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gcthvile · 2 months

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Brixton Thompson

"My father is the worst man alive

and I'm his only son."

Name: Brixton Thompson

Age: 20

Height: 6'2

Sexuality: unlabeled

Powers: mind control (the ability to control another person's mind through literal verbal commands and make them completely obedient to him)

Backstory

Brixton's tale begins with a dark legacy intertwined with the infamous Kilgrave, the man with the power to control minds with a mere whisper. Born to this villainous figure and an unwitting victim, Brixton's life was ensnared in a web of manipulation and despair from the moment he took his first breath.

From a young age, Brixton exhibited signs of inheriting his father's cursed ability. His innocent commands to play or be comforted twisted the wills of those around him, leaving a trail of unwitting subjects in his wake. But unlike Kilgrave, whose control was wielded with callous intent, Brixton recoiled from the realization of his power's potential for harm.

Growing up under Kilgrave's watchful eye was a suffocating experience. The weight of his father's expectations bore down on Brixton, a constant reminder of the dark path laid out before him. Kilgrave, ever disappointed by his son's reluctance to embrace his villainous legacy, sought to mold Brixton into his image—a ruthless manipulator capable of bending the world to his will.

Despite his inner turmoil, Brixton yearned for his father's approval, a longing that drove him to suppress his own moral compass in a desperate bid to please Kilgrave. He found himself committing acts of cruelty and coercion under his father's command, each action a betrayal of his own values.

But beneath the surface, a spark of defiance smoldered within Brixton. He harbored secret dreams of breaking free from Kilgrave's influence, of forging his own path untainted by his father's dark legacy. Yet, the fear of disappointing Kilgrave and facing his wrath kept him shackled to his fate.

As Brixton matured, so too did his resolve to resist his father's control. He his escape from Kilgrave's grasp, knowing that the road ahead would be fraught with danger and uncertainty.

Haunted

Even after breaking free from his father's immediate influence, the specter of Kilgrave continued to cast a long shadow over Brixton's life. The echoes of his father's commands lingered in the recesses of his mind, an indelible imprint that colored his every thought and action.

Haunted by the memories of the sinister deeds he committed under Kilgrave's control, Brixton found himself wrestling with guilt and self-doubt. Nightmares plagued his sleep, vivid visions of the past playing out in a cruel loop, a constant reminder of the darkness he sought to escape.

The fear of inadvertently inheriting Kilgrave's malevolence tormented Brixton, driving him to question every impulse and decision. He became hyper-aware of the potential harm he could inflict with his powers, tiptoeing on the edge of paranoia to ensure he never became a mirror image of his villainous father.

The psychological scars ran deep, affecting Brixton's ability to trust and form meaningful connections. Afraid of being a danger to those he cared about, he kept others at arm's length, creating an emotional distance that served as both a shield and a prison.

Even as Brixton attempted to forge a new identity, the legacy of Kilgrave's malevolence seemed inescapable. The world, too, was quick to judge him based on his infamous lineage, making every step toward redemption an uphill battle.

Personality

Brixton's upbringing under the oppressive influence of Kilgrave, coupled with the weight of his own internal struggles, left him emotionally stunted and withdrawn. From a young age, Brixton learned to suppress his emotions as a coping mechanism to deal with the trauma of his past. The guilt and shame he felt over his actions under Kilgrave's control led him to bury his feelings deep within himself, afraid of the darkness that lurked within.

Growing up in an environment where trust was a luxury and vulnerability was a weakness, Brixton struggled to form genuine connections with others. The fear of inadvertently manipulating or harming those around him kept him at a distance, leading to a profound sense of loneliness and isolation.

The weight of his past and the constant struggle to reconcile his own identity with the legacy of his father's villainy took a toll on Brixton's mental health. He battled with feelings of hopelessness and despair, trapped in a cycle of self-loathing and doubt that seemed impossible to break.

Brixton's lack of emotional expression and social isolation contributed to his shyness and awkwardness in social situations. He found it difficult to engage with others on a meaningful level, preferring the safety of solitude to the unpredictability of human interaction. Brixton's quiet demeanor stemmed from a reluctance to draw attention to himself, fearing the repercussions of revealing too much of his true self to the world. He became accustomed to keeping his thoughts and feelings guarded, speaking only when necessary and often choosing silence as a form of self-protection.

The intentional isolation imposed by Kilgrave, driven by his desire to mold Brixton into a mirror image of himself, further exacerbated Brixton's challenges in developing social skills. Brixton's restricted interactions with the outside world deprived him of the normal social experiences crucial for the development of healthy social skills. His father's control-fueled isolation left him ill-equipped to navigate the complexities of human relationships.

The absence of diverse social interactions during his formative years hindered Brixton's ability to understand social cues, norms, and dynamics. As a result, he found himself ill-prepared to engage with others in a manner that felt natural or relatable.

Having experienced the manipulative power of his own abilities, Brixton harbored a deep-seated fear of inadvertently manipulating those around him. This fear acted as a barrier, preventing him from fully engaging in social situations and creating a self-imposed isolation to protect others from his perceived threat.

Kilgrave's attempt to create a copy of himself through Brixton led to a fundamental distrust of others. Brixton struggled to discern genuine intentions from potential manipulations, making it challenging for him to form authentic connections based on trust and mutual understanding.

The lack of exposure to social settings and the fear of judgment due to his father's legacy fueled social anxiety in Brixton. He felt a constant pressure to conform to expectations and worried about the consequences of his interactions, making each social encounter a source of stress.

The saviour

The relationship between Brixton and Jessica Jones is one forged in the crucible of shared trauma and redemption. Jessica, having her own history with Kilgrave, becomes a beacon of understanding and support for Brixton as she rescues him from the clutches of his malevolent father. Jessica assumes the role of a guardian, breaking the chains of Brixton's past by liberating him from Kilgrave's influence. In doing so, she becomes a warden of sorts, not only safeguarding him from physical threats but also guiding him through the treacherous terrain of emotional recovery.

Their connection is rooted in the shared trauma of Kilgrave's manipulation. Both survivors of his mind-controlling powers, Jessica and Brixton find solace in the understanding that only someone who has faced such darkness can truly comprehend the depth of their pain.

Jessica, having navigated the aftermath of her own entanglement with Kilgrave, becomes a mentor to Brixton. She imparts wisdom gained from her experiences, helping him navigate the complexities of his powers, identity, and the challenging journey toward self-acceptance. Jessica's presence serves as a catalyst for Brixton's redemption and healing. Through her guidance, he begins to confront the shadows of his past, gradually learning to forgive himself for the actions committed under Kilgrave's influence and working towards a brighter, self-determined future.

Jessica provides unwavering support for Brixton, recognizing his struggle to break free from the legacy of his father. In moments of doubt and darkness, she stands by his side, offering a steadying presence that encourages him to face the demons within and emerge stronger. Their relationship evolves into a bond that goes beyond the conventional definitions of family. Jessica becomes a pillar of support, and together they form a found family—one forged not by blood, but by shared resilience and the determination to rise above the scars of their past.

Hobbies

Despite his isolation, Brixton manages to find solace and expression through hobbies that allow him moments of escape from the weight of his past. Having limited exposure to the outside world, might find solace in books. Reading becomes a means for him to explore different perspectives, escape into fantastical realms, and gain insights into human emotions and relationships.

Whether through drawing, painting, or other forms of artistic expression, Brixton channels his emotions into creative outlets. Art becomes a silent language through which he communicates the complexities of his inner world.

In the quiet moments of his isolated existence, Brixton might discover the power of music to evoke emotions and provide a sense of connection. He could develop a passion for playing an instrument or curate playlists that resonate with his feelings.

Brixton might immerse himself in self-education, using the resources available to him to learn about a variety of subjects. This intellectual pursuit becomes a way for him to broaden his understanding of the world beyond his confines.

Seeking an outlet for the pent-up frustration and a desire to reclaim control over his body, Brixton could take up martial arts or engage in physical training. This not only serves as a form of self-discipline but also empowers him in the face of his traumatic past.

Brixton may find solace in putting pen to paper, whether through creative writing, poetry, or journaling. This becomes a private space where he can express his thoughts, reflections, and aspirations.

Engaging in puzzles, whether they be intricate jigsaw puzzles, crosswords, or strategy games, could appeal to Brixton's analytical mind. These activities become a mental escape and a challenge that distracts him from the haunting memories.

well, hope you like him!

@missstrawbs2001 @jackiequick @blueboirick @cherrysft @meiramel @gaminggirlsstuff

#oc post #oc rp #oc rpg #oc introduction #marvel #marvel roleplay #marvel oc #marvel x oc

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ausetkmt · 3 months

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I first saw Bamboozled as a 15-year-old, in April 2001, at the Ritzy Cinema in Brixton, south-west London, and it threw me for a loop. Written and directed by Spike Lee, the film is an intense satire about a frustrated African American TV executive, Pierre Delacroix (Damon Wayans), who creates a contemporary version of a minstrel show in order to purposefully get himself fired, and expose the commissioning network as a racist and retrograde outfit. However, the show, which features its black stars wearing blackface, becomes a huge hit, prompting Delacroix’s mental collapse, and an explosion of catastrophic violence, the effects of which are felt far and wide.

In a fraught contemporary climate where the mediation of the black image in American society is at a crucial juncture, Bamboozled’s trenchant commentary on the importance, complexity and lasting effects of media representation could hardly feel more urgent. Each time an unarmed black person is killed, then hurriedly repositioned in death as a thug, a brute, or a layabout by mainstream media outlets – as has happened recently to Trayvon Martin, Michael Brown, Eric Garner, Samuel DuBose and countless others – we are seeing the perpetuation of old anti-black stereotypes, forged in the crucible of mass American art, reconfigured for our time.

Lee’s film traces a grim continuum between stereotypes old and new, connected by knotty skeins of institutional racism. Many critics at the time of the film’s release suggested that Lee had needlessly reopened old wounds; that the dark days of minstrelsy were comfortably behind us, and that we should move on. Yet Lee’s vision was not only necessary, it proved remarkably prescient. During the course of writing this book, I rewatched episodes of garish reality TV shows like Flavor of Love (2006-8), starring the clock-wearing rapper-cum-jester Flavor Flav, and The Real Housewives of Atlanta (2008-). I had to concede that Bamboozled’s nightmarish New Millennium Minstrel Show didn’t look so far-fetched after all. I sat gape-mouthed in front of Lee Daniels and Danny Strong’s musical soap opera Empire (2014-) – a wildly entertaining but exceedingly dubious carnival of black pathologies – and couldn’t help but wonder if it was the type of show that would get Bamboozled’s master-wigger network boss Dunwitty (Michael Rapaport) hot under the collar at proposal stage.

When, in October 2014, I saw footage of freshly signed rapper Bobby Shmurda literally dancing on a table in front of a group of executives, exactly like performer Manray (Savion Glover) does in Bamboozled, I began to wonder whether Lee was in fact a secret soothsayer. Not even he, however, could have predicted the transcendentally weird tale of Rachel Dolezal, the NAACP leader in Spokane, Washington, who was revealed to have been white, and posing as African American all along. At the time of the incident, many wags on social media suggested that Lee would be the ideal man to direct Bamboozled 2: The Rachel Dolezal Story.

Bamboozled’s shrewd commentary on the lack of behind-the-scenes diversity in mainstream entertainment is also especially relevant today. The presence of figures like Robin Thede – head writer on The Nightly Show With Larry Wilmore, and the first black woman to hold that position on a late-night network comedy show – and Shonda Rhimes, the powerful showrunner behind Grey’s Anatomy, Scandal and How To Get Away With Murder, is heartening. Yet a report released in March 2015 by the Writer’s Guild of America West revealed that minority writers accounted for just 13.7% of employment: a dismal statistic. Moreover, Rhimes’s success didn’t insulate her from being disrespectfully branded as an “Angry Black Woman” – that most pernicious of stereotypes – in a rancid, supposedly flattering article by Alessandra Stanley in the New York Times

While most of us can cheer the incrementally increasing diversity on our film and television screens, Bamboozled forces us to question the quality and progressiveness of these roles. Ostensibly it’s great that talented actors such as Mo’Nique (Precious, 2009), Octavia Spencer (The Help, 2011) and Lupita Nyong’o (12 Years a Slave, 2013) are winning Oscars, but isn’t the shine taken off somewhat by the fact they were rewarded by the establishment for playing, respectively, a psychotic “welfare queen”, a neo-Mammy in a white savior period picture, and a chronically abused slave? Why don’t black women win Oscars for playing complex heroines or crotchety geniuses like their white male counterparts? Because old stereotypes die hard within an industry that prefers stasis over change. Perhaps even more disturbingly, there’s something inherently soothing about such stereotypes for mass audiences – a point particularly relevant to the wild popularity of Bamboozled’s own minstrel show.

And how far have we come, really? Ridley Scott cast a host of white actors (including a fake tan-enhanced Christian Bale and Joel Edgerton) in his Middle Eastern epic/flop Exodus: Gods and Kings (2014), but his response to complaints was both flippant, and distressingly matter-of-fact: “I can’t mount a film of this budget, where I have to rely on tax rebates in Spain, and say that my lead actor is Mohammad so-and-so from such-and-such. I’m just not going to get it financed. So the question doesn’t even come up.” The best riposte to Scott and his film came from independent black film-maker Terence Nance, who wrote that “[l]ike The Birth of a Nation before it, [Exodus] traffics in absurd cultural appropriation and brown-faced minstrel casting/makeup techniques to rewrite African history as European history, and in so doing propagates the idea that European cultural centrality is more important than historical fact and the ever-evolving self-image of African-descended people as it is influenced by popular representations of people of color in Western media distributed worldwide.”

Nance, however, is just one talented black film-maker among many (Dee Rees, Tina Mabry, Haile Gerima, Julie Dash, Barry Jenkins et al) who have struggled to attract funding to tell artistic and personal stories outside of the monolithic, corporate world of mainstream entertainment which Bamboozled so acidly depicts (even if it is set in the world of TV rather than film.) Lee has long been vocal about the struggles he’s faced in raising funds to tell black-focused stories, and even he had to go cap in hand to fans on Kickstarter to crowd-fund his idiosyncratic, low-budget vampire movie Da Sweet Blood of Jesus (2014). Da Sweet Blood is his most excessive, least easily readable work since Bamboozled, but it can’t match his earlier film for sheer visceral impact.

Bamboozled, then, is a genuine one-off, but I can detect traces of its relentless, irritable, questioning approach in a variety of contemporary art. I see it in Justin Simien’s excellent college-set satire Dear White People (2014), which was inspired by horrific, real-life blackface parties at universities across America. I see it in the antic situational comedy of Key & Peele, whose best sketch, musical spoof “Negrotown”, compresses the madness, pathos and insight of Lee’s film into four-and-a-half harrowingly hilarious minutes. I see it in Branden Jacobs-Jenkins thrillingly audacious play An Octoroon (2013), which reconfigures blackface tropes in daring ways. Most of all I see it coursing through the veins of Paul Beatty’s scabrous satirical novel The Sellout (2015), about a shiftless young black Angeleno who hatches a plot to reintroduce racial segregation, and takes an elderly slave – a disturbed former “pickaninny” star of Little Rascals films – while he’s at it. Like Lee’s film, it plays as a shotgun blast to the face of formal convention, it’s stubbornly resistant to a single concrete interpretation, and it has a lot of very painful things to say about America today.

ABC’s enjoyably gentle sitcom Black-ish (2014-), meanwhile, simultaneously echoes Delacroix’s crisis – with its premise of a middle-class black ad executive (Anthony Anderson) jockeying for position in a white corporate space – and feels like the kind of show Delacroix, free of Dunwitty’s pressure, might have concocted himself.

Lastly, I couldn’t help but think of Bamboozled while poring over Ta-Nehisi Coates’s epic essay in the Atlantic, The Case for Reparations, which uncovers, in forensic detail, the institutional plunder of black Americans from slavery to redlining to mass incarceration and its destructive impact on families. Coates’s fury is more controlled than Lee’s, but it’s equally sincere, and his essay shares with Bamboozled the central imperative to look directly into the heart of past racial sins in order to plot a productive way forward.

It is time, then, to take a close look at Bamboozled, which deserves to be respected as much more than a mid-career oddity in Lee’s filmography. It is a vital work that’s equal parts crystal ball and cannonball: glittering and prophetic, heavy and dangerous.

#Bamboozled: Spike Lee's masterpiece on race in America is as relevant as ever #Bamboozled #Spike Lee #Black Film #Black Movies #Black Actors #The Wayans Brothers #Black and White Comedy

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everydayesterday · 7 months

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song of the day:

six by seven - sawn off metallica t-shirt (1999)

I saw six by seven with placebo and alpinestars at brixton academy on halloween back in 2000. it survives as one of my favourite concert memories.

spotify says they only have 3,250 monthly listeners, which feels like a misprint. surely they must pop up on random playlists covering british indie rock from the late 90s/early 2000s, no?

NME said about the album (giving it 4.5⭐/5): "If their previous records had been notable but somehow incomplete slicks in life’s tidal drift – artfully conceived distress signals just that little bit too polite to really convince – ‘The Closer You Get’ is an emo-logical cataclysm of Exxon Valdez proportions.

[...]

Somehow, from wholly precedented elements, Six By Seven have forged their own distinct sound, a sort of user-friendly mania. ‘The Closer You Get’ is a fist-in-the-air triumph, a beautifully realised shot of vitriol to the mainstream’s limpid veins, an amped-up refusal to acquiesce. “Anger is an energy”, a wild-eyed seer once observed. These happy death men know exactly what he meant."

...all of which makes no fucking sense whatsoever, but must've been fun to write.

#music #song of the day #six by seven #nme #user-friendly mania

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whatsonmedia · 10 months

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acidrefluxuk · 2 years

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ASD Teaching Assistant Job in Lambeth

Apply for the latest ASD Teaching Assistant Jobs in Lambeth in Education in United Kingdom. Job Description ASD Teaching Assistant | Brixton | Lambeth | September start | Ideal role for aspiring Psychologists/Counsellors or SALT's! If you have aspirations of forging a career supporting those with special educational needs and want to gain experience that will look impressive on your CV – please…

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rajeshvaidya · 2 years

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#Repost @lamborghinishood with @use.repost ・・・ Huracan Evo x Brixton Forged CM6-RS Ultrasport+ // Sales inquiries contact [email protected] or call +1.888.397.6601 ignore the tags #prestigexoticars #supercarshow #supercarsmexico #supercarlovers #supercarsofmanchester #italiansupercar #supercar_lifestyle #supercars96 #londonsupercars #supercarage #supercarros #supercarsbuzz #supercars247 #supercarlife #lamborghinisvj #supercardaily #supercarseurope #supercarclub #lamborghiniaventador #carporn #supercarspics1 #supercarkiller #supercarblondie #lamborghinihuracan #supercarshow #lamborghini #lamborghiniurus #lamborghiniclub #lamborghini_daily #lamborghinimiami https://www.instagram.com/p/CfnJUO-qpfV/?igshid=NGJjMDIxMWI=

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superiorminds · 2 years

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*Flex fuel (can run E85 and 91)

*Liberty Walk Silhouette Carbon Fiber kit

*Stage 2 Twin Turbo Gintani kit (1,000+hp)

(comes with 2 sets of wheels)

*Brixton Forged Wheels (For Shows)

*Rohana Wheels (for track use, fits R888's)

*Airlift performance airbag suspension

*Custom Exhaust

*Roll cage

More than $200k was spent to bring this car alive

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vividracing · 3 years

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New Post has been published on https://www.vividracing.com/blog/video-corvette-c8-gets-a-fresh-set-of-brixton-forged-pf10-wheels/

Video: Corvette C8 Gets a Fresh Set of Brixton Forged PF10 Wheels

When it comes time to mod the all-new, mid-engined Corvette C8, let’s get something straight: it deserves nothing but the best. That’s why when treating the ‘Vette to a brand new pair of shoes, our customer chose the PF10 ULTRASPORT+ one-piece monoblock wheels from Brixton Forged. This beautiful Arctic White model was specced out pretty well straight from the factory and has already been slightly lowered, giving it an even more aggressive appeal.

The ultra-lightweight PF10s in the video below are sized 20×9.5 and 21×12.5, wrapped in 255/30/20 and 325/25/21 Michelin Pilot Sport 4S tires, respectively. Each 1-piece ULTRASPORT+ Series wheel has been individually designed and engineered specifically to deliver both good looks, reduced weight, and optimal performance and handling. Milled from the highest quality, TUV-rated, forged 6061-T6 Aerospace grade aluminum, the Brixton Forged 1-Piece ULTRASPORT+ wheel is the definition of lightweight track ready forged wheels.

Switching up the wheels on any car can make a huge difference and it’s safe to say that the Brixton PF10 ULTRASPORT+ monoblock wheels really elevated the look of this C8. Every set of Brixton PF10 wheels is custom-tailored to boast the best combination of lightweight forging profiles and surface milling features. The result is a wheel that is more than just good looking, but one that is made to increase dynamic cornering response, acceleration, and decrease overall stopping distances.

In the video below, you will get an up-close look at the PF10s and see these beauties mounted on the all-new C8. But first, we threw the wheels and tires on the scale to weigh them and compare them to the stock ones. After all, remember that every one pound of rotational weight saved is like saving three pounds, and the less weight the better. Check out the following clip to learn more and order your own set of Brixton Forged PF10 ULTRASPORT+ one-piece monoblock wheels below!

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Features:

Weight Reduction Backpad Pocketing

Two Piece Center Cap Detail

Aerospace Grade 6061-T6 Aluminum

Includes Center-Lock (wheel designed for center-lock application)

Specification:

Diameters: 19.0″ – 24.0″

Widths: 8.0″ – 12.5″

Construction: 1-Piece Lightweight Monoblock

Weight Reduction: Pocketing

Finish: Custom

Offset: Custom

Bolt Pattern: Custom

Learn More and Purchase Your Set of Brixton Forged PF10 Wheels Here.

If you have any questions about Brixton Forged Wheels, please contact the Vivid Racing team. You can reach us by phone at 1-480-966-3040 or via email at [email protected].

#brixton forged #C8 #C8 Corvette #Chevy #Corvette #Forged Wheels #Wheels

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