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elmartillosinmetre · 2 years

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"Se está banalizando la pérdida del disco"

[Albert Recasens dirigiendo a La Grande Chapelle en la catedral de Santiago / FUCO REYES]

La Grande Chapelle publica en Lauda un álbum dedicado a la música que el navarro José de Baquedano escribió para la catedral compostelana

Reconoce Albert Recasens (Cambrils, Tarragona, 1967) que se dirime permanentemente entre el musicólogo y el director artístico. Así que cuando se dirigió al Xacobeo para proponer un álbum con la música que José de Baquedano había escrito en la Catedral de Santiago de Compostela y le respondieron que era ese un terreno que habían tratado varios músicos e incluso alguno había grabado algún disco, lo entendió, "porque yo respeto por supuesto el trabajo de otros y lo reconozco, y ahí están los nombres en la bibliografía que siempre incluimos en nuestros álbumes. Es cierto que de Baquedano existen varias ediciones y que en un círculo muy local o entre los musicólogos, Vaquedano (con uve, que era como se escribía su apellido siempre) es conocido, no es que fuéramos a descubrir la luna, pero en realidad es casi un desconocido para los buenos aficionados en España, y no digamos ya en el extranjero"

–En cualquier caso, los motetes que aquí graba son edición suya.

–Tengo una metodología de trabajo: propongo, busco financiación, un festival que se interese (que siempre es difícil) y cuando ya hay una fecha en el horizonte, hago tabula rasa y me voy al archivo, por mucha publicación que haya. Estuve en el Archivo de Santiago varias semanas con el catálogo en mano leyéndolo todo. Pasé por toda esa buena música de Semana Santa que tiene, las lamentaciones, y luego fui leyendo esos motetes, que no estaban transcritos y me parecían interesantes. Renuncié al repertorio castellano, a pesar de que casi la mitad de su producción son villancicos, pero era casi por un tema de corrección política, porque todo era Santiago cortando cabezas, guerra, guerra y cierra España, algunos eran muy curiosos, muy bien escritos, pero con esto vas al mercado europeo o estadounidense, con todo el mundo tan susceptible, y un apóstol ahí cortando cabezas de musulmanes, pues… De todas formas y en realidad quería centrarme en su música latina.

–¿Es en buena medida música arcaica?

–Sí, pero en el fondo qué es lo que merece ser preservado. Toda la música española que deriva de la gran tradición polifónica marca, y la música eclesiástica del XVII sigue los parámetros de gran solemnidad, gran devoción, pero la modernidad llega muy tamizada. Por ejemplo, ya sabemos que eran muy prudentes a la hora de introducir instrumentos. Estos motetes transpiran espiritualidad. Es una polifonía fantástica, con ese diálogo entre los dos coros. Hay tensión, las piezas están bien diseñadas, crecen. Es muy buena música. Luego miras que esta es la época de la ópera veneciana, de Cavalli… Pero es que hay que poner a cada música en su contexto.

–Reconozco que me ha sorprendido esa lamentación con violas da gamba...

–Tenía muy claro que tenía que estar en el proyecto. Busco siempre el máximo rigor y seriedad a la hora de aproximarnos a la música. Se ha abusado mucho de los instrumentos en la música sacra española. Voy y pongo violas porque tuvo que haber sido así, aunque no haya evidencias; las fuentes son muy testarudas, y en las catedrales españolas, salvo casos muy concretos como en los carros del Corpus o en ciertas celebraciones, cuando iba la corte (por ejemplo en Toledo) o se desplazaba la Capilla Real, que ahí sí solía haber instrumentos, la música era muy austera, se acompañaba con el órgano y si era Semana Santa, con bajones e incluso flautas, ya algo más adelante. Pero en el manuscrito de esta lamentación de Jueves Santo lo pone bien claro, “con vigüelas”, y es un caso excepcional, tres voces vocales y tres instrumentales. El resultado es muy sorprendente.

–Las lamentaciones de Baquedano sí parecen tener un toque de modernidad, pues incluyen pasajes solistas...

–Conocemos su predilección por el villancico, y tenemos lamentaciones, a siete voces, a dos, policorales, pero también varias para solista, que son muy virtuosas y retóricas, muy modernas. No incluí ninguna en el disco por oportunidad, por aprovechar la formación de dieciocho músicos que reuní para el disco y que no es tan habitual. Además alguna lamentación solista se ha grabado, la hizo Manuel Vilas con Monica Piccinini, y está muy bien. Para mi registro preferí las que son de más voces, y esta en concreto es muy excepcional y demuestra una práctica que a lo mejor no ha quedado siempre registrada, que es el uso de las violas, que sabemos que sí se hacía en la Capilla Real, pero no en las catedralicias.

–El Miserere refleja también otra práctica habitual, la del alternatim...

–Es una práctica en toda la península. En Andalucía hay ejemplos extraordinarios, recuerdo el de Jerónimo de Mesa en Córdoba, por ejemplo. Son prácticas que circulan por toda España. A mí lo interesante de este salmo es que Baquedano indica en su manuscrito cómo quiere alternar: fabordón, canto llano, polifonía, doble coro, solista del primer coro… Para conocer la práctica interpretativa eso es extraordinario, porque nos brinda todo un muestrario de cómo se hacía. Lo que no indica es la disposición de las plantillas, que de eso Javier Marín rescató algo en Jaén. Pero lo podemos imaginar, en el propio coro, la tribuna, el altar. Me parecía una obra muy variada, con alternancias, hay ecos en la contestación de uno de los coros. Resulta muy significativo en un compositor en general un tanto austero.

–Estrenaron este programa en la Catedral de Santiago...

–Sí, porque fue una apuesta del Xacobeo, y tuvimos también el apoyo de CEEH (Centro de Estudios Europa Hispánica) que nos suele apoyar así en alguna cosa especial, y la singularidad era que se hiciera allí donde esta música se estrenó en su momento. Lo hicimos en el altar mayor de la catedral de Santiago. Cuando terminó la producción lo grabamos en Portugal. Lo hicimos durante la pandemia, con las medidas de seguridad y distanciamiento que había entonces, se quedó mucha gente fuera. Por eso me alegra la edición del disco, que va a permitir a muchos aficionados descubrir esta música, acercarse a ella por primera vez.

[Un momento de la grabación en la iglesia del Menino Deus (Lisboa) en junio de 2021. / LA GRANDE CHAPELLE]

–¿Han tenido ocasión de hacerlo alguna vez más en concierto?

–Cuando grabamos se aprovechó para hacer una interpretación en Portugal. Siempre trato de convencer a los programadores. Enviamos nuestros proyectos a decenas de programadores en España y fuera, y les cuesta dar el paso. Me habría encantado hacer el Camino de Santiago desde Navarra con Baquedano. Pero no es fácil. Nuestro trabajo es siempre mirando a medio y largo plazo, tratando de convencer a los programadores a través de la calidad del trabajo. Este es ya el CD número 22, que se dice pronto. Todo es muy artesano. Pero cada disco es un proyecto de uno, dos años, que exige inversiones, porque detrás hay profesionales, a los que hay que pagar, y luego el retorno es complicado. Se está banalizando demasiado la pérdida del disco. Lo subimos todo a las plataformas, y hay gente que te dice que lo escuchan todo por Spotify o Youtube, pero cómo formamos a nuestro público. Porque un disco tiene también su libreto. Ya sé que algunas plataformas permiten subirlo, pero es que entonces perdemos hasta el valor añadido que supone el objeto físico, y ahora mismo nos pagan céntimos por las escuchas. Tendríamos que tener fuentes de ingresos alternativas, por ejemplo a través de una ley de mecenazgo, que le permitiera a una empresa financiarte una grabación, que no vas a vender, pero que se puede subir a las redes, y las empresas pudieran usar como forma de promocionarse.

–Pese a todo sigue con nuevos proyectos…

–Sí. Tenemos varias producciones previstas. Vamos al Festival de Melk en Austria, que dirige Michael Schade, gran tenor en su momento de Harnoncourt, y ahí llevamos un programa a medida. No nos gusta eso de ir de gira con el mismo programa. Damos a cada organizador un programa a medida, que pueda satisfacer a su público. Es lo que hicimos con Rodríguez de Hita, que fue encargo del CNDM y Antonio Moral lo cogió para Granada. En mayo estaremos en St. John Smith Square, en Londres, con un programa Hidalgo, que es uno de nuestros compositores estrella. A Malta vamos con Victoria, que es otro de los compositores más queridos. En Bulgaria hicimos el programa Guerrero que antes habíamos hecho ya en Úbeda, las versiones originales de las villanescas, en su formato profano. Está teniendo mucho éxito, me gustaría también grabarlo, porque además no tengo ningún Guerrero en la colección. Y después tenemos proyectos con otros compositores del XVII, como López de Velasco. Y en 2023 haremos un Sebastián Durón a 4. El disco que hicimos por el bicentenario en 2016 era policoral, con un gran conjunto. Haremos ahora este formato, que es también darle oportunidad a otros programadores, porque aquí no seremos más de 8 o 9 músicos.

Discografía. Un conjunto rendido a la música española

Aunque con otro nombre (Capilla del Príncipe de Viana) y en otros sellos, la Grande Chapelle había hecho ya algunos trabajos discográficos cuando en 2005 empezó a publicar bajo la marca Lauda. Se conmemoraba entonces el cuarto centenario de la edición de la primera parte de El Quijote, y los dos primeros discos del nuevo sello estuvieron dedicados a Cervantes y su magna novela. Si bien durante un tiempo, el grupo, aún dirigido por su creador Ángel Recasens, estaba formado principalmente por cantantes belgas, holandeses y franceses, la dedicación a la música española fue casi exclusiva desde el principio. Con la muerte del fundador en 2007, su hijo Albert, que hasta ese momento hacía el trabajo musicológico para el conjunto, se hizo cargo también de la dirección musical y el rumbo no se torció lo más mínimo, aunque poco a poco se fue normalizando la presencia de cantantes españoles y los álbumes misceláneos dejaron lugar a monográficos dedicados a compositores. Después de veintidós cedés, plagados de recuperaciones y primicias de todo tipo, el conjunto puede presentar un muestrario soberbio de la música española de los siglos XVI a XVIII, en el que al lado de nombres principalísimos como los de Cristóbal de Morales, Tomás Luis de Victoria, Alonso Lobo, Pedro Ruimonte, José de Nebra o el Padre Antonio Soler, se encuentran también referencias como las de Francisco Valls, Juan Hidalgo o Sebastián Durón y nombres mucho menos conocidos como los de Pujol, Rodríguez de Hita, García Fajer, Cristóbal Galán, Carlos Patiño, García de Salazar o, ahora, Baquedano.

[Diario de Sevilla. 16-10-2022]

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groundrunner100 · 8 months

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dailyanarchistposts · 22 days

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Footnotes - Part 2

[80] Graham Kemp and Douglas P. Fry (eds.), Keeping the Peace: Conflict Resolution and Peaceful Societies around the World, New York: Routledge, 2004, p. 163.

[81] All quotes and statistics on the Navajo come from Dennis Sullivan and Larry Tifft, Restorative Justice: Healing the Foundations of Our Everyday Lives, Monsey, NY: Willow Tree Press, 2001, pp. 53–59.

[82] www.harmfreezone.org (viewed November 24, 2006)

[83] Philly’s Pissed, www.phillyspissed.net [Viewed May 20, 2008]

[84] George R. Edison, MD, “The Drug Laws: Are They Effective and Safe?” The Journal of the American Medial Association. Vol. 239 No.24, June 16, 1978. A.W. MacLeod, Recidivism: a Deficiency Disease, Philadelphia: University of Pennsylvania Press, 1965.

[85] Jamie Bissonette, When the Prisoners Ran Walpole: A True Story in the Movement for Prison Abolition, Cambridge: South End Press, 2008, p. 201. Also consider the stories of John Boone and other bureaucrats presented in this story.

[86] Some mainstream sources still contest that the Makhnovists were behind anti-Semitic pogroms in Ukraine. In Nestor Makhno, Anarchy’s Cossack, Alexandre Skirda traces this claim to its roots in anti-Makhno propaganda, while citing unfriendly contemporary sources who acknowledged that the Makhnovists were the only military units not carrying out pogroms. He also references propaganda put out by the Makhnovists attacking anti-Semitism as a tool of the aristocracy, Jewish militias that fought among the Makhnovists, and actions against pogromists personally carried out by Makhno.

[87] Paul Avrich, The Russian Anarchists, Oakland: AK Press, 2005, p. 218.

[88] Makhno hoped that Lenin and Trotsky were motivated by a personal vendetta against him rather than an absolute desire to crush the free soviets, and would call off the repression if he left.

[89] Alexandre Skirda, Nestor Makhno, Anarchy’s Cossack: The Struggle for Free Soviets in the Ukraine 1917–1921, London: AK Press, 2005, p. 314.

[90] Amy Goodman, “Lakota Indians Declare Sovereignty from US Government,” Democracy Now!, December 26, 2007.

[91] From an anonymous illustrated pamphlet, “The ‘Oka Crisis’ ”

[92] Oscar Olivera, Cochabamba! Water War in Bolivia, Cambridge: South End Press, 2004.

[93] George Katsiaficas, The Subversion of Politics: European Autonomous Social Movements and the Decolonization of Everyday Life. Oakland: AK Press, 2006, p. 123

[94] Jaime Semprun, Apología por la Insurrección Argelina, Bilbao: Muturreko Burutazioak, 2002, p.34 (translated from French to Spanish by Javier Rodriguez Hidalgo; the translation to English is my own). The quotes in the next paragraphs are from p.18 and p.20.

[95] Jaime Semprun, Apología por la Insurrección Argelina, Bilbao: Muturreko Burutazioak, 2002, pp.73–74 (translated from French to Spanish by Javier Rodriguez Hidalgo; the translation to English is my own).

[96] Ditto, p.80 . Regarding the fourth point, in contrast to Western society and its various forms of pacifism, the peacefulness of the movement in Algeria does not preclude self-defense or even armed uprising, as evidenced by the preceding point regarding the martyrs. Rather, peacefulness indicates a preference for peaceful and consensual outcomes over coercion and arbitrary authority.

[97] Ditto, p.26.

[98] George Orwell, Homage to Catalonia, London: Martin Secker & Warburg Ltd., 1938, pp.26–28.

[99] There were 40,000 armed anarchist militants in Barcelona and the surrounding region alone. The Catalan government would have been effectively abolished had the CNT simply ignored it, rather than entering into negotiations. Stuart Christie, We, the Anarchists! A study of the Iberian Anarchist Federation (FAI) 1927–1937, Hastings, UK: The Meltzer Press, 2000, p. 106.

[100] Ditto, p. 101

[101] John Jordan and Jennifer Whitney, Que Se Vayan Todos: Argentina’s Popular Rebellion, Montreal: Kersplebedeb, 2003, p. 56.

[102] Natasha Gordon and Paul Chatterton, Taking Back Control: A Journey through Argentina’s Popular Uprising, Leeds (UK): University of Leeds, 2004.

[103] John Jordan and Jennifer Whitney, Que Se Vayan Todos: Argentina’s Popular Rebellion, Montreal: Kersplebedeb, 2003, p. 9.

[104] George Katsiaficas, “Comparing the Paris Commune and the Kwangju Uprising,” www.eroseffect.com. That the resistance was “well-organized” comes from a report from the conservative Heritage Foundation, Daryl M. Plunk’s “South Korea’s Kwangju Incident Revisited,” The Heritage Foundation, No. 35, September 16, 1985.

[105] Goods produced in environmentally friendly ways, by workers who receive a living wage in healthier labor conditions.

[106] Sam Dolgoff, The Anarchist Collectives, New York: Free Life Editions, 1974, p. 71.

[107] David Graeber, Fragments of an Anarchist Anthropology, Chicago: Prickly Paradigm Press, 2004, pp. 54–55.

[108] John Jordan and Jennifer Whitney, Que Se Vayan Todos: Argentina’s Popular Rebellion, Montreal: Kersplebedeb, 2003, pp. 42–52.

[109] Ditto, pp. 43–44.

[110] Diana Denham and C.A.S.A. Collective (eds.), Teaching Rebellion: Stories from the Grassroots Mobilization in Oaxaca, Oakland: PM Press, 2008, interview with Yescka.

[111] Ditto, interview with Leyla.

[112] “Longo Maï,” Buiten de Orde, Summer 2008, p.38. My own translation.

[113] Natasha Gordon and Paul Chatterton, Taking Back Control: A Journey through Argentina’s Popular Uprising, Leeds (UK): University of Leeds, 2004.

[114] For those who cannot read French or Spanish, in 2004 Firestarter Press put out a good zine about this insurrection, called “You Cannot Kill Us, We Are Already Dead.” Algeria’s Ongoing Popular Uprising.

[115] Paul Avrich, The Russian Anarchists, Oakland: AK Press, p. 212–213.

[116] Harold Barclay, People Without Government: An Anthropology of Anarchy, London: Kahn and Averill, 1982, p. 57.

[117] “Pirate Utopias,” Do or Die, No. 8, 1999, pp. 63–78.

[118] To name just one example, “humanitarian” UN missions have been caught repeatedly setting up sex trafficking rings in the countries where they are stationed for peacekeeping. “But the problem goes beyond Kosovo and sex trafficking. Wherever the UN has established operations in recent years, various violations of women seem to follow.” Michael J. Jordan, “Sex Charges haunt UN forces,” Christian Science Monitor, 26 November 2004. What the mainstream press cannot go so far as to admit is that this reality is universal to militaries, whether they wear blue helmets or not.

[119] “About RAWA,” www.rawa.org Viewed June 22, 2007

[120] See the citation of van der Dennen and Rappaport in Chapter 1.

[121] Harold Barclay, People Without Government: An Anthropology of Anarchy, London: Kahn and Averill, 1982, p. 122.

[122] Haudennosaunne oral traditions always maintained this early date, but racist white anthropologists discounted this claim and estimated the league began in the 1500s. Some even hypothesized that the Five Nations constitution was written with European help. But recent archaeological evidence and the record of a coinciding solar eclipse backed up the oral histories, proving that the federation was their own invention. Wikipedia, “The Iroquois League,” http: //en.wikipedia.org/wiki/Iroquois_League Viewed 22 June 2007

[123] Stephen Arthur, “Where License Reigns With All Impunity:” An Anarchist Study of the Rotinonshón:ni Polity,” Northeastern Anarchist No. 12, Winter 2007 nefac.net

[124] See, for example, Dmitri M. Bondarenko and Andrey V. Korotayev, Civilizational Models of Politogenesis, Moscow: Russian Academy of Sciences, 2000.

[125] The argument that certain societies were able to take over the world because of geographic conditions rather than any inherent superiority is skillfully presented by Jared Diamond in Guns, Germs, and Steel: The Fates of Human Societies. New York: W.W. Norton, 1997.

#anarchy works

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blood-darkened-moon · 2 years

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Is this William Birkin?

Some background information: Javier’s wife Hilda became infected with an incurable disease in 1991, ten years before his daughter Manuela presented the same symptoms. To save Hilda, he used the t-Virus as a treatment, which he got from Umbrella. Birkin died in 1998, thus, he wasn’t around anymore when Manuela got sick. However, it’s not specified when the photo was taken. If it is an older photo, this could be Birkin.

#resident evil #javier hidalgo #william birkin #he kinda looks like this #🩸🌙

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mychoombatheroomba · 2 days

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Hunter and Hunted

Disavowed (Krauser x GN! Reader/Krauser x Leon) - Chapter 3

2002

Krauser learns why Leon was sent to Mixcóatl, and danger makes itself apparent.

(Cross-posted from Ao3)

Previous Chapter | Next Chapter (Coming Soon!)

Chapter Index

June 29th, 2002

11:01

Mixcóatl, Amazon Rainforest

“What the hell are you doing here?” That was really the only question that mattered. Krauser asked it as soon as he and Leon righted themselves, as soon as they realized they could maybe take a moment. Krauser knew better than anyone that the jungle was just as much a death trap as the village nearby, but still, he needed to know. He needed to know why he was staring at Leon fucking Kennedy of all people, why he’d arrived minutes after Jack had been forced to kill the last of his men. He would know.

Any clever remark was drowned in the tide of confusion that washed over Leon’s face, and Krauser was given another question in place of an answer as the shorter man took up his fallen pistol.

“I could ask you the same thing.”

It wasn’t the first time the rookie had said something that pissed Krauser off, though this time, admittedly, it was through no fault of his own. No, rather, it was the fact that he was even asking that set fire to Krauser’s heart. Had they - that ever-present and all-powerful they - dropped this man in the jungle in hostile territory without telling him what he’d be facing? What had killed the men he was being sent to reinforce?

Or had they not told Leon of Krauser’s presence for another reason?

“They didn’t say I was here?” The Major felt like he was only now realizing the extent of the trap they’d set for him. “They didn’t tell you about the whole fucking team they sent down here?”

That confusion only rose, enough to drown any other emotion on Leon’s, but it was gone in a moment. Something else took its place then, a far cry from the bright-eyed rookie Krauser had been saddled with training, once. This expression . . . it was a grim acceptance. One highlighted by dark circles framing those once-bright eyes. “No,” he shook his head. “No, they didn’t.”

Krauser’s own eyes narrowed, and he fought back the urge to snarl. To rage at nothing and everything and tear the whole world apart.

Leon wasn’t here to reinforce him. He was never meant to find Krauser in the first place. No one was.

All at once, Krauser’s suspicions were confirmed, the nightmare he’d feared becoming reality.

He’d been cast aside. He and nine other men and women. Not just ignored but brushed under the rug completely. They hadn’t said that he and his team were there in Mixcóatl because they didn’t want them found.

“You weren’t sent here alone?” Leon asked, dread weighing down his words.

Krauser’s own words tasted of bile. “No. There were ten of us.” Ten people who had been sent here to die.

Leon didn’t need to be told that Krauser was all that remained. That much was clear from his expression.

No time to mourn. Not now. Mourning wouldn’t put Javier Hidalgo in the ground.

“So what did they tell you?” Krauser asked,

The younger man’s full lips pressed tightly together, his eyes wavering in focus for a moment under the heat of Krauser’s stare. “That Javier Hidalgo was in possession of bioweapons,” he began, “and that someone from Umbrella was his supplier. I’m supposed to confirm that and bring the Umbrella contact in alive for questioning.”

Krauser finally understood what people meant when they talked about having the rug pulled out from under them. The whole world seemed to be tilting as Leon spoke, skewing to some awful new perspective. One that Leon was heralding to him. Ever the man to make Krauser’s world just a little darker, wasn’t he?

No, that wasn’t fair. Krauser could almost hear your voice in his mind reminding him of that. There were many people to blame in this, and Leon Kennedy wasn’t one of them.

Didn’t help, though, that he hadn’t even been sent to kill the man who’d caused all this carnage and destruction.

They hadn’t sent Leon here for him, they’d sent him for someone else. Someone they wanted-

“Alive?”

Leon nodded, even with the Major’s anger flaring in front of him . . .

He didn’t get the chance to speak whatever words were forming in his throat. Not when the crack of branches nearby made both men freeze. Krauser’s gaze turned towards the tree line, the shadows that he knew from experience could hold any horror imaginable. And he knew, even if he couldn’t see what it was, that they were being watched.

Too much noise.

They’d been making too much noise and-

Focus. He’d often berated Leon with that word, and now he was the one who needed to be reminded of it. They were in the shit now, they had to deal with it first and foremost. The anger could wait. It could simmer, or spark like a long fuse burning down towards something. That was all he could afford because it wasn’t just his safety he had to account for, now. For better or worse, Leon was with him.

And regardless of how things had turned out, Krauser knew that you would never forgive him if Leon Kennedy’s name was added to the list weighing on his conscience.

He knew that he’d never forgive himself, either.

So, Krauser’s hand came up, forming signals that he’d taught the man in front of him, all those years ago. Signals any soldier should know. Freeze. Leon obeyed, the two of them scanning their surroundings. When no more noise followed, Krauser made more signals. Forward. Danger. And then one that Krauser and the STRATCOM recruits he’d trained had come to know well. Bioweapons. Leon didn’t miss a beat, because of course he didn’t. He just nodded, the grip on his pistol tightening.

They moved through the foliage - Leon was quieter, now. Taking care to step where Krauser stepped, to silence his footfalls as best he could. He didn’t need to be told of the danger. Few in the world understood it better.

Even so, Krauser found himself wanting to look back more than he should, feeling like the jungle was pressing in around them, its sounds hiding any and all number of threats.

They needed to get out, and there was only one place that Krauser could think to go; the village that he and his men had made their way towards when they first arrived. The same one they’d only barely reached, before the nightmare had begun. The one they’d been routed from, driven deeper into the jungle.

And in that jungle, they’d been torn apart.

No, the village was the best bet, overrun or not. He and Leon just had to get there alive.

Alive.

They wanted the Umbrella scientist alive.

They wanted Javier alive. Or at least weren’t targeting him anymore.

And they’d left Krauser and his men for dead.

You’re an asset to them. Hadn’t he told Leon that, once? And now-

Focus.

He had to forge that anger into something useful. He’d done it before. He’d trained his entire life to learn to do it. Compartmentalize. Lock it away. Forget their faces because if he didn’t, another would be on his conscience. It didn’t matter if he was being burned up from the inside. It didn’t matter if he hadn’t slept or eaten or taken more than a few moments of rest.

He had to do this. He needed to do this.

He needed to get out of this jungle. To find Javier. To make him pay. To keep Leon-

Another distant crack, this one resounding through the trees like the distant thunder of an impending storm.

Krauser looked back just in time to see the forest move.

His knife was drawn, and his gun aimed in an instant because he knew an instant might be all they had. Leon did the same, ducking out of the way as something flew from the tree line. In a flutter of wings, the birds cut through the thick air, flitting past Leon’s head in a panic.

Mercifully, there were no talons to sink into flesh, no razor beaks to tear at skin. Only animals taking flight.

They weren’t the only ones.

As the two pressed on, more and more animals crossed their path. Monkeys swinging through the trees, more birds fleeing . . . all coming from the same direction. The same direction Krauser had come from himself, before he’d been forced to put Barnes down.

The same direction the cracking of branches was coming from.

They had to move.

Get to the village. That was what they had to do.

Krauser moved a little faster now, after hearing more noises from the trees. As he felt that undeniable weight of something being close to them. A presence lingering on the edges of his perception, one that made him grip his weapons tighter.

Leon fell in closer, his presence at Krauser’s back doing little to calm the Major’s nerves. Two sets of eyes were better than one, but two lives to safeguard . . .

Another snapping of branches.

That noise was getting further away from the sound of it. Still, Krauser didn’t let himself hope for the best.

How could he, when only a few minutes later he found himself stopping in his tracks?

Leon fell in at his side, those blue eyes going wide as the two beheld the warning written into the forest before them; a great swath of the jungle in front of them, maybe three or four feet wide and so long it disappeared into the trees on either side of them, was flattened, leaves and branches crushed into the mud. The path of the indentation curved and twisted like the bends of a river, carving a shallow ditch into the damp ground. Krauser’s brow pinched tight, his mind already coming to a terrible conclusion about what could have carved its signature into the earth like this.

That was when he realized, with his belly going cold, that the noise of the forest had stopped. Not just the snapping of wood, but the birds, the calls of other animals . . . all of it had given way to a terrible, still silence.

Krauser’s jaw tightened, his body feeling that familiar tension of getting ready for a fight, because after days of this, he knew that was what was coming. He’d been sent into this rainforest as a hunter, but now he was little more than prey. Him and Leon both. So, he looked to his side, to where Leon stood, just as tense. Just as ready for anything - his eyes sharp and his mind focused in a way that Krauser himself had honed in him. He didn’t look the part of the rookie anymore.

It made for a peculiar picture as orange flitted down from the sky on gentle wings.

The butterfly did nothing to disturb the silence as it fluttered past Krauser and towards Leon. It wasn’t bothered by the two men, both of them perfectly still, and flew around, landing on Leon’s shoulder opposite the Major. There it fluttered its wings once. Twice. Like the flashing of lights in warning.

And Krauser’s eyes widened as movement of another sort shifted in the shadows of the trees.

There was a hiss, a final crack of wood splintering, and then death sprung at them with too-wide open jaws.

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A/N: Had to include the butterfly from the original story, as well as a little spin on the snake 😁

#jack krauser #jack krauser x reader #metaltango #jack krauser x leon kennedy #angst #resident evil #gender neutral reader #operation javier #between the bones #disavowed

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gigi-does-art · 4 months

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Very self-indulgent but little sketch of my re oc, Eliana. Leon has now become the proud but very tired father of two kids with fire-related powers.

#leon s kennedy #leon kennedy #manuela hidalgo #oc #oc art #my art #resident evil #catified #catified resident evil #im messing around with the timeline here #also manuela got adopted right after operation javier happened #because i adore her and want more content of her #capcom please bring her back qwq #the overall story is a work in progress at the moment

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blcsscdson · 2 months

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This got a lot longer than I intended, but I got a decent enough picture of what Jack was up to from 1914 to 1917 after the "Remember My Family" mission. Under the cut for length.

First off, he inherited all of John's saddles after his passing (which would include the trapper ones) and has used a few of them throughout the years. He probably favored the Panther Trail Saddle or the Rattlesnake Vaquero Saddle. Same goes for horses, though he favors his own Lusitano for the duration of his trip to find Ross.

This is where it gets interesting. Following his duel with Ross, Jack traveled further into Mexico, both to let the heat die down and to travel the world. There, he ended up in State of Hidalgo where he met a few of the local ranchers (or Charros as they're colloquially called) who gave him a job after he'd helped with a local problem. Jack saw it as an opportunity to learn Spanish, a language he'd heard from Javier when he was a kid and to learn more about riding, horses and even ranching. Seeing how Beecher's Hope had a few horses back in the day, Jack wanted to continue that line of work. He spent a year or two in Mexico. Sadly, he got caught in the crossfire of the Revolución in 1915 & 1916 but never made any headlines. Like his Pa before him, he was just a hand protecting his employer and their land.

As thanks for his help, Jack was given further instruction on horse riding and was allowed to take part in the spectacle of Charreada. Seeing how he was already handy with horses and the lasso, as well as all the effort he put into riding, it felt fitting. Plus, it'd be quite the spectacle seeing a 'gringo' compete with a charro. Of course, Jack put up quite a fight and show, excelling in a few of the Suertes Charras such as Piales, Jineteada del Toro (Bull Riding), Jineteada de Yegua (Mare Riding) and perhaps the most dangerous of all El Paso de la Muerte, which consists of jumping onto the back of a brute mare that is also running around the ring from the back of a gentle horse that rides bareback and gallops. Once the change of mounts has been made, the rider must endure the objections of the untamed mare, only holding onto the mane, until the animal tires and stops. The charro only has the opportunity to perform this luck during two laps of the ring.

Jack couldn't quite excell on the other 5 Suertes but he took it in stride, something the other participants appreciated enough to give him a saddle as a souvenir of his first foray into charreria. By January of 1917, once the US involvement was over, Jack said his goodbyes, thanked his now former patrón for the work and kidness and headed back to the US and Beecher's Hope. Armed with something more valuable than bullets and guns, he could start thinking about what could be done about the farm.

#( HEADCANON )#I tagged this as headcanon but tbh #It's my own canon #y'all have no idea the amount of research and asking around I had to do to write down the parts about charreria #and I'm from mexico lmao that oughta count as a research project #also fun fact #the saddle of a charro is v ornate yet comfy #and the cowboys even used it as a base/copied it

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inaimexico · 1 year

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22/09/2022

Al comienzo de la administración del presidente Andrés Manuel López Obrador, durante enero de 2019, estalló la crisis del “huachicol”. Voló en pedazos un ducto de la paraestatal mientras los vecinos de Tlahuelilpan Hidalgo, extraían combustible de manera clandestina; la explosión en territorio hidalguense causó 137 muertes y desnudó el “modus operandi” con el que se practicaba (lo peor es que persiste), el robo de hidrocarburos a cielo abierto, a lo que se conoce -desde entonces- como el “huachicol”.

#INAI #Francisco Javier Acuña #Huachicol #Tlahuelilpán #Hidalgo #Explosión #Pemex #Hidrocarburos #Sedena #ZIBAR

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yngai · 7 months

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i'll finish the thoughts post eventually just need to get the ball rolling on the rest of it but i will say one major disappointment i have with RE4R in terms of its story is that while it is better told, there are so many interesting elements from the original that begged to be carried over & expanded upon that are simply either completely missing, changed entirely or otherwise left just as vague, & no better example i could think of than operation javier being mentioned but completely butchered as being solely krauser's backstory with no connection to wesker, t-veronica, leon or manuela hidalgo (unless they plan on giving us some kind of krauser DLC that would at least expand on the single file we've been given, there's hints in separate ways of a connection between wesker & krauser at the very least) .

there was a push here to make what was a very goofy & charming outing for ressie into something darker & while i do enjoy some of the directions taken by the franchise since RE7 the lingering dread of its subject matter hidden beneath an unassuming veneer of b-movie cheese & gratuitous action has always been present, RE4 being no different, but i think the remake tried to have its cake & eat it too & while it delivers & enhanced the gameplay thrills of the original, i do think its story is overall lesser in comparison with several elements simplified for easier digestion (& completely missing almost any mention of american foreign intervention, salazar musing about the popularity of the word terrorist in a game set in 2004 & released in 2005 is kind of insane considering what america was justifying at the time & still is under the guise of combatting terrorism), especially in its villains, i've already mentioned my dislike for remake!saddler but wesker ? what did they do to you man .

#* file // : OOC — ( 𝐓𝐇𝐄 𝐏𝐎𝐒𝐓𝐄𝐑'𝐒 𝐂𝐑𝐔𝐒𝐀𝐃𝐄 . )#you'll hear more about this from me at a later date i am not finished #for clarification these are specifically narrative gripes #like every remake it is an insanely fun/addicting gameplay loop with RE4R having the best combat in the franchise #(& missing almost no content too - i like that they trimmed the fat RE4 is way too fucking long)#but as mentioned previously i crib from both original & remake for my portrayal & while i am quite content with RE2R as a basis #for any mention of the events of raccoon city #with RE4R there's a lot more of the original i am personally expanding upon for ada's character development #ada's relationship with wesker is so simplistic owing to him being rather one-note in the remake #that won't do #that won't do at all

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