#originally written in 2008

[majorshatterandhare]

[ID: a screencap of a tweet from Jonny Sims (“Jonny, y’know?” @/jonnywaistcoat) from February 14, 2020, replying to himself, which reads “Firstly, an admission. I haven’t actually *read* Homestuck.” End ID]

[moniquill]

Here is a brief summary of what is happening in Wikipedia right now:

In the last few years (3-4 years) the WikiProject Indigenous peoples of North America, which was originally created to improve the quality and coverage of native issues and native articles on wikipedia, has been hijacked by a small number of users with an extremist agenda. They have been working diligently over the last few years to change the definition of both what it means to be an Indigenous American and even what it means to be state and federally recognized.

The four or five key players (Mainly Editor Yuchitown, Bohemian Baltimore, ARoseWolf, (now retired editor CorbieVreccan, Netherzone and Oncamera) who are part of the “Native American Articles Improvement Project” started implementing these changes slowly, but they started pursuing their goals aggressively after November 2023, when state-recognized tribes retained their voting rights in NCAI. Essentially, after the movement to delegitimize state-recognized tribes failed officially, the key players doubled down on altering and controlling the flow of information about Native Americans through Wikipedia.

The talk page of Lily Gladstone’s article has a relevant discussion here. Initially, the leaders of the WikiProject removed any reference to her being a “Native American Actress” and instead had her as “Self-identifying as Blackfoot” and “Self-identifying as Nez Perce” because her blood quantum was too low to be enrolled in either tribe.

You can see some of the discussion here:

 https://en.wikipedia.org/wiki/Talk:Lily_Gladstone

Eventually they relented and changed her category to being “Of Nez Perce Descent” but you can see in the discussion that they are referring to an article that these editors (Yuchitown, Bohemian Baltimore, and CorbieVreccan) themselves appeared to have mostly written and revised:

https://en.wikipedia.org/wiki/Native_American_identity_in_the_United_States

This statement is very much at odds with even the government’s description, as seen below;

The DOJ Office of Tribal Justice Office on their webpage “Frequently Asked Questions About Native American”, question “Who is an American Indian or Alaskan Native” states:

“As a general principle, an Indian is a person who is of some degree Indian blood and is recognized as an Indian by a Tribe and/or the United States. No single federal or tribal criterion establishes a person's identity as an Indian. Government agencies use differing criteria to determine eligibility for programs and services. Tribes also have varying eligibility criteria for membership.”

In addition, “List” pages have been created on Wikipedia for federally and state recognized tribes. The Wikipedia “List” page for state-recognized tribes is inaccurate in its interpretation of state recognition and not supported by expert reliable sources--(1) Cohen’s Handbook of Federal Indian Law 2012 edition, (2) NCSL.org current stand on state recognition (not the archived list from 2017 which NCSL no longer supports), (3) Koenig & Stein’s paper “Federalism and the State Recognition of Native American Tribes: a survey of state-recognized tribes and state recognition processes across the United States” (both 2008 & updated 2013 in book “ Recognition, sovereignty struggles, and indigenous rights in the United States: A sourcebook”)

https://en.wikipedia.org/wiki/State-recognized_tribes_in_the_United_States

State-recognized tribes who have received recognition through less formal but acceptable means have been moved from the Wikipedia list page on state-recognized tribes to the Wikipedia list page of unrecognized or self-identifying organizations.

The Wiki page "List of organizations that self-identify as Native American tribes", in particular, is being used to purposely defame legitimate Native American individuals who are members of the tribes/Native communities that are on this list. 

By the parameters set up on Wikipedia, only the colonizer’s governments can acknowledge who is Native American through either federal recognition or state recognition. If an individual is not a member of a federally or state-recognized tribe, then it is determined that they cannot be Native American and are, instead, considered “self-identifying” or only “a descendant of ...” (example Lily Gladstone). As a result, Native individuals are currently being tagged as “self-identifying” and their names are put on “list” pages that strongly imply they are “pretend” Indians.

These editors have indicated that they would like “self-identification” to be the default setting for any people who they deem do not fit within the parameters that they themselves created within Wikipedia.

Moreof, these editors are admin and senior editors within the Wikiproject Indigenous Peoples of North America, and are being called in specifically to weigh on Native Identity, and any project involving any Indigenous Group.

Any attempt to correct misinformation, add information, or change any of these articles is often met with being blocked, reported for various offenses, or reported for having a Conflict of Interest, whether or not that is actually applicable. They have use this strategically in many different pages for many different individuals and groups within the scope of their Wikiprojects.

While changing things in Wikipedia does not change the truth, it is a way to control how most people take in information, and thus they hope to manipulate the narrative to better suit their goals.

This is quick and messy but:

Here is a link to the google document with the other state recognized tribes (Including yours) that were edited by these editors. This is an incomplete list so far that only goes back to September 2023 but I am going to add to it. If you can add to your own part of this list, and send your complaints and information to the arbitrator committee (the email is below) with the involved editors, this will help our case.

The  more tribes who complain, and the more Wikipedia editors complain, the better our case will be. 

https://docs.google.com/document/d/1YNDEjLTrrZ_mMIRCVxtvt69FwCYpJWKs71lBhWa5a9M/edit?usp=sharing

The place to make complaints on Wikipedia is oversight-en-wpwikipedia.org , and

arbcom-enwikimedia.org . It is most helpful to have an editing account on Wikipedia, because Yuchitown and the others will try to defend themselves using Wikipedia methodology and make anyone who confronts them look like the aggressor (see the other tribes who tried to fight back on Wikipedia I found).

The more people and tribes make complaints the more likely it is that this will work and we can rid ourselves of these monsters.

Some of the tribes I have spoken to are taking legal action against these editors. Any groups affected by their policies should also reach out to the news to make knowledge of this more widespread.

Thank you

- quoted with permission from an email sent by an associate of my tribe. Message me for their email address if you'd like to reach out to them.

[winchestergifs]

STACKEDNATURAL ⇉ 203.5/327

3.11 Mystery Spot Written by Jeremy Carver & Emily McLaughlin Directed by Kim Manners Original Air Date: February 14, 2008

[doyoulikethissong-poll]

Lou Bega - Mambo No. 5 1999

"Mambo No. 5" was originally an instrumental mambo and jazz dance song composed and recorded by Cuban musician Dámaso Pérez Prado in 1949 and released the next year. German singer Lou Bega sampled the original for a new song released under the same name on Bega's 1999 debut album, A Little Bit of Mambo. His version became a summer hit during 1999 in most of Europe. Later that year, it experienced success in the UK, North America, and Oceania. In France, it set a record by staying at number one for 20 weeks. The song reached number three on the US Billboard Hot 100 on 2 November 1999, giving Bega his only top-40 hit in the US.

The song became the subject of a seven-year copyright trial between Prado's estate, the music publisher Peermusic, and Bega's producers. Bega had only used riffs (which by German law cannot be registered for copyright) from Prado's original and written the entire lyrics, so Bega's producers went to court in order to gain access to all the song's proceedings from Peermusic representing Prado's estate. However, after seven years the Federal Court of Justice of Germany ruled in favor of Peermusic and Prado's estate in 2008, based upon the fact that Bega's producers had sought a royalty agreement with Peermusic prior to releasing the song. Because of Bega's significant contributions to his version, the court's final ruling declared it a new song co-written by Prado and Bega.

"Mambo No. 5" received a total of 83,6% yes votes!

[43501]

Hotly debated perennial subject in DN fandom is whether or not L had any sort of direct contact (or even personal relationships) with the Wammy kids.

For the record: I'm firmly in the camp that Death Note was originally written as though L had contact with the orphans and the "oh, he only spoke to them through a screen exactly once" thing was decided by Ohba/Obata later. It comes up first in the C-Kira Story (released 2008, after anime finished and long after the original manga run) and again in the anime movie/re-write released around the same time. They're adamant about this detail, but it's also clearly an afterthought. Like... based on Near's finger puppet and mask of L... he clearly knew what L looked like. But we've all been over that: the thing that's been driving me crazy was that I could've sworn someone referenced talking to L directly and I finally figured out what gave me that impression.

Exclusively in the English dub Mello's line here is "he promised me he'd find kira and execute him". In the manga text and the Japanese audio, Mello's line here is a more general "(L) (said/proclaimed/etc) he'd find kira and execute him". My Japanese level isn't enough to determine whether the original JP text/audio implies in some way that this was a personal conversation.

[xoxorealitygalore]

Plan B MasterList

Jey Uso x Afro-Brazilian OC

Summary: In her thirties and single after a breakup, Hamisa decides she wants to become a mother, despite her friends' and family's objections. Unable to wait any longer, she chooses to have a baby on her own. However, she unknowingly ends up using her ex-boyfriend sperm after he drunkenly swapped her donor’s sample for his own. As Hamisa raises her child, she starts noticing striking similarities between her ex-boyfriend and her baby, leading to questions about the true origins of her child's conception.

FULL NAME

Hamisa Janeisha Woo

BIRTHDAY

February 14, 1989

BIRTH SIGN

Aquarius

BIRTHPLACE

Miami, FL

AGE

35 years old

OCCUPATION

Soccer player • entrepreneur • sports broadcaster • wrestler

ABOUT

She is a retired soccer player who was a regular on the U.S. women's national soccer team from 2008 to 2016. Became the CEO of Hamisa Boutique, an online clothing outlet that caters to teens and women. And she is a sports broadcaster and part time wrestler for WWE. She has over nineteen million Instagram followers.

BEFORE FAME

She was an All-American while playing college soccer.

TRIVIA

She attended Georgia Tech University and competed in track and field and soccer. She graduated with a Bachelor of Science in Literature, Media, and Communication (LMC) degree.

FAMILY LIFE

She is Afro-Brazilian. Her mother is from Duque de Caxias, Rio de Janeiro state. She recently gave birth to a baby girl, eight months ago.

hamisawoo ✓

550 posts 19.7M followers 100 following

Hamisa Janeisha Woo

Public Figure

WWE

Tik tok: hamisawoo

@hamisaboutique

🔗 linktr.ee/hamisawoo and 2 more

Liked by rhearipley_wwe, cmpunk, trinity_fatu, and 2,315,914 others

hamisawoo Twenty days into 2025, I sit in awe, reflecting on the miracle that is my daughter. Eight months ago, I gave birth to the most beautiful little soul, and the gratitude I feel is beyond words. Glory to God for this precious gift, this life that’s brought so much joy, growth, and love into my world.

To my incredible birth team, thank you from the depths of my heart for supporting me in bringing her into this world safely, in the comfort of our home, surrounded by love. We did it—unmedicated, and it was more than just a birth. It was a rebirth for me, a process of transformation that reshaped my mind, body, and soul.

I always imagined birth as just the physical arrival of a baby, but what I experienced was so much more profound. It wasn’t just the miracle of life; it was a journey of silencing the mind, letting go of every fear, every doubt, and surrendering to the natural power within. The woman I once was stepped aside to make space for the mother I was becoming. There is something sacred in that space, where pain and love intertwine, where you realize just how strong you truly are.

In those moments, I wasn’t just giving birth to a baby—I was becoming a mother, in the truest sense of the word. Thank you, my sweet girl, for showing me strength I never knew I had. Thank you for teaching me that surrender isn’t weakness; it’s the ultimate form of trust.

Here’s to the journey of motherhood��a lifelong process of growth, learning, and unconditional love. I am forever grateful for the path that brought me to you, and for the new chapters still to be written. 💕

View all 14,863 comments

CHAPTERS

One

Two

Three

Four

Five

Six

Seven

Eight

Nine

Ten

Eleven

Updated April 15, 2025

[taylorklosscomeout138]

Timeline asleep????

How can Begin Again be written about Dianna Agron if Dianna's family never celebrated Christmas??

So out of all the things in the world to bring up, Dianna is telling Taylor about the Christmas movies that her family watches when Dianna's family doesn't even recognize the holiday of Christmas whatsoever and celebrates Hanukkah instead??

Right.... okay.

"You throw your head back laughing" I wonder who we've seen do that every time she laughs with Taylor

And the muse of Begin Again tells Taylor she has as many James Taylor records as her, when Karlie was literally named after Carly Simon because her family was that big of fans of Carly and James???? Yet somehow it's crazy to suggest that lyric would most likely be written about Karlie- who factually does have a ton of James Taylor records due to her family and birth name origin

So now when we say the license plate in the Begin Again MV is not only fake and formatted incorrectly but that it would have to be quite the coincidence that it magically happens to correspond to Karlie's initials and birth year..... that's somehow more of a reach than these lyrics being written about Dianna when they simply fail to align with her??

I'm sorry but letter to number is one of the most basic form of codes to ever exist we literally did solve the message puzzles for it in grade school. You're telling me that's out of realm of possibility for the same Taylor who has us doing anagram puzzles, word unscramblers, or even more complicated puzzles?? That is just silly and bias.

11 = K letter to number that's just a fact.

That license plate straight up says

K EZK 92

Karlie Elizabeth Kloss 1992

And we are arguing that's a coincidence???

Sorry but the odds of that happening statistically among all other factors especially the James Taylor line with Karlie being named after Carly Simon is incredibly drastic

I'm not saying this is an entirely accurate estimate of the odds, maybe it's a bit dramatized, but all things considered all factors applied and all of it amounting to having nothing to do with Karlie and all being pure happenstance are at least 1 in a billion

And I want to be clear I am NOT saying this means Taylor didn't date Dianna, I am saying this PERFECTLY aligns with what Taylor told us in Folklore, and we literally all agreed that, "chase 2 girls lose the 1" is about Taylor pursuing Karlie and Dianna at the same time.

In which how could that be a reach when Taylor said she did that?? Unless you want to go with that she's talking about 2 different girls which sure be my guest but most people I've seen have found common consensus that that is about Swiftgron and Kaylor overlapping.

All that Begin Again being about Karlie would indicate is *when* this overlap took place which is... around the only time she dated Dianna anyway before she was fully with Karlie so I simply do not understand why people are so defensive about Begin Again being about Karlie with 0 effort to even fact check if the lyrics made sense for Dianna.

We don't actually know anything for a fact. So there's really nothing that wild about people finding the license plate and going woah that's weird that's kinda Karlie's exact initials and birth year maybe our understanding of the Red era has *slightly* been off.

Especially when Taylor asking Karlie to bake cookies with her and Karlie replying "your kitchen or mine?" happened at the start of 2012 which was a whole 10 months before Begin Again MV even released..... sorry but it is simply not even farfetched in the context of the public narrative we had.

It is okay to make timeline revisions based on new discoveries or new information Taylor deliberately presents. Such as how there is 0 evidence Karlie was at the 2008 Young Hollywood Awards with Taylor until Taylor herself did an interview with the guy who introduced Taylor and Karlie for the first time at that award show and then released the clip publicily, which is the only reason we are aware that is the first time they actually met.

It can't all be "Taylor's a mastermind leaving us clues about everything" until it's about Kaylor. That has the same energy as Swifties saying everything Taylor does is easter eggs besides anything that has to do with her being gay. And it's simply forced.

[spencereidluver]

A is for About Time

july 07, 2008

summary: You’re paired up with Spencer on a mostly physiological case… He’s impressed with how many of his obscure references you understand and how you’re able to carry on conversations with him unlike anyone else.

word count: 1.3k

warnings: details of a case: strangulation, blood writing

“y/n and Reid, I need you to stay here at the station while the rest of us go search the area.” Hotch said, handing you and Spencer each a file. “There’s information about the case in here. The PD thinks we’re dealing with someone who is able to outsmart that of the normal man. We need both of your heads on this. Got it?”

You and Spencer both nodded. You were smart, no denying it, but you know he knows everything you know times two.

You’ve only been in the BAU six months, but you’d only need to know Spencer two minutes to know just how intelligent he is. You don’t quite understand why Hotch wants you to stay back on this case with him, but who are you to deny the man.

You and Spencer take the Manila folders and make your ways to the conference room. He does a little jog to catch up with you. “You know, I’ve never had anyone else stay back with me on cases like these.” He says as he slows his step to match yours.

“Yeah, we’ll maybe you’ve never had anyone quite on your level Dr. Reid.” you joke as you pull the glass door open. There’s a bulletin board with photos from the case. You see Spencer grimace at them out of your peripheral. No matter how many cases you go on, this is one thing that will never be easy for anyone in this job.

Spencer sprawls out his folder on the half-circle-shaped wooden table in the center of the small office. The first image is a photo from the crime scene. It’s a white brick wall with blood writing, it reads:

“in this moment, she was mine, mine, fair, perfectly pure and good”

“It’s a poem.” He says. “Porphyria’s Lover.”

You interrupt him, “a mid 1800’s poem written by Robert Browning.”

“You’ve heard of it?”

“A poem in which a beautiful woman’s lover strangles her with her own hair? Yeah I’ve heard of it.”

He flips through a few more pages in the folder. They’re all just copies of what’s on the bulletin. You’re not too sure why you were each given folders containing the same pictures, but I guess consistency is key in this job.

“I never took you as an 1800s poem freak, y/n.” He says with a smile that you can’t quite tell the intention behind.

“Maybe you’re not as many levels ahead of me as you thought, Dr. Reid.”

_____

It’s only day two of the case, but between stupid jokes and bonding over old literature, there’s only one thing you cannot seem to pinpoint the reasoning for. And probably the only way you’ll be able to directly connect to the unsub.

He’s working off a dating app. He searches for women who meet his physical criteria, then stalks them until he’s able to pounce. Smart guy. Very smart guy.

“The one thing I just cannot understand is why if the poem he’s working off of is so keen on blonde hair, why have only half of our victims been blondes?” Spencer says, reading through a print-out of the original poem.

“Maybe the women with brown hair were just more available?” You say, not sure if you believe it.

Spencer takes a sip of his coffee. “No, a man like this would want blondes. He’s working of the exact motive of the poem.”

“And he must have a lot of time with his victims to be able to strangle them with their hair.”

You and Spencer spend hours reading over the poem and investigating that photos. Hotch comes back to the station to bring photos from yet another crime scene. Another blonde. If anything, that takes you further from figuring him out, messing up the blonde-brown-blonde-brown victim order.

“There’s no way he’s picking these victims at random. He’d have to spend far too long watching them to know their work schedule to be able to get into their apartments.” Hotch says. “I need you guys to further analyze the poem. It could have the key and hopefully we can find him before he strikes again.”

You and Spencer spend a further hour and a half looking over and annotating the poem. You’re both about to give up on the poem when you notice something: the rhyme scheme.

“A-B-A-B-B,” you think outloud.

“What?” Spencer is confused.

“The rhyme scheme, Spencer. It’s A-B-A-B-B. Auburn-Blonde-Auburn-Blonde-Blonde. That has to be it!”

“So he’ll go back to the beginning. He’s looking for his next victim with auburn hair, just like Julia Dempsey and Katie Flanagan. Nice catch, y/n. We’ve gotta call Hotch.”

He pulls out his phone and dials the eight digits quickly. He fills in Hotch on the info you find as you email over to Garcia. It’s only a matter of time before Morgan and Hotch move in on the man, Garcia finding him from a simple categorical search of dating profile preferences.

_____

You’re sat on the jet next to Spencer on your way home. You’re going on about old literature and artifacts pertaining to them. No one else understands a word either of you are saying, but they’re rather in awe of how the two of you are able to bounce off each other and carry on about, what to them, is utter nonsense.

It’s late. Early. Well, both. 2:47 AM. You’re leaned with your elbow on the table and your head in your hand looking at Spencer as he recites an old poem from memory. His voice is calm and warm. JJ and Emily are asleep in the booths next to you, Hotch minding his own in the back, and Rossi and Morgan make small talk a little closer to the front.

“y/n?” You hear your name being whispered.

You hum in response, opening your eyes to see a wide-eyed Spencer looking at you.

“Sorry, I didn’t mean to wake you up.” He says.

“It’s okay. I’m kinda glad you did, my neck would be sore when we land.”

“We’re still three hours from Virginia. Think you can make it that long?”

“Hell no, I’m exhausted.” You cross your arms on the table, laying your head in them as you try to get comfortable.

“That position may feel better on your neck, but it’ll do a number on your back in record time.”

“Well, Spencer, there’s only so much room to work with on this jet.”

“I can move so you can lay in the seat if you’d like. But that could also hurt your neck considering you’ll be lying flat and have no incline.”

“Well then why don’t you tell me the most comfortable position and let me sleep in peace.”

“Studies show the best position for sleeping without a pillow is leaning against a wall or something of an upright nature. But there are no walls to lean up against, so you’re pretty much out of luck there y/n.”

He shifts in his seat, reaching for the blanket behind him. He tosses it at you and settles back down. He sips from his coffee. No wonder he’s not going to sleep, he drinks coffee 15 out of the 24 hours in a day.

You scoot a bit closer to him, wrapping the blanket around yourself. You tip your head forward, groaning. Tiredness overcomes you more than it already has, making it near impossible to even keep your eyes open.

“Hey, Spence…” You look up at him. His head tilts down to meet your gaze, flattening his lips in form of a response. “Can I…” You let your sentence fade out, pushing yourself closer to him.

He softens his voice. “Hmm?”

Before he can even finish his hum your head has slumped on his shoulder and you’re already falling unconscious on him. You feel him reach his arm around you- pulling the blanket up- you assume. He does that, but his arm never leaves. His head flops gently on top of yours, his one unruly waft of hair falling over his face. You could stay like this forever.

“It’s about time those two realize how similar they are.” You hear Rossi’s gravely voice say.

And just like that, you’re asleep, in what is probably the most comfortable you’ve ever been in your life.

_____

next chapter: b is for Boy Genius

other parts: Spencer Reid A-Z Masterlist

view the masterlist in a calendar version! 

_____

a/n: hiii! i really hope you enjoyed the first chapter! chapter 2 will be released tomorrow! sorry if this one was a little boring, i promise the next chapter is more interesting. i'm just trying to set up the story a little before we get into it!

_____

Have Recommendations? visit my recommendations page to submit your suggestion, no matter how big or small!

_____

[torchlitinthedesert]

I was writing about how Paul started writing with John, and how that story has been told. Once you’ve noticed that Paul wrote songs first, you can’t unsee it. And you can’t help spotting which writers just haven’t noticed, and who is actively going LOOK OVER THERE A SQUIRREL when they have to mention Paul bringing songwriting into the group. (I’m curious to see how the new Ian Leslie book handles this; the first review I’ve seen says the partnership “began in earnest in 1962”, which suggests Leslie has at least looked beyond the usual “they met at Woolton Fete and almost immediately started writing together” take.) Anyway, here’s a LOOK OVER THERE A SQUIRREL compilation, because some of these are outrageous

During the 1960s, the official band narrative presents JohnandPaul as a unit, keeping their contributions carefully balanced. Here’s Hunter Davies, the jumping-off point for most later accounts:

[Paul] played a couple of tunes to John he had written himself. Since he’d started playing the guitar, he had tried to make up a few of his own little tunes. The first tune he played to John that evening was called ‘I Lost My Little Girl’.

Not to be outdone, John immediately started making up his own tunes. He had been elaborating and adapting other people's words and tunes to his own devices for some time, but he hadn't written down proper tunes till Paul appeared with his. Not that Paul's tunes meant much, nor John's. They were very simple and derivative. It was only them coming together, each egging the other on, which suddenly inspired them to write songs for themselves to play.

After the breakup, rock journalism tended to take John’s side, and downplay Paul. Here’s Philip Norman in Shout! (1981), doing a virtuoso hatchet job:

Paul McCartney had always used his guitar to help him make up tunes. His main objective in the Quarry Men, however, was to oust Eric Griffiths from the role of lead guitarist. One night at the Broadway Conservative Club, he prevailed on the others to let him take the solo in a number. He fluffed it and, later, in an attempt to redeem himself, played over to John a song he had written, called I Lost My Little Girl. John, though he had always tinkered with lyrics, had never thought of writing entire songs before. Egged on by Paul - and by Buddy Holly - he felt there could be no harm in trying. Soon he and Paul were each writing songs furiously, as if it were a race.

Did you think, dear reader, that writing your own songs might be a significant artistic breakthrough? No, no, it’s just a backup weapon in Paul’s Machiavellian plot against poor Eric. This is his “main objective”, and he’s manipulated the others into letting him grab a solo. Norman has, by the way, already admitted that the Quarrymen all recognised that Paul was a stronger musician than the rest of the group. Is it reasonable for the best guitarist to want to play a solo? Clearly not.

For maximum whiplash, compare Norman telling the same story 27 years later, in John Lennon: The Life (2008).

The idea of writing original songs to perform, rather than merely recycling other people’s, was firmly rooted in Paul’s mind well before he met John. He had begun trying it virtually from the moment he acquired a guitar, combining melodic gifts inherited from his father with a talent for mimicking and pastiching the American-accented hits of the moment. His first completed song, “I Lost My Little Girl,” had been written in 1956, partly as a diversion from the trauma of his mother’s death, partly as an expression of it. Around the time he joined the Quarrymen, he had something like a dozen other compositions under his belt, mostly picked out on the family upright piano, including a first draft of what would eventually become “When I’m Sixty-four” (which he thought “might come in handy for a musical comedy or something”).

For a fifteen-year-old Liverpool schoolboy - indeed for any ordinary mortal - this was breathtaking presumptuousness. In Britain’s first rock’n’roll era, as for a century before it, songwriting was considered an art verging on the magical. It could be practiced only in London (naturally) by a tiny coterie of music-business insiders, middle-aged men with names like Paddy or Bunny, who alone understood the sacred alchemy of rhyming arms with charms and moon with June.

Just imagine if Norman had published that second version in 1981. Shout! was one of the most influential Beatles books, shaping the narrative for decades to come. Even Norman now admits its extreme bias, but you can still see its lingering influence. (Also, what a natural-born hater Norman is. When he puts his Paul-bashing on hold, he makes up some fictional songwriters to despise instead.)

Next up we have Mark Lewisohn, who doesn’t write Paul as the Evil Grand Vizier, but keeps shuffling the pack to put John front and centre whenever a breakthrough happens. His prologue to Tune In is a snapshot of John and Paul writing together at the very beginning of their partnership:

Towards the end of 1957, John wrote Hello Little Girl and Paul came up with I Lost My Little Girl; the similarity in their titles was apparently coincidental but both were steeped in [Buddy Holly and] the Crickets’ sound…Buddy Holly was the springboard to John and Paul’s songwriting. As John later said: “Practically every Buddy Holly song was three chords, so why not write your own.” Stated so matter-of-factly, it could seem that writing songs was an obvious next move, but it wasn’t. Teenagers all over Britain liked Buddy Holly and rock and roll, but of that great number only a fraction picked up a guitar and tried playing it, and fewer still, in fact hardly anyone, used it as the inspiration to write songs themselves. John and Paul didn’t know anyone else who did it, no one from school or college, no relative or friend… and yet somehow, by nothing more than fate or fluke, they’d found each other, discovered they both wrote songs, and decided to try it together.

When Lewisohn disagrees with the accepted narrative, he’s usually very keen to show you all his evidence for why everyone else is wrong. Here he suggests John wrote Hello Little Girl first, without discussion. Then he quotes John on getting the idea to write songs, before discussing what an important innovation that was. Right at the end, he says they both wrote independently - but John is in prime position throughout.

As you read on, he acknowledges Paul’s pre-Quarrymen songs, framing them as juvenilia (“exceptional for a first attempt by a boy on the cusp of 14”). Giving I Lost My Little Girl a later date than everyone else, Lewisohn notes that when Paul performed it on MTV Unplugged, his “vocal includes a Holly hiccup, pinpointing its creation to post-September 1957”. (Because the way Paul sings something in 1991 must be exactly how he sang it from the beginning.) Lewisohn also ignores the many interviews in which John says he started writing after seeing Paul’s example.

Obviously, these distraction tactics sell Paul short. But I think they harm John, too. If you’re interested in him as an artist, don’t you want to know how he developed? What he learned, how he used those influences to shape his own voice? How he and Paul worked, together and apart? How they saw their partnership, how that fed into their competitiveness, ambitions, or insecurities? Mary Sue Blorbo Leader John is no good to me. And, more than 60 years on, memories have faded and sources have died; we’ve lost so many chances to look at how they really worked. John and Paul both deserve better.

[mariacallous]

Cantor Jennifer Bern-Vogel was used to hearing her mother tell the story.

On the evening of Nov. 9, 1938, her mother, then Marianne Katzenstein, who was 16 at the time, was in her family’s synagogue in Bielefeld, Germany, practicing the organ. She finished up, used a key to lock the building and returned home. Later that night, the synagogue was burned to the ground by the Nazis in the Kristallnacht pogrom.

Only two items survived the fire: a Torah scroll and Katzenstein’s key.

“I just remember her talking about it, her voice would change and she was just kind of slower and softer and very nostalgic when she talked about the whole story,” Bern-Vogel, 67, said in an interview. “Whenever she told the story and then held up the key, people always — and I experienced it myself — there was always this kind of gasp.”

Bern-Vogel, who has been the cantor at Congregation Emanu El in Redlands, Calif., since 2009, said the story of the key was “legendary” in her family.

And on Saturday, 86 years after Kristallnacht, the key returned home.

Bern-Vogel spent the past week in Germany, where she had lived for more than a decade when she was younger, reconnecting with friends, family and the Jewish community of Bielefeld, where the synagogue was reestablished shortly after the Holocaust. It was her first trip to Bielefeld with her husband and daughter, and her brother and niece, as well as a cousin from Denmark, also flew in for the occasion.

On Friday night, Bern-Vogel and the cantor of the Bielefeld synagogue led Shabbat services together. Bern-Vogel sang a song that was adapted from a poem written by her grandfather, with music composed by a longtime friend from Germany.

And following Havdalah on Saturday, the town held a ceremony that began at the site of the destroyed synagogue before moving to City Hall, where the official hand-off was made. The key was added to the collection of the town’s history museum and will be on display at the current synagogue building.

According to Irith Michelsohn, the president of the town’s Jewish community and of Germany’s Progressive Jewish movement, Bielefeld’s Jewish community has 450 members. The synagogue the community uses now was renovated from an old Protestant church and was inaugurated in 2008.

Prior to the Holocaust, Bielefeld was home to almost 1,000 Jews, Michelsohn said. The community has been revitalized since Michelsohn took the helm on Jan. 1, 2000, at which point she said there were only 35 members.

Michelsohn said the key’s return is immensely meaningful to the community.

“I was so excited, because we only have one Torah scroll, and now the key, that’s all we have from our old synagogue,” Michelsohn said. “And now the key is back. That’s so great, you can’t imagine.”

Michelsohn said the key is especially important as a vehicle to educate the current community about its past. She explained that like many German Jewish communities, Bielefeld’s Jews are almost all originally from the former Soviet Union.

“You don’t have many people who are originally from Germany,” she said. “Some of them converted to Judaism, some immigrated from Israel or other countries or are working in Bielefeld with a university, but most of the members in all of our 120 Jewish communities in Germany are from the former Soviet Union.”

The key, Michelsohn said, represents an opportunity to “teach them something about history, about the past, what we lost.”

It also returns a physical reminder of the old synagogue building, which had been built in 1905 and was commissioned by the Katzenstein family. Bern-Vogel’s maternal grandfather had been the head of the Jewish community, and helped hundreds of families escape Germany.

“It symbolizes a connection to the old and very, very nice building which we had,” Michelsohn said, adding that the destroyed synagogue was “such a marvelous building.”

Like the key she kept, the remarkable story of Bern-Vogel’s mother did not end in 1938. The following year, she and her younger sister escaped to England on the Kindertransport. Years later, she was at a Shabbat dinner in Israel when she met Julian Bernstein (later shortened to Bern), Bern-Vogel’s father, who also survived the Holocaust.

Julian was one of six children from a Lithuanian family, but only he and one brother survived the Holocaust. That brother, Leon Bernstein, and Bern-Vogel’s mother were both working for the World Jewish Congress; Leon hosted the Shabbat dinner where Julian and Marianne met.

The two were engaged within a week, and eventually settled in Iowa, where Bern-Vogel and her brother were raised.

In the later years of her mother’s life, Bern-Vogel said there had been efforts to bring the key to the United States Holocaust Memorial Museum in Washington, D.C. But a contact her mother had at the museum passed away, and in 2017, so did she, at 94 years old.

“It just held a very deep connection,” Bern-Vogel said, referring to the key, a copy of which she still has. “I don’t think I thought about, when we were growing up, that the key would be anywhere else but with us. It kind of belonged to us.”

But as her mother aged, Bern-Vogel said her family wanted to determine where the key should go to be best taken care of and hold the most meaning. After a couple recent trips to Germany, Bern-Vogel said the answer crystallized.

“It just became clearer over the last couple of years, and especially after I went there last summer to meet with them at the synagogue and the museum, that it would really mean the most for everyone and future generations for it to be there,” she said.

Bern-Vogel said that even though her mother had a fraught relationship with Germany because of how her family’s time there ended, Bielefeld will always be their home. And she knows her mother would appreciate knowing that the key has made it back.

“I think that she would be incredibly moved by the reception that the key is going to have, and the people that are involved in the city,” Bern-Vogel said. “I think she would be very honored and happy, and I think grateful.”

[salford-blues]

The origins

A/n: It's been a couple weeks since I last wrote anything. I've been really busy and I'm burnt out :( Also this is my first proper written fic. I've mainly posted SMAU's, so if it's not good... I'm sorry. Would love to hear your critiques etc! Pairing: f1 x driver!reader Summary: The origins of our driver!reader - snippets of her growing up Warnings: butchered german??? Italics are the thoughts!

2008 - 5 years old

GROSSER PREIS SANTANDER VON DEUTSCHLAND 2008

The stands were crowded with energetic fans waiting for their favourite drivers to come out. Roars of laughter between friends and families. Piercing screams of devoted fans. In the middle of it all, a 5-year-old girl wrapped in the arms of her father with her hands over her ears trying to block out the deafening noise.

''It's too loud Papi. When's it home time?'' the girl pouted.

''Not just yet Spatzi (little sparrow). The drivers should be out any minute now.'' her father sighed. The child frowned and buried her head into his shoulder and neck.

Instantaneously, the crowd began to yell. Names were shrieked left, right, and centre. People pushing and shoving trying to get a picture or an autograph with their favourite driver. Luckily, the child and her father had managed to make it to the front without too much effort. They now had a perfect view of the track.

One by one the cars came out of the paddocks and lined up at the starting line.

''Who do you like Papi?'' the girl questioned, intrigued by the cars and their colours.

''I like Williams, do you see the navy blue and white car over there?'' her father pointed towards the middle of the grid.

''Uhhuh,'' she nodded, eyes lighting up at the car.

''That's the one that I really like. Which one do you like Schatz (treasure)?'' he questioned the child.

''Hmmm, I liikkeee... I think I like Williams too! Just like you Papi. I think I like the red car too.'' the girl's eyes shone as she spoke. Excitement now lacing her voice. There was a look of adoration on her father's face. Oh, how he loved his little bundle of joy.

''You can like whoever you want. The red car is a Ferrari.'' her father exclaimed.

''F-Fir-aa-r-ee? Ferrari! Yeah, I like that one too, but that one goes second!'' she said adamantly.

Suddenly, the cars were off, speeding down the track.

There was a glisten in the youngster's eyes. The screaming of the crowd was long forgotten. All she could hear was the vrooming of the cars. Wow, they're really fast. I want to do that.

''I want to be a race car driver when I'm older Papi! I'm gonna go really fast like vrrrrooomm." she held out her hands and acted as if she was driving a car.

2009 - 6 years old

''Alles Gute zum Geburtstag, Spatzi! (Happy Birthday, little sparrow!)''

The young girl stirred in her bed.

''Wakey wakey sleepy head... you don't want to miss out on opening presents do you.''

At that comment, the girl shot up in bed. Her wide eyes glanced up at her father, excitement running through her body.

''Please can I have waffles for breakfast? Can we go see Oma? Can we see Mami? Oooh can we make those doughnuts with the sugar on top for dessert? Plleeaassee?'' she gave her father her best puppy dog eyes.

''Okay, okay. How about we open your presents first and then see where the day takes us? How does that sound?'' her father queried.

A swift nod of the head gave her father all the conformation he needed and with that, he scooped her up into his arms and carried her down into the living room. The room was decorated with brightly coloured banners, balloons stuck to the wall via sellotape and streamers hung from the ceiling. On the living room table, 6 presents stood tall and were screaming to be opened by a certain birthday girl.

Once set down on the ground, the birthday girl ran over to the presents. She picked the first one up, inspecting its size before placing it down and ripping open the wrapping paper. Inside a box of Lego with an image of a Ferrari. The girl giggled with excitement moving on to her next present.

The small child was down to her last two presents. Both were small and sat on the corner of the table. Small hands picked up the thin present that sat on top, tearing open the wrapping paper. A signed driver's card sat inside. Shock spread across the young girl's face. A signed piece by Kimi Raikkonen. This just might be the best present ever!

''Oh wooooow! Danke Papi! This is the best present ever.'' She ran over wrapping her small arms around the man's neck.

''You're very welcome. But how about opening up your last one.'' he smiled at her.

She curiously looked back and took the present into her arms. The present was squishy under her touch. Possibly clothes? Carefully, the wrappers ripped open. A blue and white race suit sat inside.

''Do you like it, Schatz?''

''I love it! I love it! I love it!'' the girl twirled around with the race suit in hand.

2015 - 11 years old

''Hallo Logan!'' The girl ran up to the young lad. ''Do you want to get ice cream after the race? I'll ask Oscar if he wants to come too."

The blonde boy nodded his head and smiled. ''Yeah, I'd like that.''

''Okay, bye Logan.'' The girl waved before heading in the direction of her Aussie friend.

''Hallo Oscar! Do you want to come and get ice cream after the race with me and Logan?''

''Sure. Let me ask my parents.'' He ran off towards his parents.

Alone she stood listening to her surroundings. Loud chatter coming from children and parents. Birds chirping in the trees.

Hearing the latter she skipped towards the trees before noticing a small bird hopping around. Approaching the bird slowly, she scooped the animal into her hands and held it against her chest.

''I will help you little birdie! Papi, Papi look what I found. Can we help it get better?''

''Sure, we'll take it home with us.'' he smiled.

Strolling over were Oscar and Logan.

''What'cha got there N/n?'' Logan asked curiously.

''It's a bird... We're gonna take it home and look after it.'' She exclaimed.

''We are still up for ice cream though aren't we Birdie?'' Oscar peered a the girl.

''Of course we are Osc... birdie?? Why that??''

''Oh y'know... you've got a bird in your hand, so your new nickname is birdie,'' he uttered as if it was obvious.

''Ahh okie.'' A blush spread across her cheeks in embarrassment.

A whilst blew signalling that the race was about to begin.

''Papi, will you take care of it whilst I race?'' She turned back.

''Of course I will Spatzi. Now run along. The quicker you go the quicker you can get ice cream.''

yourusername

landonorris, georgerussell63, liamlawson30 & others liked

Ice cream dates just like old times. @oscarpiastri @logansargeant

View all comments

oscarpiastri Birdie delete this. This makes it out like we're all dating

> yourusername WAIT... WE ARENT????

>> logansargeant now look what you've done, you've made her cry...

>>> oscarpiastri We're not dating though???

user.1 why is Logan acting like a third wheel??

user.2 are they dating though? or is it two of them and then the third just tags along?

> user.3 I think they're just really weird friends

>> user.2 yhhh checks out

liamlawson30 annnd where was my invite?

> yourusername you weren't invited because you beat me at connect 4

>> user4 lmaaooo. Didn't realise y/n was a sore loser

>>> liamlawson30 you should see her when she plays monopoly

[musicandotherstuff]

Original manuscript of the track The Jeweller's Hands (2008/2009)

"so many great songs have been written here and this is a really great one @ arcticmonkeys the jeweler's hands.i still have a lot of handwritten original lyrics from any band that is cool enough to leave them here for me. i love hearing the @ bechstein.official piano on this track, and all others it appears on. it's my favorite piano sound in the world. fred and i bought it at @ shop_angelview thrift store after @ vicwillums found it and suggested we buy it to record it on her album she was readying to record here, musings of a creek dipper. our friend, the extremely talented and awesome @ trinashoemaker produced and engineered it.. i couldn't be happier that many find this little house in the desert inspiring. i know i have since the first day i walked through the door. love to all"

📸: ranchodelalunastudio

[winchestergifs]

STACKEDextras ➙ So this is fun for you? Killing Dean over and over again?

3.11 Mystery Spot Written by Jeremy Carver & Emily McLaughlin Directed by Kim Manners Original Air Date: February 14, 2008

[doyoulikethissong-poll]

Ray Parker Jr. - Ghostbusters 1984

"Ghostbusters" is a song written by American musician Ray Parker Jr. as the theme to the 1984 film Ghostbusters. The song peaked at number 1 on the Billboard Hot 100, staying there for three weeks, and at number 2 on the UK Singles Chart, staying there for three weeks. It re-entered the UK Top 75 in 2008 at number 49 and again in 2021 at number 38. The song was nominated at the 57th Academy Awards for Best Original Song but lost to Stevie Wonder's "I Just Called to Say I Love You".

Parker was approached by the film's producers to create a theme song, although he only had a few days to do so and the film's title seemed impossible to include in any lyrics. However, when watching television late at night, Parker saw a cheap commercial for a local service that reminded him that the film had a similar commercial featured for the fictional business. This inspired him to write the song as a pseudo-advertising jingle that the business could have commissioned as a promotion. The theme is estimated to have added $20 million to the film's box-office gross. The music video was directed by Ivan Reitman, who also directed the Ghostbusters film.

"Ghostbusters" received a total of 94,2% yes votes! 🥳🎉

👻

[mysims-mod]

Unused Essences - Part 1

Seven(!) years ago I wrote about the unused Hedgehog essence and mentioned that there was one other noteworthy unused essence to write about at a later date. It is now later.

But in the seven(!) years since I wrote that post, I discovered a whopping six(!) more unused essences that were previously unknown! I won’t be saving those for later though, I don’t want to wait until 2032! 😩

I originally wanted to do this all in one post. But I hit the 30 image power post limit! So instead I am splitting this into two parts. Part 1 will cover two essences that were previously known but I hadn’t written about here as well as two new unused essences and how these new discoveries were made. Part 2 will cover the remaining four new unused essences.

This is still going to be a long one, so without further ado, here’s Part 1 below the cut.

So first up we have Wood! Just wood.

This essence itself isn’t technically unused. But it isn’t accessible like other essences.

When building an object in the workshop in addition to using essences as paint, you also have access to a “default” swatch.

This is treated by the game as an essence of its very own, complete with its own DEF file and a unique <IsDefault> tag not seen in other essences. 

By copying most of its properties over to a brand new essence file, it can be used like a normal essence!

The only things of note though is the flair model and the icons which are otherwise unused and never seen by the player.

The flair icon, strangely enough, is the same as the paint icons that can be seen in-game. The paint icon showcases an earlier style where they resembled actual paint pallets, as seen in some early footage.

The paint icon also showcases an earlier set of textures they planned to use. Unfortunately the textures for these no longer exist in the files though.

Fun fact about the wood essence model, is that it can be seen in some different early footage. Which is pretty neat!

Next up we have the Acorn, an actual unused essence.

This essence does not have any leftover data, and has to be reconstructed to be accessible in-game. Something that will have to be done for all of the remaining essences to discuss.

By copying and modifying an existing essence file, we can load it up in-game and see that it has a paint set! Sort of. The two patterned swatches work, while the flat swatches are pure white, just like the hedgehog essence.

There’s also a flair model leftover as well! Giving us a good look at what the Acorn essence would have looked like if it was finished.

These are the essences that have been known about already, in fact they have been on the Cutting Room Floor page for several years now. But these next five essences were completely unknown even to myself until just recently. But before I discuss the next few essences, let me explain how I was able to find them in the first place.

These new discoveries were actually made possible thanks to the Cozy Bundle, after “obtaining” a copy of the game, I was able to dump the ROMF, and look through all of the files. From there using Switch Toolbox, I could export all of the new HD textures to regular .PNG files, and amazingly enough, the original file names were intact!

Amazingly enough, all of the essences received new high-resolution textures, even though they are unused. Which is what I will be using for this blog post because seeing these in high resolution is just so much more pleasing to the eye.

Previous methods of dumping textures from the 2008 PC version of MySims did not retain the original file names. While all of the files necessary for these few next essences are inside the 2008 PC version, since the file names were unknown, they couldn’t be reimplemented, until now of course.

This little guy, called ‘applewood’, has a full paint set with fully working flat swatches unlike the previous essences, making it more complete than the other essences discussed so far.

There is also a paint icon leftover! But no flair icon to be seen…

Now internally while it’s referred to as ‘applewood’ the leftover text strings refer to it as ‘Light Wood’ instead, suggesting it was either an earlier incarnation of the final Light Wood essence, or had its original text strings overridden before a new entry made was made for the final Light Wood essence.

This next one is called ‘oakwood’, and with this one we’re back to only having two full pattern swatches and pure white flats.

But thanks to a leftover paint icon, we do know what they would have looked like. And it's brown and beige.

Interestingly this also has the same quirk as Applewood, where internally it is referred to as ‘oakwood’ but the leftover text strings refer to it as ‘Dark Wood’. Suggesting it was either an earlier incarnation of the final Dark Wood essence, or had its original text strings overridden before a new entry was made for the final Dark Wood essence.

Unfortunately This is where I have to cut off for Part 1.

Part 2 will have even more unused essences to discuss, and they get much, much more interesting from here.

You can read Part 2 here.

[spn20rewatch]

Season 3, Episode 13: Ghostfacers (December 17th)

Sam and Dean find themselves on the reality TV show Ghostfacers – and in real danger. -Super-wiki

Originally aired on: April 24th, 2008

Written by Ben Edlund, directed by Phil Sgriccia.

Fun fact: This is the first of three times that an episode of Supernatural was nominated for a GLAAD award for positive LGBTQ+ story-lines. Supernatural lost all three times.

Celebrate Daggett's birthday by posting about this episode under #spn20rewatch! 🥳