#james b. lansing

[stone-cold-groove]

From the classic audio files: a JBL C45 loudspeaker system - 1958.

[fictionadventurer]

Fortnight of Books: Day 1

Overall - best books read in 2023?

Of new-to-me books, the standouts of my year include (in rough chronological order of when I read them):

Endurance by Alfred Lansing: Thrilling and harrowing account of Shackleton's South Pole expedition. It made me very grateful as I went through my day-to-day life--no matter how bad things were, at least I had eaten things that weren't seal meat.

Daisy Miller and Washington Square by Henry James: Short, sad little novellas that drew me in with their compassionate realism and added a new name to my list of favorite classic authors.

A Field Guide to Mermaids by Emily B. Martin: Beautifully illustrated book that provides a detailed world of mermaid species and provides lots of interesting facts about the natural world. Child me would have loved this.

Mary Barton by Elizabeth Gaskell: I hated the ending, and the structure was very weird, but this was a look at a side of Victorian London I rarely see in literature, with some great characters and a really interesting dive into the issues in the background of North and South.

Team of Rivals by Doris Kearns Goodwin: It gave me an obsession with Lincoln's Cabinet. I still sometimes stop and think, "I need to read about some Seward shenanigans."

Destiny of the Republic by Candice Millard: Extremely readable history book that provided a lot of food for my obsession with James Garfield's and Chester Arthur's presidencies.

The Q by Beth Brower: Victorian Ruritanian fiction about a female newspaper tycoon that has a murky plot but also one of my favorite romantic couples of the year, one of the best tributes to autumn I've read, and most importantly (the real reason it's on this list), introduced me to the author of my favorite series of the year (more below).

Desire and The Good Comrade by Una L. Silsberrad: Forgotten turn-of-the-century women's fiction with some great female leads trying to find a place in society. Desire is a bit more literary while The Good Comrade is a bit more fun, but both were just the type of story that tends to make my list of favorites.

The Romance of a Shop by Amy Levy: Fun sister story with some fun romances. Very easy to read and provided a fascinating look at the world of Victorian photography.

The Law and the Lady by Wilkie Collins: I was so invested in the main character, a woman who would overcome anything that tried to stop her from helping her husband.

The Heir of Redclyffe by Charlotte Mary Yonge: The prose is dense and the author's too preachy, but this had some of my favorite characters of the year (Charles Edmonstone my beloved).

Best series you discovered in 2023?

The Unselected Journals of Emma M. Lion. If it weren't for this question, it would be at the top spot in the last list. They hit so many sweet spots for my perfect comfort read--Victorian England, memorable characters, lightly fantastical setting, fun narrative voice, friendships and comedy and heartbreak and literature and just so much fun.

Best reread of the year?

Definitely The Lord of the Rings. I had liked the series after my first read, but my appreciation was mostly bolstered by the fact that I'm surrounded by a huge fandom for it. This year's reread made me truly appreciate it for the masterwork it is and made it a cornerstone of my interior life.

If it weren't for that, this spot would go to A Christmas Carol, because I was shocked to find that it really is good enough to earn its dominant place in pop culture. The descriptions of Christmas are some of the best things in literature.

[incorrect-tbosas]

Have you seen the prequel movie? If yes🌹>>>

A. In your opinion, please rate TBOSAS movie with 1-10 scale.

(1 = I hate it, 10 = I love it.)

Things that you like :

Things that you don't like :

B. For people who also read the novel.

Your opinions about the difference between the book and the movie :

Thank you 🎼

@curiousnonny

Yes I have!!

A. Okay, I will give it a solid 9. The only reason it isn't a 10 is because I wish there was more of it and there are some more scenes I wanted to see. Other than that, pretty much a perfect book-to-screen adaptation!

Things I Liked:

The cast! Pretty much perfect casting all around. Tom, Rachel and Josh absolutely ate up their roles, and I'm gonna be disappointed if I don't see Oscar nominations for those three. But I'm biased 😉

Also Viola, Hunter and Peter!!

Jason Schwartzmann was excellent as Lucky Flickerman. His comedic timing? Perfect.

THE TRIBUTES!!! Every single one of them was portrayed so well, and big ups to Dimitri Abold and Irene Boehm for their portrayals of Reaper and Lamina respectively. Mackenzie Lansing as Coral was so so good, the way she portrayed Coral's depth and nuance as a character was excellent.

Nick Benson and Sofia Sanchez broke my hearts as Jessup and Wovey.

The score! James Newton Howard knows how to craft a narrative using just music, and the parallels by using elements from prior pieces of the score was just *chef's kiss*. Yuja Wang's solos are so beautiful!! "Victor" in particular is simply perfect.

THAT twist with Felix Ravinstill. Frankly, excellent choice and very very topical.

I think all of us could do with taking some very important lessons away from this movie.

Things I Didn't Like:

Lack of mentor content. I wish we saw more of them!

Lack of snowbaird content. And not just as a shipper, but also as a narrative device. Their relationship is the crux of acts II and III, and I feel like we could've used all of it to really drive home the scale of Coriolanus' change and betrayal.

They really should have kept the 4-hour long cut. Francis Lawrence release the 4 hour cut!! I want that extra hour of footage now!!

B. Okay, as far as differences go, I didn't mind them! I actually really liked some of the switches, as I feel like it compensated for the lack of Coriolanus' internal monologue.

I do feel like some things were sacrificed for time (like the depth of Coriolanus and Lucy Gray's relationship, Coriolanus' relationship with Sejanus and the Plinths) but Tom and Rachel made up for that with their stellar acting, and Josh Andres Rivera KILLED IT as Sejanus. Whatever I didn't see explicitly, Josh made up for it with his acting choices.

[46ten]

Why might it be that Hamilton doesn't mention Fanny in his letter of 21 Aug 1794 to Eliza?

I don't know, although I don't think we have several sources confirming when Fanny left the Hamilton household that may not be referencing each other - I believe it's James A. Hamilton's Reminiscences cited in stating that after 10 years (when she was 12) she resided with her sister's family, and The Life of Arthur Tappan confirming the same.

Fanny was the youngest of (at least?) 6 siblings, and belonged to a large family with a number of acquaintances, so perhaps she was, at times, in the care of others. Her own connection to Albany (below) can lead one to conjecture that Fanny may have stayed with others when the Hamilton kids were moving back and forth between Philadelphia or NYC and Albany.

Mary (Manette (Maria)) Antill (b 1771), the sister who both sources confirm took Fanny in at some later point, married Rev War vet Col Gerrit G Lansing (b 1760) in 1786 in Albany*, so it's possible that she was in her sister's care earlier than those sources state, or at least stayed with her for periods. Gerrit Lansing also served under AH at Yorktown. The Lansings were a well-known family in Albany - Gerrit's brother, John Ten Eyck Lansing Jr, was Albany's mayor in 1786, one of the two other NY delegates, a noted anti-Federalist, and so on. How the Hamiltons' care for Fanny fit within her sister's connection to the Lansing family is something we don't know.

A letter from Philip Schuyler to EH mentioning the children in 1792 or 3 also only lists the "dear boys" and "Angelica," as I recall. Whether that's because Fanny wasn't actually with them and spent time with her sister Mary in Albany, or it was a convention to not include her, I'm not certain.

I think the only thing that becomes a bit clearer with this new information is that it becomes stronger to support the claim that Fanny's father specifically wanted her in the care of the Hamiltons, and that her mother too (given they chose EH as godmother of their youngest children) would have supported that.

One could also wonder why, if the 1797 date is correct, did she thereafter permanently reside with her sister? Does this have to do with the stability of her Lansing sister, who is now 26 (instead of 16 and newly married) or of that household? Isn't there a historian who seriously opined that it was because of Callendar's publication of the Reynolds allegations? But I don't think we have any sources for that timing.

*One source claims that Lansing, MI is named after Mary and Gerritt's son, Richard Ray Lansing, born in 1789 - read about that fun connection here, though others state it's named after John Lansing, Jr.

[keanuquotes]

Artist Bio

Alexandra Grant (b. 1973 in Fairview Park, OH) received her Master of Fine Arts from the California College of Arts and Crafts and her Bachelor of Arts from Swarthmore College. Grant is the co-founder of X Artists’ Books and the founder of grantLOVE, an art project to raise awareness and money for various nonprofits through the gift and sale of her LOVE artwork. Her work has been the subject of solo exhibitions at Galería Marco Augusto Quiroa en Casa Santo Domingo, Antigua, Guatemala; Galerie Gradiva, Paris, France; Honor Fraser Gallery, Los Angeles, CA; Lowell Ryan Projects, Los Angeles, CA; Museum of Contemporary Art, Los Angeles, Los Angeles, CA; Night Gallery, Los Angeles, CA; Ochi Gallery, Sun Valley, ID; Orange County Museum of Art, Costa Mesa, CA; Positive Art Center, Seoul, South Korea; 18th Street Arts Center, Santa Monica, CA; the 20th Bienal de Arte Paiz, Guatemala City, Guatemala, and elsewhere. Grant has been included in group exhibitions at numerous international institutions including the Armory Center for the Arts, Pasadena, CA; Center for Contemporary Art, Tel Aviv, Israel; El Paso Museum of Art, El Paso, TX; Eli and Edythe Broad Art Museum, East Lansing, MI; Los Angeles County Museum of Art, Los Angeles, CA; Museo Archeologico di Amelia, Italy; Museum of Contemporary Art Denver, Denver, CO; Orange County Museum of Art, Newport Beach, CA; The Contemporary, Baltimore, MD; Torrance Art Museum, Torrance, CA; and the USC Fisher Museum, Los Angeles, CA. Her work may be found in the collections of Blanton Museum of Art, Austin, TX; Hammer Museum, Los Angeles, CA; Los Angeles County Museum of Art, Los Angeles, CA; Museo Santo Domingo, Antigua, Guatemala; Museum of Contemporary Art, Los Angeles, Los Angeles, CA; and the Orange County Museum of Art, Costa Mesa, CA. The artist lives and works in Los Angeles, CA.

Interview Artist

Alexandra Grant

By Carol Real

How does literature serve as a catalyst for your artistic practice, and how does it influence your creative output? Can you share examples of specific literary works that have inspired your art?

When I was a graduate student studying drawing and painting at the California College of the Arts, the main question that preoccupied me was finding a stream of ideas that would both interest me in the long term and be the intellectual bedrock for my artistic career. I asked myself what I liked to do when no one was looking and what I liked to do when everyone was looking. What I enjoyed thinking about in my life to that point and what I would imagine enjoying for the rest of my life. The answer was literature and reading. So I began my career using painting to represent and interpret literature, poetry, and writers I admired. It’s what I still do today. My early text-based works examined poems by Pablo Neruda and Wislawa Symborszka. When I moved to Los Angeles in 2001, I searched out living writers interested in an exchange. That’s when my collaboration with hypertext pioneer Michael Joyce began. I have had the pleasure and privilege of engaging with a diverse group of writers and thinkers, from James Joyce to Hélène Cixous, from Szymborksa to living Polish writers such as Anna Adamowicz, Krystyna Dąbrowska, Julia Fiedorczuk, Bianka Rolando, Olga Tokarczuk, and Urszula Zajączkowska.

How do the languages we speak and the images we see influence our thoughts and shape our exchange of ideas? How does this understanding inform your artistic exploration of text and language? 

I grew up traveling and living in many countries, speaking Spanish and English as a small child and learning French as a teenager. I have clear memories of landing in a place where I didn’t speak the language. I looked for visual and other clues to make sense of words and phrases as I adopted and adapted to French. So I’d say that my understanding of language comes from speaking three languages and being curious about the rhythms and intonations of other tongues that I don’t know.

Since my first solo show in Asia last year—MANTRA at the Positive Art Center in Seoul, Korea—I encountered curiosity about my work in a place where the alphabet itself is pictorial. I learned about artist Lee Ungno and how he approached abstraction from pictogram shapes present in Korean writing and representation. Inherent in my speaking English and two romance languages are the visual and philosophical limitations of the Roman alphabet.

Can you explain the connection or evolution between your earlier “Antigone 3000” paintings and your more recent works? How has your artistic vision evolved over time, and what inspired these shifts?

I’ve been working with and depicting the story of Antigone in my paintings since 2014. The reason it has held my attention is that the work continues to evolve. Each composition is based on three main elements: horizontal pours of paint, which represent the organic or messy qualities of real living; ruled lines, which represent the rule of law or idealized life; and words, in particular, a phrase by Antigone from Sophocles: “I was born to love not to hate.”

Since beginning my career, I have shifted my focus and style both gradually and suddenly, and the former is the case for the “Antigone 3000” series. If I look at the earlier paintings in the “Antigone 3000” series, they are more architectural and formal, more rigid, even, in their construction and composition. The paintings most recently exhibited at Miles McEnery Gallery in New York still have the three elements—pours, lines, and text—but are much more free, joyous, and visually cacophonous, like a firework explosion. I think you can see that I’m enjoying painting them.

The Rorschach-like text in your artwork enhances its abstract nature. Can you elaborate on how this technique contributes to abstraction and deepens meaning in your work?

I began my career in drawing and painting with all the text elements in reverse or backwards. It created a Through the Looking Glass experience, of being on the other side of a world, looking in. It invited the viewer to stop reading the text and instead make sense of it through other visual cues, like color, scale, and the emotional intensity with which the words themselves were written.

In “bodies,” a series of paintings from 2010 based on texts by Michael Joyce, the words double, representing the symmetry of the human body. This idea of symmetry and repetition influenced my representation of Antigone’s voice. Represented symmetrically, “I was born to love not to hate” becomes a totem. The original image was created as a wax rubbing on paper over a plaster sculpture. The image was both a font from the sculpture but also showed that my hand was involved in the frottage. As the work evolved, I began to use a silk-screened version of the text-image, which allowed me to move onto canvas and use different colors in the printing process.

At an opening in 2019, my godson, who was 10 at the time, came running across the gallery and said, with obvious delight, “I decoded the painting!” I like that the viewer has to puzzle out and decode the text when it is, as you have said, abstracted into a form.

How does the scale and size of your paintings impact viewers’ experience and interaction with the artwork? In what ways does it affect the emotional or sensory impact?

There’s a performative aspect to all paintings—though the studio space is private, the paintings are a record or traces of a series of physical actions. Scale allows me is to stretch my arms and spine and get on my tippy-toes and sometimes even a ladder, and to draw and paint to the edges of my physical limitations. I also walk back and forth to look at the painting. I get up close and granular with a small brush and then move several paces back to see the overall effect. I think the viewer intuits that the artist is moving backward, forward, up and down… as I solve what is, in the end a visual puzzle. And the bigger it is, like any real puzzle, the more pieces there are to unite.

Small paintings, however, can be difficult to resolve and I admire painters who work on a smaller scale.

Can you share any upcoming projects or exhibitions you’re excited about? What can viewers and art enthusiasts anticipate from your future creative endeavors?

I’m looking forward to several months of quiet studio time. I just completed a painting in Berlin in unusual circumstances. There was a flood in the studio and so I painted in a corner of my kitchen instead, with extreme lighting that ranged from direct sunlight to near-darkness. The lighting and the fact that I was only working on one painting—I usually work in a larger space with many paintings underway at the same time—led to a new evolution in the “Antigone 3000” works: a strong palette of contrasting colors, both light and dark. I’m excited to see where these new, accidental ideas take me. As is often the case, an accident is an invitation to innovate.

I’m continuing to develop six large-scale paintings for a project with six Polish poets—a chapel-like installation of women’s voices.

I’m working on an upcoming project with the French writer and theorist Hélène Cixous, Itinéraires Fantômes (Phantom Itineraries) which will be part of an exhibition at the CAPC in Bordeaux next year curated by Marion Vasseur and Ana Iwataki.

How do you maintain a balance between staying true to your personal artistic vision and navigating external influences or expectations? How do you ensure your art remains authentic and reflective of your creative intentions?

As I respond to your questions, I’ve used the words joy, joyous, and enjoy. I think those are key to balance in any creative endeavor. I enjoy my work very deeply. I trust my instincts about my next step and have sought to work with curious, rigorous, and kind people. When asked recently what the best preparation is for an artistic career, I answered that playing sports as a young person gave me the tools to understand the importance of daily discipline and how to work with others. I learned to both be present in today’s work and to recognize that art, like sport, is a continual activity, not just a single piece or game. In addition, being an artist requires multiple skills. In the same way, a baseball player on offense both hits the ball and runs the bases and then switches to a defensive skill set with a glove, artists must master several different skills. For my work, they are reading and researching, thinking and writing, and then the production of works in collaboration with others. And then there’s the bigger picture: my interest in both the history of global art and literature keeps my mind curious, and engaged and gives me a sense of being part of something bigger than myself.

What advice would you give emerging artists who explore text, language, and art? How can they navigate and leverage these elements to create meaningful and impactful artworks?

Making text-based art is difficult! From graffiti tagging to conceptual practices and more painterly approaches like my own, it takes practice. The first piece of advice I would give is not to give up…and try different approaches. Also, the questions I asked myself as a student was useful. Ask yourself what do you care about when everyone is looking, and what do you care about when no one is looking? Hopefully, in your art, it will be the same thing.

* All images courtesy the artist and Miles McEnery Gallery.

[wyntertales]

CAST OF CHARACTERS :: MUSES EXISTING IN UNIVERSE

Lavinia G. Cortez. 28-32. horror television hostess. actress. fc: sofia carson connection: friend/colleague of Landon B. Wynter :: film universe

Esmeralda C. Domingo. 30-34. diamond casino manager. fc: shay mitchell connection: friend/default love interest of Landon B. Wynter :: most universes importance: original canon connection of Landon

Emeline P. Entwistle. 30-34. actress. fc: blake lively connection: canon ex girlfriend of Landon B. Wynter :: all universes importance: original canon backstory connection of Landon

Tobias S. Fairchild. 37. producer for majestic studios. fc: ed speelers connection: rival/colleague of Landon B. Wynter :: film universe

Harold E. Graves. 41-45. psychiatrist. fc: hugh dancy connection: therapist of Landon B. Wynter :: film universe; therapist of Lance T. Wynter :: twin universe importance: muse 1st created in 2015 & adapted/returned for new use

Natalie Hill. 31-35. tabloid reporter. lipstick gossip magazine. fc: zoe kravitz connection: frenemy. colleague. at Crimson Media

Susan Horowitz. 31. ruby casino. socialite. fc: carlson young connection: former high school & college friend-enemy :: main + various aus depending on plot importance: original canon backstory connection of Landon

Jackson N. Hunter. 38. detective. fc: andrew garfield connection: American Money universe. available for interaction outside this depending on plot

Ophelia Keal. 26-29. actress. fc: tilly keeper connection: colleague/costar at Cosmic Vault Productions :: film universe

Mark J. Lansing. 30-34. news anchor. film agent. fc: chace crawford connection: canon best friend of Landon B. Wynter :: most universes importance: original canon backstory connection of Landon

Camilla Luna. 31. oceanographer. fc: lindsey morgan connection: deceased fiancée of Lance Wynter :: twin universe importance: original canon backstory connection to Lance / available only in plots pre-death / not available for shipping

Marigold D. Sinclaire. 32. failed actress. waitress. fc: amanda seyfried connection: American Money universe. selective for interaction outside this depending on plot

Brett R. Sutton. 30-34. radio dj. true crime podcaster. fc: jack quaid connection: canon best friend of Landon B. Wynter ::  most universes

Michelle O. Woodward. art director. fc: jessica chastain connection: default fiancée of Lance Wynter  :: twin universe importance: not available for shipping

Florence L. Anton-Wynter. 52-55. mystery novelist. fc: michelle gomez connection: mother of Landon B. Wynter :: all verses/currently only around in beast + film boi verses & twin universe

PRIVATE MUSES:

Aiden Lucas Wynter. 22. college student. photographer. fc: felix mallard connection: son of Eloise Gray & Landon Wynter :: Eldon ship universe

Benjamin James Wynter. 21. college student. street artist. fc: christopher briney connection: son of Eloise Gray & Landon Wynter :: Eldon ship universe

exclusive to Landon + Eloise ( ELDON ) ship universe for @itsagraywcrld

TBD: muses not currently involved but will appear plots permitted + by timeline

Veronica Allen. 33. model. fc: teyonah parris connection: ex of Landon B. Wynter :: film universe

Claudia Chen. 33-37. actress. fc: gemma chan connection: nyu friend + original documentary crew member of Landon B. Wynter

Gloria Mancini. 32. media editor. lipstick gossip. fc: dakota johnson connection: friend + colleague of Natalie Hill :: all verses

Maya Tran. 35. assistant + executive of productions. fc: maggie q connection: assistant of Landon B. Wynter :: film universe

[docrotten]

X THE UNKNOWN (1956) – Episode 149 – Decades Of Horror: The Classic Era

“I’m going to kick your head in if you don’t get it down! That’s what I’m going to do!” A kick in the head turns out to be an effective management technique for Sgt. Grimsdyke. Join this episode’s Grue-Crew – Chad Hunt, Whitney Collazo, Daphne Monary-Ernsdorff, and Jeff Mohr – as they discover all the known unknowns and the unknown unknowns of Hammer’s X the Unknown (1956).

Decades of Horror: The Classic Era Episode 149 – X the Unknown (1956)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

A radioactive, mud-like creature terrorizes a Scottish village.

  Directors: Leslie Norman, Joseph Losey (uncredited)

Writer: Jimmy Sangster (story) (screenplay)

Music by: James Bernard

Special Effects: Bowie Margutti Ltd. (Les Bowie, Vic Margutti), Jack Curtis

Make-up and Special Make-up Effects: Philip Leakey

Production Manager: Jimmy Sangster

Selected Cast:

Dean Jagger as Dr. Adam Royston

Leo McKern as “Mac” McGill

Edward Chapman as John Elliott

William Lucas as Peter Elliott

Peter Hammond as Lieutenant Bannerman

Anthony Newley as Lance Corporal “Spider” Webb

Ian MacNaughton as Haggis

Michael Ripper as Sergeant Harry Grimsdyke

Michael Brooke as Willie Harding

Frazer Hines as Ian Osborne

Norman MacOwan as Old Tom

John Harvey as Major Cartwright

Edwin Richfield as Soldier Burned on Back

Jane Aird as Vi Harding

Neil Hallett as Unwin

Kenneth Cope as Private Lansing

Jameson Clark as Jack Harding

Marianne Brauns as Zena, the Nurse

Brown Derby as The Vicar

Anthony Sagar as Security Man (uncredited)

It’s time to explore early Hammer Sci-fi films with X the Unknown (1956). The film is part of a trilogy of Cold War sci-fi features along with The Quatermass Xperiment (1955, aka The Creeping Unknown) and Quatermass 2 (1957, aka Enemy From Space) that firmly transitioned Hammer from B-movie thrillers to solid horror/sci-fi excellence. The only thing missing is Bernard Quatermass himself, but not without Hammer trying – writer Nigel Kneale would not agree to the use of the character in this film. Regardless, X the Unknown is notable and well worth the watch. Hammer fans will appreciate an early appearance of fan-favorite character actor Michael Ripper as Sergeant Grimsdyke. Let’s see what the Grue-Crew make of directors Leslie Norman’s and Joseph Losey’s, and writer Jimmy Sangster’s black-and-white creepy classic. 

With this episode, The Classic Era Grue-Crew say adiós a nuestra querida amiga to Whitney Collazo. She has more opportunities than time to pursue them and will be stepping away from her podcast hosting duties. Whitney has participated in over 100 episodes of Decades of Horror: The Classic Era. Grue Believers and Grue-Crew alike will sorely miss her insightful comments, her unique movie choices, and her loving persona. We love you without reservation, Whitney. You will always be welcome here! And if you find a movie you’d like to discuss with us or have a movie you’d like to hear us discuss, just give us a shout-out. Buena suerte, mi querido amigo!

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, the Classic Era Grue-Crew wanted a fitting topic for their 150th episode. They decided on a film often considered one of the best horror films of all time, Rosemary’s Baby (1968), written and directed by Roman Polanski, based on the book by Ira Levin, starring Mia Farrow who is supported by an Oscar-winning performance from Ruth Gordon. You won’t want to miss this one! There is lots of “stuff” to discuss.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for watching and listening!”

Check out this episode!

[weemsbotts]

Salvaging the Tebbs-Mundy House Through Photos & Memories

By: Lisa Timmerman, Executive Director

The Tebbs family dates their arrival to Virginia as early as 1687. Potentially emigrating as an indentured servant, Daniel Tebbs moved to Westmoreland County eventually importing two people, one probably his son Daniel. The family quickly established themselves within the social and political networks, so it is no surprise that James Tebbs (b. ca. 1717), William Tebbs (b. ca.1720), Foushee Tebbs (b. ca. 1723), and Willoughby Tebbs (b. ca. 1760) became influential key players of Dumfries during the port’s busiest age. Tobacco inspectors, church vestries, political representatives, and planter patriarchs categorize the careers of these men, while other Tebbs sailed the seas and explored Kentucky. Daniel Tebbs 1740 will list livestock, structures, and sterling shilling along with the enslaved persons divided amongst his wife and children: Abram, Great Jack, Tapsalom, Little Jack, Jack, Abram, Sara “with her increase” (children), and Frank. We find the Tebbs in local ledgers, such as Daniel Payne’s, when he recorded Major William Tebbs purchasing spice mortal and pestle, candlesticks, and alcohol. The Tebbs are in George Washington’s 1764 Cash Account records when he purchased enslaved persons, Harry, £45; Topsom, £43; Nan, £25.5; and Toney, £17.5, from Daniel Tebbs’ estate, using them for “the work of draining improving and saving the land” in the Dismal Swamp Land Company. The Tebbs also owned a lot of property in Prince William County, notably the Tebbs-Mundry House (in the Town of Dumfries) and Tebbsdale (Cherry Hill area near Quantico Creek).

(HDVI Archives: Tebbs-Mundy house, Elvan Keys reported to be one of the children)

It is easy to overlook Dumfries rich nautical past as most of the 60+ structures in the 18th century no longer stand. One of the last to fall is today named for the Tebbs and Mundy families who owned the property. However, older records also note it as “The Tebbs House”, “The Old Mundy House,” and “The Haunted House.” While Mrs. Warfield Brawner reported “the old house crumbling” and collapsing in the 1920s, it is more likely it fell during the 1930s, damaged from the Hurricane of 1933. Fascinating photographs and family reminiscences paint a spectacular picture of this living memory.

“The old house was in very bad repair for some years, and finally, in a heavy gale, fell in, but it was still standing a few years ago, and I remember it very well, but cannot recall the details well enough to fill in the architectural sheet. It was square, brick, of Flemish bond, with white stone trim. There were of six rooms on the first floor, three on the second, and five in the basement. Originally, there had been more rooms on the second floor, but had evidently been altered to make some exceptionally large rooms, and as if it had been used as a hospital and a school, that would seem likely.

There was a large center hall with removable paneling between that and the drawing room, so that for balls and such festive occasions it could be made into one large room. This paneling was very beautiful and sold to someone in New York, for a thousand dollars. The brick, was likewise, sold, and was taken to Fredericksburg. There were two double chimneys at each end, and large fireplaces in each room. The stone from the basement has been used to build a most attractive house on the same site by the present owner.

There are some of the old trees left, although until a few years ago there were some very large locusts standing that had been there for many years. There was a terraced garden in front that has been rebuikt by the present owner. Back of the house are the lovely woods of Grayson Hill. At the southwest corner of the house is a large well that was probably built by the original owners, this too, has been cleaned and repaired.”

Lee Lansing spoke with Elvan Keys, one of the young children in the photograph. “While many photos are available as mementoes of happier youthful experiences, they tell us of the details of this old house. Mr. Elvan Keys, when questioned of his experience showed us photos of he and his young friends peering from the open window of the second floor – but they told us more – of the relative thickness of the masonry wall, where the window frame had been removed – the modillion cornice and its deteriorated condition, as a result of the roof failure and the location of the window frame in relation to the exterior wall face – his description of the interior and its wall features after the removal of the interior woodwork to be placed in a museum in a far away location.”

Residents of the Town reported that the house and grounds witnessed tea parties with Washington, Col. Henry Lee shooting Willoughby Tebbs, medical treatments, and Civil War encampments. The story of the shooting dates to a 1936 article by R.C. Wright but family researchers have been unable to collaborate this probable folktale. It is more likely the house was a prominent center for social networking. “Miss Maud Ewell of Haymarket, Virginia, remembers hearing her grandmother tell of going there dressed in a rich purple brocade, that had just come in from one of the ships from London”. Not finding the stylish matching flowers needed, she apparently took clusters of purple grapes from the gardens to put “in her powdered hair” for a “striking headdress.”

Elvan Keys noted, “It was always fun for a country boy to visit in Dumfries, because the town kids would take him on a tour of all the exciting places – the old grist mill, the 10 foot hole, the Cabin Branch Mine, and the Haunted House.” He frequented the house playing in the basement supposedly making strange noises up the chimney to scare anyone walking nearby. In 1937, the WPA worker visiting the property wrote, “This is one of the old houses that was the scene of so many stirring scenes in the past, and so many prominent people, who have made our heritage of history, have passed through its doors, that in spite of the fact that there are few physical remains of the old home, its atmosphere is felt.” The memories of the house and family remind us just how tight and interconnected the Town was in the 1700s as enslaved persons, free persons of color, Scottish factors, planters, workers, indentured servants, and many others walked and rode through this historical gem.

Oral history informants: Mr. Charles Callahan, Mrs. Robert Wheat, Mr. & Mrs. Warfield Brawner, Mr. Walter Keys, Miss Maud Ewell, Elvan Keys, C.W. Garrison, and Lee Lansing.

Note: March brings new opportunities to engage in your local history! On Saturday, 03/11, we will design, build, and fly kits in Merchant Park (weather permitting, free tickets here). On Saturday, 03/18, we will meet virtually to discuss fascinating detective fiction from a history & literary perspective (tickets here - member discount).

(Sources: WPA Historic Survey: Town of Dumfries, 1937; Kebler, John Frederick and Robert Steltz. The Descendants of Daniel Tebbs, Westmoreland County, Virginia; Lansing, Lee. The Town of Dumfries and The Honorable Foushee Tebbs (report marked inaccurate, only used the oral history & folktale regarding the photograph); Genealogist Traces History, Tebbs Family Lived in Historic Dumfries, Potomac News, 11/17/1971)

[sesiondemadrugada]

Leave Her to Heaven (John M. Stahl, 1945).

[intrenid]

Kampanye JBL Terbaru “Our Heritage. Your Sound”: Nikmati Momen Berharga dengan Beragam Produk Spektakuler

Kampanye JBL Terbaru “Our Heritage. Your Sound”: Nikmati Momen Berharga dengan Beragam Produk Spektakuler

INTREN.ID, JAKARTA – Pada bulan ini, JBL, merek audio legendaris dan terkemuka global kembali menghidupkan suasana melalui perayaan spesial yang sarat akan makna kebebasan dan individualisme, mengajak konsumen untuk menenggelamkan diri dalam irama musik dengan ragam jajaran produk unggulan True Wireless yang luar biasa. Kampanye terbaru ini merupakan bagian dari perayaan JBL dalam rangka…

[usafphantom2]

Ronnie Bell Following

B-17 Flying Fortress "Memphis Belle"

ENGLAND: AIRPLANES, MEMPHIS BELLE

The crew of the Boeing B-17 Flying Fortress "Memphis Belle" is pictured at an airbase in England after completing 25 missions over enemy territory. They are, left to right: T/Sgt. Harold P. Loch, Green Bay, Wisc., top turret gunner; S/Sgt. Cecil H. Scott of Altoona, Penn., ball turret gunner; T/Sgt. Robert J, Hanson of Wall Wall Washington, radio operator; Capt. James A. Verinis of New Haven, Connecticut, co-pilot; Capt. Robert K. Morgan of Ashville, North Carolina, pilot; Capt. Charles B. Leighton of Lansing, Michigan, navigator; S/Sgt. John P, Quinlan of Yonkers, New York, tail gunner; S/Sgt. Casimer A. Nastal of Detroit, Michigan, waist gunner; Capt. Vincent B. Evans of Henderson, Texas, bombardier and S/Sgc. Clarence E. Wichell of Oak Park, Illinois, waist gunner. 7 June 1943

Via Flickr

[fictionadventurer]

1 and 11 for the book asks!

Best book you have read in 2023 so far

There are several that I liked very much for different reasons, but there's not a single one that's sticking out as the absolute best. I loved the abridged version Team of Rivals by Doris Kearns Goodwin (as you can probably guess by how many stories I shared from it), but unfortunately, thanks to Seward's one instance of blasphemy, I felt guilty about it and didn't seek out the full book. Endurance by Alfred Lansing was a very exciting account of Shackleton's Antarctic expedition. As for fiction, I was surprised by how much I liked Washington Square by Henry James, despite its small, sad story that's usually not my cup of tea. A Field Guide to Mermaids by Emily B. Martin was also a beautiful mix of science fact and fantasy worldbuilding--I would have adored this book if it had existed when I was a kid.

11. Most beautiful book you bought or received this year

I bought this book about the sacraments partly because of how pretty it was.

[qqueenofhades]

Thanks for writing DVLA, it was wonderful. I haven’t gotten that absorbed in something in a while, and I read it twice while on a camping trip this weekend. And then spent a lot of time just staring out the window being sad about the Crusades and just these two beautiful queer disasters in general. (A HUNDRED YEARS OF PINING. I LOVED IT). (1/6)

It was everything I wanted, so satisfying, and the thread of Crusades and faith conflicts and the stupid complicated ways humans find to hurt each other was really masterfully woven through. I learned so much; I had a basic idea of the Crusades but you filled everything in and made it come alive. And you got across so well that people across history are just people. (2/6) 

Maryam was my favourite, I would read anything with more of her in it as well. The Constantinople section and the way it ended just ripped my heart out. (PHIL.) I was so glad Hippolyta and Rebecca got out safe. But the end to such a lovely sunlit chapter of life was heartwrenching. (3/6) 

It means a lot to me, as someone trying to confront her own faith’s and her ancestors’awful actions in the past, to have someone present religious conflict the way you do. Part motivations like conquest and glory and riches, part motivated by faith, and very much something that I or anyone else could fall into just as easily as people in the past did. (4/6) 

I graduated three years ago with a minor in history and have done absolutely nothing with it - I was burned out for ages on even reading anything, and I haven’t read anything academically rigorous in so long. This felt like a perfect reintroduction to history, and it made me want to do research and read history again, for the first time in years. (5/6) 

I’m noting the resources you’ve recommended to some other folks about medieval queerness and the Crusades, but I was wondering if you also had any recommendations for reading about Julian of Norwich specifically, or queerness in female medieval religious spaces in general? Thank you so much, I’ve followed your blog for a long time and always love reading your posts. (6/6) 

Ahh, thanks so much. Once again, I must bow to someone’s superlative tumblr ninjitsu skills both in knowing the number of asks it will take ahead of time and preventing the blue hellsite from eating any of them.

I’ve had so many people say these absolutely lovely things to me about DVLA -- about the history, the religion, the journey, the story, the reactions they had to these themes, how they felt inspired by it -- and I really am truly humbled by it. I think it speaks to the way all of us felt some kind of ownership or reflection or empowerment in Joe and Nicky’s story and the way it unfolds both on screen in the TOG film and our own conceptions and reactions and engagement with it. It’s just one of the best ships I can think of in terms of that, and I’m worried that anything I say will end up sounding trite, but I really do mean that.

As a historian, I am obviously delighted to hear that it made you want to return to or re-engage with the subject in some way, as well as to use it to help think through the religious themes for yourself. Because as I said in my answer to how to deal with the history in a hypothetical Joe/Nicky prequel movie, we can’t just have the easy luxury of being like “oh all the crusaders were clearly religious zealots and we would never be like that and never do anything like that.” Because a) we already do that, and b) it prevents us from assessing ourselves and our own behaviour and our own troubling patterns and habits if we just arrogantly assume that all the people in the past were stupider and/or less enlightened than we were and clearly We Won’t Make Those Mistakes. So we have to see ourselves in them in some way, and to understand they still did those things, they still destroyed a lot of beautiful things in their world for ultimately no good reason at all. We’re doing the same thing, we justify it to ourselves in different ways, and the goals and the stakes are a lot larger in a globalized world, and anything that sets up medieval people (or really any people in the past, but the medieval era is the stick that gets used the most often) as so unlike us and so inferior to us is just genuinely dangerous. So yes. I’m sure you know my feelings on that topic.

Maryam, Rebecca, and Hippolyta have all gotten a lot of love, which I think is great, and it seems to be the consensus that chapter 4 ruined everyone’s lives. This is understandable, since I’ve mentioned the fact that despite the pain, I think it’s possibly my favourite, and I am glad that everyone had the totally normal emotions over the sack of Constantinople that I also had while writing it. Because yes! It is a tragedy the likes of which was still a Thing in the year 2004, the 800th anniversary, when the pope felt moved to apologize for it! The scale of what it destroyed and took away and the way it influenced history afterward (as Joe is thinking at the start of chapter 6) is just MASSIVE, and... yes.

As for reading recs (and again, it delights me that you want to dip your toe back into reading academic history), I don’t have anything about Julian of Norwich specifically (though there’s a LOT about her out there, especially right now, so I’m sure you can nose about and see what turns up). But as for queerness in female medieval religious spaces (with some bonus medieval queer ladies in general):

Sahar Amer, Crossing Borders: Love between Women in Medieval French and Arabic Literatures (Philadelphia: University of Pennsylvania Press, 2008)

Judith Bennett, ‘ “Lesbian-Like” and the Social History of Lesbianisms,’ Journal of the History of Sexuality, 9 (2000), 9–22.

Marie-Jo Bonnet, ‘Sappho: Or the Importance of Culture in the Language of Love: Tribade, Lesbienne, Homosexuelle’, in Queerly Phrased: Language, Gender, and Sexuality, ed. by Anna Livia and Kira Hall (New York: Oxford University Press, 1997), 147–66.

Bernadette Brooten, Love Between Women: Early Christian Responses to Female Homoeroticism (Chicago: University of Chicago Press, 1996)

Mary Anne Campbell, ‘Redefining Holy Maidenhood: Virginity and Lesbianism in Late Medieval England’, Medieval Feminist Forum, 13 (1992) 14-15.

Carol Lansing, ‘Donna con donna? A 1295 Inquest into Female Sodomy’, Studies in Medieval and Renaissance History, 3 (2005) 109-122.

Kathy Lavezzo, ‘Sobs and Sighs Between Women: The Homoerotics of Compassion in The Book of Margery Kempe.’, in Premodern Sexualities, ed. by Louise Fradenburg and Carla Freccero (New York: Routledge, 1996), pp. 175-198.

E. Ann Matter, ‘My Sister, My Spouse: Woman-Identified Women in Medieval Christianity’, in Weaving the Visions, ed. by Judith Plaskow and Carol P. Christ (San Francisco: Harper and Row, 1989), pp. 51–62.

Jacqueline Murray, ‘Twice Marginal and Twice Invisible: Lesbians in the Middle Ages’, in Handbook of Medieval Sexuality, ed. by Vern L. Bullough and James A. Brundage (New York: Garland, 1996), pp. 191–222.

Nancy Sorkin Rabinowitz, Among Women: From the Homosocial to the Homoerotic in the Ancient World. Austin: University of Texas Press, 2002

Susan Schibanoff, ‘Hildegard of Bingen and Richardis of Stade: The Discourse of Desire’, in Same Sex: Love and Desire Among Women in the Middle Ages, ed. by Francesca Canadé Sautman and Pamela Sheingorn (New York: Palgrave, 2001), pp. 49-83.

Have fun!!

[papermoonloveslucy]

Desi’s TOPS Picks!

July 9, 1955

For the July 9, 1955 issue of TV Guide, Desi Arnaz was tasked with picking TOPS - Television’s Own Promising Starlets!  Arnaz picked six young women he believed would be popular and successful on television in the years to come. This was a rare time that Lucille Ball was not part of the article, except for her name being dropped as Desi’s original TOPS pick.  There is not even a photo of Lucy!  

The cover features Clara Ann Fowler (1927-2013), known by her stage name Patti Page, a singer of pop and country music and occasional actress. She was the top-charting female vocalist and best-selling female artist of the 1950s, selling over 100 million records during a six-decade long career. Page's signature song, "Tennessee Waltz", was one of the biggest-selling singles of the 20th century. Page had three additional #1 hit singles between 1950 and 1953, "All My Love (Bolero)", "I Went to Your Wedding", and "(How Much Is That) Doggie in the Window".  In 1955, Page was seen in “The Patti Page Show,” her own 15-minute television show and was a frequent musical guest on variety programs. 

Here’s a closer look at Desi’s TOPS, along with notes about their career since 1955: 

MARJIE MILLAR was born on August 10, 1930 in Tacoma, Washington, as Marjorie Joy Miller. In 1935, she won a Shirley Temple look-alike contest at Tacoma's Roxy Theater over 200 other local contestants. Mogul Hal Wallis took an immediate interest in her. In March 1952 she was named "Miss Hollywood Star of 1952."  She was crowned one of Hollywood's new deb stars by Hollywood hair stylists in 1953. She was known for Money from Home (1953) and About Mrs. Leslie (1954). In July 1955 she had just finished two seasons on ABC TV’s Emmy-nominated series “Where’s Raymond?” starring Ray Bolger. After Desi’s recognition, she did the film When Gangland Strikes (1956). She was married to Charles Candoo, John Dennis McCallum, John Florea, and James Sidney Rollins Jr. She died on April 16, 1966 in Coronado, California.

Desilu Connection: On “Where’s Raymond” she acted opposite “I Love Lucy” character actors Elvia Allman, Bobby Jellison, Shirley Mitchell, Verna Felton, Jay Novello, Joi Lansing, and Wil Wright, as well as creative staff Argyle Nelson, Claudio Guzman, and Dann Cahn. The series filmed at General Service Studios, just like “I Love Lucy”. 

FRANCES RAFFERTY was born on June 16, 1922 in Sioux City, Iowa. During the Depression her family moved to Los Angeles in search of work. Frances was signed by MGM at the age of 19 and began with a dancing bit in Presenting Lily Mars (1943) starring Judy Garland. She was a war-era cover girl for Yank, the Army weekly. Unable to secure starring parts, Frances remained a B-level co-star. She died in 2004 at age 81. 

Desilu Connection: Lucille Ball was instrumental in casting Rafferty in Desilu’s hit sitcom “December Bride” (1954-59), where she played Ruth Henshaw in 156 episodes, including one that starred Desi Arnaz as himself!  At MGM, she was in the films Thousands Cheer (1943) and Abbott and Costello in Hollywood (1945) with Lucille Ball. 

VERA MILES (nee Ralston) was born in Boise City, Oklahoma on August 23, 1929. Miles won the title of "Miss Kansas" in 1948, leading soon to small roles in Hollywood films and television. series. The same week this TV Guide hit the stands, she appeared in the film Wichita, starring Joel McRae as Wyatt Earp. Coincidentally, Miles went to high school in Wichita, Kansas. Her main claim to fame was as one of Alfred Hitchcock’s ‘blondes’ appearing in Psycho (1960) as Lila Crane, Marion’s sister. Miles also did the 1983 sequel playing the same role. 

Desilu Connection: In 1958, Miles did “Mr. Tutt”, an episode of Desilu’s Colgate Theatre, produced by Desi Arnaz. In 1966, Miles appeared on an episode of “The Bob Hope Show” with Lucille Ball. 

JEANNE BAIRD was born on March 28, 1927 in Du Bois, Pennsylvania. She got her start in TV’s “The Living Christ” as Martha in 1951. 

Desilu Connection: In 1955 she did an episode of “I Married Joan” (NBC’s answer to “I Love Lucy”) which filmed at General Services Studios, same as “Lucy”.  

PEGGY KING was born in 1930 and known as "Pretty Perky Peggy King" when she appeared on “The George Gobel Show” (1954-57) and guest-starred on many other TV shows. In 1952, MGM signed her to a contract, which led to a cameo in Vincente Minnelli's The Bad and the Beautiful and a series of commercial jingles for Hunt's tomato sauce. These last brought her to the attention of Mitch Miller, who signed her to a long-term contract, under which she made two best-selling albums. She sang the Oscar-nominated song "Count Your Blessings" on the 1955 Academy Awards telecast, and both Billboard and Down Beat magazine named her Best New Singer of 1955–56. She was nominated for an Emmy in 1955, the same year this TV Guide was published. The Broadcast Pioneers of Philadelphia inducted King into their Hall of Fame in 2010, which led to her resuming her singing career in 2013.

Desilu Connection: There is no known direct connection between King and  Lucy and Desi, although both were associated with MGM and Vincente Minnelli. It is likely that Desi is just listening to the Hollywood critics, who praised King highly and predicted she would rival the greats.  While she had a moderate success, she never achieved the legendary status of Garland, Shore, Whiting, or Stafford. 

VIRGINIA GIBSON was born on April 9, 1925 in St. Louis, Missouri, as Virginia Gorski. In the fall of 1943, she was a dancer in Roll Up Your Sleeves on Broadway. Gibson was signed by Warner Brothers in 1950 and made her film debut in Tea for Two (1950). On television, Gibson was a regular on “Captain Billy's Showboat” (1948). She also starred in “So This Is Hollywood” (1955) and was a regular performer on “The Johnny Carson Show (1955–56). In 1956 she returned to Broadway to play Ethel Merman's daughter in the musical Happy Hunting, earning a Tony nomination for her work. She died in 2013 at age 88. 

Desilu Connection: Gibson is perhaps best known for playing Liza, one of the Seven Brides for Seven Brothers in MGM’s 1955 musical.  Lucy and Desi were also at MGM during this time, and even mentioned Seven Brides on an episode of “I Love Lucy.”

If the idea of Desi Arnaz and young female talent rings a bell, it should!  Ricky Ricardo was often faced with a green-eyed Lucy when surrounded by beautiful Hollywood starlets. It happened in “Don Juan and the Starlets” (ILL S4;E17), which coincidentally (or not) was aired around the same time as this article was being written for TV Guide! 

Lucy again got jealous of Ricky fraternizing with up-and-coming young talent in “Desert Island” (ILL S6;E8) just a year later. 

Editor’s Notes: Considering the well-known circumstances of the Arnaz divorce, and Desi’s reputation as a womanizer, it might be easy to conclude that producer Desi had some sort of personal interest in promoting these attractive young ladies in TV Guide. However, I’m not so sure that is a reasonable assumption to make. First, articles of this sort were rarely written by the ‘author’ (Desi) but by press agents, with approval of the person with the byline. The extent of Desi’s control of the list or the text that accompanies them is up for debate. In fact, some of these talented women are only tangentially related to Arnaz publicly, and some - not at all. 

When all is said and done, the only one on the list that has approached icon status is Vera Miles, due mainly to her participation in Hitchcock’s Psycho. While Frances Rafferty was on a weekly TV series (”December Bride”) the show has not fared well in syndication and is largely forgotten by today’s viewers. However, Rafferty is the most likely to have been ‘Desi’s pick’ due to her working on the Desilu lot and appearing with him in an episode of the show. At the time, Peggy King was certainly the odds-on favorite for stardom, so her inclusion was a no-brainer.  Virginia Gibson took a left turn back to Broadway and earned a Tony nod, so that interrupted her trajectory toward Hollywood fame. Sadly Millar and Baird’s careers fizzled and are only remembered today by die-hard fans. 

[stone-man-warrior]

November 22, 2020: 7:43 pm:

Is there a way that the young man could be said to be a pair of studio monitor speakers? If so, then the part of the story that includes the 15 year old specification originted in terror orders presented by Amercan Music Supply on november 19 at 2:02 pm where many studio monitors were advertised.

Look at these:

Mackie Thump 15A 1300 Watt 15" 2 Way Powered Portable Loudspeaker Pair

At AMS website, they are a fantastic bargain at less than $700 for the pair.

See that the speakers shown on the backside say they are 1000 watt, while the ad says they are 1300 watts.

These are representations of two Royal Canadian Mounted Police Terror Impostor Police disguised as State Police in your state. They work for the British Throne. They are at the event in real police cars, wearing real police uniforms, they have real guns, bullets, radio’s, dispatch to all of the other real and impostor police, they can do distraction, detour, delay, confusion service, and arrest people. They are paid with real paychecks from real State Departments of Transportation, but they are impostors who are terror soldiers providing support services for other terror murderous soldiers at the events.

Do math. Compare other speakers from that ad. Solve terror at the Black Friday pre-show event at the Malls of America. There is way too much information contained in the AMS product descriptions for the speakers featured in that ad that day to say here or on tumblr. ( I am doing it anyway. I first wrote this on my suspended Twitter account, then, I had an epiphany when I understood what it all means, so, here you go, what it all means)

You have to read the descriptions, and also look for similar small coded details that keep repeating between the different brands and models of speakers, many are only two or three characters of letters and/or numbers, so, it's very complicated and subtle. I don't know what the read actually is, but I see a theme, built of many small components to create some kind of loud event, big, quality, and is not expensive for what you get, in a horrible, mass-murder kind of way.

When you look at Adam Audio products:

Adam Audio T8V 8" 2-Way Powered Studio Monitor at AMS.

Think about a perspective from Vatican leadership reading the specs to you. notice that the Adam Audio is "T8V 8 2-Way" very important there.

I only want to point out that 118 Ronald Reagan Freeway right there highlighted in blue, you can go look at the other information on your own.

The QSC brand works for saying "Quebec" and that advertised model that day was 2000 watt. So, when it's "2000" it's also "AD" just add 20 for the Ten20 location.

K-12 is specified here. Comes with Royal Canadian Mounted Police, 2 per car, disguised as State Police in USA.

(Read that description as if you are a traveling SDA Canadian terror soldier who also works at the Department of Transportation as a road construction builder who is out on attack for Global Domination and are prepared to begin hoisting small children into a giant size blender so that you and your terror army can replace those US kids at school with your own kids from Canada.)

QSC K12.2 12" 2000 Watt Powered Speaker

This JBL brand is the preferred stage brand for professional performers. That advertised model is for a rechargeable battery specification, to say "There are nitrous Refill vans, trucks, tanks at the venue where the victims will suffer repeated battery and terror soldiers can easly recharge their empty tanks as needed" James B Lansing, JBL.

(The “Ducking” feature highlighted means that there will be SAG operatives to direct you to the hidden nitrous refilling tanks, or summon mobile ones as necessary. The nitrous soldiers will simply “duck” into a van, or between some parked campers for cover while they refill their empty tanks of poison gas for making it easy to capture victims. This is what those “100,000 Amazon Delivery Van were made for, was a news item last year. The vans are said to be “Renault” electric powered vans... 100,000 of them for Amazon Prime.)

JBL EON One Compact All-in-One Rechargeable Personal PA System

The 15 Y/O dies though, the way I read the comm. The whole ad looks like comm for the same kind of terror attack that was done at the Grants Pass Walmart in around 2001 or so, now that I stepped the fuck back and had another look at it after the Wisconsin Mall thing.

They took the shoppers by force and put them into a giant blender, where the victims were ground up into a liquid pulp, water and seeds were added, then the terror bastards sold the product they called V8 Red Hydroseed, to the Oregon State Government for profit to be sprayed onto road sides as erosion abatement.

(This Denon DJ Unit means Donald Trump is at the helm of the attack at the Malls of America. You have to understand that Trump has been leading a vast terror army since 1980 or even before that, so, he has been running the Pope’s giant blender for a long time, since way before he became US President)

Denon DJ Prime 4 Standalone DJ System with 10in Touchscreen

=========================

From there, you can do your own research. There is all of the information necessary to learn, to solve, to act, to stop the mass murders and preserve USA and preserve Freedom itself.

That is all I care to do on this one. I witnessed this event when the circus came to town and set up shop at the local Walmart many years ago.

8:15 pm.

[digipple]

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