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thethoughtsfromthreeam · 4 years

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Monument Woman

Pairing: Marcus Pike x OC (Rosemary Carter)

Warnings: A bit of angst

A/N: Sort of trucking along, now into chapter 4, which gets us into the meat of this whole story, so I guess this sorta qualifies as a slow burn? Not sure. Anyway, enjoy!

Reminder: I ain’t ever seen Pedro Pascal in FUCK ALL, I’m just coming up with this as I go along, using imdb.com, wiki, and 84,000 tabs I got open to plan out this shit. I also write soft versions of his characters so if you’re craving asshole vibes, I ain’t got any but my own to offer.

Tag List:

@zeldasayer , @beskars , @coolmaybelateruniverse , @the-feckless-wonder , @pascalisthepunkest , @mandoandyodito , @randomness501 , @fioccodineveautunnale , @ahopelessromanticwritersworld , @lilkermit14 [please message me to be added or subtracted]

Part 2 – Well, It’s Valuable for Starters

Coral Gables Restaurant sits right on the banks of the Kalamazoo River, serving as the perfect backdrop to any lunch or dinner date. It was Robert’s favorite place to eat and the whole staff knew him. So, lunch dates for the two history buffs could last hours and no one would say anything to them.

Long after the lunch plates had been taken away, Robert nursed his beer and Rosemary leaned back in her chair, letting the early summer sun warm her skin. As she sat there with her eyes closed, Robert let himself just watched her. She was tall with a brunette pixie cut – the only hair style he’s ever seen her sport – and he noted there was greyer hair than when they first met and finer lines on the youthful face.

She took up a lot of space with her personality and that’s what he loved best about her. Of all the people Robert called his friends, none were close to him like she was. When he met her not long after she started at the museum and it was an almost instant rapport.

He never had children of his own, never even gotten married. But something about Rosemary drew him to her and he felt this love for her like he hadn’t ever felt for anyone else in his nearly seventy-two years. When the doctor gave him the prognosis, he realized the sadness that had washed over him wasn’t about his death but the fact that he had someone he was leaving behind. It both hurt and consoled him. He wasn’t going to be alone.

“Rosie.” His voice was soft, but she still heard him and opened her eyes. He smiled at her and she sat up and nodded, pulling her chair closer so she was more comfortable to chat. The waitress appeared with refills for Rosemary’s lemonade and another beer for Robert. They stayed quiet until she left. When they were alone again, she raised her eyebrow and gestured for him to continue.

“If there are things in those boxes that you can sell for the museum, go for it. There are a few I want the museum to have and one item it needs to take.”

“Well, I doubt I’ll take anything that will cause me extra work, but we can draw up the deed of gift on the other items as normal. I already have my eye on a few things, which are probably among what you are already giving us.” He nodded. “What’s the item you want us to take for sure?”

“The Cornucopia.” Her eyebrow raised in confusion at the comment. “It’s a priceless art piece, a friend of mine valued it at three-quarters of a million dollars. On the low end of things.”

“WHAT?” Rosemary’s jaw dropped. Holy shit.

“I know, I was surprised it valued so high as well. I bought it at an antique shop in Chicago years ago and given how valuable it is, I want the museum to have it.”

“Uh, hell yeah!” Rosemary’s eyes began to gleam with glee and Robert laughed. He knew she was thinking of Fred and he was pleased he could help her get a leg up on the man. While Breyers had never been anything but courteous towards the storeowner, there was an underlying hostility to the curator’s words and actions. Something about the greedy curator never sat well with Robert and he shared in Rosemary’s dislike of him.

“When we head back to the house after lunch, we’ll talk more.” The two sat back and grinned at each other.

---***---

“But, ma’am. . . Ma’am. . .” Agent Horacio paused, the murderous look on their face not even showing up in their voice. “Ma’am, I get what you are saying. I’m asking you to set up a meeting with me to go over the case. Yes, we reopened it. Yes, we’re working on it. Now if you would just. . .”

The ever-patient voice of the agent faded into the background as Carmichael skirted the table with a handful of photos, a small smirk on her face. She walked up next to Pike as they filled the evidence board with the last of the pictures from the case files. A second and third board were set up on the other side of the room, allowing the team to make further critical connections to the cases they had so recently linked together.

They worked quietly for a bit, Carmichael subtly shooting glances at Pike, whose brow was furrowed in concentration. Finally, her curiosity got the better of her and she turned to look at her partner.

“Okay, spill. How did the date go with Lucy in Accounting?” Her voice dropped to a whisper belying the eager look on her face. Pike grimaced at the question as he pressed on the last of the push pins.

“There was no date. She stood me up.” Her loud gasp caused a few of their team to look their way, but she ignored them, giving Pike a look to continue. “I called twice, and she never answered. Never even showed up to the date itself. I don’t think I can go back to Bobby’s anymore. Lindsey is starting to feel sorry for me.”

“Hell, I feel sorry for you, Pike. That’s the third date you’ve been stood up on in, what? Two months?” Carmichael’s voice softened. The poor man was having a rough time of it, what with Lisbon breaking his heart, his divorce before that, three failed short-term relationships after he came to D.C., and now this series of no-show dates over the last year. She frowned and laid a hand on his wrist, which had stilled on the last pin as his words died on his tongue.

He didn’t look at her and she could feel him stiffen underneath her touch. He pushed down his growing frustration at the situation and turned to smile at her, the grin not coming close to reaching his eyes. His shoulders squared up as if to say the conversation was done. She had known the man for six years and just wanted him to be happy, but for the moment, she gave him a small smile to help him with his charade.

“It’s okay Carmichael, maybe I’m just not meant for a relationship.” His voice sounded almost sad at the tone and she bowed her head.

“I don’t think that’s true, Marcus.”

“Yeah, well the universe is working hard to tell me that I’m meant to be single. I should be listening instead of fighting it.” He sighed and turned away, walking out of the room before anyone could comment on the large frown that had formed on his face. She looked after him, a defeated look in her eyes. No one loved as hard and as loyal as him, he deserved the world. She knew that the right person for him was out there, but she couldn’t understand why Pike hadn’t crossed paths with his soulmate yet.

She turned back to the board, picking up the marker to begin labeling the photos they had posted. While she wrote, she silently prayed to the universe that her partner’s heart found its home sooner rather than later.

-*-

Pike looked at himself in the mirror, droplets of water still on his skin and the strands of hair framing his face were damp. Splashing water on his face helped cool down his skin, but Carmichael’s words of sympathy had stung, even if she meant well, and he had to leave the room before he got upset even more. As he leaned against the sink, he bowed his head and took a few deep breaths. The small moment of zen from earlier in the day had faded and the headache had returned.

It was known that the agent wore his heart on his sleeve, that he was loyal and generous to a fault. Most of his colleagues loved him for it and it inspired loyalty from those who worked under him. But none of that seemed to translate into anything romantically successful. At this point, he was certain that he was a running joke throughout D.C. and that women agreed to a date to see how long he’d wait at his favorite diner for someone to show up.

Last night, Lindsey comped his dinner because she just couldn’t take the defeated slump to the man’s shoulders one more time. She even went home and hugged her wife, hoping a little of her joviality would seep into her bones. If Pike knew that, he would have bitterly laughed at the idea that he can help other people love harder, he just couldn’t get people to love him back.

After letting the dark thoughts swirl through his brain for a little longer, he stood up straight and glanced into the mirror. He wiped his face one more time and straightened his tie. Without looking back at his reflection, Marcus Pike vowed to himself that he wasn’t going to let anyone in anymore. He was here to catch art thieves and that’s what he was going to do.

He just prayed the yearning in his heart heard the declaration, too.

---***---

Rosemary huffed as she staggered up the walkway to the front door of the museum with the heavy box in her arms. She cursed herself for thinking that she could carry such an awkward and heavy load by herself, but she was a stubborn mule and was determined to get it all done in one trip. She sighed when she reached the top of the short staircase.

She reached out and kicked the frame of the door into the building knowing that their long-time volunteer, Bob, was at the front desk. There was something about him that grated against Rosemary and if truth be told, he was a bad volunteer, but he was the only reliable one and so she had to put up with him and his nonsense.

She realized with a start that she’d been standing there for several minutes, and no one had come to the door. She peeped through the glass and saw Bob sitting there, looking her way. Grimacing as she shifted the box, she kicked the door again, harder this time.

And he still didn’t move.

With a low growl, Rosemary shifted around and pressed her butt against the handicap button on the wall and with a sigh of relief, she walked through the now open door. While the June day wasn’t particularly hot, the sun was still warm and the physical activity overheated her. The cool air of the lobby felt like kisses of heaven on her skin and she slightly closed her eyes at the sensation. When she opened them, she looked directly at the man in front of her.

“Bob, did you see me kicking the door?”

“Yep.”

“So why didn’t you come open it for me, you clearly saw my hands were full.”

“Kicking is rude.” The man’s rheumy eyes stared at her and it took two deep breaths to ensure Rosemary wasn’t going to start screaming. She gave him a tightened smile instead and she walked over to the elevator. “Rosemary, the elevator is for handicap people, you’re not handicapped.”

“Bob, the elevator is for everyone. Goodbye!” She entered the small space and leaned against the wall. We need him, we need him, we need him, she chanted to herself, nothing convincing her that it was true. The ride to the third floor was a short one, but the heavy box made it seem longer. When the doors opened, she took a left down to the staff offices and her workspace.

She did her best to carefully set the box down on the bench, but she grimaced as she heard rattling inside. When it didn’t sound like anything broke, she heaved a sigh of relief. She turned her head as she heard footsteps from the hallway and within moments, Helen enter the room.

“How did it go?” She had a small smile on her face, coming closer to the work bench

“Not bad, I took one big box of stuff – good stuff, too.” The curator grinned and Helen grinned back, curiosity all over her face.

“Nothing ugly?”

“God no. As my grams liked to say, ‘God don’t like ugly.’” She lifted the lid off the box and suddenly Rosemary screamed, scaring Helen and causing her to scream, too. The latter jumped back towards the door, unsure of what was happening. The sounds of the two women yelling echoed in the room until the scream Rosemary let out evolved into a laugh, tinged with adrenaline. “FUCKING ROBERT!”

“WHAT? WHAT? WHAT?” Helen was now on edge and creeping back closer to the work bench, still wary. Rosemary reached into the box and lifted out the stuff monkey she passed over earlier. Helen recoiled at the sight.

“I thought you said you didn’t bring back anything ugly!”

“I didn’t! He must have put it in here after I told him it was worthy of the dumpster.” The laughter continued as she looked at the stuffed animal. Finally, she sighed and set the monkey down on the bench.

“You’re not putting it in the collections are you?” The director still looked at the item with wariness. It was truly ugly with its almost realistic eyes. She shuttered before looking away.

“No, but I’m going to keep it, though. He’d probably make a better watch dog than Banana.” Looking around, Rosemary turned to her boss. “Speaking of which, where is that dog of mine?”

“He’s in your office, conked out on the couch and snoring away.”

“See?! I need the monkey now. My own dog, of whom I am his whole world, didn’t even come hither at my screams. I am abandoned and unloved.” Rosemary ended her dramatic comment on a sigh, her hand against her forehead. The two women began to laugh again.

“By the way, please for the love of all that is holy, find someone to replace Bob at the front desk. He watched me kick the door to get in and refused to get up.”

“Did he say why?”

“Yeah, ‘kicking is rude.’” Rosemary mimicked the old man’s gravelly voice and rolled her eyes. Helen patted her shoulder and said she’d chat with Bob about it, but the curator didn’t have much faith in the forth-coming conversation. The director left the room and Rosemary dove back into the box to pull out the rest of her treasures.

---***---

“Here is the paperwork on the history of The Cornucopia. Please promise me that you’ll list this as a restricted item.” Robert sat down, a file folder in his hand. “I know better than to make outrageous demands, but I want it in the paperwork that this item cannot be loaned out, it cannot be displayed, and it is to remain the collections for the rest of the museum’s existence. I don’t even want it announced that you have the piece.”

He took a breath and Rosemary’s eyebrows furrowed. He hadn’t been kidding when he said he had restrictions on the item. He continued.

“The piece is valuable; I don’t want the museum becoming a target for it. I’m giving it to you because I know you’ll protect it.” Rosemary nodded as she thumbed through the file, skimming the history of the sculpture. She looked up at him.

“Let me write up the deeds for you and we’ll note everything you want me to list in terms of restrictions.” She got up and went to her computer set up on the table. For the next hour, she sat asking Robert questions and filling out the forms, using the printer to create physical copies. After she was done, she sat back.

“We’ll take good care of it. I promise.”

---***---

The next day, Rosemary sat at her desk, imputing the new collection pieces into PastPerfect, transcribing notes she had scribbled in her binder. Most of the pieces she had taken were worth it; besides the map, she took a few pieces of pottery from a celebrated local artist, a couple of prints that dated back to the Fort’s early years, seven quilts, and several history books. And of course, The Cornucopia.

She pulled the file out for the sculpture and sat back in her chair. After opening the folder, she began to read the files she had skimmed earlier. The more she read the appraiser’s history more her eyebrows crawled up her forehead.

The Cornucopia was created for Russian Tsar Nicolas II by renown Ukrainian artists Artem Chumak. The bronze sculpture was inlaid with rubies, sapphires, yellow diamonds, jade, pearls, and opals, most mined from around the Russian Empire. Ukraine historically has been known as the breadbasket of Russia and the piece was commissioned by the Ukrainian government as a gift to Nicolas upon his marriage to Princess Alexandra of Hess. It’s value at the time of creation was $250,000 USD.

It is known that Dowager Empress Maria took the piece, along with several other valuable items after the fall of the Empire and she sold it to the Grand Duke of Luxembourg in 1920, who in turn loaned it to the country’s National Museum of History and Art the following year. The museum returned it to the family during World War II to protect it from the advancing German army. It was again loaned to the museum for another twenty years before the family chose to cease ownership.

The piece was then sold via Sotheby’s Auction House in 1965 to a private collector in the U.S. and has remained in private ownership since then. Because of its history and the materials used, the value of The Cornucopia is approximately $750,000 for insurance purposes, but on the auction block, could fetch upwards to . . .

“Three million dollars?!” Rosemary shrieked, her feet dropping to the floor as she sat up. She looked at the sculpture sitting on her worktable and her face broke out in a grin. Oh, ho ho ho, she really got the leg up on Fred Breyers this time. This was the best gift that Robert could have ever given her.

#Agent Marcus Pike #marcus pike x reader #marcus pike #Pedro Pascal #pedro pascal x reader #fanfic #the mentalist

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doomedandstoned · 6 years

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Doomed & Stoned Turns Five!

Coinciding with Doomed & Stoned's fifth anniversary, Todd Severin of The Ripple Effect talks to Editor in Chief Billy Goate about this bitchin' lil blog, from its inauspicious beginning in the summer of 2013 as a simple social media platform to bring together lovers of the doom-stoner sound to dabbling in its own music festival, a massive compilation series, podcasting, and of course album reviews and interviews. Touching on both the joys and challenges of coordinating a multinational team of contributors, Billy discusses battles with burnout, the excitement of new discoveries, and the struggle to stay on top of an exponentially mushrooming music scene.

Photo by Chris Schanz

Let's start with the obvious: why Doomed & Stoned?

The name Doomed & Stoned isn't really meant to be edgy, though it does have a nice ring to it. It came to me as a simple way to sum up the heavy vibe that is the heart and soul of our writing: doom metal and stoner rock. I consider those to be the enduring styles of true metal and classic rock 'n' roll, best encapsulated by the music of Black Sabbath. Sabbath played music that was famously downtuned, slow, plodding, and somber, documented so incredibly by those first four albums. Then they had their up-tempo swings that tapped into the feel-good era of the 1970s, "Hole In The Sky" and "The Wizard" comes immediately to mind, as does "Sabbra Cadabra" and a number of songs on Sabbath Bloody Sabbath (1973) -- such a forward-looking album. Black Sabbath is the quintessential doomed and stoned band and it has been, broadly speaking, the stylistic portfolio of music we've decided to hone in on for this venture.

Photos by Alyssa Herrman

As soon as I was turned on to the doom-stoner vibe, I began to notice things happening into my own backyard of Portland, Oregon. At the time, Oregon’s proudest exports were bands like Witch Mountain, Yob, Lord Dying, Danava, and a handful of others that were being signed left and right to labels like Relapse and Profound Lore. Well, I just started documenting everything, because I felt there was something really special happening here, much as there'd been a magical vibe about our sister city Seattle in the '90s when my family had moved up here from East Texas.

It all began with me showing up randomly at shows and shooting live footage, I believe the first was the Portland Metal Winter Olympics in 2014, then Hoverfest. Initially, no one knew who the hell this guy was showing up with his camera, but gradually I became more accepted by the community, which opened up opportunities for doing interviews, album reviews, and a big 75-band compilation of the Portland scene, which kicked off this massive series of scene comps that many know Doomed & Stoned best for.

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Yob at Hoverfest (Film by Billy Goate)

What gave you this crazy idea of promoting the scenes to the rest of the world?

Doomed & Stoned originated out of a frustration I had in sharing discoveries like Windhand, Saint Vitus, Sleep, and Goatsnake with my metal friends. Many wouldn’t give these bands a chance or listened for half-a-minute and gave up. Surely, I thought to myself, there must be others out there who were just as in love with the doom-stoner genre as I am. It wasn’t long until I met Melissa Marie in a metal forum. I told her what I was planning, she was down, and together we burrowed in the heavy underground and discovered a whole community there welcoming us. Melissa was my first contributor and along the way, we made acquaintances with aspiring writers and photographers who really caught the vision and volunteered to document their own scenes. She's since become my executive editor and the organizer of our flagship festival in Indianapolis.

Suzi Uzi and Melissa Marie at Doomed & Stoned Fest

Just like that, the Doomed & Stoned team was born. Roman Tamayo joined the team shortly afterwards, now the Editor of Doomed & Stoned Latinoamérica and I started meeting people from all over who wanted to contribute an album review here, a bit of concert footage there. It all happened very naturally and organically, fueled by simple passion, a mutual love of fuzzy, downtuned riffs, and a desire to document the energy and excitement of what we were all witnessing -- Demon Lung in Las Vegas, Orchid in San Francisco, Pale Divine in Pennsylvania, Pilgrim in Rhode Island. It didn't take us long to discover was going on in the rest of the world and it blew our ever-lovin' minds.

With the explosion in blogging and desktop publishing, we gradually discovered there was a loose network of folks covering the doom-stoner scene all over the world, too. Most of them have been very friendly and we’ve even had the opportunity to collaborate with folks like The Sludgelord, Outlaws of the Sun, The Ripple Effect, Invisible Oranges, Revolver, Blabbermouth, and so many more. There are others that wouldn’t acknowledge our existence -- still won't to this day -- I’m guessing because we were viewed as unwelcome competition in an already small market with a tight circle of friendships. The thing is, we never really wanted to compete with anyone; we just wanted an outlet to share our love of music. It’s hard not to be competitive sometimes, of course. Competition can be positive in that it inspires you to push yourself, try new things, and grow.

Stephanie Cantu, Frank Heredia, and Elizabeth Gore at Psycho Las Vegas

That said, since none of the 20+ contributors to Doomed & Stoned are doing this full-time, we want ultimately just want to have fun and you can’t enjoy the ride if you’re constantly trying to outdo this site or that. We found our niche in digging into local scenes and telling the stories of the bands who may very well be the next Sleep or Windhand a decade or two into the future.

We're now in the fifth year of our existence and I feel we’re becoming known as people willing to give bands and their local scenes the kind of in-depth coverage they deserve. That speaks to our motto: “Bringing you the music and the stories of the heavy underground, with an emphasis on the Sabbath Sound and local scene coverage -- by the underground, for the underground.”

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Disenchanter at Doomed & Stoned Winter Showcase (Film by Billy Goate)

How has the scene grown and changed in the intervening years?

Well, since those bright-eyed early days, the doom-stoner scene has absolutely exploded. We were lucky enough to time our entry, purely by happenstance, to ride that wave just as it was nearing its crest. Right now, the scene is at least twice as big as it was five years ago and it’s becoming practically impossible to listen to all the new albums coming out, even if we limit the consideration to just doom metal, or even a subgenre of doom like blackened doom or death doom. It becomes a matter of practicality to prioritize those albums that are brought to your attention by PR firms and record labels, but I always remember that some of our greatest discoveries have been unsigned bands.

Over the years, we’ve been lucky enough to discover bands like Disenchanter, Holy Grove, Troll, Year of the Cobra, Toke, and dozens of others that have since risen to international prominence. Just to know you were there the moment their demo showed up on Bandcamp. You were among the first to listen to their self-produced CD on the commute to work. You were there to witness them opening for a touring headliner. You wrote their first review. You made that social media post that sparked a fire of interest. You recommended them to one of your overseas blogger pals. All of that is tremendously gratifying to be a part of.

Toke at Doomed & Stoned Festival I (photo by Johnny Hubbard)

We're all the product of our musical past. What's your musical history? First album you ever bought? First musical epiphany moment? First album that terrified the hell out of you?

I was raised by parents who came of age in the ‘50s and ‘60s, so I was exposed initially to a lot of late-‘60s rock, big band jazz, and later the ‘70s radio pop. Mom was fond of playing three classical music albums with a mix of music by Mozart, Beethoven, and Rossini, and that left a very powerful impression on me early on. She also was fond of Olivia Newton John, so I have “Jolene” permanently etched on my psyche and every so often vainly attempt singing it in the shower.

My first vinyl was the Ghostbusters soundtrack, which dad bought for me, and it unleashed a curiosity for the popular music of the ‘80s. Like a lot of my friends at school, I was nuts about Michael Jackson and I remember asking dad if I could have one of those swank red jackets that he wore so famously in “Thriller” (I was denied, though I did get quite good at grade school moonwalking). I distinctly remember the day my family got cable TV for the first time and with it MTV, which brought the music of Metallica, Boy George, Madonna, Aerosmith, and Run-DMC into our conservative Texas household.

It didn’t last long, because somewhere in the mid-‘80s, my family got caught up in the whole “Satanic Panic” movement. They started monitoring my listening habits vigilantly. One day, for instance, my mom was horrified to find her ten-year-old boy singing along to “Nobody’s Fool” by Cinderella during Casey Kasem’s American Top 40 show. From that point on, both rock and metal were banned from the house and my radio was confiscated. It was too late, though, because I was hooked – particularly by metal. Something about it has always moved me in a way that only classical music has matched. My first metal album, which I purchased in secret, was ‘Appetite for Destruction’ by Guns ‘n’ Roses – which at the time represented the pinnacle of late ‘80s heavy metal. People need to understand how revolutionary it was to hear something that “hard” on mainstream radio and MTV. I listened to it and ‘Lies’ incessantly on my Walkman and continued listening clandestinely to FM hard rock and heavy metal.

Since I couldn’t listen to it openly, I started developing an interest in the darker side of classical music, the moodier pieces by Beethoven, Liszt, and Scriabin, and took up playing the piano around 13. My family was supportive of that talent and I would spend hours and hours a day for years playing the piano in solitude. That was my first introduction, in kernel form, to “doom” – especially late Beethoven, when he started growing deaf and began expressing his frustration and despair more poignantly through dark tones. Franz Liszt, later in life, experienced so much tragedy that he begin to write very bleak, obscure music and was one of the first to experiment with atonality.

It wouldn’t be until my college days that I’d come face-to-face with doom at a Saint Vitus show in Portland. From that moment forward, I knew I’d discovered my soul food. Doom metal made an immediate connection, as it addressed the fucked up nature of life and society in a way that felt authentic to me. It wasn’t just anger. It was dark, slow despair and even a blithe kind of acceptance to it all. It was refreshing to have those feelings mapped out in song like that. That triggered a wave of discovery that led to Usnea, Cough, Pilgrim, Demon Lung, Serpentine Path, Undersmile, and others that are now staples of my musical diet.

Drumhead from Doomed & Stoned Festival II

What do you see happening in the music scene today, good and bad?

More people are digging to the doom-stoner sound and the scene is growing exponentially. The internet has democratized music in a way that has made it easier than ever for bands to form, record, and share their music. It’s also made it much, much harder for a band to get discovered. We’re simply oversaturated by it all. We’re reaching peak information and many listeners have just stopped exploring altogether. I think there was a study done some years back that said by the late-20’s/early-30’s the average metal listener typically hardens in their musical tastes. I don’t know how true that is still, but I know that I’ve been increasingly suffering from listening fatigue. 2014 was the last year I felt on top of it all. 2015 was explosive and every year since has found me woefully behind in my listening. I’m still digging through the rubble and discovering incredible records that I share now and then in a series of short reviews I call, “Doomed Discoveries.”

Among the trends I’ve seen in our scene in particular is the increase in female-fronted bands (which we tried to document in our compilation, The Enchanter’s Ball) along with more experimentation with genre blending. It’s becoming harder to find bands who traffic in traditional doom, but that’s fine because I think we all needed more diversity in our playlist to keep us from becoming jaded. For a while, it seemed every other band was “witch” this and “black” that. I’m the last person to judge a band by its name, but it was leading to a ton of criticism from fans -- to the point I’d have a hard time getting doom-stoner listeners to take a chance with a newer band that had the word “wizard” in their name. One thing that seems to be a theme of the doom-stoner scene is a continual drive for excellence and evolution. On the negative side, we tend to expect more of our heroes, as a result -- which is why bands like The Sword and Electric Wizard have been criticized for producing music that would have otherwise excited us if they were a brand new band.

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Holy Grove at Hoverfest (Film by Billy Goate)

What's been your all-time greatest "find"? That band you "discovered" before anyone else and started the word spreading?

It’s hard to pinpoint one band, but I’ve been instrumental in boosting the music of Holy Grove, Disenchanter, Troll, and Year of the Cobra -- all bands from out of the Pacific Northwest. Initially they were promoted through Doomed & Stoned and then found their way to small-to-medium sized record labels and festivals. Over half of the bands that played the Vinyl Stage at the Hard Rock Hotel & Casino in the inaugural year of Psycho Las Vegas were my direct recommendations. Though I was less involved in the following year, Psycho Las Vegas booked most of the bands that appeared at Doomed & Stoned Festival, such as Merlin, Toke, and Youngblood Supercult. It was a huge confidence booster in Doomed & Stoned’s ability to be a “taste tester.” This is not to say our taste in bands has always been picked up by festivals or record labels. The scene is getting bigger and out of necessity bands have to diversify their reach through a multiplicity of media outlets, because you never know who will read that one feature at the right time and dig your sound. Besides, there’s too much music in the doom-stoner subgenre for any one site to cover right now, so there are plenty of great recommendations coming from a number of amazing blogs and webzines.

What's the last album to grab you by the throat and insist you listen?

Definitely ‘Celestial Cemetery’ (2017) by Purple Hill Witch. I was only a nominal fan of their first album, but their second one was quite convincing, emotionally. There’s an underlying sadness to the record that appeals to me as a person who has long battled depression.

Celestial Cemetery by Purple Hill Witch

What's the hardest thing you encounter in promoting shows?

Convincing people that live music is worth leaving the comfort of our homes to experience, to say nothing of many benefits that come from connecting others in the underground music community. These days, we tend to value how conveniently something can be delivered to us. Audio books have replaced the need to sit and read (and collect printed media), our homes have become veritable theaters so no need to go out for movies anymore, and streaming high-definition music makes us feel like we’re in some sense getting the real deal.

Of course, those of us who go out to shows know there’s just no substitute for the excitement, energy, and sound of a well-produced live show, especially in a small venue. This is to say nothing of the community that comes with it. My best friendships in the scene have come about because I chose to breach my comfort zone and venture out to a show, sometimes merely on a whim. With that said, I admit I struggle with convincing myself to go out. It’s the introvert in me, I suppose. However, I have a saying that I try to live by: “Feel the fear and do it anyway.”

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Witch Mountain -- first tour with Kayla Dixon (Film by Billy Goate)

If you could write a 1,000 word essay on one song, which one would it be, and why? What makes that song so important?

Funny, I actually did write a 1,000+ word essay on Cough’s “Possession” -- the only song I’ve been moved to write an entire piece about so far. I think it’s because it spoke to me during a time in my life where I was feeling such raw, charged emotion and witnessing a personal transformation from being a happy-go-lucky, easy-going dude, to someone emptied of hope and weighted down by a very nihilistic outlook and pessimistic thinking. This was, in turn, keeping me more closed off from other people, because my trust level was at an all-time low.

I’ve always valued music for its ability to commiserate with me in my circumstances. During Basic Training it was Superunknown and Down on the Upside by Soundgarden. In my college days, it was Alice in Chain’s last album just prior to the death of Layne Staley, which fans nicknamed Tripod. In 2016, Cough returned after a long absence, released Still They Pray, and headlined the first ever Doomed & Stoned Festival in Indianapolis. It was a year of transition for me with a lot of upheaval in my personal life and “Possession” seemed to capture my inner storm perfectly, which inspired me to write a few words about it.

Give us three bands that we need to keep our eyes out for.

White Wail: The grooviest psychedelics this side of Berlin are nested right here in Yob country, my hometown of Eugene, Oregon. White Wail is best described as part-Graveyard, part-Radio Moscow, with a special kind of DIY electricity that has made them hands down one of the most entertaining live acts in the region. Their upcoming second album is going to put them on the map for many people, I predict.

I by White Wail

Reptile Master: Norwegian doom-sludge clan with two guitars, two basses, a drum, and one unhinged vocalist. You’ll find none fiercer. “The Sorcerer’s Weed” (opening number off their first LP, In The Light of a Sinking Sun) is positively frightening. I can feel its seething rage filling up my chest cavity like pneumonia every time I listen to it. I believe they’re expecting a new album out in the first quarter of 2019, if not sooner, and I can't wait!

Chrome Ghost: The ultimate contrast of light and dark come to us from a relatively unknown band in Roseville, California. The secret sauce here involves incredible vocal harmonies pitted against massive, crunchy riffs, something that’s done very effectively in their recent EPs, ‘The Mirror’ (2018) and ‘Reflection Pool’ (2017). Now, they just need to take this show on the road so the world can get better acquainted with them.

Shallows by chrome ghost

Tell us about your personal music collection. Vinyl? CD? What's your prized possession?

People think I have a huge vinyl collection, but mine is quite modest, really. Don’t get me wrong, I’d love to have a bigger collection and show it off, but unfortunately, I haven’t a lot of money to put into it, really. My most prized records come from bands I’ve supported from their earliest stages, like Holy Grove, Menin, Soom, or Vokonis. CDs have come to dominate my collection, not so much by choice, but quite a few promos are sent to me that way. Mostly, I have a vast digital collection that takes up almost six terabytes of data. Since I’m doing a lot of podcasting, this allows me the easiest point of access to put together my mixes for The Doomed & Stoned Show.

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BelzebonG at Psycho Las Vegas (Film by Billy Goate)

What is it about this particular type of heavy music that makes it mean so much to you?

To me, doom metal and stoner rock has incredible staying power. It’s something I can listen to over and over again without growing weary of it. Add to that the fact bands in this genre take so much care in crafting their live sound and you can go to any doom-stoner show knowing you’re going to have an incredible time, perhaps even walk away with a better experience than the record gave you. I was constantly disappointed by the concert experiences I had while immersed in mainstream metal. It just never sounded as good as the records did. With doom-stoner music, my experience has largely been that a band's show can, and often does, transcend their studio recordings. It’s just the ethic of our scene; we're fanatical about sound.

With BelzebonG

What makes it all worthwhile for you?

That's a really good question. My philosophy is that as long as we’re all still having fun, it’s worth it to keep doing Doomed & Stoned. With that said, it can be very demanding and stressful, especially as we’re increasingly turned to by bands, labels, and PR firms to host track and album premieres. The gratification of a piece well done -- whether by me or by one of my team members -- is ultimately what keeps me going day-to-day. I find a lot of joy in developing talent and even helping writers and photographers hone their craft, gain greater name recognition, and develop the confidence to even branch out on their own as freelancers. Several have gotten gigs with larger outlets like Noisey due to their work here and that just blows my mind.

When Melissa first started, she wasn’t confident at all that she could do an interview. Next thing you know, she’s interviewing Wino, negotiating contracts with promoters, booking venues, and organizing a music festival with international acts. I’ve very proud of the team and everyone who has been a part of it, if only for a season. I'd add to that my relationships with growing record labels and ambitious promoters, who I've been able work with to get bands like Tombstones, BelzebonG, Spelljammer, Vokonis, Cardinals Folly over here to play for the first time in the United States.

With Disenchanter

How would your life be different if you weren't spreading the word about music?

I suppose I’d be spending more time playing the piano, something I’ve neglected more than I’d like to admit since starting Doomed & Stoned. There are some gnarly pieces by Beethoven, Liszt, Scriabin, Godowsky, and Prokofiev that I've half-chewed, just waiting for me pick them back up again. Either way, I don’t think I can stay passively involved in music. I have to be playing it or writing about it, preferably both.

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Usnea play 'Random Cosmic Violence' (Film by Billy Goate)

Ever been threatened by a band or a ravenous fan?

No, but I’ve been doggedly pursued on Facebook by overly enthusiastic bands trying to get me to review their albums. What they don’t realize is that I’ve got a very heavy editing backlog -- it takes at least 2 hours and more commonly 4, 6 or even 8 hours –- to prep a feature length piece for publication. To review a record, I need even more time to let it soak in. I have to find something in it that connects with me on an emotional or at least an intellectual level or I can’t write about it. Because of that, I don’t write very many reviews a years. Maybe a half-dozen traditional, track-by-track reviews, though I do try to write at least one short review a week on our Facebook page.

Part of the blessing and the curse of doing this as a hobby, as opposed to full-time, is I don’t have a lot of opportunity to hear gossip, get into interpersonal dramas, know who's not speaking to whom -- that kind of thing. With that said, I really wish I could spend more time responding to every message I receive and developing deeper level friendships. Perhaps in time I will. My work schedule is so packed right now that it’s very hard for me to tear away and just relax and get to know people. On the positive side, it does save me from a lot of inter-scene conflict and allows me to be more of a neutral party when issues arise between bands, venues, promoters, forums, or fans.

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Saint Vitus Live in Portland (Film by Billy Goate)

In the end, what would you like to have accomplished, or be remembered for?

I’m hoping we can be remembers for documenting this special era in heavy music history. I want to get better at showcasing the bands in their scenes and telling their stories, just like the writers and photographers of the Seattle grunge era were able to capture the imagination of the world with the Nirvana-Soundgarden-AIC-Pearl Jam vibe of that scene in the early-to-mid ‘90s -- what the 1996 documentary Hype! captured so well. I also hope I’ll be remembered for writing interesting, engaging, and relatable music reviews that aren’t pretentious crap. That’s still a work in progress!

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Bell Witch at Doomed & Stoned Fest (Film by Billy Goate)

Many people may not realize the hours you devote to what you do for little or no pay. Is there a day job? If so, how do you find the balance?

This is most certainly not a day job. I have a full time job that I work 40-50 hours a week and I do Doomed & Stoned in the evenings and weekends. Right now, I’m not doing very good with the balance, to be honest. I’m an unrepentant workaholic, if I’m being honest with myself. That said, every other weekend, my mind and body revolt and refuse to allow me to do anything except sleep or just lay around watching movies or doing normal things like, you know, mowing the lawn. If I could will it, I wouldn't sleep more than four hours a night, hit every show that comes to town, review every new release, put out a podcast every week, edit every article within a few days of it being submitted to me. In other words, I'd manage Doomed & Stoned as if it were a full-scale entertainment website. However, I have to remind myself that I started this to build community and to have fun, so it’s okay to operate on a different model.

Filming Elder at Dante's in Portland (Photo by Matt Amott)

What's next? Any new projects?

This year, we’re on a roll with our compilations, thanks to some wonderful organizers who are embedded in their local scenes and are good at rounding up tracks from all the participating bands. We’ve released Doomed & Stoned in Ireland, Doomed & Stoned in Philadelphia, and Doomed & Stoned in New Zealand, Doomed & Stoned in South Africa, Doomed & Stoned in Sweden, and we're coming up on Doomed & Stoned in Deutschland, and our fifth anniversary compilation, Doomed & Stoned in Portland III.

Other than that, we’re in the third year of our flagship festival, Doomed & Stoned Festival, which takes place on October 6th & 7th in Indianapolis. Over the summer, we’ve had two new festivals: Chicago Doomed & Stoned Festival and Ohio Doomed & Stoned Fest. We’ll likely be doing a festival in Portland later in the summer, too, perhaps doing an all-dayer in Eugene, too. These are very much passion projects and we're lucky to break even on them, but the joy of putting on a successful fest that brings together members of the community, that brings bands like Vokonis and Cardinals Folly to the United States for the first time, is totally worth it. This is history in the making. More than that, it's vital therapy for our people -- refueling our storehouses with the power of the Riff!

Finally, other than the music, what's your other burning passion?

I have cats that I love to death. I’m a fanatical collector of B-movies, from the ‘60s and ‘70s especially –- the more awful the movie is, production wise, the more I delight in it. Probably that has a lot to do with growing up on Mystery Science Theater 3000. When B-movies and cats collide with music, I’m in a very happy place (see the band Gurt!). Also an avid fan of vintage comic books -- many of the narratives of the pre-code 1950s comic books were taking chances that rival many of the shocking storylines of Marvel and DC today. Surprisingly, one of the themes that I see recurring between titles is DOOM! It's a delight every time I discover one of these stories. Art, film, and music have a very important, symbiotic relationship and I find it tremendously gratifying to play historian and trace the threads of the past into the present and watch how they continue to evolve into the future.

I've also got a gang of cats that keep me in line and like to be very involved with the production of Doomed & Stoned, so much so that I've had to make cat beds in front of my monitor and in the drawer of one of my desks for a pair of twins I adopted from the pound some years back. They absolutely are enthralled with that desk of mind, whether I'm editing an article or interviewing someone for a show! Best of all, they love them some doom. They sleep soundly every time I've got the likes of Sea Bastard or Serpentine Path rumbling my speakers. Wouldn't trade 'em for all the vinyl in the world.

Meet The Team

North America

Billy Goate (Editor in Chief -- Oregon), Melissa Marie (Executive Editor -- Indiana), Frank Heredia (California), Elizabeth Gore (California), Stephanie V. Cantu (Texas), Chris Schanz (Washington), Papa Paul (Pennsylvania), Zachary Painter (Texas), Alex Watt (Oregon), Alyssa Herrman (Oregon), Hugo Guzman (California), Lara Noel (Chicago), Suzi Uzi (Chicago), Jamie Yeats (Montana), Stephanie Savenkoff (Oregon), Corey Lewis (Oregon), Colton Dollar (California), Adam Mundwarf (Oregon), Dan Simone (Ohio), Shawn Gibson (North Carolina), Tom Hanno (New York), Eric The Red (Oregon), Justin Cory (Oregon), Jamie LaRose (Florida).

International

Roman Tamayo (Mexico), Sally Townsend (Australia), Calvin Lampert (Switzerland), Mari Knox (Italy), Svempa Alveving (Sweden), Juan Antonio (Spain), Angelique Le Marchand (UK), Jacob Mazlum (UK), Mel Lie (Germany), Silvi Pearl (Austria), Simon Howard (Australia), Matthew Donk (UK), Willem Verhappen (Netherlands).

Doomed & Stoned would also like to thank contributions from Ben Edwards, Brian Schmidt, Bucky Brown, Cherry Darling, Chris Latta, Curtis Parker, David Glass, David Knottnerus, Doomstress Alexis, Doug McHardlane, Drew Smith, Eleanna Safarika, Gonzalo Brunelli, Gustav Zombetero, Hannah Rachel Lowe, Jake Wallace, Joey Demartini, Johnny Hubbard, Jules Maher, Leanne Ridgeway, Marcel van der Haar, Mathew Jacques, Mona Miluski, Patrick Alex Thorfinn, Paul Bracamonte, Randy Beach, Sabine Stangenberg, Sandra Mez Russotto, Sandy Wright, Sarah Eriksson, Sean Schock, Stef Dimou, Steph LeSaux, Steve Howe, Thäedra Clare, Wendy Yashira, Ygor Silva, and so many others who have supported us directly or indirectly.

Mona Miluski from High Fighter sporting our basic black

Show your Doomed & Stoned pride! Get a t-shirt or sticker and become a patron of The Doomed & Stoned Show. You can also check out and share our free scene-by-scene compilation series. Donations help us to fund cool projects, such as new t-shirt designs, patches, etc. and helps with the much needed funds for web-hosting, data storage, and lots more besides. Most of all, we value your regular readership. Thanks so much for being a member of the Doomed & Stoned family!

#Doomed & Stoned #Doomed & Stoned Festival #Purple Hill Witch #Chrome Ghost #White Wail #Reptile Master #Yob #Disenchanter #Holy Grove #Witch Mountain #Saint Vitus #Bell Witch #BelzebonG #Doom #Metal #Doom Metal #Stoner Rock

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