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toaarcan · 4 months

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Rishi Sunak and the D-Day Disaster

Babes wake up, Rishi Sunak did a fuckup again!

Hokay, so, at time of writing, yesterday was the 80th anniversary of the D-Day landings during World War II. This is a big deal for a lot of reasons, D-Day is one of the most significant events in the largest and most destructive war humanity ever fought, and this is likely to be the last major anniversary that the surviving veterans will be alive and well enough to attend.

Political leaders from the world over made their way to the Normandy beaches for a commemoration. Biden, Trudeau, Macron, Scholz, and Zelenskyy were present. Keir Starmer was there, as were King Prince Charles and Prince William, but the UK government proper was represented by Rishi Sunak and David Hameron.

Until suddenly it wasn't!

Let's run down everything (that I'm aware of) that went wrong!

As part of the British event, army paratroopers landed on the beach... and then had to reconvene in a tent to get their credentials checked by the French authorities. Because Brexit happened and we don't have free movement any more! Pro-Brexit nimrods have, predictably, complained about getting exactly what they voted for.

Once each nation's part of the proceedings were done, they were to reconvene at Omaha Beach for an International commemoration. Speeches, medals being awarded, that sort of thing. Except... Rishi Sunak was not present.

No, see, Rishi "The Least Elected PM Ever" Sunak had stayed until the end of the British event and then promptly fucked off back to England, snubbing the leaders of America, France, Canada, Germany, and Ukraine and leaving everything in the hands of the Hameron, his also-unelected foreign secretary that last rubbed shoulders with any International politicians when he was fucking everything up in 2016. Also, in the hands of his main rival, Starmer (Okay calling Starmer and Sunak rivals is a bit unfair, it implies Sunak has a snowball's chance in hell, which he does not).

Naturally, people were pretty fuckin' steamed about this, and put Rishi on blast for showing enormous disrespect to... literally everyone involved. Especially since this is right on the heels of Sunak proposing that they bring back National Service to "fill young British people with loyalty and honour."

Don't worry it gets worse.

Naturally, there are a lot of journalists with cameras present, and this means that we get to see images like these:

Image Description: Left to right, David Cameron, Emmanuel Macron, Olaf Scholz, and Joe Biden, standing in front of a partially cloud blue sky. Macron, Scholz, and Biden are lit by the sun, while Cameron appears to be in the shade.

Image Description: Keir Starmer sits, centrally-framed, among D-Day veterans in ceremonial dress uniforms. To the right of the frame sits Emmanuel Macron.

Image Description: Volodymyr Zelenskyy and Keir Starmer talking, with a photojournalist in the background aiming his camera at them. Both are smiling.

Quote Pippa Crerar, writing for the Guardian (You may remember her from that time she blew the lid off of Partygate!), Starmer is "already looking like a Prime Minister."

So this is really, really bad for Rishi. Britain has been keen to support Ukraine lately, and we've actually shipped a supply of our Challenger 2 tanks over to them for their use. The impact from this hasn't been as massive as you'd hope, largely because the British military has been absolutely gutted under the Tories, for reasons that I'm sure had absolutely nothing to do with all the financial support David Cameron got from Russians, but Britain has been trying to help.

Boris Johnson in particular liked to really stress the Ukraine point whenever he was losing control of the narrative, essentially making Ukraine's plight and his support for them a shield from criticism. And now, here's the leader of the opposition being photographed in a positive light with Zelenskyy. The optics are incredibly bad for Rishi.

But surely, Rishi had a reason why he had to zip back to British soil post haste? Maybe an emergency that he had to resolve?

No, he needed to record an interview with ITV, for his election campaign. That was it.

Well, interviews in election cycles become outdated pretty quickly. Normally a few days is enough to render them outdated. It must've been pretty urgent.

No, the interview is scheduled for release in six days' time.

That's an eternity in election season. There's a high chance that more than half of its content will be void by the time it airs.

As a reminder, we are four weeks from the big day. In fact, yesterday was exactly four weeks before election night. Time is very short.

Well, maybe this was the only time they could fit him in?

Nope, Paul Brand of ITV has confirmed that this was the date and time Rishi wanted, and they could've moved it to prevent scheduling conflicts!

So, how did a fuckup on such a grand magnitude happen? How did Rishi manage to create a clash between the 80th anniversary commemoration of an event with a specific date (6th June, 1944 is not hard to remember, my guy!) and the election that he called? Well that's very simple! He didn't want to be there at all.

Yes, it seems that Rishi had already told the French government a week ago that he wouldn't be attending at all. Someone seems to have convinced him that skipping the event entirely was a bad idea, but not enough for him to actually commit to it.

Image Description: A block of text reading "The French government was told a week ago that Rishi Sunak would not attend the D-Day 80th commemoration, Tory sources have confirmed. The message to Paris from his team was that he would be too busy campaigning in the general election to make the trip. The decision was reversed, and a short visit was the compromise, but it is extraordinary that an attendance by a Conservative PM, or any PM, was ever in doubt."

Rishi has denied this, however, so the whether it's true or Sunak has elected to not lie for once, well, that remains to be seen.

Quote John Healey, Labour's defence spokesperson, “Given that the prime minister has been campaigning on the idea young people should complete a year’s national service, what does it say that he appears to have been unable to complete a single afternoon of it?”

Conservative commentator Tim Montgomery called it "political malpractice."

And so, after thumbing his nose at half the world in order to pursue an already-foundering election campaign, Rishi Sunak decided that he needed to apologise. Via tweet.

It's been a very bad day for Rishi Sunak.

#Politics #UK Politics #UK Election #General Election 2024 #D-Day #D-Day 80 #British Politics #Keir Starmer #Rishi Sunak #Clownfall 3: The Reckoning

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fibula-rasa · 6 months

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(Mostly) Lost, but Not Forgotten: Omar Khayyam (1923) / A Lover’s Oath (1925)

Alternate Titles: The Rubaiyat of Omar Khayyam, The Rubaiyat, Omar Khayyam, Omar

Direction: Ferdinand Pinney Earle; assisted by Walter Mayo

Scenario: Ferdinand P. Earle

Titles: Marion Ainslee, Ferdinand P. Earle (Omar), Louis Weadock (A Lover’s Oath)

Inspired by: The Rubaiyat of Omar Khayyam, as edited & translated by Edward FitzGerald

Production Manager: Winthrop Kelly

Camera: Georges Benoit

Still Photography: Edward S. Curtis

Special Photographic Effects: Ferdinand P. Earle, Gordon Bishop Pollock

Composer: Charles Wakefield Cadman

Editors: Arthur D. Ripley (The Rubaiyat of Omar Khayyam version), Ethel Davey & Ferdinand P. Earle (Omar / Omar Khayyam, the Director’s cut of 1922), Milton Sills (A Lover’s Oath)

Scenic Artists: Frank E. Berier, Xavier Muchado, Anthony Vecchio, Paul Detlefsen, Flora Smith, Jean Little Cyr, Robert Sterner, Ralph Willis

Character Designer: Louis Hels

Choreography: Ramon Novarro (credited as Ramon Samaniegos)

Technical Advisors: Prince Raphael Emmanuel, Reverend Allan Moore, Captain Dudley S. Corlette, & Captain Montlock or Mortlock

Studio: Ferdinand P. Earle Productions / The Rubaiyat, Inc. (Production) & Eastern Film Corporation (Distribution, Omar), Astor Distribution Corporation [States Rights market] (Distribution, A Lover’s Oath)

Performers: Frederick Warde, Edwin Stevens, Hedwiga Reicher, Mariska Aldrich, Paul Weigel, Robert Anderson, Arthur Carewe, Jesse Weldon, Snitz Edwards, Warren Rogers, Ramon Novarro (originally credited as Ramon Samaniegos), Big Jim Marcus, Kathleen Key, Charles A. Post, Phillippe de Lacy, Ferdinand Pinney Earle

Premiere(s): Omar cut: April 1922 The Ambassador Theatre, New York, NY (Preview Screening), 12 October 1923, Loew’s New York, New York, NY (Preview Screening), 2 February 1923, Hoyt’s Theatre, Sydney, Australia (Initial Release)

Status: Presumed lost, save for one 30 second fragment preserved by the Academy Film Archive, and a 2.5 minute fragment preserved by a private collector (Old Films & Stuff)

Length: Omar Khayyam: 8 reels , 76 minutes; A Lover’s Oath: 6 reels, 5,845 feet (though once listed with a runtime of 76 minutes, which doesn’t line up with the stated length of this cut)

Synopsis (synthesized from magazine summaries of the plot):

Omar Khayyam:

Set in 12th century Persia, the story begins with a preface in the youth of Omar Khayyam (Warde). Omar and his friends, Nizam (Weigel) and Hassan (Stevens), make a pact that whichever one of them becomes a success in life first will help out the others. In adulthood, Nizam has become a potentate and has given Omar a position so that he may continue his studies in mathematics and astronomy. Hassan, however, has grown into quite the villain. When he is expelled from the kingdom, he plots to kidnap Shireen (Key), the sheik’s daughter. Shireen is in love with Ali (Novarro). In the end it’s Hassan’s wife (Reicher) who slays the villain then kills herself.

A Lover’s Oath:

The daughter of a sheik, Shireen (Key), is in love with Ali (Novarro), the son of the ruler of a neighboring kingdom. Hassan covets Shireen and plots to kidnap her. Hassan is foiled by his wife. [The Sills’ edit places Ali and Shireen as protagonists, but there was little to no re-shooting done (absolutely none with Key or Novarro). So, most critics note how odd it is that all Ali does in the film is pitch woo, and does not save Shireen himself. This obviously wouldn’t have been an issue in the earlier cut, where Ali is a supporting character, often not even named in summaries and news items. Additional note: Post’s credit changes from “Vizier” to “Commander of the Faithful”]

Additional sequence(s) featured in the film (but I’m not sure where they fit in the continuity):

Celestial sequences featuring stars and planets moving through the cosmos

Angels spinning in a cyclone up to the heavens

A Potters’ shop sequence (relevant to a specific section of the poems)

Harem dance sequence choreographed by Novarro

Locations: palace gardens, street and marketplace scenes, ancient ruins

Points of Interest:

“The screen has been described as the last word in realism, but why confine it there? It can also be the last word in imaginative expression.”

Ferdinand P. Earle as quoted in Exhibitors Trade Review, 4 March 1922

The Rubaiyat of Omar Khayyam was a massive best seller. Ferdinand Pinney Earle was a classically trained artist who studied under William-Adolphe Bougueraeu and James McNeill Whistler in his youth. He also had years of experience creating art backgrounds, matte paintings, and art titles for films. Charles Wakefield Cadman was an accomplished composer of songs, operas, and operettas. Georges Benoit and Gordon Pollock were experienced photographic technicians. Edward S. Curtis was a widely renowned still photographer. Ramon Novarro was a name nobody knew yet—but they would soon enough.

When Earle chose The Rubaiyat as the source material for his directorial debut and collected such skilled collaborators, it seemed likely that the resulting film would be a landmark in the art of American cinema. Quite a few people who saw Earle’s Rubaiyat truly thought it would be:

William E. Wing writing for Camera, 9 September 1922, wrote:

“Mr. Earle…came from the world of brush and canvass, to spread his art upon the greater screen. He created a new Rubaiyat with such spiritual colors, that they swayed.” … “It has been my fortune to see some of the most wonderful sets that this Old Earth possesses, but I may truly say that none seized me more suddenly, or broke with greater, sudden inspiration upon the view and the brain, than some of Ferdinand Earle’s backgrounds, in his Rubaiyat. “His vision and inspired art seem to promise something bigger and better for the future screen.”

As quoted in an ad in Film Year Book, 1923:

“Ferdinand Earle has set a new standard of production to live up to.”

Rex Ingram

“Fifty years ahead of the time.”

Marshall Neilan

The film was also listed among Fritz Lang’s Siegfried, Chaplin’s Gold Rush, Fairbanks’ Don Q, Lon Chaney’s Phantom of the Opera and The Unholy Three, and Erich Von Stroheim’s Merry Widow by the National Board of Review as an exceptional film of 1925.

So why don’t we all know about this film? (Spoiler: it’s not just because it’s lost!)

The short answer is that multiple dubious legal challenges arose that prevented Omar’s general release in the US. The long answer follows BELOW THE JUMP!

Earle began the project in earnest in 1919. Committing The Rubaiyat to film was an ambitious undertaking for a first-time director and Earle was striking out at a time when the American film industry was developing an inferiority complex about the level of artistry in their creative output. Earle was one of a number of artists in the film colony who were going independent of the emergent studio system for greater protections of their creative freedoms.

In their adaptation of The Rubaiyat of Omar Khayyam, Earle and Co. hoped to develop new and perfect existing techniques for incorporating live-action performers with paintings and expand the idea of what could be accomplished with photographic effects in filmmaking. The Rubaiyat was an inspired choice. It’s not a narrative, but a collection of poetry. This gave Earle the opportunity to intersperse fantastical, poetic sequences throughout a story set in the lifetime of Omar Khayyam, the credited writer of the poems. In addition to the fantastic, Earle’s team would recreate 12th century Persia for the screen.

Earle was convinced that if his methods were perfected, it wouldn’t matter when or where a scene was set, it would not just be possible but practical to put on film. For The Rubaiyat, the majority of shooting was done against black velvet and various matte photography and multiple exposure techniques were employed to bring a setting 800+ years in the past and 1000s of miles removed to life before a camera in a cottage in Los Angeles.

Note: If you’d like to learn a bit more about how these effects were executed at the time, see the first installment of How’d They Do That.

Unfortunately, the few surviving minutes don’t feature much of this special photography, but what does survive looks exquisite:

see all gifs here

Earle, knowing that traditional stills could not be taken while filming, brought in Edward S. Curtis. Curtis developed techniques in still photography to replicate the look of the photographic effects used for the film. So, even though the film hasn’t survived, we have some pretty great looking representations of some of the 1000s of missing feet of the film.

Nearly a year before Curtis joined the crew, Earle began collaboration with composer Charles Wakefield Cadman. In another bold creative move, Cadman and Earle worked closely before principal photography began so that the score could inform the construction and rhythm of the film and vice versa.

By the end of 1921 the film was complete. After roughly 9 months and the creation of over 500 paintings, The Rubaiyat was almost ready to meet its public. However, the investors in The Rubaiyat, Inc., the corporation formed by Earle to produce the film, objected to the ample reference to wine drinking (a comical objection if you’ve read the poems) and wanted the roles of the young lovers (played by as yet unknown Ramon Novarro and Kathleen Key) to be expanded. The dispute with Earle became so heated that the financiers absconded with the bulk of the film to New York. Earle filed suit against them in December to prevent them from screening their butchered and incomplete cut. Cadman supported Earle by withholding the use of his score for the film.

Later, Eastern Film Corp. brokered a settlement between the two parties, where Earle would get final cut of the film and Eastern would handle its release. Earle and Eastern agreed to change the title from The Rubaiyat of Omar Khayyam to simply Omar. Omar had its first official preview in New York City. It was tentatively announced that the film would have a wide release in the autumn.

However, before that autumn, director Norman Dawn launched a dubious patent-infringement suit against Earle and others. Dawn claimed that he owned the sole right to use multiple exposures, glass painting for single exposure, and other techniques that involved combining live action with paintings. All the cited techniques had been widespread in the film industry for a decade already and eventually and expectedly Dawn lost the suit. Despite Earle’s victory, the suit effectively put the kibosh on Omar’s release in the US.

Earle moved on to other projects that didn’t come to fruition, like a Theda Bara film and a frankly amazing sounding collaboration with Cadman to craft a silent-film opera of Faust. Omar did finally get a release, albeit only in Australia. Australian news outlets praised the film as highly as those few lucky attendees of the American preview screenings did. The narrative was described as not especially original, but that it was good enough in view of the film’s artistry and its imaginative “visual phenomena” and the precision of its technical achievement.

One reviewer for The Register, Adelaide, SA, wrote:

“It seems almost an impossibility to make a connected story out of the short verse of the Persian of old, yet the producer of this classic of the screen… has succeeded in providing an entertainment that would scarcely have been considered possible. From first to last the story grips with its very dramatic intensity.”

While Omar’s American release was still in limbo, “Ramon Samaniegos” made a huge impression in Rex Ingram’s Prisoner of Zenda (1922, extant) and Scaramouche (1923, extant) and took on a new name: Ramon Novarro. Excitement was mounting for Novarro’s next big role as the lead in the epic Ben-Hur (1925, extant) and the Omar project was re-vivified.

A new company, Astor Distribution Corp., was formed and purchased the distribution rights to Omar. Astor hired actor (note, not an editor) Milton Sills to re-cut the film to make Novarro and Key more prominent. The company also re-wrote the intertitles, reduced the films runtime by more than ten minutes, and renamed the film A Lover’s Oath. Earle had moved on by this point, vowing to never direct again. In fact, Earle was indirectly working with Novarro and Key again at the time, as an art director on Ben-Hur!

Despite Omar’s seemingly auspicious start in 1920, it was only released in the US on the states rights market as a cash-in on the success of one of its actors in a re-cut form five years later.

That said, A Lover’s Oath still received some good reviews from those who did manage to see it. Most of the negative criticism went to the story, intertitles, and Sills’ editing.

What kind of legacy could/should Omar have had? I’m obviously limited in my speculation by the fact that the film is lost, but there are a few key facts about the film’s production, release, and timing to consider.

The production budget was stated to be $174,735. That is equivalent to $3,246,994.83 in 2024 dollars. That is a lot of money, but since the production was years long and Omar was a period film set in a remote locale and features fantastical special effects sequences, it’s a modest budget. For contemporary perspective, Robin Hood (1922, extant) cost just under a million dollars to produce and Thief of Bagdad (1924, extant) cost over a million. For a film similarly steeped in spectacle to have nearly 1/10th of the budget is really very noteworthy. And, perhaps if the film had ever had a proper release in the US—in Earle’s intended form (that is to say, not the Sills cut)—Omar may have made as big of a splash as other epics.

It’s worth noting here however that there are a number of instances in contemporary trade and fan magazines where journalists off-handedly make this filmmaking experiment about undermining union workers. Essentially implying that that value of Earle’s method would be to continue production when unionized workers were striking. I’m sure that that would absolutely be a primary thought for studio heads, but it certainly wasn’t Earle’s motivation. Often when Earle talks about the method, he focuses on being able to film things that were previously impossible or impracticable to film. Driving down filming costs from Earle’s perspective was more about highlighting the artistry of his own specialty in lieu of other, more demanding and time-consuming approaches, like location shooting.

This divide between artists and studio decision makers is still at issue in the American film and television industry. Studio heads with billion dollar salaries constantly try to subvert unions of skilled professionals by pursuing (as yet) non-unionized labor. The technical developments of the past century have made Earle’s approach easier to implement. However, just because you don’t have to do quite as much math, or time an actor’s movements to a metronome, does not mean that filming a combination of painted/animated and live-action elements does not involve skilled labor.

VFX artists and animators are underappreciated and underpaid. In every new movie or TV show you watch there’s scads of VFX work done even in films/shows that have mundane, realistic settings. So, if you love a film or TV show, take the effort to appreciate the work of the humans who made it, even if their work was so good you didn’t notice it was done. And, if you’ve somehow read this far, and are so out of the loop about modern filmmaking, Disney’s “live-action” remakes are animated films, but they’ve just finagled ways to circumvent unions and low-key delegitimize the skilled labor of VFX artists and animators in the eyes of the viewing public. Don’t fall for it.

VFX workers in North America have a union under IATSE, but it’s still developing as a union and Marvel & Disney workers only voted to unionize in the autumn of 2023. The Animation Guild (TAG), also under the IATSE umbrella, has a longer history, but it’s been growing rapidly in the past year. A strike might be upcoming this year for TAG, so keep an eye out and remember to support striking workers and don’t cross picket lines, be they physical or digital!

Speaking of artistry over cost-cutting, I began this post with a mention that in the early 1920s, the American film industry was developing an inferiority complex in regard to its own artistry. This was in comparison to the European industries, Germany’s being the largest at the time. It’s frustrating to look back at this period and see acceptance of the opinion that American filmmakers weren’t bringing art to film. While yes, the emergent studio system was highly capitalistic and commercial, that does not mean the American industry was devoid of home-grown artists.

United Artists was formed in 1919 by Douglas Fairbanks, Charlie Chaplin, Mary Pickford, and D.W. Griffith precisely because studios were holding them back from investing in their art—within the same year that Earle began his Omar project. While salaries and unforgiving production schedules were also paramount concerns in the filmmakers going independent, a primary impetus was that production/distribution heads exhibited too much control over what the artists were trying to create.

Fairbanks was quickly expanding his repertoire in a more classical and fantastic direction. Cecil B. DeMille made his first in a long and very successful string of ancient epics. And the foreign-born children of the American film industry, Charlie Chaplin, Rex Ingram, and Nazimova, were poppin’ off! Chaplin was redefining comedic filmmaking. Ingram was redefining epics. Nazimova independently produced what is often regarded as America’s first art film, Salome (1923, extant), a film designed by Natacha Rambova, who was *gasp* American. Earle and his brother, William, had ambitious artistic visions of what could be done in the American industry and they also had to self-produce to get their work done.

Meanwhile, studio heads, instead of investing in the artists they already had contracts with, tried to poach talent from Europe with mixed success (in this period, see: Ernst Lubitsch, F.W. Murnau, Benjamin Christensen, Mauritz Stiller, Victor Sjöström, and so on). I’m in no way saying it was the wrong call to sign these artists, but all of these filmmakers, even if they found success in America, had stories of being hired to inject the style and artistry that they developed in Europe into American cinema, and then had their plans shot down or cut down to a shadow of their creative vision. Even Stiller, who tragically died before he had the opportunity to establish himself in the US, faced this on his first American film, The Temptress (1926, extant), on which he was replaced. Essentially, the studio heads’ actions were all hot air and spite for the filmmakers who’d gone independent.

Finally I would like to highlight Ferdinand Earle’s statement to the industry, which he penned for from Camera in 14 January 1922, when his financial backers kidnapped his film to re-edit it on their terms:

MAGNA CHARTA

Until screen authors and producers obtain a charter specifying and guaranteeing their privileges and rights, the great slaughter of unprotected motion picture dramas will go merrily on.

Some of us who are half artists and half fighters and who are ready to expend ninety per cent of our energy in order to win the freedom to devote the remaining ten per cent to creative work on the screen, manage to bring to birth a piteous, half-starved art progeny.

The creative artist today labors without the stimulus of a public eager for his product, labors without the artistic momentum that fires the artist’s imagination and spurs his efforts as in any great art era.

Nowadays the taint of commercialism infects the seven arts, and the art pioneer meets with constant petty worries and handicaps.

Only once in a blue moon, in this matter-of-fact, dollar-wise age can the believer in better pictures hope to participate in a truely [sic] artistic treat.

In the seven years I have devoted to the screen, I have witnessed many splendid photodramas ruined by intruding upstarts and stubborn imbeciles. And I determined not to launch the production of my Opus No. 1 until I had adequately protected myself against all the usual evils of the way, especially as I was to make an entirely new type of picture.

In order that my film verison [sic] of the Rubaiyat of Omar Khayyam might be produced under ideal conditions and safeguarded from intolerable interferences and outside worries, I entered into a contract with the Rubaiyat, Inc., that made me not only president of the corporation and on the board of directors, but which set forth that I was to be author, production manager, director, cutter and film editor as well as art director, and that no charge could be made against the production without my written consent, and that my word was to be final on all matters of production. The late George Loane Tucker helped my attorney word the contract, which read like a splendid document.

Alas, I am now told that only by keeping title to a production until it is declared by yourself to be completed is it safe for a scenario writer, an actor or a director, who is supposedly making his own productions, to contract with a corporation; otherwise he is merely the servant of that corporation, subject at any moment to discharge, with the dubious redress of a suit for damages that can with difficulty be estimated and proven.

Can there be any hope of better pictures as long as contracts and copyrights are no protection against financial brigands and bullies?

We have scarcely emerged from barbarism, for contracts, solemnly drawn up between human beings, in which the purposes are set forth in the King’s plainest English, serve only as hurdles over which justice-mocking financiers and their nimble attorneys travel with impunity, riding rough shod over the author or artist who cannot support a legal army to defend his rights. The phrase is passed about that no contract is invioliable [sic]—and yet we think we have reached a state of civilization!

The suit begun by my attorneys in the federal courts to prevent the present hashed and incomplete version of my story from being released and exhibited, may be of interest to screen writers. For the whole struggle revolves not in the slightest degree around the sanctity of the contract, but centers around the federal copyright of my story which I never transferred in writing otherwise, and which is being brazenly ignored.

Imagine my production without pictorial titles: and imagine “The Rubaiyat” with a spoken title as follows, “That bird is getting to talk too much!”—beside some of the immortal quatrains of Fitzgerald!

One weapon, fortunately, remains for the militant art creator, when all is gone save his dignity and his sense of humor; and that is the rapier blade of ridicule, that can send lumbering to his retreat the most brutal and elephant-hided lord of finance.

How edifying—the tableau of the man of millions playing legal pranks upon men such as Charles Wakefield Cadman, Edward S. Curtis and myself and others who were associated in the bloody venture of picturizing the Rubaiyat! It has been gratifying to find the press of the whole country ready to champion the artist’s cause.

When the artist forges his plowshare into a sword, so to speak, he does not always put up a mean fight.

What publisher would dare to rewrite a sonnet of John Keats or alter one chord of a Chopin ballade?

Creative art of a high order will become possible on the screen only when the rights of established, independent screen producers, such as Rex Ingram and Maurice Tourneur, are no longer interferred with and their work no longer mutilated or changed or added to by vandal hands. And art dramas, conceived and executed by masters of screen craft, cannot be turned out like sausages made by factory hands. A flavor of individuality and distinction of style cannot be preserved in machine-made melodramas—a drama that is passed from hand to hand and concocted by patchworkers and tinkerers.

A thousand times no! For it will always be cousin to the sausage, and be like all other—sausages.

The scenes of a master’s drama may have a subtle pictorial continuity and a power of suggestion quite like a melody that is lost when just one note is changed. And the public is the only test of what is eternally true or false. What right have two or three people to deprive millions of art lovers of enjoying an artist’s creation as it emerged from his workshop?

“The Rubaiyat” was my first picture and produced in spite of continual and infernal interferences. It has taught me several sad lessons, which I have endeavored in the above paragraphs to pass on to some of my fellow sufferers. It is the hope that I am fighting, to a certain extent, their battle that has given me the courage to continue, and that has prompted me to write this article. May such hubbubs eventually teach or inforce a decent regard for the rights of authors and directors and tend to make the existence of screen artisans more secure and soothing to the nerves.

FERDINAND EARLE.

---

☕Appreciate my work? Buy me a coffee! ☕

Transcribed Sources & Annotations over on the WMM Blog!

See the Timeline for Ferdinand P. Earle's Rubaiyat Adaptation

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outtoshatter · 4 months

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Hello this is hours late for "Friday" but here is a rec list made up of SEVERAL fandoms, brought to you by the DnDoods fanserver! :D

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early-morning emergency | G | 3k | The Batman (Movie 2022)

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Summary: After his dream is finally crushed, Izuku isn’t quite sure there’s anything left for him to live for, but…he can’t exactly kill himself either, not without hurting the people he cares the most about. So, when he realizes that the quirkless can’t technically be vigilantes, it seems like the best of both worlds. He’ll be able to save people even without being a hero and, if he happens to die while he’s at it…well, like Kacchan said, maybe he’d be born with a quirk in the next life.

Made With Adrenaline | G | 2k | Teen Wolf (TV)

Summary: “Do you still have your name?” His face scrunches, “Do I still have my name?” But - the words come out before he’s even considered the question. Instantly, he’s back in that edgeless cavern inside his head. He calls out for his name, but no noise leaves his lips. He doesn’t know it. He doesn’t know his name.

🔒The Benjamin Franklin Key-and-Kite Experiment | E | 122k | Supernatural (TV)

Summary: “Thank you for stopping by, Dean,” Emmanuel says, holding out the jacket. “I hope to see you in church on Sunday.” The tips of Dean’s fingers accidentally brush over the back of Emmanuel’s hand when he reaches for the jacket. “Probably not,” Dean laughs as he pulls Dad’s jacket around him. “Like I said before, I’m not exactly a believer. You?” Emmanuel doesn’t answer immediately. Then, without really looking at Dean (more like looking through him,) he whispers, “I will be.” - Or 1.12 but Dean's faith healer is Emmanuel!Cas

There is No Ethical Consumption | NR | 4k | Dungeons and Daddies (Podcast)

Summary: Henry Oak, druid and lifelong vegan, doesn't want to eat meat, even in a survival situation. Darryl Wilson, scared he's going to watch his friend starve, has to try and talk him into it.

I Won't Ever Stop Hating You | T | 18k / 4 works | Dungeons and Daddies (Podcast)

Summary: “Dad doesn't give a shit if we’re late,” Glenn says, and Jodie glares at him. Jodie’s an adult now, which is a weird thing for Glenn to wrap his head around. He knows that Jodie is older, a six year difference, and considering Glenn is 12, it makes logical sense. But Jodie doesn't act like an adult, he’s so fucking annoying and whiney it's stupid. Glenn has always hated his brother, he gets onto him about literally everything he does, it's way more annoying than Mom. At least she tries to pretend like she likes it when Glenn is visiting her house. “Glenn, language.” The woman in question scolds from where she stands at the counter in the kitchen. Jodie is standing near the front door, his arms folded over his chest and his satchel bag is on his hip as well as his duffle bag that he always takes to Mom’s house. Glenn still hasn't packed, too busy listening to his new record that he got with money from selling the laser pointers that Dad gave him.

Love is bullshit, except for when it's not | T | 8k | Dungeons and Daddies (Podcast)

Summary: Bill always told Glenn that romance was bullshit. Glenn chose to fall in love anyway.

Thank you everyone for participating! That was super fun and I'm super glad we all got to experience some new fandoms today! :D

#teen wolf #dungeons and daddies #rise of teenage mutant ninja turtles #tmnt #rec list #the batman 2022 #batman #the untamed (tv)#the untamed #mdzs #boku no hero academia #dndads podcast #dndoods server #fic rec list #multifandom #supernatural #fic rec friday

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tacticalhimbo · 3 months

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REMEMBERING PULSE NIGHTCLUB - COMMUNITY COALITION AGAINST ONEPULSE

The only prominent post going around about the Pulse Nightclub shooting in 2016 is my own, and is unfortunately cursed to the fate of receiving reblogs of an inaccurate version. So, 8 years later, I'm doing the right thing and making a new post to properly honor the victims and their families.

May these beautiful souls rest in peace, and may we never forget their names (not in picture order, afaik):

Stanley Almodovar III, 23

Amanda Alvear, 25

Oscar A Aracena-Montero, 26

Rodolfo Ayala-Ayala, 33

Alejandro Barrios Martinez, 21

Martin Benitez Torres, 33

Antonio D Brown, 30

Darryl R Burt II, 29

Jonathan A Camuy Vega, 24

Angel L Candelario-Padro, 28

Simon A Carrillo Fernandez, 31

Juan Chevez-Martinez, 25

Luis D Conde, 39

Cory J Connell, 21

Tevin E Crosby, 25

Franky J Dejesus Velazquez, 50

Deonka D Drayton, 32

Mercedes M Flores, 26

Peter O Gonzalez-Cruz, 22

Juan R Guerrero, 22

Paul T Henry, 41

Frank Hernandez, 27

Miguel A Honorato, 30

Javier Jorge-Reyes, 40

Jason B Josaphat, 19

Eddie J Justice, 30

Anthony L Laureano Disla, 25

Christopher A Leinonen, 32

Brenda L Marquez McCool, 49

Jean C Mendez Perez, 35

Akyra Monet Murray, 18

Kimberly Morris, 37

Jean C Nieves Rodriguez, 27

Luis O Ocasio-Capo, 20

Geraldo A Ortiz-Jimenez, 25

Eric Ivan Ortiz-Rivera, 36

Joel Rayon Paniagua, 32

Enrique L Rios Jr, 25

Juan P Rivera Velazquez, 37

Yilmary Rodriguez Solivan, 24

Christopher J Sanfeliz, 24

Xavier Emmanuel Serrano Rosado, 35

Gilberto Ramon Silva Menendez, 25

Edward Sotomayor Jr, 34

Shane E Tomlinson, 33

Leroy Valentin Fernandez, 25

Luis S Vielma, 22

Luis Daniel Wilson-Leon, 37

Jerald A Wright, 31

Will it gain the traction it needs? Probably not. But I'm not as... distant, about today, as I have been over the years. Because let's face it... This hits close to home for me. I said this in my original posting, too:

As someone who lives relatively near Orlando, I remember this day so vividly and I still feel a lot of pain for the victims even five years later.

I remember biting back tears in my living room because I wasn't out of the closet, and couldn't let my family know just how much this hurt me. I remember breaking down that night while scrolling the headlines, watching as the number of fatalities kept climbing. I remember staring at the button on Facebook asking me if I was safe.

And to this day, even with those involved and responsible gone... I still do not feel safe as a queer man in this state or in this country.

More importantly, though, it's important to highlight the community impacted by it, and the way onePULSE and its founder (Barbara Poma), the city of Orlando, and the State of Florida have exploited and continue to exploit the deaths of these individuals.

Information from here on out will be taken from the Community Coalition Agaisnt a Pulse Museum's official website, which can be found at the following link: [ LINK ]

The Community Coalition Against a Pulse Museum (CCAPM) is a group of surviving victims, family members of victims, activists, and scholars who have banded together to fight against the onePULSE Foundation's privatized memorial and museum complex. Our position is that money raised in the name of the mass shooting should go to the continued care of survivors. A public memorial park that does not seek to capitalize on the mass shooting in any way is the only option for a just memorial.

In addition, we seek justice for mass shooting victims by exposing the history and scope of unpermitted renovations and code violations at Pulse, which impaired the escape and rescue of shooting victims. We believe that Pulse owners Rosario Poma and Barbara Poma should be held accountable for these violations, rather than continuing to profit from a tragedy that was exacerbated by their illegal business decisions. We also want to see the City of Orlando held accountable for their continued failure to enforce the law and bring the business into compliance.

So what are the prominent issues?

WE ARE AGAINST COMMODIFYING MASS MURDER

The onePULSE Foundation has placed a gift shop feet away from where 49 people were murdered on the site of the interim memorial. We firmly renounce putting any price tag on the murder of our loved ones. The proposed museum is also slated to have a gift shop and a price of admission.

WE ARE AGAINST TURNING A PUBLIC TRAGEDY INTO PRIVATE PROFITS

Pulse nightclub owner, Barbara Poma, refused to sell the property to the City of Orlando for a public memorial. Instead, she created the onePULSE Foundation and has taken an executive salary in her self-made position as CEO. Perks have also included national recognition, celebrity, political connections, and undeserved accolades as an LGBTQ+ ally.

WE ARE AGAINST TURNING A MASS SHOOTING INTO A TOURIST ATTRACTION

The onePULSE Foundation has received a $10 MILLION tourism development tax grant from Orange County for the building of a museum. The tax application shows how the proposed memorial/museum complex has been intended to increase tourism during the off-season. The corporate Board of Trustees also reflects the local tourism industry.

WE SUPPORT INVESTING IN THE CONTINUED CARE OF SURVIVORS

Money raised in the name of the mass shooting at Pulse is going to multi-million dollar buildings rather than the continued care of the people who were directly affected. Available services and organizations have not provided adequate care to survivors and the onePULSE Foundation has not stepped in to fill any gaps; focusing instead on cultural and "educational" programs, while ignoring the ongoing needs of survivors.

WE CALL OUT A CHANGING MISSION

For years, the onePULSE Foundation raised funds for community grants for victims' families and survivors. In 2019, "community grants" were removed from the organization's mission. According to the released 2018 990s, only $1k was spent on community grants. People have donated money to the organization thinking that they were helping survivors.

WE ACKNOWLEDGE CONFLICTS OF INTEREST

onePULSE Foundation CEO Barbara Poma is currently being sued by survivors and victims' families as part of a security negligence lawsuit. This lawsuit also alleges the illegal transfer of the Pulse nightclub property which was transferred via quit claim deed in the months after the shooting to two other LLCs owned by Barbara and Rosario Poma. Funds raised by the non-profit are being invested in the Pulse property that the Poma's still own.

As of 2024, this case is still pending, with the latest service list being posted on the docket as of June 11. The case number is publicly available (2018-CA-006102-O) and is searchable via the Orange County Clerk of Courts Record Search.

WE AFFIRM A PUBLIC MEMORIAL PARK IS STILL POSSIBLE

Public memorial parks have been the overwhelming response to mass shootings around the country, including Aurora, Columbine, Las Vegas, and Newtown. Most have been built by volunteers, with no executive salaries. The OnePULSE Foundation's proposed museum attraction seeks to unnecessarily turn the shooting into a spectacle and requires merchandising the tragedy. Mass murder is not for sale!

WE CONTINUE TO EXPOSE UNPERMITTED RENOVATIONS AND CODE VIOLATIONS

Public records affirm that Pulse Nightclub was a death trap due to its unpermitted renovations and code violations. Documents show that these issues affected the both the escape and rescue of Pulse survivors on June 12, 2016. We continue to collect, document, and uncover these issues since the City of Orlando has still not released all relevant records to the public.

Survivors of the incident, as well as their families and those who have faced similar tragedy, have also signed an open letter [ LINK ] calling attention to these issues, provided documented evidence of the above claims [ LINK ], and have also been running a petition since 2019 to call attention to the matter:

Of course, it is important to note that the individuals mentioned (Barbara Poma, the Orlando City Council, etc.) are not the only ones involved in making this state an unsafe place for its queer community.

As noted in my original posting as well, the unsafe nature of this state runs through its government. The fight for our rights, our recognition, and our safety still continues. Here are some facts from the original post (dated June 12, 2021):

In June 2021, the Governor of Florida vetoed an "item-lined budget bill" - that legally provides mental health, counseling, and compensation directly towards victims of the June 2016 Pulse nightclub Orlando shooting.

While they cannot be enforced, sodomy laws still exist in Florida to this day. Every year, we are still criminalized by a technicality.

In many places, same-sex domestic partnerships are still not granted. It is only viable in approximately nine counties, thirty cities, and one town.

It took until 2016 for same-sex couples to be granted the same parental rights during in vitro fertilization and surrogacy as opposite-sex couples. Before then, the non-biological mother and father was not the child's legal parent nor guardian.

The state's "hate crime law" only accounts for sexual orientation, and does not protect victims who were attacked for their gender identity.

Anti-discrimination laws for sexual orientation and gender identity are not state-wide nor equally applicable within each county/town.

On June 1, 2021, Governor of Florida Ron DeSantis signed a bill to exclude transgender women from participating in sports designated for female students. This bill passed because of a last-minute legislative "procedural maneuver". The HRC is currently establishing a campaign to try and stop the law from going into effect (called "nullification") on midnight July 1.

Gay-panic and Trans-panic are still viable legal defenses, resulting in these abhorrent hate crimes to be decreased from murder to the lesser charge of manslaughter.

Conversion therapy against minors is not banned state-wide, and is still legal within many areas of the state. In fact, in some areas, a ban on the practice is deemed "unenforceable".

And that is just the tip of the iceberg, because if you've been active in your advocacy for the community (or at the very least, following me for a decent period of time)... Then you know just how unsafe Florida has become. You know how, even under the Biden administration, people like Governor Ron DeSantis have gone unchallenged in their writing and enforcement of vile legislation. You know how this legislation has begun creeping its way up to the top, to the federal level, and remained unchallenged the whole way up.

Here are some more "fun facts" about just how much we must fight against in the wake of this tragedy:

States like Florida have eliminated 80% of all trans adult care (SB 254), adults can be thrown in jail for using the bathroom of their gender identity (SB 1674), and trans people with correct gender markers on their drivers licenses can be charged with fraud (Florida Dept. of Highway Safety and Motor Vehicles memo).

The State of Florida has had several travel advisories issued against it by local LGBTQ+ organizations (e.g., Equality Florida) and national organizations (e.g., Human Rights Campaign).

Likewise, many social media laws targeting "adult content and pornography" (HB 3) include sneaky, vague language that will very much target the existence of queer folk using the internet in this state.

More states within the United States are explicitly passing anti-trans legislation than not, and moreso now than ever [ source; dated June 4th ].

The time for relying on those above us is over. We MUST kill the plague of individualism and build community. If we don't support one another, nobody will. No amount of pinkwashing, placation, or sanitation will change that.

We are here. We are queer. We will never forget, and we cannot allow ourselves to.

#txt #tw homophobia #tw mass shooting #long post #orlando united #remembering pulse #lgbtq #lgbtq+#important #florida politics #no pulse museum #nopulsemuseum #justice for pulse #justice4pulse

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cescalr · 1 year

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Appearances: Harry Potter Ensemble - Pt 1.

So. As someone who writes a lot of fanfic, I don't always decide to borrow directly from the source material for the appearances of the characters. I'll admit that my canon compliance for that can be tangential at best; mostly down to hair and eye colour, whilst everything else is different. This can lead to some confusion in my fics, because my worst sin in this regard that i'm inconsistent in how I portray them. I have multiple fcs and sims of characters, and I sort of just swap between them at whim. So this is a masterpost list of all the different appearances each portrayal of the HP ensemble cast I use. I'll also try and say which fics I pictured as which faces, because why not.

Let's get started, shall we?

Harry Potter. [+ James Potter, because they're meant to be almost identical.]

First, we'll go with documenting the protagonist.

For a canon-compliant Harry, I made this artbreeder a while ago;

Lord above that's ginormous. Anyway. I'm not, like, 100% happy with this, but here it is.

As may be a fairly obvious choice, my main fc for Harry is Darren Criss. He does a great job fitting the visual aspect of Harry, and an even better job of him being identical to his father; Darren Criss makes a perfect James Potter. All you need to do is watch AVP to know that one.

And, as a sidenote; Look at them <3 this is the golden trio, right here!! Sure, Ron's a bit off, not tall enough, nose not long enough, but he works really well for the role, so I don't care.

But he does a pretty good broody harry, too, so I tend to think Darren Criss when I think Harry James Potter.

Again; for a slightly more book compliant Harry (aka; a wholly white Harry) there's a young Peter Capaldi. In these pics specifically, lol.

James Potter by Michelle-Winer on DeviantArt <- there's also this depiction of James as the actor for Will Graham from Hannibal, which works pretty damn well for both James and Harry.

Unfortunately, people don't credit as often as they should on Pinterest; (1) Pinterest this is a very good James, and if anyone happens to know who drew it, that's really necessary to know. He looks just like my James sim, fr. Took the image right from my brain.

He looks a little less like his dad and more like his mum here, which is Incorrect, but I still like these sims.

Ron Weasley.

Next up on the list is Ron.

I made this artbreeder a while ago. I think this is basically perfect, and looks exactly like how I think of him, except the nose is too short.

The blog is gone, but this art by xia-hainex has always been my favourite Ron fanart.

I'm very picky about Ron's face. I don't have an actor fc for him.

But I do have a sim :). You can see the influence, lol.

Hermione Granger.

Hermione has the most fcs out of the Golden Trio. 5 in total. First, her more canon-compliant artbreeder;

Next; those five fcs.

First up; a duo of fcs - one for her younger years, and one for that version's older years. Ella Eyre + Stevvi Alexander.

Of course, as shown above, there's always Bonne Gruesen, who played her in AVP. Which, as you can see, was an image that held a lot of mix dominance in the artbreeder (which I did through combining various images of these five women, plus some general tweaks.)

Nathalie Emmanuel is a version where Hermione kept the buck teeth :D. Would mostly be used in muggle AUs.

But this ^ really does look like book 7 Hermione during the horcrux hunt, don't you think?

Grace Byers is a bit glamorous for Hermione, I'll admit. Sometimes I use her for her mother, instead.

Elarica Johnson is the final fc option for HG, very similar to Nathalie Emmanuel. If I were to give HG a sister, she'd probably end up with Elarica whilst Hermione keeps Nathalie. Also an option for her mother, I suppose.

Because I should mention this; I often use Hayley Law for Mrs. [heacanon name: Eudora] Granger. I haven't actually got an fc for her dad, but the one consistent thing about him is that he's Jewish, but he can be european or african or middle eastern or whatever, I don't care about that part. (Same, really, for Mrs. Granger. The one prerequisite I suppose is that they not match; my Hermione is biracial, and has the specific complication of passing as (depending on the person guessing) either ethnically White British or solely Ashkenazi Jewish, even if her father is not that. Most people miss the black half of her ancestry if they never meet her parents. And, to note, thanks to the schools she was sent to and the care her family took, Hermione has never experienced explicit racism towards herself, and her first personal exposure to prejudice is the whole Muggleborn mistreatment thing. It hits her pretty hard :(.)

[And, to note; I know that my Hermione's ancestry does not match the ancestry of the FCs, and that the situation regarding... all that doesn't really work with some of them, but I'm also not really happy with any one of these, particularly. Hermione's always been the one I find hardest to cast, because my thoughts are so specific but not... exactly refined.]

This is my sim of her, which of course matches what's in my head better than any fc ever realistically could. She's also pretty close to the artbreeder, just, you know, better. Because it's not ai generated. (I tend to use artbreeder as a visual aid when creating the base ideas for things, nothing more.)

Her mum and dad, for reference.

And that's the GT, so. Onto the next part! [For those wondering; I will keep hitting the image limit, doing this, so need to move on once I do.]

#hp #hpcharacters #hp fcs

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handgiven · 11 months

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if works of clay could speak to the hands that cared for them, crafted them, molded them, soothed their edges and found beauty in the ones that survived the firing process. if bees could apologize for every sting against the hands that hold their home together, praise them for their good works with use and reward their endless labor. that is what he does when he tries to come in quietly after a drunken night, stands in the kitchen at ungodly hours checking tea to steep it just so, just right. when he argues and questions em's thoughts and plans and intentions with furrowed brow and flaring eyes but his hands are tucked in tight to his sides like if he doesn't hide his worry it will be all that he is. when the sleeping fallen wakes with phantom fingers through his hair and a blanket drawn up high and tucked in tight. when things like seashells and fridge magnets and goofy tourist kitsch accumulate on counters and plant pots and door frames. when prayers start to sound like ones to god and not to mercy, or maybe both, because there has never been a mercy like em or a faith like john's in his, and it is fragile and it is stained but he is smudging paint off a little pot he made just for the flowers that em will grow, and he is hoping it's enough, or nearly. just enough to repay it all, everything. just maybe.

make emmanuel feel loved !!🥺 / @talentforlying

if works of clay could speak to the glue that holds them together, even as ancient pressure pulls them apart, gilded seams mended with rough hands and a gentle heart. if the beekeeper could reliably convey his thanks to the bee for the way it recognises him every day, over and over, even as he's changed atom by atom into somebody else, sometimes multiple atoms at a time. if there was a way to simply speak the truth that speaks itself through wandering and finding oneself again in the other's proximity, upon his couch, underneath his blanket, with his hand in one's hair. or drinking his tea. or arguing with him over one more righteous thought. or welcoming him home after a while apart, after a while of worrying and not much else.

it's easy to feel like he doesn't do enough. it's easy to slip into that thought because it has been his home since the dawn of time, the driving force underneath all of that glorious need for kindness. g-d is away from his mind, yet the gift from him remains, and remains in emmanuel's hands and so he is still driven to do more, to be more. john can barely comprehend the reach of loyalty so divine. the reach of adoration without pedestals, without bowed heads, without mighty voices, -- and yet so great. so ethereal. yetnemmanuel does not ask him to comprehend. he asks him merely to stay and withstand it. every day, every moment he sees him. it might be too great an ask of a man who was once just human.

it's not spoken, however. none of it is ever spoken. what if one or the other should flee at words too clear? gestures and reliability is where their love resides. warmth and forgiveness. tending and being tended to. knick knacks upon the window sill. one doing his best to build off the other for the both of them to prosper, or at least survive another day. – it doesn't take long for the flowerpot to find its purpose among it all, small seedling of basil opening up more and more of its leaves over the few painted fingerprints left behind by a man too eager to try if the paint job has dried down yet (it hadn't, and so they stuck, forever).

#talentforlying #▻ 𝐺𝐸𝑁𝐸𝑅𝐴𝐿 、answered ⁽ ᵗʰᵃⁿᵏˢ ᶠᵒʳ ᵗᵘⁿᶦⁿᵍ ᶦⁿ ⁾#I LITERALLY HAD THIS IN MY ASKBOX FOR 10 DAYS because whenever i opened it to look at it i ended up being overwhelmed w/ feeling #how dare you oxly. how dare john. how dare i. i made it WORSE.#before you go. i'd like to tell you about BASIL.#'The ancient Egyptians and ancient Greeks believed basil would open the gates of heaven for a person passing on.'#'Some orthodox churches use basil to prepare holy water and pots of basil are often placed below church altars.'#'Basil repels insects fungi bacteria and in some cultures also the devil.'#'It’s been regarded as a symbol of chastity #a safeguard in the passage of life #a declaration of love #a protection from evil #a token to ward off the devil and it often grows in the presence of either great heroism or great hate. It all depends on who’s asking.'#ITS JOHN. the basil is JOHN. AND EM. IDK IT WAS THE BEST PLANT TO PUT IN THE POT. ALSO ITS PRAGMATIC AND USEFUL.#since they both now need to eat. and maybe also cook.#HI IM SO NORMAL ABOUT THEM THANKS FOR ASKING.#▻ 𝑅𝐸𝐿𝐴𝑇𝐼𝑂𝑁 、emmanuel & constantine (i'll follow you into the dark)

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cre0n · 1 year

Text

WASP -Tennessee Yella

https://www.youtube.com/watch?v=Iqm3eo4nDUE

"12, 12, 12, 12, one, two. This is a representation of the mountain drives, endless gravel driveways, luxury cabins and wasp hideaways. Nobody else but the liquidity streams themselves. That state of minding the minds' well. Yeah gorgeous, Eye even loved you in Hell"

Breathing through the gills of amnionic Writing 3-Peat classics and a Masterpiece It was written on her walls if she got any Forged in platonic engines of unreal peace Who gotcha own beats. Yeah? Who got beef? Nothing but the macking and love for the lovers Jealous ass #### ##### punks can't touch us Keep the cornmeal in her pantry if she raised right We having turkey necks on slave night (12) Back in contention never lost my straddle Side halts up and plummets new rattles Creates babies like Jack in the platform battles As lovely as you and new fabric, paddles (12) Pedals, metal Stainless treble

"Man listen, y’all cats in here should have already beat me to the punch on this "vibe". The greatest , don't matter if we all ONE. Nobility says different while remaining indifferent. The center column and avalanche the whole game off slaloms...... Salamu alaykum"

https://www.youtube.com/watch?v=Xb_GXGiN7tU

P-H the runoff not one harvest use Pure Masonry burp the jar leveraged Magic, let her cure Influenza running it's course, Rene got me rocked Big C Big D energy Triple 7's Bloodclot Who the fuck is this? What you want from Me? It's Souf Kak all day every day my destiny ATL my hoe Bitch used to be my manager, my wife though But Cre ain't fucking round Yo'................ (Yo) Get sacrificed blown on Halloween and shit My children is who these folks be dealing with Kids get corrected baby Goats, Baphomet bitch Weeks 5-8 of flower nutrients are rejected Over feeding pigs, where your chain? Not respected

"Make my music sound like Gaawwd talking young nigga. You see your uncle over there? Go tell em' his momma ain't shit. The Elephant has entered it. Cold as a rink puck when my point center it. Rack and pinion featuring the control arms. Kelp in these tomatoes, performing like Juilliard."

A year later screen saver, dragon armor now and later Ego's look like Creon and niggas know Eye'm the Man though Eye can shoulder lean and gives a fuck 'bout a sample "Da Man" though invested in this bearish channel Head and shoulders trample, Taurus 4-21 Emmanuel Volleyball thighs, new bae is a doctor and she so fine Never mind Eye lost her P-T weeks ago from J-C True Story Nobody got the hint or the rent They reading for Egyptian shit Reap quantum hips, kissed with platinum lips Fingertips dipped with lithium strips Patched Xeon as a border Cre been a Hova, carried my next gen twice over This highway Bae stretches to primordial waters The charters Eye've drawn up and granted Enlil's folks can't stand it Got-damnit Making pace at my Isle's Corners, for Tanner and Connor Correspondence always starts "In your grace, we come with honor."

"Well damn forever...... let's just get back to the love making bruh......"

https://www.youtube.com/watch?v=UwgOquaaZG0

Foaming at the mouth in the Moonlight Powered by a H-D sunrise........... "Daisy's, Chariots, Wild Dragon Fruit" Eye employed vagina that paid other coochie Then they all talked shit six digits mad sue me With you babe, it's endless samples Flawed trajectory send it to the playlist, new channels Channeling a Goddess of the gawk The game ball goes to her hermit with his chalk

"Shit buddy if Eye'm gonna be me then why not. All eyes when this does down in our Grand Canyon. Nitrogen for Cobb County. Gwinnett is always a bet. You kept it what? Hardly. Creon came from Hilman, for real. Creon came from the trap, for real. Now it's the center column, Kundalini problems that become serpents burning with the urchins."

Nigga like pulling up carpet with an art-kit

Trichomes opaque hit of Auburn, market

Spiritual reserve with the moxie of a Fed

What you lie with making your bed, oversaid

Overstood from our underworld, mass tribunals

Ego funerals, Underwriters of living trust

Over the rainbow, his Tin man’s rust

What your bitch ass ‘cordial’ sheep movement, kudos

My daddy once told me Eye couldn’t listen to Biggie

Eye got bigger said he was broke, my shadow self is shitty

Upstate made you see a different View

Rebel Co. 4 Life... (finish the rest)

https://www.youtube.com/watch?v=GGLbZZjygqA

Bobby in Tuscaloosa

Headed to Mississippi

Pancake 30 Deep

Tennessee nest drippy

Publishing Creon is Jordan Know thyself so important Hodl the new hoarding Trust me my source is foreign Hair done make-up all that Eye just wanna suck on your neck Lined up 3-Point ball racks #-#-#-# Fall back Fuck your producer and his tracks Better show Love, where your heart at? Dashing out ain't wise jack Bring the Wombman back to her infancy In the glory days we made peace And made babies with big sticks Naw chick Eye got a 90's vibe Fuck you mean? Eye am the Prize Ain't falling for no spoiled acts Self-vacay photos void of macks Them girl's trips wasn't all that Stop faking shit you lonely brats If Eye had a little girl she'd get attention (spoiled) Gotta do your history on this lineage pimpin' Bases covered, nothing missing Except you and you bullshittin' (HA) Bobby on I-20, headed to Caledonia Another contractor folder The office on Peachtree Dot Gov is beneath me Showing up in the flesh where he from cuz? HELL, now bail and grab a ref Ain’t no rules when schooling is abused They want 'passport ready' You buying land over there fool??? Six digits without the label hitting Seven off moods Eye save bread from not buying cable, how rude (Roku)

.....*Vibes, *Universe, *Energy, *Toxic, *Lashes, *Independent, *Passports, *STOP IT.......

https://www.youtube.com/watch?v=oBDMO5zrU5I

CREON: Play me something from Tennessee my Ego would get on... why not CRE: Gotcha... Humans...

HOOK:

Let me play with your hair While Eye kick off a War Fucked around with Billy Carson Cause' I got tired of being poor My corporation built off partnerships, with AJ Simmons Breonca fearless seeing hives, producing nectar spirits On that '94 suicide route, rectangle pizza Stab you with a lunchroom fork, you dare tell a teacher Eye am the shit, Eye am a Boss Eye am Loved, Now what it Cost? Put my life on the moneyline, didn't get no receipts Rebel Co. Deep, Creon Solo, and still no beef Chairman of the Galactic Federation, be the Lord She say she reads my Classics for fun, sometimes she get's bored (Bitch) You in Atlanta? Take your shoes off, when y’all come through that door

HOOK:

12 years ON and guess what Eye'm still ON Found endless talent kept the balance, off a mothafuckin phone And that's before phones were ON Retina scan unknown Don't smoke no bullshit in my Home Chandon Rozay a Bel-Air too, while turning Netflix on Let me play with your Melanin While kicking off Armageddon Humble power still checking You checking up on this macking? Young hot babe celebrities This publishing is immaculate Flowing like some ejaculate The black fist be backing it Well over six the first season, yo my business is happening It feels like Memphis back in 2000 Every stream cracking Of course when it drops the kitchen Motion steps grease listens The prize, the main and best believe all the fixings (Who?) ............

https://www.youtube.com/watch?v=xrar7FoJjKw

"When Eye don't even have to do it. Eye can just write this and let the rest ride. You already know the gravity. Enjoy."

CAROLINA. REAL. ESTATE. OVER. NIGGAS.

-CREON

#12 #30mil #For CreMarr #Instant classic #transcendent #playing with light #masterpiece

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dragonmuse · 2 years

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Why did you choose the name Emmanuel for your Con man character?

I started out with the thought "What kind of guy names his kid Lucius in the 1990s? What's his name?" I didn't actually spend a ton of time picking it, often names just 'feel right' to me, but in this case, it has a very nice narrative bonus:

Hands family bruisers all have names from Tanakh (that's Old Testament + some extra books for the non-Jews) when G-d was notably much more firey and came down hard on people that didn't obey. Jonah, Israel, Aaron and Delilah are all from the days of wrath. On top of that they tend to shorten them to two syllables if they aren't already. Things that are easy to bark in a fight.

Emmanuel and Lucius are both latanized names (the first from Hebrew, the second from Greek). They come from a time of plenty, with Roman gods who had some acquaintance with excess and vice and a lot of strategy and power plays. They are names that are harder to say and Emmanuel's name is never shortened. Lucius does have nicknames, but while the people who love him shorten it, he does not introduce himself to anyone as 'Luc' or even ask to be called that at any point. They are strategists, long game players and that's how they like it. You will give them the whole of their name, every time, if that's what they want.

#leda house and the kraken verse #ask answered #honestly though most of this happens after the choosing #I usually don't know why it feels right until I go back and think about it later

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dasloddl · 2 years

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we celebrate on 25th!! i love christmas saves the year so much!! and also tyler's cover of o come emmanuel does things to me too :D - your (not so) secret santa!! <3 ((i tagged you in a gift hehe))

Well then i wish you a happy Christmas today!

That’s true, i forgot this cover existed but it’s really good… :)

#cliquesecretsanta2022 #ask dasloddl #I-seeaspaceshipinthe-sky

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rgs-savant-praytell-airor · 1 month

Text

When they say peace and safety sudden destruction come upon them like a woman in travail.

To fulfill the scripture.

Imagine your cash nice and neat.

Imagine the quarter maher-shalal-hush-baz

25(800k.ssi)mind.cnt.heaven.10g(1billlunglotto.1billfeet1g333)etc 50g(couple mill a. D.6/30mill, 1mill.pee.)etc

Know the forgiveness formula

Liver stomach lungs

Your heart you must *slow down 😉 let the forgiveness formula be your new heart

Trade the scitz by telling them *peace and safety etc my weed is mine my life is my own accord sg.

You weed invaluable, hold your breathe as long as you like and let the spirit flow.

Believe the angels 2012 alive

https://youtu.be/EBYsx1QWF9A?si=Ssw7rBlfByW6Z9SN

Use the scrip you want to birth into existence when you feel a certain need to pull out.

Meditate how you feel about it the weight of Rome the divinity of weed the power of a quarter birth just before you say the scrip, just after you have believed the above txt ☝️

When you feel the lust know you live drink the adreno gland of Virginity as usual weeeee

You must do it in a scitz way ppl are b. The old man knows.

When no one's got your sent not to many tries. Never tell them your air causes fire from on high

Atlantis

Rgs something went missing and you know, never say when your gonna translate like water, never say when your sober, you were never ill never that always you, the old man They count things and lust fools gold take the lord serious don't be jail bate. Don't even say "hold your breathe" we know 🔥

Shhhhh keep my secret

Also when slowing* the heart if you memo everything(p.s.1quarter+800k/ssi) your stomach should pulsate very slightly, if done perfectly practical ziltch) but when it does you can weigh each pulsation against the scitz, thriving of pure cash faith weed, g check your body like the anger increase, send in the amats in your flesh mahershalalhushbaz or wounds/weed. Rally to the saying Matthew 24 peace and safety. You'll have as much air as you like. Remember your heart your mansion everything secure.

It's as if your lungs and whole body start recycling the air into hyper infinite weed very potent and long lasting

Pdiscourse of the 8th and 9th

ZOXATHAZO

OO EE

OOO EEE

OOOO EE

OOOOOO OOOOO

OOOOOO UUUUUU

OOOOOOOOOOOOOOO

ZOZAZOTH

. ......................

O EE

O EEE

OOO III

OOOO OOOOO

OOOOO UUUUUU

OOOOOOOOOOO

OOOOOOOOOOO.

...........

https://youtu.be/IwlIdVulX1M?si=n83aR6sev_gzjSCq

50gsetc,into 10gs1*1bill,25cnt 1

Wood +light=ciggaweed

https://youtu.be/lV1OHbNTVEM?si=kmhHzXGn_pcJ8Rk-

Breathe baby dance lol

.......

Dad drunk strangling mom and the miracle of me saying why stopping it, 50gs

Mom's breast being cut off.chemo 10gs

The dream and after prayer which saved mom from amputation nde, 25cnt

Kev/tracy telling us mom might die cancer(taze.archangelhsvoice)

Old man key words: "stay awake"(mom10gspain)

"You won't deny me"(50gs pops.c.arrest)

Ariel(emmanuel) tuna*swif.cepha.el,( mayor.etc),(25cnt)

((((think tuna divine scitz holy/light, glass.zcar.fragile, cepha.sg(piztutle/sharpleder/q(miracles push the scitz with a scitz peter unknowable), el put your foot down enough el is el.

2012 was/is2come: bloodloss/windows10g, punchs(50g/angelgreeting/chained)....all the coffee bullshit and evading foes(taze.h.s.voice)...you don't know only God knows.etc.book/hospital.recovery(25cnt)/p.word.correct.alive&well.

Is...who(mayor)...cepha, living and unknowable the riz and swif/peter blesses cepha/bartholomew(phanuel) whisper is divine holy gentle meek.sg

The rest of mom's ordeals symbiotic all the cash

Just a potent secret I found out today. And the meds are the drama in the womb with gee and tyhomas.

1g ssi all the michael poppicosh

When I was a child the 10gs was led by the 50gs strength the quarter the life....when I got older the quarter led the 10gs with the 50gs riding, in my old age it's simple, (oldman)stay awake10 you won't deny me50 and ariel tuna25cnt

Stay awake-birth pains

You won't deny me-boy or girl

Ariel tuna- emmanuel maher.etc

101010 252525 606060

144gx144x144

Straight to the brain

Amats tyhomas 7dreamx

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lets-chandrix · 1 year

Text

Los aromas penetran por tu nariz con una virulencia a la que no estás acostumbrado. Constantemente giras la cabeza, persigues efluvios que antes eran inexistentes, los persigues con la misma celeridad con la que corre un ratón para conseguir su queso. ¿Todavía no lo has entendido, Emmanuel? Por apetecibles que resulten estos manjares, son tóxicos para tu cuerpo muerto. Vas a vomitar si los comes, ¿no te lo he dicho ya? Pero te empecinas en no hacerme caso, en ignorar lo que tu cuerpo conoce porque ni respirar puedes en esta nueva circunstancia en la que te has convertido. No hay escapatoria, Emmanuel. Eres un milagro andante, un milagro explicable por un germen de un deseo irrefrenable de devorar cuánto te rodea, de sumir a cada latido que llega hacia tus oídos a la calma de la muerte. —¡Joder! —Tus labios destruyen el silencio en una exclamación propia de un barítono. Ni grave, ni agudo. Siempre en medio, como el jueves. La putrefacción de la brea, de la descomposición de los materiales cautivos en bolsas de basura es un bofetón que te gira la cara de cuajo, es un bofetón para el que no estás preparado y, como un sentimental que prefiere lo floral a lo contaminante, te levantas la bufanda que decora a tu cuello, escondiendo boca y nariz de aquellos olores que llegan a marearte. El hastío que te sacude enciende la chispa de un enfado que, para ti, resulta insólito. Tu garganta ruge, tu cerebro se divide en dos, sorprendido por ese imprevisto ademán que enarbolas contra la pobre anciana que se te ha quedado mirando. Como si ella tuviera la culpa de que lo hediondo prolifere y se extienda hacia el alcantarillado, como si ella fuera la soberana de todo y tuviera potestad para arreglarlo; resultando como causa el simple e innato deseo de los políticos: hablar mucho pero no mover ni un dedo. ¿Dónde quedaron tus maneras, Emmanuel? Ni una anciana eres capaz de respetar. Para cuando quieres darte la vuelta, decidido a disculparte y volver a padecer la podredumbre de las calles, la anciana ha desaparecido de tu campo de visión. La caja de plástico que almacena la fruta en la entrada de la frutería recibe tu patada y se desmorona el apilamiento vertical cual castillo de naipes. El estallido es parecido al de un disparo, los melones salen volando al igual que el plástico, rodando y rodando en el aire extendiéndose por toda la calle. Tu boca se abre y se cierra, el miedo nubla tu capacidad de reacción, la culpa desaparece, sepultada por la raíz del pavor que te incita a correr, saliendo disparado entre las callejas, buscando una unión entre calles solitaria donde puedas esconderte, ser uno con la oscuridad y pasar desapercibido. Disminuyendo así el temblor en tus brazos, el aliento de tu boca, apenas perceptible por tus labios. Porque no respiras, Emmanuel, soplas y resoplas. Realizas un espejismo de lo que antes era una respiración. De tener un corazón funcional te iría a mil. Pero no eres como los demás. Eres un monstruo sediento de sangre, impulsivo, descontrolado por un universo de sensaciones, una vorágine tan avanzada que todavía intentas darle un orden concreto, verificar qué es lo que exactamente sientes. Una voz aparece. Un chico que se ríe al verte asustado, analizándote divertido. —Mira que trajo la marea. —inicia la oración. Su voz tiene una nota de peligrosidad elevada, el cuchillo que blande en la mano porta insolencia y descaro propios de quién se siente confiado con la presa que ha caído en tus dominios—. ¿No te han dicho que no debes separarte del grupo? —Presupone que no has aparecido solo. Que eres uno de tantos visitantes que entran en Salem para suplir su hambre turística por lo paranormal. Solo que tú no eres como los otros turistas que el individuo ha desplumado y se ve claro cuando empujas su cuerpo hacia las cajas y botellas que hay amontonadas en el suelo. ¿Alguna vez aprenderás a quedarte quieto, Emmanuel? ¿Alguna vez aprenderás en que es mejor darle unos cuantos doláres en lugar de luchar por tu vida? Desde luego que no ves el peligro. Ni cuando el maleante se queja y suelta una imprecación, ni cuando el hilo de sangre resbala por su brazo, porque ha tenido al mala suerte de cortarse con el cuchillo. ¿Ahora ves el peligro, Emmanuel? No. Sigues sin verlo. Ha sido contemplar la sangre correr que te has quedado idiotizado, de manera que no has movido ni un músculo y te has dejado apuñalar el brazo, sin defensa alguna, por el opositor que, poco a poco, va ganando confianza. Tus narinas se mueven, el tamborileo de su corazón se une con el perfume amargo del asaltante, cuyo aliento huele a tabaco. Tus piernas se desplazan antes de que seas capaz de advertirlo. El brazo de él se eleva, dispuesto a protegerse de tu embite. Es una verdadera lástima que no sea un empujón lo que vas a darle. Porque es tu mano la que se cierne sobre el brazo ajeno, porque son tus dientes los que salen cuando tiras el cuello hacia atrás. Proyectas la cabeza hacia delante, los colmillos despedazan la tela de su jersey de punto y se entierran en la carne que hay debajo. Como un tonto intenta forcejear para alejarte, como un tonto intenta apuñalarte de nuevo, elevando su irritación a cada segundo que pasa y tú sigues permanente sobre su brazo. La sangre borbota y te la tragas a mansalva. Las cuchilladas que caen rebelan tu sangre y, a posteriori, desaparecen substituidas por la visión de tu carne cicatrizando. En algún momento el asaltante ha dejado caer el cuchillo, tú, en cambio, ni siquiera piensas en que debes dejarlo estar.

—Emmanuel D. Doe

#quote #post #personaje #Emmanuel D. Doe #the wicked

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