end up meeting again the following semester when there’s a young powered girl with no handle on her recently-discovered powers. She’s got telepathy and telekinesis, and it’s strong to the point of giving people migraines whenever she loses control of her emotions. This time, she’s in the school’s cafeteria, and utensils fly around like a rotating defensive sphere of weapons.

Monty’s the only one brave enough to go up to her, trying to calm her down. The metal forks jab outwards, and he dodges them—just barely—as he walks forwards, palms open. He’s not even sure what he’s saying, not really. But it’s stories of how there are so many things that powers can be used for and how, like any ability, it’s going to take time.

The girl’s powers waver and halt, and the tinkling sound of falling utensils echoes in the mostly-empty room. Monty gives the girl a hug before feeling a hand clap against his shoulder.

“Let’s get her out of here,” the teleporter says, and in a split-second they’re out in a large, empty section of the quad.

The girl wipes her tears as Nathan gives her information for a group that can help her learn how to better use her powers. Monty watches with a small smile, realizing that this crush has developed into solidly liking Nathan Miller. He’s watching with so much adoration that he doesn’t even realize that the girl’s already left.

“Monty, are you okay?”

“Yeah, I’m fine, Nate.”

“Nate?” He seems taken aback by the nickname.

“Sorry, you don’t like it?”

He smiles. “I could get used to it.”

Monty breathes a sigh of relief, trying to wipe the sweat from his palms against his jeans. “That’s good.”

“You know,” Nate begins slowly, as though he’s trying to formulate the words properly, “I don’t know you at all outside of you running headfirst into danger.”

“I do not run headfirst into danger!” Monty exclaims defensively, “But it’s nice that you’re there to save me.”

Did he actually say that aloud?

Nate laughs. “I try.” He swallows. “Did you want to grab coffee or something at some point?”

Monty can’t help the wide grin that spreads across his face. It feels like there’s butterflies in his stomach, but not like the kind that accompanies exams or when he sees a huge battle in progress. It’s a good feeling.

“I think I know of a place.”

[themusicenthusiast]

Saturday, July 8th, 2017 – We’ve Only Just Begun: Jibe Ushers in a New Era During a Phenomenal, Action-packed Performance Celebrating the Release of ‘Epic Tales of Human Nature’

All photos by Jordan Buford Photography The last time that Jibe had taken the stage at Gas Monkey Live, a sense of excitement hung in the air, peoples’ dismay and sheer glee being palpable. It was an excitement centered around nostalgia. The reunion show that no one had ever expected to happen was. Even better, after a spur of the moment split that left several loose ends (that’s probably putting it mildly), the four-piece rock outfit had no intentions of tying things up but rather continuing the journey that had been Jibe. A feeling akin to that was again present on this Saturday night as Jibe returned to the place their second coming had begun, nearly two years later. However, the ecstatic demeanor everyone was experiencing wasn’t rooted in nostalgia this time around. It played a part, sure, but more than anything fans were eagerly anticipating hearing some new songs; this CD release show for Epic Tales of Human Nature happening almost one full month after the album officially dropped. Their first release in fifteen years. That may break with standard protocol, bands throwing CD release shows and making those events the first time anyone ever has a chance at picking up their new product, though there’s something to be said for waiting like this. For instance, let’s circle back to that anticipation factor. Every Jibe fan had ample time to explore the record, pick out their new favorite songs and commit every little nuance to memory. That eliminated spectators just curiously standing there as new songs received their live debut, instead being fully invested in them; and as grueling a wait as that June 9th release date had been, this show date had felt as if it would never arrive. To say Jibe’s friends and fans were elated would be a vast understatement.

An incredible amount of talent had been lined up to get the spectators in the perfect mindset, Chroma leaving an impression on those that got out the earliest, while Royal Sons’ blend of bluesy rock sounded superb. Blacktop Mojo traveled the furthest out of any of the bands, the East Texas-based rock outfit (hailing from Palestine, TX) using this gig as a prelude to their upcoming tour that will have them trekking out to the West Coast and back from mid-July until the month’s end. Mining a vein of classic rock, their music was well received. And as good as it may sound on their record, it was evident the live show is where it’s really at for these guys, the quintet getting into the performance during the brief 29-minutes that they had. Murder The Name rounded out the supporting acts, this being their first show in some time; the projected fronted by Jasen Moreno being just the right band to finish setting the stage for Jibe, as they were teeming with energy and relished having so much space to roam around. It was finally nearly time for the band of the hour, a sizable gathering of fans having made it out and packed in as tightly as they could around the stage, eager to witness what was bound to be a monumental night that would go down as significant part of history in the North Texas music scene.

By about eleven drummer Ben Jeffries, bassist Corey Tatro and guitarist Toby Bittenbender were on stage, an eerie calm gripping the venue, the musicians finishing getting everything in order, while most conversations ceased once everyone began to notice them up there. Bittenbender then pierced the silence, the drums and bass soon being layered over the guitar, keeping things ambiguous for a time before it morphed into the start of “Children Of The Sun”. That was one of the only safe bets that could have been made about this night, that they would open with the lead track from Epic Tales…. Not just because that’s the way a lot of bands do it now but because the song so perfectly sets the tone for everything that is to come on the album, doing the same thing now in regards to what this performance held.

Joe Grah raced out form the wings of the stage shortly before the first line, and then they were off, the musicians’ energy rivaling that that the song conveyed, all of them being live wires from the start. It was thrilling, that song sounding more magnificent live than I think anyone could have imagined; and as they approached the instrumental break Grah climbed atop the drum riser and in a split second, timed perfectly to the music, he launched himself into the air, retreating towards the shadows once he landed. That allowed everyone else to shine during that segment, Bittenbender wailing on his axe during his solo; the instrumentalists demonstrating just what a robust sound they’re capable of. “Sing it if you know it!” Grah encouraged upon returning, seconds before they kicked it back in from the lull. And that was merely Jibe working on getting in the groove. They bridged it directly into another offering from the new album, one whose premise is deeply felt to this band. “This song’s about how it’s never too late to start over,” remarked Grah, Jibe being a prime example of that fact.

“We've Only Just Begun” built upon the intensity, Jeffries and Tatro providing a solid foundation for it. Jeffries’ drumming was merciless as he fiercely hammered out the beats, the bass making it all the more pronounced while contributing a certain thickness to it that guaranteed a forceful quality. “Where about to kick it up,” Grah said in the final minute, making it sound more like a warning instead of a simple statement. Moments later Bittenbender ripped into his soaring solo, the homestretch of that track being a full-blown assault. The entire record is as charged as can be, though those two are some of the hardest hitting tracks from it, and back-to-back like that… well, they had whipped the audience into a frenzy. The air was electric as everyone looked on, wondering just how that could be topped but knowing full well that Jibe was capable of doing it.

A dark blue light washed over the stage; Grah suddenly joining in on the percussion via a floor tom that was brought out beside the drum riser. It added an excellent tone to Jeffries’ full kit; the screen at the back of the stage depicting rain drops falling to the ground. The drums were all it took to give away “Naked In the Rain”, the first of a couple of staples that would be heard from In My Head. Already plenty of people had been singing along, though it was certain that everyone would know that particular song, so, shortly after returning to the mic, Grah promptly hopped off the stage and into the pit area that separated them from the crowd. He made his way along the barrier, frequently holding the microphone out above the patrons, who were shouting along at the top of their lungs.

It was magic. That’s the type of reaction you certainly don’t see often and certainly not when it comes to a band whose following is primarily just a regional one. Yet here was Jibe, getting the welcoming of an arena-sized band, fans proving just how enamored they are by them. By all accounts another new song was coming, the frontman taking a moment to passionately speak about Epic Tales of Human Nature. Honestly, Grah sounded every bit as euphoric over it as the die-hard fans, noting it told the story of where we have come from and where we’re going as a species, seemingly relishing the ambitious scope of the project. Despite hyping the new release, they instead opted for a curveball, treating everyone to another classic. There were no holds barred during “Underwater Life”, Tatro, Bittenbender, Jeffries and Grah firmly demonstrating what high caliber class of performers they are. They pulled the new material off with unwavering confidence, though those old hits were done with extreme ease, the four of them constituting a well-oiled machine as they cranked out that one.

“Change” was the keyword for the next song as Grah set it up, stressing we all needed to be a part of it; and before carrying on, Bittenbender took a moment to express their gratitude to all of those that had shown up. “We love you. Thanks for being here,” he said as he beamed at the crowd. A highlight from Epic Tales…, “Release” is steeped in ‘90s era grunge rock and by all accounts it was one the fans had been eagerly hoping for. Like all of this new stuff it’s fitting with the current political and social climate of the world, not limiting itself by picking a “side” but rather working to spread ideas and encourage a deeper sense of humanity. That meaning tacked along to it allows it to become all the more striking.

A megaphone dangled from Grah’s right arm from the moment they started it, and finally, as they hit the bridge, he put it to use. “A whisper, a word cannot be stopped by any wall. Connected to the truth that lives within us all. Look for the signs, reminders of the fall. Love, love, love set us free.” The interludes featured on the record even made the cut in the form of the tracks, “A Shadow In The Garden” playing over the PA system, setting up the subsequent song on the record. “…It’s time to change the rules…” Grah commented in the midst of another quick though impassioned speech. “There’s no more them. There’s only us.”

They had a little help with “Change”. Matt Noveskey (known for his lengthy career as part of Blue October’s bassist) had produced this new album at Orb Recording Studios, and he was there this night. Tatro ceded the role of bassist to him, adding a rhythm guitar to the mix for the time being; and also venturing out onto the stage was fellow Blue October member Ryan Delahoussaye, violin in hand. The extra guitar helped flesh it out further, while the violin aided the sense of urgency captured by the track, something that was certainly witnessed in the fierce performance; Delahoussaye wandering over to stage right and jamming with Bittenbender for a few seconds. The two seemingly dueling, seeing if either the guitar or violin could be the loudest.

“Give it up for the Blue October boys!” Grah said afterwards, thanking them for their help. The string of new songs continued with the lead single released form the album, and by all accounts “The Human Condition” is already a gem in the eyes’ of fans. Before you knew it Grah was back down in the pit, letting people sing along, ultimately climbing up on the barricade and falling into the sea of patrons. It was difficult to figure out who was enjoying that crowd surfing more, both he and the supporters clearly savoring the moment of unity.

“Girl On A Hill” was another good one, being exhilarating and highlighting the instrumentalists’ prowess on their respective instruments. About the time Bittenbender ripped into his solo, Grah grabbed one of the lights they had setting around, kneeling facing the guitarist, shining it at him, somehow making it look and even sound more impressive.

“We appreciate all of you beautiful people coming out,” the guitarist stated. They had appeared overwhelmed from the moment they stepped out underneath the stage lights, and based on the look on his face at that point that feeling hadn’t diminished, still being awestruck by the type of reception they were getting. “I wrote this song about someone who I care really deeply for,” was the preface for the next track, a jubilant, “We love you, Joe!!” being heard as the vocalist spoke. “Fuck yeah! Love you, too, dude!” the singer responded. The emotional “Don't Give It All Away” was the song he had been setting up, one centered around the cruelty that exists in the world and how severally it can damage some people; Tatro owning the lone bass solo of the night, the pulsating notes being deafening as he slapped them out. That one also saw Grah using the megaphone once more, and when he was done with it he tossed it behind him, the handle breaking off of it as it hit the floor. Something he didn’t realize as he was still completely engrossed in the music and giving the fans nothing less than the best.

The setup changed a bit once that one was in the bag, Jeffries getting a little break as some stools were brought out on stage. Bittenbender was confident that this was something that had never been done at a Jibe show before, acknowledging while they had done acoustic shows in the past, throwing an acoustic song in, in the middle of an electric show was uncharted territory. Probably. He quipped it was possible some things had slipped his mind since the ‘90s. Grah then offered some background to “Waiting”, a song he said almost didn’t make the cut on the record, feeling as if it didn’t fit with the concept. Only after they stripped it down did they find a version they liked and felt appropriate when put in context with the other stories offered up and luckily, they did, because it stands as one of the best things on Epic Tales….

Bittenbender and Tatro were both on acoustic guitar duty; and while he had a chair, Grah had little desire to use it, still pacing about the place as they performed that one, even kneeling down behind his stool at a point, resting his arms on it. That just spoke to his excitement, not wanting to relax even during a chilled-out number. ably.

Again, most everyone was well versed in what the band had been playing, though it was still new music and after so much of it, it was time for something beloved by all. Something from the Uprising album, a release that Grah stressed was what set a precedent for Jibe. “This is our ‘Freebird’. You’re right,” he joked after hearing something a fan shouted at them. In a way, “Uprising” is just that, at least by their standards; the anthem-esque tune fitting perfectly in line with the message their new stuff had been spreading. One about banding together, people taking control of their own fate and making their own decisions instead of turning them over to other entities to decide. As the spectators echoed along, Grah rushed to the back of the stage and grabbed their flag with the Jibe logo on it, waving it about before leaning over to make certain those in the front row could grab it. And moments later it was hoisted in the air by the crowd.

“I’m really excited to be here,” the singer remarked afterwards, the adrenaline from everything being noticeable in his voice. “I personally had to go through hell to get back to you guys. I wasn’t treating you right. I wasn’t treating these guys right. But that's over…” he said, the moment being a rather candid one that highlighted his awareness of everything that transpired so long ago and how it has all been reconciled. “This band is the best I ever had. This crew is the best I ever had. This crowd is the best I ever had!” he exclaimed, Jeffries then firing up “Best I Ever Had”, one of the few remaining tracks off Epic Tales of Human Nature.

Things then played in sequence as they appear on the record, the second interlude, “Sanctuary”, filling the air. The piano piece is gorgeous, and there was little doubt as to what it was leading to. Noveskey and Delahoussaye rejoined them for “Bravery”, ensuring their time spent on the new record drew to a spectacular close. The violin sounded beautiful on the forceful and optimistic piece, on that’s an instant sing-along; and while the record delves into the dark parts of humanity and the chaos that has consumed the world, there’s an obvious glimmer of hope present on that song. Hope that things aren’t too far gone, not just yet, a feeling that seeped out of every note as they performed it.

“We’re all strong and brave!” declared Grah as it concluded. That easily could have been the end, if it weren’t for the fact that at least one key song of Jibe’s was missing, and they had promised some other guest appearances beside those in Blue October. Rather fittingly, one of those was Paco Estrada, a singer Grah welcomed to the stage as being someone most everyone there surely knew. Sure enough, cries of “Paco!” filled the air.

His appearance was fitting not just because he has been a longtime staple of the D-FW music scene, but also because he recently resurrected SouthFM after more than ten years, them and Jibe overlapping for a bit back in the early 2000s. There was really only one song Estrada’s was best suited for, and sure enough it was “Rewind”. “If I could turn the hands of time I’d go back and rewind to the days I spent with you…” the two titans sang, even harmonizing some as they co-sang that gorgeous song; Grah venturing over beside Estrada and placing his arm around him at one point.

As great a sight as that was it wasn’t the only memorable thing happening at that moment. The lone crowd surfer of the night made their way up from the back of the crowd, Scott Tucker of The Orange clearly on cloud nine as he reveled in the glory days of the Dallas music scene. After a little work and at the behest of Grah he was allowed up on the stage to add a third voice to the mix.

Three significant vocalists in the scene all on stage at once was incredibly epic, though it was about to be eclipsed by their final guest. Pete Thomas, of Slow Roosevelt fame, was welcomed to the stage, Bittenbender introducing him and plugging the Louder Than Stigma campaign that Thomas began. Something dedicated to those who took their own lives and is geared towards preventing any more such tragedies by having artists open up and discuss their struggles, be it with addiction or any other illness such as depression or anxiety. Bittenbender is one who gave a candid interview on the page, with a few others up, all of which are worth reading.

A joke was made to the effect of wondering if Thomas was certain he knew the words for the next song, Grah laughing as he said he hoped he could remember them. That almost had one thinking that perhaps they were pulling out some deep cut, but no. They struck with “Yesterday's Gone”, that hit single from 2002’s Uprising eliciting one last moment of pure elation from the audience; the two frontmen making certain the song packed an extra punch from its usual version, everyone – the band members and fans alike – being all smiles as this 85-minute long set came to a close.

A few were wondering if perhaps an encore was planned, but after Jeffries approached the forefront of the stage, throwing out some drum sticks as well as a the drum head, it was apparent it was over. And really, what else could they have done? Sure, no one would have had a problem hearing more of the classics, but this night wasn’t about revisiting the past, it was about officially beginning down a new path and introducing everyone to what lies ahead for Jibe.

There’s a seemingly unlimited amount of potential down that road. The new sound is similar yet different from where they left off in the early 2000s, taking that sound from then and building upon it. The result is something bolder with grand characteristics that can’t be ignored. Fitting in line with the title, epic is precisely what all of these new songs are, aiming to light some sort of fire underneath those who listen, instigating some sort of change in the world with whoever hears them, one person at a time. The passion that’s packed in to every cut makes that possible, easily so at that. The blood, sweat and tears put into making this album is evident, the band nicely capturing the energy that makes their live shows so unforgettable into the recordings. And on that note, this show will be a legendary one. The stage is clearly where Grah, Bittenbender, Jeffries and Tatro are able to let it all go, becoming completely uninhibited as they cultivate an atmosphere where the only thing that matters is the performance people are watching. The way they hit the stage with such fury and never relent is utterly transfixing, the show they deliver being as explosive as anyone could want. A caliber of which could only be rivaled by the most road-tested of veteran performers.

However, the way they all finessed the crowd was remarkable, going above and beyond to make certain fans knew that they were an integral part of all this, and that’s something even many revered national touring acts lose sight of. Frankly, Jibe epitomizes that rock ‘n’ roll spirit, that raw energy being prevalent throughout the show, looking and sounding slightly edgy, a hint of reckless abandon present as the four of them make wowing the spectators their primary goal. That’s what rock has always been about; and the guys in Jibe aren’t just up there to have fun and play some songs, they’re entertainers, and they certainly do entertain – at all costs. Stay tuned to their WEBSITE for news on future shows; and head over to their OFFICAL WEBSTORE to pick up a copy of Epic Tales of Human Nature.

[attractiverubble]

[day 81] - futura free

“Our friendship go back that far” “Tolerance is so low.” “This is no work day.”

[I know the passage below does not make sense in the context of these first few quotes. I was listening to Frank Ocean’s ‘Futura Free’ while writing this post; those are lines from the song. I think great music can help us get through times of complete horror and disgust in others. At the same time I need to share my feelings on what happened today.]

a sobriquet is just a flower by another name. [this was a random line]

I was absolutely disgusted by what the press secretary said today. This is our executive branch’s official medium of communication with the public, with the citizens, and with the world. This is holocaust denialism. The multiple revisions and clarifications say to me that the press secretary has a large anti-semitic belief (whether he’s conscious of it or not) at his core. He did not misspeak; he had multiple chances to simply say that and explain that Hitler was a monster. He chose not to do that.

To refer to concentration camps and extermination camps as “holocaust centers” shows more than ignorance. Not it should be impossible, but it IS impossible for someone with a college degree to be unaware that the specific name for the nazi’s program is concentration camps. The only excuse is that he does not care about Jewish people, or any of the other minorities (gays, poles, romani, the disabled, socialists, trade unionists, slavs, serbs, people of color, freemasons, POW’s, jehovah’s witnesses), who were victims of the holocaust to understand the importance and weight of the correct terms.

[random thought, but why do we use words with multiple meanings when, for one of those meanings, there is a synonym that is exclusive to that particular meaning? Case in point: “right” and “correct.” Correct is pretty set in stone in its meaning/interpretation while Right has numerous meanings, not limited to the direction and also a foundation of universal law. Can’t we all agree to never use “right” when it is synonymous with “correct”? Or does that just kill language, and the nuance inside it? Or perhaps with more defined definitions for every word we use, there’ll be less chance of misinterpretation? (I don’t think that occurs often, though. Context is very impressive in its ability to discern the correct meaning) Perhaps using more pointed words can further our collective discussion on policies and issues; no arguing on semantics, but hard facts and personal beliefs.]

[also, strangely enough, “holocaust denial” is the second auto-generated result when you type in “holo” in the search bar on wikipedia. I do not know how exactly to feel about that. Perhaps that should be a story. I don’t know if it concerns anyone involved, namely programmers/developers at Wikipedia or victims/descendants of victims of the holocaust, but I think it can look at a larger question of education of vs. publicity for a bigoted agenda. But that’s not the point of this.]

And the press secretary circled around the idea that there is a qualified difference between al-Assad and Hitler, that al-Assad’s methods were more villainous than Hitler’s. And the press secretary mainly suggested that the difference was in the victims. For a campaign and administration that has ushered in a gigantic, toxic wave of anti-semitism back into this country (though this bigotry could have been around all the while, just hiding in the shadows), these are terrifying statements. 

Once again, the administration is neglecting the agency of the Jewish people and their collective right       [I think I’m using a pointed meaning of “right” here; to mean that Jewish people are owed a certain fundamental being in society (i’ve completely forgot my original point here, though, before I started the bracketed aside)]      to feel safe and accepted in this country. 

But something, more personal and much less important, I was upset about today was how long it took me to realize how problematic the press secretary’s statements are earlier today. A coworker sent me an IM with a quote of the p.s. from a reporter’s twitter feed, probably 5 minutes after the press secretary said it in real time. I read the statement, and then maybe a second and a half later, it hit me just how dumb of a statement it is.

For some reason, I have this habit of reading something like that and accepting it very briefly. I think I’m super gullible, but then with some more thought, I realized it was a totally wrong statement. Seriously, for a second there - and this might have to do with the secretary’s capacity as a government official - I thought he was right. Then I remembered my middle school history lessons, and realized how wrong he was. 

And after some critical thinking for 5-10 minutes, the gravity of the statements struck me. 

We are only 81 days in here. We’re not fucked, necessarily, but this whole administration is going to suck.

[graciedroweuk]

Bill Clinton Defends Clinton Foundation, Talks Good Works With Jon Bon Jovi & Music Biz: Billboard Cover

Billboard’s Philanthropy Problem: Inside the Way The Audio Business Provides Back

Bill Clinton, lively and cut at 70, in a tailored navy match along with a scarlet link, walks into Billboard’s makeshift picture business in the Ny Hilton Midtown in late Sept, during the 12th and ultimate assembly of his charitable basis, the Clinton Global Effort (CGI), that has long utilized artists to provide speech to triggers. “It’s amazing the effect they’re ­having,” claims the leader concerning the designers he’s caused over time, from Elton John to Usher. At this time, rock stories Jon Bon Jovi and Sting walk him silently like starstruck roadies. Once the former leader stands beside his spouse and Bon Jovi Styler, to get a team picture, the superstars stay peaceful while Clinton becomes the -in chief. “Two partners out to get a day that is good,” he deadpans. Everybody giggles. Then he claims, “I usually believed you had been the nicest Everybody jokes that were one.”. “This is Be Type to some evening that is Mature .

It’s not astonishing, provided his skilled history, that Clinton has the capacity to preserve a feeling of aplomb in this attempting year that discovers his wife within the most ugly race in history. Their household title gets pulled through the dirt along with the foundation’s trustworthiness to which Clinton has ­dedicated his article-Whitehouse existence. Although Hillary stays the obvious leader with merely times, within the selection togo, a constant trickle of uncomfortable-at best compromised emails has dampened spirits during her stretch work that was ­campaign’s. Within the newest example (March. 26), press shops reported on a lost memo from 2011 that boosts further issues concerning the junction of the previous leaderis altruistic use his and his acquaintances’ individual enrichment, where an experienced help towards the president stated that Clinton “gets several costly presents” from contributors, while Chelsea cautioned of numerous helps making the most of the Building Blocks’s efforts. The files include no evidence of any “pay-for- Sec being involved subsequently by play”. Clinton. A consultant in the Clinton Basis had no discuss the emails that are lost.

Nevertheless, a politician who thinks within the need for ­fighting when assaulted, Bill, understands he must recommend for his triggers as well as for his ­family in ways befitting anex-leader. Therefore while Republican ­nominee Donaldtrump accuses the Clinton Basis (the umbrella business under which CGI ­operates) to be a slush-fund put up to improve the Clinton ­family along with a means by which international commanders attempt to ­influence U.S. ­policy, Clinton ­cheerfully evokes that the couple of years previously, Trump herself contributed towards the ­organization. “Her challenger offered me 000, $100,” Billboard is told by him. I was asked by “He what I did so and that I described him it. He explained that’s excellent and he simply delivered $100 to me,000. it was an, although I discovered a week ago that it originated from someone else. “It’s because ” he claims. “There was no debate before.”

Clinton’s disappointment using the assaults on CGI and his basis is palpable. “It’s difficult to notice since I understand nicely and good that many of the folks which are ­saying it understand it’s not the case. It’s an insult. However the those who have completed the job know, and also know, and occasionally that’s surely got to be enough.” Their child, the ­accusations also, troubles Chelsea, who’s of the building blocks. The Basis and foremost “First is just a charity.

The building blocks has raised yearly, based on watchdog business CharityWatch, which performs in depth studies on filings and audits, among different steps. CGI has straight assisted over 430 ­million individuals in 180 cope with helps and poverty along with other ­pressing problems. How big , and his capability to gather elites of company worldwide ­government and charity, have assisted create the business an enormous achievement by many requirements that were objective. Even though some experts dispute that taking assistance from ­governments that is particular — strategies — can produce objectives there’s no proof, of entry that got access for ­contributing as a swap.

CharityWatch leader Daniel Borochoff posits that “there’s lots of unjust criticisms which are centered on ­misunderstanding what sort of ­nonprofit operates.” Ian Bremmer, leader of Eurasia Team, a political risk consultant, and worldwide study ­professor at Ny College, shows that “CGI is legally ­interested in ­promoting essential triggers in certain of the world’s many ­underdeveloped places, and they’re not just helping these triggers but creating a number of like minded young adults who’re ­committed to them.”

. But all of the ­remaining 90-percent moves toward altruistic function itself is carried out by the ­organization, along side its companions that are numerous. “We have already been really transparent that 87 percentage of our resources proceed straight to our function and just how it’s financed, and that people do,” claims Chelsea. “I might wish when individuals invest a bit of period searching beyond the clickbait statements, they’ll understand why I’m therefore proud.” (Meanwhile, the Trump Basis — a personal household basis — has been roundly lambasted to get a many moral and economic improprieties.)

Clinton has several buddies within the audio globe, plus some of scarves that are crucial are with artists. The team works together with Bono, Elton John and Alicia Keys to combat AIDS; with Tony Bennett to ­provide disciplines training in colleges; with Sting to truly save the rainfall ­forest; with Bon Jovi to battle homelessness. Clinton is happy with what Jovi recognized and has been doing him in Philanthropy having a Citizen Prize for Management in Sept. They’ve been buddies since 1996, and Clinton backed Bon Jovi personally when Bon Jovi released his JBJ Spirit Basis. “I’ve had several chance to possess a glass of wine. I’ve images of the children simply ­sitting Mrs. D, using the Clintons. Using the eyeglasses on, Bon Jovi is recalled by ”. “His need to assist people may be the ­foundation of who he is.”

The Base confirms although the explanations why are obscure this may be the final year of CGI. Without doubt it’s related to the chance that Hillary will end up leader — a best part for Statement, even when it’s in his baby’s cost. “Oh, I’ll skip a great deal to this,” he claims. This is loved by “I. I really like observing individuals operating large businesses doing factors that they hadn’t imagined.” But Clinton will require anything to complete throughout the next four to eight decades, and he’s a perspective for exactly what a resurrected CGI might seem like — “if,” he claims, “Hillary becomes president.” He says taking contributions from international nations wouldn’t be feasible, however they can work during that. ” he claims, “is possibly rewrite everything to that I’m not involved with, or we’re likely to create those activities ­independent and consider everything that’s financed by ­foreign resources and allow another person takes around them. However in America we ought to be ready to operate lots of these wellness applications with simply personal efforts, not corporate.”

“We can’t shed him; he can’t be sidelined,” claims Sting, that has noticed Clinton carefully on initiatives around water forest preservation. Function that was “His is seated in real sympathy for individuals. ‘I experience your pain’ isn’t only a cliché for him.”

from network 4 http://www.brownandbrownrecording.com/bill-clinton-defends-clinton-foundation-talks-good-works-with-jon-bon-jovi-music-biz-billboard-cover/

[movietvtechgeeks]

Latest story from https://movietvtechgeeks.com/will-u-s-military-switch-green-energy-fossil-fuels-donald-trump/

Will U.S. military switch from green energy to fossil fuels for Donald Trump?

With Donald Trump clearly letting it be known about his views on climate change, many are wondering if the U.S. military will be scrapping their green energy innovations and going back to fossil fuels. Will the new administration slash budgets on these types of programs?

At a sprawling desert base, a Marine recharged his radio’s batteries simply by walking, while nearby fellow troops examined a rocket artillery system and a drone – both powered by the sun.

Navy and Marine Corps brass, accompanied by green energy executives, showcased the energy-harnessing knee braces and other innovations at a renewable energy demonstration at Twentynine Palms Marine Corps base, one of many such events that have taken place at military bases across the country as part of the Defense Department’s unprecedented shift away from fossil fuels under the Obama administration. The Pentagon has invested millions over the past decade into everything from hybrid electric ships to wind turbines.

While a growing number of military leaders have declared global warming a national security threat, the strategy clashes with President-elect Donald Trump’s vow to end policies that “undermine” fossil fuel producers. Trump has a chosen a Cabinet with climate change skeptics, though his pick for defense secretary, retired Marine Gen. James Mattis, has advocated green technology to curtail risky fuel supply runs for troops in conflict zones.

It’s not known if Mattis would support buying alternative fuels for ships and aircraft, among the military’s biggest petroleum users. He didn’t respond to requests seeking comment.

Republican lawmakers have lashed out at many of the green initiatives for the Defense Department – one of the world’s largest energy consumers – especially the Navy’s Great Green Fleet that deployed ships run partly on biofuel amid falling oil prices.

Military leaders say alternative energy makes warriors more agile and effective on today’s battlefields.

At the recent demonstrations, a Marine wore knee braces with tiny generators that transformed the energy he produced from walking to recharge batteries. The technology allows troops to generate their own power for as long as three days. The event also featured an M777 howitzer and a drone that use solar power.

“To do something other than continue these programs would be a mistake,” said Joe Bryan, the Navy’s deputy assistant secretary for energy. “My expectation is that will be recognized no matter where people are on the political spectrum.”

Rising sea levels threaten Navy bases worldwide, and it would be “shortsighted” for the military not to address climate change, Bryan said.

Trump’s transition team did not respond to questions about whether it would end the strategy.

Republican lawmakers have said the Pentagon has propped up the alternative energy industry, investing in programs that are not sustainable. The Defense Department has been working toward generating 25 percent of its power from renewable sources by 2025. The Navy and Marine Corps set a goal to draw half of its power from renewable energy sources by 2020.

GOP legislators have criticized the Obama administration for spending roughly $120 billion on climate change initiatives while putting in motion $1 trillion in defense cuts.

“I hope the new administration allows the U.S. military to focus on the most important defense issues like fighting ISIS, defending from Iranian and North Korean belligerence, and guarding against aggression from China and Russia,” Colorado Republican Rep. Ken Buck said in a statement to media outlets. “Our military should use the most cost-efficient fuel sources, rather than burning money on green energy experiments.”

The most contentious initiative has been the purchase of biofuel for ships. Critics say while ships may leave port with a biofuel mix, they still must rely on foreign oil in many places near battlefields and the plant-based fuel has become more expensive than traditional fuel.

According to a 2015 report from the Government Accountability Office, Congress’ research arm, the Pentagon paid $58.6 million for 2 million gallons of alternative fuel from 2007 to 2014, or about $29 per gallon. At the same time, it spent $107.2 billion for 32 billion gallons of petroleum, paying about $3 per gallon.

Legislators passed a law in 2012 prohibiting the Pentagon from buying biofuels in bulk unless the price is competitive with that of petroleum.

As a result, the Great Green Fleet’s carrier strike group set sail in early 2016 using a mix of 90 percent petroleum and only 10 percent biofuels made from beef fat. The Navy originally aimed for the ratio to be 50-50.

“The Obama administration found a way to make a market for biofuels within the DOD, and they did that by saying it was critical to national defense, even though petroleum is not in short supply by any means,” said Rachel Zissimos, a research assistant at the conservative Heritage Foundation. “The climate change agenda within the DOD was a way to impose these renewable energy mandates on the DOD. I think the climate change issues can be dropped very quickly.”

Green energy supporters are banking on Mattis, Trump’s defense secretary choice, who helped usher in the Pentagon’s shift toward renewable energy by challenging the Defense Department to “unleash us from the tether of fuel” during the Iraq war.

Zissimos said Mattis made the challenge when problems with maintaining fuel levels hindered the advance of U.S. forces and troops were going on supply runs through enemy territory, causing casualties.

She expects Trump’s administration will support initiatives that help the military but not necessarily the planet – in contrast to Obama who was driven by combatting climate change.

“Repealing some of these programs means a part of Obama’s legacy will go away,” she said. “For Trump, that’s not a factor, so there are fewer reasons for him to hold on to failing initiatives.”

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