#JOHN KELMAN | Explore Tumblr Posts and Blogs

papermoonloveslucy · 1 year

Text

KIDZ!

The Young People of the Lucyverse ~ Part 2

W.C. Fields famously warned performers never to work with children or animals. Luckily for us, Lucille Ball consistently disregarded his advice. Here’s a look at some of the young performers and characters of the Lucyverse.

Jerry Carmichael (Jimmy Garrett) and Sherman Bagley (Ralph Hart) ~ Jerry was the son of Lucy and Ralph was Viv’s boy on “The Lucy Show”. Hart appeared in 44 episodes from 1962 to 1965. Garrett appeared in 55 episodes from 1962 to 1965. Jerry had a teenage sister named Chris and their father was deceased. Sherman was an only child whose dad Ralph was divorced his mother Vivian.

Chris’s young friend Susie (Lucie Arnaz) appeared in “Lucy is a Chaperone” (1962).

Susie turned up again as a waitress at Wilbur’s Ice Cream Parlor in “Lucy is a Soda Jerk” (1962). Desi Arnaz Jr. plays a customer, meaning that both of Lucille Ball’s real-life children appeared in the same episode.

In other episodes, Desi Arnaz Jr. played Billy Simmons, son of Audrey (Mary Jane Croft), a baseball player, football player, and cub scout. Billy was seen in “Lucy is a Referee” (1962), “Lucy and the Little League” (1963), “Lucy Visits the White House” (1963), and “Lucy and the Scout Trip” (1964, above), which also included Barry Livingston (as Arnold Mooney) and nine other uncredited scouts.

When the show shifted locations to Los Angeles leaving Susie and Billy behind, Lucie and Desi Jr. appeared as spectators in the grandstands in “Lucy At Marineland” (1965).

“Lucy Misplaces $2,000″ (1962) ~ Katie Sweet (Katie, Granddaughter of Woman on Bench) was just five years old when she filmed this episode, but had been acting since the age of two! Earlier that year, Sweet played the title role in the Desilu pilot “Sukuzi Beane”, which co-starred Jimmy Garrett and helped him land his role of Jerry Carmichael. Sweet left show business when she was 13.

“Together for Christmas” (1962) ~ Ends with Jerry and Sherman joining a group of carolers from the YMCA. The carolers were played by the real-life Mitchell Boys Choir.

“Lucy is a Referee” (1962) ~ In addition to Jerry, Sherman, and Billy, the cast featured Dennis Rush (left) as Tony Lawrence. The other football players are played by the Mighty Mites of the Venice Athletic Club, a pee-wee football team from Venice Beach, California.

“Lucy Goes to the White House” (1963) ~ Lucy and Viv take their cub scout troop to Washington DC to bring their sugar cube White House to President Kennedy. In addition to Jerry, Sherman, and Billy - the cast also includes 9 uncredited young boys as Cub Scout Pack 57.

Critic’s Choice (1963) ~ Ricky Kelman played John Ballentine, son of Parker (Bob Hope) and stepson of Angie (Lucille Ball), husband and wife theatre critics.

“Lucy Gets Locked in the Vault” (1963) ~ Barry Livingston plays Mr. Mooney’s son Arnold. Livingston is probably best remembered as Ernie, the adopted son on “My Three Sons.” His first appearance on that series was just one week after he played Arnold Mooney, a role he would return to in “Lucy and the Scout Trip” (1964).

When Livingston started on “My Three Sons” (also filmed at Desilu), the role of Arnold Mooney was taken over by Teddy Eccles in “Lucy’s Contact Lenses” (1964). Eccles began his show business career at the age of 4 and was 9 years old when he first appeared on “The Lucy Show.”

He will make two more appearances on the series as other characters, including as Harold, a young cadet in “Lucy At Marineland” (1965). Coincidentally, Eccles also appeared in two episodes of “My Three Sons” alongside Barry Livingston.

“Kiddie Parties, Inc.” (1963) ~ Lucy and Viv go into business hosting children’s birthday parties. Ronnie Dapo (David, above right) was a ten year-old actor whose first screen credit was in 1959 and his last in 1966. He made several appearances on “The Andy Griffith Show,” the second airing the very same night as this episode of “The Lucy Show.” There are 8 other young boys in the party scene.

“Lucy Becomes a Father” (1964) ~ Lucy accompanies Jerry on a father / son camping trip where Mr. Mooney is intent on making it so difficult that Lucy will pack up and go home. Five uncredited boys play the other sons on the trip. If Mr. Mooney’s son Arnold is among the boys, he is not singled out, nor are Barry Livingston or Ted Eccles in the cast.

“Lucy and the Stamp Collector” (1965) ~ Stamp collector Junior White is played by Flip Mark, who celebrated his 16th birthday the day after this episode first aired. He was born Philip Mark Goldberg in New York City. In 1965, he played a young Steve Olson on “Days of Our Lives.”

Flip Mark returned to “The Lucy Show” in “Lucy Goes to a Hollywood Premiere” (1966) as a kid selling maps to the stars homes. Curiously, this episode also mentions stamp collecting!

“Lucy the Choirmaster” (1965) ~ Lucy organizes a boys choir to entertain at the bank holiday show. The choir features her son Jimmy Garret as Jerry (his final appeareance), Ted Eccles as Barry, Robert Roter as Newton, Micahel Blake as Malcolm, and Theodore Miller as Stanley.

The other members of the choir (except for Mr. Mooney) were played by the St. Charles Boys Choir. Later that year, they formed the Disneyland Boys Choir and recorded the It’s a Small World album of folk songs still sold at Disney theme parks.

“Lucy the Robot” (1966) ~ Jay North, best known as the title character of “Dennis the Menace”, plays Mr. Mooney’s rambunctious nephew Wendell. Interestingly, Gale Gordon (Mr. Mooney) played Mr. Wilson on “Dennis the Menace” during its final season.

“Main Street U.S.A.” (1967) ~ Jackie Minty plays a Bancroft newspaper boy. Minty was a child actor who had done two episodes of “The Munsters.” A week after this episode of “The Lucy Show,” he appeared on “My Three Sons,” his final screen credit before leaving Hollywood.

Yours, Mine and Ours (1968) ~ Lucille Ball and Henry Fonda play parents of a blended family of 19 children. Among them are Tim Matheson, Gil Rogers, Nancy Howard, Morgan Brittany, Eric Shea, and Tracy Nelson.

BONUS KIDZ!

“Lucy Meets Mickey Rooney” (1966) ~ In an acting school show, Lucy plays Charlie Chaplin and Mickey Rooney plays 'The Kid’, a character based on Chaplin’s 1921 silent classic The Kid starring Jackie Coogan in the title role.

“Lucy the Stockholder” (1965) ~ Lucy, Viv and Mr. Mooney participate in an age regression experiement conducted by an eccentric doctor.

STAY TUNED FOR PART 3

3 notes · View notes

kwebtv · 2 years

Photo

Messiah - Netflix - January 1, 2020 -

Thriller (10 episodes)

Running Time: 60 minutes

Stars:

Mehdi Dehbi as Al-Masih ad-Dajjal (Payam Golshiri)

Tomer Sisley as Aviram Dahan

Michelle Monaghan as CIA Case Officer Eva Geller

John Ortiz as Felix Iguero

Melinda Page Hamilton as Anna Iguero

Stefania LaVie Owen as Rebecca Iguero

Jane Adams as Miriam Keneally

Sayyid El Alami as Jibril Medina

Fares Landoulsi as Samir

Wil Traval as Will Mathers

Recurring

Philip Baker Hall as Kelman Katz

Beau Bridges as Edmund DeGuilles

Hugo Armstrong as Ruben

Barbara Eve Harris as Katherin

Nimrod Hochenberg as Israel

Emily Kinney as Staci Kirmani

Jackson Hurst as Jonah Kirmani

Nicole Rose Scimeca as Raeah Kirmani

Makram Khoury as Mullah Omar

Ori Pfeffer as Alon

Rona-Lee Shimon as Mika Dahan

Kenneth Miller as Larry

Assaâd Bouab as Qamar Maloof

Dermot Mulroney as President John Young

#Messiah #TV #Thriller #Netflix #2000's

2 notes · View notes

projazznet · 2 months

Text

Metropole Orkest, John Scofield, Vince Mendoza – 54

54 is an album of Metropole Orkest conducted by Vince Mendoza featuring jazz guitarist John Scofield, and was released in May 2010. At the 53rd Annual Grammy Awards, the album was nominated for Best Large Jazz Ensemble Album, and Best Instrumental Arrangement went to Vince Mendoza for arranging "Carlos", the opening track. In a review for All About Jazz, John Kelman remarked: "Combining Mendoza's stunning arrangements and some of Scofield's best playing in years, 54 is a milestone in both artists' discographies… both artists transcend individual skill to create an hour-long whole that truly exceeds the sum of its many compelling parts.

#metropoleorkest #johnscofield #vincemendoza

1 note · View note

musicblogwales · 10 months

Text

youtube

Mull Historical Society - 'Panicked Feathers' Video

On what will be his first album since 2018’s ‘Wakelines’, Colin MacIntyre’s upcoming album ‘In My Mind There’s A Room’ was written in collaboration with thirteen world-renowned authors; each of whom were asked to write about a room of special significance to them.

Enlisting the talents of Nick Hornby, an author whose passion for music is well-documented across his bestselling pop-fiction classics like ‘High Fidelity’, ‘Juliet, Naked’ and ‘About A Boy’, the pair’s meeting of minds has produced the anthemic new song “Panicked Feathers”. Written by Hornby (with additional music and lyrics added by MacIntyre), the single transports the listener back to his teenage bedroom through lyrics laced with the mischief and adventure of self-discovery and coming of age. Remembering that room in ��Panicked Feathers”, Nick writes: “Outside my bedroom there was a flat roof // The garage roof where cats came through // My bedroom sat at the top // And sometimes they’d bring birds dead or dying // And sometimes they would drag them in // Over my teenage face // But who knows with cats with cats? // And I learned to climb // Outside of that window // With a friend we’d smoke outside // Dangled legs in the sun on the roof // Imagining the world was smaller than us…” Aptly capturing the sense of sepia-tinted revelry that unfolds throughout the song, “Panicked Feathers” is accompanied by a nostalgic official video which is available to watch now here. “Panicked Feathers” will feature on the new Mull Historical Society album ‘In My Mind There’s A Room’, scheduled for release by Xtra Mile Recordings label on 21 July. Arriving as the first new material from Colin MacIntyre in five years, it will feature contributions from thirteen highly acclaimed guest authors including Ian Rankin, Jacqueline Wilson, Jennifer Clement (‘Widow Basquiat’), Booker-winning Sebastian Barry, Alan Warner, 2021 US National Book Award-winner Jason Mott, Scottish poet laureates’ Jackie Kay and Liz Lochhead (on current single “1952”), booker-shortlisted Stephen Kelman (‘Pigeon English’), legendary crime writer Val McDermid (on previous single “Room of Masks”) and Nick Hornby on “Panicked Feathers”. The album’s official artwork is by John MacLean of The Beta Band, a band who were humorously referenced in the film adaptation of Nick Hornby’s ‘High Fidelity’ (watch here). Appearing at an array of literary festivals this summer in support of the record, Mull Historical Society will be appearing for a special show at the Edinburgh Festival Fringe next month, with further confirmed dates also listed below.

Mull Historical Society / Colin MacIntyre - 2023 Live Dates 29th July - MHS Belladrum 4th Aug - MHS Edinburgh Fringe @ Summerhall Sept - Wigtown Book Fest (music & book) 17th Sept - Bloody Scotland Festival, Stirling 20th Sept - WayWORD Festival, Aberdeen University (w/ Alan Warner) 30th Sept - Wigtown Book Festival 27th Oct - Tobermory Book Fest (music & book)

#Youtube

0 notes

bunkerblogwebradio · 1 year

Text

A Revolução Russa

Segundo um testemunho do Congresso dos Estados Unidos de outubro de 1919 [20] o apoio financeiro do John D. Rockefeller (a Lenin e Trotsky) provocou a (fracassada) Revolução Comunista de 1905. A biografia do Rockefeller omite um detalhe ≪insignificante≫, isto e, a afirmação feita em publico por parte do banqueiro investidor da família Rockefeller e presidente da empresa de investimentos de Nova Iorque, Kuhn, Loeb & CO, o jesuíta Jacob Schiff, também fundador da Reserva Federal, de que sem sua influencia financeira a revolução russa nunca teria êxito.

Quer dizer, segundo os documentos do Congresso do doutor Sutton, na primavera de 1917, Jacob Schiff começou a financiar ao Trotsky com o proposito de que prosperasse a Revolução Socialista na Rússia. A maneira em que Sutton descobriu esses incríveis documentos e realmente surpreendente! Esses preciosos documentos se encontraram em um expediente a mais do Departamento de Estado dos Estados Unidos (861.00/5339). O documento mais importante data de 13 de novembro de 1918.

Entretanto, o que e mais incrível ainda e o fato de que em privado Schiff estava contra o apoio ao Regime Bolchevique, como se demonstrou, e de novo, documentos reservados, descobertos pelo doutor Sutton (como o Documento nº 3), demonstram que Jacob Schiff, do Kuhn, Loeb e Company, também tinha financiado secretamente aos japoneses em sua guerra contra a Rússia.

Outro fato omitido e que o emissário pessoal do John D. Rockefeller, George Kennan, passou vinte anos promovendo a atividade revolucionaria contra o czar da Rússia segundo o livro Rape of the Constitution: Death of Freedom de Gyeorgos C. Hatonn. Quem financiou ao Kelman e por quê? A que custo? Além do desejo de criar um monopólio globalizador tinha John D. Rockefeller, alguma razão pessoal para desejar a queda do czar e apoiar a revolução? Depois, Rockefeller já não era nenhum adolescente idealista.

A resposta segue hoje tão atual como ha cem anos: pelo petróleo! Antes da Revolução Bolchevique, a Rússia sucedeu aos Estados Unidos como o maior produtor de petróleo do mundo. [21] Em 1900, os campos de azeite de Baku, na Rússia, produziam mais petróleo cru que todo os Estados Unidos e em 1902 mais da metade das extrações mundiais eram russas.

O caos e a destruição da revolução destruíram a indústria petrolífera russa.

Em seu livro, Wall Street and the Bolshevik Revolution, o doutor Sutton escreve: ≪Por volta de 1922 as metades dos poços estavam parados≫ [22] e a outra metade apenas funcionava devido a falta de tecnologia para fazer os produtos.

A outra razão, que tampouco se menciona na biografia de Rockefeller, e a concorrência. Como afirma Gary Alien, ≪a revolução eliminou durante vários anos a concorrência russa de Standard Oil nos quais a empresa americana pode mover as pecas e fazer-se com parte do negocio do petróleo russo≫.

Movendo as peças do tabuleiro

Quando a revolução de 1905 fracassou, os banqueiros reagiram. Em seu livro, Rape of the Constitution; Death of Freedom, Gyeorgos C. Hatonn explica como ≪Lenin foi "armazenado" na Suíça ate 1907 [fora de perigo]. Trotsky foi levado aos Estados Unidos, onde viveu sem pagar aluguel em uma propriedade da Standard Oil em Bayonne, Nova Jersey≫ Como anedota, o doutor Anthony Sutton explica em Wall Street and the Bolshevik Revolution que Leon Trotsky visitou a Espanha depois de ser expulso da Franca, em setembro de 1916, por escrever artigos ≪incendiários≫ em um periódico parisino escrito em russo. Foi, segundo Sutton, ≪escoltado educadamente ate a fronteira espanhola≫.

Alguns dias depois, a policia de Madrid deteve-o para interna-lo em uma ≪cela de primeira classe≫ a um preço de uma peseta e meia ao dia. Depois, Trotsky foi transladado ao Cadiz e depois a Barcelona, ≪onde finalmente subiu a bordo do Montserrat, um vapor da Companhia Transatlântica Espanhola. Trotsky e sua família cruzaram o Atlântico e desembarcaram em Nova Iorque em 13 de janeiro de 1917.

Quando o czar abdicou em 1916, Trotsky ─ com dez mil dólares de Rockefeller para gastos de viagem ─ foi conduzido ao Kristianiafiord (deixou Nova Iorque em 26 de marco de 1917) com trezentos revolucionários comunistas de Nova Iorque. De onde tirou Trotsky seu passaporte? Quem o pagou? Quem lhe arrumou o tramite e por quê? Foi o mesmo Rockefeller quem conseguiu um passaporte especial para o Trotsky através de Woodrow Wilson, o presidente dos Estados Unidos, e enviou Lincoln Steffens, um comunista americano a serviço de Rockefeller, ≪com ele para assegurar-se de que retornaria são e salvo a Rússia≫.

Segundo arquivos desclassificados do Governo canadense, em 13 de abril de 1917, quando o navio se deteve no Halifax, funcionários do Serviço Secreto canadense e pessoal da marinha britânica levaram imediatamente ao Trotsky (sob instruções oficiais recebidas por cabograma de Londres em 29 de marco de 1917) para confina-lo em Amherst, Nova Escócia, como prisioneiro de guerra alemão. O cabograma advertia da presença de Trotsky em ≪Kristianiafjord [dizendo que deveria ser] retido a espera de mais instruções, [ja que] esses socialistas russos viajam com o proposito de começar uma revolução contra o atual governo russo, em razão do qual, Trotsky levava consigo 10.000 dólares doados pelos socialistas≫.

Mas por que foi detido? ≪Porque o serviço secreto fora informado que Trotsky tiraria a Rússia da guerra, liberando assim aos exércitos alemães para atacar as tropas (...) da frente ocidental≫, matiza Eustace Mullins.

O que aconteceu depois assemelha-se ao clima politico atual no erroneamente chamado o ≪Canada Livre≫. Como no Canada de hoje ─ a influencia dos Rockefeller esta atrás dos movimentos separatistas de Quebec, os políticos de então estavam sob a influencia da família Rockefeller.

Gyeorgos C. Hatonn no já citado livro Rape of the Constitution; Death of Freedom explica: ≪O primeiro-ministro Lloyd George enviou ordens urgentes, por cabo, de Londres ao Serviço Secreto canadense para que liberassem imediatamente ao Trotsky, mas aquele fez caso omisso. Trotsky foi finalmente liberado graças a intervenção de um dos escravos mais fieis ao Rockefeller, o ministro canadense Mackenzie King, um antigo "especialista em laborismo" dos Rockefeller. King obteve pessoalmente a liberação de Trotsky e destacou-o como emissário dos Rockefeller com a missão de ganhar a Revolução Bolchevique. Portanto, o doutor Annand Hammer, que proclamava em voz alta sua influencia na Rússia, como amigo do Lenin, teve um papel insignificante, em comparação com o respaldo que deu Rockefeller ao comunismo mundial.≫

Por que o implacavel John D. Rockefeller apoiou ao Trotsky? Porque Trotsky, o revolucionario bolchevique, como John D. e o resto de sua família advogava pela ≪revolucao e pela ditadura mundial, por sua uniformidade ideológica e seu compromisso com o internacionalismo liberal. Os bolcheviques e os banqueiros, então, tem algo em comum: o internacionalismo≫, explica uma e outra vez Anthony Sutton. Tanto Alien como o doutor Sutton chegam a mesma conclusão: a revolução e as finanças internacionais tem os mesmos objetivos comuns: a erradicação dos poderes descentralizados, muito mais difíceis de controlar, e o estabelecimento de um Governo Mundial Único, um monopólio do poder que se perpetue no tempo.

Graças ao heroico trabalho das outras impressionantes obras do doutor Sutton, as provas da implicação dos Rockefeller na ≪organização, patrocínio e apoio a revolução bolchevique são tão inumeráveis e avassaladoras que simplesmente não admitem discussão≫.

Possivelmente, poderia resumir o grau de crueldade com um exemplo: ≪Para os Rockefeller o socialismo não e um sistema para redistribuir a riqueza (e muito menos para redistribuir sua própria riqueza), a não ser um sistema para controlar as pessoas e a concorrência. O socialismo põe todo o poder nas mãos do governo. E como os Rockefeller controlam os governos, isso significa que eles tem o controle, de fato, mesmo que voce nao saiba, nao significa que eles não saibam!≫ Como curiosidade, Trotsky se casaria depois com a filha de um dos banqueiros mais ricos, Livotovsky, quem também respaldou a Revolução Bolchevique.

Tecnologia americana nas mãos dos comunistas

Em 1926, a Standard Oil de Nova Iorque, do Rockefeller, e sua subsidiaria, a Vacuum Oil Company, através do Chase National Bank, [29] ≪fechou um acordo para vender petróleo soviético nos países europeus≫. [30] Nesse momento se informou que John D. Rockefeller fazia um empréstimo aos bolcheviques de 75 milhões de dólares, ≪parte do preço do acordo≫. Como resultado do trato, diz Alien, ≪em 1927,o socio secreto da Rússia, a Standard Oil de Nova Iorque, construiu uma refinaria de petróleo na Rússia≫. Portanto, John D. Rockefeller, conclui o autor, o caudilho do capitalismo, ajudou ≪a recuperação da economia bolchevique≫. O Governo dos Estados Unidos não reconheceu oficialmente ao Estado soviético ate 1933. Como e possível que cidadãos privados, por mais ricos e influentes que sejam, tenham colaborado com o regime soviético assassino, quando isso ia, explicitamente, contra da lei, segundo o Congresso dos Estados Unidos? Além disso, não eram só cidadãos privados os que colaboraram na criação do monopólio soviético, mas sim, mesmo o presidente Wilson aprovou tal colaboração. O doutor Sutton acrescenta em seu livro, ≪este foi, o primeiro investimento dos Estados Unidos na Rússia da revolução≫.

Isto e o que o congressista dos Estados Unidos Louis McFadden, presidente do Comitê Bancário da Câmara de Representantes, que se opôs corajosamente aos manipuladores do sistema da Reserva Federal na década de 1920 e 1930, tinha que dizer em um discurso aos congressistas em 10 de junho de 1932: ≪Abram os livros do Amtorg, a organização comercial do Governo soviético em Nova Iorque; os do Gostorg, o escritório geral da Organização do Comercio Soviético; e os do Banco Estatal da URSS, e se surpreenderão de quanto dinheiro americano saiu do Tesouro dos Estados Unidos em beneficio da Rússia. Averiguem que transações se efetuaram entre o Banco Estatal da URSS e o Chase Bank de Nova Iorque.≫ Como nota a parte cabe assinalar que a persistente oposição do McFadden a Reserva Federal, uma entidade ilegal que controla o Tesouro dos Estados Unidos, custou-lhe três atentados.

Finalmente, morreu em condições ainda não esclarecidas.

Como se sentiria se lhe dissessem que os Estados Unidos financiaram e ajudaram a construir o imponente poder dos soviets, o mesmo estado comunista que assassinou a uns setenta milhões de seus cidadãos? E que o poder na sombra responsável por isso era também a primeira família banqueira dos Estados Unidos que representa os ideais da sociedade capitalista? Que os Estados Unidos transferiram secretamente à Rússia a tecnologia mais sofisticada e cara do momento para assim criar um inimigo visível, para justificar os novos métodos de coerção e terror; e agora o fazem com a China, as custas de seus próprios compatriotas?

Tristemente, tudo isso forma parte do grande desenho da Nova Ordem Mundial. Para conseguir o Governo Mundial único, controlado pelos globalizadores, devem unir-se diferentes nações. Para que o publico geral aceite inicialmente os ≪benefícios≫ do Governo Mundial único/CE, deve vender a ideia de que tal união tem vantagens e benefícios, como que o bloco de comercio livre não suporá uma perda de soberania. O problema e que já hoje perdemos nossa soberania. O CE invadiu todos os aspectos de nossa vida, atando-nos uns tratados desconhecidos, umas leis e umas regulações obscuras, muito difíceis de compreender. O Tratado de Maastricht e muito complexo e para entendê-lo minimamente deve ler-se em conjunção com o Tratado de Amsterdam, o Tratado de Roma e a Lei Única Europeia. Será que os membros das Cortes tiveram tempo e os conhecimentos necessários para estuda-los? Quantos sabem realmente o que implicam? Como ilustração só direi que no debate parlamentário, que houve na Inglaterra, a respeito dos tratados mencionados (um passo que supunha, nada menos, que subtrair as liberdades aos cidadãos, para transferi-las ao organismo europeu), deu aos membros do Parlamento britânico um resumo de duas paginas de ditos tratados e supõe-se que deveriam tomar uma decisão que se baseasse nesse único material.

Como se crê nessa cacarejada igualdade entre nações e simultaneamente se converte aos Estados Unidos em uma província mais da Nova Ordem Mundial?

Em primeiro lugar, usando o dinheiro dos contribuintes, o saber tecnológico e, tal como explica Gary Alien, ≪o equipamento do que só a gente dispõe, para alimentar a concorrência, e ao mesmo tempo, usar todas as matreiras estratégias imagináveis para debilitar e empobrecer a seu pais≫; ao mesmo tempo, que se fortalece ao inimigo, assusta-se a população dizendo-lhe que a cooperação e necessária porque sem acordos bilaterais o inimigo atacar-nos-á.

Agora já sabe por que, da Revolução Russa ─ que não foi um levantamento espontâneo ─ os defensores da Ordem Mundial defenderam e efetuaram as politicas dirigidas a incrementar o poder da União Soviética. Em essência, a Comissão Trilateral de Rockefeller foi fundada para acelerar a consecução do objetivo globalizador.

O professor Anthony Sutton, o maior perito no estudo da contribuição da tecnologia ocidental a criação do Estado Soviético, oferece uma evidencia irrefutável, [33] de que a capacidade industrial e militar soviética plasmada em ≪caminhões, aviões, petróleo, ferro, petroquímicas, alumínio, ordenadores e demais, foi construída, às custas dos contribuintes americanos, para beneficio da União Soviética, o mesmo pais que tinha jurado destruir aos Estados Unidos. Tudo com o proposito de fabricar um inimigo e criar a paridade que permitiria, eventualmente, a convergência em um Superestado, conhecido como Governo Mundial único≫.

Como diz Gary Alien, ≪ninguém tentou sequer refutar as fortes palavras desse estudioso chamado Sutton≫.

Em Wall Street and the Bolshevik Revolution, Surton, afirma: ≪A tecnologia soviética não existia na realidade. 90-95 % procedia direta, ou indiretamente, dos Estados Unidos e seus aliados.≫ Quantos bilhões gasta os Estados Unidos para defender-se contra um inimigo fantasma, criado, alimentado e mantido por eles mesmos? Os custos justificam os meios? Supostamente sim! Recorde, a Grande Fusão será controlada pelo mesmo Grupo Bilderberg-CFR-CT que esta orquestrando entre os bastidores os blocos regionais e as uniões monetárias ≪temporários≫ .

≪Embora pareça estranho ─ reflete Surton ─ parece que os Estados Unidos querem que o inimigo continue inimigo. ≫ Sem um inimigo visível e justificável, nenhuma população, apesar da manipulação, cedera voluntariamente seus direitos e liberdades individuais. Sutton oferece milhares de provas documentadas de seus achados. Por exemplo, a Marinha Mercante Soviética, no momento de escrever seu livro, era a maior do mundo, com 6.000 navios. Anthony Sutton declarou em 1972 ante um subcomitê do Partido Republicano para dizer: ≪Uns dois terços foram inteiramente construídos fora da União Soviética e quatro de cada cinco motores desses navios foram construídos também fora do pais.

E continua Sutton, ≪todos os automóveis, caminhões, [armas, tanques, aviões] e tecnologia soviética procede do Ocidente. A organização Gorki, construída pelas empresas Ford e Austin, produziu a maior parte dos caminhões utilizados para levar o armamento subministrado pelos soviéticos ao Ho Chi Minh. As empresas de automóveis também podem utilizar-se para construir tanques. A mesma organização Gorki, sob o disfarce de um "comercio pacifico", produziu em 1964 o primeiro sistema antitanque guiado. Os soviéticos tem a maior montadora de ferro e aço do mundo. Foi construída pela Corporacao McKee. E uma copia de uma fabrica de aço de Indiana, nos Estados Unidos≫.

Surton sustenta que o governo dos Estados Unidos e responsável direto pelo assassinato de 100.000 soldados americanos, mortos por meio de tecnologia americana, como afirma de maneira cortante: ≪A única resposta de Washington e da Administração [dos Estados Unidos] e esforçar-se para esconder o escândalo. ≫

Nada do que digo tem sentido, se acreditarem nas mentiras propagadas pelo poder a respeito dos ≪malvados≫ comunistas. A não ser, e obvio que o comunismo seja um chamariz necessário, a ferramenta de uma conspiração muito maior para deixar o mundo nas mãos de multimilionários ávidos de poder, então tudo aparece perfeitamente logico. Rockefeller, entretanto, nao e absolutamente um poder independente. Como explica Eustace Mullins em Murder by Injection: The Medical Conspiracy against América, ≪os Rockefeller operam sob as esferas de influencia claramente definidas. As organizações "caridosas", as empresas e os grupos de influencia politica, trabalham sempre conjuntamente. Nenhum departamento do Grupo toma iniciativas por si mesmo ou formula uma politica independente. Não ha justificação para isso, porque tudo funciona sob o controle da estrutura financeira mundial, o que significa que, qualquer dia, toda a abundancia de uma pessoa ou organização pode ver-se reduzido a zero, mediante uma hábil manipulação financeira. Este e o controle final que assegura que ninguém possa sair da organização. Não só lhe retirariam todos os seus recursos, mas também, entraria imediatamente na lista de um capanga≫.

O congressista Larry McDonald, em seu prologo ao livro O expediente Rockefeller, escreveu: ≪Esta e uma exposição concisa e arrepiante, da que foi certamente a historia mais importante de nosso tempo: a ideia dos Rockefeller e seus aliados de criar um Governo único Mundial que combine o supercapitalismo e o comunismo sob um mesmo teto, tudo sob seu controle [...] os Rockefeller e seus aliados levam ao menos cinquenta anos seguindo um cuidadoso plano para controlar os Estados Unidos e o resto do mundo; fazendo-se com o poder politico através de seu poder econômico. ≫ Em 31 de agosto de 1983, McDonald morreu em um ≪acidente≫ a bordo de um avião comercial do Korean Airlines 007 em espaço aéreo soviético.

CAPITULO EXTRAIDO DO LIVRO A VERDADEIRA HISTORIA DO CLUBE DE BILDERBERG DE DANIEL ESTULIN

0 notes

scotianostra · 1 year

Text

Happy 81st Birthday Scottish Playwright and artist John Byrne.

Born John Patrick Byrne on January 6th 1940 in Paisley, where he grew up in the Ferguslie Park housing scheme and was educated at the town’s St Mirin’s Academy before attending Glasgow School of Art, where he excelled. In his final year he was awarded the Bellahousten Award, the school’s most prestigious painting prize, and spent six months in Italy, returning a masterful and confident young artist. His work is held in major collections in Scotland and abroad.

Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow. In 2007 he was made a full member of the Royal Scottish Academy and is an Honorary Fellow of the GSA, the RIAS, an Honorary Member of the RGI and has Honorary Doctorates from the universities of Paisley, Glasgow, Aberdeen and Strathclyde.

It was by no means an overnight success for Byrne, he was making a living designing book covers for publishers Penguin before recognition, Byrne has also designed record covers for Donovan, The Beatles, Gerry Rafferty, Billy Connolly, and The Humblebums as well as illustrations for the renowned Scottish writer James Kelman.

As well as his artwork Byrne is an accomplished writer perhaps best known as the writer of The Slab Boys Trilogy of plays which explore working-class life in Scotland, and of the excellent TV dramas Tutti Frutti and Your Cheating Heart.

In 2018 Byrne was named Scotland’s most stylish man at the age of 78 at the Scottish Style Awards in Glasgow, beating Outlander star Sam Heughan to the coveted most stylish male title, which was previously won by Richard Jobson, Robert Carlyle, James McAvoy and Paolo Nutini. Byrne, a good friend of comic, Billy Connolly Byrne said at the time he was shocked at the award saying “I dress like a tramp”.

The highlights the quintessential Scottishness of Byrne’s work, and his enduring humour and his focus on the frailty of human experience often lived on the edge of working-class communities. It is a richly rewarding show which underscores r give John Byrne a rightful place as one of Scotland’s finest and most prolific artists, as seen in the artists work with the portraits of the late Robbie Coltrane, one of several he has made of the Big Yin, Billy Connolly and the pic of his former partner Tilda Swinton.

#scotland #scottish #artist #playwright #writer #character #happy birhtday

17 notes · View notes

wellconstructedsentences · 6 years

Quote

It is in the excitement of that gallop that you see to finest advantage the colours of the city, if you see little else. The dyers' quater flashes past in purple, the saddlers' in fawn, and the shoemakers' in crimson, as you dash along the open street. Then, plunging into the sombre shadows of the bazaars, new jewels flame out upon your astonished eyes. For the lofty roof has certain holes in it, through which the sunlight leaks in drops and shafts of brilliance like red-hot lance heads. Here, where it strikes upon the shop-fronts, there is the glorious blaze of piled oranges, there the paler light of lemon reflected from some shopkeeper's silk robe. And the mid-street of the bazaar sparkles with ruby, diamond, emerald, amber, and sapphire, as the head-dresses and silken robes of passers-by come for a moment within the line of light.

From Damascus to Palmyra by John Kelman

#from damascus to palmyra #john kelman

4 notes · View notes

riffsstrides · 6 years

Audio

John Abercrombie Quartet

Up And Coming

ECM, 2017

John Abercrombie: guitar;

Marc Copland: piano;

Drew Gress: double bass;

Joey Baron: drums.

Starting the new year with, if not precisely a bang, a nevertheless unforgettable record whose strength lies in pristine lyricism, nuanced group interplay and writing that capitalizes on the entire quartet's appreciation of subtlety over gymnastics and refined lyricism over angularity, John Abercrombie's Up and Coming—ECM's first release of the year—is also founded strongly on the concept of relationship. The guitarist has been playing with Marc Copland since the pianist's days in the early '70s as a saxophonist before deserting it entirely for a career and discography that's as rich and rewarding as Abercrombie's. And the two have continued working together regularly since Copland's switch to piano: before coming to ECM on Abercrombie's critically acclaimed 39 Steps (2013), the pair had recorded in a group under Copland's name, first for Savoy Jazz with 1996's Second Look, then Hatology for 2003's Marc Copland And..., and finally with Pirouet on 2008's Another Place. And that excludes other projects, such as their 2010 quintet recording with Dave Liebman as Contact, Five on One (Pirouet), a 2011 duo recording, Speak to Me (Pirouet) and two trio recordings with the late Kenny Wheeler, including Brand New (Challenge, 2005). But the relationship doesn't end there. Bassist Drew Gress' far-reaching ubiquity is only matched by his ability bring a personal sound to everything from the more avant-leaning The Claudia Quintet and Dave Douglas to contemporary mainstream spaces with artists including pianist Fred Hersch and Tim Hagans—not to mention a small but strong discography of his own, including 2013's The Sky Inside (Pirouet). He is not only a charter member of the same Abercrombie (or Copland, depending on the date) quartet, beginning with Second Look; he has a longstanding relationship with the pianist in other contexts, including 2009's New York Trio Recordings, Vol. 3: Night Whispers (Pirouet) and 2005's Some Love Songs (Pirouret), while joining the guitarist on a rare saxophone-infused date, Within a Song (ECM, 2012). Joey Baron—whose joyous approach and willingness to try anything has turned him into a similarly in-demand musician—may be the relative youngster to this collective relationship, but he's far from new. He not only replaced original quartet drummer Billy Hart on Another Place and 39 Steps; his relationship with Abercrombie goes even farther back to the guitarist's four string-heavy recordings with violinist Mark Feldman, from 2002's Cat 'n' Mouse (ECM) through to 2009's Wait Till You See Her (ECM). But as strong as relationships can be in building a group chemistry as potent as that found on Up and Coming, there has to be more to it. Guitar and piano do not always make for comfortable bedfellows, as the potential for stepping on each other's toes, harmonically speaking, is always a risk; but one of Abercrombie and Copland's greatest combined strengths is their ability to listen and intuit...there are never any of the "train wrecks" that so often run the risk of scuttling multiple harmonic instruments brought together. Instead, the pair seems to effortlessly complement one another with an appealing harmonic ambiguity that has become one of the group's touchstones; its open-ears approach extending, of course, to Gress and Baron, who manage to bring both sinewy strength and elegant understatement to this quartet's music. From Up and Coming's relatively brief, introspective opener, the guitarist's curiously titled "Joy," the quartet combines elegant interpretation of a less-than-common yet still eminently singable theme with Abercrombie and Copland mere nanoseconds apart, creating a delicious sense of tension and release, to brief but eminently lyrical solos from the pair—the pianist, in particular, bolstered by the empathic Gress and Baron, builds this rubato tone poem to its clear climax...and suggests another definer of this wonderful quartet: its capacity for evoking broad dynamic contrasts with, sometimes, the subtlest of gestures. Copland's delicate touch and use of his instrument's pedals to create even more expansive harmonies has long been a measure of his best work; a touchstone that fits, hand-in-glove, with Abercrombie's similarly less-traveled voicings and soft attack, the latter stemming from his move, in the mid-'90s, from plectrum to his thumb's yielding flesh. Together, the pair evoke remarkable strength without ever resorting to the obvious; both have managed to create instantly recognizable yet never predictable approaches that rely on a deeper melodic and harmonic language rather than more obvious signatures. But as soft and lush as their collaborative sound is—and as much as it sometimes feels necessary to almost lean forward to fully capture their work—that shouldn't suggest that Abercrombie's quartet lacks muscle. The guitarist's more buoyant "Flipside"—another miniature that doesn't even break the three-minute mark—swings with powerful fluidity, its theme once again iterated in ever-so-slightly staggered fashion by the guitarist and pianist before Gress and Baron enter, the bassist walking hard and Baron delicately driving the brief solos with a persistent quarter-note cymbal pulse...but punctuated, on his snare and toms, as empathically as they are joy-filled. Anyone who has seen Baron in performance knows that a smile—and sometimes flat-out laughter—never seems to leave his face, as he approaches whatever music he's playing with a kind of reckless exhilaration, flexible interpretation and sheer joy that's rarely so visible in concert...and is, indeed, absolutely audible on record as well. In an LP-length program that brings together five Abercrombie compositions with two contributions from Copland, it's particularly gratifying to hear this quartet approach Miles Davis' classic "Nardis"—a song that the guitarist has played often but never recorded under his own name. It is, perhaps, the best example of how inimitably Abercrombie, Copland, Gress and Baron collaborate; following a rubato intro, even when the group begins to play in tempo—and irrespective of this often-played song's melody—the quartet's loose, open-ended and surprise-laden approach renders this most familiar of compositions as unpredictable as anything else to be found on the record. Yes, the changes are always there: sometimes more direct, other times so subtly intimated as to be barely recognizable; and yet, when Abercrombie, Copland and Baron solo, their allegiance to the song's heart is paradoxically crystal clear while, at the same time, being somehow opaque. All of these qualities characterize Up and Coming's entire 48-minutes duration, from Abercrombie's abstract yet melody-rich "Jumbles," waltz-time "Sunday School" and ambling title track to Copland's darker, more dramatic "Tears" (featuring a particularly memorable solo from Gress) and "Silver Circle"—the album's most unfettered and impressive example of everything that makes this group so special. Beginning with an open vamp, largely driven by Gress, it ultimately resolves into another singable but uncommon melody, setting up modal-based and motif-driven opportunities for both Abercrombie—who lends Up and Coming its only hint of grit with some slight overdrive—and Copland, who demonstrates that a soft touch can, indeed, possess plenty of inner strength. All told, it may be Abercrombie's shortest album since his 1990 trio with Vince Mendoza and Jon Christensen, Animato; but like that often (and unfairly) overlooked album, Up and Coming's brief duration only renders it more appealing, like the perfect live performance that leaves an audience sated but, at the same time, hungry for more. That Copland has finally, in the past few years, found his way to ECM—in addition to Abercrombie, with bassist Gary Peacock, whose Now This (ECM, 2015), also featuring Baron, was one of the year's best recordings—seems, in retrospect, not only inevitable but overdue. The quartet Abercrombie has shared with Copland and Gress for over two decades, irrespective of who is listed as the leader, is finally being recorded with the clarity and transparency it deserves, while the creative input provided by label head/producer Manfred Eicher drives the music in directions it might not otherwise go. All of which make Up and Coming, ECM's first record of 2017, a success on all fronts. This is a group whose collaborative capabilities have only strengthened over the years, growing deeper and more telepathic. Of the tradition while, at the same time, challenging it with a unique and instantly recognizable combination of grace-filled subtlety, rich melodism, improvisational élan, mitochondrial chemistry and a profound harmonic language, Up and Coming starts 2017 with an album that is already a strong contender for its year-end best-of lists.

JOHN KELMAN in All About Jazz

#John Abercrombie #Up And Coming #ECM #Marc Copland #Drew Gress #Joey Baron #JOHN KELMAN #All About Jazz #discos #spotify

2 notes · View notes

tabernacleheart · 5 years

Text

What are “the ways” in which we must acknowledge [God]? 1. The course of life as a whole. It is well often to think of life thus as a unity, and ask where it is leading to. Is it not strange that men should undertake thelongest journey of all without Him? 2. In each particular enterprise and action we engage in He is to be acknowledged. 3. In what goes before our actions-- [in] the imaginations and desires, the plans and purposes, we must acknowledge Him. 4. In what comes after our actions--habits. All of us have some bad habits, and many who consult God as to particular actions still let their formed habits guide them each along its own line. But here, too, He must be acknowledged, and by His grace the strongest habit can be broken. 5. Stress must be laid on the word “all.” God will have our whole heart or He will have none of it.

John Kelman, M.A., The Biblical Illustrator; Commentary on Proverbs 3:6

#holy scripture #biblical commentary #proverbs #proverbs 3:6 #proverbs 3 #john kelman m.a.#the Biblical Illustrator #religion is all or nothing #grace #a vital warning #hope #dependence on god #divine guidance #do everything for the glory of god

1 note · View note

spookytuesdaypod · 2 years

Text

spooky tuesday is a (now not so new!) podcast where we’re breaking down all of our favorite slashers, thrillers, monster movies and black comedies on the new scariest day of the week.

is there anything more on theme for valentine’s day than wrapping up a literal human heart in a cartoon heart-shaped box? it’s called romance, babes, and on our latest episode, we’re talking about a killer who doesn’t do anything ~half-hearted.~ in 1981's my bloody valentine, the mysterious miner knows how to commit to a bit — and here at spooky tuesday, we love when a man puts his whole valentussy into honoring the holiday. join us for a romantic week-long celebration as we talk about all the iconic style, gory kills, and lad behavior in this ‘80s slasher classic. spoiler alert: when people say boys will be boys, they’re talking about the group shower scene in this movie.

give spooky tuesday a listen on apple podcasts, spotify, iheart radio, or stitcher

#my bloody valentine #my bloody valentine 1981 #harry warden #george mihalka #john beaird #paul kelman #lori hallier #neil affleck #keith knight #ali humphreys #cynthia dale #gay horror podcast #horror podcast #movie review podcast #spooky tuesday #new spooky tuesday episode

0 notes

strawberrywh0r3 · 3 years

Text

My Bloody Valentine (1981)

My Bloody Valentine is a 1981 Canadian slasher film directed by George Mihalka and written by John Beaird. It stars Paul Kelman, Lori Hallier, and Neil Affleck. The plot tells about a group of young adults who decide to throw a Valentine's Day party, only to incur the vengeful wrath of an assailant in mining gear who begins a killing spree.

#my bloody valentine #horror #horror movie #80s horror #horror classic #gorecore #lovecore #halloween #scary #creepy #slashers #movies #horrorcore #fav #my post

110 notes · View notes

kimhargreeves · 2 years

Text

❤️⛏️Take Your Pick-Tom Hanniger x Reader

Summary: For the longest of time you've hated Sarah. Tom always favored her over anyone else, now he is back and you are willing to do anything to get his attention.

(A/N: I haven't seen anyone written on Tom Hanniger only about Harry, so I decided to be the first person that i know so far. Consider this as a special Valentine's Day horror one shot❤️also apologies if it's not 100% good, also just before posting this I found out Paul Kelman, the actor who played Tom passed away 4 days ago. I'm sadden by the news, so rest in peace 🙏🏻)

"Are you going to the Valentine's Day dance?!" I was surrounded by many people asking that question daily. Valentine's Day was quickly approaching. I've never been fond of Valentine's Day, maybe because of everyone starts to eat their faces whenever they kiss.

I'll admit it can be a lovely day, a special occasion to share with a loved one, but not me..I had a crush on a guy who never paid attention to me, I was only a friend.

"Of course! Just you wait the dress I'll be wearing." I remained sitting down in my "group of friends", Gretchen, Dave, Hollis, Patty, Sylvia, Howard, Mike, John, Tommy, and Harriet. Sarah, Axel, and the mayor's son T.J.

Tom Jesse Hanniger is the guy I had a crush on. I mostly remained in the group just to see him, Howard is my cousin but we never were too close. He claimed and so did the rest on how weird i dress or how much is a pessimist i am.

One of the things I liked about T.J is that he usually defended me in own way. We would just share a few smiled and talk for a bit whenever we were away from the group.

We were all sitting down at the bar with the rest of them talking nonsense as always. "Are you really all concerned about this Valentine's Day dance?" I scoffed and felt all eyes on me.

I I'm usually the quiet one in the group so I was certain they were all surprised to hear me talk out loud.

"I think you're just jealous we have dates and you don't." One member of the group said which angered me a lot.

I turned to glare at them, "I have far more important things to worry in life than a dance. Harry Warden is still wandering around too.'

My so-called group of friends groaned when I mentioned that name. "Don't tell you believe in that bullshit." Axel said wrapping his arms around Sarah.

"There's no need to be so mean to, (Y/N)." I turned around and my expression softened when I looked at Tom. I was the only person to call him by his real name.

Everyone rolled their eyes but I saw Tom and Sarah eyeing each other which only made me jealous. T.J placed his drink onto the table i was sitting on and took a seat in front of me.

"Hey, would you mind doing me a favor?" His dark brown eyes seemed to light up when he looked at me.

I nodded my head and smiled shyly. "Sure, anything."

He folded his hands together and smiled looking at me then glancing at Sarah. "Would you mind spending some time with Axel? I kinda want to talk to Sarah without him chasing after her."

My smile slowly disappeared when he said her name again. "Axel? You know I hate him..I can't believe you are still chasing after her."

I bitterly said hoping he'd know that i also dislike Sarah, he dumped her after he disappeared for years and mysteriously came back. "I'll repay it to you later somehow." He shrugged.

"You love horror movies right? We can see a movie together sometime...maybe we can go to the mines."

I glanced back at him and that piqued my interest. T.J works at the mines, the same one where Harry Warden was found eating someone's after he was placed at a mental hospital.

T.J or should I say Tom knows how interested I've been to visit the place. I want to be an author or even a reporter to uncover gruesome tastes, and this would be a great start for me.

Tom smiled and placed his hand on mine. "What do you say, (Y/N)?" I blushed when he said my name. I moved the few strands of black hair across my forehead and slowly nodded.

"I-I'll do my best."

Soon enough we were interrupted when everyone began to retell the story on how everything started with Harry Warden. Every Valentine's Day he would be back.

Killing people and handing out real hearts inside heart shaped boxes. "Sounds romantic to me." I muttered resting my hand on my hand.

I heard a hum and saw a small smirk across T.J's face. He also paid close attention to the storytelling.

Right after that we were outside heading out to our own place. I stayed behind the group slowly walking while the rest chatted away up front, Tom was also behind the rest.

"Do you think she'll accept me again?" All of the sudden he asked.

"Maybe." I shrugged not really caring if she were to decline him.

"You're so cold." T.J chuckled and shook his head. "Everyone's right, but I guess that's what makes you interesting. You don't care what others might say."

I looked up to my right and smiled at him when he looked down at me with a smirk. "Look at those two.

"Someone scoffed and made fun of us, more like me. I ignored them and felt a bit hurt, it's been many years since I've endured all of their awful talks about me.

It's been lonely without being able to talk to someone about how I really feel. My parents were killed long ago and i was shortly adopted when I was a kid.

"Don't mind them, they can be assholes."

We continued walking down the streets until we were close to the parking lot. "I'll talk to Sarah tomorrow..." I coldly said staring up ahead.

************

"The Valentine's Day dance has been cancelled." I heard many people talk about it. It's not even that important. I continued writing down on my notebooks and hadn't seen any of my "friends" out on the streets.

I can only assume that T.J and Sarah has reconciled in a way.

For as long as I can remember I have loved him, he's only seen me as a friend or sister. I remember all of the stares, kisses, or how his eyes filled with lust whenever he saw Sarah

"Fuck!" I winced in pain and realized I had accidentally stabbed my hand with my own pencil. I grabbed onto the pencil tight and got it out of my flesh.

I quickly ran to my room to wrap my hand up in a white bandage. Why can T.J return his feelings for me? The only time he and I were together was when I shared my first kiss with him many years ago.

"Moping around won't get me anywhere." I muttered and tried to get rid of the dark thoughts in my head.

I left my small apartment and started wandering to find anything to eat. I jumped up when someone tapped my shoulder and i saw that it was Axel.

"What do you want?" We've never spoken to each other alone, so this was very shocking.

"Do you know where Sarah is?!" He sounded desperate and controlling as always.

I continue to walking staring up ahead, "Fuck! She's with T.J, isn't she?"

I stopped walking and glanced at him. "We both knew they would get back together eventually." I truthfully said. It angered me but what else can I do

"Don't you think it's suspicious how he suddenly showed up again?" He turned to look at me while he ran his hands over his blonde hair.

"Don't play stupid you know I'm right. You've always loved that idiot while he's too enamoured over my girl."

I remained silent and slowly nodded. "Alright! You're right. I would've done anything for him but he doesn't love me."

Axel scoffed and began to bitterly laugh. "It must suck..knowing you'll never be loved by the one you've liked."

All of the sudden he reached and held onto my arm tightly.

"Fuck you, Axel."

I got out of his grip and started walking away, I turned back and saw Axel glaring at me as I walked far from him.

********

It was Valentine's Day and we were all outside the mines. Just like T.J promised me, he would give me a tour..with Sarah of course. I rolled my eyes when he said that and I knew that he has catching up that i do not like her.

Everybody on our group of friends were drinking and talking about stupid things, I was far away from them minding my own business when I heard T.J coming up to me.

"What are you doing here on your own?" He asked after taking another drink of his beer.

I crossed my arms over my chest and tried to not get emotional. "I just don't like Valentine's Day.."

This must have peaked his interest because he stared at me, wanting a good explanation. I took a deep breath when I stared into his eyes and felt all these emotions again.

"My parents were murdered on Valentine's Day. I don't remember much but I do remember seeing a black silhouette, I hated the person who killed them...but I actually enjoyed seeing all that blood."

I finally admitted. I felt sick and disgusted by myself, it feels like all of that blood and screams woke something deep in me. "How did you get this?" T.J gently grabbed my hand and examined it.

It was still wrapped up with a bit of blood. "Axel is going to kick your ass later for hooking up with Sarah again." I reminded him.

"Why do you hate her?" he asked instead now getting a bit irritated at my dislike for her.

"Tom.. I have known you for many years, this might sound dumb but that kiss we shared back in middle school it still means something to me. You are the only person who always treated me nicely, looking past my looks to see someone who has cared for you. Sarah, doesn't deserve you. As soon as you left she went after Axel..." I finished saying.

T.J stared down at me I reached up to kiss him, until I was stopped. I opened my eyes and saw his expression completely change.

"I-I'm sorry, (Y/N)." Tom said nothing more and simply walked away leaving me heartbroken.

His friends ran past me an into the mines. "Come on, (Y/N)." One of them called probably drunk by now.

Without saying a single word I slowly followed everyone into the mines, my felt as though my heart had broken into millions of pieces..I felt completely empty, deep down i guess I never wanted to admit that i wouldn't have a chance to be with him.

I began to aimlessly walk around the dark empty mines with a single flashlight, everyone went their separate ways and no way did I want to be by Tom's side now. I silently began to cry until I fell to my knees and tried ignoring my dark thoughts once again.

I stuck by his side, always helped him when he needed my help and now I'm lonely again.

Screams soon filled the dark mine. Quickly I got up and aimed my flashlight up, someone was thrown on the ground, I squinted my eyes and saw a tall guy covered in black with a mask and an ace in hand.

I silently cursed and began to run as fast as j could away from the figure. Is that Harry Warden?!

Was he the one who killed my parents?... immediately I stopped when I found a hiding place and I began to make up a plan.

Right next to where I was hiding, there were a couple of rocks and sharp objects, one of them being a single hammer. I held it in my hands and was ready to attack, I held a deep breathe when Harry Warden walked past me and deeper into the mine.

I shortly followed remaining to stay silent. I saw him chasing and fighting Tom with Sarah, quickly I appeared behind him when he was distracted and I hit him back as hard as I could. The figure turned around to attack me, he held his hands up to my neck, choking me.

Tom appeared behind him with Sarah who attacked him. Harry Warden fell to his knees and the three of us began to run, I hear more footsteps approaching which I assume is the police.

But as soon as I began to get closer a couple of rocks fell blocking me from getting over to Tom. "Tom!" I shouted his name desperately trying to get to him through the rubble.

I knew he, Sarah and everyone else were on the other side. "You need to get out!" I hear him shout. My blood ran cold when I realized that it wasn't Harry behind the mask but Axel.

Tom stole Sarah from him..so he'll take me. I screamed but as soon as I did, Axel got up and covered my mouth, making me follow him deeper into the mines to never be seen again.

#my bloody valentine #horror movies #slasher #my bloody valentine 1981 #harry warden #tom hanniger #tom hanniger x reader #slashers x reader

31 notes · View notes