#reagan saunders

[reagan-the-saunders]

HELLO PEOPLE.

I'm happy and slightly anxious to announce that the Reagan Saunders Discord is now up and joinable! Please come join me and others to engage in some nerdy and fun conversations. <3 Of course, just like all of my socials, this server is 100% A-Political and does not discuss anything possibly controversial. Anyone of any walk of life is welcomed and ushered to join, I only ask that we refrain from discussing our beliefs or views. Just note that I've never run a server before and we're still working out plenty of kinks and problems, so if you encounter one, please let me know!

Come have fun! https://discord.gg/q3SYMWwn

[googlyeyesonmagiccards]

How about Astarion the decadent?

[leopardmuffinxo]

Hey there. I'm not sure how late I am to this, but I'm so sorry for your loss. Shadow sounded like a wonderful kitty. <3

I figured I'd send in a picture of my dog being a silly goof to try and make you feel a little bit better. 💕

thank you for the kind words. 💜 i always appreciate pet pics. i love when dogs sleep like this lol. like a fluffy cinnamon bun.

[stellarsightz]

Friends' ocs save me from art block....... save me friends' ocs.....

hii everyone :3 still not feeling like I'm over my current art block but this was really fun to do <333 hope i didn't mess up anyone's design too much :')

From left to right:

Adult version of Vanland, who belongs to @rustyram035

Quaithe, who belongs to @afamoore

Helgi, who belongs to @bethrnoora

Padeesalia, who belongs to @vestigme

Solnarius, who belongs to @ask-officium-velvet

And Viper, who belongs to @reagan-the-saunders

[tiredela]

wip whenever!!

i was tagged by @theoneandonlysemla thaaaanks <3

i present to you… one singular wip of my agent (no boobs this time sry. they’re in quarantine) ->

i still haven’t exactly figured out the lighting yet jhsdfhjabfkhja

tagging: @orfeoarte @zuutiomi @reagan-the-saunders @caliblorn @/YOU >:D

[jornalmagico]

AS CONTRATAÇÕES

A quarta etapa da task: ACABOU A MAMATA!

Confira a lista de vagas de emprego abaixo.

OOC: Alguns perdidos acabaram sendo colocados em dois empregos por serem trabalhos mais flexíveis; sendo assim, caberá ao player decidir se irá manter ambos os empregos para o seu personagem ou escolher apenas um E CONTATAR A CENTRAL SOBRE A DECISÃO CASO SEJA ABDICAR DE UM! Quem não contatar a central, será considerado que ficou com os dois.

Vocês já podem começar a aplicar as contratações nas interações de vocês. Em breve será postado aqui no blog do Jornal como funcionará a nova rotina de aulas do Centro de Contenção de Crise levando em consideração as contratações dos perdidos. E lá na central falaremos sobre como ficarão as vagas que sobraram e como elas poderão servir para futuras aplicações de perdidos, mas vou deixar vocês absorverem as contratações primeiro e me contatarem caso tenha erros para podermos organizar!

(!) Lembrando que foram MUITAS vagas, uma média de 5 vagas por perdido, então eu tive que cortar algumas e dei preferência para vagas mais "fáceis" de disponibilizar duas contratações para cada perdido (ex: dançarino, músico, etc que também podem trabalhar como assistentes em outros horários).

(!!) Personagens canon, não apaguem os links que vocês me enviaram com as vagas. As que sobraram serão disponibilizadas para perdidos que entraram depois da task no RP.

Academia da Magia

Assistente de desejos (Fada Madrinha): Darcy Coleman @pegueinopulo

Pesquisador auxiliar (Feiticeiro): Damla Ataman @investigctor

Biblioteca principal

Bibliotecário: Robert Jones @navegadorsolitario

Bibliotecário auxiliar: Julien Waybright @generclcorvo

Bombom Boon Chocolate Latte Boon

Atendente e vendedor: Nittha Kittivat @gataquepinta

Casa da Ópera

Cantores: Lee Teoh @taeohact / Bae Kayn @eitacarvalho / Valerie Williams @sapatinho34

Músicos: Coralie Wong @corclie / Julien Waybright @generclcorvo

Assistente de palco: Gwendolyn Aster Hepburn @swampdolyn

Roteirista: Reyna Andersen @feracinefila

Especialista em perdidos: Consuela Cortez @sucks4me

Chez Remy

Auxiliar do chef: Fiamma Armellini @thelavagirl

Atendente/recepcionista: Carter Knight @mestrecarter

Delícias da Vovó

Atendente: Bae Kayn @eitacarvalho

Confeiteiro auxiliar: Allison Jung @alllreturns

Endlos Motel

Recepcionista: Reagan Maria Brown @garotadapintura

FairySmiles

Auxiliar de dentista: Devon Saunders @devsndrs

Floricultura Blooming Affairs

Artista Floral: Chloe Waldron @chloewcldron

Contadora: Cassandra Santiago @notchapeleira

Guarda Real

Guarda pessoal da Rainha Legítima: Damla Ataman @investigctor

House of Devil

Maquiadora e cabeleireira: Flávia Rakelly Oliveira @outlxw

Modelos: Lee Taeoh @taeohact / Ginevra Liao @princesaginny / Asli Kuvanci @thcunknown / Flávia Rakelly Oliveira @outlxw

Instituto de Ciência Mágica

Segurança do Prédio: Darcy Coleman @pegueinopulo

Técnico de manutenção de Equipamentos: Mary Anne Evans @perdidadragon

Joalheira Bejewelions

Auxiliar administrativo: Fiamma Armellini @thelavagirl

Linha de Pesquisa de Jane Porter

Assistente de Laboratório: Robert Jones @navegadorsolitario

Assistente de Pesquisa: Victoria de Leon @allburnin

Assistente de Divulgação Científica: Consuela Cortez @sucks4me

Marmoreal Produtos Artesanais

Atendente/faz-tudo: Thomas Olsson @tomclsson

Mystic Mirror SPA

Massoterapeuta: Olimpia Liao @sbagliatos

Consultor de vendas: Asli Kuvanci @thcunknown

O Grandioso Cinema Mágico

Atendentes: Loren Hawkins @hiloren / Reyna Andersen @feracinefila

Raiders Sports Arena

Professores/técnicos esportistas: Thomas Olsson (futebol) @tomclsson / Loren Hawkins (esgrima) @hiloren

Mestres/senseis de artes marciais: Valentina Santiago (muay thai)

Sinister Mirage

Dançarinos: Sofia Bourbon @svfiawitch

Instrumentistas: Coralie Wong @corclie

TaskBandits

Pessoa tecnológica/mágica: Mary Anne Evans @perdidadragon

Teatime Tea Shop

Atendente/barista: Gwendolyn Aster Hepburn @swampdolyn

Sommelier de chá: Devon Saunders @devsndrs

The Terpischore

Anfitrião: Ginevra Liao @princesaginny

Toca do Coelho: Jardim Botânico

Biólogo: Olimpia Liao @sbagliatos

Guia turístico: Chloe Waldron @chloewcldron

Outros:

Assistente/faz-tudo (Mushu): Yeongsu Han-Winstanley @copostanley

Assistente pessoal (Cinderela): Valerie Williams @sapatinho34

Assistente pessoal (Jasmine): Sofia Bourbon @svfiawitch

Assistente pessoal e aprendiz de magia (Rainha Má): Victoria de Leon @allburnin

Comediante da Corte (Rainha Branca): Allison Jung @alllreturns

Companheira para chá da tarde (Rainha Branca): Amelia Kwon @amelunar

Cuidador de Rajah (Jasmine): Saskia Nähr @theunwantcd

Dama de companhia (Rainha Branca): Saskia Nähr @theunwantcd

Escritor que escreva sobre a Rainha Branca (Rainha Branca): Julieta Magnolia Chesapeake @causethatsiconic

Musa (Coelhão): Amelia Kwon @amelunar

[iliss4]

Hello, @reagan-the-saunders! I am your secret santa and this Viper is for you! Happy holidays!

[the-baschet]

19. Friends - Mad Fools

@umbralsound-xiv @ofloveandaether @gyrabanian and Reagan Saunders

[doubleattitude]

NUVO Dance Convention, Houston, TX: RESULTS

High Scores by Age:

NUbie Solo

1st: Navy Forrest-’Imagine’

2nd: Harper Schwalb-’Do What I Do’

3rd: Haddie Templet-’Do What I Do’

4th: Rose Ramirez-’Into the Unknown’

4th: Lucia Ruiz-’Popular’

5th: Anika Argueta-’Hallelujah’

6th: Alegria Jilpas-’Pure Imagination’

7th: Sloane Harris-’Never Enough’

8th: Maria Rosales-’Despacito’

8th: MJ Mackey-’I Don’t Want To Show Off’

9th: Mackenzie Griffin-’Small World’

Mini Solo

1st: Alexis Alvarez-’Welcome Home’

2nd: Landry Silas-’Cheek to Cheek’

2nd: Winter Eberts-’Dreamlike’

2nd: Diana Kouznetsova-’It’s In His Kiss’

3rd: Kylie Lawrence-’Breathe In’

3rd: Naiya Abalos-’Forces’

3rd: Tessa Ohran-’Knock 1-2-3′

3rd: Ava Grace Olson-’Tides of Time’

3rd: Isabella Kouznetsova-’Trouble’

4th: Claire Hansen-’By The Roses’

4th: Joli Vernon-’Joy’

5th: Ava Morford-’17 Hours’

5th: Faith Crain-’Notes of the Nymph’

5th: Harper Hammes-’Tu Quieres Volver’

5th: Justin Nguyen-’You Caused It’

6th: Lyla Terry-’Rescue’

6th: Jenesis Jackson-’Single Ladies’

7th: Rory Frye-’Amen’

7th: Brynlee Fitzgerald-’Can’t Get It Out’

7th: Hadlee Heriford-’Unbroken’

8th: Camille Foreman-’Boogie Woogie’

8th: London Smith-’Feel My Love’

9th: Natalie Gerami-’Evil Twin’

9th: Neve Colyn-?

10th: Hadley Richard-’Applause’

10th: Ella Williamson-’Experience’

10th: Khloe Kramer-’Giants’

Junior Solo

1st: Colby Rich-’I Lie’

2nd: Maya Ordonez-’For All That’s Lost’

2nd: Nyah Jackson-’Slow Meadows’

2nd: Kynadi Crain-’So Close, So Far’

3rd: Brooke Toro-’As The Dust Settles’

3rd: Brooke Vorst-’Girl From Ipanema’

3rd: Kinley Bertrand-’Rock With You’

3rd: Stella Vince-’Steep Turn’

4th: Taylor Harrison-’Dawn Chorus’

4th: Beyli Shah-’Heavy Hand’

4th: Anya Inger-’Quiet Thoughts’

4th: Bella Fernandez-’She Was Running’

5th: Brooke Dubbs-’I Know’

5th: Kara Yuan-’Petite Fleur’

5th: Elyse Tompkins-’Power of Love’

5th: Ellie Randolph-’Swan Song’

5th: Baileigh McKenzie-’Take Me’

5th: Emma Fontenot-’The Gate’

6th: Jaelynn Gatchett-’A Place of Peace’

6th: Haiden Neuville-’Before You Go’

6th: Campbell Thurow-’Can’t Touch This’

6th: Elyse Armstrong-’Hard to Love’

7th: Lena Hirsch-’Forsaken’

7th: Jocelyn Nguyen-’I Am Not Myself’

8th: Maegan Abadie-’Infinite’

8th: Juliana Reyes-’She Leads’

8th: Ava Grace Craig-’Sophie’s Choice’

8th: Madelyn McCauley-’Weightless’

9th: Julia Jacob-’Emotional Conclusions’

9th: Keira Kingsmore-’Medora Variation’

9th: Ansley Harris-’The Absence of Time’

9th: Jisselle Garza-’Waiting Game’

10th: Va’Shira Newborne-’Heat’

10th: Ava Grace Gallagher-’The Greatest’

Teen Solo

1st: Mariella Saunders-’Until We Break’

2nd: Chloe Slone-’As The Dust Settles’

2nd: Kate Abernathy-’Doomed’

2nd: Gianna Garwacki-’Epiphany’

2nd: Brecklyn Brown-’Fall On Me’

2nd: Cambry Bethke-’Sacred Space’

3rd: Hudson Pletcher-’Forged Imitation’

3rd: Madison Morita-’Lily of the Valley’

3rd: Paroma Pillay-’You’re Gonna Be Okay’

4th: Sarah Linn-’Under the Skin’

4th: Audrey Berg-’Schim’

4th: Ellie Tostenrude-’Mirror of the Mind’

4th: Grace Lundbom-’Filter’

4th: Hallie Hanes-’Escalate’

5th: William Huguet-’Sinister Heart’

5th: Sofia Ulloa-’Rainy Days and Mondays’

5th: Trista Brackin-’Marathon’

5th: Laila McGuire-’Albatross’

6th: Isabella Ferrara-’The Choir’

6th: Kieran Holmes-’Hear The Bells’

6th: Camille Reynolds-’Breakout’

7th: Nicole Larson-’Absence of Light’

7th: Fayeth Tippett-’Initiate’

7th: Gracie Booth-’Nature of Life’

7th: Jenna Laurent-’Regenerative’

8th: Arden Peterson-’To This Day’

8th: Avery Pesson-’Make My Cry’

8th: Rylie Rios-’Lost Without You’

8th: Rhylan Robicheaux-’An Evening I Will Not Forget’

9th: Kendall Wenmohs-’Carry You’

9th: Braden Ward-’Drilling An Ocean’

9th: Tessa Horsley-’Reflections’

9th: Reagan Wright-’Unearth’

10th: Libby Jo Parsons-’Free’

10th: Mason Ward-’Stones’

10th: Trent Grappe-’White’

Senior Solo

1st: Sarah Bratby-’Paracosm’

1st: Onye Stevenson-’Sleep’

2nd: Sophia Seymour-’Broken’

2nd: Elizabeth Perry-’Still Standing’

2nd: Damaris Salazar-’Unraveling’

3rd: Charlee Fagan-’Veils’

3rd: Selena Hamilton-’Keep An Eye Out’

3rd: Morgan Manning-’Change Gonna Come’

4th: Natalie Wong-’Tributary’

4th: Jaycee Mya Piper-’Happiness’

4th: Madi Autry-’A Face I Used to Know’

5th: Olivia Abadie-’Drawn To You’

5th: Alexa Williams-’Lost’

5th: Lainey Myers-’You Are The Reason’

6th: Camry Blackhurst-’Airstrike’

6th: Amelia Bradford-’Weightless’

7th: Carissa Dowling-’Lonely’

7th: Kaylie Wood-’The Shift’

8th: Camryn Guarino-’Shout’

8th: Presley Gouge-’Shadow Self’

8th: Isabel Ulloa-’Rose In Flames’

8th: Nyla Staes-’Let Go’

9th: Taelynn Ritchie-’If You Could Do It Again’

9th: Hayden Folse-’Particles’

9th: Sarah Hladky-’Swim’

9th: McKenzie Shaffer-’Whispers’

10th: Caroline Cottrell-’Let Him Go’

10th: Sophia Burns-’Rewind’

10th: Madison Morris-’She Used To Be Mine’

NUbie Duo/Trio

1st: Main Street Dance-’Glow’

Mini Duo/Trio

1st: Project 21-’I Am The Cute One’

2nd: Machita Dance Company-’Let’s Do It’

3rd: The Dance Kollective-’Reflection’

Junior Duo/Trio

1st: The Dance Kollective-’Both of Us’

2nd: Jean Leigh Academy of Dance-’Pace of Change’

3rd: Modern Conceptions of Dance-’Deuterium’

3rd: Artistic Dance Project-’Spies’

Teen Duo/Trio

1st: Jean Leigh Academy of Dance-’At Least For Now’

1st: Dance Institute-’Comme Les Anges Volent’

2nd: Main Street Dance-’Destinations’

2nd: The Dance Kollective-’Alter Ego’

3rd: The Dance Kollective-’Ascending’

3rd: Dance Du Coeur-’Hiding Place’

Senior Duo/Trio

1st: The Dance Kollective-’Exhumed’

1st: Artistic Soul Dance Company-’Sunder’

2nd: The Dance Kollective-’I Don’t Believe In Us’

3rd: The Movement Dance Academy-’Wild Love’

NUbie Group

1st: Machita Dance Company-’Land of 1000 Dances’

2nd: Dance Graphics-’Boogie Fever’

3rd: Main Street Dance-’Mom’

Mini Group

1st: Prodigy Dance and Performing Arts Centre-’We Love to Bebop’

2nd: Lancaster Dance Academy-’Want You Back’

3rd: Lancaster Dance Academy-’A Children’s Dream’

Junior Group

1st: The Dance Kollective-’Dreaming’

1st: Jean Leigh Academy of Dance-’Give Me More’

2nd: The Dance Kollective-’Like Lovers Do’

2nd: Dance Du Coeur-’Scapegoat’

3rd: Dance Du Coeur-’Wind It Up!’

Teen Group

1st: The Dance Kollective-’Tap Is Life’

2nd: The Dance Kollective-’Killing Me Softly’

2nd: The Dance Kollective-’The Heaven Complex’

2nd: Dance Du Coeur-’Truth’

3rd: Jean Leigh Academy of Dance-’Hymne a l’amour’

Senior Group

1st: The Dance Kollective-’Before I Go’

2nd: Artistic Dance Project-’Letting Go’

3rd: The Dance Kollective-’Give Me Love’

NUbie Line

1st: The Movement Dance Academy-’Crazy In Love’

2nd: Rios Dance-’Anaconda’

Mini Line

1st: Machita Dance Company-’In The Convent’

2nd: Dance Graphics-’Cover Girl’

3rd: Dance Graphics-’Like Jesus’

Junior Line

1st: The Dance Kollective-’Handful of Keys’

2nd: Artistic Dance Project-’Bright Horses’

2nd: Dance Du Coeur-’Small Hours’

3rd: The Movement Dance Academy-’War Child’

Teen Line

1st: Artistic Dance Project-’Greed’

2nd: Dance Du Coeur-’Leave Me My Name’

2nd: The Dance Kollective-’Sing It Back’

2nd: Dance Du Coeur-’Somewhere’

3rd: The Movement Dance Academy-’Trust Me Again’

NUbie Extended Line

1st: The Movement Dance Academy-’Strut’

Mini Extended Line

1st: Jean Leigh Academy of Dance-’Blow, Gabriel, Blow’

2nd: Main Street Dance-’Bom Bom Bom’

Junior Extended Line

1st: Jean Leigh Academy of Dance-’Reasonable Doubt’

2nd: Jean Leigh Academy of Dance-’Knock On Wood’

3rd: The Movement Dance Academy-’Mean Girls’

Teen Extended Line

1st: Artistic Dance Project-’Can’t Pretend’

2nd: Dance De Coeur-’Takeoff’

3rd: The Dance Kollective-’Goliath’

3rd: Tari’s School of Dance-’The Hive’

Senior Extended Line

1st: Artistic Dance Project-’Knocking On Heavens Door’

2nd: Artistic Dance Project-’GO!’

Teen Production

1st: Dance Institute-’Valse Romantique’

2nd: Dance Graphics-’What’s Poppin’

3rd: Main Street Dance-’Work Me Down’

High Scores by Performance Division:

NUbie Jazz

1st: Machita Dance Company-’Land of 1000 Dances’ 2nd: The Movement Dance Academy-’Crazy In Love’ 2nd: Dance Graphics-’Boogie Fever’ 3rd: Main Street Dance-’Mom’

NUbie Hip-Hop

1st: The Movement Dance Academy-’Strut’ 2nd: Rios Dance-’Anaconda’

NUbie Lyrical

1st: Modern Conceptions of Dance-’Ashes’

Mini Jazz

1st: Lancaster Dance Academy-’Want You Back’ 2nd: Machita Dance Company-’Shake; 3rd: Dance Graphics-’Glamorous Life’

Mini Hip-Hop

1st: Avant Dance LLC-’Bad to the Bone’ 2nd: Main Street Dance-’Cruising Cuties’

Mini Tap

1st: Prodigy Dance and Performing Arts Centre-’We Love to Bebop’ 2nd: Jean Leigh Academy of Dance-’Blow, Gabriel, Blow’ 3rd: Main Street Dance-’All Aboard’

Mini Contemporary

1st: Lancaster Dance Academy-’A Children’s Dream’ 2nd: Avant Dance LLC-’La Vie En Rose’ 3rd: Dance Institute-’And So It Begins’

Mini Lyrical

1st: Center Stage Performing Arts Studio-’Happiness’ 2nd: Lancaster Dance Academy-’Sparrow’ 3rd: Dance Graphics-’Salvation’

Mini Musical Theatre

1st: Machita Dance Company-’In The Convent’ 2nd: Dance Graphics-’It’s Party Time’ 3rd: Dance Graphics-’Stupid Cupid’

Junior Jazz

1st: Dance Du Coeur-’Wind It Up!’ 2nd: Jean Leigh Academy of Dance-’Knock On Wood’ 3rd: Dance Graphics-’Tip Toe’

Junior Ballet

1st: Collective Dance Artistry-’Promenade’ 2nd: Artistic Dance Project-’Marco Polo’

Junior Tap

1st: The Dance Kollective-’Handful of Keys’ 2nd: Artistic Dance Project-’Finesse’ 3rd: Avant Dance LLC-’Seville’

Junior Contemporary

1st: Jean Leigh Academy of Dance-’Give Me More’ 1st: The Dance Kollective-’Dreaming’ 2nd: Dance Du Coeur-’Scapegoat’ 3rd: The Movement Dance Academy-’Unraveling’

Junior Lyrical

1st: Artistic Dance Project-’Bright Horses’ 1st: Dance Du Coeur-’Small Hours’ 2nd: The Movement Dance Academy-’War Child’ 3rd: Dance Graphics-’The Light That Never Fails’

Junior Musical Theatre

1st: Jean Leigh Academy of Dance-’Reasonable Doubt’ 2nd: The Movement Dance Academy-’Mean Girls’

Junior Specialty

1st: The Dance Kollective-’Like Lovers Do’ 2nd: Main Street Dance-’1977′ 3rd: Paloma Limas & Company-’My Way’

Teen Jazz

1st: Dance Du Coeur-’Last Dance’ 2nd: The Dance Kollective-’Bringing It Back’ 3rd: The Movement Dance Academy-’Vibeology’

Teen Ballet

1st: Dance Institute-’Valse Romantique’ 2nd: Dance Institute-’Amore Argentine’ 3rd: Collective Dance Artistry-’Sylvia’

Teen Hip-Hop

1st: Dance Graphics-’What’s Poppin’ 2nd: Tari’s School of Dance-’Fame and Fortune’ 3rd: Main Street Dance-’Pinky Ring’

Teen Tap

1st: The Dance Kollective-’Tap Is Life’ 2nd: The Dance Kollective-’Killing Me Softly’ 3rd: Palm Valley Gymnastics and Dance-’Juice’

Teen Contemporary

1st: Dance Du Coeur-’Truth’ 1st: Dance Du Coeur-’Leave Me My Name’ 2nd: Jean Leigh Academy of Dance-’Hymne a l’amour’ 3rd: Jean Leigh Academy of Dance-’The Path’

Teen Lyrical

1st: Dance Du Coeur-’Somewhere’ 2nd: The Dance Kollective-’Remember Her’ 3rd: Creative Dance Studio-’Memory’ 3rd: Artistic Dance Project-’Journey’

Teen Musical Theatre

1st: Modern Conceptions of Dance-’Don’t Rain On My Parade’ 2nd: Avant Dance LLC-’C’mon Everybody’

Teen Ballroom

1st: The Dance Kollective-’Boss’ 2nd: Rios Dance-’Azucar’

Teen Specialty

1st: Artistic Dance Project-’Greed’ 2nd: The Dance Kollective-’The Heaven Complex’ 2nd: The Dance Kollective-’Sing It Back’ 3rd: Collective Dance Artistry-’The One Who Goes Astray’

Senior Jazz

1st: Lancaster Dance Academy-’Gimmie Dat’ 2nd: Pivotal Academy of Dance-’Born This Way’

Senior Hip-Hop

1st: Artistic Dance Project-’GO!’

Senior Tap

1st: Artistic Dance Project-’I Wanna Dance’

Senior Contemporary

1st: The Dance Kollective-’Before I Go’ 2nd: Artistic Dance Project-’Mother’ 3rd: Main Street Dance-’9 Crimes’

Senior Lyrical

1st: Artistic Dance Project-’Letting Go’ 2nd: The Dance Kollective-’Give Me Love’ 3rd: Dance Graphics-’Let You Know’

Senior Specialty

1st: Artistic Dance Project-’Knocking On Heavens Door’ 2nd: Texas Academy of Dance Arts-’You Always Hurt The One You Love’

Best NU Groups:

NUbie

The Movement Dance Academy-’Crazy In Love’

Machita Dance Company-’Land of 1000 Dances’

Dance Graphics-’Boogie Fever’

Mini

Dance Graphics-’Salvation’

Jean Leigh Academy of Dance-’Blow, Gabriel, Blow’

Machita Dance Company-’In The Convent’

Center Stage Performing Arts Studio-’Happiness’

Lancaster Dance Academy-’Want You Back’

Prodigy Dance and Performing Arts Centre-’We Love to Bebop’

Junior

Dance Du Coeur-’Scapegoat’

Jean Leigh Academy of Dance-’Give Me More’

The Dance Kollective-’Dreaming’

Artistic Dance Project-’Bright Horses’

The Movement Dance Academy-’Unraveling’

Dance Du Coeur-’Small Hours’

Teen

Jean Leigh Academy of Dance-’Hymne a l’amour’

Artistic Dance Project-’Greed’

The Dance Kollective-’Tap Is Life’

Modern Conceptions of Dance-’Distortion’

Collective Dance Artistry-’The One Who Goes Astray’

Dance Du Coeur-’Somewhere’

Machita Dance Company-’Holding On’

Creative Dance Studio-’Memory’

Main Street Dance-’Crash Test Dummies’

Tari’s School of Dance-’The Hive’

Dance Institute-’Valse Romantique’

The Movement Dance Academy-’Trust Me Again’

Dance Graphics-’What’s Poppin’

Senior

Lancaster Dance Academy-’Humanity’

Texas Academy of Dance Arts-’Love Lost’

Main Street Dance-’9 Crimes’

The Dance Kollective-’Before I Go’

Artistic Dance Project-’Letting Go’

Studio Pick:

Dance Graphics-’What’s Poppin’

Lancaster Dance Academy-’Humanity’

Dance Institute-’Valse Romantique’

Artistic Dance Project-’Greed’

Collective Dance Artistry-’The One Who Goes Astray’

Avant Dance LLC-’Clap, Clap’

Modern Conceptions of Dance-’Distortion’

Dance Du Coeur-’Somewhere’

West Austin Dance Academy-’Missionary Man’

The Movement Dance Academy-’Trust Me Again’

The Dance Kollective-’Tap Is Life’

Main Street Dance-’Crash Test Dummies’

Machita Dance Company-’Holding On’

[artcompilations]

hello friend!!!! i hope you are doing good and staying safe!!! if you have a moment, do you have anything on depression and/or carrying on despite it? thank u bunches!!

hi pal! i would have liked to give a more comprehensive response but i’m not sure i’m going to be in the right mindset for it later so i’m just going to link a couple of things for now and maybe you’ll find some that speak to you as well 

as ever with these, a wee nudge that this will be here for when u have the energy and mindset for it, so please do dip in and out as and when is best for you, take it easy!

with all that said, sending love from my corner of the world to yours, we’re here and we’re going to make it, we are!! take care lovely 💓 💓  

poems (**personal faves though obviously everything here is a personal selection) 

poetry recs. would highly second the rec for ‘wild geese’ by mary oliver!! it’s comforting in a very small gentle way and sometimes that’s what u need, a poem that feels kind & soothing... here’s another: susan coolidge’s ‘new every morning’ (mentions of religion) 

**‘a good day’ by kait rokowski, this poem is !!! (mentions of past suicide ideation and self harm but the core of the poem is focussed on the small goodness of the present)

**‘elegy for my sadness’ by chen chen (I wish I could peel / all my sadness in one long strip off my skin / & toss it in a bucket. No one would have to carry it. / It would just sit there & be punished. / It would just sit there & think about everything it’s done.) 

who can look in the mirror for three minutes / and say I love you, I love you, I love you / without bursting into tears over all the ways / we have not loved ourselves (jennifer saunder’s poem)

spoken poetry (youtube links): sabrina benaim’s “explaining my depression to my mother” (death mention) and reagan myers’ “depression is funny like that”

some articles: “I Lived. I Lived. I Lived.” article by Tori Burgamy (mentions of suicide and self harm / “I like to think that we all have two birthdays—the day we were born and the day we started fighting for our lives. That fateful day was my rebirth, although I didn’t know it at the time. It was the day I recognized depression for what it truly is: a liar and a thief.) and ask Polly - why should I keep going 

quotes

WHAT I AM NOT: My brother and I used to play a game. I’d point to a chair. “THIS IS NOT A CHAIR,” I’d say. Bird would point to the table. “THIS IS NOT A TABLE.” “THIS IS NOT A WALL,” I’d say. “THAT IS NOT A CEILING.” We’d go on like that. “IT IS NOT RAINING OUT.” “MY SHOE IS NOT UNTIED!” Bird would yell. I’d point to my elbow. “THIS IS NOT A SCRAPE.” Bird would lift his knee. “THIS IS ALSO NOT A SCRAPE!” “THAT IS NOT A KETTLE!” “NOT A CUP!” “NOT A SPOON!” “NOT DIRTY DISHES!” We denied whole rooms, years, weathers. Once, at the peak of our shouting, Bird took a deep breath. At the top of his lungs, he shrieked: “I! HAVE NOT! BEEN! UNHAPPY! MY WHOLE! LIFE!” “But you’re only seven,” I said.

— Nicole Krauss, The History Of Love

- inkipri 

I sit with my grief. I mother it. I hold its small, hot hand. I don’t say, shhh. I don’t say, it is okay. I wait until it is done having feelings. Then we stand and we go wash the dishes. We crack open bedroom doors, step over the creaks, and kiss the children. We are sore from this grief, like we’ve returned from a run, like we are training for a marathon. I’m with you all the way, says my grief, whispering, and then we splash our face with water and stretch, one big shadow and one small.

- Callista Buchen (not specific to depression but i think some of the sentiment is still? applicable? sometimes at least)

Depression is stupid and not a thing that makes me a better writer. One time I went a whole year without writing and I stayed in bed and drank. Fuck your Bukowskisms. I want sunlight and love and running down some street I’ve never been on where it’s warm and cool at the same time and I’m smiling. I want nothing to ever be bad again- and I don’t mean that I want a life free of conflict, I mean that I want a life free of meaningless conflict. Not being able to will oneself to take a shower or leave the house is meaningless. There is nothing to be gained, no lesson to be learned from that kind of life. My heart is stale, my prose is stale. Give me fire if you want to hurt me. Give me something I can taste. There’s nothing romantic or mysterious about where I am. There’s nothing here worth holding onto.

- Joshua Espinoza

Wherever you are it’s okay. You can come back from it. Whatever happened to you down there, whatever the world looks like now, that’s not how it always looks. That’s not how it’s always going to look. There’s more. There’s always more.

- Patrick Ness, More Than This (yeah out of context but! that’s not how it always looks! there’s always more!!) 

some more general compilations

resilience, to keep on living (mentions of death)

to forgive and value ourselves

choices and life

reminders / two

+ if anyone has anything to chip in, feel free to pop it in the comments or something for anon to check (edit: @/anon see the replies!) all the love ✨

[reagan-the-saunders]

I really wanted to draw Saphiri with bedhead and in Astarion's camp shirt lol.

[googlyeyesonmagiccards]

googly eyes on piru the volatile?

Good ole elder dragons.

[afaimsarrowverse]

25 Favorite All Female Ships of the Arrowverse:

Alexs Coming Out Storyline in Season 2 was one of the best and most important arcs of „Supergirl“. So in honor of the coming end: Here is a list of my 25 favorite all female ships of the Arrowverse – canon and fanships, all the shows, all the ladies.

 Don’t forget: This is my blog, this is my list, it is in no way objective, everyone is entiled to their own opinion, so please don’t reblog or answer just to tell me how much you disagree with me. You can’t quantify love, well except with stupid lists like this, just because a ship is not on this list does not mean I don’t like it - except when it does - so…. yeah, here we go

  25. Snowest (Caitlin Snow/Iris West)

 The Flash

24.  Sara Lance /Guenevere

 Legends of Tomorrow, Camelot/3000

23.  Kate Kane/Reagan

 Batwoman Season 1

 22.  Hawkcanary (Kendra Saunders/Sara Lance)

 Legends of Tomorrow Season 1

 21.  Kucy (Kara Danvers/Lucy Lance)

 Supergirl Season 1

20. Batagent (Kate Kane/Alex Danvers)

 Batwoman/Supergirl,. Crisis on Infinite Earths

 19.  Westpark (Iris West/Linda Park)

 The Flash Season 1-2

 18.  Zamaya (Zari Tomaz/Amaya Jiwe)

 Legends of Tomorrow Season 3

17.  CicadaXS (Grace Gibbons/Nora West-Allen)

 The Flash Season 5

 16.  Sacratra (Kara Danvers/Andrea Rojas)

 Supergirl Season 5-6

 15.  Lyssa (Laurel Lance/Nyssa al Ghul)

 Arrow Season 2-4

14.  Zarlie (Zari Tomaz/Charlie)

 Legends of Tomorrow Season 4

13.  Supersaturn (Kara Danvers/Imra Ardeen)

 Supergirl Season 3

12.  XSWitch (Nora West-Allen/Joslyn Jackam)

 The Flash Season 5

11.  Supercanary (Kara Danvers/Sara Lance)

 Supergirl/Legends of Tomorrow, Invasion!, Crisis on Earth-X, Crisis on Infinite Earths, Arrow Finale

10.  Agentreign (Alex Danvers/Sam Arias)

 Supergirl Season 3

 9.      Canaries (Dinah Drake/Laurel Lance Earth-2)

 Arrow Season 5-8, Green Arrow and the Canaries Backdoor Pilot

 8.      Saramaya (Sara Lance/Amaya Jiwe)

 Legends of Tomorrow Season 2-3

 7.      Batmoore (Kate Kane/Sophie Moore)

 Batwoman Season 1

6.      Kanvers (Kate Kane/Kara Danvers)

 Batwoman/Supergirl, Elseworlds, Crisis on Infnite Earths, Batwoman Season 1

 5.      Dansen (Alex Danvers/Kelly Olsen)

 Supergirl Season 4-6

 4        Agentcanary (Alex Danvers/Sara Lance)

 Supergirl/Legends of Tomorrow, Crisis on Earth-X, Crisis on Infinite Earths

3.      Nysara (Nyssa al Ghul/Sara Lance)

 Arrow Season 2-4, 8, Legends of Tomorrow Season 1

 2.      Avalance (Ava Sharpe/Sara Lance)

 Legends of Tomorrow Season 3-6

1.      Sanvers (Maggie Sawyer/Alex Danvers)

 Supergirl Season 2-3

[doomandgloomfromthetomb]

Lou Reed - Capitol Theater, Passaic, New Jersey, September 25, 1984

In last week’s Summer of Lou episode, we said hello to ace guitarist Robert Quine. This week, we’ve gotta say goodbye. As noted, Lou all but mixed Quine off of Legendary Hearts — and then didn’t even invite him to play on New Sensations. But he did hire Quine for the New Sensations tour, so we get one last taste of the Lou + Bob team-up. In this pro-shot video out in Passaic, their spirits seem relatively high: Lou introduces Quine as “my favorite guitar player” and Bob occasionally almost cracks a smile at a few points throughout the show. Does the guitarist add a Cosey-esque skronk solo to “I Love You Suzanne”? He does not. He’s definitely a muted presence, only stepping into the spotlight on occasion (he’s disappointingly mixed low on what should be his “Waves of Fear” showcase). Ah well. 

Actually, it’s Fernando Saunders — the “fretless wonder” as Reed calls him — who might be the real lead instrumentalist during this era. His big, buttery tones dominate, giving the set a buoyant, pop-funk feel; even “Street Hassle” is re-imagined as a hard-charging power-pop number, which is a little strange. Saunders will end up being one of Lou’s closest collaborators for the remainder of our Summer of Lou journey. Some people don’t dig that smooth fretless sound, but I think it works usually ... We’ve also got a keyboardist in the mix now — the fairly anonymous Peter Wood, who adds some rooty-tooty solos to “Walk On The Wild Side” and “New Sensations” (not to mention some accordion (!) on “Doin’ The Things We Want To”) but otherwise stays pretty much in the background. 

Sidemen aside, this is really the Lou Reed show. But it’s a pretty different Lou than we’ve seen before. A positive Lou! A happy Lou! A friendly Lou! He really does seem to be in a great mood for this gig (except for a moment when he chews out the lighting guy). He’s downright chatty throughout, and not in a caustic Take No Prisoners kinda way (funny to hear him tell the crowd “This is not an endorsement, it’s just a song” before “Waiting For The Man”...Was Nancy Reagan there or something?). Lou is having such a nice time that he even cedes his stage to two other artists towards the end. The Chantels, who croon through their hit “Maybe” (probably a teenaged Lou fave) and then none other than Jim Carroll, sounding not that far off from his hilarious cameos on the Max’s Kansas City LP. Carroll rollicking through his “People Who Died” brings little bit of that old dangerous feel that the rest of the show lacks. I salute you, brother! 

Lou Says (1984): I really think I I have it more together than I ever have in my whole life. I have more of my powers and my abilities to reason, function and take a thought, carry it through, complete it, and accomplish what I set out to do over a long span. I personally would love to have commercial success because I know what I’m doing is good. It’s nice when other people agree with me. I don’t make these records just to sit at home and listen to them by myself. 

[tiredela]

artfight revenge for @reagan-the-saunders! >:)

[blackkudos]

Gil Scott-Heron

Gilbert Scott-Heron (April 1, 1949 – May 27, 2011) was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues".

His music, most notably on the albums Pieces of a Man and Winter in America in the early 1970s, influenced and foreshadowed later African-American music genres such as hip hop and neo soul. Scott-Heron is considered by many to be the first rapper/MC ever. His recording work received much critical acclaim, especially one of his best-known compositions, "The Revolution Will Not Be Televised". AllMusic's John Bush called him "one of the most important progenitors of rap music," stating that "his aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career."

Scott-Heron remained active until his death, and in 2010 released his first new album in 16 years, entitled I'm New Here. A memoir he had been working on for years up to the time of his death, The Last Holiday, was published posthumously in January 2012. Scott-Heron received a posthumous Grammy Lifetime Achievement Award in 2012. He also is included in the exhibits at the National Museum of African American History and Culture (NMAAHC) that officially opened on September 24, 2016, on the National Mall, and in an NMAAHC publication, Dream a World Anew.

Early years

Gil Scott-Heron was born in Chicago, Illinois. His mother, Bobbie Scott, was an opera singer who performed with the New York Oratorio Society. Scott-Heron's father, Gil Heron, nicknamed "The Black Arrow", was a Jamaican soccer player in the 1950s who became the first black man to play for Celtic Football Club in Glasgow. Gil's parents separated in his early childhood and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. When Scott-Heron was 12 years old, his grandmother died and he returned to live with his mother in The Bronx in New York City. He enrolled at DeWitt Clinton High School, but later transferred to The Fieldston School after impressing the head of the English department with one of his writings and earning a full scholarship. As one of five black students at the prestigious school, Scott-Heron was faced with alienation and a significant socioeconomic gap. During his admissions interview at Fieldston, an administrator asked him, "'How would you feel if you see one of your classmates go by in a limousine while you're walking up the hill from the subway?' And [he] said, 'Same way as you. Y'all can't afford no limousine. How do you feel?'" This type of intractable boldness would become a hallmark of Scott-Heron's later recordings.

After completing his secondary education, Scott-Heron decided to attend Lincoln University in Pennsylvania because Langston Hughes (his most important literary influence) was an alumnus. It was here that Scott-Heron met Brian Jackson with whom he formed the band Black & Blues. After about two years at Lincoln, Scott-Heron took a year off to write the novels The Vulture and The Nigger Factory. Scott-Heron was very heavily influenced by the Black Arts Movement. The Last Poets, a group associated with the Black Arts Movement performed at Lincoln in 1969 and Abiodun Oyewole of that Harlem group said Scott-Heron asked him after the performance, "Listen, can I start a group like you guys?" Scott-Heron returned to New York City, settling in Chelsea, Manhattan. The Vulture was published by the World Publishing Company in 1970 to positive reviews.

Although Scott-Heron never completed his undergraduate degree, he was admitted to the Writing Seminars at Johns Hopkins University, where he received an M.A. in creative writing in 1972. His master's thesis was titled Circle of Stone. Beginning in 1972, Scott-Heron taught literature and creative writing for several years as a full-time lecturer at Federal City College in Washington, D.C. while maintaining his music career.

Recording career

Scott-Heron began his recording career in 1970 with the LP Small Talk at 125th and Lenox. Bob Thiele of Flying Dutchman Records produced the album, and Scott-Heron was accompanied by Eddie Knowles and Charlie Saunders on conga and David Barnes on percussion and vocals. The album's 14 tracks dealt with themes such as the superficiality of television and mass consumerism, the hypocrisy of some would-be black revolutionaries, and white middle-class ignorance of the difficulties faced by inner-city residents. In the liner notes, Scott-Heron acknowledged as influences Richie Havens, John Coltrane, Otis Redding, Jose Feliciano, Billie Holiday, Langston Hughes, Malcolm X, Huey Newton, Nina Simone, and long-time collaborator Brian Jackson.

Scott-Heron's 1971 album Pieces of a Man used more conventional song structures than the loose, spoken-word feel of Small Talk. He was joined by Jackson, Johnny Pate as conductor, Ron Carter on bass and bass guitar, drummer Bernard "Pretty" Purdie, Burt Jones playing electric guitar, and Hubert Laws on flute and saxophone, with Thiele producing again. Scott-Heron's third album, Free Will, was released in 1972. Jackson, Purdie, Laws, Knowles, and Saunders all returned to play on Free Will and were joined by Jerry Jemmott playing bass, David Spinozza on guitar, and Horace Ott (arranger and conductor). Carter later said about Scott-Heron's voice: "He wasn't a great singer, but, with that voice, if he had whispered it would have been dynamic. It was a voice like you would have for Shakespeare."

1974 saw another LP collaboration with Brian Jackson, the critically acclaimed opus Winter in America, with Bob Adams on drums and Danny Bowens on bass. The album contained Scott-Heron's most cohesive material and featured more of Jackson's creative input than his previous albums had. Winter in America has been regarded by many critics as the two musicians' most artistic effort. The following year, Scott-Heron and Jackson released Midnight Band: The First Minute of a New Day. 1975 saw the release of the single "Johannesburg", a rallying cry to the issue of apartheid in South Africa. The song would be re-issued, in 12"-single form, together with "Waiting for the Axe to Fall" and "B-movie" in 1983.

A live album, It's Your World, followed in 1976 and a recording of spoken poetry, The Mind of Gil Scott-Heron, was released in 1978. Another success followed with the hit single "Angel Dust", which he recorded as a single with producer Malcolm Cecil. "Angel Dust" peaked at No. 15 on the R&B charts in 1978.

In 1979, Scott-Heron played at the No Nukes concerts at Madison Square Garden. The concerts were organized by Musicians United for Safe Energy to protest the use of nuclear energy following the Three Mile Island accident. Scott-Heron's song, "We Almost Lost Detroit" was included in the No Nukes album of concert highlights. It alluded to a previous nuclear power plant accident and was also the title of a book by John G. Fuller. Scott-Heron was a frequent critic of President Ronald Reagan and his conservative policies.

Scott-Heron recorded and released four albums during the 1980s: 1980 and Real Eyes (1980), Reflections (1981) and Moving Target (1982). In February 1982, Ron Holloway joined the ensemble to play tenor saxophone. He toured extensively with Scott-Heron and contributed to his next album, Moving Target the same year. His tenor accompaniment is a prominent feature of the songs "Fast Lane" and "Black History/The World". Holloway continued with Scott-Heron until the summer of 1989, when he left to join Dizzy Gillespie. Several years later, Scott-Heron would make cameo appearances on two of Ron Holloway's CDs; Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.

Scott-Heron was dropped by Arista Records in 1985 and quit recording, though he continued to tour. The same year he helped compose and sang "Let Me See Your I.D." on the Artists United Against Apartheid album Sun City, containing the famous line, "The first time I heard there was trouble in the Middle East, I thought they were talking about Pittsburgh". The song compares racial tensions in the U.S. with those in apartheid-era South Africa, implying that the U.S. was not too far ahead in race relations. In 1993, he signed to TVT Records and released Spirits, an album that included the seminal track "'Message to the Messengers". The first track on the album criticized the rap artists of the day. Scott-Heron is known in many circles as "the Godfather of rap" and is widely considered to be one of the genre's founding fathers. Given the political consciousness that lies at the foundation of his work, he can also be called a founder of political rap. Message to the Messengers was a plea for the new generation of rappers to speak for change rather than perpetuate the current social situation, and to be more articulate and artistic. Regarding hip hop music in the 1990s, he said in an interview:

They need to study music. I played in several bands before I began my career as a poet. There's a big difference between putting words over some music, and blending those same words into the music. There's not a lot of humor. They use a lot of slang and colloquialisms, and you don't really see inside the person. Instead, you just get a lot of posturing.

Later years

Prison terms and more performing

In 2001, Scott-Heron was sentenced to one to three years imprisonment in a New York State prison for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003, the year BBC TV broadcast the documentary Gil Scott-Heron: The Revolution Will Not Be Televised—Scott-Heron was arrested for possession of a crack pipe during the editing of the film in October 2003 and received a six-month prison sentence.

On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. He claimed that he left because the clinic refused to supply him with HIV medication. This story led to the presumption that the artist was HIV positive, subsequently confirmed in a 2008 interview. Originally sentenced to serve until July 13, 2009, he was paroled on May 23, 2007.

After his release, Scott-Heron began performing live again, starting with a show at SOB's restaurant and nightclub in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titled The Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.

Malik Al Nasir dedicated a collection of poetry to Scott-Heron titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. Scott-Heron recorded one of the poems in Nasir's book entitled Black & Blue in 2006.

In April 2009, on BBC Radio 4, poet Lemn Sissay presented a half-hour documentary on Gil Scott-Heron entitled Pieces of a Man, having interviewed Gil Scott-Heron in New York a month earlier. Pieces of a Man was the first UK announcement from Scott-Heron of his forthcoming album and return to form. In November 2009, the BBC's Newsnight interviewed Scott-Heron for a feature titled The Legendary Godfather of Rap Returns. In 2009, a new Gil Scott-Heron website, gilscottheron.net, was launched with a new track "Where Did the Night Go" made available as a free download from the site.

In 2010, Scott-Heron was booked to perform in Tel Aviv, Israel, but this attracted criticism from pro-Palestinian activists, who stated: "Your performance in Israel would be the equivalent to having performed in Sun City during South Africa's apartheid era... We hope that you will not play apartheid Israel". Scott-Heron responded by canceling the performance.

I'm New Here

Scott-Heron released his album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, I'm New Here was Scott-Heron's first studio album in 16 years. The pair started recording the album in 2007, with the majority of the record being recorded over the 12 months leading up to the release date with engineer Lawson White at Clinton Studios in New York. I'm New Here is 28 minutes long with 15 tracks; however, casual asides and observations collected during recording sessions are included as interludes.

The album attracted critical acclaim, with The Guardian's Jude Rogers declaring it one of the "best of the next decade", while some have called the record "reverent" and "intimate", due to Scott-Heron's half-sung, half-spoken delivery of his poetry. In a music review for public radio network NPR, Will Hermes stated: "Comeback records always worry me, especially when they're made by one of my heroes ... But I was haunted by this record ... He's made a record not without hope but which doesn't come with any easy or comforting answers. In that way, the man is clearly still committed to speaking the truth". Writing for music website Music OMH, Darren Lee provided a more mixed assessment of the album, describing it as rewarding and stunning, but he also states that the album's brevity prevents it "from being an unassailable masterpiece".

Scott-Heron described himself as a mere participant in an interview with The New Yorker:

This is Richard's CD. My only knowledge when I got to the studio was how he seemed to have wanted this for a long time. You're in a position to have somebody do something that they really want to do, and it was not something that would hurt me or damage me—why not? All the dreams you show up in are not your own.

The remix version of the album, We're New Here, was released in 2011, featuring production by English musician Jamie xx, who reworked material from the original album. Like the original album, We're New Here received critical acclaim.

In April 2014, XL Recordings announced a third album from the I'm New Here sessions, titled Nothing New. The album consists of stripped-down piano and vocal recordings and was released in conjunction with Record Store Day on April 19, 2014.

Death

Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a European trip. Scott-Heron had confirmed previous press speculation about his health, when he disclosed in a 2008 New York Magazine interview that he had been HIV-positive for several years, and that he had been previously hospitalized for pneumonia.

He was survived by his firstborn daughter, Raquiyah "Nia" Kelly Heron, from his relationship with Pat Kelly; his son Rumal Rackley, from his relationship with Lurma Rackley; daughter Gia Scott-Heron, from his marriage to Brenda Sykes; and daughter Chegianna Newton, who was 13 years old at the time of her father's death. He is also survived by his sister Gayle; brother Denis Heron, who once managed Scott-Heron; his uncle, Roy Heron; and nephew Terrance Kelly, an actor and rapper who performs as Mr. Cheeks, and who was a member of Lost Boyz.

Before his death, Scott-Heron had been in talks with Portuguese director Pedro Costa to participate in his film Horse Money as a screenwriter, composer and actor.

After Scott-Heron's death, Malik Al Nasir told The Guardian's Simon Hattenstone of the kindness that Scott-Heron had showed him throughout his adult life since meeting the poet back stage at a gig in Liverpool in 1984. The BBC World Service covered the story on their Outlook program with Matthew Bannister, which took the story global. It was subsequently covered in other media such as BBC Radio 4's Saturday Live, where jazz musician Al Jarreau paid tribute to Gil, and was mentioned the U.S. edition of Rolling Stone and The Huffington Post. Malik & the O.G's performed a tribute to Scott-Heron at the Liverpool International Music Festival in 2013 with jazz composer Orphy Robinson of The Jazz Warriors and Rod Youngs from Gil's band The Amnesia Express. Another tribute was performed at St. Georges Hall in Liverpool on August 27, 2015, called "The Revolution will be Live!", curated by Malik Al Nasir and Richard McGinnis for Yesternight Productions. The event featured Talib Kweli, Aswad, The Christians, Malik & the O.G's, Sophia Ben-Yousef and Cleveland Watkiss as well as DJ 2Kind and poet, actor, and radio DJ Craig Charles. The tribute was the opening event for 2015 Liverpool International Music Festival.

In response to Scott-Heron's death, Public Enemy's Chuck D stated "RIP GSH...and we do what we do and how we do because of you" on his Twitter account. His UK publisher, Jamie Byng, called him "one of the most inspiring people I've ever met". On hearing of the death, R&B singer Usher stated: "I just learned of the loss of a very important poet...R.I.P., Gil Scott-Heron. The revolution will be live!!". Richard Russell, who produced Scott-Heron's final studio album, called him a "father figure of sorts to me", while Eminem stated: "He influenced all of hip-hop". Lupe Fiasco wrote a poem about Scott-Heron that was published on his website.

Scott-Heron's memorial service was held at Riverside Church in New York City on June 2, 2011, where Kanye West performed "Lost in the World" and "Who Will Survive in America", two songs from West's album My Beautiful Dark Twisted Fantasy. The studio album version of West's "Who Will Survive in America" features a spoken-word excerpt by Scott-Heron. Scott-Heron is buried at Kensico Cemetery in Westchester County in New York.

Scott-Heron was honored posthumously in 2012 by the National Academy of Recording Arts and Sciences with a Grammy Lifetime Achievement Award. Charlotte Fox, member of the Washington, DC NARAS and president of Genesis Poets Music, nominated Scott-Heron for the award, while the letter of support came from Grammy award winner and Grammy Hall of Fame inductee Bill Withers.

Scott-Heron's memoir, The Last Holiday, was published in January 2012. In her review for the Los Angeles Times, professor of English and journalism Lynell George wrote:

The Last Holiday is as much about his life as it is about context, the theater of late 20th century America — from Jim Crow to the Reagan '80s and from Beale Street to 57th Street. The narrative is not, however, a rise-and-fall retelling of Scott-Heron's life and career. It doesn't connect all the dots. It moves off-the-beat, at its own speed ... This approach to revelation lends the book an episodic quality, like oral storytelling does. It winds around, it repeats itself.

Scott-Heron's estate

At the time of Scott-Heron's death, a will could not be found to determine the future of his estate. Additionally, Raquiyah Kelly-Heron filed papers in Manhattan, New York's Surrogate's Court in August 2013, claiming that Rumal Rackley is not Scott-Heron's son and should therefore be omitted from matters concerning the musician's estate.According to the Daily News website, Rackley, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate, as Rackley stated in court papers that Scott-Heron prepared him to be the eventual administrator of the estate. Scott-Heron's 1994 album Spirits was dedicated to "my son Rumal and my daughters Nia and Gia", and in court papers Rackley added that Scott-Heron introduced me [Rackley] from the stage as his son."

In 2011, Rackley filed a suit against sister Gia Scott-Heron and her mother, Scott-Heron's first wife, Brenda Sykes, as he believed they had unfairly attained US$250,000 of Scott-Heron's money. The case was later settled for an undisclosed sum in early 2013; but the relationship between Rackley and Scott-Heron's two adult daughters already had become strained in the months after Gil's death. In her submission to the Surrogate's Court, Kelly-Heron states that a DNA test completed by Rackley in 2011—using DNA from Scott-Heron's brother—revealed that they "do not share a common male lineage", while Rackley has refused to undertake another DNA test since that time. A hearing to address Kelly-Heron's filing was scheduled for late August 2013, but by March 2016 further information on the matter was not publicly available. Rackley still serves as court-appointed administrator for the estate, and donated material to the Smithsonian's new National Museum of African American History and Culture for Scott-Heron to be included among the exhibits and displays when the museum opened in September 2016. In December 2018, the Surrogate Court ruled that Rumal Rackley and his half sisters are all legal heirs.

According to the Daily News website, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate. The case was decided in December 2018 with a ruling issued in May 2019.

Influence and legacy

Scott-Heron's work has influenced writers, academics and musicians, from indie rockers to rappers. His work during the 1970s influenced and helped engender subsequent African-American music genres, such as hip hop and neo soul. He has been described by music writers as "the godfather of rap" and "the black Bob Dylan".

Chicago Tribune writer Greg Kot comments on Scott-Heron's collaborative work with Jackson:

Together they crafted jazz-influenced soul and funk that brought new depth and political consciousness to '70s music alongside Marvin Gaye and Stevie Wonder. In classic albums such as 'Winter in America' and 'From South Africa to South Carolina,' Scott-Heron took the news of the day and transformed it into social commentary, wicked satire, and proto-rap anthems. He updated his dispatches from the front lines of the inner city on tour, improvising lyrics with an improvisational daring that matched the jazz-soul swirl of the music".

Of Scott-Heron's influence on hip hop, Kot writes that he "presag[ed] hip-hop and infus[ed] soul and jazz with poetry, humor and pointed political commentary". Ben Sisario of The New York Times writes that "He [Scott-Heron] preferred to call himself a "bluesologist", drawing on the traditions of blues, jazz and Harlem renaissance poetics". Tris McCall of The Star-Ledger writes that "The arrangements on Gil Scott-Heron's early recordings were consistent with the conventions of jazz poetry – the movement that sought to bring the spontaneity of live performance to the reading of verse". A music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists", while The Washington Post wrote that "Scott-Heron's work presaged not only conscious rap and poetry slams, but also acid jazz, particularly during his rewarding collaboration with composer-keyboardist-flutist Brian Jackson in the mid- and late '70s". The Observer's Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating:

Together throughout the 1970s, Scott-Heron and Jackson made music that reflected the turbulence, uncertainty and increasing pessimism of the times, merging the soul and jazz traditions and drawing on an oral poetry tradition that reached back to the blues and forward to hip-hop. The music sounded by turns angry, defiant and regretful while Scott-Heron's lyrics possessed a satirical edge that set them apart from the militant soul of contemporaries such as Marvin Gaye and Curtis Mayfield.

Will Layman of PopMatters wrote about the significance of Scott-Heron's early musical work:

In the early 1970s, Gil Scott-Heron popped onto the scene as a soul poet with jazz leanings; not just another Bill Withers, but a political voice with a poet's skill. His spoken-voice work had punch and topicality. "The Revolution Will Not Be Televised" and "Johannesburg" were calls to action: Stokely Carmichael if he'd had the groove of Ray Charles. 'The Bottle' was a poignant story of the streets: Richard Wright as sung by a husky-voiced Marvin Gaye. To paraphrase Chuck D, Gil Scott-Heron's music was a kind of CNN for black neighborhoods, prefiguring hip-hop by several years. It grew from the Last Poets, but it also had the funky swing of Horace Silver or Herbie Hancock—or Otis Redding. Pieces of a Man and Winter in America (collaborations with Brian Jackson) were classics beyond category".

Scott-Heron's influence over hip hop is primarily exemplified by his definitive single "The Revolution Will Not Be Televised", sentiments from which have been explored by various rappers, including Aesop Rock, Talib Kweli and Common. In addition to his vocal style, Scott-Heron's indirect contributions to rap music extend to his and co-producer Jackson's compositions, which have been sampled by various hip-hop artists. "We Almost Lost Detroit" was sampled by Brand Nubian member Grand Puba ("Keep On"), Native Tongues duo Black Star ("Brown Skin Lady"), and MF Doom ("Camphor"). Additionally, Scott-Heron's 1980 song "A Legend in His Own Mind" was sampled on Mos Def's "Mr. Nigga", the opening lyrics from his 1978 recording "Angel Dust" were appropriated by rapper RBX on the 1996 song "Blunt Time" by Dr. Dre, and CeCe Peniston's 2000 song "My Boo" samples Scott-Heron's 1974 recording "The Bottle".

In addition to the Scott-Heron excerpt used in "Who Will Survive in America", Kanye West sampled Scott-Heron and Jackson's "Home is Where the Hatred Is" and "We Almost Lost Detroit" for the songs "My Way Home" and "The People", respectively, both of which are collaborative efforts with Common. Scott-Heron, in turn, acknowledged West's contributions, sampling the latter's 2007 single "Flashing Lights" on his final album, 2010's I'm New Here.

Scott-Heron admitted ambivalence regarding his association with rap, remarking in 2010 in an interview for the Daily Swarm: "I don't know if I can take the blame for [rap music]". As New York Times writer Sisario explained, he preferred the moniker of "bluesologist". Referring to reviews of his last album and references to him as the "godfather of rap", Scott-Heron said: "It's something that's aimed at the kids ... I have kids, so I listen to it. But I would not say it's aimed at me. I listen to the jazz station." In 2013, Chattanooga rapper Isaiah Rashad recorded an unofficial mixtape called Pieces of a Kid, which was greatly influenced by Heron's debut album Pieces of a Man.

Following Scott-Heron's funeral in 2011, a tribute from publisher, record company owner, poet, and music producer Malik Al Nasir was published on The Guardian's website, titled "Gil Scott-Heron saved my life".

In the 2018 film First Man, Scott-Heron is a minor character and is played by soul singer Leon Bridges.

He is one of eight significant people shown in mosaic at the 167th Street renovated subway station on the Grand Concourse in the Bronx that reopened in 2019.