#Barry Blackwell | Explore Tumblr Posts and Blogs

zepuckinghockey · 10 months

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It's NHL wedding season! I'm aware of 10 NHLers who got married over the July 7-8, 2023 weekend as well as two related weddings. As best as I can, I've listed them out including as many verified player guests as I could find. Shoutout to the server for helping me ID a lot of generic looking faces. I've got some teams listed for context.

Feel free to let me know of people I've missed! This list has been edited on September 9th. I'm pretty sure wedding season is over, but feel free to message me with someone I missed.

June 16th, 2023 Weddings:

Kyle Clague - Sabres Notable Guests: Nolan Patrick

July 4th, 2023 Weddings:

Colin Blackwell - Hawks Notable Guests: Alex Kerfoot

July 6th, 2023 Weddings:

Tyler Bertuzzi - Red Wings Notable Guests: Michael Rasumussen, Zach Nastasiuk

July 7th, 2023 Weddings:

Alex Nedeljkovic - currently Penguins (previously Canes, Red Wings) Notable Attendees: Scott Wedgewood

Jordan Binnington - Blues Notable Attendees: Jordan Kyrou, Marco Scandella, Sammy Blais, Faulk, Perron, Logan Brown, Joshua Leivo, Vince Dunn, Robby Fabbri, Joel Edmundson, Robert Thomas, Oskar Sundqvist, Colton Parayko, Jake Walman

July 8th, 2023 Weddings:

Tyson Barrie - currently on the Preds (previously: Oilers, Leafs, Avs) Notable Attendees: everyone. Sidney Crosby, Nathan MacKinnon, Mitch Marner, Zach Hyman, Connor McDavid, Alex Kerfoot, John Tavares, Jack Campbell, Justin Holl, Evander Kane, Darnell Nurse, Mike Smith, Bayne Pettinger, Tyler Ennis, Colin Wilson, Michael Hutchinson, Ryan Nugent-Hopkins, Cody Ceci, Evan Bouchard, Luke Schenn, Devin Shore, Gabe Landeskog

Vinni Lettieri - currently on the Wild (previously Ducks) Notable Attendees: Trevor Zegras, Jake Bischoff, Tony DeAngelo, Jimmy Vesey, Kevin Hayes, Brady Skjei, Kevin Shattenkirk, John Gibson, Zach Bogosian, Sam Carrick, Jake Gardiner, James van Riemsdyk

Sam Reinhart - currently on the Panthers (previously Sabres) Notable Attendees: Mason Marchment, Brandon Montour, Owen Tippett

Chandler Stephenson - currently on the Knights (previously Caps) Notable Attendees: Will Carrier, Reilley Smith, Mark Stone, Cody Eakin, Jack Eichel, Alex Tuch

Sam Girard - currently on the Avs (previously Preds) Notable Attendees: Nicolas Aube-Kubel, Ryan Graves

Dylan Gambrell - currently on the Leafs (previously Sharks, Sens) Notable Attendees: Mathieu Joseph, Austin Watson (thanks anon!)

Gustav Forsling - currently on the Panthers Notable Attendees: Alex Wennberg, Marcus Hogberg, Patric Hornquist, Lucas Carlsson, Erik Gustafsson

Tyler Motte - (Rangers, Blue Jackets, Blackhawks, Senators, Canucks) Notable Attendees: Brock Boesser

Brett Richie - (Yotes, Flames)

Emerance Maschmeyer & Genevieve Lacasse - WoHo Olympic gold medalists Notable Attendees: Sarah Nurse, Erin Ambrose, Laura Stacey, Marie-Philip Poulin, Haley Irwin, just like all the big woho names

Dominik Tiffels - German hockey player Notable Attendees: Leon Draisaitl

Frankie Borrelli - Barstool Sports and Fore Play Golf Notable Attendees: Brock Nelson, Matt Martin, Adam Pelech, Scott Mayfield, Josh Bailey - info thanks to @barzyblogbabe

Morgan Reilly - Leafs Notable Attendees: his wife Tessa Virtue

July 13th, 2023 Weddings:

Dryden Hunt - Rangers Notable Guests: Kyle Burroughs

July 15th, 2023 Weddings:

Tyler Seguin - Stars (Bruins) Notable Guests: Jamie Benn, John Klingberg, Scott Wedgewood, Jesse Blacker, Mason Marchment, Ty Dellandrea, Justin Dowling

Luke Kunin - (Sharks, Wild) Notable Attendees: Colton Sissons, Matthew Tkachuk, Brady Tkachuk, (Taryn Tkachuk)

AJ Greer - Bruins (Avs, Devils) Notable Attendees: Scott Kosmachuk

Andy Andreoff - (Kings, Flyers, Islanders) Notable Attendees: Sean Couturier, Scott Laughton, Shayne Gostibehere, Erik Gudbranson, Milan Lucic

Juuso Valimaki - Coyotes

July 16, 2023 Weddings:

Kevin Hayes - Blues (Flyers, Rangers, Jets) Notable Attendees: Johnny Gaudreau, Tony DeAngelo, Brady Skjei, Jimmy Vesey

July 20th, 2023 Weddings:

Lawson Crouse - Coyotes Notable Attendees: Phil Kessel, Shayne Gostibehere, Liam O'Brien, Nick Schmaltz, Darcy Kuemper, Taylor Hall, Jacob Bryson, Travis Konecny

July 21st, 2023 Weddings:

Nicolas Aube-Kubel - Caps (Avs) Notable Attendees: Anthony Mantha, Julien Gauthier

Brady Tkachuk - Sens Notable Attendees: Matthew Tkachuk, Josh Norris, Thomas Chabot, Mark Stone, Mathieu Joseph, Luke Kunin, Christian Fischer, Ryan Donato, Robert Thomas, Alex Debrincat, Cam Talbot, Nick Holden, Quinn Hughes, Jack Hughes, Luke Hughes, Jake Sanderson, Shane Pinto, Dylan Gambrell, Colin White, Jacob Chychrun, Kevin Hayes

Juuse Saros - Predators Notable Attendees: Eeli Tolvanen, Kevin Lankinen

Tanner Jeannot - Lightning Notable Attendees: Brett Howden, Noah Gregor, Jayden Halbgewachs, Jeremy Lauzon, Alex Carrier

July 22nd, 2023 Weddings:

Alex Kerfoot - Coyotes (Maple Leafs) Notable Attendees: Justin Holl, Colin Blackwell, John Tavares, Morgan Reilly, Michael Bunting, Mitch Marner, Jake Muzzin

Nick Paul - Lightning (Senators) Notable Attendees: Chris Driedger, Drake Batherson, Thomas Chabot, Anthony Cirelli, Alex Killorn

Keith Kinkaid - (Devils, Canadiens, Rangers, Bruins, Avs)

July 24th, 2023 Weddings:

Anthony Mantha - Capitals Notable Guests: Nicholas Aube-Kubel, Julien Gauthier, Nick Jensen, Jonathan Benier

July 27th, 2023 Weddings:

Pavel Zacha - Bruins (Devils) Notable Attendees: Nico Hischier, Jesper Bratt

July 28th, 2023 Weddings:

Karson Kuhlman - Islanders (Kraken, Jets) Notable Guests: Kasimir Kaskiskuo

July 29th, 2023 Weddings:

Connor Murphy - Blackhawks (Coyotes) Notable Attendees: Sean Kuraly, Anthony Duclair, Dylan Strome, Jonathan Toews, Alex Debrincat, Taylor Raddysh, Mackenzie Entwistle, Brandon Hagel

Mitch Marner - Leafs Notable Attendees: Best Boy Zeus 🐶, Matt Martin, James Van Riemsdyk, Jake Gardiner, Tyler Bozak, Connor Brown, Justin Holl, Nazem Kadri, Willy Nylander, Zach Bogosian, Kyle Clifford, Jake Muzzin, Auston Matthews, Alex Kerfoot, Michael Bunting, Freddie Anderson, Rasmus Sandin, Morgan Reilly, Tyson Barrie, Connor Carrick, Joe Thorton, Patrick Marleau, Zach Hyman, Jack Campbell, TJ Brodie, Tyler Ennis, John Tavares, Timothy Liljegren

Ethan Bear - Canucks (Oilers, Hurricanes) Notable Attendees: Mat Barzal, Caleb Jones, Jujhar Khaira, Riley Stillman, Thatcher Demko, Austin Strand

Boone Jenner - Blue Jackets Notable Attendees: Zach Werenski, Seth Jones, Nick Blankenburg, Cole Sillinger, David Savard, Andrew Peeke, Scott Laughton, Elvis Merzlikins, Erik Gubranson

July 30th, 2023 Weddings:

Ryan Donato - Blackhawks (Kraken, Bruins) Notable Attendees: Jared McCann, Yanni Gourde, Matty Beniers, Adam Fox

August 3rd, 2023 Weddings:

Kevin Lankinen - Predators Notable Guests: Eeli Tolvanen

August 4th, 2023 Weddings:

Taylor Raddysh - Blackhawks (Lightning) Notable Guests: Dylan Strome, Connor Murphy, Anthony Cirelli

Kevin Hayes (2.0) - still Blues (Flyers, Rangers, Jets) Notable Guests: Keith Yandle, Scott Laughton, Shayne Gostibhere, Travis Sanheim, James van Riemsdyk, Brady Tkachuk, Matthew Tkachuk, Johnny Gaudreau, JT Miller, Zach Sanford, Tony DeAngelo, Brian Dumoulin, Brady Skjei, Paul Carey

August 5th, 2023 Weddings:

Conor Garland - Canucks (Coyotes) Notable Guests: Ryan Donato, Jakob Chychrun, Clayton Keller

Brendan Dillon - Jets (Capitals) Notable Guests: Tom Wilson, TJ Oshie, Jordie Benn, Jamie Benn, Trevor van Riemsdyke, Nic Dowd, Nick Jensen

Charlie McAvoy - Bruins Notable Guests: Hampus Lindholm, AJ Greer, Connor Clifton, Noel Acciari, Taylor Hall, Conor Sheary, Brad Marchand, Jake Debrusk, Matt Gryzeleyk, Derek Forbort, Brandon Carlo, David Krejci, Tuukka Rask, Jeremy Swayman, Charlie Coyle, Krug Torey, Matthew Tkachuk, Casey Fitzgerald, Colin White, Patrice Bergeron

Austin Watson - Senators Notable Guests: Cam Talbot, Anton Forsberg, Jarred Tinordi, Nick Paul, DJ Smith, Dylan Gambrell, Nick Holden, Thomas Chabot

Gage Quinney - Knights Notable Guests: Zach Whitecloud, Nicolas Roy, Jake Bischoff

Micke Rosell - player agent Notable Guests: William Nylander, Alex Nylander, Sam Ersson, Marcus Bjork

Joonas Johansson - Avs

August 6th, 2023 Weddings:

Dylan Larkin - Red Wings Notable Guests: Sam Gagner, Tyler Bertuzzi, Trevor Zegras, Kyle Connor, Troy Stecher, Marc Staal, Jeff Petry, Darren Helm, Zach Werenski, Mitchell Stephens, Riley Sheahan, Cole Caufield, Jack Hughes

August 11th, 2023 Weddings:

Shea Theodore - Knights Notable Guests: Ryan Reaves, Marc-Andre Fleury, Nick Holden, Mark Stone, Chandler Stephenson, Alex Tuch, Dylan Strome, Erik Haula, Jaycob Megna, Will Carrier, Jack Eichel, Alex Pietrangelo

Ryan Hartman - Wild Notable Guests: Matt Dumba, Marcus Foligno, Jared Spurgeon, Cam Talbot, Kirill Kaprizov, Jordan Greenway, Jon Merrill, Alex Goligoski, Jake Middleton, Mason Shaw, Calen Addison, Nick Schmalt, Matthew Boldy, Brandon Duhaime, Connor Dewar, Luke Kunin

August 12th, 2023 Weddings:

Chris Kreider - Rangers Notable Guests: Mika Zibanejad

#tyson barrie #sidney crosby #connor mcdavid #chandler stephenson #leon draisaitl #mitch marner #trevor zegras #mark stone #brandon montour #sam reinhart #and so many more #text #wedding #jordan binnington #tony deangelo #evander kane

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patheticbatman · 4 months

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Part One

I’m very proud of these dolls, and I’m also leaving them at my parents’ house, so I did a little photoshoot with some books as background so I can have nice pictures of them.

Each book is one that is based on their fairy tale, they exist in some form in that universe, or I genuinely think that character would read it. It cannot be their origin book.

Also, they ALL have to be books I have read. If the other books are more like companion books though, then I disregard that rule. They cannot share series either.

First up is Snow White with Fairest, by Gail Carson Levine. Funnily enough, I read this book before Ella Enchanted. I love it though! I always remember the singing and weird-reading-to-make-the-audience-laugh game :).

Second is Cinderella with Cinderella is Dead, by Kaylynn Bayron, and a little toy dog, because the Disney version has a dog. It’s a wonderfully revolutionary and queer take on a world that supposedly worships Cinderella, but actually uses her memory as an oppressive tool. Like an unwilling martyr.

Third is Alice with After Alice by Gregory Maguire (the dude who wrote Wicked). I have other Alice in Wonderland adaptions, but I haven’t enjoyed the others like this one. If you like ratfics, you may enjoy After Alice.

Fourth is Wendy with Peter and the Sword of Mercy, by Dave Barry and Ridley Pearson. I debated on whether to do the first book of this series or not, but Wendy only appears in this book, so I leaned toward this one instead. Out of all my Peter Pan adaption books, I like my one about Hook as a boy in Eton best. But only Wendy’s dad appears in that, and I don’t think she would read it, so I went with this series instead. I wrote a book report about the story set in the desert Kingdom when I was like 9, I loved it a lot.

Fifth is Aurora with While Beauty Sleeps, by Elizabeth Blackwell. It’s an inventive take that I enjoyed quite a bit. Explores how expectations can be used in your favor, etc.

Sixth is Eilonwy, with The Princess, The Crone and the Dung-Cart Knight, by Gerald Morris. I know The Black Cauldron is based on a book series, but I’ve only read a snippet, and I don’t have a copy of any of the stories anyway. So she gets to have a late - Arthurian novel.

Seventh is Ariel (she has six sisters so this pleases me) with The Hothouse Princesses by S. A. Hemstock. The author wrote some of the best Steven Universe fanfic, so I bought her first published story when it came out. Idk how it isn’t a bigger hit - it’s about a princess who was raised by peasants, gets discovered, wants to go back, and instead gets shunted off to a misogynistic, colonialistic, colorist princess finishing school, where she finds out some serious conspiracy shit about fairy godmothers. Anyway, Ariel often felt oppressed by her dad and curious about the Human world, so I imagine it would catch her eye.

Eighth is Belle with Lindworm, by Jenny Prater. Coincidentally, this is another case of me reading a superb fanfic writer’s work (Batfam this time) and instantly snapping up their OG work. I have a book of short stories that had a more direct BATB parallel story, but I was trying to stick with Novels. In any case, this is the story of the maiden who married the Lindworm, and what the Royal family does once they have to reckon with the nations of the dead princesses.

Ninth is Jasmine with the School for Good and Evil, by Soman Chainini. Her character really only appears in the prequel, but I wanted to acknowledge this really great series properly. I read the entire thing this summer, and I love its thematic approaches. In any case, I feel like this series’ approach to beauty, freedom and other dichotomies would pique her interest.

Tenth, we have Gabriella (Ariel’s mermaid BFF) and her Sign Language interpreter Olly. I have her human form. Anyway, I decided she might enjoy Wonderstruck, by Brian Selznick. It has Deaf characters and lots to show about the Human World, which I supposed she might enjoy. I found it quite interesting as a kid, and like with all the other Selznick books I own, I used to color all the hair, clothes and eyes in, lol. Listen. I had a lot of time on my hand and consistent access to Sharpies XD.

I’ll link the other parts to here when I post them!

Part 2

Part 3

Part 4

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transgenderer · 6 months

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The Cheese Effect in MAOIs

A number of other MAOIs followed iproniazid onto the market, of which the best known were phenelzine and tranylcypromine. In 1961 there was a report in the Lancet of a patient who had a fatal subarachnoid hemorrhage while taking tranylcypromine. Subarachnoid hemorrhages are uncommon but occur frequently enough to make it al but impossible on the basis of a single case to implicate a drug that someone might have been taking. Reporting such a case in a journal like the Lancet, however, indicates a certain degree of suspicion on the part of the clinicians involved. This was one of seven such cases reported between 1961 and 1963. Some were fatal, but in those instances the subjects were taking more than one drug, making it impossible to finger tranylcypromine.

It also seemed that primary care physicians were noticing an increased occurrence of headaches in patients taking MAOIs. Examination of such patients suggested that some had blood pressure elevations, which could potentially tie in with the subarachnoid hemorrhages. Barry Blackwell, a psychiatric trainee at the Maudsley, drew attention to the possibility in a letter to the Lancet, which caught the eye of a hospital pharmacist in Nottingham named Rowe. He wrote to Blackwell detailing the occurrence of headache and hypertension in his wife, who had been taking a MOAI, after she ate cheese. Could there be something in cheese which cause a problem for people on these drugs? Blackwell and his colleagues were amused at the suggestion and dismissed it, not knowing that some of the American clinical trialists for tranylcypromine had noted headaches as a side effect. Max Lurie even suspected an interaction with the food that people were eating.

Gerald Samuel, working with one of the manfuacturers of an MAOI at the time, was less skeptical than the Maudsley doctors because the company had received two other suggestions of a similar nature. His remarks encouraged Blackwell and a colleague to take tranylcypromine for a week and then have cheese--nothing happened. The notion might have died at that point but that weekend Blackwell was called to see a lady who had taken phenelzine and had developed headache and hypertension--after a cheese sandwich. A patient in the hospital taking tranylcypromine agreed to take cheese with lunch and several hours later developed the increasingly familiar symptoms, as did two other patients in the hospital the afternoon after cheese made its weekly appearance on the dinner menu.

...

The medical profession only began to take the observations seriously when a scientific account could be given for what was happening. Ultimate it was shown that cheese contained tyramine, which appeared in the bloodstream after it was eaten. This could indeed increase blood pressure. The implicated was that the inhibit of monoamine oxidase in the wall of the guy allowed more tyramine than usual to enter the blood stream and hence the problem. The "cheese effect" was born. A variety of other foods were then shown to be problematic as well, including both wine and beer, beans, and other vegetables.

The Antidepressant Era, Healy

#cheese...

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louisupdates · 9 months

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FITFWT23: NASHVILLE RECAP

Concert number: 31

Date: 18 Jul 2023

Place: Ascend Amphitheater

Capacity: 6,800

Venue: [x] [barrie pitt] [mikey blackwell] [oli crump] [oli crump] [jdelf]

Livestream [x]

Louis’ tweet, IG, IG video announcing FITFWT24: Australia

LTHQ Twitter and Instagram, Joshua

Concert Group Picture [video]

Fashion: Stone Island sweater, 28 OP track pants, Celine polo, Calvin Klein boxer briefs

Lithograph

Openers: Giant Rooks

Setlist

Photos: [boarding the bus] [Arrival with 28 OP] [HQ] [HQ] [HQ] [HQ] [HQ] [HQ] [HQ] [HQ] [HQ hand on heart] [x] [x] [HQ] [HQ] [HQ] [HQ] [HQ] [HQ] [HQ] [HQ] [blue green] [purple] [red profile] [x] [🖕] [x] [x] [x] [x] [x] [x] [x] [Angels Fly gifs] [x] [x] [HQ beachball] [HQ mic] [HQ barricade] [barricade blurry happy] [HQ barricade] [hand gif] [tourists] [smiling gifs] [HQ][barricade] [purple venue] [men in black] [HQ hand] [HQ] [Calvin Kleins] [Nashville 22-23] [helen seamons] [krystle gohel] [His Royal Plumpiness] [HQ] [HQ] [HQ] [HQ] [HQ] [HQ] [HQ] [HQ] [HQ] [HQ]

Videos: [x]

Speeches: Face The Music 😵‍💫🤔? Thank you for being amazing [x]

Outro: Hold Back The Rain, by Duran Duran (the weather was a worry this night)

Press: fromthefansmag

Trends:

Misc: poster for FITFWT24: Aus, Giant Rooks tiktok, Louis liked their Tweet, ttpublicity, Today Australia, afhf23 IG, Giant Rooks appreciation tweet

#fitfwt23: nashville #louis tomlinson #18.7.2023

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manhdle · 2 months

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ORIGINAL CHARACTERS

rhys underwood. 56. bodyguard/fixer for royals. fc jason statham

daryl compton. 41. strip club owner. fc jonathan tucker

simon blackwell. 43. ex vought supe working as a bouncer/enforcer. super strength. fc brett goldstein

jeffrey callaghan. 45. werebear. owner of a bar. dislikes humans. not against fucking them every now and then. fc barry sloane

CANON CHARACTERS

kilgrave thompson. 40s. unknown. mental control. fc milo ventimiglia

luke cage. 40s. owner of harlem's paradise/crime boss. super strength. bulletproof skin. fc trevante rhodes

#this is a draft !#i might add new ones or remove a few who knows

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reygunsandreynbows · 1 year

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just saying Dr James Barry was such a fucking amazing dude and I love him with all my heart

and to all the various transphobes that call him "the first woman doctor": fuck you. have some respect for the dead, for a man who lived and died as a man and who's will was violated to call him "she". additionally, let women have their earned accomplishments. Elizabeth Blackwell was a wonderful woman and is the first woman doctor BECAUSE BARRY WAS NOT A WOMAN STOP CALLING A MAN THE FIRST WOMAN DOCTOR JESUS CGRUST HOW HARD IS IT TO UNDERSTAND

#woman doctor #dr james barry #1800s trans icon #transgender #transmasc #trans #also his lover refused to put him as afab when under fire for beung gay #he also said in his will he wanted to be buried in the clothes he died in without examination #but the coroners ignored it which is why we know he was trans #he literally took steps to maintain his legacy #and yall are still out here disrespecting him with she/her and

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gallavichsreddie1128 · 1 month

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Fuck You (Baz Blackwell)

Description: Baz and Y/N have a lot of tension between them but Baz is married. Spoilers for the ending of Season 2!

Warning: Smut, Cheating

Word Count: 2,418k

Author's note: This is my first fic that's not Hannibal related. I have one in the works right now but I am so busy today that I had to post a pic that I wrote a month ago while watching Animal Kingdom. If you haven't watched the show I recommend.

It started with glances during Jobs, stares while the other wasn’t looking. Touches being discreet and “accidentally”. She was 22 and he was in his late 30’s with a wife and a kid. She hated him though. He wasn’t a good person. None of them were really but Baz especially. He wasn’t the best dad and he cheated on his wife. It was clear that the two wanted each other but fought against it. She didn’t like the way Baz treated the rest of them. He was demanding and frankly it was kind of a turn on. But she wouldn’t admit that. Not out loud anyways.

Baz was running a job like always and was being a dick. Y/N couldn’t help but roll her eyes. J smirked at her reaction agreeing with her nonetheless. Baz ignored her reaction and kept explaining who needed to do what. “And Y/N you will be with me.” He tells her. She can’t miss the mocking smirk on his lips. She holds back the most dramatic sigh and eye roll and just nods. It wasn’t like she had a choice.

Baz for some reason let J help his uncles but not her. No, never her. She’s been around them for years and has helped but not today. It’s like Baz wanted to torture her. She hated him for it. J could have been the lookout like last time but Baz actually wanted to torture her. “Text them 2 minutes.” He broke her out of her thoughts. She sighed and texted J 2 minutes. Baz kept his eyes off the girl. He shouldn’t feel this way but he does. She was beautiful and sassy. “So I think we should address the tension between us.” He stated. She looked at him like he had 2 heads. “You wanna talk about your fantasy on a job?” She asked. He was ridiculous. “Got nothing better to do.” He said. He was still able to focus and talk. It was mind blowing to her. “Address what tension?” She asked. She was playing dumb. She knew what he was talking about. But wanted to hear it out of his mouth. “You’re into me I know it.” He shrugged.

She could have slapped him if it wasn’t for the smirk that was on his lips. “No I'm not, it seems that it’s you who’s into me.” She states with the same mocking smirk. He shrugged. “Yeah but at least I can admit it.” Her eyes widened. She wasn’t expecting that from him. Why tell her now? On the job. The boys returned before she had time to really process what Baz said. Leaving the conversation opened.

She sighed in the shower as she thought about what Baz said. She couldn’t lie. She felt the same way but what about Lena and Katherine? Y/N wasn’t going to ruin that. Lena and Kath deserved better. That’s for sure. Alexis knew that Baz cheated on Kath but now he wants it to be her. Yeah right. It wasn’t happening. Y/N was better than that. After her shower she got out and looked in the mirror. Was she better than that? All she wanted to do right now was jump into Baz’s arms after his confession. She shook that thought out of her head.

As she was getting dressed she heard a knock on the door. “Someone’s in here.” She said pulling up her pants. “It’s Baz.” “Still doesn’t change anything.” “Well it should.” She ignored him and got dressed. “Come on Y/N open the door.” He said. Once she was dressed she opened the door. “What Baz?” She asked, annoyed. He smirked and backed her up to the wall in the bathroom. “You need to stop acting like you don’t want me.” He tells her. They were in kissing distance. “I’m not acting like anything.” She says. “Then let me fuck you like you deserve.” He whispers. She sighs and closes her eyes. He leans down and kisses her neck.

She moans and wraps her hands around his neck. He made sure to leave a hickey. “Baz this isn’t right.” She moans as he attacks her neck. He hummed against her. “Like you give a shit.” He says. He pulls back and kisses her hard. She kisses back immediately forgetting about anything but Baz. He picks her up and she wraps her legs around his waist. Their lips move sloppily against each other. They pull away breathing hard. “You should have opened the door when I told you too. Now I gotta undress you.” He said. He pulled her shirt off and smirked. She wasn’t wearing a bra. Why would she be? She just got out of the shower. “Baz, please touch me.” She begged. He leaned down and latched onto her nipple. She gasped as his tongue circled her nipple and sucked on it.

She held his head and moaned his name. He pulled away after a few more seconds. “I’m barely touching you and you’re moaning.” He said. She got out of his arms and she pulled down her PJ bottoms. She had a white lace thong. His mouth watered at the sight. He made eye contact with her as he sank to his knees. He ran his nose over her clothed clit. She whimpered and gasped. He smirked and took a big whiff of her pussy. “Mmm you smell so good baby.” He said. He pulled down her thong. Her jaw was open as he did so.

He wrapped her legs around his shoulders and stood up. She grabbed ahold of his head as she was scared to lose balance and fall. Baz wouldn’t let that happen. He started kitten licking her pussy. She cried out his name. He licked and sucked her button as her head fell back against the wall. If Baz wasn’t holding her up she would have lost balance. Her moans and cries got louder. Neither cared that his brothers probably heard. “Baz fuck Baz.” His name was all she knew as his tongue was pretty much inside of her. He hummed and she gasped out his name feeling close. She had never felt this close so fast before. “Baz I’m gonna cum fuck please don’t stop.” She moaned. He didn’t and she fell over the edge with a silent scream. He slurps up every last drop of her. She tried pushing his face away after her high was over. He smirked up at her as she looked down at him in a daze. Her breathing was still hard and she couldn’t think straight. He dropped her slowly back down on her feet. She kissed him and moaned. The taste of her was all over his mouth.

She pulled on his shirt and he ripped it off. Her hands traveled over his torso. She traveled down to his jeans and unzipped them. He helped her pull them down. His boxers were a little damp with pre cum. She tried to sink to her knees but he stopped her. “I need to fuck you sweetheart.” He tells her. She nods and he pulls down his boxers. She jumps and wraps her legs around his waist feeling his hard dick near her pussy. He positioned himself at her entrance and she took a deep breath. He thrusted in her and she whimpered. Sure she’s been with other guys but Baz was older and much bigger. He let her adjust to his size before he started fucking her.

Her pussy was like a dream for him. He hadn’t really been with a younger woman. Let alone someone who lived in the same house as his family did. “Baz you can move now.” She begged. He thrusted in and out of her like it was all he could do. She gripped his shoulders hard. Her face looked blissed out and it was all he could think about and within 2 minutes he was already close. Her moans of his name didn’t help either. “Baz fuck.” He gripped her neck. “Are you close, baby? Are you gonna cum all of my cock like it’s yours.” He whispered. She groaned and nodded. He felt her clench around him and he cursed. He couldn’t hold back. He came with a grunt. She came right after him. The two fell into a silence after it was over. He pulled out of her and carefully.

He got dressed while she just stared at him. She couldn’t believe what just happened. She felt guilty but knew that she shouldn’t. It’s not like she owes Kath anything. But that wasn’t a great way to look at things. “Well I’ll see you around.” He said and walked out of the bathroom. She was so confused by that. They just fucked and it’s a see you around?

Baz hasn’t looked in her direction since that night. She felt sick. It was like he got what he wanted and used her like a toy. She wanted to punch him in the face for what happened. She was pissed. Luckily the only person that noticed the tension between them was J. “You and Baz okay?” He asked her. “Yeah why wouldn’t we be?” She asked, playing dumb. She didn’t think that J knew that they had tension, especially sexual. “Because one minute it looked like you guys were gonna fuck and the next minute he won’t even look at you.” Fuck. She wanted to lie and say she wasn’t sure she knew what he was talking about. But who was she kidding? He hit the nail on the head. “Well honestly yeah I don’t know.” She sighs. “So you guys fucked?” She looked at him and debated on telling him. He didn’t give a shit about Katherine. “He won’t even look at me now. I feel sick.” She says with tears in her eyes. “He’s an asshole, he got what he wanted out of you.” J told her but she already knew that. She sighed and agreed with him. What more could she do?

They had to talk about a job and unfortunately it had to be done at Baz’s house. Y/N thought about not going. She was gonna have J tell her what the plan was but decided against it. She wasn’t gonna let this affect her forever. He wasn’t worth it. They all stood at his kitchen table while Lena watched TV. Baz was getting pissed because the tv was too loud or she was annoying him. It made Pope and Y/N sick. He wasn’t a good father or husband. Baz kept telling her he’d take her to the park but wouldn’t so Pope offered. Pope honestly was a better dad than him and Pope wasn’t a dad. He cared for Lena a lot. Y/N couldn’t even be in his house anymore. She felt sick the countless times Baz yelled at poor Lena. What did she see in him? When everyone was leaving Y/N followed but Baz stopped her. “Hey you wanna stick around and have a beer?” He asked her.

She looked at him like he asked her to kill someone with him. “You want me to stay and have a beer with you after you avoiding me for days?” She asked. He sighed. “Look I know I’ve been an asshole and I’m sorry.” She laughed. A sarcastic laugh. “An asshole? Baz you’re a dick. You fuck me like you’ve always wanted to and then just ignore me. On Top of that you treat your own daughter like shit. Pope is being a better father than you-“ “don’t tell me how I should be treating my kid. You know nothing.” He yelled at her. “Yeah Baz I know nothing. I haven’t been here the past few times you’ve yelled at the poor girl over nothing. You’d rather fuck random bitches than take care of your own daughter im not stupid.” She yelled back. He walked up to her. “So you think you’re just a random bitch to me?” He asked her. “Baz I know I’m not the only one. And frankly I don’t care what you think I am. Whatever this was is done.” She said and walked out of the house.

“Baz is stealing money from Smurf and he’s talking about moving to Mexico with Lena and some girl.” J tells her. He only told her. Her jaw dropped. Not because of him with some other girl but he stole money from Smurf. She shook her head and shrugged. “Don’t act like you don’t care.” “J I don’t. I told you he disgusts me.” She says. Though she wasn’t sure if she was lying or not. After Katherine disappeared Baz thought she’d come running in his arms but that wasn’t the case.

“Here I want you to have this.” Baz said and gave her $5000. She looked at him confused as to why he was giving her money. “What’s this for?” She asked him. “Just take it. No questions all right?” She rolled her eyes. “I’m moving to Mexico and I want you to have it.” He told her. “Who’s the girl?” Baz looked at her. “It should be you.” She wanted to laugh or even smack him but it wasn’t worth it. None of this was. “Baz you wanted me for sex that was it. Let’s not act like we had a loving caring relationship and I left you.” “Well we should have and I’m sorry we didn’t.” She grabbed the cash off the table and looked at him.

He was crazy. It wasn’t very often that Baz and her talked after the incident but when they did he brought it up and tried to make up for it. She didn’t want his Money. She didn’t need it. But Baz wouldn’t let her leave without it. “Baz you’re fucking crazy.” She said and kissed him. He kissed back quickly but before the kiss could get heated she pulled away. She didn’t smile or show any emotion. She just walked out of his house. Not looking back.

That was the last time she saw him. When she heard that he got killed she bawled her eyes out for 5 minutes but after that she didn’t. She thought about him a lot. She saw how his death affected the others and she kept their night a dirty secret from everyone but J. In the end she was glad it wasn’t her. She was thankful that they only fucked. Cuz what kind of craziness would she bring feeling elsewise?

#animal kingdom #baz blackwell #scott speedman #baz blackwell x reader #pope cody #j cody #finn cole #Barry Blackwell #Barry Blackwell x reader #Barry blackwell imagine #animal kingdom show #x reader #smut #baz blackwell smut #Barry brown #joel edgerton

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queersrus · 1 year

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Hi, Fukase anon here! Sorry, It never occurred to me that people may have a hard time coming up with things for characters they don't know a lot about. Sorry :( /gen

Anyways, I really love the clown and red theme ideas! Also, since Vocaloid is technically a music software, I was thinking some music-themed names as well! Also, as long as this isn't too specific, could you maybe do some X-themed things since there's a lot of Xs in his design?

I also like the idea of the darker, edgier themes, but I'd rather not have anything explicitly horror/slasher/demon related... as someone who kins Fukase, being associated with that stuff brings back some rough memories :( /nm

I'm sorry if I'm being too specific or picky or anything like that, and I hope everything I've said makes sense! Once again, thank you in advance :)

no worries!!

heres some names and pronouns based of red, clown, dark/edgy themes and the letter x!

Music names:

muse, musa, musica, musette harmony melody, mic, major, minor clef, capelle, capella, cord, chorus note key tone, tempo, timbre bar, beat, bridge, bass, blue, blues sheet, strum, song, singer, sang, string, sonata, soul acoust, adagio, allegro, andante, arpeggio, amp, alto, aria instro, instra, instrumenta rythm/rhythm, ryme/rhyme, rock, rocker orchest, orchestra pitch, pop funk

list here, here

red names:

Altemur, altan, autumn, apple, amaranth, alhambra, alroy danla, desire, desiree parichat, phoenix, pepper, poppy/poppie cher, cherry/cherrie/cherri, crimson, clifford, copper, candy/candie, currant, carmine, carmin, chili, coral, corsen, clancy maroon, merlot, mahogany, mohagan blood, brick, berry/berrie, blush, burgundy, barn, burn, blaze ruby, rust, rusty, rose, raspberry, redd, rede, redde, reder, redi/redie/redy, reddet/redet/reddett/reddette/redett/redette, redeta/reddeta/reddetta/reddeta, redin/redine, redina, redino, roso/rosso, rufus/rufous, rowan, rosa, rosie, roisin, rory, radley, rudyard, radcliff, redmond, redman, rumo, russel/russell, rohan, redford, rufina, reeding/reading, reed, rogan, roone, roth garnet, ginger, gough scarlet, sangria, strawberry, sienna, sorrel/sorrell jam wine, watermelon fire, flame, ferrari, flan/flann, flannel, flanner, flannery, flyn/flynn, flanna vermilion, venetia imperia tart, torch hazel, harkin

clown names:

Joseph, john, joey grock oleg emmett/emet/emmet/emett bozo, barry ronald krusty penny, pogo, pinto charles sunshine weary, willie albert, antonio, arthur daniel, david, demitri/dimitri, Demetrius/demitrius tinsel

actually found a whole wiki here

Dark/Edgy names:

dusk, dagger, draven, drake, draco, damon/daemon, damion/damien/damian grey/gray, gunner/gunnar, greer keir, khaos, knox, kestrel umbra, umbro poison, pain/payne asteroth/astaroth, asher, ammo, astrid chaos, crow, coen, chase, casper, caspian, cassian, carter, cage, colton hades, hemlock, hex, hunter, hawk, harper somber, sombre, sombra, serpent, snake, saber, stone, storm, slade/slayde, sparrow, salem, snow, smoke, slayer necro, natrix, nox, nix, nyx, nero, nash branwen, briar, blackwell, blade/blaid, blair, blase/blaze/blaise raven, reven, requiem, rhapsody/rapsody, rogue, ryder, ryker, raze, razer eris, elysium, ebony jinx, jett/jet, jack, jason lucien, lucius, lock/locke viper, venom, vlad, vane/vain/vein, veil, vee/v wolf/wolfe trix/tryx, trixie, thorn, tyren/tyrin, tirent, torrent, tyranny, toxin, tank, tempest, tanner zeke, zena fox, flask, falkner, falkon/falcon onyx/onix, obsidian xena

X names:

xen/xene, xavier, xena, xeno, xenon, xeon, xero, xerox, xyx, xyr/xyre, xyra, xray, xeny/xenny/xenie, xenia, xander/xzander, xyla, xyler/xylar, xia, xavi, xylia, xylitol, xioa, xu, xan, xanth/xanthe, xanthus, xavia, Xinjiang, xinia, xenophon/xenophone, xayvion/xavion, xochitl, xio, xion, xiona, xiomara, ximena, xanthia

many here

red 3rd p pronouns:

list here and here

clown 3rd p pronouns:

list here and here

edgy/dark 3rd p pronouns:

list here, here

x 3rd p pronouns:

xe/xem, xy/xem, xy/xyr, xe/xyr, xy/lo, xylo/phone xyi/lotl, x/x's, ex/ex's, ex/exes, xay/xem, xay/xyr, xie/xem, xie/xyr xe/no, xeno/xenos, xeno/morph, cross/crossed, cross/crosses, x'ed/out, exed/out, ex/amble

hope these help!

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mithridacy · 10 months

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tagged by @marlon-styx for “9 people you want to know better” !!

Last song: NON TiE-UP by BiSH. rn sitting calmly in my bed but this is a cherished car screaming song for me

Currently watching: Barry, supposedly. but i’ve been putting it off by rewatching the first season of succession

Currently reading: really really need to get back to Censoring Translation, i was having so much fun with it. it indulges a lot in one of my favorite types of academic writing: explaining why everyone else is wrong about a very specific thing. but the core of the book is a love letter to this one translator+playwright pair (vera blackwell and václav havel), and since i knew nothing about either of them it’s been a delight to read

Current Obsession: im too tired :/ was getting rly into editing before this, like was rly enjoying it in class and had plans to work w a friend once we’re both doing things again. is that an obsession? want to be trying new recipes over the summer too, actually get confident w cooking for others. wrt media i suppose fallen london as much as ever

Tagging: @snaapdragon @emarcial @ghost-in-the-library which is not 9 people (got scared) and is just the last three mutuals in my notes who ive never talked to (iirc)

#the tag was soooo long ago that u went thru two usernames since then SORRY #about the song ^ love the music video but imo completely takes away the power of the song itself and makes it background music unfortch.m #even that lyric vid is a little busy for me #strongly pro music video but almost always not for the purposes of sharing *the song* yk?#one exception immediately coming to mind is HEALTH X THE NEIGHBORHOOD :: NO ESCAPE. perfect media object

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ultramagicalternate · 7 months

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Alphabetical Character Encyclopedia

Here is the Alphabetized character encyclopedia. There will be spoilers throughout, so read at your own discretion.

Chronological encyclopedia

Master Post

Abezithibod

Abraham Van Helsing

Achasiah

Adam Frankenstein

Adelaide Sallow

Alfonso Pari

Amadeus Briggs

Amanda Briggs

Amon, Duke of Hell

Andelin Sylvia Lillemor Lindbek

Antares Briggs

Antonio Pari

Aoife Crawford (ULTRAMagic Devil)

Asclepius, Son of Hermes

Athena

Auda Willfort

Aureolus Schindewolf (ULTRAMagic Disciple)

Barna Schindewolf

Barry Esko Boyle (ULTRAMagic Hunter)

Baphomet

The Beast of Old

Beauregard

Berislav Briggs

Bethony Briggs

Bileth, King of Hell

Blood-Wraith Raynot

Boris

Brendan Devilfay

Brenna Thompson

Bronislav

Spiritus Magni Brutus

King Brutus IV

Buster Ash

Caius

Carol the Traveler

Charles Blackwell Ford

Chernobog

Claudius Alfieri

Cliff

The Conspirator of Old

Cordelia Willfort

Corentin Schindewolf

The Crimson Abyss

Cronus (ULTRAMagic Reaper)

Daniel

Saint Darkborne

Darkness

David Livesey (ULTRAMagic Magistrate)

Deimos (The Mage of Old)

Desislav Robles

Dionysus, Lord of Madness

Dolus & Iocus

Donia

Dragoslava Raynot

Drazhan Thornefield

Drusa

Dunja Schindewolf

Ekaterina

Elaine Gabriella O'Nessie

Eleanor

Duke Eligio Moretti

Ellen the Wayward

Empress Eliza-Rex/Eloise

King Englehart Schindewolf

Erika Storm

Dr. Ethan Luminate

The Evangelist of Old

Fausta Dracul

Faustus

The Fear of Old

Fenrir

The Forest of Old

Gabriella Pari

Gilgamesh, King of Uruk

The Great Unspeaker

Gratiana Arlotti

Grendel Bombastus Scarfe

Gustav

Hades, Lord of the Underworld

Heinrik Rofocale

Herman Lydon

Hermes Trismegistus

The Hunger of Old

The Hydra of Old

Ignatius Darren Ford (ULTRAMagic Infinity)

Inferno

Katsuko Yoshinaga

Kresimira Raynot

Kyu #9

Lance

Leif/Tyrant (The Dragon of Old)

Leonardo Hammond O'Nessie

Logan Bonneville

Loki

Lucifuge Rofocale

The Madman of Old

Marion "Tanya" Devilfay

Mary Pickford

Maya Athenon

Mayhem

Maxima

Maximus Raynot (The War Machine of Old)

Mazatl Nakahara/Adrien Irons

Mercurius II

Milosh Proch

Mira

The Monolith of Old

Morana Dracul

Morrigan Devilfay

Nathaniel "Haunt" Fernsby

Octavia

Octavius

Odin

Sir Odo, Knight of the Unlight

Olivia Briggs

Orion

Ornias

Persephone, Lord of Darkness

Proteus (The Ocean of Old)

Duke Radovan Raynot

Raguel

Randalph Theoprastus Scarfe

Rebis

Regnault

Dr. Reynard Woodall

Richard Callahan/Rostislav Dracul (ULTRAMagic Richter)

Captain Roger/Manius

Duchess Rose Raynot

Ryota Tsukumo

Saul Bonneville

Seishin Mikoto

The Screaming God

Shigeko Tsukumo

Chief Sigmund Willfort

Six-Eared Macaque

Skari Willfort

King Sten Haugen

Stolas, Prince of Hell

Stolon, Duke of Hell

Sun Wukong

Theobold

Thor

Thora Willfort

Thunder

Timothy Finnegan

Torunn Craddock

Trevor MacQuoid

Trumna Wintergate

Tusk Willfort

ULTRAMagic Ultimatum

Umbra

Valentina Pari

Vexation

Victor Von Frankenstein

Vlad III Dracula

Vlad IV Dracul

Vladislav Velimir Dracul

Vlastimir Bartholomew Dracul

Walter Nithercott/ ULTRAMagic Walker

The Watchman of Old

Weaver Craddock

Wilhelm

William Ford II (ULTRAMagic Shadow)

Sir Wolfgang

Xavier

Zal-Rint

Zoltan Tenebrae Raphael Dracul

#chaotictempleknight #ultramagic alternate

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whileiamdying · 9 years

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As Much As I Can, As Black As I Am: The Queer History of Grace Jones

In this career overview, Barry Walters details how one of the most transgressive stars of the 1980s, Grace Jones, gave voice to the oppressed while offering a bold example of what it means to be free.

Grace Jones is perched on a ledge above the dancefloor of New York’s 12 West, the state-of-the-art, members-only gay disco, about to take the stage for one of her first performances. The year is 1977, and no one is prepared for what’s about to hit them.

Tom Moulton, father of the dance mix and Jones’ early producer, describes the scene: “All of a sudden the spotlight hits her. She starts singing ‘I Need a Man’, and the place goes crazy. After she finishes, she goes, ‘I don't know about you, honey, but I need a fucking man!’ Talk about a room-worker. Whatever it takes. She was so determined.”

To understand the impact of this moment, one must understand a bit of history. Just a few years earlier, it had been illegal for two men to so much as dance together in New York City. With the exception of maybe hairdressers and artists, queer people risked unemployment if they merely hinted at their orientation outside the confines of gay bars and clubs, and it was in these discos that the seeds of liberation were sown. At 12 West, gay people could grasp the power of their collectivity and understand what it meant to be free.

That night, Grace Jones sang “I Need a Man” just like a man might—tough and lusty, she was a woman who was not just singing to them, but also for them, as them. She was as queer as a relatively straight person could get. Her image celebrated blackness and subverted gender norms; she presented something we had never seen before in pop performance—a woman who was lithe, sexy, and hyperfeminine while also exuding a ribald, butch swagger. In ’79, Ebony got her je ne sais quoi exactly right: “Grace Jones is a question mark followed by an exclamation point.”

Even now, her transgressive charisma remains bold. She still feels outré.

In 1960, a 12-year-old Beverly Grace Jones moved from Spanish Town, Jamaica, to Syracuse, New York, with her family. She didn’t have many friends; a high school report card described her as “socially sick.” Halfway through her studies at Syracuse University, she impulsively abandoned school to work on a play in Philadelphia. The Pentecostal preacher’s daughter realized there was no going home after that, and she moved to New York City in 1975 to fulfill her dream of becoming a star.

At first, Jones modeled for the Wilhelmina Agency while doubling as a go-go dancer under the pseudonym Grace Mendoza. “Even though the agency kept me pretty busy, I auditioned for every play and film I could find,” she told The Baltimore Afro American in 1985. “But they all wanted a black American sound, and I just didn’t have it. Finally, I got tired of trotting around and took myself to Paris.”

In France, her blackness set her apart from other models, and Jones landed covers of Stern, Pravda, and Vogue. Within a few months, she recorded a few singles; one was sent to Cy and Eileen Berlin, an enterprising husband-and-wife team who later managed Tom Cruise. Jones flew back to NYC with her roommate, actress Jessica Lange, and met with the Berlins. Impressed by her exuberance, star quality, and willingness, they signed on to manage her. “I thought of her as family,” says Eileen Berlin. “My son had gone to college, so I gave her his room.”

At the time, Tom Moulton’s pioneering club-specific mixes were blowing up both discos and R&B radio, and the Berlins begged him to produce their new client. Moulton and Jones’ partnership began with the double-sided ’76 single, “Sorry” / “That’s the Trouble”, and their next collaboration, “I Need a Man”, quickly rose to the top of Billboard’s disco chart the following year. Hoping to capitalize on Jones’ burgeoning fame, the Berlins approached Island Records founder Chris Blackwell, who signed her in short order. Given the combination of Blackwell’s status as an international reggae ambassador and Jones’ Jamaican roots, Cy Berlin anticipated a good fit. He didn’t know how right he would be.

Although Moulton and Jones made three albums together in three years—’77’s Portfolio, ’78’s Fame, and ’79’s Muse—the two former-models often clashed: “I always teased her about sounding like Bela Lugosi,” recalls the disco godfather. “I stood next to her while she was singing because I got so sick of hitting the talkback button [in the control room]. The moment she'd go off, I'd stop her. I was hard on her, but no matter how much I pushed her, she would take it and push herself.”

Portfolio’s continuous first side featured Broadway tunes set to string-intensive bluster arranged by the Salsoul Orchestra’s Vince Montana and performed by members of MFSB, a cohesive pool of studio musicians who played on nearly every Philadelphia-originated soul hit of the ’70s. But against the plush effortlessness, Jones sounded strained; the weight of Moulton’s hand was audible and uncomfortable to hear.

However, the LP’s second side dished out a masterstroke in Jones’ take on Édith Piaf’s “La Vie En Rose”, a version of which Moulton previously recorded with forgotten ’70s singer Teresa Wiater. Jones had gotten her hands on an acetate pressing of Waiter’s unreleased recording, which was wowing the 12 West crowd, and she lobbied Moulton to let her have it, baiting him that it would be a sure hit for the two: “I’m big in France.” The same rawness and struggle that worked against Jones on Portfolio’s Broadway arias conveyed the absolute heartbreak of “La Vie En Rose”.

On Jones’ second album, Fame, Moulton bolstered the French connection: Most songs were written by Jack Robinson and Jacques Pépino (credited as James Bolden, but elsewhere known as disco singer David Christie). Once again Moulton contrasted Philly soul’s lush romanticism with Jones’ confident, almost stentorian vocals. This time around, though, that combination gelled throughout because the material was made for her. Jones dedicated the album “with love” to her then-partner, Jean-Paul Goude, a Parisian multimedia artist who collaborated with her on the creation of subsequent album jackets, photos, videos, and stage shows. (Goude is also the father of her only child and author of a book that details their relationship, Jungle Fever.)

While the follow up, Muse, didn’t yield as many memorable songs, it did feature another nonstop A-side that moved from sin to salvation via stormy arrangements by Iceland’s Thor Baldursson, whose keyboards and charts lit up Giorgio Moroder and Boney M songs alike. It also brandished a killer floor-filler with “On Your Knees”. Laced with sadistic intent by D.C. LaRue, a cult disco act whose world-weary, gay-coded “Cathedrals” presaged Pet Shop Boys, and former Sugarloaf frontman Jerry Corbetta, the most soulful of Jones’ disco singles also pointed toward her future. The philharmonic instrumentation oozed luxury, but the swagger of the lyric and the toughness of her vocal suggested rock’n’roll dissent waiting to be unleashed.

I grew up in Rochester, New York, 90 miles from where a teenaged Grace Jones daydreamed about her grand ambitions in Syracuse. I was a fan of a local band called New Math, whose frontman did promo for Island and passed me a copy of Fame—the first piece of my disco vinyl collection. Later that week, I watched Jones on “The Midnight Special”, where she performed “Below the Belt”. She took the stage clad in a satin boxing robe, her hands taped for a fight. Halfway through, she pulled a brawny muscleman from the crowd, pretended to knock him out, and then stood with a foot planted on his chest, all while crooning, “Gotta take my chance/ Gotta go the distance.” She then did a victory dance as fake snow fell in celebration of Christmas (and perhaps—this being 1979—cocaine). I was hooked.

That jaw-dropping TV appearance prompted a discussion with my high school drama teacher. He bragged that his brother had once met Jones at a Manhattan roller rink, where, instead of offering him a business card, she gave him a plastic whip with her name emblazoned on it. I knew at that moment that I belonged in Grace Jones’ New York, that suburban life would kill me the same way it had killed my alcoholic father. A year later, I arrived.

Jones’ “On Your Knees” was the last single I bought before leaving Rochester and it was one of the first songs I heard on the local disco station in New York City. Subway cars plastered with graffiti bore nearly inscrutable codes I was hungry to crack, for danger preyed upon the ignorant: Each weekend brought stories of fellow students who had been mugged. I remember protesters disrupting the filming of William Friedkin’s Cruising, which retold the real-life story of a fugitive who had lured men out of gay bars to bed and then killed them. In that anything-goes, pre-AIDS era at the tail end of the ‘70s, pleasure and danger were quite literally bedfellows.

Macho, close-cropped clones ruled the city’s mega-discos, but I hadn’t escaped my small suburb just to conform, so I sought out unconventional spaces like Hurrah’s, the Mudd Club, and Danceteria, where dub, reggae and post-punk alternated with chilly synth pop and radical funk. All those genres would mingle and mutate in Jones’ next incarnation.

When Muse fizzled in the clubs and on the charts, Chris Blackwell took over as Jones’ producer. “I wanted to treat her not as a model, but to involve her as a musician,” he recalls. “Tom Moulton had been recording the instrumentation and then having Grace come in later, but I wanted her to feel as though she were a member of a band, and record her the way bands used to make albums, with the singer and the players doing their thing all at once.”

Blackwell’s approach united two things he knew well: Caribbean ease and British audacity. “I wanted a rhythmic reggae bottom, aggressive rock guitar, atmospheric keyboards in the middle, and Grace on top,” he says. To get all that, he assembled a sextet of studio ringers at his Nassau studio, Compass Point. The soon-to-be signature sound of the Compass Point All-Stars went on to animate hits by the Tom Tom Club, Robert Palmer, Joe Cocker, Gwen Guthrie, and others.

The sessions began with an unlikely remake of the Normal’s “Warm Leatherette”. Jones’ version preserved the original’s deadpan vocal delivery and minimal melody but dropped the tempo to a saunter, twisted the rhythm into a sharp funk, and sashayed with offhand earnestness, as if sexual intercourse while dying from vehicular collision was just another kink worth trying. The sessions moved with disarming speed and ease: “If Grace or the group hadn’t nailed a song by the third take,” Blackwell recounts, “it was dropped and they’d move to the next number.”

Keyboardist Wally Badarou attests to Jones’ active role in the recordings: “Grace was there even during most instrumental overdubbing sessions. She was a part of the sound and the spirit that came out almost from nowhere. We all knew we were in for something quite experimental.”

Soon they had amassed enough material for 1980’s Warm Leatherette and the beginnings of a follow-up LP that would become 1981’s Nightclubbing. Upon its release, Leatherette failed to charm either radio audiences or most dance clubs; it was too authentically reggae for the New Wave crowd, too slow for disco. But by the following year, both New York radio and the club scene had grown eclectic. Primed by kindred punk-funk blasts like Yoko Ono’s “Walking on Thin Ice” as well as Taana Gardner’s “Heartbeat”, a far more open-minded dance music world was ready to re-embrace Jones and her new sound.

Nightclubbing provided Jones with newfound popularity on both sides of the Atlantic. European audiences appreciated “I’ve Seen That Face Before (Libertango)”, a vocal reimagining of Argentine tango master Ástor Piazzolla’s 1974 instrumental “Libertango”. For that track, co-writer Barry Reynolds penned lyrics about a Parisian stalker, and Badarou provided a haunting introductory riff. Jones’ lyrics were a rebuttal, en francais, penned with the help of Blackwell’s girlfriend, actor Nathalie Delon: “What are you looking for? Hoping to find love? Who do you think you are? You hate your life.”

In America, Jones’ R&B breakthrough came via an instrumental recorded by drummer Sly Dunbar during the Warm Leatherette sessions. The track first leaked out as “Peanut Butter” on the B-side of kiddie reggae crooner Junior Tucker’s “The Kick (Rock On)”, but, eager to make it hers, Grace co-wrote new lyrics equating cars with carnality. “Pull Up to the Bumper” pushed that metaphor towards lewd entendre: “Grease it, spray it/ Let me lubricate it,” she drawled. A summertime smash, “Bumper” became one of the last thoroughly sexual jams before a new virus began to complicate that kind of fun.

The sessions for 1982’s Living My Life marked a culmination of the synchronicity between Jones and the All-Stars. “Blackwell felt the band was so good it deserved to be doing its own material,” Badarou remembers. As a result, the album was made up entirely of originals, save for a cover of Melvin Van Peebles’ “The Apple Stretching”. Each song began with Jones’ lyrics, from which Reynolds wrote the music to fit. Recorded in the wake of her breakup with Jean-Paul Goude, the album found Jones getting deeper and more rigorously percussive: The percolating lead track, “My Jamaican Guy”, has been sampled by acts from La Roux to LL Cool J. The title track was eventually left off the album but it showcased just how personal the work was for Jones, a world away from the show tunes and entendres. “You kill me for living my life,” she sang. “As much as I can, as black as I am.”

By 1982, AIDS and Reaganomics were striking down Jones’ core audience, and the freedoms of the previous decade shifted to contractions. MTV arrived, and the New Wave dance sounds it championed—sonic stepchildren of Jones including Eurythmics, Culture Club, and Duran Duran—launched a second English invasion on the charts. Jones’ singular appearance and meticulously crafted presentation made her a natural fit for the burgeoning music video medium, especially in its early, experimental days.

She asserted herself as an astute visual artist with her 1982 VHS release, A One Man Show. Directed by Goude and nominated in ’84 for the first Best Long Form Music Video Grammy, it combined still photography, concert footage, and video clips to distill the pair’s simultaneously sensational and intimate collaborations into a heated, unbroken montage. Jones donned pointedly geometric designs that accentuated her angles while clad in screaming Pop-Art colors that flashed and flattered. Goude’s art direction came alive through Jones, who glared at the camera as if possessed; she was imposing, alien, almighty—it’s not surprising that she would soon be stealing scenes in films like Conan the Destroyer and A View to a Kill.

What came after One Man and the Compass Point trilogy would have to top them, which is precisely what “Slave to the Rhythm” did. Bruce Woolley, co-writer of the Buggles’ “Video Killed the Radio Star”, wrote the song on spec for Frankie Goes to Hollywood, but helped to re-draft it for Jones. Producer Trevor Horn was brought in, and a nine-month studio odyssey ensued, allegedly costing Island $385,000—a fortune for a singer who had never scaled the U.S. pop charts. (The exorbitant single was offset by padding its accompanying album with eight different versions of the track in attempt to break even.)

“I remember a huge amount of experimentation with early digital techniques—the Synclavier, Sony digital tape spliced with sticky tape, and the Fairlight,” Woolley recalls. “We recorded a new version every four weeks, with Horn and Blackwell in search of the perfect track.” Between her acting roles, Jones returned to the studio month after month to update her vocals on the latest arrangements. “Slave to the Rhythm” was finally released in October 1985, and one would be hard-pressed to argue that all the laborious studio work and astronomical expenditures weren’t justified: Horn’s production work was ornate and opulent, lurid and symphonic. The spell cast by a larger-than-life black woman singing both metaphorically and directly about slavery was profound; the lyrics coaxed infinite interpretations. The Face—England’s authority on all things hip—declared “Slave” the single of 1985, and Jones appeared on the magazine’s January ’86 cover painted in whiteface. From the pure gloss of its ambition to the obsessiveness of its lyric, “Slave” is the ’80s.

Her ultimate hit in much of the world, “Slave” underscored how Jones’ incandescence and charisma made her bigger than her sales figures might indicate. MTV virtually ignored the track’s Goude-directed video; even when framed by Horn’s familiar transatlantic brilliance, Jones was, for them, still too black, too strong. Nevertheless, she got over elsewhere on the sheer magnitude of her presence. With the help of Hollywood and some crazy commercials for Citroën, Honda Scooters, and Sun Country Wine Coolers, she became more massive than ever.

“I like conflicts,” she told Playboy in 1985. “I love competition. I like discovering things for myself. It’s a childlike characteristic, actually. But that gives you a certain amount of power, and people are intimidated by that.”

By the following year, with Goude and Blackwell out of the picture, Jones wanted more involvement in her debut album for EMI subsidiary Manhattan Records, 1986’s Inside Story. Taking EMI A&R head Bruce Garfield’s direction to “imagine a leaf being blown through the streets of New York, twisting and turning in the sunshine” as a starting point, Jones and Woolley wrote every song together, then joined multi-platinum Svengali Nile Rodgers in New York to transform their demos. This mutually flattering union yielded her last R&B radio victory, “I’m Not Perfect (But I’m Perfect for You)”. Indicting white-collar criminals and Hollywood liars, Inside Story revealed the singer’s observant, socially conscious side, while the jagged arrangements meshed Rodgers’ ricocheting, jazz-schooled guitar with Woolley’s smart pop. It is a singer/songwriter record you can dance to.

She followed it with 1989’s Bulletproof Heart, which yielded one resplendent club triumph, “Love on Top of Love”, courtesy of David Cole & Robert Clivillés, a house remix/production duo who later scored with C+C Music Factory. Jones co-wrote and co-produced most of the album with her new husband, Chris Stanley, whose output fell far below her avant standards; the two soon divorced. Having tried harder, thought broader, and crossed more boundaries than most of her contemporaries, this dance-floor renegade closed out the decade boxed in and coasting.

By the late ’80s, I had moved to San Francisco; AIDS was decimating the gay community. One night in 1993, I finally got my chance to see Jones perform at a local gay nightclub and took my friend Brian, whose partner Mark was too sick to join us. Jones’ lived up to her reputation for diva behavior and didn’t take the stage until well after midnight. At first she stuck to her hits, including that year’s house excursion “Sex Drive”. But it soon became apparent that she didn’t need the spectacular filigree of her Goude years. The special effect was her smile: It just wouldn’t stop, and soon it became contagious. She didn’t back away from the elephant in the room: She dedicated one song to artist and AIDS casualty Keith Haring, who had used her body for a canvas on the occasion of her legendary 1985 Paradise Garage performance.

That night’s show was remarkable for the simple fact that Jones just kept on going, granting one encore request after another, waiting patiently while the sound man scoured backing tapes to find the fans’ offbeat choices. When Jones got to such minor numbers as “Crush”, it became clear that she didn’t want to leave. She was giving as much of herself as she could to the beleaguered troops, knowing full well that many wouldn’t live long enough to see her again. A few months after that show, I inherited Mark’s cherished copy of Goude and Jones’ art book Jungle Fever after he and Brian died within weeks of each other.

Jones’ lust for life that night represented not just resilience to repression, but also a way of fighting back that sent a message: We, who are thought less than, shall burn brighter than our oppressors. That was why she was so beloved—because she led the way, even when we couldn’t proceed. Along with the lesbians and lucky survivors who nursed our fallen, Jones had borne witness to what Reagan, Bush, and most of the country willfully ignored; she knew the toll of it all.

Throughout the ’90s, rumors of new albums surfaced; Blackwell recorded several sessions, so did Tricky. Even Moulton buried the hatchet for a 1997 house remake of Candi Staton’s “Victim”, but Island nixed its release on conceptual grounds: They thought Grace Jones couldn’t be a victim of anything.

In 2008, Jones unexpectedly reemerged with Hurricane, her first record in 19 years. She brought back Woolley and the Compass Point All-Stars while adding contributors like Emmy-winning composers Wendy Melvoin and Lisa Coleman, who worked with her for a month in their home on the the gospel-shaded canticle “Williams’ Blood”. “Prince has a presence and everybody in the room goes, ‘Whoa,’” Melvoin attests from first-hand knowledge—she and Coleman were key members of his Purple Rain–era backing band, the Revolution. “When Grace walks into the room, it’s more subtle, but it has the same effect. You just go, ‘My God, she’s taken up all of the space with that personality.’”

Hurricane mirrored that kaleidoscope. Unlike commonplace pop and rock luminaries who took extended vacations, Jones came back more polished and unpredictable than ever. With her trenchant track “Corporate Cannibal”, she even protested capitalist dehumanization by embodying it via grinding, insidious metal. But while her image as a constantly morphing, couture-clad hellion persists, the 67-year-old iconoclast stays true to herself. After all these years and so many disciples, there’s still no one like her.

While gathering up my Grace Jones memories, I was reminded of what Sonic Youth’s Kim Gordon once said about entertainers. This was 25 years ago, so my memory may have altered her words, but it went something like this: We pay to bask in the confidence of our most beloved performers so that we may learn to similarly love ourselves. Grace did that for me, for her audience, for anyone who has ever been too queer, too black, too female, or too freaky for the world around them. Grace Jones is liberation.

As a companion to Barry Walters’ Grace Jones piece, various Pitchfork contributors highlight some of the artist’s finest moments in music, film, and talk-show badassery:

The “Russell Harty” Incident

In 1981, Grace Jones pummelled British talk show host Russell Harty on his own BBC show. Harty always sat among the guests on his early evening gabfest, and on this particular night he chose to focus his attention on the men to his right, leaving Jones, seated alone to his left, out of much of the conversation. The scene plays out with a frustrated Jones admonishing Harty: “If you turn your back to me one more minute.” Harty dismisses her, wagging a finger before turning away. Jones then clips him on the neck and lands one, two, three more hits in quick succession before slapping him on the head. The confused audience applauds—was this planned? Is this funny? Is it art?

This was my introduction to Grace Jones: elegantly beating the hell out of a man who won't take her seriously, her black body and everything it knows asserting itself for the good of fed up women everywhere. —Sara Bivigou

“Use Me”

Grace Jones’ version of Bill Withers’ “Use Me” is exactly what a cover song should be: It honors the strengths of the original while restructuring it, truly taking possession of it as if it were her own work. While Withers’ original is full of human pain and love, Jones’ version–produced by Sly and Robbie for Nightclubbing–turns on one robotic heel into S&M, all sex, all strength. The distinctly American, organic funk of the original is refashioned as electro-Caribbean minimalism, letting Jones’ voice be as powerful as Withers’. When issued from Jones’ lips, “use me up” becomes a challenge: a love song for power bottoms everywhere. —Jes Sklonik

Vamp

Grace Jones fascinated me at a young age (seeing her as a kid while watching Conan the Destroyer with my dad both scared and excited me), but I didn’t become obsessed with her until seeing the movie Vamp at a sleepover in 1986. In the film, Jones plays Queen Katrina, a wicked vampiress running a strip club somewhere in Kansas (naturally). She makes her first on-screen appearance nude, save for a red bob wig and full body paint, doing a seductive dance that is as bizarre as it is weirdly erotic. At the time I didn’t really know much about her music (I was 11 years old and lived on a farm) nor could I appreciate that her body paint and the chair upon which she writhes were done by Keith Haring. The film is glorious ‘80s trash of the highest order, but Jones manages to transform the whole thing into high art by virtue of simply being there and, even though she’s playing the undead, sort of just being herself—beautiful, artful, exotic, and frighteningly wild. —T. Cole Rachel

“Breakdown”

Everyone from Suzi Quatro to the Replacements have covered Tom Petty and the Heartbreakers’ 1976 slowburner “Breakdown”, but Grace Jones’ take is the version most worth discussing. Given a sauntering, reggae reconstruction, Jones’ rendering is shaded by a subtle gradation of vocal inflections that give the song a searing potency: She is sturdy and commanding one second and mournful the next, the song’s titular collapse filtered through a distinctly Jonesian lens of fortifying self-sufficiency. Even Petty recognized that quality about Jones, writing a killer kiss-off of a third verse to cap her interpretation: “It’s OK if you must go/ I’ll understand if you don’t/ You say goodbye right now/ I’ll still survive somehow/ Why should we let this drag on?” In Jones’ more-than-capable hands, a bluesy classic is transformed into a clarion call, summoning strength from the depths of its vulnerability. —Eric Torres

“Warm Leatherette”

Grace Jones' cover of the Normal's “Warm Leatherette” is one of her more bizarre interpretations. The original song, based on J.G. Ballard’s dystopian novel Crash, was a cold proto-industrial track riffing on the flattening of human affect due to post-modern technology. In Jones' hands, the song becomes a sassy tribute to the pleasures of ultraviolence, queering the original text from a self-serious and mega-ironic love poem into a campy exploration of black female sexual identity. By subverting the tropes of white, male, anglo sci-fi, Jones turned the Ballardian porno-nightmare into a celebration of perversion via the intersection of technology and sexuality. —Eric Shorey

“Pull Up to the Bumper”

Grace Jones pioneered the way for Shamir, Stromae, and countless other dance mavericks of today—not just with her bewitching candor but through her use of androgynous innuendo. “Pull Up to the Bumper” was initially banned in the United States for suggestive lyrics—“Pull up to my bumper baby/ In your long black limousine”—that were revolutionary because they were smart, risky, and intriguingly gender inclusive, just like Jones herself. By combining Studio 54’s pulsing drums and chic new-wave licks with the kaleidoscope of Andy Warhol’s playhouse (Jones was a regular in both scenes), “Bumper” became a crucial track for American dance music while pushing boundaries of raw sexuality. —Molly Beauchemin

#Grace Jones #Queer History

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