#nash embedding

[nb-swordk9]

Shit man, this math war is fucked. I just saw a guy draw a commutative diagram and say "one point compactification" or some similar shit, and everyone around him got folded into a 3-sphere and vanished into 4d-space. The camera didn't even go onto him, that's how common shit like this is. My ass is casting ε-δ and quotient spaces. I think I just heard "infinity-groupoid coskeleton tower" two groups over. I gotta get the fuck outta here.

[neometalpussy]

just remembered that alex asboth says "alrighty" would you guys be mad if i pushed him down the stairs. i don't care if you will be i just want to see first

[theunlitpath]

The unforgettable bar scene from A Beautiful Mind where John Nash gets the idea for his theorem about continuously differentiable embeddings.

[fallenandinlovewithhumanity]

Watched 9-1-1 for the first time (and caught up) Here are some unsolicited and unfiltered opinions about our fave gay firefighter show.

Bobby Nash: Must be protected at all costs. Traumatized dad doing his gosh darn best. So happy he is loved by the 118 and that he seems to be accepting that more now.

Athena Grant: There's a post out here somewhere about how people named after gods/goddess embody that deity. And Athena? Yeah she does exactly that. That woman deserves so much respect for the badass she is.

Howie "Chimney" Han: Silly goofy man who needs a hug and appreciation. His storyline with Kevin and every parallel to Albert made my heart hurt.

Evan "Buck" Buckley: Sweet baby boy, the firefighter Dean Winchester of another universe. I LOVE THIS MAN. Seeing him smile on screen is so infectiously amazing and I want to send a strongly worded letter to all the writers who are clearly trying to make sure I stay in the "fix-it" tag of Ao3. He is by far my comfort character in the show and someone needs to tell that man that he is loved.

Eddie Diaz: If I had to describe my type in two words it would be "Eddie Diaz." Holy fucking shit. (<- written by Buck.) But seriously, I've seen some stuff about how he's not the "best" latino representation because he does not have any specific cultural storylines ( I would love to see celebrations or other cultural things too, maybe for 8B and onward) but I for one feel represented plenty by his complicated relationship with expectations coming from his parents, partners (former or otherwise,) and himself.

Hen Wilson: GIVE THIS WOMAN A BREAK. I love her and it seems like she is always hurting when it comes to her family. Please give my queen a goddamn break. Some domestic bliss would do her kindly.

Maddie Buckley Han: When I say that I would die for her to be safe and happy, I mean it. The Buckley siblings have dealt with so much but Maddie, her storylines not only hit something compelling and dramatic but they are also too fucking real.

Christopher Diaz: I love him. Amazing. A fucking king. No Notes. Please come back to your dad(s).

Carla Price: LOVE THIS LOVELY HUMAN.

The Grant-Nash Fam: Harry and May are interesting characters and I really do love seeing them on screen, I understand why we see less of them though. Michael and David were lovely as well.

The Wilsons: Imma repeat what I said earlier, give them an episode where the biggest thing to happen is juice boxes getting left behind. They need a break. And give Karen more damn screen time that isn't just crying and fighting with Hen.

Josh Russo: the pre-Glee/ post Glee explanation was gold.

Captain Vincent Gerrard: Grumpy old man that needed a cozy job. Loved his "taking you under my wing" moment with Buck.

The Bigger Love Interests (Eddie):

Ana: I really liked her character, but saw how much anxiety was embedded into that relationship. She was never sure of her place and he was never sure he was ready.

Marisol: This felt weirdly rushed and like it happened mostly off screen. The nun thing was... catholic guilt intro I guess??

Shannon: Oof. The drama, the need for closure. I enjoyed having her on screen and I cried when she passed.

The Bigger Love Interests (Buck):

Abby: He was much more invested in the relationship and I think part of it was the circumstances but the way she left him was so damaging to his psyche. Not a fan.

Ali and Natalia: They did not leave a lasting impression on me. Though Natalia being interested in Buck because he died did raise some red flags.

Taylor: Listen... I love her fierce independence so much. But she did Buck so dirty. Trust issues and abandonment issues for Buck coming right back up.

Tommy: Narratively speaking, I tried to understand why he happened but I don't. His confusion at the beginning of the relationship just made me think that he just went along with what Buck thought he wanted. As a character, that man felt a bit one dimensional, and when he showed an ounce of personality it was always an interaction with Buck that made him feel lesser than. I feel blessed that man is off my screen.

The Writing/ The Plot:

At this point I am watching for the two idiots sharing a brain cell. But.. the disasters and plots are out of left field and really interesting. It takes a lot for a procedural type show to not fall into formulaic/ average 911 calls and I feel like at least one writer has a subreddit or something pinned to get ideas. I am far too invested in the 118 to leave now.

What do I ship at this point?

Buck and Eddie.

Athena and Bobby.

Maddie and Chim.

Hen and Karen.

Would I recommend this show?

Abso-fucking-lutely... if you enjoy some pain, I swear all these characters go through so much and the tissue boxes are not enough.

Thanks 9-1-1 for bringing me back to Tumblr.

And if anyone has headcanons, I would love to hear them!

[swiftreader1989]

SPOILERS! THEORY.

-“You're the glass ballerina or the knife” -Nash Hawthorne (TIG)

-“I’m not the glass ballerina, I’m not going to shatter" - Avery Grambs (THL)

ok are you catching my drift. I think Lyra is now the glass ballerina cause remember her last hint was shatter in the game and she happens to be a real ballerina. in hindsight she was the one who shattered. WHAT DOES THIS MEAN?

THEN Rohan must represent the knife cause its been a common theme for him ever since the prologue where he marked each player in the shower instead of his finger and receiving an embedded knife in the game.

are they going to be the last two standing?!? are they going head to head in the end????

"there are no coincidences in the grandest of games." - Odette Morales (@emreads294)

[daffi-990]

Seven(ish) Sentence Sunday 🗡

Tagged by @diazsdimples @exhuastedpigeon @jesuisici33 @devirnis

Had the smallest amount of writing beans yesterday for my Buddie Fantasy AU .. which is a bit of a mess and all over the place (I don’t even have one chapter fully complete 🥴).

For context -> this is what happens from Bobby’s POV a little after this snippet. No idea if it’ll stay in the final cut (because that seems light years away), but thought I’d share anyway.

Bobby reaches for his sword, his hand slipping slightly along the hilt due to the blood covering his palm. If he’s going to die, he’s going to do it protecting his son. He’ll fight for Buck until his last breath.

Using his sword for support, Bobby slowly stands, the excruciating pain from his wound almost bringing him to his knees. He grits his teeth against it, shifting his feet into a better position readying for attack.

The small group of soldiers are closing in. He only has a few moments before they’ll be upon him.

Lifting his sword, Bobby takes a shuddering breath, ignoring the way the arrow pulls painfully in his side. Eddie and Buck should’ve made it deep into the forest by now. They’ll be safe. Eddie will keep him safe. He promised.

The first soldier approaches, weapon raised as he charges towards Bobby, but before he’s even within striking distance he falls to the ground, an arrow embedded in his chest.

Bobby whips his head to look behind him, a relieved laugh spilling from his lips, for charging in behind him is what looks to be a hunting party of fae warriors on horseback.

The fae gallop past him and towards the enemy soldiers who are now beginning to retreat in fear, but it is of no use, for the fae cut them down easily.

Bobby falls to his knees, exhaustion crashing into him like a rolling wave.

“Looks like we arrived in just the nick of time, Mage Robert of Nash”

No pressure tagging: @spotsandsocks @hippolotamus @wikiangela @wildlife4life @watchyourbuck @alliaskisthepossibilityoflove @madneywedding @elvensorceress @eddiebabygirldiaz @missmagooglie @monsterrae1 @mellaithwen @loserdiaz @lover-of-mine @ladydorian05 @rainbow-nerdss @thewolvesof1998 @the-likesofus @theotherbuckley @smilingbuckley @tizniz @shitouttabuck @steadfastsaturnsrings @sunshinediaz @spagheddiediaz @dangerpronebuddie @bidisasterevankinard @fortheloveofbuddie @fiona-fififi @giddyupbuck @honestlydarkprincess @homerforsure @hoodie-buck @jeeyuns @neverevan @nmcggg @bekkachaos @captain-hen and as always, anyone else who has something they want to share -> consider this your official tag 🏷

[riddles-n-games]

Nash's Internal Wounds

You know what absolutely broke me in The Brothers Hawthorne? Nash's confession during Grayson's 911. He was all alone, there was no one he could fully rely on. He had no parental figure, at least, not in the capacity that his brothers did and even then, we know how sh*tty their grandfather was to them; Grayson had to be perfect because he was the heir-to-be, Jameson was oRDiNarY, and Xander, well goodness knows. The old man and him were clearly at odds with each other yet Nash still had the mental strength to not bend to Tobias Hawthorne's will. Zara was there somewhat as evidenced by The Hawthorne Legacy, but still, even she held him at arm's length because of what he represented as Skye's affair with Jake Nash who was a man she once loved. You could call him the physical manifestation of Skye and Zara's distance because of the affair and the beginning of the end for whatever sisterly bond they did have. If at least Toby stayed, I bet he would have been a good uncle to Nash.

Alisa left him, too, and honestly, damn that whole loyalty thing to the old man, it wasn't healthy for anyone that had a connection with Tobias. Nash wanted to leave that behind for a reason, he experienced how toxic that environment was to grow up in but he stayed, for his brothers and he wanted to have a fresh start when he had his own family. That must be where the saviour complex comes from; he had embedded into himself the motto when there isn’t a father in the home, the eldest is the man of the house and he was. His brothers didn’t have fathers, their mother was neglectful and while the old man cared, it was twisted and came at a price. He wasn’t in any better condition but someone had to step up and that was him. Of course that didn’t replace the need for parents but I think it certainly helped the other three to keep them more sane as they grew. 

I don’t know how Alisa and him got together but assuming she grew up alongside him, she must have gone to school with him or just spent a lot of time in the vicinity that they got to bond and eventually establish a relationship. So when she insisted on staying and breaking off the engagement, being scared and alone was his natural reaction. And then the realizations he had. “... I knew in my bones that it was because there was something wrong with me.” Quite literally, you can hear my heart breaking in the background. I think it’s at this point as a reader that you realize how much more mental suffering this man bore, how much he hid and dealt with behind the scenes. It makes every scene with Avery when he did something to soothe or protect her mean so much more. It makes you realize why he was with Libby from the start. It makes you think about what the simplest of interactions between him and his brothers meant.

He was a rock; one with many cracks but a firm foundation. That’s why he went on those long trips where he disappeared for a time. This was his way of healing and bringing those people with him? Well, he gave them a purpose and maybe that helped him find his own. Screaming at the world isn’t going to help but maybe changing one person’s life by just being there for them could. And that is why I’d say Nash is the most mature and honest of the Hawthorne brothers. He didn’t let the old man’s ways consume him; did he crumble? Most certainly. But he found a way straight through the wall and that’s also the reason why he was able to get over many things compared to his brothers. He still has other issues like everyone does but when you look through Jameson and Grayson’s eyes in TBH, you can see that subconsciously they are trying to be like Nash, unaffected. They’ll get there too, eventually.

Thanks for reading!

[mumshin]

𝑷𝑹𝑬𝑻𝑻𝒀 𝑳𝑰𝑻𝑻𝑳𝑬 𝑻𝑨̀𝑵𝑯𝑰

✰ ft; So'lek x Fem!Sarentu

✰ contains; fluff, obsessed!so'lek, mentions of murder, stalking, gore(?)

✰ na'vi translations; tánhi(star)

It was a pleasant day at the HQ as usual, humans and few na'vi including dreamwalkers were seen around doing there own duties, as well as So'lek. He had a frown embedded to his face, why? Because of you, his pretty little tánhi.

Seeing you talking with a human, billy specifically. Made his blood boil, out of the people you chose to talk it has to be Billy Nash. He sulked in jealousy as you chuckle and laugh at Billy's jokes.

Finally he stood up and walked over to them. "Oel Ngatie Kamie, Sarentu." He brought his hand to his forehead and let it down making the well known, "I see you" sign.

"Oel Ngatie Kamie, So'lek" you said with a gentle smile making So'lek's heart skip a beat in secrecy, Oh how he wished to kiss that lips of yours but as much as he wants that he knows what he's here for.

"I'm sorry to intrude your talk but I have to discuss something with Billy" He said while placing his calloused hand on the humans shoulder literary towering over the pathetic human. "Oh it's fine, So'lek. I don't mind." you said and put your attention to Billy. "See you around, bill. Hope to hear one of your jokes again." You shot a wink at him before leaving them making So'lek grin a bit.

Once So'lek made sure you were out of sight he dragged Billy in a secluded part of the HQ before looking down at them with fury and anger. "You should know what to touch what's not yours, Billy." So'lek said with evident anger as he thought what to do with this human. "Oh come on, So'lek I wasn't doing anything on them, though I didn't recalled Sarentu calling you as his mate so typically you don't belong to her"

As Billy spoke So'lek's anger was building it up and once the human stopped talking he lunched forwards grabbing ahold of it's neck, suffocating him. "You just don't know, human. Your pathetic and weak and you dare to speak to me that way. Though as Sarentu said hear once more I'll make sure they'll never hear you again."

With a firm grip on Billy's neck he broke it and dropped the lifeless body on the ground mercilessly kicking it even te see if it was still alive.

So'lek eyes we're full of anger as he saw the looked at the body, as much he would never admit he was obsessed with the Sarentu he'll do anything to make them his and his only even forcing tsaheylu.

✦ All rights reserved, creation by mumshin

[thewolvesof1998]

Created by @mostlyinthemorning

Day 12 pt. 2

Okay, so I thought I would do something special for the last day, here is a list of all of my favourite fics from all of my mutuals (I've read like 95% of these and others are highly anticipated!) I'm going to have to do this in two parts!

The Powder Room Plotby tinygiantsam @watchyourbuck 

“Let me eat you out,” Eddie whispered, his voice dark. He gripped Buck's sides harder, rocking his hips up. Buck whimpered, inhaling sharply. The force made him bend over the sink, pushing himself farther against Eddie’s cock. “Eddie,” he said, warningly. “Please, Buck, let me eat you out,” he insisted, smelling the back of his head with his eyes closed. “No one’ll notice.”

Cow Eyes by theotherlucifer @theotherbuckley 

Buck gets the call on a Saturday. He’s sat at the kitchen table, delving into some strange corner of the internet where he’s apparently discovered that seahorses hold each others' tails when they swim and that cows have best friends and that Eddie’s big brown gorgeous eyes remind him of cow eyes and maybe if they were cows then they’d still be best friends— And then he gets the call. His phone starts ringing just as he’s learning about polar bears giving each other nose boops. He reaches out and grabs the phone off the counter, still so lost in his deep dive that he doesn’t even check the number that’s calling. “Hello?” “Is this Evan Buckley?” A professional-sounding woman answers. It’s then that Buck promptly forgets whatever facts he just learnt and instead feels a familiar ache creeping its way into his chest. “That’s, uh— that’s me,” he manages to get out. “You’re listed as Eddie Diaz’ emergency contact, is that right?” (Or the 'Eddie's in hospital and Buck tries not to break down' fic except its actually just a cute silly little fic)

[Music Embedded] Burning Bright by Mangacat, with (wilfriede0815) @mangacat201

"The 118" is a secret tip still in the punk rock scene, but their manager Bobby Nash is determined to give them their Big Break soon. Right now, they're playing gigs wherever they can get them and working on a first album - with Buck trying to overcome songwriting insecurities, Eddie there to help, Chim and Ravi eager to enable and Hen despairing at the task of corralling that whole chaos clowncar by herself. Meanwhile, Christopher is working to outfox them all (in the name of love, of course).

right in front of your eyesby rainbow_nerds @rainbow-nerdss

He and Chris, and Buck. They work, they’re a unit. Why should it matter that he’s single? Buck is watching him, like he’s reading every thought on his face. “You’re already planning to lie about the date. Why don’t you just tell her you met someone yourself?” Eddie shrugs and tilts his head to the side, squinting in thought. “She won’t set me up on dates if she thinks I’ve got someone,” he muses. “But she’ll want to meet whoever it is.” “So... Introduce them?” Or: Buck offers to fake-date Eddie so Pepa will stop setting him up on dates.

I got a bed but I’d rather be in ours tonight by LongConvolutedSimiles @nmcggg 

He’s close, he can’t believe he’s close already, from rubbing up against the mattress like a teenager having a wet dream. He could say it’s because he hasn’t done this in so long, spending night after night with Eddie by his side means he hasn’t had much privacy. But really he’s close because everything is just so overwhelmingly Eddie that it feels like he’s here, it feels like he’s watching him. “Buck?” Oh fuck, oh fuck, fuckfuckfuck. - Or Buck and Eddie have been sharing a bed for a couple of months now, but when Eddie is away on a date Buck decides to let off some steam. Eddie comes home early.

You don't know how much love it cost me to say goodbye by Feru_08 @pirrusstuff 

It's día de muertos and Evan Buckley prepares to see Eddie once again

i'll keep you alive if you show me the way by rosebuddiekin @giddyupbuck

“I know you’re there. I believe in you.” Eddie knows he isn’t just talking to Buck anymore. He doesn’t care, though, not enough to stop himself from crying out to any higher power that might be out there. “I want to believe.” It’s the truth. Eddie wants to believe, because Buck does. “Just, not Buck. Okay?” He can feel the tears starting, but he can’t be bothered to let go of Buck’s hand to clear them. Or: Eddie pleads with the Universe to save Buck after the lightning strike.

i'll lie awake for you by diazbegins @evanbegins

Eddie’s brings his hand back up to squeeze Buck’s jaw affectionately, thumb prodding at the corner of his mouth with a glint of mischief and arousal in his eyes, “I think we already got pretty messy last night.” “Well, that was ‘cause we got married a week ago,” Buck makes up that excuse and kisses Eddie all sloppy, biting his pouty bottom lip and putting a bit more of his weight forward to try and get Eddie on his back. Eddie doesn’t let him, turning his head so their lips connect more comfortably on each kiss. “We had plenty of messy mornings at Big Bear,” Eddie says when they break away before surging back forward, a warm pit in his stomach getting more and more evident the longer they keep on kissing so sweetly. Buck rolls his eyes but lets a noise escape him when Eddie gives a sharp nip to his lip, big hand squeezing the meat of his thigh before resting on his hip with a firm grip, “We need messy mornings when we aren’t on a honeymoon.” Or: Buck and Eddie, newly-weds, spend their well-deserved time alone. (AKA buddie fucking for about 7.9k words)

I'm not afraid to change your name ('cause I'm crazy about you) by smilingbuckley @smilingbuckley

5 times Buck gets called by his new last name + 1 time he has another name change -- "Hmm," Eddie nuzzles his nose against Buck’s cheek, "God, I love you." Buck, whose eyes had closed at the feeling of Eddie being cute with him, opens his eyes. They turn wide. They hadn't said that yet. Not after they started dating. Before, sure, but they had been just best friends. "You do?" Buck asks, voice soft. Eddie takes a step back and turns Buck around so he can look at him, then he cups Buck’s face. "I am so hopelessly, painfully, endlessly in love with you, Evan Nash." Buck’s cheeks redden more, "I love you too."

pumpkin patch kinda love by browney3dgirl6 @hoodie-buck

“How much longer dad?” “I’m sure they’re almost ready. Why don’t you hang out with your friends until it’s time?” Christopher frowned. “Can you go ask dad, please?” Eddie would rather do anything else, thanks. But, when your kid was your world, and his big puppy dog eyes were looking up to you, well—he was only human. Eddie gave Chris’ shoulder a squeeze before looking around, spotting what looked to be a teacher. Well, they had a clipboard in their hands at least. Walking toward the teacher like person, Eddie stopped as he got closer, clearing his throat. “Um, excuse me, are you one of the teachers?” The teacher turned around to face him, Eddie suddenly a little short on words. “Oh yea, hi. I uh, I’m Mr. Buck.” Of course he was. —or— During the halloween season, Eddie is introduced to Christophers teacher, the one with pretty blue eyes that he just can’t seem to stop running into

you're where i stand, hearing the sea by Maira @carrierofthepaperclips 

What could Eddie possibly say? Sorry I accidentally kissed you, my body followed my heart without my permission? Sorry that our first kiss was so absentminded, when it should’ve been filled with everything I have yet to find the words for? Sorry that I’ve wanted to kiss you for so long, I can’t remember a time when I haven’t had to fight the urge, and I clearly lost that fight a minute ago? ... or the one with the accidental kiss.

Play me like a fiddle by JamesPearce911 @jamespearce9-1-1

Eddie plays the French Horn for the Los Angeles Philharmonic and is told about the wonderful new cello soloist playing with them for this concert. He sounds like a pretentious asshole and Eddie vows not to like him. In walks Evan Buckley, cellist from New York and soloist for this concert. Eddie quickly realises he's in trouble as the man immediately casts a spell on him, turning Eddie into a blushing mess. Can he put aside his feelings for Buck long enough to remain a professional and get through this week without making any poor decisions? (Spoiler Alert: he cannot)

Buck's Coma vs. Real World Checklist by marcato @jeeyuns

Buck: When I wake up, and I mean like every single time, I have this checklist now that I run in my head, like a way to test that I'm really here. Maddie: So, what do you check?

Out Of Order, Still In Line by callmenewbie @callmenewbie

“Alright. So, how do you wanna do this?” “I don't know, I didn't think that far.” Buck closed his eyes for a moment, trying to collect his thoughts, which was a task harder than he expected. “I guess, just… talk to me.” “About what?” Oh, god. Fuck. Okay. They were in it now, so he might as well just… “Tell me what to do.” Buck half-expected Eddie to quip ‘you don't know how to jerk off?’ but instead there was a moment of pause, then: “Okay.” Or When Buck finally gets to the Clinic, the long awaited release doesn’t seem to come; cue Eddie to the rescue.

Say It All Out Loud by spacebabe17 @thosetwofirefighters 

For a moment, he feels guilty about worrying—this is Tia Pepa, his favorite aunt, the one person who has always been on his side—but then he remembers what his parents—his father—had said when he’d tried having this conversation with them at nineteen. He knows Pepa and trusts her so much, but he’d trusted his parents too. or After his "date" with Vanessa, Eddie comes out to his aunt.

past the curses and cries (there's me and you) by MonsterRae1 @monsterrae1

“Welcome to Buckley’s magical apothecary,” The words died down on his throat as soon as he looked at who had walked through the doors. Eddie, Hen and Chim were walking towards the front desk; Hen and Chim were a couple of steps behind Eddie, staring at him with a worried expression, while Eddie looked completely tranquil, as he held on to a bracelet. On a surface level, Eddie looked like he did any other day, far too handsome in his uniform, with a small smile on his lips, and a teasing gleam on his eyes. But that wasn’t all, because all around him, Buck could see the lines of a curse taking hold of him. “What happened, what did you do?” Buck said instead of his usual greeting, walking to meet Eddie in the hallway, bumping his hip into his desk in the process, rattling the instruments he had left there. “What’s the curse?” Eddie rolled his eyes at him and said, “There isn’t one!” As Chim answered, “The bracelet is sending people to the hospital, near death experiences all of them” Or, Buck's a witch, Eddie's cursed, can I make it any more obvious?

Kiss Me Before it's Over (If Only for a Minute) by Bob_loblaws_lawblog @buddierights 

Evan Buckley is living out his childhood dream as the star hitter for the Philadelphia Phillies. He’s climbing the ranks, improving his stats with every single game – he’s unstoppable. That is, until the Los Angeles Angels get a new pitcher seemingly out of nowhere. Known for his strong arm and tricky curve balls, Eddie Diaz is one of the few pitchers in the nation who consistently makes Buck strike out, and its infuriating. Even from the sixty feet that separate them between the batter’s box and the pitcher’s mound, the weight of Diaz’s gaze is enough to make Buck’s blood boil. Because Buck doesn’t get nervous on game day, he never feels calmer than when he steps up to the plate with the bat in his hand – it’s where he belongs. But when he sees Eddie Diaz standing on that mound, his stomach flips and nerves spark across his skin. Because if there is one thing Buck knows for sure, it is that he hates Eddie Diaz. … Until he doesn’t.

tagging: @hippolotamus @exhuastedpigeon @steadfastsaturnsrings @monsterrae1 @pirrusstuff @spotsandsocks @buddierights @jamespearce9-1-1

[rowinablx]

Let’s dive into the canon queer representation in 9-1-1 and its spin-off 9-1-1: Lone Star. Both shows, created under the Ryan Murphy umbrella, have made significant strides in featuring queer characters as integral parts of their narratives, often embedding their identities into the fabric of the high-stakes first-responder world. Here’s a look at how each series handles its queer representation, the characters involved, and the impact of their portrayals.

9-1-1: Queer Representation in the Original Series

9-1-1, which premiered on Fox and moved to ABC for its seventh season, has consistently included queer characters from the jump, weaving their stories into the ensemble cast of Los Angeles firefighters, paramedics, and dispatchers. The show doesn’t shy away from making these characters central to its emotional and dramatic arcs.

Henrietta "Hen" Wilson: Introduced in the pilot, Hen (played by Aisha Hinds) is a Black lesbian firefighter and paramedic at Station 118. Her queerness is established early—by Season 1, Episode 5 ("Point of Origin"), we meet her wife, Karen Wilson, and learn about their family life. Hen’s relationship with Karen (Tracie Thoms), a rocket scientist, is a cornerstone of the series, showcasing a stable, loving partnership that faces real-world challenges like parenting, infidelity (via Hen’s ex, Eva), and fostering kids. Their story isn’t just background noise—it’s given depth, with arcs like their struggle to adopt and Karen’s near-death experience in Season 6 highlighting their resilience. Hen’s identity as a queer woman of color also intersects with her professional life, where she navigates racism and sexism, making her a standout example of layered representation.

Karen Wilson: Karen complements Hen as a brilliant, supportive spouse. She’s not just "the wife"—her career and personal growth get screen time, like when she returns to work after a lab explosion in Season 6. Their marriage, complete with its highs (renewing vows in Season 3) and lows (Eva’s interference), offers a rare portrayal of a long-term queer relationship on network TV that feels lived-in and authentic.

Evan "Buck" Buckley: Buck (Oliver Stark) became a bisexual icon in Season 7, Episode 4 ("Buck, Bothered and Bewildered"), when he kisses Tommy Kinard. His journey to this point had been speculated by fans for years, with many pointing to queer-coded moments—like his intense bond with Eddie Diaz—as evidence. Buck’s coming out isn’t a one-off; it’s explored as he navigates his first same-sex relationship with Tommy, grappling with jealousy, self-discovery, and acceptance from his team. While some fans hoped for a Buck/Eddie ("Buddie") romance, Buck’s bisexuality is a historic move for a main character on a primetime procedural, especially given his prior womanizing persona. It’s a shift that feels earned, not forced, and opens new storytelling avenues.

Tommy Kinard: Introduced in Season 2 as a firefighter at the 118, Tommy (Lou Ferrigno Jr.) returns in Season 7 as an openly gay helicopter pilot. His relationship with Buck marks the show’s first canon male/male romance among the core cast. Tommy’s chill, confident demeanor contrasts with Buck’s chaos, and their dynamic—kicking off with that pivotal kiss—adds a fresh queer layer to the series. He’s not just a love interest; his history with the 118 ties him to the show’s world organically.

Michael Grant: Bobby Nash’s ex-wife’s new partner, Michael (Rockmond Dunbar), is gay and appears in Seasons 1-5. A Black architect, he co-parents with Athena and faces his own challenges, like a brain tumor diagnosis. His relationship with Dr. David Hale (introduced in Season 4) offers another positive depiction of a queer couple, though his exit in Season 5 (due to actor vaccine mandate issues) cuts their story short.

Josh Russo: A recurring gay dispatcher (Bryan Safi), Josh has been around since Season 1. His queerness is casual—mentioned in passing, like his dating woes—but he’s a reliable part of the 911 call center, often providing comic relief or emotional support (e.g., helping Maddie after her abduction in Season 5).

The queer representation in 9-1-1 stands out for its diversity—spanning race, gender, and relationship stages—and its refusal to sideline these characters. Hen and Karen’s marriage predates Buck’s arc by years, proving the show’s commitment to queer stories wasn’t a late addition. Buck’s bisexuality, while a fan-driven triumph, builds on this foundation, making 9-1-1 a procedural where queer identities aren’t just token gestures but lived experiences.

9-1-1: Lone Star: Queer Representation in the Spin-Off

Launched on Fox, 9-1-1: Lone Star takes the franchise to Austin, Texas, and doubles down on queer representation from the outset. With a smaller main cast, its queer characters carry significant narrative weight, often driving the show’s emotional core.

Tyler Kennedy "TK" Strand: TK (Ronen Rubinstein), the son of fire captain Owen Strand, is a gay paramedic with a complex backstory—addiction, heartbreak, and a move from New York to Texas. His queerness is explicit from the pilot, and his romance with Carlos Reyes becomes the show’s beating heart. TK’s journey—overdose recovery, proposing to Carlos, and their Season 4 wedding—marks a rare network TV arc where a gay man’s love story is front and center. Rubinstein has spoken about the role’s personal impact, noting how it helped him embrace his own fluid sexuality.

Carlos Reyes: A gay Latino police officer (Rafael L. Silva), Carlos starts as TK’s fling but evolves into his husband. Their "Tarlos" relationship is a fan favorite, blending steamy chemistry with grounded struggles—think TK’s relapses or Carlos’s family tensions. Silva, a queer actor, brings authenticity to Carlos, whose coming-out to his traditional parents in Season 1 and eventual acceptance in later seasons resonate deeply. Their wedding in Season 4, Episode 4 ("Abandoned") is a milestone—mainstream TV rarely gives gay couples such a celebratory spotlight.

Paul Strickland: Paul (Brian Michael Smith) is a Black transgender firefighter, a groundbreaking role played by a trans actor. Introduced in the pilot, Paul’s trans identity isn’t a plot device—it’s part of who he is. His backstory (revealed in Season 1, Episode 3, "Texas Proud") shows his transition and family rejection, but the show focuses on his present: a skilled firefighter with sharp instincts. Paul dates in Season 2 (Ashanti) and Season 5 (Josie), offering a trans man’s romantic life without tragedy porn. Smith has emphasized the role’s importance in showing trans people as everyday heroes.

Nancy Gillian: Introduced as a bisexual paramedic in Season 2 (replacing Liv Tyler’s Michelle), Nancy (Brianna Baker) is a newer addition to the queer roster. Her bisexuality is subtle—confirmed via a fling with a woman in Season 3—but she’s a badass team member, often paired with TK and Tommy Vega. Her inclusion broadens the show’s queer spectrum without overexplaining it.

Lone Star leans harder into queer narratives than its predecessor, with TK and Carlos’s romance rivaling any straight couple on network TV for screen time and depth. Paul’s trans storyline, while less romance-focused, breaks barriers by normalizing a trans first responder. The show’s boldness—three queer main characters from day one—sets it apart, though its smaller ensemble means fewer queer voices overall compared to 9-1-1’s growing list.

Comparing the Two Shows

Both series excel at integrating queer characters into their high-octane worlds, but their approaches differ:

Volume vs. Depth: 9-1-1 has more queer characters (six canonically confirmed), reflecting its larger cast and longer run. Lone Star has fewer (four), but their stories—especially TK and Carlos’s—get deeper focus, with multi-season arcs culminating in a wedding. 9-1-1 spreads its queer representation across more lives, like Hen’s family and Buck’s awakening, while Lone Star bets big on its core trio.

Diversity: Both shows prioritize intersectionality. 9-1-1 features Black lesbians (Hen, Karen), a Black gay man (Michael), and a white bisexual man (Buck), plus Tommy and Josh. Lone Star offers a gay white man (TK), a gay Latino man (Carlos), a Black trans man (Paul), and a Black bisexual woman (Nancy). This range ensures queer identities aren’t monolithic, reflecting race, gender, and cultural nuances.

Narrative Role: In 9-1-1, queer characters are part of the ensemble—vital, but not always the A-plot (Buck’s arc aside). Lone Star makes TK and Carlos’s relationship a tentpole storyline, often tying it to the show’s emotional stakes (e.g., their wedding amid a serial killer arc). Paul’s transness, while less spotlighted, is a quiet constant, normalizing his presence.

Cultural Impact: 9-1-1’s move to Buck’s bisexuality in 2024 grabbed headlines, partly due to its fanbase’s Buddie obsession and the show’s network shift. Lone Star made waves earlier, with GLAAD praising its trans and gay representation from 2020. Both have pushed network TV boundaries—Lone Star with its upfront queer leads, 9-1-1 with its slow-burn queer evolution.

Strengths and Critiques

Strengths: Both shows avoid stereotypes—Hen’s not a tragic lesbian, Paul’s not a token trans martyr, and TK and Carlos defy the "bury your gays" trope with a happy ending (so far). They’re heroes first, queer second, which normalizes their presence. The casting—queer and trans actors like Silva and Smith—adds authenticity.

Critiques: Some argue 9-1-1 flirted with queerbaiting via Buck and Eddie’s bond, only delivering on Buck’s queerness after years of subtext. Lone Star has been praised for Tarlos but criticized for not giving Paul’s romantic life equal weight. Neither show has asexual or non-binary characters yet, a gap in broader LGBTQ+ representation.

Conclusion

9-1-1 and 9-1-1: Lone Star showcase canon queer representation that’s rare for procedurals—diverse, central, and unapologetic. 9-1-1 builds a wide queer tapestry over time, with Buck’s arc as its latest triumph. Lone Star dives in headfirst, making queer love and identity its backbone. Together, they prove first-responder dramas can be a space for queer heroes, not just straight saviors, setting a bar network TV is still catching up to.

[calliope-nash]

The Little Nash: Buddie's Girl

Chapter 1

Chapter 2

Callie: So, guess who is back in my life.

Dazja: I thought he lived in Texas. When did he move and why is he a firefighter. Not that I am complaining about that. Wait, are you going to connect both books?

Callie: I think so. Plus, it would make life easier for me. Though Eddie found out I wrote some spicy scenes, and he wasn’t happy. But that other guy who I was thinking about making the other love interest, seemed to calm Eddie down. He is totally cool with a love interest. 

Dazja: Just be careful. Don��t get feelings like you did last time.

After that I didn’t respond to her. Eddie had been someone I was close to, but feelings were something I never accounted for. I was normally good at keeping myself at arm’s length from those I was working with. Eddie just broke through so many walls I held up, but I couldn't start anything. Luckily at the time he was married, and I didn’t worry about that. Now I have no idea if those feelings will return or if Buck will be the new person they will go too. I pray for neither or hell even both. 

I got up for the day and started to look for my old files on Eddie. I made it a mission to learn everything I can about the people I write about to make it seem more real and less like interviews. It helped to humanize some of the soldiers who didn’t have much of a personality except that they needed to protect others. 

I found the file I was looking for, the one about his wife Shannon. I figured that I needed to update the file seeing as if Eddie was in LA, she was too. I looked up her name and LA in a search bar. What I learned saddened me. She died. Eddie must have been devastated. I decided to look up the case file from her death. I needed to get access to that. 

As if someone knew I was doing research, there was a knock on my door. Okay no one knew where I lived yet. But when I opened the door, there was my brother and a woman I wasn’t sure who she was. I let them in and asked if they wanted anything.

“Callie, this is my wife, Athena.”

“You got married again?”

Bobby only nodded. I didn’t waste anytime and hugged her and welcomed her to our weird ass family. She seemed surprised by how okay I was with them not inviting me to the wedding. I had no issue with it mostly because I was too busy writing my novel at the time I wasn’t really talking to anyone except my editor.

Bobby promised that the three of us would get together and have dinner. I agreed as long as he didn’t mind, I used it as an interview for my new book. Athena looked at me with confusion. I told her about my new idea and how the two male love interests were going to be based on Buck and Eddie. Which was the first Bobby heard about.

“No.”

“My book, my rules. Besides, Buck already agreed, and Eddie has given me permission to use his likeness and or his personality in any novel I write.”

Athena just gave Bobby a look, which I read as ‘your sister is sassy, and I like her.’.  I high fived her for her support. We all sat down to have some breakfast before Bobby’s shift started. As we ate, I was glad to have a sister-in-law who didn’t take any of Bobby’s shit. At one point Bobby went to the restroom and I got a chance to talk to Athena alone.

“How the hell did my brother get to be with an amazing woman? Like seriously, he has no game at all, and the man has some fucking issues.”

“It just happened. We decided to give it a shot after an interesting call about a man on a motorcycle. Besides that, everything about us has been good. Your brother is a good man who has been through hell and back.”

“I know he is. He just worries about me sometimes. We didn’t talk for a long time after I left to work as a journalist who wrote about overseas missions. That’s how I know Eddie. I was embedded with his team on his last tour.”

“Bobby told me about that. I read some of your articles from your time there. You never used anyone’s name. Why?”

“Its their story to tell, if they want to put their name on it that’s not my decision to make.”

Before I could say anything else, Bobby came back. I told her we would talk later. Athena just laughed. Bobby told me that if I planned on going in today, that I should get ready before he left and he would drive me to the firehouse. I told him to just go on without me. I had to do something first. Athena asked what I needed to do. Grabbing my laptop, I showed them my google search about Shannon. Bobby was the first to speak up. He told me not to talk about her around Eddie. Like I was planning on bringing more trauma to his life than he has already been through. 

After talking to them about what I needed to know about Shannon’s death, I was glad I never mentioned that Diego, the character based on Eddie, had a wife. I had written about a son, but never a wife. Which I can easily explain in this new book. My heart broke for Eddie, he was a good man who had more love to give than he was given. The few times I talked to Shannon without Eddie’s knowledge; I hated her. Though I understood what she was the way she was about Christopher. She had no clue what it was like to have a child with a disability.

I walked the two of them out. Before I could get dressed, I started crying. Eddie needed someone in his life who could be not only his rock but also good with Christopher. Though I knew that crying for a man who didn’t want to talk to me right now was pathetic, I cared about him. I got myself composed and got ready to be in interview mode.

Getting to the fire house wasn’t that hard, but getting out of my car was. Just as I was going to open my door, I saw Eddie’s truck. Taking a few deep breaths, I opened my door and walked toward him. 

“Eddie?”

“Calliope.”

“Okay I deserve that. Listen, I promise I never meant to keep those scenes from you. It just never felt like the right time to bring them up. After everything that happened to us in Afghanistan, I figured that you didn’t want to talk about anything relating to your time there. I promise to try and make this up to you. The first step for that is informing you that the next book will be a sequel which makes the series into a why choose romance. Diego will still be there, but Stella, the female lead, will have another male who takes interest in her. He will be based on Buck.”

“WHAT?! First you write scenes with basically you and me. Now its going to be you and Buck?”

Before I could explain anything, Eddie walked away, leaving me standing there like an idiot. Slowly, I walked to the lobby to check in with Bobby. Almost immediately he knew something was wrong. I just shook my head and told him to drop it. As I started setting up in one of the spare offices, Buck entered. He looked like he wanted to apologize for something.

“Eddie’s response to what the plans are for my novels are valid for him. Though he didn’t let me explain that it wasn’t just scenes that he thinks I am going to write. The character that is going to be based on you will be having some sex scenes that are with my female lead. Eddie thinks it means something more than it is.”

Buck tried to help me understand where Eddie was coming from. Though I suspect it has more to do with not wanting his teammate in a foul mood at a scene. I thanked him for listening and asked when we could do our first interview session. The word session messed with Buck a little. He seemed annoyed by it. I just laughed at his face.

“Guessing you don’t like the thought of therapy? That is kind of what interviews are though. At least in my experience.”

“Just don’t want people to see me in the wrong light.”

“Buck, the interview is just for me. Its to help me pick details for your character. I might even show you the first one I did with Eddie some day. With his permission of course. Consent is sexy.”

My final sentence made Buck laugh. We talked for a bit and got to work on scheduling his first interview. Learning about Buck was nice. He had a good heart and I was hoping to reflect it in the novel. The bell rang and they all went out. Eddie was the man behind for the first half of the shift. Which was just fantastic. 

I distanced myself from him and started working on an outline for the story. We weren’t going to be talking anytime soon with his attitude the way it was, but I still held hope that he would let me explain. 

Around lunch, once the team had returned, Bobby made burgers. He asked me and Buck to help make some sides. I worked on making fries, regular and sweet potato ones, while Buck made macaroni and potato salads. 

“Why do people eat those? Mayonnaise is disgusting except in a few circumstances.”

“You don’t like mayonnaise? How are you Bobby’s sister?”

“You have no idea how many times I was asked that growing up. Minnesota is brutal when it comes to their salads. Though I think it has something to do with my mom being from Oregon. She was a character.”

Buck grabbed the salads as we walked to the table. He apologized if talking about my mother was difficult. Shrugging was my response. It wasn't hard to talk about her, it was more living with the memories of her and the ones i won't be able to share with her.

We got the table all set up just as Bobby finished the last of the burgers. I waited until everyone else had gotten their food before getting mine. Figuring I wasn't welcome to sit with the 118 family, I started to walk back to the office I was set up in. 

Bobby asked me where I was heading. Gesturing to the office, he told me to sit down. Buck waved me over and I sat next to him. Eddie was on his other side. I thanked whichever god was watching over that Buck didn’t make me sit between the two of them. Lunch was a nice change of pace. Howard, who told me to call him Chim or Chimney, asked what the plans were for my time here.

“Well, once I have enough information from all of you guys, I'll probably leave until the book is done. No distractions. Though that is just the plan as of right now.”

“You'll leave like always” Eddie’s voice held a venom i wasn't surprised by.

“Edmundo, do we need to have a private conversation now, or wait until we schedule a time for an interview?”

“You are going to interview me again?”

“Yes, you have changed. Why wouldn't I want to know what has changed and what is the same.”

My comment shuts Eddie up for the time being. Buck lightly squeezes my hand under the table. The gesture was welcomed, but surprising. I tried to ignore the looks Bobby and Buck were giving me. But Bobby was the one I was more worried about. He never wanted me to date a firefighter. 

I stopped talking after my staring contest with my brother. There was nothing worse than when Bobby got over protective. Especially after what happened in Minnesota. 

After lunch, I went back to the office I was set up in, to work on setting up a schedule for who is doing interviews when as well as when I wouldl be shadowing the team to better understand what they do on calls. Bobby used to try and tell me, but I was bored most of the time. Never felt the need to know. 

After roughly twenty minutes, Athena came to the door. She informed me that Bobby had asked her to check on me. Rolling my eyes, I shook my head.

“He wants to know what Eddie meant at lunch. I don’t want to talk about it. Besides, Eddie can’t say anything about my leaving when he was the one to… Nevermind, it’s in the past.”

“Eddie lead you on?”

“No, I got romantically invested, and I needed space. I think he thought I wanted to leave before their mission was finished. Which was not the case at all. The longer I was with them, the harder it was going to be for me to leave. Honestly I would have gone to Texas with him.”

Athena understood what I was impling with my confession. “Have you ever told him?”

I shook my head. He was married and I wasn’t going to be a homewrecker. Looking back now, Eddie always asking me about my personal life just as much as I was asking about his. Before I could tell her anything else, Buck walked in. I realize everyone was back. I thank Athena for listening. She gave Buck a pat on the shoulder as she left. 

“I don’t want to talk about it. Eddie and I are a complicated friendship.”

“Good, because I asked Bobby a question. Now I am going to ask you one.”

“Buck?”

“Have dinner with me tonight?”

[professor-amaryllis]

:{ A Live Video Feed is embedded. This transcription has been helpfully translated from Kantonian to Unovan using Poryphone™ translation technology! }:

The camera follows closely behind the professor as they walk through the same cemetery, fingers trailing across the stone monuments to those lost to us as they pass, paying a silent respect to the spirits that lay sleeping. they pause here and there, some kind of reverence and sadness for this place in their movements.

it takes a few minutes for them to find their destination, another figure sits leaning back against a gravestone, a cigarette held carelessly in his hand and a knowing sort of grin on his face. Between the worn leather jacket, the scars and the mohawk there is no mistaking this man: Nash. He seems... smug, but about what it's impossible to tell.

[sucuretcannelle]

*Mori runs up to Buns and goes to actually kick her but before she can make contact Mori is flung into the kitchen and pretty violently makes contact with some cabinets. Kioshi, in his full armor, was now standing next to Dean*

"..."

"...We found your bird...or she found us"

*Kio looks down at Buns and picks her up*

"Stuck again?"

*Buns nods and Kioshi sighs. He flips up the eye guard on his helmet to look at Dean and mutters something to him. Mori was actually embedded in some cabinets in the kitchen*

GOOD. LORD. Can't have a single conversation around here.

You need help there?

Can you just...get her back up or something?

[*Nash walked into the kitchen, laughing to himself. He held a hand out to Mori*]

Are you good?

Does she look fuckin good to you?

[*Jason and Regina just looked at him, not saying anything*]

Jace? Where'd that attitude go?!

SHUT UP.

[drmikewatts]

IEEE Transactions on Fuzzy Systems, Volume 33, Issue 6, June 2025

1) Brain-Inspired Fuzzy Graph Convolution Network for Alzheimer's Disease Diagnosis Based on Imaging Genetics Data

Author(s): Xia-An Bi, Yangjun Huang, Wenzhuo Shen, Zicheng Yang, Yuhua Mao, Luyun Xu, Zhonghua Liu

Pages: 1698 - 1712

2) Adaptive Incremental Broad Learning System Based on Interval Type-2 Fuzzy Set With Automatic Determination of Hyperparameters

Author(s): Haijie Wu, Weiwei Lin, Yuehong Chen, Fang Shi, Wangbo Shen, C. L. Philip Chen

Pages: 1713 - 1725

3) A Novel Reliable Three-Way Multiclassification Model Under Intuitionistic Fuzzy Environment

Author(s): Libo Zhang, Cong Guo, Tianxing Wang, Dun Liu, Huaxiong Li

Pages: 1726 - 1739

4) Guaranteed State Estimation for H−/L∞ Fault Detection of Uncertain Takagi–Sugeno Fuzzy Systems With Unmeasured Nonlinear Consequents

Author(s): Masoud Pourasghar, Anh-Tu Nguyen, Thierry-Marie Guerra

Pages: 1740 - 1752

5) Online Self-Learning Fuzzy Recurrent Stochastic Configuration Networks for Modeling Nonstationary Dynamics

Author(s): Gang Dang, Dianhui Wang

Pages: 1753 - 1766

6) ADMTSK: A High-Dimensional Takagi–Sugeno–Kang Fuzzy System Based on Adaptive Dombi T-Norm

Author(s): Guangdong Xue, Liangjian Hu, Jian Wang, Sergey Ablameyko

Pages: 1767 - 1780

7) Constructing Three-Way Decision With Fuzzy Granular-Ball Rough Sets Based on Uncertainty Invariance

Author(s): Jie Yang, Zhuangzhuang Liu, Guoyin Wang, Qinghua Zhang, Shuyin Xia, Di Wu, Yanmin Liu

Pages: 1781 - 1792

8) TOGA-Based Fuzzy Grey Cognitive Map for Spacecraft Debris Avoidance

Author(s): Chenhui Qin, Yuanshi Liu, Tong Wang, Jianbin Qiu, Min Li

Pages: 1793 - 1802

9) Reinforcement Learning-Based Fault-Tolerant Control for Semiactive Air Suspension Based on Generalized Fuzzy Hysteresis Model

Author(s): Pak Kin Wong, Zhijiang Gao, Jing Zhao

Pages: 1803 - 1814

10) Adaptive Fuzzy Attention Inference to Control a Microgrid Under Extreme Fault on Grid Bus

Author(s): Tanvir M. Mahim, A.H.M.A. Rahim, M. Mosaddequr Rahman

Pages: 1815 - 1824

11) Semisupervised Feature Selection With Multiscale Fuzzy Information Fusion: From Both Global and Local Perspectives

Author(s): Nan Zhou, Shujiao Liao, Hongmei Chen, Weiping Ding, Yaqian Lu

Pages: 1825 - 1839

12) Fuzzy Domain Adaptation From Heterogeneous Source Teacher Models

Author(s): Keqiuyin Li, Jie Lu, Hua Zuo, Guangquan Zhang

Pages: 1840 - 1852

13) Differentially Private Distributed Nash Equilibrium Seeking for Aggregative Games With Linear Convergence

Author(s): Ying Chen, Qian Ma, Peng Jin, Shengyuan Xu

Pages: 1853 - 1863

14) Robust Divide-and-Conquer Multiple Importance Kalman Filtering via Fuzzy Measure for Multipassive-Sensor Target Tracking

Author(s): Hongwei Zhang

Pages: 1864 - 1875

15) Fully Informed Fuzzy Logic System Assisted Adaptive Differential Evolution Algorithm for Noisy Optimization

Author(s): Sheng Xin Zhang, Yu Hong Liu, Xin Rou Hu, Li Ming Zheng, Shao Yong Zheng

Pages: 1876 - 1888

16) Impulsive Control of Nonlinear Multiagent Systems: A Hybrid Fuzzy Adaptive and Event-Triggered Strategy

Author(s): Fang Han, Hai Jin

Pages: 1889 - 1898

17) Uncertainty-Aware Superpoint Graph Transformer for Weakly Supervised 3-D Semantic Segmentation

Author(s): Yan Fan, Yu Wang, Pengfei Zhu, Le Hui, Jin Xie, Qinghua Hu

Pages: 1899 - 1912

18) Observer-Based SMC for Discrete Interval Type-2 Fuzzy Semi-Markov Jump Models

Author(s): Wenhai Qi, Runkun Li, Peng Shi, Guangdeng Zong

Pages: 1913 - 1925

19) Network Security Scheme for Discrete-Time T-S Fuzzy Nonlinear Active Suspension Systems Based on Multiswitching Control Mechanism

Author(s): Jiaming Shen, Yang Liu, Mohammed Chadli

Pages: 1926 - 1936

20) Fuzzy Multivariate Variational Mode Decomposition With Applications in EEG Analysis

Author(s): Hongkai Tang, Xun Yang, Yixuan Yuan, Pierre-Paul Vidal, Danping Wang, Jiuwen Cao, Duanpo Wu

Pages: 1937 - 1948

21) Adaptive Broad Network With Graph-Fuzzy Embedding for Imbalanced Noise Data

Author(s): Wuxing Chen, Kaixiang Yang, Zhiwen Yu, Feiping Nie, C. L. Philip Chen

Pages: 1949 - 1962

22) Average Filtering Error-Based Event-Triggered Fuzzy Filter Design With Adjustable Gains for Networked Control Systems

Author(s): Yingnan Pan, Fan Huang, Tieshan Li, Hak-Keung Lam

Pages: 1963 - 1976

23) Fuzzy and Crisp Gaussian Kernel-Based Co-Clustering With Automatic Width Computation

Author(s): José Nataniel A. de Sá, Marcelo R.P. Ferreira, Francisco de A.T. de Carvalho

Pages: 1977 - 1991

24) A Biselection Method Based on Consistent Matrix for Large-Scale Datasets

Author(s): Jinsheng Quan, Fengcai Qiao, Tian Yang, Shuo Shen, Yuhua Qian

Pages: 1992 - 2005

25) Nash Equilibrium Solutions for Switched Nonlinear Systems: A Fuzzy-Based Dynamic Game Method

Author(s): Yan Zhang, Zhengrong Xiang

Pages: 2006 - 2015

26) Active Domain Adaptation Based on Probabilistic Fuzzy C-Means Clustering for Pancreatic Tumor Segmentation

Author(s): Chendong Qin, Yongxiong Wang, Fubin Zeng, Jiapeng Zhang, Yangsen Cao, Xiaolan Yin, Shuai Huang, Di Chen, Huojun Zhang, Zhiyong Ju

Pages: 2016 - 2026

[just-endless-nonsense]

Francord of Clan Ambrose

Nash's father. Originally born into Clan Siar, Francord had only recently converted to Clan Sanst - his father's clan - when Sanst fell, and then converted to Clan Ambrose. Because of this history he chose not to go into hiding with Ambrose, feeling no real connection to the rest of the clan, and instead roamed the world freely.

Believing his wife infertile, since she believed so herself, Francord chose not to tell her he was a Cubi, something Ambrose requires all his clan members do before breeding. He did not react well to discovering she was pregnant, but her reaction to him being an incubus was even worse: she threatened not only to have him executed, but that he would be imprisoned until the child was born and the child executed with him. He attacked and cast a sleep spell on her, telling the town that she had fallen and planning to keep her unconscious until the child was born so that he could steal it away and abandon his wife. However Ambrose found out about the situation and decided to intervene - personally. This was the one instance where Ambrose deliberately made a public appearance before officially coming out of hiding. By way of false threats he was able to ensure neither Francord nor the child would be killed, but after negotiations with the town he forcefully embedded an anti-magic amulet into Francord's body, threatening (sincerely) to kill him if he tried to remove it before a hundred and fifty years had passed. When the child was born, Ambrose denied Francord the right to raise him, instead granting custody to Hailey.

Francord refuses to discuss the fall of Siar other than to comment that he would have joined the fight had she called him, and that the fall of Sanst was "too soon (after his conversion) to be meaningful on a personal level."

[sheetmusiclibrarypdf]

Crosby Stills And Nash Songbook Guitar TABs

Crosby Stills And Nash Songbook Guitar TABsBest Sheet Music download from our Library.Please, subscribe to our Library.Crosby, Stills & Nash: Architects of Harmony, Voices of a GenerationBrowse in the Library: Crosby Stills And Nash Songbook Guitar TABs Crosby, Stills & Nash: Architects of Harmony, Voices of a Generation Few groups in rock history have embodied the ideals, contradictions, and sheer sonic beauty of their era quite like Crosby, Stills & Nash (CSN, and often & Young - CSNY). More than just a band, they were a cultural phenomenon – a supergroup forged from established talents, defined by angelic three-part harmonies, sophisticated songwriting, and an often-volatile personal chemistry that fueled both their creative brilliance and their frequent implosions. Their legacy is etched in the annals of rock, folk, and counterculture history. I. Biography: The Confluence of Three Rivers The story of CSN begins with the dissolution of three pivotal 1960s bands: - David Crosby: Ejected from The Byrds in late 1967 due to creative differences and personal friction, Crosby was a rebellious spirit with an increasingly adventurous musical vision, exploring jazz influences and complex harmonies. He was a charismatic, outspoken figure deeply embedded in the California counterculture. - Stephen Stills: After the implosion of Buffalo Springfield in mid-1968, Stills was a driven multi-instrumentalist (guitar, bass, keyboards) and prolific songwriter, known for his fiery guitar work and soulful voice. He possessed a strong musical vision and ambition. - Graham Nash: Feeling increasingly constrained in The Hollies, whose pop sensibilities clashed with his desire for more personal and socially conscious songwriting, Nash left the hugely successful British band in late 1968, seeking a new creative outlet in California. The fateful convergence happened at a party at either Joni Mitchell's or Cass Elliot's (Mama Cass) house in Los Angeles in mid-1968. As the story goes, Crosby and Stills were jamming on a new song of Stills' ("You Don't Have To Cry") when Nash joined in. The moment their three voices blended – Crosby's reedy tenor, Stills' bluesy rasp, and Nash's pure, soaring high harmony – something magical and unprecedented happened. They instantly recognized the unique power of their combined sound. "It was an epiphany," Nash later recalled. They decided then and there to form a group. II. Debut and Explosive Success (1969-1970) Signed to Atlantic Records by Ahmet Ertegun, their eponymous debut album, "Crosby, Stills & Nash" (May 1969), was a revelation. It was an almost instant critical and commercial smash, reaching #6 on the Billboard chart and eventually selling over 4 million copies. - The Sound: The album showcased their defining characteristics: - Harmonies: Lush, intricate, and seemingly effortless three-part vocal blends, often with Nash on the high harmony, Stills in the middle, and Crosby on the low (though they frequently shifted roles). This became their sonic signature. - Songwriting: Each member contributed distinct, mature songs: - Stills: "Suite: Judy Blue Eyes" (a multi-part epic for Judy Collins), "You Don't Have To Cry," "49 Bye-Byes" – showcasing his virtuosity and ambition. - Nash: "Marrakesh Express" (a Hollies reject that became a hit), "Lady of the Island," "Pre-Road Downs" – offering melodic pop sensibility and observational clarity. - Crosby: "Guinnevere" (mystical, jazz-tinged), "Long Time Gone" (a powerful reaction to Robert Kennedy's assassination) – displaying his adventurous harmonic sense and social conscience. - Instrumentation: Primarily acoustic guitars and vocals, with Stills handling most bass and lead guitar parts. Dallas Taylor (drums) was a crucial session player. Their second major landmark was Woodstock (August 1969). Only their second live performance ever, their acoustic set ("Suite: Judy Blue Eyes," "Wooden Ships" – co-written with Paul Kantner), followed by an electric set with Neil Young (who had just joined informally) and Dallas Taylor, cemented their status as counterculture icons. Stills' famous quip, "This is only the second time we've performed in front of people, man. We're scared shitless," became legendary. III. Enter Neil Young: CSNY and "Déjà Vu" (1970) Recognizing the need for a stronger rhythmic foundation and another potent songwriter/guitarist, they recruited Neil Young, Stills' former Buffalo Springfield bandmate, initially as a sideman but quickly as a full partner. With the addition of drummer Dallas Taylor and bassist Greg Reeves, they became Crosby, Stills, Nash & Young (CSNY). Their first album as a quartet, "Déjà Vu" (March 1970), was an even bigger success, reaching #1 and becoming one of the defining albums of the era. - Evolution: The sound expanded significantly: - Electricity: More prominent electric guitars (Stills and Young's interplay became a highlight), fuller rhythm section. - Songwriting Diversity: - Stills: "Carry On" (a tour-de-force opening), "4+20" (acoustic blues). - Nash: "Teach Your Children" (an enduring anthem, featuring Jerry Garcia on pedal steel), "Our House" (a poignant domestic vignette). - Crosby: "Almost Cut My Hair" (a counterculture manifesto), the title track "Déjà Vu" (a haunting, complex piece). - Young: "Helpless" (a Canadian pastoral classic), "Country Girl" (a suite). - Harmony Depth: The four voices added even greater richness and complexity to the arrangements. - Cultural Impact: Released amidst the turmoil following the Kent State shootings, CSNY became a powerful voice. Young's immediate response, "Ohio" (released as a single in 1970, recorded with CSNY), captured the outrage and despair perfectly. The subsequent "Déjà Vu" tour was massive but fraught with the tensions that would soon fracture the group. IV. Music Style: Defining the "Laurel Canyon Sound" CSN(Y) pioneered and epitomized the "Laurel Canyon Sound" – a blend rooted in folk but incorporating rock, blues, jazz, and country influences, characterized by: - Harmonic Sophistication: This is their core identity. They didn't just sing together; they constructed intricate vocal arrangements where each voice functioned as an independent yet interdependent part, creating lush, shimmering textures. Their harmonies were often based on extended chords and cluster voicings, moving beyond simple triads. - Acoustic Foundation: Especially evident on the first album and in their acoustic sets, fingerpicked and strummed acoustic guitars provided the bedrock. - Electric Fire: With Stills and Young, they incorporated searing electric guitar solos, bluesy riffs, and rock energy, particularly live and on later albums. - Eclectic Songwriting: Ranged from Nash's concise, melodic pop ("Our House," "Just A Song Before I Go") to Crosby's jazz-inflected, socially conscious epics ("Wooden Ships," "Delta") to Stills' blues-rock workouts and ambitious suites ("Suite: Judy Blue Eyes," "Bluebird Revisited") to Young's raw, idiosyncratic contributions ("Ohio," "Helpless"). - Lyrical Themes: Addressed love, relationships, social and political commentary (Vietnam, civil rights, environment), personal introspection, and the ideals (and disillusionments) of the 1960s counterculture. V. Improvisational Licks and Guitar Work While primarily known for songcraft and vocals, improvisation played a key role, especially live and driven by Stills and Young: - Stephen Stills: A highly versatile and technically proficient guitarist. His style blended: - Blues/Rock: Fiery pentatonic-based solos with string bending and expressive vibrato (e.g., solos in "Wooden Ships" live versions, "Carry On"). - Latin/Jazz Influences: Incorporation of Latin rhythms and jazz phrasing, particularly in his acoustic playing and more complex compositions ("Suite: Judy Blue Eyes" interludes, "Bluebird"). - Acoustic Virtuosity: Complex fingerpicking patterns and rhythmic drive in acoustic settings. His acoustic outro solo on "Suite: Judy Blue Eyes" is a masterclass in melodic acoustic improvisation. - Slide Guitar: Used effectively on tracks like "4+20" and live. - Neil Young: His contributions with CSNY were often characterized by his raw, minimalist, yet incredibly expressive style: - Searing Solos: Often using simple motifs repeated with intense focus and feedback, creating a sense of urgency and chaos (e.g., the solos in "Southern Man," "Ohio" live). - Distinctive Tone: Heavy use of his Old Black Les Paul and Fender Deluxe amp for a raw, trebly, often distorted sound. - Counterpoint to Stills: Young's unpredictable, feedback-drenched style contrasted sharply with Stills' more polished virtuosity, creating a dynamic tension. Listen to their dual solos on extended live versions of "Carry On" or "Down By The River." - David Crosby: Primarily a rhythm guitarist, his strength lay in creating complex, often open-tuned chordal textures that underpinned the harmonies ("Guinnevere," "Deja Vu"). His rhythm parts were foundational, not flashy. VI. Chord Progressions and Music Harmony: Beyond the Triad CSN(Y)'s harmonic language was a major factor in their unique sound: - Extended Chords: Heavy use of 7ths (major 7ths, minor 7ths, dominant 7ths), 9ths, 11ths, and 13ths. These chords added richness, color, and ambiguity. Crosby was particularly adept at this (e.g., the intro chords to "Guinnevere" - Dm(maj7), Gm(maj7), A13sus4). - Suspended Chords (Sus4, Sus2): Ubiquitous in their music, creating a sense of openness, tension, and ambiguity before resolution. Nash often used these for their bright, floating quality ("Teach Your Children" intro - C, F/C, Gsus4-G; "Our House" verses). - Modal Mixture: Borrowing chords from parallel minor or major scales (e.g., using a iv chord in a major key). Adds poignancy and sophistication. - Non-Functional Harmony: Progressions that don't follow strict classical functional harmony (tonic -> subdominant -> dominant -> tonic) but move more freely through color chords, often driven by voice-leading in the vocal parts. Crosby's songs excelled here ("Deja Vu"). - Open Tunings: Crosby and Stills frequently used open tunings (like Open E or Open G) which facilitated unique chord voicings, drones, and fingerpicking patterns ("Guinnevere," "Suite: Judy Blue Eyes" sections, Stills' acoustic solos). - Vocal Harmony as Harmony Driver: The chord progressions were often dictated by the movement of the three (or four) vocal lines, prioritizing the smooth voice-leading and resulting cluster chords over conventional guitar chord shapes. This is why their harmonies sound so integrated and "locked in." - Examples: - "Suite: Judy Blue Eyes": Constantly shifting sections: Folk-rock (E major), Latin-infused (A major with complex extensions), acapella harmonies (modal feel), driving rock (A major). Uses major 7ths, 9ths, sus4 chords extensively. - "Guinnevere" (Crosby): Primarily in D Dorian mode. Uses Dm(maj7), Gm(maj7), A13sus4, E7sus4. Creates a mysterious, floating, jazz-tinged atmosphere. The chords move in parallel, driven by the descending bass and vocal lines. - "Teach Your Children" (Nash): Relatively simple progression (C, F/C, Gsus4-G, C) but the use of slash chords (F/C) and sus4 chords gives it a distinctive open, warm quality perfectly matching the lyric. Jerry Garcia's pedal steel adds another layer of suspended harmony. - "Wooden Ships" (Crosby/Stills/Kantner): Shifts between minor verses (Em, C, G, D) and a powerful, open chorus (G, D/F#, Em, Cadd9). Uses sus chords and modal ambiguity. The outro features Stills' signature bluesy soloing over a vamp. VII. Influences: A Tapestry of Sounds Their influences were diverse, reflecting their individual backgrounds: - Folk: The Weavers, Pete Seeger, Bob Dylan (huge impact on all), traditional folk ballads. - Rock & Roll: Elvis Presley, Chuck Berry, The Beatles (transformative impact on harmony and songwriting). - Blues: Muddy Waters, Howlin' Wolf, B.B. King (profound influence on Stills' guitar and vocals). - Jazz: Miles Davis, John Coltrane (particularly influential on Crosby's harmonic sense). - Country: Hank Williams, Bakersfield sound (influence on Young, pedal steel in CSNY). - The Byrds: Jangle-pop, folk-rock, early psychedelia (Crosby's foundation). - Buffalo Springfield: Folk-rock, country-rock, pioneering California sound (Stills & Young's foundation). - The Hollies: British Invasion pop, intricate vocal harmonies (Nash's foundation). - Classical Music: Subtle influences in structural ambition and harmonic sophistication (especially Stills). VIII. Legacy: Echoes Through Decades CSN(Y)'s impact is profound and enduring: - Harmonic Blueprint: They set an almost unreachable standard for vocal harmony in rock music. Countless artists across folk, rock, country, and Americana cite them as a primary influence (e.g., The Eagles, Fleetwood Mac, Jackson Browne, America, Tom Petty, R.E.M., The Jayhawks, Dawes, Mumford & Sons, Fleet Foxes). - Singer-Songwriter Movement: Elevated the role of the individual singer-songwriter within a collaborative group setting. - Laurel Canyon Sound: Defined and popularized this influential West Coast aesthetic. - Supergroup Template: Proved that established stars from different bands could successfully merge into something greater (for a time). - Counterculture Soundtrack: Provided anthems ("Woodstock," "Teach Your Children," "Ohio," "Long Time Gone") that defined the hopes, struggles, and disillusionments of a generation. - Enduring Popularity: Their core albums remain touchstones. Their songs are constantly covered and featured in films/TV. Their influence permeates modern folk-pop and indie-folk. - Cultural Icons: Represented the idealism and complexity of the late 60s/early 70s. Their personal dramas (relationships, breakups, drug problems, Crosby's imprisonment, political activism) became part of their legend. IX. Works: Albums and Key Tracks - Studio Albums (Core Trio): - Crosby, Stills & Nash (1969): "Suite: Judy Blue Eyes," "Marrakesh Express," "Guinnevere," "Wooden Ships," "Long Time Gone," "Helplessly Hoping." - Crosby, Stills, Nash & Young: Déjà Vu (1970): "Carry On," "Teach Your Children," "Almost Cut My Hair," "Helpless," "Woodstock," "Our House," "Déjà Vu," "4+20," "Country Girl." - CSN (1977): "Shadow Captain," "Just A Song Before I Go," "Fair Game," "Cathedral." - Daylight Again (1982): "Wasted on the Way," "Southern Cross," "Daylight Again," "Too Much Love to Hide." - American Dream (1988 - CSNY): Features Young prominently. "American Dream," "This Old House," "Compass," "Nighttime For The Generals." - Live It Up (1990): Generally considered a low point. - After The Storm (1994): Attempted comeback, minor success. - Looking Forward (1999 - CSNY): Final studio album with Young. "Faith in Me," "Looking Forward," "No Tears Left." - Key Live Albums: - 4 Way Street (1971 - CSNY): Captures the acoustic/electric dynamic and tension of the 1970 tour. Essential. - CSN 2012 (2012): Late-career document of the trio. - Notable Compilations: - So Far (1974 - CSNY): Early hits collection, huge seller. - CSN (1991) & CSN Remastered (2006): Excellent career-spanning box sets. - Déjà Vu Live (2008 - CSNY): Recorded on 2006 Freedom of Speech Tour. X. Filmography: Capturing the Chaos and the Harmony - Woodstock (1970): Their legendary performance, capturing their early peak and introducing Neil Young to the world. - Celebration at Big Sur (1971): Documentary featuring CSNY's chaotic performance at the 1969 Big Sur Folk Festival shortly after Woodstock. - CSNY/Déjà Vu (2008): Bernard Shakey's (Neil Young) documentary chronicling the politically charged 2006 "Freedom of Speech" tour, focusing on the reaction to Young's "Living With War" album. Raw and revealing. - David Crosby: Remember My Name (2019): A.J. Eaton's poignant documentary focusing on Crosby's life, career, and reflections, featuring significant CSN(Y) history and commentary from Nash (though their rift is evident). - Laurel Canyon: A Place in Time (2020 - Epix Docuseries): Features CSN(Y) prominently within the story of the influential music scene. XI. Discography (Core Studio Albums): - Crosby, Stills & Nash (1969) - Crosby, Stills, Nash & Young: Déjà Vu (1970) - CSN (1977) - Daylight Again (1982) - American Dream (CSNY) (1988) - Live It Up (1990) - After The Storm (1994) - Looking Forward (CSNY) (1999) XII. Essential Listening & Viewing (Links) - Suite: Judy Blue Eyes (Woodstock 1969): (Acoustic magic, historic) - Wooden Ships (Studio Version): (Quintessential CSN harmony and atmosphere) - Teach Your Children (Official Video): (Iconic song, Garcia on steel) - https://www.youtube.com/watch?v=l1PrUU2S_iw&pp=0gcJCdgAo7VqN5tDOhio (Studio Version - CSNY) Read the full article