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olympic-paris · 2 months

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THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more … July 24

1 BC – China: Emperor Ai of Han dies. He ascended the throne when he was 20, having been made heir by his uncle Emperor Cheng who was childless. He reigned from 7 to 1 BC. He’s one of ten emperors of the Western Han dynasty who are considered to be homosexual or bisexual by today’s terms, and was famous for being the most effusive of the Han Dynasty.

Traditional historians characterized the relationship between Emperor Ai and Dong Xian as one between homosexual lovers. An idiomatic term for homosexuality in Chinese is duanxiu zhi pi (literally, "passion of the cut sleeve"), derived from an episode involving Dong and Emperor Ai. They often slept together on the same straw mat. One afternoon, after Emperor Ai woke up from a nap, Dong was still sleeping, and Emperor Ai's sleeve was stuck under Dong's head. Rather than waking Dong up, Emperor Ai cut off his sleeve to allow Dong to continue to sleep without disturbance. Historians referred to their relationship as "the passion of the cut sleeve."

Dong was noted for his relative simplicity contrasted with the highly ornamented court, and was given progressively higher and higher posts as part of the relationship, eventually becoming the supreme commander of the armed forces by the time of Emperor Ai’s death. Dong was afterward forced to commit suicide.

1867 – (Edward Frederic) E.F. Benson was an English novelist, biographer, memoirist, archaeologist and short story writer born on this date (d.1940).

Benson's first book published was Sketches from Marlborough. He started his novel-writing career with the (then) fashionably controversial Dodo (1893), which was an instant success, and followed it with a variety of satire and romantic and supernatural melodrama.

He repeated the success of Dodo, which featured a scathing description of composer and militant suffragette Ethel Smyth, with the same cast of characters a generation later: Dodo the Second (1914), "a unique chronicle of the pre-1914 Bright Young Things" and Dodo Wonders (1921), "a first-hand social history of the Great War in Mayfair and the Shires".

The Mapp and Lucia series, written relatively late in his career, consists of six novels and two short stories. The novels are: Queen Lucia, Miss Mapp, Lucia in London, Mapp and Lucia, Lucia's Progress (published as The Worshipful Lucia in the United States) and Trouble for Lucia. In February 1983 BBC Radio 4 broadcast Trouble for Lucia – a 12-part adaptation by Aubrey Woods of the first four novels. In April and May 2007 BBC Radio 4 broadcast Mapp and Lucia – a 10-part adaptation by Ned Sherrin. In 2008 BBC Radio 4 broadcast Lucia's Progress – a five-part dramatisation by John Peacock of the fifth novel.

Further "Mapp and Lucia" books have been written by Tom Holt, Guy Fraser-Sampson, and Ian Shepherd.

Benson was homosexual, but was intensely discreet. At Cambridge, he fell in love with several fellow students, including Vincent Yorke (father of the novelist Henry Yorke), about whom he confided to his diary, "I feel perfectly mad about him just now... Ah, if only he knew, and yet I think he does."

In later life, Benson maintained friendships with a wide circle of gay men and shared a villa on the Italian island of Capri with John Ellingham Brooks; before the First World War, the island had been popular with wealthy homosexuals.

Homoeroticism and a general homosexual sensibility suffuses his literary works, such as David Blaize (1916), and his most popular works are famed for their wry and dry camp humour and social observations.

1942 – Heinz Burt, (d.2000) was a German-born bassist and singer, who performed under the stage name Heinz.

Heinz was born Heinz Henry George Schwarz in Detmold, but from the age of seven was brought up in Eastleigh, Hampshire, England. His father was killed during World War II and his mother decided to relocate to England. Heinz was influenced by the US singer Eddie Cochran and played in a local Eastleigh group, the Falcons in the late 50's.

Working in a Southampton grocery shop Heinz came to the attention of homosexual record producer, Joe Meek, becoming his protégé – and possibly his lover. Meek styled Heinz's image, which included persuading him to peroxide his hair. Heinz was a member of the Tornados famous for their multi-million selling hit "Telstar".

Meek was in love with Heinz, and he struggled to launch him on a solo career. Due to the inadequacies of Heinz' voice, his vocals were over-dubbed on his first single Dreams Do Come True by another singer, the single was still a commercial failure.

With Meek vigorously promoting Heinz, he was sent on a tour with Gene Vincent and Jerry Lee Lewis. Audiences did not take to him and he was attacked on stage and had beans thrown over him (Presumably a pun on his name. To a contemporary audience 'Heinz' would naturally be associated with Heinz beans).

His next and biggest selling solo hit was "Just Like Eddie", a tribute to Eddie Cochran. Its success coincided with the emergence of the Beatles and was the high point of commercial success for Heinz. Two successful EPs, Heinz and Live It Up, followed and 1963 he appeared in the British music-film Live It Up!, with music produced by Meek, in which he acted the role of Ron and also contributed a song. Following a well-received tour with Billy J. Kramer and the Dakotas and Bobby Rydell, Heinz was seen as belonging to an era of rock and roll as the more modern Merseybeat became more popular. He covered the Bob Dylan song "Don't Think Twice, It's Alright" which was another commercial failure and even a move from the Decca label to EMI saw him gain a minor hit with "Diggin' My Potatoes".

Differences of a professional and personal level with Meek appeared and with Heinz introducing his girlfriend to Meek their relationship faltered. Although he had lived briefly in Meek's flat, further disagreements over royalties saw him move out leaving some possessions behind including a shotgun, which Meek had hidden. It was this shotgun with which Meek killed his landlady and then himself in 1967, and although Heinz was questioned by police they concluded he had nothing to do with their deaths. Meek's death ended Heinz's recording career as a solo artist.

He was portrayed by JJ Feild in Telstar, a film about the life of Joe Meek, which was released in 2009. The film depicts him as Meek's gay lover at a time when homosexual acts were illegal in the United Kingdom. His family have denied that he was homosexual and have stated that the film is a slur on his life. His former wife, Della Burke, who was married to Heinz at the height of his success said "It is completely and utterly untrue. Heinz was definitely heterosexual."

1946 – Hervé Vilard (born René Villard in Paris, France) is a French pop–singer, who first became famous in the 1960s. His first single "Capri c'est fini" became an international hit in 1965 and rendered him instantaneously famous. The song sold 3.3 million copies.

His long national and international musical career as composer, singer, and stage performer spans four decades. In 1992, in recognition of his contributions to French culture, he was awarded the Ordre national du Mérite in a ceremony at the Parisian Théâtre des Variétés hosted by Jean-Paul Belmondo.

René Vilard was born in a taxi which was transferring his mother Blanche to the Saint-Antoine hospital in Paris to deliver. He never met his father who left home soon after the birth of his son. His mother eventually lost custody of her children and young René was sent to an orphanage in Paris. Later he was transferred to the Berry region of France into the custody of various foster homes. Young René became a runaway during that period of his life. Eventually he was moved to the Cher region of France where he met a priest, Father Angrand, who became his mentor and taught him literature and music. In 1991 Vilard bought the monastery at La Celette, where he had met Father Angrand and made it his home.

Eventually young René left La Celette for Paris where he met Daniel Cordier, a former member of the French Resistance and Art dealer who later adopted him in 1962. This enabled teenager Vilard to finally remove himself from the state child care system. He started working at various places in Paris including a record store at Champs-Élysées.

René wanted to further cultivate his musical talents and started taking singing lessons. During this time he was discovered by an executive working for Mercury Records. The meeting with the executive from Mercury Records led to a meteoric rise in his musical career. His first single Capri c'est fini was released in June 1965 under the Mercury label and instantly became a hit both in France and abroad selling 3.3 million copies and making Hervé Vilard a household name overnight.

Following the success of Capri c'est fini, French newsmagazine France Dimanche offered the singer a deal under which the magazine would help him find his mother. In return, Hervé Vilard gave the magazine exclusive rights to the interviews and the press coverage that would follow a successful reunion. After Vilard accepted the offer, France Dimanche launched a publicity campaign which eventually resulted in Vilard reuniting with his mother. At the same time, the sales of France Dimanche increased substantially. His mother died in 1981.

Building on the success of Capri c'est fini Vilard released two more hits Mourir ou vivre and Fais-la rire which establish him as a successful artist. In 1966, he became the opening act for Claude François, with whom he later went on a European and world tour.

In 1967, Vilard was also the first well-known French singer, to come out as gay and did so on the radio.

1952 – Born: Gus Van Sant Jr., American Academy Award-nominated film director, photographer, musician, and author. He currently lives in Portland, Oregon. His early career was devoted to directing television commercials in the Pacific Northwest. Openly gay, he has dealt unflinchingly with homosexual and other marginalised subcultures without being particularly concerned about providing positive role models.

His filmography as writer and director includes an adaptation of Tom Robbins' novel Even Cowgirls Get the Blues (1993), which features a diverse cast (Keanu Reeves, Roseanne Barr, Uma Thurman, and k.d. lang, with cameos by William S. Burroughs and Heather Graham, among others); and My Own Private Idaho (1991), also starring Reeves as well as the late River Phoenix.

He is perhaps best known for directing Good Will Hunting (1997). The unprecedented success of Good Will Hunting allowed Van Sant to pursue whatever project his heart desired, which ended up being an unusually faithful remake of the Alfred Hitchcock classic Psycho. As opposed to reinterpreting the 1960 film, however, Van Sant opted to recreate the film shot-for-shot, in colour, with a cast of young Hollywood A-listers. His decision was met with equal parts curiosity, skepticism, and derision from industry insiders and outsiders alike, and the finished result met with a similar reception. If not exactly a failure, it wasn't much of a triumph, either.

Van Sant fared somewhat better with 2000's Finding Forrester, a drama about a high-school student from the Bronx who becomes unlikely friends with a crusty, reclusive author (Sean Connery).

In any event, Van Sant—longing to return to more-intimate production methods—decided to leave behind big-budget studio filmmaking for his next two features Gerry (2002) and the Columbine-themed Elephant (2003), which unexpectedly won the Palme d'Or and a Best Director award for Van Sant at Cannes.

In 2005, Van Sant released Last Days, the final component of what he refers to as his 'Death Trilogy', (the other parts being Gerry and Elephant). It is a fictionalised account of what happened to Nirvana frontman Kurt Cobain in the days leading up to his death.

Van Sant's most recent film is something of a return to the mainstream. Released in 2008, the feature film Milk is a biopic of openly gay San Francisco supervisor Harvey Milk, who was assassinated in 1978, played by Sean Penn. The film was released to much acclaim and earned numerous accolades from film critics and guilds. Ultimately, it received eight Oscar nominations at the 81st Academy Awards, including Best Picture, winning two for Best Actor in a Leading Role for Penn and Best Original Screenplay for writer Dustin Lance Black. Van Sant was nominated for Best Director.

As an actor, Van Sant has appeared in a cameo on screen in Kevin Smith's Jay and Silent Bob Strike Back playing himself. In the movie, he is counting wads of money which was made during Good Will Hunting. As an added joke, they were filming a fake sequel to the movie, called 'Good Will Hunting 2: Hunting Season'.

He has written the screenplays for most of his early movies, and has written one novel, Pink. A book of his photography has also been published called 108 Portraits. He also makes the occasional music video and has released two albums in his own right.

1965 – Olivier Py, born 24 July 1965 in Grasse, Alpes-Maritimes, is a French stage director, actor and writer.

In 1997, Py became director of the Centre dramatique national d'Orléans. In 2007, he became director of the Théâtre de l'Odéon in Paris.

Py describes himself as Catholic and homosexual. He is known for his emphasis on Catholic and homoerotic themes.

Since the early 2000s, Py has increasingly devoted himself to the opera. His productions of La damnation de Faust, Tannhäuser and Tristan und Isolde, all in Geneva, have generally been well received. In March 2008, he debuted at the Paris Opéra. On this occasion he stated to a French magazine (Diapason, March 2008) that he "would not be done staging operas until [he] did Wagner's Ring and Parsifal".

1971 – John Partridge is a Manchester-born English actor, who has worked predominantly as a singer and dancer in musical theatre, and was best known for his portrayal of the character Rum Tum Tugger in the official film production of Andrew Lloyd Webber's musical Cats. He has appeared twice in productions of Cats, as well as several other musicals including, Tommy, Grease, RENT [as Roger], Taboo [as Marilyn], Miss Saigon and Starlight Express.

Partridge as Rum Tum Tigger

Since January 2008, Partridge has been a cast member of the long running BBC television soap opera EastEnders playing Jane Beale's gay brother Christian Clarke. Partridge himself is openly gay.

In 2010 Partridge brought his musical theatre experience to the fore as a judge on the popular BBC TV reality talent show Over the Rainbow, a search to find a new West End leading lady to play Dorothy in a new production of The Wizard of Oz.

On 7 September 2012, it was announced that Partridge would be leaving EastEnders and he filmed his final scenes two weeks later. In November 2012, it was announced that Partridge would be taking on the role of Zach in the West End revival of A Chorus Line, starting in February 2013,

In April 2010 Partridge revealed he planning to marry his long-term boyfriend Canadian actor, Jon Tsouras after seven years together. Their civil ceremony took place in Greenwich on 30 September 2011.

He says of the civil ceremony, as opposed to marriage:

We consider ourselves to be married: we had a beautiful day, we had a ceremony in front of our friends and our family. We're not particularly religious people so we wouldn't want to get married in a church or in the eyes of the Lord, but, as far as we're concerned, we are married."

1992 – Mitch Grassi is an American countertenor singer, songwriter, arranger, and musician from Arlington, Texas, who came to international attention as the founder and performer of two groups; the quintet a cappella collective Pentatonix, and the duo Superfruit with Scott Hoying. As of May 2019, Pentatonix has released ten albums, including two number ones, have had four songs in the Billboard Hot 100, and won three Grammy awards as "the first a cappella group to achieve mainstream success in the modern market". As of February 2019, Superfruit’s YouTube channel has over 2.5 million subscribers and has accumulated over 392 million views.

In April 2020 Grassi debuted a solo moniker, Messer, doing a DJ set of "a range of dark, techno tunes" at Paper’s Club Quarantine Zoom event during the Covid-19 (coronavirus) pandemic.When Grassi was seventeen he was inspired by Lady Gaga when she came out as part of the LGBTQ community, and admires her sense of self expression, "That was something I'd always yearned to do because I had always been the weird kid—I always had something, I always wanted to make a point and I always wanted to be an individual." Grassi briefly dated Scott Hoying at their "arts-oriented" Martin High School; both openly gay, they remain best friends.

Grassi is openly gay; Out readers voted him the second-most eligible gay bachelor behind Adam Lambert in 2017.[48] During the Covid-19 (coronavirus) pandemic Grassi noted his veganism was vital to his self care, and that marijuana was the one item he would ensure to have with him.

2011 – Same-sex marriage becomes legal in New York State. After New York's law legalizing same-sex marriage went into effect today hundreds of couples recited their vows before emerging out of the city courthouse to raucous cheers.

But the first legal wedding in New York happened somewhere a bit quieter: at Niagara Falls, where Kitty Lambert wed Cheryle Rudd. The two grandmothers from Buffalo "have been trying to wed for over a decade," and have five children and 12 grandchildren between them.

The natural wonder was lit up with a rainbow for the occasion, at the request of Mayor Paul Dyster.

#history #gay history #lgbtq

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handeaux · 2 years

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Olly-Olly-In-Come-Free!, Or, Your Grandparents Had Way More Fun Than You Do

It is an ironclad rule with no exceptions: We all believe our own childhood was a lot more fun than that endured by kids these days. Whether that old dictum is valid or not, its corollary is most certainly true: Kids back then sure had some bizarre ideas for what constituted fun.

An anonymous writer for the Cincinnati Post [29 May 1906] bemoaned the quality of contemporary childhood fun, compared to the jolly exuberance of his day:

“’They don’t play the old games!’ You cannot avoid the sad comment, you Grown-Up Boy, if you watch a group of city children trying to imagine they are young. That’s the way you feel about it; at least, that the children are only imagining their youth. They don’t seem young with the youth we possessed in our small town.”

His biggest complaint? Kids in 1906 didn’t play the good old games like, for instance, shinny. A sort of street hockey, shinny involved groups of boys armed with curved sticks, swatting either a wooden block or a tin can toward a goal down the block. It was as dangerous and destructive as it sounds. Broken windows abounded and injuries could be fatal or maiming. Here’s the Cincinnati Daily Press [5 February 1862] on a shinny casualty:

“A few days since a student . . . had his eye knocked out while playing the game. The eye was completely knocked from the socket, and hung down on the check of the sufferer. It was replaced, but had to be finally taken out entirely.”

Our Post correspondent knew all about the mayhem inextricably tied to a good round of shinny:

“How long would it take a riot call to reach Headquarters if a real, live game of shinny got under way somewhere downtown?”

Another forgotten game was “Duck On Davy,” also known as “Boulder On A Nag,” in which a boulder, pillar, stairway landing or such was chosen as the “Davy” and a selection of stones constituted the “Ducks.” One player, chosen as the guard, sets his duck on the Davy. The other players, positioned 25 or 30 feet away, attempt to knock it off. If they miss, they must try to retrieve their duck before the guard can tag them. If they knock off the guard’s duck, the guard can’t tag them until he retrieves his own duck. Surely nothing could go awry with a gang of boys hurling rocks!

Games with potentially lethal projectiles have always been popular with boys. One such is the innocently named “Hat Ball.” In this game, each boy lays his hat on the ground along a line. The boys take turns tossing a ball into the prostrate hats. If the tosser misses, the ball is tossed back but, if the ball lands in a hat, all the boys scatter except for the owner of the hat with the ball. He tries to hit any of the other running boys by throwing the ball at him. If he misses, the players return to their places and a lump of coal is dropped in the hat where the ball landed. If he hits a player, that player has to hit one of the other scattering players.

As if flying projectiles wasn’t dangerous enough, popular boys’ games included sharp blades. One of these games was “Mumblety-Peg.” Do parents still buy pocket knives for their children (usually boys) as soon as they turn six or seven? Basic Mumblety-Peg was essentially a game of nerves as two players stood an arm’s length apart and took turns throwing a pocket knife into the ground as near to their opponent’s feet as they could. If a player’s knife didn’t stick, he lost that round. Expert players agreed to increasingly more difficult trick tosses, among them tossing the knife while it was balanced on an open palm, or flipping the knife as it was held between two fingers, or somersaulted off a fingertip. The “peg” in Mumblety-Peg was the loser’s penalty – a peg or matchstick pounded into the ground that the loser had to pull out with his teeth.

Among the variations of Hide And Seek, the most popular – among both boys and girls – in the bygone days was called “Go, Sheepy, Go!” The game was popular despite, or perhaps because of, its complexity. A group of children divided into teams and mapped out the boundaries of their territory, usually three or four city blocks. One team, the Sheep, were sent to various hiding places chosen by their captain, who also assigned coded signals to be used by that team. For example, “apples” might mean “stay where you are” and “raindrops” might mean “go around the trees to your right.” The codes were necessary because, after hiding all of her sheep, the captain returned to the other team and accompanied them as they tried to locate and capture the sheep. Using her codes, the captain directed her sheep away from the pursuers and toward home base. When it looked as if all or most of her sheep had a good shot at reaching home base, the captain yelled, “Go, Sheepy, Go!”

A similar, long-lost hide-and-seek game was “Chalk The Rabbit.” This was another team game, in which one team, armed with pieces of chalk, got a head start of five minutes or so, and then the other team followed, trying to determine, based on clues chalked along their route, where the first team had hidden. The final chalked clue – usually a circle with four arrows – signaled that the first team was all in nearby hiding places. “Chalk The Rabbit” games could extend over miles of city streets.

Lest it be claimed that only boys’ games were chaotic, disruptive or dangerous, we must relate the sad tale of six-year-old Ada Seltzer as reported in the Cincinnati Daily Star [23 June 1877]. Young Ada was an endurance champ with the jumping rope, which in those days was often a length of wild grape vine. According to the Star, she:

“ . . . fell down exhausted day before yesterday, after ‘scoring’ five hundred and fifty continuous jumps over a rope, which she swung over her head, the blood gushing from her ears, nose and mouth. Everything possible was done to restore her, but today she is in her grave – a victim of too much exercise.”

Some of the games mentioned by the Post in 1906 were so rare, or so regional, that it is difficult today to find a description of the rules by which they were played. For example, who knows how to play “Break for the Window Light'' or “One Foot Off and You Haft t’ Go?” or “Devil In The Hole'' or “Finger In The Ice Box.” I confess that I am uncertain whether I want to know.

#childhood games #shinny #duck on davy #go sheepy go #chalk the rabbit

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datamakesthedifference · 3 months

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Spotting an Unauthorized VBMAPP PDF: What You Need to Know

The VB-MAPP (Verbal Behavior Milestones Assessment and Placement Program) is a widely used tool for assessing the language and social skills of children with autism and other developmental disabilities. Authored by Dr. Mark Sundberg, this tool is an essential resource for educators, therapists, and parents. However, unauthorized copies of the VB-MAPP PDF are becoming increasingly prevalent online, posing risks and ethical concerns for users.

Firstly, it’s crucial to understand that unauthorized VB-MAPP PDFs are illegal. These pirated versions violate copyright laws, infringing on the intellectual property rights of the author and the publisher. Using these unauthorized copies can have legal ramifications for both the distributor and the user. Therefore, it’s essential to recognize and avoid these illicit materials.

One way to spot an unauthorized VB-MAPP PDF is by examining the source. Authorized versions are typically available through reputable sources, such as educational publishers, professional organizations, or directly from Dr. Sundberg’s website. If you come across a VB-MAPP PDF on a file-sharing website, forum, or via an unsolicited email, it’s likely unauthorized.

Additionally, the quality and formatting of the document can be a giveaway. Unauthorized copies often have poor formatting, missing pages, or watermarks indicating they are not for distribution. These inconsistencies can compromise the assessment's accuracy, leading to unreliable results.

Another indicator is the price. If a VB-MAPP PDF is offered for free or at a significantly reduced price, it’s a red flag. Legitimate educational resources are rarely discounted so steeply, and such offers often signify an unauthorized version.

Using authorized materials ensures you have the most accurate, up-to-date, and legally compliant resources. It supports the continued development and dissemination of high-quality educational tools. By purchasing and using legitimate VB-MAPP materials, you contribute to a culture of integrity and respect within the educational community.

In summary, always source your VB-MAPP PDFs from reputable, authorized distributors to ensure you are using a legitimate and reliable tool for your assessments. This not only upholds legal and ethical standards but also guarantees the quality and effectiveness of the assessments you administer.

#VBMAPP #AutismAssessment #EducationalIntegrity #ProtectIntellectualProperty #LegalResources #AutismSupport #EthicalEducation #LicensedMaterials #AvoidPiracy

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culttvblog · 6 months

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The Avengers: Dance with Death

This blog post is about a first series episode of The Avengers which no longer exists. It has been recorded as audio by Big Finish but this post is based on the original script here: https://www.dissolute.com.au/the-avengers-tv-series/series-1/112-dance-with-death.html where there is also an episode synopsis.

Back to April 15th, 1961, when this episode was first broadcast. It feels like it's a long time ago in all sorts of ways - the episode refers to old money and old phone numbers which are long gone, and of course is from the early days of the show before it became the wild thing it did towards the end of the decade. I think you could probably also say that the plot reaches back in time even before the 1960s in some ways - it is essentially a straightforward detective story about a murderer who is working his way through the staff of a dancing academy. On the face of it this is therefore a rather pedestrian story.

Except it isn't. How it isn't. I hadn't read this one before and I loved it as soon as I started reading.

The original blurb in the TV Times summarised it as 'A corpse in a bath and Keel and Steed go ballroom dancing in an attempt to save the next victim'. Apart from the suggestion that Keel and Steed were dancing with each other (they weren't), if you replace the name Keel with the name Peel, this immediately sounds exactly like a later episode and you would just know some crazy stuff would be going on. This summary was actually the first thing that attracted my attention to this episode, because it makes it sound so much like Quick, Quick, Slow Death from series 4: 'A corpse in a pram and Peel and Steed go ballroom dancing in an attempt to save the next victim', type thing.

Of course being an early episode it's not quite as wild as the later ones, but we do have all the hallmarks. One of the striking things is how Steed really doesn't treat Keel very well, which is indeed how he treats all his opposites in the early shows. He is particularly delighted after Keel loses his scarf at the dance school and as a result is one of the suspects for murder. He treats it as if it's hilarious. Let me tell you that in those scenes if the dialogue was much more brittle it would be by EF Benson or Noel Coward, and in fact they do feel very much like Mapp and Lucia sparking off against each other. This dialogue is an aspect of the show which I hadn't even thought of before.

Elsewhere Steed is recognisably the Steed we know and love, joking away as he pretends to sign on to learn to dance at the school. There is also a magnificent scene where he bores holes through a bathroom door to see if the woman inside is ok, with the porter protesting all the time and obviously thinking he was spying on her. As I suppose in one way he was.

In the trivia on the Dissolute site linked above there is the magnificent detail that Steed comments on how Keel's surgery has been redecorated, and this was actually because they'd had a new set to go with the new ABC franchise - a detail which would be completely missed by the people who'd never seen the show before!

This is not a criticism because this show is a delight from start to finish but it can be slightly difficult to follow both the original script and the synopsis purely because the plot is obviously intended to set up different suspects for who the murderer is, and of course we are not seeing the characters. I haven't heard the Big Finish reconstruction.

An excellent first series Avengers, with some hints as to what was going to come later in the show.

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Archives from 2013 to September 2023 may be found at culttvblog.blogspot.com and there is an index to the tags used on the Tumblr version at https://www.tumblr.com/culttvblog/729194158177370112/this-blog

#60s tv #the avengers #the avengers series 1 #missing believed wiped

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ohioprelawland · 10 months

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The Impact Of Mapp v. Ohio

By Gemma Volpe-Monrean, Youngstown State University Class of 2026

November 21, 2023

The landmark case of Mapp. v. Ohio originated on May 23, 1957, in Cleveland, Ohio. Three Cleveland police officers arrived at a home with the information that there was a person in the house who was needed for questioning. They wanted to question this person in relation to a recent bombing who they suspected had information on the case. The residence was inhabited by Miss Mapp and her daughter. The police demanded entry into their home, however, Mapp consulted her attorney and refused to let them enter without a warrant. The police advised their headquarters and placed the house under surveillance. [1]

Later that day, four more officers arrived at the home. They requested entry into the home gain. However, they forcibly entered the home when Mapp did not answer the door. Soon after, Miss Mapp’s attorney arrived. However, the attorney did not allow him to see her or enter the house. After the forced entry, Mapp demanded to see a warrant. They held up the “warrant” and Mapp tried to read it. However, this resulted in a struggle, and they detained her for being belligerent. It was stated that she pleaded with them because they were hurting her as they restrained her. They forced her upstairs and they began to go through the house. [1]

At the trial, there was no search warrant produced that would admiss forced entry into the home. It was widely believed that the conviction should be reversed because the method used to obtain evidence was unlawful. However, the court found that the evidence had not been taken with the use of brutal or offensive force against Miss Mapp. The State says that even if the search was conducted without authority, it is not prevented from using unconstitutionally seized evidence at trial. However, this was later appealed, and it changed the course of legal procedures. [1]

Mapp’s lawyer appealed the conviction to the Supreme Court. He explained that her conviction violated her constitutional rights. Ultimately, the Supreme Court’s decision overturned Mapp’s conviction because the evidence was seized without a search warrant and can’t be used in state criminal proceedings under the fourth amendment. This amendment protects against unreasonable searches and seizures. [2]

Previously, the Supreme Court created an exclusionary rule in Weeks v. United States in which the federal government could not use evidence that was obtained illegally for criminal convictions in federal court. However, this ruling was limited to the federal government. This decision was altered with Mapp v. Ohio. Mapp’s attorney cited the Weeks case when seeking to dismiss the charges. He failed to argue that this prohibition should be extended to state court. However, after citing the ACLU argument surrounding this issue, the Supreme Court reversed Mapp’s conviction. They also adapted the exclusionary rule to be a national standard. [3]

This case is so notable because it strengthened the Fourth Amendment which protects against illegal search and seizures. However, even with the Mapp v. Ohio case, this amendment does not guarantee illegal searches will be conducted. It only protects against those that are deemed unreasonable by the law. The location of where a search and seizure take place is important in deciding whether a person is granted protection under the Fourth Amendment. Home searches without a warrant are generally unlawful, but there are a few exceptions. Firstly, if the office has given consent, they may search the residence. If the search is crucial to a lawful arrest or if there are exigent circumstances, the home may also be searched without a warrant. Similarly, if an officer observes unusual behavior in a person, they may search them if exigent circumstances are present. In addition, a vehicle may be searched illegally if there is probable cause to believe that a vehicle contains evidence of criminal activity. All these regulations vary by jurisdiction, but it is important to note that there are several exceptions to the use of illegal searches and seizures. [4]

In general, Mapp v. Ohio serves as an example of why it is crucial to conduct legal searches and seizures. If done without a warrant, guilty people may roam free. For example, they found incriminating evidence inside Mapp’s home, but since it was collected illegally, the conviction was overturned. This is not an uncommon practice among law enforcement because there is a sense of urgency when making an arrest. However, if the exceptions to this law are not met and a search is conducted, the evidence found can and likely will be dismissed.

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[1] Mapp v. Ohio, 367 U.S. 643 (1961). Justia Law. (n.d.). https://supreme.justia.com/cases/federal/us/367/643/

[2] Mapp v. Ohio: Encyclopedia of Cleveland History: Case Western Reserve University. Encyclopedia of Cleveland History | Case Western Reserve University. (2018, May 12). https://case.edu/ech/articles/m/mapp-v-ohio

[3] ACLU history: Mapp v. Ohio. American Civil Liberties Union. (n.d.). https://www.aclu.org/documents/aclu-history-mapp-v-ohio

[4] What does the Fourth Amendment Mean? United States Courts. (n.d.). https://www.uscourts.gov/about-federal-courts/educational-resources/about-educational-outreach/activity-resources/what-does-0#:~:text=The%20Constitution%2C%20through%20the%20Fourth,deemed%20unreasonable%20under%20the%20law.

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datamakethedifference · 1 year

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the-writers-bookshelf · 1 year

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This may be a bit too dark/mature for an all ages blog so if you can't publish it or read it I totally understand, but if you can, I would love any feedback you have!

Content warnings are: stalking, abduction, murder, animal kidnapping (no animals are hurt), implied cannibalism, violence, and blood.

--------------------

It starts with a bouquet of flowers.

Clarice smiles as she sees them. Tumbles of reds, purples, and whites contrast with simple yet elegant glass. She runs her gunpowder smudged fingers over the petals.

Scout, a rumpled former street dweller of a Thai cat, jumps up onto the table and rubs her cheek against Clarice's hand. She sniffs at a closed white bud in a separate pot with interest until Clarice picks her up. For a second she grumbles, then presses her head against Clarice's neck and purrs loud enough to vibrate in Clarice's bones.

"Hello to you too, darling," Clarice murmurs, pressing a kiss to Scout's head. "Aren't these just lovely? Who knew she's such a romantic."

She examines the white bud, marvelling at the delicate stem and petals. The soil around it is moist as if just watered. She's tempted to try and peel back the bud to open it, but decides to wait for it to bloom.

When Ardelia comes in through the door an hour or two later, Clarice is wearing nothing at all. She pulls the stunned woman close and kisses her rain-slick mouth. Soon Ardelia wears nothing at all too.

The next hour is lost in a haze of moving limbs and hungry kisses. After they scream each other's names, they lie on the bed, glowing with sweat and pleasure. Ardelia wraps an arm around Clarice and kisses her until they're both breathless.

"I'm not complaining, but what brought this on?" Ardelia asks.

"The flowers," Clarice says. "I didn't know you were such a romantic."

Ardelia frowns. "I couldn't afford to get you those. They look like they cost a month's rent."

"But they were on the table."

"Because you got them." Ardelia studies her. "Right?"

Clarice doesn't say anything. Her mind follows trains of thought she doesn't want to approach yet can't help but reach for. Dark waits for her at the end of the tracks. Dark and danger.

Ardelia touches her shoulder. "What are you working on with Agent Crawford?" she asks.

Clarice looks into her lover's eyes and smiles. "The wrap up to the Gumb case," she lies.

And from the look in Ardelia's eyes, she knows it.

-------------

"Flowers, huh?" Jimmy Price sniffs at the vase on the metal autopsy table. "They're pretty little pollen dispensers. You're going to make me need Benadryl, and then how am I going to get anything done?"

Clarice shrugs from her spot near the computer. "You managed to identify a moth from the cocoon," she says. "And took fingerprints from an eyeball. You're Jimmy Price. You can do anything."

"Except deal with flowers," he says, then sneezes. The wind just misses the delicate white bud. "Sorry, Starling. I avoid them like the plague."

"What's like the plague?" Zeller asks, walking into the lab with two coffees.

Jimmy brightens and takes one. "Flowers. Can't stand the pollen."

Zeller looks over at the vase and whistles. "Holy hell, Starling, that's quite a bouquet. Got a beau we don't know about?"

Clarice smiles, brushing back a bit of her hair. "It's from Ardelia."

"Oh, yeah, I know her," Zeller says. "Tall, pretty, totally out of everyone's league."

"That's her."

"Nice," Jimmy says.

He holds out his hand and Clarice high fives it. Zeller drifts closer to the flowers, peering at them. After a moment, he pulls away with a frown.

"You say Mapp got you these?" he asks.

"Yeah," Clarice says, meeting his eyes.

"Huh. Weird."

"Why?"

"If I didn't know better, I'd say these were from some kind of stalker."

"Oh, come on, Zee," Jimmy says. "What do you know about flowers?"

"For your information, I studied flower languages from around the world."

"*Why*?"

The tips of Zeller's ears go red. "I was trying to impress a girl," he mutters.

Jimmy grins. "Did it work?"

"Go to hell, Jimmy."

"Zee," Clarice says softly.

Zeller points to the flowers. "You've got red tulips, hyacinths, and bridal flowers," he says. "Red tulips represent the fire of love and the burnt heart in the middle. Hyacinths used to represent a possessive, all consuming love in France. And the bridal flowers do what they say."

"And the one in the pot?" Clarice asks.

Zeller leans over to look at it. "It's a moon flower," he says at last. "They bloom once in their life, and then they die."

"When will it bloom?"

"I don't know, but it looks close. Maybe a week?"

Clarice crosses her arms. There is a trap closing around her. This is a warning; she still has a small chance to escape.

Jimmy says, "What does Jack have you working on now?"

Clarice smiles, quick and tight. "Filing," she lies.

She's used to it by now.

--------------------

She can't bring herself to throw the flowers away. So she dries most of the flowers and presses them into a notebook. The moon flower bud she puts in the centre of her table. It gets water; it gets sunlight. She cares for it.

One day she comes home and finds the moon flower in a different place. Scout's food bowl is filled with thin slices of raw meat. There's a red rose tied with a white satin bow on her pillow.

She stops inviting Ardelia over and installs a deadbolt. The next night, she comes home to find dinner and the deadbolt on her kitchen table. Scout rubs against her legs and purrs. There's blood around her mouth.

Clarice throws the dinner away and sleeps curled up in her overstuffed arm chair facing the door. It's a fitful, disturbed sleep punctuated by the intermittent buzzing of phone calls. One time she catches the caller before they can hang up on her.

"I know who you are," she tells the silence on the other end. "I'm not going to stop looking." She waits a beat before twisting the knife. "For *her*."

There's a quick intake of air that lets her know she's hit her mark. Then the line goes dead. It stays dead for the rest of the night.

She spends the next day jumping at every small sound. The third time it happens, she drops her coffee with a small shriek. It splashes hot on her ankles.

Jack eyes her and orders her to go home. They've been working too hard. He's been pushing her too much. There's a fatherly gleam in his eye as he tells her that she can call him any day, any time, for anything.

She forces a smile, showing her dimples, and says she'll call. The promise rings hollow even to her ears. But Jack smiles back, and that should be the end of it.

Should be. But she wakes up in the middle of the night to a pounding heart and sweat dripping down her forehead. Bleating lambs fill the eerie silence. She reaches for her phone, unlocks it, and opens the unread message notification.

It's a picture of her, sleeping, from just a moment ago.

She jumps to her feet. She grabs her gun from under her pillow. Adrenaline pumps through her veins. Her breaths come in quick, quiet gasps.

From room to room she goes, chasing shadows and small sounds, still in her underwear and tank top. Each room is undisturbed. The moon flower bud sits in the middle of her kitchen table. The petals are just starting to peel back to bloom.

When she's sure no one else is in her house with her, she calls Jack. It isn't until he answers the phone, voice groggy with sleep, that she realises Scout is missing.

------------------

Early on in their professional relationship, she learns that Jack Crawford doesn't yell. Not if he can help it. He doesn't need to; he wields his bulk the same way some men wield a gun.

So when he faces her in her house, crime scene investigators crawling all over every inch like ants, she's surprised when he shouts:

"How could you keep this from me?"

Everyone comes to a halt. All eyes focus on Clarice. She refuses to shrink away even though she feels like clawing off her skin. The last person who yelled at her like that —

She refuses to think about him. Not now. Not while the lambs are still screaming.

"I thought it would stop," Clarice says. She draws her blanket around her. "I wanted it to stop."

"If you really wanted it to stop, you would have told me."

"That's not fair."

"Not fair?" He's shouting again. He gets close, a bull who saw red. "What's *unfair* is an agent I'm responsible for keeping secrets from me."

She stands. "I'm not your responsibility," she snaps.

"While you work for me, you are."

"I'm not your *daughter*!" She shouts right back at him. "And I'm not Will Graham!"

Zeller sucks in a breath somewhere behind her. There's a flurry of activity as all the ant-like forensics investigators scatter. Soon only she and Jack are left behind.

His shoulders fall. "I know who you are, Starling, and I know who you're not. What you're not." He rubs his head. "I just don't want to add you to the list of people that they've hurt."

"You won't," she says.

"I know, because I'm taking you off the case."

"You can't be serious!"

"I'm deadly serious. They were in your house, Starling."

She falls back into her seat."I told them I won't stop looking," she says. "I'm telling you the same thing."

"You're not going to find it easy to do from a safehouse with a police escort breathing down your neck," Jack says, and there's a core of steel in his voice.

Clarice groans. "No way."

"It's procedure, Starling, you know that. When we catch them—"

"You haven't been able to catch them up until now. What makes you think you can do it this time?"

She's sorry as soon as she says it. Jack flinches and covers it by adjusting his jacket. For a moment, she sees the scar on his neck. Then he covers it with his hand.

"This isn't a request. It's an order." He pulls out his phone and starts dialling. "Pack your bags. I'm going to have someone I trust take you to the safe house."

She doesn't move. "What about Ardelia?"

"We'll have officers on Mapp," he says, already walking away.

"And my cat?"

He stops. A strange expression comes over his face. It's like he's stepped back in time, to another house with another person. The look he gives her is unfathomable, but Clarice can somehow feel his heartache.

"Out of all of us, your cat is the safest," he says. "He wouldn't hurt it."

Clarice's lips twist. "How noble."

Jack smiles sadly, and then he's gone.

---------------

A few days pass with her trapped in the safe house. Her baby sitter changes every eight hours. She likes Randy the best, with his youthful face and twinkling blue eyes. He's always ready for a laugh.

The moon flower sits in the middle of the dining table because she couldn't leave it behind. She wants — no, has to see it bloom. It remains closed as if waiting for some hidden cue.

Randy strolls into the kitchen a week and a day since she's been put in the safe house. He sets a pie in front of her with a flourish. Even before she can get a good look at it, the warm smell of baked peaches hits her. Her mouth waters.

"Your girlfriend made it," he says. "She said to tell you that you're her favourite Georgia peach."

Clarice can't help the smile that steals over her. It's a peace offering after the terrible fight they had before she came to the safe house. Ardelia's way of forgiving.

"Her peach pie is the best," Clarice says. "But what would make it even better is vanilla ice cream."

"I think we finished that while watching that movie the other day. Seems like our pie is going to be lonely."

"It doesn't have to be."

She draws intricate designs on the table. Randy watches her, his brow creasing with concern. He can't be more than twenty. Clarice leans forward and drops her voice.

"It would just be a quick ride into town. No one would ever know."

"I would," Randy says. "It's my job if something happens to you, Agent Starling."

"Nothing's going to happen." She rolls her eyes upwards. "It's just ice cream, Randy. How many people get abducted over ice cream?"

She can see his resolve crumbling. "Please?" she adds, injecting just enough girlish hope into her voice. "I'll let you pick out the movie tonight."

"All right," Randy says. "It's just ice cream. Not like I'm taking you out to the movies."

The drive is quick, picking out the ice cream even quicker. As she pays, Randy hovers over her shoulder, his hand on his gun. They head back to the parking lot when Clarice hears a plaintive meow from underneath the convenience store garbage dump.

"Agent Starling," Randy says as she heads over. "We can't stop."

"It's a helpless cat, Randy," she says over her shoulder. "I'm not going to just leave it."

She places the ice cream down and crouches beside it. Two blue eyes stare back at her. The cat growls when she puts her hand out for it to sniff.

"I won't hurt you," she says.

Slowly, the cat creeps out from the dark. Clarice's lips part as she takes in the familiar face. Scout sniffs her then starts purring louder than an engine.

Realisation hits her like lightning. She starts to turn around. Randy's name is all tangled up behind her lips, the warning straining to be screamed and yet she can't make a sound.

There's an awful cracking noise just as she finishes turning, and Randy drops to the ground. His neck is twisted. His eyes are lifeless. The sharp, unpleasant scent of urine fills the air.

Standing over his body, looking down almost as if surprised to find it there, is a man Clarice feels like she's known forever.

Scout hisses and curls up close to Clarice's legs, almost tripping her as she tries to stumble away. Hannibal watches her, a smile making its way along his face. If it wasn't for the dead body between them, he might have been a friendly stranger.

But he isn't. He's the worst kind of monster. Clarice presses her lips together and fights to reclaim her courage.

Hannibal's gaze shifts to a point behind her. Before she can react, she's trapped in a bear hug with a hand placed over her mouth and nose. Caught in an exhale, she struggles to breathe, clawing at her assailant.

There's a grunt as she catches exposed skin and tears. Blood gathers under her nails. The hand on her nose lowers enough to let her draw in a quick breath. Then it drops to her neck and squeezes until she feels her windpipe buckle from the pressure.

Her world starts to go grey. She stops scratching at thick wool, reserving the last of her air. Slowing down brings her attention to the thick, corded muscles holding her in place. How she's moulded to the chest of her assailant as it rises and falls with his breaths.

Men abducting a woman from a dark parking lot. It's all so *human* somehow. Banal.

The hand around her neck stops squeezing. His muscles slacken. Clarice lets her eyes flutter as she catches her breath. Through the slits of her eyelids she can see Hannibal studying her with open amusement. He says nothing, does nothing, not even when she jerks her head forwards and slams it back onto Will's face.

Nose cartilage breaks against the back of her head. Will lets out a strangled yowl and throws her to the ground. Clarice lands face first, her chin smacking into concrete. She narrowly avoids biting her tongue in half.

While Will reels back, holding his nose, she crawls to Randy's body and reaches for his gun. She almost touches it when Hannibal brings his foot down on her hand. Bones crunch; she inhales to scream.

He's on her before she can get the sound out, trapping it in her lungs. He squeezes her neck with both hands, veins jumping. Clarice scratches at him to no avail. All the while, his breathing remains even. His expression calm. He chokes the life out of her and doesn't even break a sweat.

The last thing she sees is Will bending down and coaxing Scout into his arms. Then she's swept away into the black. Bleating lambs wait for her there, their screams sounding so, so human.

At the safe house, the moon flower blooms.

submitted by @uttermywish

***

Listen, babe, I need to settle into a giant epic saga's worth of book with this concept because I'm...WOW. That was INCREDIBLE. WHAT A ROLLER-COASTER!!!

Right from the start, I could TASTE the atmosphere. And you just kept adding layers until it felt like a surreal dream.

Amazing job!!!! Keep up the incredible work! :)

#asks #fab friday writers #uttermywish

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quoteoftheweekblog · 2 years

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