#J McClendon

[yourfavealbumisgender]

the first glass beach album by glass beach is Transfem!

requested by anon

[starlit-meloncholia]

oh my godddd lily helped me ask j mcclendon for an autograph at the glass beach concert and they signed my shirt and j was so nice and sjdnakdbajejd i'm going feral i'm so starstruck rn

[thingfailure]

trans people: im trans

society: ok

“classic” j mcclendon: hi

trans people: holy shit classic j mcclendon

classic j mcclendon: ohh when we get where we r dont forget where were frommm

[ulkaralakbarova]

Powerful businessman Russ Duritz is self-absorbed and immersed in his work. But by the magic of the moon, he meets Rusty, a chubby, charming 8-year-old version of himself who can’t believe he could turn out so badly – with no life and no dog. With Rusty’s help, Russ is able to reconcile the person he used to dream of being with the man he’s actually become. Credits: TheMovieDb. Film Cast: Russ Duritz: Bruce Willis Rusty Duritz: Spencer Breslin Amy: Emily Mortimer Janet: Lily Tomlin Deirdre Lefever: Jean Smart Kenny: Chi McBride Sam Duritz: Daniel von Bargen Dr. Alexander: Dana Ivey Bob Riley: Stanley Anderson Kenny’s Grandmother: Juanita Moore Giselle: Susan Dalian Clarissa: Esther Scott Governor: Deborah May Newsstand Cashier: Vernee Watson-Johnson Newsstand Tourist: Jan Hoag Sky King Waitress: Melissa McCarthy Gloria Duritz: Elizabeth Arlen Flight Attendant: Alexandra Barreto Hot Dog Vendor: John Apicella Vince: Brian McGregor Mark: Reiley McClendon Herbert: Brian Tibbetts George: Brian McLaughlin Lawyer Bruce: Steve Tom Lawyer Jim: Marc Copage Lawyer Seamus: Rod McLachlan Wedding Guest: Scott Mosenson Governor’s Aide: Brian Fenwick Governor’s Other Aide: Duke Faeger Sushi Chef: Toshiya Agata Josh: Joshua Finkel General Manager: Lou Beatty Jr. Principal: E.J. Callahan Janet’s Husband: Daryl Anderson Best Man: Darrell Foster Security Guard: Michael Wajacs Chef Mike: John Travis Larry King: Larry King Larry King’s Guest: Jeri Ryan Larry King’s Guest: Nick Chinlund Ritch Eisen: Stuart Scott Stuart Scott: Rich Eisen Wedding Singer: Kevon Edmonds Backup Singer: Julia Waters Backup Singer: Maxine Waters Willard Backup Singer: Stephanie Spruill Bridesmaid (uncredited): Tanisha Grant (uncredited): Glüme Harlow Car Driver (uncredited): Paul Moncrief Mr. Vivian (uncredited): Matthew Perry Tim (uncredited): Luigi Francis Shorty Rossi Russ’ Son (uncredited): Gary Weeks Harold Greene: Harold Greene Film Crew: Producer: Hunt Lowry Executive Producer: Arnold Rifkin Producer: Christina Steinberg Director of Photography: Peter Menzies Jr. Producer: Jon Turteltaub Executive Producer: David Willis Assistant Editor: Michael Trent Writer: Audrey Wells Co-Producer: William M. Elvin Stunts: Terry Jackson Utility Stunts: Pat Romano Grip: R. Dana Harlow Orchestrator: Pete Anthony Orchestrator: Jon Kull Stand In: Duke Faeger Stand In: Luigi Francis Shorty Rossi Original Music Composer: Jason White Art Department Coordinator: Al Lewis Digital Compositor: Michael Miller Transportation Captain: Douglas Miller Production Design: Garreth Stover Makeup Artist: Mike Smithson Co-Producer: Bill Johnson Utility Stunts: Eddy Donno Utility Stunts: Manny Perry Stunts: Deep Roy Production Coordinator: Daren Hicks Script Supervisor: Thomas Johnston Supervising Sound Editor: Mark A. Mangini Editor: Peter Honess Editor: David Rennie Art Direction: David Lazan Set Decoration: Larry Dias Costume Design: Gloria Gresham Sound Effects Editor: Richard L. Anderson Supervising Sound Editor: Kelly Cabral Sound Effects Editor: James Christopher Sound Effects Editor: Donald Flick Visual Effects Supervisor: James E. Price Associate Producer: Stephen J. Eads Original Music Composer: Marc Shaiman Second Unit Director: David R. Ellis Utility Stunts: Annie Ellis Stunt Coordinator: Jack Gill Utility Stunts: Matt McColm Utility Stunts: Janet Brady Utility Stunts: Kenny Endoso Utility Stunts: Tommy J. Huff Movie Reviews: r96sk: What a pleasant surprise. I wasn’t expecting to enjoy ‘The Kid’ as much as I did. Bruce Willis and Spencer Breslin team up to solid effect, in a film that produces amusement and wholesomeness. I find the premise very interesting, it’s a cool concept. While they might not executed to 100% perfection, what’s given is entertaining to see unfold. There are some very sweet scenes, also. Willis is, as you’d expect, the best part of this, but I think Breslin does a grand job too. The latter tended to do these sorta roles a lot, but there’s a reason for that as he played them convincingly. Emily Mortimer (Amy) is als...

[theeverlastingshade]

plastic death- glass beach

I was more apprehensive going into the 2nd glass beach record, plastic death, than I have been for any record that I can think of throughout the last several years. The band's excellent, aptly titled debut LP, the first glass beach album, was a true lightning in a bottle fusion of emo, prog, art rock, and chiptune that sounded completely unlike anything before and after, and it defined the sound of emo's 5th wave as we know it. They dropped a great EP titled 1015 the following year, and an album consisting of their peers remixing songs from their first record dropped the year after that, but it wasn't until last year that news of gb’s true follow-up began to materialize. Both singles, "the cia" and "rare animal", respectively, were strong returns to form that retained the band's urgent, tuneful strengths, but neither sounded like the band was really pushing their sound forward in any particularly exciting ways. Thankfully my fears quickly dissipated, as pd has turned out to be yet another triumph from a band as delightfully confounding and idiosyncratic as ever.

The opening song, "coelacanth" is a far-cry from the explosive emo epic that opened their first record with its disarming slow-burn build despite eventually hitting a frantic guitar coda, and it effectively sets the tone for this record's most notable shift. On pd, the influence of prog has been amplified to a disarmingly pervasive degree. While prog has always been a significant component of their sound, with the push/pull of prog's ambitious scope against emo's immediacy being a large part of their allure from the jump, the scales tip far more in favor of the former this time around. The songs are stranger, more enveloping, and more often than not take some time before completely revealing themselves. There are still terrific melodies scattered throughout, particularly on those aforementioned singles, as well as the two highlights "puppy" and "cul-de-sac", that incorporate go for broke gang vocal harmonies that seem gleefully at odds with the prog undercurrent, but they’re still ultimately in service of it. Thankfully, the heightened level of proficiency, obtuse structures, and sonic ambition never come at the expense of deeply heartfelt songcraft.

Where tfgba was more direct with its thematic concerns in a grandiose, music theater-leaning presentation, pd is far more oblique without completely shedding their melodramatic flair. The bright acoustic guitar pop of breather "guitar song", is probably the most musically straightforward song on the pd, but the lyrics are a stream of consciousness seeming concoction of surrealist musings "On doric legs/Tail to head, or the ourobors won't flow/Only love, drunk isotope/Your burning hearth, your self-appointed silhouette" that are superbly juxtaposed here, and indicative of the general lyrical shift. Front person J McClendon has stated that "motion" is a comment on the relentless, dehumanizing demands imposed by capitalism, which is beautifully realized by the menacing horns and racing rhythms alongside J's unnerving vocals "I am not a person/Beyond my own success/Beneath my chitin jacket/I wear no human flesh" while the droning string-laden reverie “the killer” uses imagery of a hunter mercy killing a fox as an allegory for living in the suburbs “A trail of blood/Crimson and warm splattered across the ragged bush/“Oh little fox, you got caught in the hunter’s trap””. Themes of wasted youth, mental illness, greed, and alienation emerge throughout the course of pd, and despite not being as straightforward, each song is rendered with a sharper, more emotionally honest eye for detail than on their prior work.

True to form, the best songs on pd are the ones that lull you into a sense of familiarity before seamlessly pulling the rug out from underneath you and taking you somewhere completely unexpected with a profound sense of urgency. Early highlight "slip under the door" weaves together ambient electronic music, post-hardcore, art-rock, and screamo alone within the course of 5 minutes in a masterful display of dynamics and sequencing, but they never exceed their depth, and the audacity never overshadows the fact that they're completely pulling something this absurdly ambitious off. A song like "cul-de-sac" begins fairly straightforward but then just continues to build into this soaring, rapid-fire strumming riff-fest that never loses sight of a strong melody, whereas a song like "puppy" is a slow and steady emo strut that seemingly out nowhere erupts into the most cathartic coda that I'll probably hear all year. And on the sprawling, nearly 10 minute centerpiece, "commatose", the band's deft fusion of prog and emo (with a little of that classic gb chiptune spice) is most acutely felt as the song unravels into a nervy fantasia of emotional outbursts and virtuosity in service of vulnerability. It's an astonishing tour de force that feels like pd's answer to "Yoshi's Island", but its scope is even grander.

The 5 years between records paid off tremendously for gb as pd is the rare sophomore album that matches and even improves on the promise of a classic debut. While gb are hardly the first band to draw influence from music as seemingly disparate as Charles Mingus and Aphex Twin, they remain the rare sort of band that filters their avant-garde aspirations into music that bleeds with an overt, unabashedly humanistic pulse. There's a remarkable level of depth at every turn here, and the band's thrilling juxtapositions and deliriously eclectic impulses have resulted in a record that's unusually thrilling in scope with an approachability that seems to completely defy prog convention in the best way imaginable. So much of pd shouldn't work on paper, but the band's musicianship has caught up to their ambitions in a way that really allows these kind of experiments to work. The songs on pd don't sound like the sort of thing that I can really imagine anyone else even attempting, save for probably "guitar song". It's staggering to think of where gb could go on LP3 if they approach it with this kind of breathing room between records.

Essentials: "commatose", "cul-de-sac", "puppy"

[philophi9999]

Watch "2023 ACS Texas Championship Day 1 - J. Dooley/P. Diaz vs L. McClendon/T. Kusek" on YouTube

NOT EVEN WORTH RAKHAIL....WE R DEAD...NAHI JAANTAA ...

[therealimintobooks]

Book Tour Featuring *The Little Shop of Murders* By Millie Ravensworth @DebbieYoungBN @DianeKellyBooks @rachelmcwrites @dollycas #giveaway

THE LITTLE SHOP of MURDERS (COLLECTED COZY MYSTERIES) By Millie Ravensworth, ACF Bookens, Geraldine Byrne, Rachel McLean, Diane Kelly, Nikki Knight, London Lovett, Lise McClendon, Flora McGowan, Kathryn Mykel, J. New, Eryn Scott, Debbie Young, Victoria Tait, Carlene O’Connor About The Little Shop of Murders The Little Shop of Murders (Collected Cozy Mysteries) Cozy Mystery Anthology Pigeon Park…

[xtruss]

Rosie the Riveter Isn’t Who You Think She Is! The Real Story Behind a WWII Icon

— December 16, 2021 | Kirstin Butler | Riveted: The History of Jeans | Article

In early 1942, the Bureau of Labor Statistics predicted a big problem: Unless action was taken, a shortage of six million workers would bring the country’s productivity to a halt by the end of 1943. Just months after the United States formally entered World War II, American men were leaving for active duty overseas, and it was critical to prevent interruptions to industry. The solution was as clear as the problem. “With the exception of the few hundred thousand boys of predraft age,” a government study stated, “this gap will have to be plugged almost entirely by women.”

President Roosevelt tasked the Office of War Information, a newly formed federal propaganda agency, with selling the idea of women workers to the country. “These jobs will have to be glorified as a patriotic war service if American women are to be persuaded to take them and stick to them,” said an OWI report. “Their importance to a nation engaged in total war must be convincingly presented. Joining the government’s effort were private industry and the American media, who together generated some of the era’s most enduring and well-known images.

Art by Mawhyah Milton. Source photo of Rosie the Riveter: Library of Congress

Late in 1942, Pittsburgh artist J. Howard Miller produced a painting for the Westinghouse Electric and Manufacturing Company. The image of a female worker in denim coveralls and a red-and-white polka-dot headscarf, with a Westinghouse employee identification badge pinned to her lapel, was reproduced on posters for display inside the company’s munitions factories. Miller’s image had a limited and largely private run, appearing on Westinghouse shop floors over a two-week period from February 15-28, 1943, before the company tacked up the next in a series of his paintings. Like the “We Can Do It!” poster, below, each painting bore a different message intended to increase production, boost morale, avoid absenteeism or prevent strikes. Beyond the Westinghouse factory walls, however, the bandanned woman remained unknown. Miller’s subject was also unnamed, but not for long.

Also in February 1943, a song written by Redd Evans and John Jacob Loeb and sung by The Four Vagabonds hit the American radio airwaves. “Rosie the Riveter” told a story happening across the country: Women were going to work in record numbers, doing jobs unlike those they had ever done. “All the day long, whether rain or shine,” the lyrics went, “she’s part of the assembly line/She’s making history, working for victory/Rosie the riveter.” According to Loeb’s widow, no single woman inspired the song; the name Rosie was chosen for its alliterative appeal. In the naming, though, an American archetype was born.

Freelance artist J. Howard Miller was hired by an advertising agency to paint a series of posters for the Westinghouse Company during the war. Historians have identified 42 paintings to date, including this one. Library of Congress

By the time artist Norman Rockwell painted what became the Saturday Evening Post’s May 29, 1943 cover, Rosie was a well-known character; a hard-working, patriotic woman. On her lunch break from the assembly line, she sits denim clad with a rivet gun on her lap. To complete his composition—which Rockwell said was based on Michaelangelo’s Sistine Chapel painting of the prophet Isaiah—Rosie stood atop a copy of Mein Kampf, so stamping out fascism with her own might. The U.S. Treasury Department’s subsequent use of Rockwell’s art to advertise war bonds ensured that his was the image Americans would identify with Rosie the Riveter throughout the war.

Miller and Rockwell both depicted only a carefully selected vision of who made up America’s wartime labor force, though. Black women worked by the hundreds of thousands during the war but were unacknowledged by government and the mainstream media. “Rosie the Riveter is classic propaganda 101,” says historian Emma McClendon. “You've got this woman going to work, helping the war effort, and what is she wearing? A blue denim jumpsuit and a red bandana—and she's white. So in that sense, she becomes this icon of America, of the red, white and blue.”

Women welders at the Landers, Frary, and Clark plant in New Britain, Connecticut, 1943. Gordon Parks/Library of Congress

The OWI did not represent the diversity of women who were doing war work, but its recruitment campaign was a success. “There are practically no jobs, it has been found, that cannot be adapted for women workers,” Newsweek reported in August 1943. “They are in the shipyards, lumber mills, steel mills, foundries. They are welders, electricians, mechanics and even boilermakers. They operate streetcars, buses, cranes and tractors.” In March 1941, 10.8 million women in the country were employed; by August 1944, that number had risen to 18 million. Still, women uniformly received lower wages than men for the same work. And when the war ended, women were the first to lose their jobs to returning veterans.

Miller’s poster wasn’t widely associated with Rosie for another four decades. From the 1980s onward, the “We Can Do It!” image proliferated, finding its way into pop culture via a raft of reproductions, from advertising and bobblehead dolls to political campaigns and postage stamps. Originally created only for an internal public service announcement, Miller’s art became a broadly recognized feminist icon. Contemporary portrayals of Rosie have also been more inclusive, imagining a wider range of identities—so, too, expanding who may embody Evans and Loeb’s lyrics: “there's something true about/Red, white, and blue about/Rosie the Riveter.”

[vivian-bell]

The internal conflict between Lorraine the Village radical and Lorraine the daughter of the Chicago bourgeoisie would become a familiar and painful one. She believed that homophobia was a “philosophically active anti-feminist dogma.” She subscribed to The Ladder, the “first national lesbian publication,” and when it ran a piece about “how lesbians should dress and act” she dashed off a characteristically emphatic letter to the editor. As a child of the Black élite, she wrote, she had been taught how to dress and act for the “dominant social group.” It had not changed which hotels would deny her entrance, or stopped the cops from sneering at her mother when a brick shattered her window. Appeasement, Hansberry believed, wouldn’t get you very far. Her demand was freedom, nothing less.

The Many Visions of Lorraine Hansberry by Blair McClendon

[divasandotherbeings]

🌟Janet Jackson 🌟 🎵Unbreakable [Gatefold Vinyl LP] ( Eyes Closed or Eyes Open)🎵 @janetjackson ❤️🎵 Note: You may receive either the open eyes cover or the eyes closed cover. 1 per person Unbreakable is the eleventh studio album by Janet "Ms. Jackson if you nasty." Janet reunited with songwriting/production duo Jimmy Jam and Terry Lewis, their last collaboration being on her ninth studio album 20 Y.O. (2006). Additional songwriting and production was provided by Dem Jointz, Tommy McClendon and Thomas Lumpkins. Featured artists include J. Cole and Missy Elliott. Unbreakable's theme reflects various experiences over the course of Jackson's life—including aspects of her childhood and the death of her brother Michael—in addition to socially conscious messages prevalent in her 1989 album Rhythm Nation 1814. Its lead single "No Sleeep" became her 40th entry on the US Billboard Hot 100 singles chart, peaking at number 63, as well as her most successful entry on the US Adult R&B Songs chart, topping the chart for twelve non-consecutive weeks. The album debuted at number one on the Billboard 200, becoming Jackson's seventh album to top the chart in the United States. This made her the third act in the history of the chart to have a number one album in each of the last four decades. 1. "Unbreakable" 2. "Burnitup!" (featuring Missy Elliott) 3. "Dammn Baby" 4. "The Great Forever" 5. "Shoulda Known Better" 6. "After You Fall" 7. "Broken Hearts Heal" 8. "Night" 9. "No Sleeep" (featuring J. Cole) 10. "Dream Maker / Euphoria" 11. "2 B Loved" 12. "Take Me Away" 13. "Promise" 14. "Lessons Learned" 15. "Black Eagle" 16. "Well Traveled" 17. "Gon' B Alright" 💥💥💥LINK IN BIO https://www.instagram.com/p/CeoBUm_sA6S/?igshid=NGJjMDIxMWI=

[recommendedlisten]

glass beach - “bathroom community (Pinkshift Cover)”

One part emo, one part punk, one part experimental electronic, part-post rock and jazz, and after you add a dash of performance pizazz by vocalist J. McClendon, you have glass beach's uncanny debut the first glass beach album -- an album so unique, it got re-released somewhere around three times since originally becoming a part of this world in 2019. And now, it's happening again.

This time, other people are singing the Los Angeles post-emo band's songs for them as part of alchemist rats beg bashfulL , a remix/covers album of the first glass beach album from top to bottom. It's got the likes of basically most of Recommended Listen's class of 2020 breakthrough artists such as Bartees Strange, dogleg, Backxwash, and in its first preview, the future of punk-pop, Pinkshift, performing the album's theatrical standout "bathroom community".

Here, the Baltimore band's frontwoman Ashrita Kumar alongside guitarist Paul Vallejo, bassist Erich Weinroth, and drummer Myron Houngbedji prove that at any given moment, they can project the fast-paced drama wielded within their own sound into a rousing punk rock cabaret. Though they haven't yet released their own debut full-length, it has me already wanting to fast-forward to the day when when they deliver their own The Black Parade. Give it a listen below...

glass beach's alchemist rats beg bashful will be released March 5th on Run for Cover Records.

[readincolour]

#BookReview: SEEDS OF DECEPTION by Arlene Walker

Synopsis: A clash between Cherokee Indians and their former African slaves comes to a head in the tribal town of Feather Falls. On the same day Sput Louie McClendon is evicted by reviled town tycoon Goliah Lynch, her husband mysteriously vanishes. Has he fallen prey to bushwhackers or timber thieves? Or is Lynch behind his disappearance? Alone and desperate, Sput Louie turns to town elder for help, but are his intentions pure? As Sput Louie’s frantic search for her husband intensifies, she stumbles onto a dark twisted family secret – one that could not only have devastating implications for her, but the entire town of Feather Falls. Review: Iyanla Vanzant always talks about people "doing the work." Nothing comes to anyone easily, you must prepare so when an opportunity presents itself, you're ready to seize your moment. Arlene Walker has done her work and has been preparing for this moment. Seeds of Deception is well researched historical fiction about Africans formerly enslaved by Native American tribes and their quest to be recognized as tribal members. Recognition of such would allow them to receive land, stipends, etc. from the U.S. government, especially important in the post-Civil War era. It should be noted that descendants of formerly enslaved Africans are still fighting for tribal recognition. Walker's characters are well developed and multidimensional. Their story lines are intriguing, and she's really out to teach her readers aspects of history they never knew about or provide a deeper understanding of that which you thought you knew. Her writing style is reminiscent of J. California Cooper, specifically The Wake of the Wind, and Leonard Pitts, Jr. (Freeman). Fans of either author will greatly enjoy Seeds of Deception. I've followed Arlene on Twitter, Instagram and Facebook for quite awhile, so I've been aware that she was working on a book, but I didn't know it would be this book and that it would be so good. Honestly, I'm so envious of everyone who hasn't read her debut novel yet. I wish I could go back and meet her characters all over again. I haven't stopped thinking about their stories yet. Seeds of Deception is easily one of my favorite reads this year. Seeds of Deception by Arlene L. Walker My rating: 5 of 5 stars View all my reviews June 19, 2019 at 11:00AM from ReadInColour.com http://bit.ly/2KsrJJA

[sloppy-rodney]

Bully Some Shitty Senators

You can get a rainbow “Fuck The State” postcard here:

https://www.redbubble.com/people/xavante/works/39046277-fuck-the-state-rainbow?p=greeting-card&card_size=postcard&asc=u

And you can find the senators that voted to pass the Alabama abortion law here:

http://www.legislature.state.al.us/aliswww/ISD/Senate/ALSenators.aspx

That’s where you can find their office addresses, here are the ones that voted to pass the bill by name and address:

Greg Albritton - District 22 Gerald Allen - District 21 Will Barfoot - District 25 Tom Butler - District 2 Clyde Chambliss - District 30 Donnie Chesteen - District 29 Chris Elliot - District 32 Sam Givhan - District 7 Gudger Garlan - District 4 Andrew Jones - District 10 Steve Livingston - District 8 Del Marsh - District 12 Jim McClendon - District 11 Tim Melson - District 1 Arthur Orr - District 3 Randy Price - District 13 Greg J. Reed - District 5 Dan Robets - District 15 Clay Scofield - District 9 David Sessions - District 35 Shay Shelnutt - District 17 Larry Stutts - District 6 J.T. Waggoner - District 16 Cam Ward - District 14 Jack W. Williams - District 34

And here’s the mailing address of Alabama Governor Kay Ivey, who signed the bill and made it law:

Office of Governor Kay Ivey

State Capitol

600 Dexter Avenue

Montgomery, AL 36130-2751

[theeverlastingshade]

A few weeks ago glass beach released a new song called "rare animal", and it's the 2nd song that they've shared from their ridiculously anticipated 2nd LP, plastic death. Like their last single, "the CIA", "rare animal" finds the band slightly tamping down the maximalist, everything but the kitchen sink sonic ethos that largely defined their beloved debut, the first glass beach album, while putting a higher premium on clearer melodies and more straightforward arrangements that thankfully still exists an off-kilter charm. The first half of the song builds along a simmering mid-tempo progression propelled by jangly guitars, a sparse snare rhythm, and shimmering 16-bit synths, setting the stage for the catharsis to come.

The music is characteristically bright and busy but not particularly engaging, until they reach the mid-way point when the music erupts with urgency and front person J McClendon delivers a series of impassioned howls. It's a welcome jolt of energy, and well-earned payoff after the first few minutes that demonstrates exactly the sort of thing that this band excels particularly well at. It's mostly comedown from there, but at the 4 minute mark the band whip up a racket once more, replete with pummeling percussion and lush vocal harmonies. While not as immediate rewarding as "the CIA", "rare animal" still showcases plenty of what makes this band special and continues to stoke the flames for pd hype.