#sam singleton

[fountainpenguin]

"Chan and Grian - After showing interest in her, Grian agrees to go to the prom with Chan, but instead returns to England." - Yandere High School Wiki

He is the most aro-coded character in the world to me...

Bonus things I read:

"Taurtis and Grian - At the start of episode 48 [Tokyo Soul], it is heavily implied that these two friends share a bed and consider themselves a couple." - I watched this to fact-check and it's super funny to me that it's entirely Taurtis saying this while Grian is just crouched in the corner looking like he doesn't know what's going on.

"Silly didn't approve of Grian being in an open relationship with Invader in an alternate timeline, but she appears to tolerate it."

"Grian and Ellen - During the Halloween Special, these two are paired off with each other, partly out of convenience as they were the only singletons in the group; Grian calls Ellen "my girlfriend" in the third of the special episodes"

"Grian told Sam that he was not in a relationship with Silly and was merely on a date with her."

- Man is never beating the "Won't settle down or be straightforward about his feelings" allegations, smh...

Bonus joke: I was watching Grian's debut in YHS again (sand castle & muscles contest) and it's extremely funny to me that Sam had to nudge Grian to take a closer look at what the girls dropped in his voting chest... because Grian was too focused on train tickets.

Man had one thing on his mind and it was not panties from girls.

I misheard the scene the first time and thought Grian said "I can't pay for my ticket home in panties" and honestly. yeah.

[azriona]

Not a Fairy Tale Kiss, Chapter 57

Pairing: Bucky Barnes/Avenger!OFC (2nd person POV)

This Chapter word count: 2.7k ~ Total Story count: 155k ~ This chapter is rated Mature. Chapters are posted on Tuesdays, Thursdays, and some Sundays.

Summary: When you and Bucky are both accidentally hit with sex pollen while on a mission, you're determined to keep your relationship status at friendship, even if you’d like it to be more. Even if you think he feels the same. Even if you accidentally end up pregnant. Even if it kills you.

(Spoiler Alert: it might actually kill you. Good luck with that.)

Trigger warnings include discussion of abortion, failed pregnancies, deaths of both mom & baby--not the MC! Full warnings on AO3. Happy ending is guaranteed, despite warnings. Please see AO3 for full A/N and tags.

Chapter Summary: In which you find support in the most unexpected place.

You have no idea who’s going to be sitting at your table—you never do—but it cannot possibly be worse than the first Gala you attended, where Tony hazed you by seating you with not only the Yankees owner, but also the three Yankees players in attendance. Tony wouldn’t dare do that this time, because you’d probably cry, and then Bucky would murder him. “Hello,” you say when you reach your table. “Thank you all so much for coming to support the Maria Stark Foundation.” There are eleven people at your table, other than yourself—mostly couples and a few singletons to make up the numbers. Introductions are made all around; you recognize about half of the names and the rest of the faces, and you silently thank Natasha for all those memory lessons she’s been giving you for the last two years. On the other hand… if you do forget someone, you can always blame pregnancy brain. You love pregnancy brain. You are going to miss that excuse so much. Luckily, you don’t have to shill for the Foundation—that’ll be Tony’s job during the speeches, which will start soon enough. You do, however, have to be nice to your tablemates. This proves to be… difficult. “I am so happy to be sitting with you,” gushes the lady next to you. Marissa? Mathilda? Manessa? You can’t remember, darn it. Natasha will be so disappointed. “I was supposed to be sitting with Mr. Wilson, but I traded to sit here because I wanted the chance to talk to you!” Oh boy. Sam’s gonna love this.

The Gala, part two, complete with dresses, dancing, drinking... and a very opinionated tablemate. Read it on AO3.

[spngirlpolls]

Hii, i really love these polls :) i dont know if youve done this already but if you think the child version of sam and dean look like them? (English isnt my first language so i hope its clear) thanksss

thank you! that’s a good one and you’re all good!!! i’m rephrasing a little to put it all on one poll. pictures below in order of reference on poll. not including baby depictions of sam sorry you literally cannot tell them apart

[fallingforel]

PROMPTMAS DAY 6- Gingerbread house- Sam fender

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so sorry this has taken me so long i have had a super busy week. i have no idea how im meant to get 6 more out by christmas day. but enjoy. el xx

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It was christmas eve, Sam’s and I’s second christmas as a married couple fourth together. We were currently at my family house on the outskirts of newcastle in the countryside and we were having our traditional gingerbread house making competition. Every year the couples of the extended family take part in a gingerbread house competition of recreating their own houses, the ones who were single were either judges or teamed up with another singleton and created one of the pairs house, when we were younger and for the kids currently they usually help with their parents, sometimes they help judge, but it’s usually the competiveness that stops them from participating, This year sam and I were announcing our pregnancy during this years competition, it was a great way to announce it. My sister and Brother were the judges this year for the fourth time in a row, because naturally they were the only singletons of the L/N family left.

“Welcome to the annual L/N gingerbread house making competition. Okay as always Y/B/N and I are the judges because we have had way too many dates gone wrong this year. you know the rules by now for those who have forgotten it’s as follows, we make the gingerbread cook them, do our annual presents giving for those who won’t be here tomorrow. We then come back, build the houses and by 9pm tonight we have a winner. Jeanie i’m routing for you this year” my sister jokes,great aunt jeanie was always the one to make hers the least realistic as she had a wild imagination and was a cake creator so she brought in ideas that she wanted to try out, she’s usually last place.

“Okay enough, Can we get on with it?” My dad says “yep go start making your gingerbread” My sister says becoming bored and going back to her phone, I must ask her later what that’s all about she’s been glued to the bloody thing all morning.

“we’re bound to win this year” Sam whispers next to me. “Oh for sure this pregnancy announcement is gonna blow the roof of everyone’s” I whisper making sure to keep quiet, not wanting to spoil the surprise. “You make the house, I’ll make the people and fence as always?” I say to him “Yeah we’re bound to win this darling” He says next to me before placing a kiss on my cheek.

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1 hour later and all the gingerbreads were in the ovens, and we were all gathered in the living room to open presents.

“Y/n and sam this one’s yours” My little cousin passed me a rather large present placing it in front of us.

by the time all the presents had been placed in front of everyone and had a pile.

“great aunt jeanie, open yours from us first” I say, “Okay darling, what have you gotten me this year? another phone” “mum that was one year, And they did it as a favour to me because you cannot be sending me letters every time you need me to be popping to the shop besides it was only a landline. open it anyway i’m not having this conversation” My aunt Lucy replies.

She rips the present open “awwh how lovely” she holds up the square cardboard where sam’s face sat “we knew how much you wanted to listen to sam’s music but didn’t know how to work a cd player and music online so we got you the hypersonic missiles vinyl, the seventeen going under one is to follow if you like the first one, jeanie” I say.

“how thoughtful. I think it’s only right if you open my one to you two” “which one is it?” sam asks moving his hand from my thigh to reach to the floor “the rectangle one.” “ahh found it” he says picking it up off the floor and placing it in my lap I open it and it’s a reed diffuser with mine and sam’s initial on it placed in a love heart “Oh this is cute and thoughtful” I say “Lucy found it on the face book. she already got you guys something so she got that from me to you” “It’s not preowned before you ask some woman makes them, and i asked her to make one for you guys” “oh thank you, even if it was preowned it still would’ve been thoughtful” I say

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After all the presents were done we went back into the kitchen and started building our house, sam and I had disguised the pregnant gingerbread into a normal gingerbread person and created two little balls and passed them off as “snowballs” that were going to be incorporated into the gingerbread people throwing them.

“okay do you remember how to build the house, you forgot last year.” I say “i didn’t forget i forgot to bring the sheet i write it down on and had to remember how to build it from memory and i also had to remember how our house looks from the outside. “Still can’t believe you forgot what our house looks like” “we had just moved it was difficult” sam says “whatever, it’s not too late to divorce you” I say in a whisper knowing that if anybody heard the D word it would cause a riot. “might i remind you that your pregnant with my baby” he whispers back in my ear.

we had built the house and had to wait 5 minutes until we could start decoration it so i decided to create the pregnant gingerbread while we waited.

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2 hours later and our gingerbread house was done we used white dripping icing for the snow on the roof, black fondant for the gutter chimney and arial, white fondant for our front door gold fondant for the doorknob beige fondant for our steps, green fondant for the bushes over the gingerbread fences, and then outside the front was the two gingerbread people holding hands stood on the doorstop, with the pregnant and at the base of the house was icing writing that read “welcome baby fender due summer 24”

“Okay times up, we need 30 minutes to judge everyone’s and come up with a winner. so please excuse yourself”

once everyone had vacated the kitchen about 30 seconds later, a loud “OH MY GOD, THERES NO WAY!” sam and i giggled to ourselves before subtly high fiving.

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half an hour later we were all gathered back into the kitchen.

“Okay, so we have a clear winner. announcing their PREGNANCY. yes. PREGNANCY. which has been a first and I certainly hope it’s not the last… I mean we’ve had marriages, divorces. that was a weird one, bless carol i miss her. but never a pregnancy. so for that. Congratulations to the fenders you won this years annual gingerbread house competition” a chorus of “oh my gosh”’s and “awwh congrats” and applauses but sam and i were in our own world hugging and him placing kisses on my cheek.

“this time next year you’ll all have a baby fender to spoil.”

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end

[fibula-rasa]

Lost, but Not Forgotten: Two Kinds of Women (1922)

Alternate Title: Judith of Blue Lake Ranch

Direction: Colin Campbell & George C. Bertholon (assistant)

Adapted Scenario: Winifred Dunn

Based on: Judith of Blue Lake Ranch by Jackson Gregory (novel)

Production Manager: R.J. Tobin

Camera: Dev Jennings

Editing: Pauline Frederick (editing supervisor), Colin Campbell, & Dev Jennings

Studio: Robertson-Cole (Production & Distribution)

Performers: Pauline Frederick, Tom Santschi, Charles Clary, Dave Winter, Eugene Pallette, Billy Elmer, Jack Curtis, Jim Barley, Sam Appel, Otis Harlan, Clarissa Selwynne, Jean Calhoun, Tom Bates, Lydia Yeamans Titus, Frank Clark, Bud Sterling, Elise Collins, Joseph Singleton, & Stanhope Wheatcroft (not mentioned after release, but listed during production: L.C. Shumway)

Premiere: Opened at Loew’s State Theatre on 3 February 1922; preview screenings for reviewers in NYC, 27 January

Status: presumed entirely lost

Length: 6 reels,  ~6,000 feet (a few sources say 5, most say 6)

Synopsis (synthesized from magazine summaries of the plot):

Judith Sanford (Frederick) inherits the sizable Blue Lake Ranch after the unexpected death of her father. Upon her arrival, she discovers that the ranch’s manager, Trevors (Clary), has been systematically undermining the value of the ranch. Judith confronts him, fires him, and wings him with her pistol as severance. 

The horse foreman, Bud Lee (Santschi), had suspected Trevors’ dirty dealing, but questions if he can work for a woman. Regardless of his doubts, Bud respects Judith’s goals and remains loyal to the ranch.

As there are still men working on the ranch loyal to Trevors, Judith’s employees are divided. One of Trevors’ hires, Quinnion (Curtis) rebukes Judith and suggests she can’t even ride. She challenges him to bring her a horse he thinks she can’t ride. Judith successfully rides the wild broncho and Quinnion is cowed, leaving the ranch bitterly. The incident wins Judith the respect of the men, including Bud and Carson (Pallette), the cattle foreman.

Judith’s next point of action is tracking down the staff Trevors ousted, most importantly the ranch vet, Doc Tripp (Clark). Tripp returns and uncovers that disease-infected animals have been intentionally introduced to the ranch’s stock. Judith runs Trevors’ vet, Crowdy (Appel), off the ranch.

Hampton, a city boy and one-third owner of the ranch, is unhappy when he hears of Trevors’ firing and decides to pay a visit to Blue Lake. (In reality, he’s dodging his creditors.) The visiting socialites are rankled by Judith’s cowgirl togs and no-nonsense demeanor. Alternately, the ultra ladylike Marcia (Calhoun), Hampton’s fiancee, finds a new devotee in Bud.

On the night of their arrival, Judith learns that the employee she sent to collect the payroll has been robbed. Bud races to the bank overnight to return to pay the staff the following day. As Bud is on his way back, his horse is shot out from under him, but he manages to reach the ranch just in time.

That night, Bud and Judith set out to track down the bandits and recover the stolen payroll. At a cabin in the mountains, they catch the robber after a shootout and find it’s the discharged vet, Crowdy. They agree to stay overnight to guard the injured Crowdy. To pass the time, Judith pulls a book from an unexpectedly well-stocked library in the cabin and sees that the books belong to Bud! They’re interrupted when Quinnion attacks to save Crowdy and another shootout ensues.

Fortunately, Judith’s absence from the ranch was noticed by Hampton. He has mounted up with Bud’s assistant, Tommy, and they arrive in time to save the pair and manage to capture another of Trevors’ agents, Benny (Barley). Benny is locked up, but is freed overnight, meaning there are still more of Trevors’ men lurking. Bud pledges his loyalty to Judith, but then has a romantic foray with Marcia.

Despite the hubbub, the annual Blue Lake dance is held. Carson kits out the workers in suits mail-ordered from Sears-Roebuck, which they accessorise with guns and ammo belts. Bud, it turns out, has a tailored suit of his own that he unpacks and presses for the occasion. He is bewildered when he arrives at the dance and sees a perfectly feminine Judith in a fashionable Parisian gown. Fully enamored with “the real Judith,” Bud whisks her off to the porch and kisses her.

Judith is surprised to find an urgent note from Doc Tripp awaiting her after the dance. The note explains that he has uncovered another Trevors mole and has been wounded. Judith rushes to Tripp, but is waylaid and kidnapped. She manages to remove the mask from one of her abductors and it’s Trevors himself! 

Three days pass. Hampton suddenly orders Carson to prepare 500 head of cattle to be sold at a loss. Immediately suspicious, Bud rides to the ranch house and is told that Judith left for San Francisco three days prior. Given Hampton’s fishy assumption of command, Bud and Carson tie him up while they investigate Judith’s real whereabouts. They discover the forged note and confirm with Tripp that he didn’t write it. With mistrust toward Hampton building, they place him under guard and ride to confront Trevors.

In all that time, Judith has been kept prisoner in the mountains by Quinnion. When Quinnion attacks her, Judith seizes an opportunity to escape, but quickly learns that her prison is set among perilous cliffs. Quinnion gives chase, they struggle, and he plummets to his death. Hopelessly lost and exhausted from her ordeal, Judith makes a last ditch effort for rescue by lighting a signal fire before losing consciousness.

Bud and Carson find Trevors and a wild fist fight breaks out. Bud trounces Trevors and Trevors is forced to leave town for good, but not before revealing where he’s hidden Judith. Bud rescues Judith and they all return to the ranch. After they have had time to recover from their respective tribulations, Bud and Judith reunite and embrace.

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Points of Interest:

Pauline Frederick made 55 silent feature films in her career. Of those 55 films 45-6 of the films are presumed lost or mostly lost. [One film’s status is unclear ATM.] Of the 9 known to survive, 3 are incomplete (2 are missing at least one reel and the 3rd survives in an abridged cut).  Of the surviving 9, three have had home video releases [Three Women (1924), Devil’s Island (1926), and Smouldering Fires (1925)]. Of the 6 surviving films that haven’t had home-video release, 2 have been screened publicly in the past decade [The Love the Lives (1917) and The Moment Before (1916)]. A very rough record for a big star (who didn’t spend most of their career at Fox) to only have a 16-18% survival rate.

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Winifred Dunn, prolific writer from a young age working in many genres, wrote/edited 33 silent features, 20 of which are presumed lost.

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Two Kinds of Women was part of the schedule of R-C Pictures’ releases for early 1922. This was a crucial moment in the history of the company, as it was soon after re-organized into F.B.O. The founders exited the company, but so did Pauline Frederick, Sessue Hayakawa, Tsuru Aoki, and Doris May—their biggest stars going into 1922. 

While the contemporary critical response to TKoW was generally positive and exhibitors across the US and Canada cited good ticket sales, it didn’t leave much of a legacy. At least one contemporary critic, Laurence Reid, considered the film of decent quality but ultimately forgettable. Whether TKoW would have stood the test of time or not, we can’t know. Lost or not, I’m sure the re-organization of TKoW’s distributor affected its potential for long-term popularity. There is at least one instance from after the re-org of a theatre owner receiving a faulty print of the film. So, even by 1923, it was hard to come by a decent print of TKoW.

The reason I’m confident in placing blame on R-C/F.B.O. is that, of the slate of 20 films they released in late 1921 and early 1922, 16 are currently presumed lost and only 3 appear to be completely extant:

Lost: The Lure of Jade, The Sting of the Lash, The Foolish Age, Eden and Return, Five Days to Live, The Vermillion Pencil, A Wife’s Awakening, Silent Years, The Call of Home, The Barricade,Two Kinds of Women, Boy Crazy, Salvage, The Glory of Clementina, Gay and Devilish, and At the Stage Door  Extant: Where Lights Are Low, The Swamp (would live to see this one BTW), and Beyond the Rainbow

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Transcribed Sources & Annotations over on the WMM Blog!

[themarginalthinker]

Woke up, got up, took a shower, and started to think about population densities of vampires in the Lost Boys universe.

Unlike many other vampire medias like Vampire: The Masquerade or Underworld, while there COULD be vampires, as Edgar says 'occupying high positions in the government', I think it's just not really a thing in this world. Vampire's feeding issues (needing to exsanguinate at least one human on order to be sated) puts a pretty big roadblock in any high-profile schmoozing any vamp may want to do. Max was likely already pushing it with owning a local business on a fairly popular seaside town.

So if vampires in this world are not creating massive networks of influence across the world, being the hand behind governments and all society, then..what is their actual population?

My take: much fewer and farther between.

Think about it: they're big pack predators. Their prey is...well, abundant, but tricky to actually get. If they wanted to stay in one place, that territory would need to be pretty damn large. Staying in centers of activity with a lot of people coming and going and creating barriers of time before someone would even know anyone was missing, like a town or city, is a no-brainer, right?

Well...yes and no. See. Just like with humans, cities attract people. The prey comes in, and predators follow. But that also means a LOT of those pack predators in close proximity to one another. Which means pretty fierce competition.

Max and the Boys seemed to have cleared out Santa Carla pretty well for themselves, but this doesn't read as nearly the norm to me.

Vampire packs are likely pretty small, getting no larger than the Boys and Michael and Star (Max wanting to add in Lucy and Sam as well was just plain unhinged overkill with no actual thought being put into territory management tbh.) As such, the easiest option for most TLB'verse vamps is likely...to just move. Become nomadic. Follow music tours as 'fans', tourist seasons in towns, hell, even hopping continents once and a while. This is often the reasons clans form, a stable central group that acts as something of a gateway to certain regions, hostels and camps for nomad singletons and packs.

The hard numbers on this are iffy? But I can check some stuff and make estimates later, just for fun. The vampire to human ratio is Definitely much much lower than you'd think though, with it being in my mind anywhere from 1000 to 3000 humans per vampire in any given area.

We head canon vampires need to eat somewhat less frequently than every night (Santa Carla would be empty by now if that were the case) so let's say...once a month for a healthy vamp with access to a steady supply of prey? That's 12 humans a year. Multiply that by pack size (4) and that's 48 humans missing from a designated space per year. That's. Still quite a bit. Again, much easier to hide if it's an active town. Much harder for rural areas.

Surviving in the vampire world ain't easy. Especially as a singleton with no pack or coven, especially if being one of those on the move.

The canny survive. The stupid do not. There are two ages of vampire's you'll usually meet out there:

The very young, and the very old. The dullbloods and rainbow teeth.

We'll let you decide which one is more dangerous.

[brookstonalmanac]

Birthdays 1.6

Beer Birthdays

Gottlieb Heileman (1824)

Caspar Ruff (1844)

Bryan Roth (1985)

Five Favorite Birthdays

Rowan Atkinson; English comedian (1955)

Gustave Dore; artist (1832)

Kahil Gibran; philosopher, poet (1883)

Carl Sandburg; poet, writer (1878)

Earl Scruggs; bluegrass musician (1924)

Famous Birthdays

Joey Lauren Adams; actor, comedian (1911)

Syd Barrett; rock musician (1946)

Max Bruch; composer (1838)

John DeLorean; automaker (1925)

Sandy Denny; country singer (1941)

E.L. Doctorow; writer (1931)

Robert Englund; actor (1949)

Bonnie Franklin; actor (1944)

Charles Haley; San Francisco DE (1964)

Louis Harris; pollster (1921)

Sherlock Holmes; fictional detective (1854)

Joan of Arc; French hero (1412)

Howie Long; football player (1960)

Nancy Lopez; golfer (1957)

Anthony Minghella; film director (1954)

Tom Mix; actor (1880)

Jacques-Etienne Montgolfier; balloonist (1745)

Sun Myung Moon; evangelist (1920)

Pepe Le Pew; cartoon character (1945)

Sam Rayburn; politician (1882)

Gabrielle Reece; volleyball player (1970)

Richard II; king of England (1367)

Alexander Scriabin; composer (1872)

John Singleton; film director (1968)

Jedediah Smith; explorer (1799)

Vic Tayback; actor (1929)

Danny Thomas; actor (1914)

Alan Watts; English writer (1916)

Kim Wilson; rock musician (1951)

Paul Wilson; R&B singer (1935)

Loretta Young; actor (1913)

Malcolm Young; rock musician (1953)

[confoundedluna]

been on the until dawn subreddit recently and a couple of recent posts got me thinking so I wanna ask a question and see some community thoughts

in case y'all didn't know, there was an interview back in like 2015 with Will Byles, creative director, where it was revealed that until dawn had a cut pregnancy storyline, though they never revealed who it was and who with, just that it existed but got taken out for being too distracting from the main storyline

so...

I've seen arguments for most of the girls, so I wanna add those here, just in case y'all want some more info before you vote

SAM

The argument for Sam focuses mostly on her 'I thought we had a connection' line with Josh, making his spiral and inevitable death/turn more tragic, and it helps pair the two more when they're the odd singletons in a cast of romantic couples. also, Sam's stomach-centric death adds a nice layer of tragedy to the whole situation

EMILY

This one's pretty easy, it's the Mike/Matt drama turned up to eleven. You can throw in speculation on who the father is, if there was cheating involved, all that fun stuff

JESS

She fills the horror stereotype of slut, so being pregnant ties into that, and with how little presence she has in the final game it could make sense that a storyline of hers was cut and dropped her screentime

ASH

Admittedly, I don't think it was Ash, and I don't think I've ever seen anyone argue for it being her, so purely for the shock value of it I think she's still a contender, and it could have maybe played into the 'whose life do you save?' traps, kinda like the Saw shotgun carousel trap

HANNAH

Now, I only recently saw an argument for this, I'd never considered her, but in an earlier version of the game Josh was apparently actually her boyfriend and not her brother, and her being pregnant when disappearing could make the revenge plot hit a Lot harder

BETH

Honestly, she's just here because all the other girls are. I genuinely cannot think of a single reason why it would be Beth - she has too little presence for even the shock factor that Ash could have, it wouldn't really mean anything, but she's still possible as long as nothing is confirmed so. there she is

so yeah! I'd love it if y'all could vote and maybe share your own thoughts and opinions!

[autoacafiles]

So this has been something that's been asked for a few times, so after a long times work, here we have it! A hypothetical voice cast for the characters of Autobot Academy. If there's a character you don't see, it's as we don't want to rush figuring out a character. We may update this list in the future, however it'll be in our own time, so we won't be taking any questions about specific missing characters. And hey, if you have your own voices that don't match up with these, then feel free to stick with that!

Autobots

Yuri Lowenthal - Hot Shot/Excellion II/DF Hot Shot/Ben Tennyson

Ashley Eckstein - Lightbright/Maxima/DF Lightbright

Tara Platt - Artillery/Maelstrom/ CG-11272017

ThunderPsyker - Bumblebee/Mjolnir

Morgan Garrett - Arcee/Diabla/Spidarcee

Nick “Lanipator” Landis - Rampage/Shockaract/Straxus

Brianna Knickerbocker - Transmutate/Transmutate X/Transmutate IX

Sam Vincent - Side Burn/Darkburn

Rick “Rice Pirate” Lauer - X-Brawn/Wrenchit

Chris Hackney - Mach Alert/Infernox/Lio Convo/Galva Convoy

Tiya Sicrar - Moonracer

Christine Marie Cabanos - Nightracer/Wipe-Out

Ashley Johnson - Glyph

Kanono - Tap-Out/AlbinoBug

Lizzie Caplin - Tremor/Shockblast

Erika Ishii - Sonar/Noisemaze

DoktorApplejuice - Armorhide/Armorbreak

Josh Keaton - Sideswipe/Firebreaker/Sunstreaker/Mismatch

Alejandro Saab - Steeljaw/Shatter-Pattern/Phantomjaw/Hellhound

Chris Miller - Thunderhoof

Sumalee Montano - Lodestar

Max Mittelan - Hosehead/Contagion

Sam Regal - Bomb-Burst

Kyle McCarley - Longshot

Ben Diskin - Misfire/Missilefire

Lucas Gilbertson - Saber/Dark Saber/Devcon/DF Devcon

Li Ming Hu - Hightail/Ravager

Mike Ginn - Gridlock/Ravager

Erica Mendez - Galaxy Flare

Michelle Ang - Riptide

Vanessa Marshal - Strongarm

Jill Harris - Nautica/DF Nautica

Courtney Ford - Muzzle

Nicolas Cantu - Wasp/DF Waspinator

Erin Fitzgerald - Convex

Archie Kao - Roadblock

Connor Kelley - Sky High

Haven Kendrick - Hot Rodimus/Raze

Michelle Yeoh - Windblade

Shannon McCormick - Rung

Elizabeth Maxwell - Chromia

Edward James Olmos - Fortress Maximus

Travis Willingham - Rollout

Andrew Francis - Scorch

John DiMaggio - Kup/Nitro Zeus/Leadfoot

Kyle Herbert - Star Convoy/Orion Pax/Toxitron

Mark Bonnar - Starscream

Paul McGann - Perceptor

Jake Johnson - Devaron

Herself Sarah Wiedenheft - Saperion/Arcrunner

Debra Wilson - Elita-1

Nicolas Cage - Overload

Nathan Fillion - Silverstreak/Killstreak

Ian MacKellen - Alpha Trion

Maximals

Tara Strong - Slash

Bryce Papenbrooke - Leobreaker

Matt Mercer - Bigfight/Death Convoy

Tom Gliblis - Break

Aleks Le - Stampy

Jack DeSana - Whoop-Kong

Roger Craig Smith - Bound Rogue

Charlie Day - Rattrap

Protectobots

Ashly Burch - Whirl

Heather Watson - Minerva

Aerialbots

Ratana - Stiletto

Cherami Leigh - Skyburst/Stormclash

Rachel Robinson - Surge

David B. Mitchell - Silverbolt

Axellerators

Jamie Chung - Flare-Up

Ron Botitta - Amp

Decepticons

Jason Marnocha - Megatron

Isaac C Singleton Jr. - Soundwave

Kathleen Delaney - Thunderblast

Vincent D'nofrio - Motormaster

Laura Bailey - Drag Strip

Shelby Rabara - Wildrider

David Kaye - Gnashteeth

Marc "Ganxingba" Soskin - Thundercracker

Ian Hanlin - Skywarp

Ryan Reynolds - Deadlock

Kaley Cuoco - Flamewar

Todd Haberkorn - Stonecrusher

Maurice LaMarche- Cryotek

Josh Powell - Onslaught

Corey Burton - Shockwave

Sylvester McCoy - “Doc”

JK Simmons - Horntrap

Resistance

Cameron Monaghan - Beta Maxx

Neo-Maximals

LaMonica Garret - Great Convoy

Peter Dinklage - King Atlas

Lydia Leonard - Black Convoy

Sam Witwer - Venator

Others

Colin Baker - Jhiaxus

Billy West/Michael Dorn - Dion/Umbra Convoy

Greg Cipes - Carjack

[jpbjazz]

LÉGENDES DU JAZZ

FATE MARABLE, PIONNIER DU JAZZ SUR LE MISSISSIPPI

"There was a saying in New Orleans. When some musician would get a job on the riverboats with Fate Marable, they'd say, 'Well, you're going to the conservatory.'"

- Zutty Singleton

Né le 2 décembre 1890 à Paducah, au Kentucky, Fate Marable était le fils de James Marable et d’Elizabeth Lilian Wharton. Marable avait deux frères, Harold et James, et trois soeurs, Mabel, Juanita et Neona. La mère de Marable, qui était professeur de piano, avait appris à son fils à lire la musique et à jouer du piano. Au début, la mère de Marable lui avait interdit de toucher à son piano, mais en son absence, il en avait profité pour expérimenter. De guerre lasse, sa mère avait finalement accepté de lui apprendre à jouer.

Enfant-prodige, Marable était si talentueux qu’il aurait commencé à se produire professionnellement à partir de l’âge de neuf ans.

DÉBUTS DE CARRIÈRE

À l’âge de dix-sept ans, en 1907, Marable avait commencé à jouer sur les navires d’excursion qui naviguaient le Mississippi. À l’époque, Marable avait été recruté par John et Joseph Streckfus pour remplacer le pianiste Charles Mills, qui avait été engagé pour jouer à New York. Très consciencieux, Joseph Streckfus avait à coeur le succès de ses vapeurs, qu’il considérait comme une sorte de salles de danse flottantes. Streckfus assistait à toutes les répétitions et critiquait même les performances de ses musiciens.

Engagé comme pianiste de ragtime, Marable se produisait sur le J.S. No. 1, qui était basé à Rock Island, en Illinois. Le navire, qui faisait la navette entre La Nouvelle-Orléans, la Louisiane et la ville de St. Paul, au Minnesota, était la propriété de l’Acme Packet Company. Même si le premier engagement de Marable lui avait permis de jouer en duo avec le violoniste blanc Emil Flindt, ses talents de compositeur et de dépisteur de talents étaient rapidement devenus évidents. Le revenu d’appoint fourni par le travail sur les vapeurs était très apprécié des musiciens de La Nouvelle-Orléans, particulièrement après la fermeture de Storyville (comme on désignait alors le quartier des prostituées ou ‘’Red Light’’) en 1917. En effet, le travail sur les vapeurs procurait un salaire régulier (35$ par semaine avec le gîte et la nourriture, et 45$ sans).

Parmi les responsabilités de Marable sur le vapeur ‘’J.S.’’, on remarquait le maniement d’un calliope à vapeur, une sorte d’orgue format géant doté d’énormes tuyaux qui possédait une pression de quatre-vingt livres et qui servait à annoncer l’arrivée du navire aux riverains. Conçue pour être clairement entendue à partir du rivage, la machine était difficile à manier et exigeait l’utilisation de gants pour manipuler les clés qui étaient souvent très chaudes. Marable devait aussi bourrer ses oreilles de coton afin d’éviter de devenir sourd.

Décrivant les activités de son groupe, Marable avait expliqué: “It sailed to New Orleans that year with me at the piano, and a white fellow playing the violin. That’s all we had. Each year, we added one more piece until we had what we thought was a great big band. Four pieces — piano, violin, trumpet and drums. All of them were white boys but me, and playing strictly ragtime.” Le groupe de quatre musiciens de Marable s’était produit sur le ‘’J.S.’’ jusqu’en 1910, alors que le navire avait été la proie des flammes. Après avoir acheté la Diamond Jo Packet Company, le capitaine John Streckfus avait lancé une nouvelle ligne comprenant des navires comme le St. Paul, le Quincy (qui était devenu plus tard le second ‘’J.S.’’), le Dubuque et le Sidney. C’est sur le Sidney que Marable avait poursuivi ses activités. Il précisait: “We were going in and out of New Orleans all the time, and I began to notice the type of music they were playing there. It just got under my skin.’’ Parmi les membres du groupe de Marable, on remarquait Johnny St. Cyr au banjo, “Baby” Ridgeley au trombone, Davey Jones au melophone, Paul Dominguez au violon, Sam Dutrey à la clarinette, Norman Mason à la trompette, George “Pops” Foster à la contrebasse et Warren “Baby” Dodds à la batterie. C’est aussi en se produisant sur les navires à vapeur que Marable avait découvert Louis Armstrong, qu’il avait engagé par la suite pour jouer sur les navires d’excursion qui se rendaient à la Nouvelle-Orléans.

À l’époque, Armstrong, qui était alors âgé de dix-huit ans, venait tout juste d’apprendre à lire la musique avec Davey Jones. Ce dernier avait déclaré à Armstrong: “Louis, you can blow and you can swing because it’s natural to you. But you’ll never be able to swing any better than you already know how until you learn to read. Then you can swing in ways you never thought of before!” Au début, les spectateurs avaient été peu réceptifs, mais Marable avait rapidement effectué les ajustements nécessaires. Marable expliquait: “Finally, after the intermission, We got a little spasmodic applause, but the people were completely amazed at our type of music. You could tell, though, that they were beginning to like it.” Comme chef d’orchestre, Marable n’avait pas tardé à partager les leçons de sa mère avec ses musiciens. La plupart des musiciens de Marable jouant par oreille, il avait développé leurs aptitudes en leur apprenant à lire la musique. Comme l’avait expliqué un des batteurs de Marable, le légendaire Zutty Singleton: "There was a saying in New Orleans. When some musician would get a job on the riverboats with Fate Marable, they'd say, 'Well, you're going to the conservatory.'" En montrant aux musiciens à mieux exécuter les arrangements de danse pour les passagers des vapeurs, Marable a également conribué à lancer la carrière de plusieurs futurs grands noms du jazz comme Cab Calloway, Count Basie, King Oliver, Johnny St. Cyr, les frères Johnny et ‘’Baby’’ Dodds, Tommy Ladnier, ‘’Pops’’ Foster, Duke Ellington, Jimmie Lunceford, Fats Waller et Chick Webb.

Avec Armstrong, Marable avait remporté un grand succès avec la pièce ‘’St. Louis Blues’’, une composition de W. C. Handy qui avait permis à l’orchestre de devenir un des meilleurs groupes de danse aux États-Unis. Indirectement, Marable avait même participé à l’invention du scat. Marable adorait raconter une anecdote au sujet de l’enregistrement de la pièce “Heebie-Jeebies.” Ce jour-là, Armstrong avait complètement oublié les paroles et s’était mis à enchaîner les onomatopées. L’innovation avait été reprise par la suite par de nombreux chanteurs et chanteuses comme Cab Calloway, Fats Waller et Ella Fizgerald.

À l’époque, le ragtime était à son apogée. Marable précisait: “It was an entirely different kind music, than the ragtime which preceded it or the swing which followed. While ragtime, like jazz, was born and bred in New Orleans, St. Louis accepted it and some of the finest ‘rags’ ever written were written here.”

Le premier ragtime majeur de l’histoire avait été publié en 1895 sous le titre de “Harlem Rag’’ par Tom Turpin, qui était également l’auteur de “St. Louis Rag” et de “Bowery Buck.” Quatre ans plus tard, Scott Joplin avait publié son célèbre “Maple Leaf Rag”. D’autres pianistes et compositeurs de St- Louis avaient suivi l’exemple de Joplin, dont Sammy Paterson (Patterson), Louis Chauvin, Charlie Thompson, Robert Hampton, Walter Farrington et Johnny Arnold.

Marable étant très exigeant, les membres de son groupe devaient être capables de jouer plusieurs styles de musique, allant des grands succès de l’heure aux classiques du jazz. Même si Marable demandait à ses musiciens de rendre le public heureux et d’être disciplinés, il leur avait aussi permis de développer leur potentiel. C’est dans cette perspective que Marable avait encouragé le talent d’improvisateur de Louis Armstrong et qu’il lui avait laissé toute latitude pour se lancer dans de grandes envolées même s’il s’écartait parfois de la partition. Le groupe de Marable avait aussi servi d’école à plusieurs futurs grands noms du jazz dont Red Allen, Baby Dodds, Johnny Dodds, King Oliver, Pops Foster, Erroll Garner, Narvin Kimball, Al Morgan, Jimmy Blanton, Tommy Ladnier, Johnny St. Cyr,  Red Allen, Elbert Pee Wee Claybrook, Earl Bostic, Al Morgan, Narvin Kimball, Gene Sedric, Joe Poston et Zutty Singleton. 

Décrivant sa passion pour le jazz, Marable avait commenté:

“Jazz was the outgrowth of Negro life in New Orleans. It developed from the chants of roustabouts loading cotton boats, singing with perfect rhythm as they lifted the bales. It grew out of the music played by bands[,] which accompanied funeral processions. On the way to a burial the music was solemn, with a sound marching tempo. But on the way back from the burial the musicians pepped up the marches to cheer the mourners. No matter how they deviated from the melody in improvisation, though, they still had the basic foundation of timing, and they never missed a beat. They took marches like ‘My Maryland,’ ‘High Society,’ ‘Panama,’ and ‘That’s a Plenty’ — playing them first just like a brass band marching down the street, every beat and every instrument clear. Then when they started improvising, the foundation was still there.”

C’est la transition du ragtime vers le jazz qui avait convaincu Marable de transformer son orchestre presque entièrement composé de musiciens blancs en groupe exclusivement de couleur en 1917. Appelé le Kentucky Jazz Band, le groupe était surtout formé de musiciens originaires de Paducah, même si du propre aveu de Marable, il était loin d’arriver à la cheville des musiciens de La Nouvelle-Orléans.

Après avoir engagé un nouveau pianiste, le  Kentucky Jazz Band s’était rendu dans le nord en 1918. Marable était demeuré à St. Louis pour faire la publicité du vapeur St. Paul. Pendant que Rodemich et ses joueurs de ragtime faisaient danser les spectateurs, Marable se produisait seul au piano au second étage de la cafétéria. L’année suivante, le groupe de couleur de Marable avait pris la place de Rodemich.

Même s’il était un excellent chef d’orchestre, Marable n’avait rien d’un compositeur. En 1916, Marable avait d’ailleurs  publié la seule composition originale de sa carrière. Intitulée ‘’Barrell House Rag’’, la pièce avait été co-écrite avec Clarence Williams.

Mais la célébrité est souvent ingrate. À la suite du déclin du Dixieland et de l’avènement du jazz symphonique de chefs d’orchestre comme Paul Whiteman, plusieurs des musiciens de Marable avaient commencé à le quitter. Le premier à quitter le groupe avait été Louis Armstrong, qui avait signé un contrat avec le cabaret de Tom Anderson à La Nouvelle-Orléans en 1921 avant de se joindre à l’orchestre de King Oliver à Chicago l’année suivante. En 1928, lorsque le jazz à Chicago était entré dans une période de déclin, Marable avait tenté de ramener Armstrong dans le giron de l’orchestre en lui offrant un salaire variant de 75$ à 125$ par semaine, mais ce dernier avait décliné la proposition.

Le batteur ‘’Baby’’ Dodds avaient quitté le groupe la même année qu’Armstrong pour se joindre à l’orchestre d’Oliver. Au début des années 1920, le batteur “Zutty” Singleton avait lui aussi quité le ‘’navire’’ pour se joindre au Pee Wee Russell Trio, aux Rhythmakers puis aux groupes de Louis Armstrong.

Boyd Atkins, le violoniste qui avait écrit le célèbre “Heebie-Jeebies’’ popularisé par Louis Armstrong, avait quitté en 1923 pour lancer son propre groupe à Chicago. Pour sa part, le trompettiste Sidney Desvigne avait tiré sa révérence en 1926. Quant au trompettiste Irving Randolph, il avait poursuivi sa carrière avec l’orchestre de Cab Calloway. À la même époque, le saxophoniste Earl Carruthers s’était joint au groupe de Jimmie Lunceford. Quant au trompettiste Henry “Red” Allen, Jr., il avait quitté le groupe en 1929 pour devenir membre du Mills Blue Rhythm Band.

Loin de s’arrêter là, les départs s’étaient poursuivis en 1935 avec l’engagement du saxophoniste Tab Smith avec l’orchestre de Count Basie. Pour sa part, le joueur de trombone Nathaniel Storey s’était joint à l’orchestre de Chick Webb, avant d’aller jouer avec le groupe Jeter Pillar au Club Plantation de St. Louis.

Le contrebassiste Jimmy Blanton avait quitté le groupe en 1939 pour se joindre à l’orchestre de Duke Ellington, dont il avait fait partie jusqu’à sa mort en 1942. Marable avait pariculièremen regretté le départ de Blanton au sujet duquel il avait déclaré: “The year before Jimmy died, a music critic asked me whom I considered the greatest instrumentalists in the country at the time. My answer was: ‘Give me Benny Goodman, Louis Armstrong, Jimmy Blanton and let the rest of the world go by.’ If Jimmy had lived, I know he would now be regarded as the greatest bass player.”

Pendant que le batteur Floyd Campbell avait formé son propre groupe à Chicago, le saxophoniste Eugene Sedric  s’était joint au groupe de Fats Waller. Pour sa part, le contrebassiste Al Morgan avait poursuivi sa carrière avec l’orchestre de Cab Calloway avant de devenir membre du groupe du chanteur Louis Jordan. Les trompettistes Charlie Creath et Dewey Jackson avaient dirigé leurs propres groupes à St. Louis.

Résumant cette période de sa vie, Marable avait commenté: “When Paul Whiteman arrived on the scene with his symphonic ideas, arrangements and what not, the Dixieland style of jazz began to peter out gradually, although with his entrance about 1921, my band was right on top of the list.’’ Très fier d’avoir contribué au développement de si grands musiciens, Marable avait ajouté:

‘’I have played ragtime, jazz-time and swing and I believe that the Dixieland style of jazz gives a man the best chance to play what’s in him. A real jazz musician doesn’t require the other man’s thought through arrangements. He plays as a solid musician of his own making. Furthermore, I can tell a New Orleans band from a Chicago type or a St. Louis type anytime. New York, of course, doesn’t have any particular type or style — it’s everybody’s style. Lots of those jazz musicians couldn’t read music — never mind an arrangement. I could read myself because my mother was a piano teacher and I studied at Straight University in New Orleans, but, sometimes, there was only one man in a jazz band who could read. I firmly believe that New Orleans and Louis Armstrong have done more for the present dance band than any other factors, for the simple reason that Louis is New Orleans style personified, and he is copied by instrumentalists and singers alike.”

DERNIÈRES ANNÉES

Marable avait quitté l’orchestre en 1940 pour se consacrer à sa carrière de pianiste. À la fin de sa vie, Marable avait travaillé comme dépisteur de talents dans les clubs de La Nouvelle-Orléans. Il se produisait aussi dans les jam sessions.

Fate Marable est mort de pneumonie à St. Louis, au Missouri, le 16 janvier 1947. Il était âgé de cinquante-six ans. Marable a été inhumé au Oak Grove Cemetery de Paducah, au Kentucky.

Comme plusieurs musiciens de La Nouvelle-Orléans, Marable n’avait jamais tellement apprécié le nouveau style de jazz, qu’il trouvait souvent dépourvu d’émotion. Marable expliquait:

“The music of today seems to lack the fire that it had in the old jazz days, and some of the present bands are using arrangements copied from things we did in New Orleans in 1912. My favorites in the field today are Benny Goodman — and let me tell you that white people can play the Negro’s jazz, although some people will say no — Louis Armstrong, Count Basie, Woody Herman, the King Cole Trio and ‘Red’ Allen.”

Marable a eu un fils, Fate Marable Jr. Celui-ci, qui serait toujours vivant, habiterait à Pittsburgh et serait aujourd’hui âgé de plus de quatre-vingt-sept ans. Marable, qui avait suivi les traces de son père, avait dirigé un groupe et joué du piano à Pittsburgh. Marable est aujourd’hui considéré comme le père spirituel de plusieurs pianistes de Pittsburgh comme Mary Lou Williams, Earl "Fatha" Hines, Erroll Garner, Billy Strayhorn, Ahmad Jamal, Horace Parlan, Dodo Marmarosa et Johnny Costa. ©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

[hettykate]

"The music is nearly as sharp as the tip of Hetty’s fashionable shoe.." Michael Steinman 'JazzLives' USA. 

On a day for lovers filled with flowers, chocolates and love notes.. these songs, a little tongue-in-cheek, a little acerbic, are for the singletons, the spurned and the 'bah humbugs' among us. 

The EP Sessions. EP means 'extended play' and usually falls between the length of a single, and the length of a full album. The EP Sessions are an opportunity for me to record with musicians I admire, where we can all be relaxed, and we can do what we do best.. 'just play!' 

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Released February 14, 2023 

Hetty Kate (vocals)  Mark Fitzgibbon (piano)  Sam Lemann (guitar) (tracks 3 and 4)  Ben Hanlon (double bass) 

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Recorded in August 2022, in Australia  Engineer : Niko Schauble, Pughouse Studios, Thornbury  Mixing & Mastering : Niko Schauble 

Other releases include : Under Paris Skies (2019), Kissing Bug (2009), Dim All The Lights (2014), Gordon Webster meets Hetty Kate (2014) and many more.

[knick-nudiex]

Rosewood is a 1997 American historical drama film directed by John Singleton, inspired by the 1923 Rosewood massacre in Florida, when a white mob killed black people and destroyed their town. In a major change, it stars Ving Rhames as an outsider who comes into Rosewood and inspires residents to self-defense, wielding his pistols in a fight. The supporting cast includes Don Cheadle as Sylvester Carrier, a resident who was a witness, defender of his family and victim of the riot; and Jon Voight as John Wright, a sympathetic white store owner who lives in Rosewood. The three characters become entangled in an attempt to save people from racist White people attacking the Black residents of Rosewood.

Despite generally favorable reviews the film was not a commercial success, and was unable to recoup its $17 million budget at the box office. The film was entered into the 47th Berlin International Film Festival.[3]

Plot

Mann is a mysterious World War I veteran who is scouting out land to buy. He comes to the town of Rosewood, a small and predominantly black town in Florida. Rosewood is home to the Carriers, an upwardly mobile black family, led by a matriarch, Aunt Sarah, and her proud, headstrong son, Sylvester. Mann soon meets Beulah "Scrappie" Carrier, Sylvester's young cousin and the two quickly fall in love.

Aunt Sarah works as a housekeeper for James Taylor and his wife, Fanny, a white couple who lives in the white town of Sumner. Fanny, who has a history of cheating on her husband, has a rendezvous with her lover while her husband is at work. Fanny argues with her lover, who ends up beating her. Aunt Sarah and her granddaughter, Lee Ruth, overhear the argument and the subsequent beating but do not intervene. A distraught Fanny, despairing of explaining her injuries to her husband, leaves her house and calls for help. She then tells several townspeople that she has been beaten by a black man. The white residents readily believe Fanny's claim. Hearing of an escaped black convict named Jesse Hunter, a posse from Sumner and nearby towns goes to Rosewood to investigate. The black residents of Rosewood are quickly targeted by a white mob, including men from out of state and members of the Ku Klux Klan.

As a stranger, Mann is afraid that he will be accused of attacking Fanny and lynched. He plans to leave town over the protests of several Rosewood residents who have met in a church to discuss plans to defend their community. Outside the church, Mann clashes with John Wright, a Navy Spanish American War veteran and the owner of a general store, one of the few white residents of Rosewood. Wright is also engaging in a torrid extramarital affair with Sylvester's cousin, Jewel; Mann leaves.

When the posse arrives at the Carrier's home, Aunt Sarah attempts to placate the angry crowd. When she announces that Fanny Taylor's attacker had been a white man, someone in the crowd shoots her and she dies of her injuries. The posse comes and Sylvester shoots and kills two of its members. The posse falls back and a shootout erupts. After Aunt Sarah's murder, the posse attacks Rosewood. Mann is on his way out of town when he witnesses the lynching of Sam Carter, the blacksmith. Changing his mind about leaving, Mann returns to Rosewood to fight alongside the residents.

The posse swells in number. Believing that James Carrier held information about the escaped convict, they seek him out. After making an unsuccessful attempt to intervene on James' behalf, Wright reluctantly allows Sheriff Walker to take Carrier into custody because the officer said he only wanted to question him. When Carrier says he doesn't have any information, he is immediately shot by one of the members of the mob. Wright gets upset and the mob accuses him of being soft on blacks.

The violence escalates and spills out into neighboring towns. When the posse gets to the border of Alachua County, a group of armed deputized white men and a sheriff block the roads and turn them back. Surviving members of the Carrier family eventually escape on a train, which had been arranged by Wright. Scrappie and Mann finally share a kiss before Mann departs with Sylvester. The two plan to meet up later. After the violence dies down, James Taylor confronts his wife, Fanny. He realizes that Fanny has lied to him about the true cause of her injuries and had affairs with other men after being told by the sheriff and the townspeople. Officially the final death toll was eight people, two white and six black. Other accounts by survivors and several African-American newspapers place the number anywhere from 40 to 150.

Minnie Lee Langley, a survivor, served as a source for the set designers, and Arnett Doctor, son of a survivor, was hired as a consultant.[4][5] Recreated sets of the towns of Rosewood and Sumner were built in Central Florida, far away from Levy County, where the events took place. The film version, written by screenwriter Gregory Poirier, created a character named Mann, who enters Rosewood as a type of reluctant Western-style hero. Composites of historic figures were used as characters, and the film offers the possibility of a happy ending.

Asked about why he decided to tackle this subject, Singleton said: "I had a very deep—I wouldn't call it fear—but a deep contempt for the South because I felt that so much of the horror and evil that black people have faced in this country is rooted here ... So in some ways this is my way of dealing with the whole thing." The production spent $11.7 million filming in Central Florida, with Singleton saying it accounted for 70% of the film's budget.

Critical reception

On Rotten Tomatoes the film holds an approval rating of 87% based on 55 reviews, with an average rating of 7.1/10. The site's critics consensus reads: "In some respects, Rosewood struggles to present a full picture of the real-life tragedy it dramatizes, but it remains a harrowing depiction of racial violence." Metacritic assigned the film a weighted average score of 71 out of 100, based on 20 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.

Roger Ebert gives the film 3.5 stars out of 4, stating that "... What makes it more is the way it shows how racism breeds and feeds, and is taught by father to son. ... it's not easily summarized in ads and does not obviously appeal to either blacks (since it documents such a depressing chapter) or whites (depicted as murderous or ineffectual). Perhaps it will appeal to people looking for a well-made film that tells a gripping, important story. Now there's a notion."

Stanley Crouch of The New York Times described Rosewood as Singleton's finest work, writing: "Never in the history of American film had Southern racist hysteria been shown so clearly. Color, class and sex were woven together on a level that Faulkner would have appreciated."

E. R. Shipp in The New York Times suggested that Singleton's youth and his background in California contributed to his willingness to take on the story of Rosewood. She noted Singleton's rejection of the image of blacks as victims and portrayal of "an idyllic past in which black families are intact, loving and prosperous, and a black superhero who changes the course of history when he escapes the noose, takes on the mob with double-barreled ferocity and saves many women and children from death". Shipp commented on Singleton's creating a fictional account of the Rosewood events, saying that the film "assumes a lot and then makes up a lot more". The film version alludes to many more deaths than the highest counts by eyewitnesses. Journalist Gary Moore, who reported the events in 1982, breaking open decades of silence, believed that Singleton's creating Mann, an outside character who inspires the citizens of Rosewood to fight back, was condescending to survivors. He also criticized the inflated death toll, saying the film was "an interesting experience in illusion".

In retrospect, Gregory Poirier, who wrote the film said: “Rosewood didn’t do much box office. The reviews were generally good, and Siskel and Ebert raved about it, but John [Singleton] was right; it was in many ways too difficult to watch, a chapter of American history most Americans don’t want to be confronted with.

At the time of its release, director John Singleton said:

“People say it's violent. I don't think it is, and certainly not as violent as it was being there. I wanted to make you feel you were there. But then maybe Americans are afraid of it because of their own racial problems. They're all fucked up over race, you know.“

In retrospect, he said: “It wasn’t one of my more successful pictures box office–wise but I think it's one of the best I’ve done. The same weekend it was released Booty Call came out. I think more black folks were comfortable watching Booty Call that weekend than Rosewood … which is a shame… I feel the more we embrace our history the better we can defend against being oppressed in our present.

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[crashynews]

sAm: Godot 4.3 - Crash Project update #25 (save-load system)

New: Added basics of a save-load system Added autosave function and settings toggle Added global singletons for MusicManager and SaveManager Removed SaveSlot resource in favor of safer save format Tweaks: Animation transition timing tweaks — Engine: Godot 4.3 (project started in Godot 4.2.2) Programming: me 3D modeling, texturing, animation and artwork: me Shaders used: PS1/PSX model VHS with…

[concerthopperblog]

Big Dumb Tour 2024: Rickshaw Billie’s Burger Patrol Live @ The Earl

Rickshaw Billie’s Burger Patrol (RBBP) is a rock/doom wop/groove metal/heavy metal/metal/party metal trio from Austin, Texas. RBBP consists of Leo Lydon (vocals/guitar), Sean St. Germain (drums), and Aaron Metzdorf (bass/backing vocals). RBBP has released three (3) LPs, four (4) singles/EPs, two (2) compilations, and one (1) cassette. Their latest release is entitled Big Dumb Riffs, and I am stoked for this new release to arrive in the mail so I can add it to my RBBP collection. I randomly stumbled upon RBBP one day scrolling through Bandcamp and came across their album, Burger Babes… From Outer Space! Then a few years later, I was surprised that they were announced on the Shaky Knees Music Festival lineup in 2022 among some other wicked bands/artists.

My first time seeing RBBP at Shaky Knees was all that I expected. Loud, heavy, fun, energetic, and full of big dumb riffs. Just the way I like it. This tour stop on the Big Dumb Tour 2024 was also full of meaty big dumb riffs, but this time RBBP gets to play The Earl in the East Atlanta Village on Flat Shoals Rd. One of my favorite smaller venues in Atlanta is The Earl because it is so intimate, and you can get up close and personal with your favorite artist/band while they perform. When RBBP announced the Big Dumb Tour 2024 via their socials, I was ready to get another opportunity to see them perform again but this time with local Atlanta favorites NAW and Pretty Please as opening support at The Earl.

Starting this evening’s festivities was the Atlanta band Pretty Please. Pretty Please is a three (3) piece rock/grunge/noise rock band from Atlanta, GA. Pretty Please was formed as a band in 2012 and consists of Robee Whitmire (guitar/vocals), Brian Martinez (bass), and David Bair (drums). I think the best way to describe Pretty Please is by comparing their earsplitting sound to (the) Melvins, Whores., and very early Nirvana. Also, I think that when you attend a show featuring Pretty Please (or any band on this bill), it is safe to say that you should wear some ear protection because it gets LOUD! That is exactly how we like it. Loud and crunchy. Pretty Please was the perfect choice to start this evening with their deafening and vivacious set of songs from their five (5) LP discography. I cannot wait to check Pretty Please out again at a future show, and you should also. Check out the setlist from Pretty Please below:

·         “Vulsella”

·         “Lowered Expectations”

·         “Wormy”

·         “X-Mas box”

·         “White Castle”

·         “Rock is Dad”

·         “It Pays to Complain”

·         “Brick Shithead”

You can support and listen to Pretty Please over on their Official Bandcamp page today.

NAW is a four (4) piece noise rock/post-hardcore/noise metal/grunge/rock band from Atlanta, GA. NAW consists of Amanda Sherman (vocals), Jared Singleton (guitar), Kevin Stokes (drums), and Dave Sherman (bass). I did not know what to expect from either NAW or Pretty Please, as I wanted to be surprised with both bands especially since they were Atlanta artists. NAW came onstage to many people in the crowd screaming their names, so I knew something special was about to transpire. Within the first few minutes of their set, I knew why the crowd was going berserk while they were taking the stage. NAW’s raw energy and passion while performing are quite evident and unbridled. Like Pretty Please, I was blown away by NAW’s intense set with some crowd interaction by Amanda sprinkled in for good measure.

The most random part of this evening came from the fact that Dave Sherman recognized me from my stint working at Sam Goody in the Augusta Mall in Augusta, GA. many moons ago. It makes me happy knowing that music can bring people together and over time they can reconnect. Music makes the world a much better and happier place. You can see NAW’s setlist from this evening’s show below:

·         “You’re a Coward and This World Will Remain Unchanged Without You”

·         “Weed Them and Reap”

·         “Meat”

·         “I Against I” (Bad Brains cover)

·         “Null”

·         “Ugly”

·         “Cope Atypical”

Head to NAW’s Official Bandcamp page or their linktr.ee/nawatlanta and show them some love!

When it came time for RBBP to take the stage, you could feel the excitement with many folks in the crowd. I overheard some people talking about the previous times seeing them perform live and how they were stoked for this evening. Once Leo had added his setlist to the stage, I was over the moon to see four songs that I hoped they would play made this evening’s setlist. And two of the songs on my list kicked off their unforgettable set. I highly recommend seeing RBBP do their thing if they come to your favorite venue if you like your music thunderous and full of big dumb riffs. Check out this wicked setlist from RBBP from The Earl (04/20/2024) in Atlanta, GA below:

·         “I’m the Fucking Man”

·         “1-800-Eat Shit”

·         “Body Bag”

·         “Peanut Butter Snack Sticks”

·         “Whip It Around”

·         “Blue Collar Man”

·         “It’s A Jar”

·         “The Worm”

·         “Sister Militia”

·         “Fly Super Glide”

·         “Shoo-in”

·         “Baby Man”

·         “Gravy”

You can listen to and support RBBP on Bandcamp by following this link. Also, do not forget to preorder the new LP, Big Dumb Riffs, when you visit their Bandcamp page.

Curious about Concerthopper? You can find more music-related articles, interviews, various photo galleries, indie music reviews, our ‘Bars & Bites’ section, our exclusive “She Said, She Said” column, or become a Concerthopper at www.concerthopper.com. Sign up for our monthly newsletter by following this link: The Setlist! Please ‘Like’ our page on Facebook and follow us on Instagram to stay up to date in 2023, on all music-related events/festivals such as Tour of the Valedores: John Garcia Live at The Masquerade, High on Fire: Live at The Senate (Columbia), Shoot For The Moon Tour: Sierra Ferrell Live at The Eastern, Seasons World Tour 2024: Thirty Seconds to Mars & AFI Live at MidFlorida Credit Union Amphitheatre, Mr. Bungle: Live at The Tabernacle, Ashes of Leviathan Tour: Mastodon & Lamb of God @ Ameris Bank Amphitheatre, An Evening with Goose (Night 3) @ The Fox Theatre (Atlanta), Least Anticipated Album Tour: A Day To Remember @ Outer Harbor Live at Terminal B, S.E.R.P.E.N.T. Festival w/ SLASH, Larkin Poe, ZZ Ward, and Robert Randolph – Live @ The Orion Amphitheater (Huntsville), Doyle & Otep Live at The Ranch (Ft. Myers), Leftover Salmon, The Infamous Stringdusters, & The Kitchen Dwellers: Live at The Eastern (Atlanta), Weedeater w/ Telekinetic Yeti & Restless Spirit: Live @ Grantski Records, Blackout Tour Pt. 2: From Ashes to New Live @ Water Street Music Hall (Rochester), Is For Lovers Tour (Fox Summer Stage), We Legalized It 2024: Cypress Hill, The Pharcyde, & Souls of Mischief: Live at Tabernacle, King Gizzard & The Lizard Wizard: Live at The Fox Theatre (Atlanta), The Godmode Tour: In This Moment Live @ Landmark Theatre (Syracuse), Hawthrone Heights: 20 Years of Tears Tour (Sound @ Coachman Park), Catalyst 20 Years Later - New Found Glory: Live at Buffalo Riverworks, Underoath “They’re Only Chasing Safety” 20th Anniversary Tour: Live at Buffalo Riverworks, and Pallbearer w/ Rwake & The Keening @ The Masquerade (Atlanta) by following us on all social media formats: Concerthopper on Facebook, Twitter, and Instagram.  You can also follow my concert hopping on Facebook and Instagram.

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