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disasterfandoms · 3 years

Text

Fluffy Alphabet || Clay Spenser

Requested: Yes but i forgot to link the ask and it’s been a while lmao

A/N: Love my boy here!! Sorry this took so long and I hope you like it!

TW: casual mentions of sex, but nothing explicit.

Taglist: @bravo-four-seal-team @bonnielonsdale @rebelwrites @a-kate3 @jasonbabymama @supervalcsi @jayhalsteadfan-2417 @mrsmarvelous1995 @velvetcardiganbucky @chibsytelford @itsonautopilot @pinkrockstar19 @galaxysanduniversesinmymind @abby-splace @thelovelyleo23 @madhare0512

A = Affection (How affectionate are they? How do they show affection?): Clay’s very affectionate. He loves hugging and being physically close to you, while also giving you compliments every time he can.

B = Best friend (What would they be like as a best friend? How would the friendship start?): Jokes at your expense, drinking beers, practical jokes, going on outings with him such as amusement parks and paintball.

C = Cuddles (Do they like to cuddle? How would they cuddle?): He likes to cuddle, he prefers to have your legs intertwined with his, with your head on his chest, but also loves being the little spoon, especially on rough days.

D = Domestic (Do they want to settle down? How are they at cooking and cleaning?): Clay’s been very vocal about one day wanting to settle down and have a family. He wants to be the absolute opposite of his father, who was a deadbeat. He’s not the best cook, but he can clean and keep a nice, organized space.

E = Ending (If they had to break up with their partner, how would they do it?): Face to face, short and to the point. He wouldn’t sugar coat it, and would probably have your stuff packed and ready for you ahead of time so he doesn’t have to see you again.

F = Fiance(e) (How do they feel about commitment? How quick would they want to get married?): There’s not a time limit, he’ll do it as soon as he knows you’re the one. He doesn’t want to waste time, he’s much rather get it done and show you how he feels rather than waiting for years when he’s known in months.

G = Gentle (How gentle are they, both physically and emotionally?): He doesn’t sugar coat anything, so he may not be gentle emotionally, but he’s always careful not to accidentally hurt you physically, constantly making sure you’re okay with anything physically he’s doing.

H = Hugs (Do they like hugs? How often do they do it? What are their hugs like?): He’s not much of a hugger, rather he likes to just constantly keep his arm around you. If he does hug, he loves coming up from behind and hugging you, his arms going around your waist.

I = I love you (How fast do they say the L-word?): 2 months? He doesn’t like to say it until he’s sure that’s what he’s feeling, because he’d rather be genuine than anything else.

J = Jealousy (How jealous do they get? What do they do when they’re jealous?): He’s the jealous type, especially if you’re spending a lot of time with one person while he’s gone. He worries that when he’s on deployment for that long that you’ll find someone better, someone who can give you more attention than he can.

K = Kisses (What are their kisses like? Where do they like to kiss you? Where do they like to be kissed?): his kisses are long, and passion filled. He doesn’t like pecks, as they don’t carry the same amount of feeling, he’d much rather kiss you as long and as urgent as he’s feeling in that moment.

L = Little ones (How are they around children?): Clay really enjoys children, and will play with them and tell them stories whenever he can. They like sitting in his lap as he reads to them, or play wrestling with him as he lets them win from time to time.

M = Morning (How are mornings spent with them?): He’s go for a run, which you can join in on, and then get your coffee and breakfast order at his regular coffee shop, enjoying your presence in his apartment. Sometimes he’d stay in with you, cuddling up with you or the occasional morning quickie.

N = Night (How are nights spent with them?): Either at the bar or on a date, then home to cuddle, watch a movie and possibly some sex to end the night.

O = Open (When would they start revealing things about themselves? Do they say everything all at once or wait a while to reveal things slowly?): He would slowly start revealing things to you overtime. He’s been burned before, and a lot of his life is secret, so he needs to know you’re trustworthy before letting you in fully. Once he does, though, he lets you know everything: his past, his trauma, his fears, etc.

P = Patience (How easily angered are they?): He’s patient up to a point. He has a temper, and when it flares he’s very opinionated about it. He would take his time with you up until the point where he thinks you’re stringing him along, and then he’s done.

Q = Quizzes (How much would they remember about you? Do they remember every little detail you mention in passing, or do they kind of forget everything?): Clay remembers all the little things. He remembers the coffee order from the first time you ordered it, to the passing comment that you saw your favorite flower at the supermarket. He’s hardly ever home, so he makes up for it by remembering all the little things and surprising you with your favorites when he can.

R = Remember (What is their favorite moment in your relationship?): His favorite moment with you is when you said “I love you” for the first time. It was in that moment that he had the confirmation that you were feeling just what he was feeling as well.

S = Security (How protective are they? How would they protect you? How would they like to be protected?): He’s very protective of you. He’d purposely get in the way of anyone trying to mess with you, and while he’d rather not use violence stateside, he’s not afraid to.

T = Try (How much effort would they put into dates, anniversaries, gifts, everyday tasks?): Clay would take time into anniversaries and gifts, especially if he fucked up somehow. He liked making you feel special, especially on days that are important and especially if he has to miss them.

U = Ugly (What would be some bad habits of theirs?): Stubborn, can leave the apartment a mess, etc.

V = Vanity (How concerned are they with their looks?): Clay likes to keep himself trimmed and clean at all times if he can. He likes taking care of himself and his body, especially because he knows he’s attractive.

W = Whole (Would they feel incomplete without you?): You not being with him, whether in death or being broken up or whatever, he feels a void. It takes him a while to get back to himself if you’re not with him

X = Xtra (A random headcanon for them.): He spends a lot of time outdoors, fishing and other activities. He hates being cooped up in his apartment for a long time, especially with nothing to do.

Y = Yuck (What are some things they wouldn’t like, either in general or in a partner?): Dishonesty, being blindsided, someone who can’t take a joke, someone who’s too uptight.

Z = Zzz (What is a sleep habits of theirs?): He can stay up late, but he’s an early riser at heart. He has a routine he likes to stick to, so he can feel nice and ready for whatever hell work is bringing him.

#clay spenser headcanons #clay spenser x reader #clay spenser #seal team #seal team headcanons

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warped-historian · 3 years

Text

Warped Tour, 2003

Dates:

June 19: Boise, ID

June 20: Bozeman, MT

June 22: Denver, CO

June 23: Wichita, KS

June 24: Bonner Springs, KS

June 25: Maryland Heights, MO

June 26: Cincinnati, OH

June 27: Noblesville, IN

June 28: Somerset, WI

June 29: Tinley Park, IL

July 2: Calgary, AB

July 4: Vancouver, BC

July 5: George, WA

July 6: St. Helens, OR

July 8: Pomona, CA

July 9: Ventura, CA

July 10: Chula Vista, CA

July 11: Long Beach, CA

July 12: San Francisco, CA

July 13: Marysville, CA

July 15: Peoria, AZ

July 18: Selma, TX

July 19: Dallas, TX

July 20: Houston, TX

July 23: Atlanta, GA

July 24: Orlando, FL

July 25: St. Petersburg, FL

July 26: Pompano Beach, FL

July 27: Jacksonville, FL

July 28: Charlotte, NC

July 29: Virginia Beach, VA

July 30: Bristow, VA

July 31: Brockton, MA

August 1: Montreal, QC

August 2: Barrie, ON

August 3: Pontiac, MI

August 4: Milwaukee, WI

August 5: Cleveland, OH

August 6: Burgettstown, PA

August 7: Darien, NY

August 8: Camden, NJ

August 9: New York, NY

August 10: Asbury Park, NJ

youtube

Lineup:

AFI (Played 6/19-6/29 and 7/18-7/29)

Andrew W.K. (Played 6/19-7/31)

The Ataris

Dropkick Murphys

Glassjaw

Pennywise (Played 7/4-7/16 and 7/30-8/10)

Rancid

Simple Plan

The Starting Line (Played 7/18-8/10)

Sum 41 (Played 6/29 and 7/9-7/15)

Twiztid (Played 7/31)

Face to Face

Less Than Jake

Me First and the Gimme Gimmes (Played 7/31-8/10)

Mest

Poison The Well

Suicide Machines

Taking Back Sunday (Played 8/8-8/10)

Talib Kweli (Played 7/5-7/13)

Thrice

The Used

The All-American Rejects (Played 7/23-8/10)

Atmosphere (Played 7/15-8/5)

Brand New (Played 7/23-8/10)

Damone (Played 6/19-6/28 and 7/2-7/6)

Ill Kid (Played 6/19-6/27)

Mad Caddies (Played 6/19-8/6)

One Man Army (Played 7/15-8/10)

Rufio (Played 6/28-7/16)

Slick Shoes

S.T.U.N.

Tsunami Bomb

The Unseen (Played 6/19-7/16)

Vendetta Red

Yellowcard (Played 7/18-8/10)

7th Standard

Anthym (Played 7/8)

Arkham (Played 6/19-6/23 and 7/4-7/16)

Arraya (Played 7/4-7/6)

ASG (Played 6/24-6/29, 7/18-7/23 and 8/7-8/10)

Authority Zero (Played 7/5-7/16)

Avenged Sevenfold (Played 6/19-7/16)

Avoid One Thing (Played 7/31-8/10)

Coheed and Cambria (Played 7/28-8/10)

Count the Stars (Played 7/28-8/10)

Destruction Made Simple

Drowning Adam (Played 7/13)

From Autumn to Ashes (Played 7/8-7/27)

Heavy Trevy (Played 7/10)

The Line (Played 7/9-7/13)

M-80 (Played 8/3-8/8)

Matchbook Romance (Played 6/19-8/2)

Motion City Soundtrack (Played 8/3-8/10)

New Transit Direction (Played 6/19-6/23)

Pepper (Played 7/15-8/10)

Places to Park (Played 7/24-8/6

Plain White T's (Played 7/8-7/27)

Rise Against (Played 6/19-6/29 and 7/28-8/8)

Story of the Year (Played 7/18-8/2 and 8/9-8/10)

Vaux

Western Waste

Audio Karate (Played 6/20-6/25)

Bowling for Soup

The Escape Engine (Played 8/1-8/10)

The Fags (Played 8/7)

Maxeen (Played 6/19-7/16)

Sloth (Played 6/19-6/27)

30 Day Warranty (Played 7/29)

5 Finger Discount (Played 7/28)

8th Wave (Played 6/24)

A Dying Race (Played 8/1)

The After Life Kids (Played 7/28)

Against the Sky (Played 6/21)

AGaNG (Played 6/21)

Alastor (Played 7/23)

Almost Cool (Played 8/6)

AnchondO (Played 6/25)

And Faster We Fall (Played 7/23)

Anti Anti (Played 8/8)

Army of Freshmen (Played 7/9)

Atomic Kick (Played 6/28)

The Awkward Picture (Played 8/1)

Bedrockers (Played 8/8)

The Better Half (Played 7/6)

Big Jim Slade (Played 7/23)

Blind Luck Music (Played 7/31)

Blueroot (Played 7/9)

BomberMan Awesome (Played 6/20)

The Brews (Played 6/25)

The Broadcast (Played 7/19)

Brownie Points (Played 7/24)

Calcutta (Played 7/9)

Caruso (Played 6/26)

Censored Youth (Played 7/16)

Chaser (Played 7/11)

The Clarity (Played 7/20)

Class of Zero (Played 7/11)

Common Effect (Played 7/30)

The Common Place (Played 6/28)

Concise (Played 7/25)

consicebloc (Played 7/25)

Crooked Edge (Played 7/25)

Day Two (Played 6/21)

Deagle (Played 8/10)

DKLIMB (Played 7/26)

Dogmatic (Played 7/10)

Donkey Punch (Played 8/3)

Down By One (Played 6/19)

Down in the Park (Played 7/27)

The Downs (Played 6/22)

Dual Peak (Played 8/1)

DV8 (Played 7/19)

EPD (Played 7/6)

The Erks (Played 7/8)

Ever Since Radio (Played 7/30)

Every Moment (Played 7/20)

Everydays Monday (Played 7/19)

The Failure (Played 7/2)

False Intent (Played 6/29)

Falsehood (Played 7/9)

Farewell to Twilight (Played 8/4)

Fist-15 (Played 6/19)

Flat Earth Society (Played 8/10)

Floored (Played 7/4)

Forfit (Played 7/10)

Fortitude (Played 7/24)

Four*Sixty*Five (Played 6/27)

Fourbanger (Played 7/15)

Fuller (Played 6/27)

The Gamblers (Played 8/2)

Gametime (Played 6/22)

The Getback (Played 7/26)

Gladyss Patches (Played 7/4)

Good in the Sack (Played 7/18)

GoOsEr (Played 7/13)

Haddonfield (Played 8/2)

Happy Campers (Played 7/10)

The Harp Project (Played 7/24)

Hello John (Played 7/15}

High School Football Heroes (Played 8/9)

Hindsight 20/20 (Played 7/29)

Hopesick (Played 7/27)

The Hot Flashez (Played 8/3)

The Interns (Played 8/5)

It Rains for Caleb (Played 7/24)

JC Auto (Played 6/20)

Jaded52 (Played 7/5)

Jem Crossland and the Hypertonics (Played 7/28)

Jennas Arrival (Played 7/15)

Jetstream Cowboy (Played 6/20)

Jhombi (Played 7/19)

Jumping Monks (Played 7/18)

JV Allstars (Played 6/24)

Kicked in the Head (Played 7/31)

The Know How (Played 8/1)

The Last Call (Played 8/7)

Late for Life (Played 7/26)

Locale A.M. (Played 7/6)

Lookingbackinflames (Played 7/2)

Lurch and Viscious Hick (Played 7/27)

Lynus (Played 7/13)

Lythic Blue (Played 7/4)

Madelines Demon (Played 8/7)

Mark Needs A Chick (Played 7/20)

Me (Played 7/4)

Mind Candy (Played 7/5)

Mind Driver (Played 7/8)

Montys Fan Club (Played 7/31)

Much the Same (Played 6/29)

MugShot (Played 8/2)

The Narcoleptics x5 (Played 8/5)

New Age Dropouts (Played 6/22)

Nimh (Played 6/21)

No Fair Fights (Played 6/22)

The Noviach (Played 8/8)

Oktober (Played 7/15)

On Side Red (Played 6/26)

Once Over (Played 7/12)

Onepointloss (Played 8/2)

Onset (Played 6/27)

Paper or Plastic (Played 7/6)

Parkridge (Played 6/25)

The Pits (Played 7/27)

Point Blank (Played 8/9)

Polaris (Played 7/11)

Pro-Izquierdo (Played 7/16)

Rayzing Sons (Played 7/8)

Red Skyline (Played 7/25)

Red Top Road (Played 7/12)

Ritter (Played 8/8)

Rivendale (Played 6/24)

Rocky Denis (Played 6/29)

The Ruminants (Played 7/10)

Rydia (Played 8/10)

Sadie Hawkins Rejects (Played 7/5)

Scallywagon (Played 6/26)

Second Before the Crash (Played 8/6)

Seven Day Delusion (Played 6/23)

Seven Degrees from Center (Played 6/27)

Shortfuse (Played 6/19)

Shortie (Played 7/13)

Silent Film Stars (Played 6/25)

Simplekill (Played 7/26)

Six Under Par (Played 7/18)

The Skantronics (Played 8/5)

Skracht Apple (Played 7/28)

SmallPaul (Played 7/12)

Snapback (Played 6/23)

Somerset (Played 6/28)

The Sore Thumbs (Played7/12)

South Day Bessie (Played 8/3)

The SpacePimps (Played 8/6)

Spectre (Played 7/30)

Split Fifty (Played 8/9)

Spoiler (Played 7/16)

Sprout (Played 8/10)

Start to Fetish (Played 7/29)

Stellar Frequency (Played 6/23)

Stinkaholic (Played 7/8)

Straight Outta Junior High (Played 6/24)

Straight Line (Played 7/5)

Struck Down (Played 6/20)

Style Over Substance (Played 7/23)

Subdue (Played 8/4)

The Swellers (Played 8/3)

Thatcher (Played 8/7)

This Island Earth (Played 8/6)

Three Day Threshold (Played 7/31)

Throw the Fight (Played 6/28)

The Ties That Bind (Played 7/20)

Tir Flame (Played 7/16)

The Tossers (Played 6/29)

Truth in Fiction (Played 8/4)

Undergo (Played 7/2)

Underhero (Played 6/26)

Upinatem (Played 6/19)

Upside (Played 6/23)

Urban Style (Played 7/30)

Vast Difference (Played 7/13)

Victory Flag (Played 8/5)

Vox Humana (Played 7/29)

Weak at Best (Played 7/2)

Wester (Played 7/11)

Westgate (Played 8/9)

The White Heat (Played 7/18)

White Knuckle Trip (Played 8/4)

Wide of the Mark (Played 8/7)

1208 (Played 7/10-7/16)

2 Cents

A Loss For Words (Played 7/24)

Anatomy of a Ghost (Played 6/19-7/6)

Anything But Joey (Played 6/24)

A.T.W. (Played 6/25-6/26 and 8/5-8/8

Beret (Played 6/19, 7/19, 7/26, 7/31 and 8/8-8/10)

Big D and the Kids Table (Played 7/18-8/9

Bob's Office (Played 7/10)

Boogie Naws (Played 7/30)

Break the Silence (Played 6/19-6/29)

Breaking Even (Played 8/6-8/10)

Cigar (Played 7/6-7/8)

The Code (Played 8/6)

Cold Fusion (Played 7/8, 7/10-7/11 and 7/15-7/16)

Commercial (Played 8/6-8/8)

End of the Line (Played 8/9-8/10)

Faceplant (Played 7/18-7/23)

False Prophits (Played 7/28-7/29)

Fear Nuttin Band (Played 7/31 and 8/9-8/10)

The Fight (Played 7/5-7/8 and 7/10-7/11)

Four Bill Stall (Played 7/15-7/16)

Gametime (Played 6/25)

The Getaway (Played 8/1-8/3)

The Heathens (Played 7/2-7/4)

The Holograms (Played 7/11)

Hurry Up Offense (Played 8/9-8/10)

I in Team (Played 7/2-7/4)

The Know How (Played 7/24-7/27 and 8/1)

Leon Milmore (Played 7/29)

Letter Kills

Level (Played 7/8-7/13)

Lightweight Holiday (Played 6/26 and 8/5)

Live on Release (Played 7/2-7/4)

The Lordz (Played 7/5-7/6)

Lylah (Played 7/16-7/19)

Mackenzie (Playd 8/1)

Meesh (Played 8/1-8/2)

Melee (Played 7/10-7/16)

Never Heard of It

Near Miss (Played 7/18-7/19)

Operatic (Played 7/10)

Pipedown (Played 7/13)

Punchline (Played 8/4-8/6

River City High (Played 7/28-7/31)

The Shocker (Played 7/5-7/13)

Skyline Victory (Played 8/6-8/10)

Spenser (Played 8/5)

Split Tail Delux (Played 7/11)

Stairwell (Played 7/4-7/9)

Switchblade Kittens (Played 7/5-7/11)

Ten Years From Now (Played 7/28-7/30)

Third Estate (Played 6/19-6/25 and 8/7)

Thought Riot (Played 7/12)

Throw Rag (Played 7/12-7/13)

Tijuana Gasso (Played 7/13)

Time Will Tell (Played 7/9, 7/11, 7/23-7/27, 7/30-7/31, 8/8 and 8/10)

The Toasters (Played 8/10)

Undergo (Played 7/4)

Virus Nine (Played 7/6)

Without Self (Played 7/4-7/6)

Bottom Line (Played 7/9-7/25)

Counterfit (Played 7/9-7/25)

Don't Look Down (Played 7/9-7/25)

Gametime (Played 7/11, 7/13, 7/18 and 7/20)

The Goodwill (Played 7/9-7/25)

Mightas Well (Played 7/24-7/25)

Over It (Played 7/9-7/25)

Park (Played 7/9-7/25)

Sonny (Played 7/10, 7/12, 7/15-7/16 and 7/19, 7/23)

Underoath (Played 7/18-7/25)

Vanguard (Played 7/9-7/16)

Bullet Train to Moscow (Played 7/15)

Last Action Zeros (Played 7/15)

No Gimmick (Played 7/15)

North Side Kings (Played 7/15)

Parkway Wretch (Played 7/15)

West End Crooks (Played 7/15)

Where Eagles Dare (Played 7/15)

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asfaltics · 4 years

Text

onginnen

in which the Eclipse begins and ends 1 severally, where each of them respectively begins, and ends, and where they we give 2 begins begins and ends, and where it cuts the Longest Night begins and ends. thus 3 begins and ends in different Places, according to the Letter it is joined to . 4 one Stroke 305 Begins, and ends, 5 but the precise manner how it begins and ends, rises and falls 6 where M de- the twilight begins and ends 7 In the small circle 8 deficient; the action begins and ends often before the conclusion, and the different parts might change 9 It is very imperfect; it begins and ends abruptly, • 10 begins and ends in one day Electriz , sf . electress ta ! k nonsense 11 his understanding of this passage ; on the contrary, begins and ends 12 never perfectly so ; in this all our knowledge both begins and ends , 13 begins and ends in August for the part within the Walls, and in May for the part without. 14 that it begins and ends 15 that human life begins and ends 16 ideal begins and ends 17 ends begins 18

sources (minus many from almanacs)

1 ex Astronomical Lectures, read in the Public Schools at Cambridge; by William Whiston (1667-1752*)... Whereunto is added a collection of Astronomical Tables... for the use of young students in the university. And now done into English. (London, 1715) : 173 2 ex Lancelot Carleton, A Letter, to the Revd. Mr. Joseph Slade, Lecturer of the Parish Church of St. Laurence in [R]eading. (Reading, 1727) : 3 strikeout/correction in source 3 ex Joseph Harris, The Description and Use of the Globes, and the Orrery. To which is prefixed, by way of introduction, a brief account of the Solar System. Second edition (London, 1732) : 119 shorthand marginalia at page 78; plates not (or only partially) opened, e.g., Plate 2 between pages 24 and 25 on Harris (1703-64), see wikipedia in a well-written entry by (evidently) geopersona 4 ex Short-hand, adopted to the meanest capacity, wherein the rules are few, plain, and easy; the characters not burthensome to memory; and the hand shorter & more intelligible than any other extant. Together with the principles on which it is founded; also An Alphabetical Praxis, &c. By Henry Taplin. (London, 1760) : 2 5 ex “Night the Seventh. Being the Second Part of the Infidel Reclaimed. Containing the Nature, Proof and Importance of Immortality.” in Dr. Eduard Young’s Klagen Oder Nachtgedanken : Über Leben, Tod und Unsterblichkeit, mit Konstruktionen und Erläuternden Anmerkungen Erleichtert von. G. F. Herrman... (Leipzig, 1800) : 359 6 re “The wind bloweth where it listeth...” in answer to the question, “What is the nature of the new-birth?” ex Jonathan Crowther (1760-1824), A True and Complete Portraiture of Methodism; or, the history of the Wesleyan Methodists. (London, 1811) : 173 7 cross-column OCR misread, entry on “Atmosphere” (ATM), in Pantologia : A New Cabinet Cyclopaedia, Comprehending a complete series of essays, treatises, and systems, alphabetically arranged, with a general dictionary of arts, sciences, and words: the whole presenting a distinct survey of human genius, learning, and industry. By John Mason Good, Olinthus Gregory, and Newton Bosworth; assisted by other gentlemen of eminence, in different dpeartments of literature. Vol. 1 (London, 1819) : 615 8 ex Epistle IV, in Traduction de L'Essai Sur L'homme de Pope : En Vers Français précédé d’un discours et suivie de notes, avec le texte Anglais en regard, par M. De Fontanes. (Paris, 1822) : 214 9 ex “General Observations on Shakespeare’s Plays” (here, Merry Wives of Windsor), in The Works of Samuel Johnson, LL.D., A New Edition in twelve volumes. With an essay on his life and genius, by Arthur Murphy. Vol 10 (of 12; London, 1823) : 197 10 error in preview snippet, ex John Brown, ed. and comp., The Historical Gallery of Criminal Portraitures, Foreign and Domestic : Containing a Selection of the Most Impressive Cases of Guilt and Misfortune to be Found in Modern History. vol. 2 (of 2; Manchester, 1823) : 45 Volume 1 (different — NYPL — holding), with some nice scanning errors, here 11 cross-column OCR misread, at “Efeméro, sm. a thing, which,” in Henry Neuman, Diccionario portátil español-inglés (Paris, 1827) : 117 12 ex Sermon on Confirmation : By William Meade (1789-1862), D. D., Assistant Bishop of the Docess of Virginia. Preached in Winchester, on Sunday, Dec. 12, 1830. Third Edition. Alexandria, D. C., 1833) : 84 on William Meade (1789-1862), see wikipedia see also Sermons addressed to Masters and Servants, and published in the year 1743, by the Rev. Thomas Bacon, Minister of the Protestant Episcopal Church in Maryland. Now Republished with other Tracts and Dialogues on the same subject, and recommended to all masters and mistresses, to be used in their families. By the Rev. William Meade. (Winchester, Va., 1813[?]). Oberlin College Library copy, at archive.org in which a dialogue between Mr. Jackson and a slave of Mr. Wilkins, whom he comes upon during a walk, reading the Bible, pages 141-156 (145) 13 ex “On Abstract Ideas,” in William Hazlitt, Essays on the Principles of Human Action, on the Systems of Hartley and Helvetius; and on Abstract Ideas. (1835) : 165 14 ex Muncipal Corporation Boundaries (England and Wales), “Report upon the Proposed Municipal Boundary and Division of Wards of the Borough of Newcastle-upon-Tyne” in Reports from Commissioners (House of Lords) Vol. 46 (1837) : 335 15 ex Speech of John Sergeant on the Judicial Tenure : Delivered in Convention of Pennsylvania, on the 7th and 8th of November 1837. (Philadelphia, 1838) : 39 16 ex George W(ashington) Burnap (1802-59 *). Lectures to Young Men : On the Cultivation of the Mind, the formation of character, and the conduct of life : delivered in Masonic Hall, Baltimore. (Baltimore, 1860) : 77 17 ex Bertrand du Guesclin, Connétable de France et de Castille, par Émile de Bonnechose, edited with introduction, commentary and map by Stanley M. Leathes. (Cambridge, 1895) : xv on Bertrand du Guesclin (c1320-1380), see wikipedia 18 carved out of these Practical Questions — “begins and ends at what point ?” “begins and ends where ?” in W(illiam). G(eorge). Knight, his Practical Questions on Locomotive Operating (Springfield, Mass., 1913) : 190

—

on the word “begins” —

The usual form in Old English was onginnen, perhaps “to open, open up,” and comparable to OHG in-ginnen “to cut open, open up.” It is odd — unfair? — that “ends” might be a noun, but not “begins.” There is however “The hard begin, that meets thee in the dore” in Spenser’s Faerie Queen (III, iii, 21).

The OED has an obsolete verbal sense “to entrap, ensnare” (here); no surprises in Wright’s English Dialect Dictionary (here).

#begins #couplets #ends #onginnan

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the-muses-are-herd · 3 years

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rant / rave YA

Huh. That is, like... a very broad subject, hehe.

So, hmm... gonna limit myself to my personal experiences with YA books in English and Spanish.

- One thing I learned in writer’s courses. What we cal “LIJ”, standing for “Literatura Infantil y Juvenil”, meaning “Literature for Children and Teenagers” --is extremely hard to write. And as everything, there is some good one, some bad, and a lot of mediocre.

- I devored 90′s thrillers for teenagers. R. L. Stine, Christopher Pike, Lois Ducan. To a smaller degree, Caroline B. Cooney. And others.

- I see children’s lit as a separate thing, so M. D. Spenser goes there.

- I have tried to get more into contemporary YA and, hmm...

- Enjoyed “The hunger games” trilogy. But the only author I have since consistently read is Lauren Oliver.

- I think that like any other genre / specialty / sub-genre, YA was kind of hurt by the overflowing of the market it had in the late 2000′s - 2010′s. But, like... that happened to Horror in the 80′s, too.

- Also loved “Battle Royale”, while we’re at it. I really want to read Banana Yoshimoto sometime, as long as we’re talking Asian YA.

#ask game #Anonymous

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the-fae-folk · 4 years

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Leaf: I would like to learn more about the fae, could you tell me where a good place to start would be? maybe book recommendations? or specific fairy tales to look into? thank you so much

Ah, welcome. It is always good to see those who wish to broaden their knowledge of the old stories.As to the Fae, it depends on what you’re looking for. You see, the Folk did not arise from a singular instance of Mythology, but from an amalgamation of many cultural traditions and stories. For Ireland we have the Tuatha de Danann and their battles against the Fir Bolg and eventually become the Aos Sidhe. There are the Welsh Tylwyth Teg who steal fair haired children from their beds and leave changelings in their place.The Scottish hold great pride in their Seelie and Unseelie courts, while the Scandinavian people whisper fearfully of Trolls, Gnomes, Shapeshifters, Wights, and Werewolves.Will you look to the Norse for stories of Light Elfs, Dwarfs, and Disir? Or to the Germanic Wichtlein who aided miners, and are one of the distant precursors to both the Goblins and Dwarfs we imagine today?Or would you prefer to move forward to the Victorian age where Fae were brought together to diminutive sprites and fanciful little magics that you might find in Peter Pan, A Midsummer Night’s Dream, or the Faerie Queene?It really depends on what you’re trying to find. The Lore of the Fae is vast and encompasses the traditions of many different European cultures, each unique and important in its own way. I can include below a full list of all the sources I happen to possess at this time. Hopefully they will grant your desire of providing an excellent place with which to begin your research.

Kirk, Robert. The Secret Commonwealth of Elves, Fauns, and Fairies. 1691. Reprint, London: D. Nutt, 1893.

Wilby, Emma. “The Witch's Familiar and the Fairy in Early Modern England and Scotland.” Folklore, vol. 111, no. 2, 2000, pp. 283–305. JSTOR, JSTOR, www.jstor.org/stable/1260607.

Vejvoda, Kathleen. “‘Too Much Knowledge of the Other World’: Women and Nineteenth-Century Irish Folktales.” Victorian Literature and Culture, vol. 32, no. 1, 2004, pp. 41–61. JSTOR, JSTOR, www.jstor.org/stable/25058651.

Nutt, Alfred. “Presidential Address. Britain and Folklore.” Folklore, vol. 10, no. 1, 1899, pp. 71–86. JSTOR, JSTOR, www.jstor.org/stable/1253611.

Goodare, Julian. “The Cult of the Seely Wights in Scotland.” Folklore, vol. 123, no. 2, 2012, pp. 198–219., www.jstor.org/stable/41721541.

Briggs, Katharine Mary (1976). "Euphemistic names for fairies". An Encyclopedia of Fairies. New York: Pantheon Books. p. 127. ISBN 0-394-73467-X.

Rossetti, Christina G, and Martin Ware. Goblin Market. London: V. Gollancz, 1980. Print.

Braddon, M. E. (Mary Elizabeth), 1835-1915. Lady Audley's Secret. New York :Federal Book Company, 18ADAD. Print.

Frazer J.G. (1983) Sympathetic Magic. In: The Golden Bough. Palgrave Macmillan, London.

Yeats, William Butler. “The Stolen Child.” Collected Classic Poems, Stevenson to Yeats, Jan. 2012, pp. 1–2. EBSCOhost, ezproxy.uvu.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=prf&AN=76614684&site=eds-live.

Spenser, Edmund, Thomas P. Roche, and C P. O'Donnell. The Faerie Queene. Harmondsworth: Penguin, 1978. Print.

Gregory, Lady, and Finn MacCumhaill. Gods and Fighting Men: The Story of Tuatha de Danann and of the Fianna of Ireland. John Murray, 1905.

Howard, Marvin ElRoy. "" See ya na yon narrow road?": the search for Elfland in folklore of the Scottish border." (1996).

Campbell, John Gregorson. Superstitions of the Highlands & Islands of Scotland. J. MacLehose and sons, 1900.

Diane Purkiss, At The Bottom Of The Garden: A Dark History of Fairies, Hobgoblins, and Other Troublesome Things (2000)

Kready, Laura (1916). A Study of Fairy Tales. Boston: Houghton Mifflin Company.

“Trees in Mythology”. Mythencyclopedia.com. 2007-02-19. Retrieved 2014-05-11.

“‘The king o fairy with his rout’: Fairy Magic in the Literature of Late Medieval Britain–By Hannah Priest”. September 8, 2011.

Lenihan, Eddie and Green, Carolyn Eve (2004) Meeting The Other Crowd: The Fairy Stories of Hidden Ireland. pp. 146–7 ISBN 1-58542-206-1.

https://tam-lin.org/stories/Thomas_the_Rhymer.html

Evans Wentz, W. Y. (1966, 1990) The Fairy-Faith in Celtic Countries. Gerrards Cross, Colin Smythe Humanities Press ISBN 0-901072-51-6

De Jubainville, M. H. D'Arbois and Richard Irvine Best (1903). The Irish Mythological Cycle and Celtic Mythology. Dublin Hodges, Figgis, and Company.

Keightley, Thomas. (1892) Fairy Mythology. London: George Bell & Sons, Retrieved from Project Gutenberg 15 October 2017

King James. Daemonologie. A Critical Edition. In Modern English. 2016. ISBN 1-5329-6891-4.

Williams, Noel. “The semantics of the word fairy: making meaning out of thin air.” The Good People: new fairylore essays (1991): 457-78.

https://britishfairies.wordpress.com/

Wakefield, Sarah R. Folklore in British Literature: Naming and Narrating in Women’s Fiction, 1750-1880. Vol. 80. Peter Lang, 2006.

Laviolette, Patrick, and Alastair McIntosh. “Fairy hills: merging heritage and conservation.” Ecos 18.¾ (1997): 2-8.

Owen, Alex. “'Borderland Forms’: Arthur Conan Doyle, Albion’s Daughters, and the Politics of the Cottingley Fairies.” History Workshop, no. 38, 1994, pp. 48–85.

Zipes, Jack. Victorian Fairy Tales: The Revolt of the Fairies and Elves. Routledge, 2016.

Silver, Carole. “On the Origin of Fairies: Victorians, Romantics, and Folk Belief.” Victorian Literature and Culture 14 (1986): 141-156.

Harms, Daniel M. “Hell and Fairy: The Differentiation of Fairies and Demons Within British Ritual Magic of the Early Modern Period.” Knowing Demons, Knowing Spirits in the Early Modern Period. Palgrave Macmillan, Cham, 2018. 55-77.

Sikes, Wirt. British goblins: Welsh folk-lore, fairy mythology, legends and traditions. S. Low, Marston, Searle & Rivington, 1880.

Loponen, Mika. “Faerie Folklore in Medieval Tales-An Introduction.” (2006).

Lindow, John. Norse mythology: a guide to gods, heroes, rituals, and beliefs. Oxford University Press, 2002.

Gimbel, Jared Joseph. “Spiritual Descent: A Study of Semi-Divine Beings and Non-Human Species in European Mythologies.” (2011).

https://www.gutenberg.org/files/41006/41006-h/41006-h.htm

John Bauers Bästa: Ett Urval Sagor Ur "bland Tomtar Och Troll" Åren 1907-1915. Stockholm: Åhlén & Åkerlund, 1951. Print.

#fae #faerie #sidhe #otherfolk #leaf #root #sources #fairy tales

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foodfilmaboutus · 4 years

Text

Interview for Quad (2018)

➢ Comment travaillez-vous en tant que duo ?

MR - En fait malgré que nos visions soient proche, on est rarement d’accord sur sa mise en œuvre.

Ça crée des discussions, de l auto censure, parfois des tensions. Mais on a l intelligence de ranger nos ego au placard et on finit toujours par se mettre d accord. L avantage pour nos clients, c est que puisque beaucoup de choses ont étés discutées entre nous avant de présenter nos scripts, le bénéfice d enrichissement est réel.

Le secret entre nous c est que chacun apprécie l autre énormément pour ses qualités artistiques, et donc ça marche. On a pas chacun « sa plate-bande » comme parfois d autre association d artistes. Malgré nos formations différentes, les portes sont ouvertes sur tous les sujets, et notre relation se cristallise dans une bienveillance Socratique . Il y a beaucoup d attentes de la part de nos clients, et à deux, on les gère mieux!

PL - Michael et moi nous connaissons depuis un certain nombre d’années. Je dirais que sans avoir forcément la même façon de fonctionner, nous partageons en tout cas toujours les mêmes critères esthétiques.

Quand un projet arrive, nous cherchons d’abord à voir s’il peut nous permettre de réaliser des images intéressantes. Il faut autant que possible garder une vraie motivation sans laquelle la routine s’installe vite.

Puis nous nous asseyons tous les deux autour d’une table pour « écrire » le film.

Il y a parfois un premier script d’agence que nous reprenons avec nos intentions, mais il nous arrive assez souvent de devoir créer l’histoire de toute pièce.

Alors, c’est un pingpong des deux ou trois jours. Au final, quand nous sommes d’accord sur le scénario, je dessine toutes les images du board et Michael rédige une note d’intention, ainsi que les légendes des images (très souvent en anglais).

Sur le tournage la complémentarité joue aussi. Mais pour ma part je ne suis absolument pas assez technique pour assumer certains aspects, que Michael maîtrise mieux que quiconque.

➢ Comment avez-vous plongé dans l'univers de la vidéo de food ?

PL - En tant que directeur de création, et avant de me consacrer pleinement à la réalisation de films avec Michael, j’étais en charge la communication de la marque Picard. J’ai très rapidement voulu travailler avec Michael qui de son côté avait déjà fait le choix de la photo culinaire. Nous avons créé ensemble l’image de cette marque.

Nous avons toujours cherché à faire évoluer la photo dans le domaine de la cuisine. A l’époque la tendance était plutôt à des images très « terroir français ».

MR - En ce qui me concerne par le plus grand des hasards.

J ai commencé à travailler en tant que photographe dans l univers du luxe, et j’ai eu la chance de pouvoir signer de grosses campagnes de pub assez rapidement.

Plus tard on m a demandé de faire du food, mais j’étais pas trop tenté.

J’ai finalement adoré l expérience, et j’ai pu grâce à cela trouver un nouveau champs d investigation visuelle, très riche et avec peu d aprioris.

Paradoxalement, en France personne ne prenait vraiment le food au sérieux il y a 15 ans. On parlait plutôt de « photo alimentaire », et les DA était rarement à la recherche d’une approche engagée d’un point de vue artistique.

Les Anglo-Saxons (Anglais et surtout Australiens) étaient très en avance sur nous en terme d imagerie culinaire.

A l’époque on se cantonnait à des approches encore « très terroir » ou bien « maison de campagne ». Tout était à faire!

Il fallait trouver un style, une identité visuelle, et j ai décider de me concentrer la dessus.

J’ai rencontré Philippe alors qu’il travaillait sur le budget Picard, et on a travaillé ensemble pendant plus de 15 ans sur ce budget.

Parallèlement j ai réalisé une trentaine de livres culinaires, ce qui m’a permis de rencontrer beaucoup de grand chefs. J’ai re-découverts à ce moment là le vrai plaisir de « création » photographique publicitaire!

C est un sujet inépuisable et hyper créatif.

Les chefs sont entre temps devenu des rock stars. Le sujet est devenu « tendance » et notre travail a été très valorisé.

➢ A chaque tournage vous expérimentez de nouvelles techniques créatives. Hormis l'acquisition d'expérience, où est-ce que vous puisez toute cette inspiration / ces idées pour obtenir les effets voulus ?

MR - La publicité fait réellement appel à des qualités artistiques. Donc à notre manière on arrive à exprimer nos envies. Ce sont justement ces « envies artistiques » qui nous font avancer. Le reste n’est que truculence, retour à l’enfance, au jeu, au pur plaisir visuel. Les films, on les fait avant tout pour nous mêmes.

L inspiration viens de nos expériences de vie. En ce qui me concerne je me suis occupé pendant plusieurs années d’un collectif de cinéma expérimental.

Je suis aussi un photographe passionné, et il y a toujours eu un jeu de vases communicants entre mes réalisations personnelles et mon travail publicitaire.

En ce qui concerne « les techniques », je suis un vrai geek en informatique, et la création digitale me passionne. C’est le côté artisanal de notre travail qui est passionnant.

Philippe aime travailler avec ses mains. Là encore on se complète. Il y a beaucoup d’astuces réels dans notre travail, qui se prolongent grâce à l’outil numérique.

En revanche on ne touche pas à la 3D. C’est une frontière qu’on ne souhaite pas franchir pour l’instant, car elle nous parait antinomique avec le food, même si ce domaine me passionne.

C’est donc plutôt une « posture », et une manière de souligner que tout est construit « in-camera », et que « on se bat durement avec la matière » etc…

Les inspirations sont donc multiples, mais…aujourd’hui tout est inspirant, et en particulier Instagram.

PL – Les effets que nous recherchons sur chaque nouveau projet sont là avant tout pour servir l’image ou le montage. Nous essayons de réaliser des images encore jamais vues. Dire d’où viennent les idées, c’est assez difficile à dire, mais les brainstorming sont parfois houleux…

➢ Le projet le plus challengeant / ambitieux que vous ayez eu à réaliser ? Pourquoi ?

PL – J’aurais tendance à dire que les projets vraiment ambitieux ne sont pas très fréquents. Mais qu’est-ce qu’un projet ambitieux d’ailleurs ? Nous cherchons le plus souvent à amener même les projets les plus simples vers quelque chose d’ambitieux. A notre niveau du moins.

Les projets les plus créatifs, nous les avons certainement eus à travers les films Marks & Spenser ou sur certains budgets cosmétiques.

MR - Le projet le plus challengeant est toujours le dernier projet en cours.

En fait, chaque projet est un challenge en soi, et on a la chance de pouvoir les choisir.

Ce qui compte avant tout c’est de nous étonner nous même.

Le plus grand compliment en ce qui me concerne, viendra d’un commentaire positif fait par Philippe…

➢ Le produit (aliment) le plus cool à shooter ? Pourquoi (texture, possibilité de création, etc.) et/ou celui le plus compliqué à shooter ?

MR - Le chocolat.

C’est une texture très photogénique du fait qu’elle peut exister sous plusieurs formes: liquide, solide, poudreuse, glacée…Mais c’est aussi une texture qui pose des challenges, car elle fond rapidement sous les spots, et donc il faut trouver une méthodologie particulière.

Beaucoup de nos films sont des « no-hands-films » sans aucune présence humaine, et pourtant nous faisons du « Foodporn d’action ». Il y a peu de contemplation dans nos images. Il faut donc trouver des astuces pour « activer » les textures, leurs donner vie. Il y a bien la gravité, le souffle, les chocs, les fils de nylons invisible, les réactions chimiques…mais en fait la grammaire est assez restreinte, et il faut composer avec. C’est justement cette restriction qui nous amène à être créatif.

Le monde de la cosmétique nous à ouvert naturellement ses portes, à la recherche d’une approche plus « vivante ». Avec notre background culinaire, on cochait un peu toutes les cases…de la « crème de beauté gourmande ».

Ce qui est passionnant avec les films cosmétiques, c’est que contrairement au monde culinaire qui s’ancre dans la réalité, il s’agit d’illustrer de manière allégorique les effets (virtuels?) des produits de soins.

Et c’est avec joie et délectation que nous imaginons à quoi peu ressembler l’acide Hyaluronique, les substances hydrophiles, tensio-actives, les nanosphères, les liposomes etc… on adore mettre cela en image!

➢ Vous avez travaillez avec de nombreuses marques & chefs mais est-ce qu'il y en a un(e) dont l'univers vous fait rêver et pour qui vous aimeriez bosser ?

PL – En fait nous n’avons jamais réalisé un film pour un chef, au sens culinaire du terme. Ce serait certainement une expérience très intéressante de mettre en image de la gastronomie haut de gamme. Pour ma part j’aimerais bien étendre un peu notre terrain de jeu et intégrant plus souvent des « éléments humains » à nos images.

Je veux dire par là que je ne souhaite pas réaliser des véritables comédies, mais plutôt utiliser le corps humain, les visages, comme une composante de plus.

MR - J’adorerais réaliser un générique de film, un peu comme celui de Dexter à l’époque, mais en encore mieux…

Un film pour un chef étoilé ce serait pas mal non plus, car on pourrait être encore plus abstrait, et réaliser des images assez spéciales, avec des parti-pris encore plus fort.

Malheureusement ils sont plus attirés par l’édition, car elle leur permet d’assoir leur travaux en tant que « Manifeste » pérenne. Mais je suis sûre que cela va changer.

➢ Qu'est-ce qui vous anime à côté du filmaking food ?

PL – Nous avons tous les deux nos centres d’intérêts. Je suis depuis toujours passionné par l’art en général, mais plus particulièrement par l’art contemporain, qui est certainement une des sources d’inspiration les plus évidentes de la création publicitaire actuelle. Mais la musique, reste la « nourriture » la plus indispensable à mon équilibre. Je m’intéresse aussi beaucoup au cinéma, bien sûr… Bon, mais là, j’ai un peu l’impression de créer un profil pour un site de rencontre…

MR - Continuer mes recherches personnelles, pour assouvir ce besoin quotidien de faire des images, et ne pas trop les les montrer, afin de bien cultiver ce jardin secret et sans concessions.

An Interview of Foodfilm by Campaign (2015)

Tell us about the M&S Adventures in Food project? (ie how did they get on board etc)

Five years ago we did a viral web campaign for a French coffee brand and we first tested the concept of a « no-hands-film » : things happening « magically » without human interaction. It was very successful with a few million views on youtube.

When Pip Bishop and Chris Hodgkiss in charge of M&S at YR where asked to « re-new » the food films, they spend a lot of time on the web looking for food directors who would have a different approach to doing tabletop. They discovered our films on our website, made big enlargements of some stills to hang in the office, and waited to see how people reacted to these kind of images.

One day they called us directly in our Studio in Paris and we felt they where really excited and enthusiastic about working with us.

We invited them for lunch in Paris, proposing one of the best foie gras we could get our hands on to greet them, to discover afterwards that they both hated foie gras…Nevertheless the contact was great (we quickly went to buy some salads!), and we all felt very comfortable with the idea of working together, on such an iconic budget like M&S, that would involve a lot of creativity.

The deal was to make a « test film » called Adventures in Imagination, that would be rather generic about the brands creativity, and see « how it goes »… Mark Roalf, head of Y&R, and M&S liked it very much, so they decided to launch it, and I think the public received it really well.

Since then we have done more than 25 films…in one year.

What equipment do you use to film the food?

We use a Red Dragon (6K) and the lights are Arri M40.

The Red Dragon has the possibility to shoot at 200 FPS for a mild slow mo, and since the pace of the film was quite rapid, we knew we did not need to use to much Phantom high speed cameras because they are quite heavy.

We prefer the versatility and size of RED cameras since we operate them ourselves, surrounded with a small team to be more creative.

The Arri lights were great because they don’t heat too much, and food stays fresh longer on the set. Still we do use 30k of light on each of our sets.

How do you prepare the food? (ie how many times do you have to practice a shot? Do they paint or treat the food to make it look good?)

In the most « natural way » we can possibly do, without any sort of trickery. It’s a false idea to think that nowadays food is mistreated or « painted ». It just does not work, especially when it’s shot in very high definition

We do not use either CG or 3D. All our effects are inspired by Melies, a film maker from the beginning of the century, based on editing. There is something quite « vintage » in our approach on how-are-we-going-to-do-this-shot?

Since we don’t « cheat », we do practice many times the same shot before being succcessful with it, persisting until we get the « perfect » movement or action. Sometimes its 20 times!

What are the biggest challenges when filming food?

1 -To keep track of time.

Everything is enormously time consuming when you just work with textures. The elegance is to make things look very simple, even when it’s not.

Just to fill a glass of wine from a bottle from high above can become a desperate task.

We spend more time cleaning the spills…than actually filming them.

2 -To be confident that the ideas we propose when we write the scripts, will actually work on the set! We don’t always have time to test everything.

Can you tell us some of the more surprising tricks you use? (ie Hairdryer on cheese, strings on lemons etc)

Since our « rule » is to never see hands, we have very few parameters at our disposition to make thing moves : gravity, wind blowing, invisible strings, heating, stop motion, timelapse and above all smart editing,

This limitation makes us become more creative.

One of our « signature tricks » is to bang with our hand under the table, so objects start jumping in the air. We refined this idea to the extreme, using it in a lot of different ways.

How did you get into food film directing?

Philippe and I come from a print background.

I have been a still life photographer working in luxury and cosmetics.

More than 10 years ago, Philippe who was creative director at DDB Paris proposed me to work on the French « iconic » food client Picard.

We shared the same thoughts that it was actually more creative than most other subjects in the advertisement world.

Years after that we decided to start directing food TV spots, taking in account all our previous food experiences. It was about time to re-new the subject.

Is it just food you work with or other substances as well?

The frontier between food and other subjects is very thin.

We work with textures, so quite a few cosmetic brands consulted us to work for them.

The latest spot we did was quite experimental for Yves Rocher.

But we feel we could work on any subject.

What other ads have you worked on?

Please refer to our website www.foodfilm.com

What inspires you?

I think that we get quite inspired by each other. One starts, the other ends.

We are a good ego-free combination because we have different backgrounds.

One day Philippe arrived at the studio saying we should not try to shoot « cinema » anymore, but « moving stills ». That inspired me a lot for instance.

What inspires us overall is contemporary art and experimental films.

We are also inspired by all the ideas we have not had yet!

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itsokaytheyrejustwords-blog · 7 years

Text

A Beautiful Year

below the cut is the short story that i wrote. i know it is pretty rough right now. i know it needs a lot of work. i’m going to edit it a lot, don’t worry. still, the content is important to me since it’s an expression of how i’ve come to love writing again after a long struggle with my mentality, so i wanted to paste this draft version here, and if anyone has feedback (good or bad), i would love to know your thoughts!

i’ll post the final draft whenever it’s done!

Rafa and I met when we were both on our way back to campus from the airport, on the train. I felt broken and just wanted to hide from the world, which I thought was fitting considering the way it was raining outside, and she turned to me so suddenly that I thought she was angry. That was pretty common when it came to me on trains on account of the amount of fat on my body and its tendency to intrude on my seat-neighbor's space.

Instead, she said, "It's a beautiful day, isn't it?"

I'd planned on ignoring the insult I expected to hear, but when it didn't come I responded more instinctively. "Hardly."

The girl was immediately defiant, and I immediately regretted my decision to talk. "On what grounds?"

"It's r-raining," I said, reluctantly, trying to keep the response short, but apparently it wasn't short enough. The girl didn't seem phased, though, and simply raised her eyebrows as if to say "so what." So I risked continuing. "On what g-grounds is it beautiful?"

"It's a perfect day for writing!" She grinned, and pulled out a journal with a pencil in its spine. It was the same kind his sister used for her writing, cheap and plain and black, but clearly well-loved nonetheless. I knew I shouldn't, I knew it would only lead to a let down, but I couldn't stop myself from speaking up again.

"You're a wr-writer?"

"Sure am! My roommate Erinne says it's the source of my life force."

"Is she r-right?"

"Probably," she giggled. Then she reached out her hand. "I'm Rafa!"

"Jasper," I said. I tried to grab her hand, but my own mercilessly resisted the action.

"Oh!" Rafa pulled her hand back, apparently noticing my hesitation. "You don't like touch, huh? That's my bad, sorry!"

"Ah," I stalled, because that was my line, normally, and I couldn't think of an alternative response for a moment. "It's f-fine. N-Nice to m-meet you. Are you g-going to the university, too?"

"Sure am! You too? What're you studying?"

"Journalism, for editing. You?"

"Wow, editing, huh? That's awesome. I'm studying Creative Writing," she said, holding the pencil up again. "Speaking of, I ought to get back to it!"

She opened the notebook, and almost instantly her pencil was flying across the page, and it seemed that the conversation was over. That should have been perfectly fine with me, but once I'd started watching her write, I found myself unable to stop and a chill scampered up my spine. The only other person who'd had that effect on me was my twin sister, Jet, and she was the best writer I knew. I'm not normally one to offer my editing skills to strangers, but her likeness to my sister made too compelling argument to deny.

"Hey," I said, "d-do you n-need a proof reader?"

When she looked up, it was like she was coming out of some sort of trance, and it took a moment from her expression to go from confused to appreciative. Then she shook her head. "Thanks for the offer, I do appreciate it, but, well, I don't let people read my stuff."

"Why? I c-can t-tell you're g-good, I'm sure of it."

Out of all the things I'd said, I figured that one was the least likely to offend, so I hadn't hesitated at all, but I immediately regretted it. Her entire face seemed to darken, and she didn't even bother to respond.

"I m-mean, you'll n-need t-to share if you're m-majoring in C-Creative Wr-Writing, ri-right?" Of course that was the wrong thing to say, but I'd hit the point where I realized I should just keep my mouth shut and my stuttering went out of control. Unfortunately, once I get to that point, I ramble without restraint almost as bad as a stutter, so I kept going. Knowing exactly what was going on, I tried my utmost to swallow my words, but when Rafa didn't respond and went on writing, the urge to talk only became stronger.

"I'm sorry," I said, finally. "I d-don't m-mind. Just d-do what's c-comfortable for you. B-But m-maybe I c-can g-give you my phone number in case you need a proofreader in the future. I really love editing, and I won't judge, I promise."

It was one of the hardest things I've ever made myself say, but it seemed to pay off. Rafa still didn't speak, but that seemed more due to the fact that she was absorbed in writing than holding a grudge, since she offered me her phone with her left hand while the other kept writing.

The phone wasn't locked, so I went ahead and entered my number. When I tried to hand it back to her, Rafa didn't move, so I held on to it for the remainder of the train ride. Neither of us spoke; Rafa wrote, listening to the rain; I listened to the rhythmic scratch of her pencil on the paper and eventually dozed off.

As the train slowed, I woke up and Rafa was still writing like mad. I nudged her, and again it took a moment for the haze to clear from her eyes. When it did, the peaceful smile on her face remained.

She thanked me when I handed her phone back, and told me she'd text me. Still, I didn't actually think she would until she did, no more than six minutes after we parted ways, although it wasn't about editing. It was a statement:

hi jas, i just got back to my room. now that we're friends, we should hang out. let me know when you're free

p.s. please don't think i'm a freak for calling you my friend already. i wanted to be friends with you because i think you're cool, but we don't have to be if you don't want to

After all of Rafa's surprises, I was less shocked when, after three days passed and I had yet to reach out, she sent me her address and told me to come to her place.

As much as I had enjoyed spending the train ride with her, I was tempted to refuse the offer, simply because it meant I would have to leave my room and encounter other people. However, at about that time, my roommate returned with his older sister, and suddenly the last thing I wanted was to be in my room.

It wasn't that either of them were terrible people. It was just that Spenser was a terrible roommate in the sense that he left dirty dishes around for weeks, he left his dirty laundry on my bed, and he often came back to the room drunk. In fact, the day he'd moved in, he had tried to drink in the room, but I'd shut that down. He'd fired back that I ought to worry about my own problems and get out of the room more often because being holed up alone was unhealthy, but he never brought alcohol into the room again after I threatened to call the police on him and that was what mattered. In comparison, his sister was a godsend, often stopping by to put him in his place and clean up some of the mess he'd made, but she not only reminded me that Jet was so far away, but was also one of the most intimidating people I had ever met. Thus, I refused to talk to her altogether. Suffice to say, the chance to leave my room was suddenly welcome.

After that, I spent a lot of time at Rafa's place. Her roommate was out quite a bit (to her disappointment, since she very much desired for me to meet her; apparently they were best friends) and mine was around, and with his sister, far too often for my liking.

Meanwhile, my own sister, my twin with whom I'd spent my whole life, was on the other side of the country, at another school, on a full ride scholarship, but and was too busy to talk. It was, cliché as it sounds, as if I'd lost half of myself when we went our separate ways.

Fortunately, spending time with Rafa helped with that, too. They didn't look a thing alike, but something about her and Jet's mannerisms were similar enough that being around Rafa calmed me in the same way Jet always had. Moreover, whenever I saw Rafa around campus, she was happy, and it was the sort of happiness that was genuine and deep and contagious, even from a distance.

All in all, being friends with Rafa made those last few weeks of my first semester at college as painless as possible.

At the end of that semester, she asked me to read some of what she'd written. It was, as expected, outstanding, and I told her as much, but instead of being glad, or relieved, as I'd expected she'd be, Rafa's face darkened in the same way it had on the train when we'd met. Just like then, she became uncharacteristically quiet.

"Raf?" I didn't know what to say, and made an attempt at changing the conversation that just made the situation worse. "Are you excited for next semester?"

Rafa's first semester had been filled with required general education courses like Biology and Algebra, so I figured she would be excited to get into the writing courses. I was wrong.

"I'm nervous," she said, more quietly than I'd ever heard her speak.

"About what p-people will say about your writing?"

She nodded.

"I d-don't think you have to worry about that. That's why you had me read something of yours, right? It think you're terrific," I said. Then, for good measure, I added, "You d-definitely chose the r-right thing to study.

"Thanks," she mumbled. I thought I sensed a bit of sarcasm in her tone, but brushed it off as my imagination, and although her continued lack of enthusiasm was still concerning, I figured she would be alright once she got started and people confirmed that she was as amazing as I believed she was.

Once again, I was very wrong.

The next semester started off much the same as the last had finished, with me spending a lot of time in Rafa's room while my roommate was being a pain in my ass who was not only terribly unhygienic, but intent on rudely convincing me that I needed to see a counselor about my inability to talk to people I deemed intimidating, and Rafa still complaining about the fact that I still hadn't met her best friend and roommate.

Eventually, it got to the point that I wondered if she was just making this roommate out to mess with me, but when I asked Rafa, she told me that Erinne had family issues to deal with, so she was out of the room a lot. Not soon after I asked, however, Rafa stopped texting me.

It may seem strange, but after all this time, I had yet to text her first, and that in itself meant that it was impossible for me to do so after all that time. Not only that, but I figured it was my fault in the first place, for doubting her about her roommate. I should have known it was a sensitive subject by the way she always talked about Erinne with such emotion, but I'd grown too comfortable around Rafa and had been pretty tactless about the whole thing. Unfortunately, saying sorry is one of the hardest things for me to say, so instead, I kept my silence.

Three weeks passed without a word from Rafa, and I missed her all the while. I started missing my sister more than ever, but when we talked on the phone, it didn't have the impact I had hoped it would and I realized that I really missed Rafa. She'd become my best friend, which was something I'd never thought I'd have. It hurt all the more because I knew I had ruined it with my own two hands.

Moreover, my roommate was becoming more and more insufferable. His sister was around only rarely, and both of us wondered if she'd given up on him. He seemed happy about that, but I was certainly not, since it meant he got drunk more often and his mess never got cleaned. Then he sprained his ankle during some drunken escapade and he was practically unable to leave the room, not to mention terribly irritable all the time, and he seemed set on sending me to see a psychologist. As usual, I tried to ignore him, one day at about midterm time it got particularly bad, and I had to leave.

It was raining, so I took my umbrella, which was almost immediately broken by the wind, but the rain reminded me of Rafa, and even if I wasn't a writer, it was beautiful in that the rain was a reflection of my own emotional state, so I didn't mind too much. I ended up walking 20 minutes to a café off campus, which was pleasantly empty, save its employees and one other customer. As usual, I sat in a corner so that I had a view of the entire room, and set to work.

However, after no more than about six minutes had passed, someone else entered, and I looked up and made eye contact with her instinctively. Not recognizing her, I didn't realize my mistake at first. Then she made a beeline straight for me and I wondered if I was going crazy, because the person in front of me looked like Rafa, but she wasn't smiling.

"Oh, hey, Jasper, it's you," she chuckled, and it was the creepiest thing because still she didn't smile.

"R-Rafa?" It was the first time I stuttered on her name.

"The one and only," she said, her enthusiasm apparently completely gone.

"What's wr-wrong?"

"Nothing."

"R-Right. S-Sit d-down," I said, in a less demanding way than I'd intended, but effective nonetheless as she sat. I gave her the rest of my coffee and she downed it in seconds. I was about to ask again what was wrong when she spoke of her own accord.

"I can't write."

The way she said it took my breath away. It was as if her life force had been replaced by a black hole and the words sucked the oxygen out of everything they touched.

"What d-do you m-mean."

"I can't-"

"Why? It's a b-beautiful d-day," I gestured towards the window. The reference to our first ever conversation seemed to catch her off guard, and she actually laughed. It surprised her enough that she finally snapped out of her panic.

"Oh, Jas, it's terrible."

"I kn-know."

She smiled, and it was sad. "I think I'm going to fail my classes. I'll have to drop out of college. Do you think we can still be friends?"

"N-No," I said, and as I watched her face fall, I almost regretted it. I almost took it back. But it wasn't the same as the other things I had regretted, because as much as it pained me, it was what she needed to hear. "You're g-going t-to stay here, or else we won't be friends."

"Don't say that," she pleaded, now on the verge of tears. "It doesn't help."

"What would?"

"What would help? Nothing, probably."

I waited for her to correct herself, and sure enough she did.

"It's too much," she said. "It's the sharing, and getting feedback. I thought I'd be fine. I thought I loved writing enough by now that I'd be strong enough to take it. But I can't."

"What d-did they say?"

Tears again filled her eyes and I expected the worst. "The same thing as you, Jas."

That broke my heart and confused me. I thought I'd been nice.

"B-But-"

"Yeah," she said. "It was all positive. It was all, 'you're writing is fantastic, so you've clearly chosen the right path,' and 'you're a natural' and 'your writing is flawless, you were made for this.'"

"What's the p-problem then?"

"None of it is true!" Now the tears fell from her eyes. "I'm not a natural, my writing is flawed. There are so many people who are better at writing than me, how can I possibly have chosen the right path? I don't even... I don't even like to write any more."

I was shaking my head before she finished. "I n-never said your wr-writing was p-perfect, b-because you shouldn't be."

At that she looked up, and I nodded and kept talking.

"I wouldn't have a p-problem with you d-dropping out if you were. You're not here to be perfect. You're not even here to learn to be perfect. You're just here to learn, which, since you aren't a natural, is what you've been doing your whole life. In a way, you're a natural at that."

It took her a minute to process it, but I could tell by the way her back straightened that it made some sense.

"You're right," she said, as if the words were one of the Wonders of the World. It was only a moment before a bit of hesitation returned, though. She spoke in a whisper. "But what do I do if they say my writing's bad?"

I laughed. "You s-say what you j-just t-told me. 'You're right.' Then you ask how to fix it and let them help you."

"Oh!" And now the light returned to Rafa's eyes, her whole face, the whole room. She jumped up and looked ready to hug me before she stopped herself, remembering my resistance to touch. That made me vaguely sad, but mostly I was happy to have helped her rediscover her own happiness. "Oh, Jasper, I feel like I can write again! You're right, it is a beautiful day, and-“

She could have gone on for hours, I'm sure, but instead she froze and scrambled to answer her ringing phone. As emotionally expressive as she is, I'd thought I'd seen the majority of Rafa's countenances, but the way she transformed from thrilled to downright terrified caught even me off guard.

"No," she whispered. "No, Erinne, oh my gosh. Hang on, I'll be there. I- I don't know, I'll figure it out, don't worry about it. I love you. See you soon," she said, and hung up.

The calm she'd maintained throughout the call was gone in an instant.

"Jasper, what do I do? Erinne's brother- he's in the hospital, but I don't have a car, and you don't have a car, I don't know-"

"There are b-buses."

"Right."

It wasn't the best solution, but we managed to catch the next bus so that we arrived at the hospital in about 35 minutes. Erinne was standing outside of the hospital, and both Rafa and I recognized her immediately. Rafa, of course, saw her best friend, and ran to her and gave her a hug. I recognized my roommate's sister and took a step back.

"Oh no," I whispered. "Spenser..."

"Oh," Erinne said, wiping her eyes, "you're his roommate, aren't you? I'm sorry he's been such a pain, I'm sorry I didn't do more-"

"Er," Rafa whispered. "What happened?"

"Pills," Erinne said breathlessly. "But, he'll be fine. Medically, at least."

Rafa hugged her again, and Erinne seemed to deflate.

"I had n-no idea," I muttered, and Erinne smiled at me and didn't seem half as intimidating as I'd imagined she was.

"It's not your fault," she assured me.

"It's not yours, either," Rafa said firmly, holding Erinne's shoulders tightly. Erinne shrugged.

"Regardless, I'm going to be there for him in the future, Raf. I'm going to get him help."

"We c-can all help with that," I said, before I even knew I was talking. I couldn't help but add, "if you want."

Erinne nodded. "Thank you, I would love that."

---

A year later and we're sitting in the small apartment Spenser and I now share. It's been a long year; Spenser had to try out various counselors before he finally found one that helped with his depression; I finally took Spencer's advice to heart and found a good counselor myself. We’re both making progress, even if it’s slow. Erinne's been around a lot. So much, in fact, that I no longer fear her.

As for Rafa, well, her life force has returned to her, so she's writing as usual, and always around to remind us that rainy years, like days, are often the most beautiful.

a note to my editor: hi jas, i just finished this. now that i understand how learning works, you should help me fix this terrible piece of writing. let me know what you think

p.s. please don't think i'm a freak for writing it from your perspective. i wanted to write something i could learn from, and with you as my editor, i figured this was the best way for you to teach me

#tw depression #tw suicide attempt #tw hospital mention #feedback is more than welcome!!!#words = 3481 #my writing #short story #to be editted #jasper #erinne #spenser #rafa

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ao3feed-captiveprince · 7 years

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A B C D E F G H I J K L M N O P Q R S T U V W X Y X

read it on the AO3 at http://ift.tt/2q1wZd0

by Love_Peace_Brofist (Gamer_Girl_Reads)

Words: 244188, Chapters: 1/1, Language: English

Fandoms: The A-Team - All Media Types, A.B.C.-Z, A-Babies Vs. X-Babies, Once Upon a Time (TV), A Song of Ice and Fire - George R. R. Martin, ダイヤのA | Daiya no A | Ace of Diamond, InuYasha - A Feudal Fairy Tale, A Song of Ice and Fire & Related Fandoms, Rogue One: A Star Wars Story (2016), A Court of Thorns and Roses Series - Sarah J. Maas, Star Wars Episode IV: A New Hope, Animorphs - Katherine A. Applegate, Without a Trace, Hanna Is Not A Boy's Name, Don't Trust the B---- in Apartment 23, Battle B-Daman, B.A.P, Block B, B1A4, Weiß Side B (Manga), Team B (Band), B.I.Shadow, B'T X, Plan B (2009), Left Behind - Jerry B. Jenkins & Tim LaHaye, Charlotte's Web - E. B. White, Spenser Series - Robert B. Parker, Zom-B Series - Darren Shan, Понедельник начинается в субботу - Стругацкие | Monday Begins on Saturday - A. & B. Strugatsky, C-Pop, C-ute, Chronicles of Narnia - C. S. Lewis, C-Clown, Captive Prince - C. S. Pacat, Political RPF - US 21st c., Political RPF - UK 20th-21st c., Coldfire Trilogy - C. S. Friedman, Alliance-Union - C. J. Cherryh, House of Night - P. C. Cast & Kristin Cast, Political RPF - Canadian 21st c., 古剑奇谭 | Gujian Qitan (Video Games), Persona Q: Shadow of the Labyrinth, Tantei Gakuen Q | Detective Academy Q, Qing Hua Ci (Music Video), Quadrophenia - All Media Types, Avenue Q - Lopez/Marx, Quake (Video Game), Afdeling Q | Department Q (Movies), w-inds., W.I.T.C.H., 会長はメイド様! | Kaichou wa Maid-sama! | Maid Sama!, E-Ring, The Outsiders - S. E. Hinton, WALL-E (2008), 50 Shades of Grey - E. L. James, Aksuma - Elizabeth E. Wein, The Lord of the Rings - J. R. R. Tolkien, TOLKIEN J. R. R. - Works & Related Fandoms, Mary Russell - Laurie R. King, Threadless T-shirt Designs, T.M.Revolution, Plain White T's, The Waste Land - T. S. Eliot, Unser (T)Raumschiff - Bullyparade Sketch, Mad T Party Band, Divine Secrets of the Ya-Ya Sisterhood (2002), Pokemon + Nobunaga no Yabou | Pokemon Conquest, Libro de los ejemplos del conde Lucanor y de Patronio | Tales of Count Lucanor - Don Juan Manuel, Honto Yajuu, Olmos y Robles (TV), Hoshi no Kaabii | Kirby: Right Back at Ya!, U-571 (2000), UC: Undercover, The Girl from U.N.C.L.E., Hollywood U: Rising Star, Star Wars Episode I: The Phantom Menace, IAMX, Don't Hug Me I'm Scared (Short Film), Final Fantasy I, Final Fantasy XII, 10 O'Clock Live RPF, Pac-Man (Video Games), The Pacific (TV), P.S. I Love You (2007), Emberverse - S. M. Stirling, The Last Unicorn - Peter S. Beagle, Nick Fury: Agent of S.H.I.E.L.D., Possession - A. S. Byatt, Sono Yubi Dake ga Shitte Iru | Only the Ring Finger Knows, Herbert West - Reanimator - H. P. Lovecraft, The Hobbit - J. R. R. Tolkien, Black Dagger Brotherhood - J. R. Ward, Red Velvet (K-pop Band), Sackett Series - Louis L'Amour, Drawing Blood - Poppy Z. Brite, X-Force (Comics), Political RPF - US 20th c., Final Fantasy V, Ed Edd n Eddy, On n'demande qu'à en rire RPF, Marvel (House of M)

Rating: Explicit

Warnings: Creator Chose Not To Use Archive Warnings, Graphic Depictions Of Violence, Major Character Death, No Archive Warnings Apply, Rape/Non-Con, Underage

Categories: F/F, F/M, Gen, M/M, Multi, Other

Characters: A, B, C, D, E - Character, F - Character, G - Character, H - Character, I - Character, J, K, L, M, N, O - Character, P - Character, R - Character, S - Character, T - Character, U - Character, V, Q, W, X, Y, Z

read it on the AO3 at http://ift.tt/2q1wZd0

#IFTTT #ao3feed #fanfic #captive prince

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90smovies · 3 years

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#Shivers #Shivers Novel Series #Shivers Book Series #M.D. Spenser #M. D. Spenser #MD Spenser #M D Spenser #Literature #90s

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zanmanxp · 4 years

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Free eBooks for iPad, Kindle & Android Tablets - Collection 'S'

COLLECTION 'S'

Download free eBooks to your Kindle, iPad/iPhone, computer, smartphone, or e-reader. The collection includes great works of fiction, non-fiction, and poetry, including works by Asimov, Jane Austen, Philip K. Dick, F. Scott Fitzgerald, Neil Gaiman, Tolstoy, Dostoevsky, Shakespeare, Ernest Hemingway, Virginia Woolf & James Joyce.

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foryourart · 6 years

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ABDULLA IBRAHIM & EKAYA IN TRIBUTE TO THE JAZZ EPISTLESPhotos and auction catalogs from the 1910s in the Getty Research Institute's provenance research holdings. Image courtesy of the Getty Center.

PLAN ForYourArt: March 1–7

Thursday, March 1

Olafur Eliasson's Reality projector and Albert Oehlen and Peppi Bottrop: Line Packers, Marciano Art Foundation (Mid-Wilshire), 11am–5pm.

Talk: Gallery Talk: Point of View—Fashion and Culture in Painted in Mexico, 1700–1790: Pinxit Mexici, LACMA (Miracle Mile), 12:30pm.

School of Music Visiting Artist Series: Jacob Shea, CalArts (Valencia), 2–4pm.

Graphic Design Lecture Artist: Anita Cooney, CalArts (Valencia), 4:30pm.

TOURS & TALKS: Stories of Almost Everyone Walk-through: Sarah Lehrer-Graiwer, Hammer Museum (Westwood), 6pm.

Persons of Interest: The Status of the Self in Digital Cultures, Wende Museum (Culver City), 6pm.

Damien Hirst: The Veil Paintings, Gagosian (Beverly Hills), 6–8pm.

Gesture | Form | Pop | Process, Kohn Gallery (Hollywood), 6–8pm.

AMERICA MARTIN, JoAnne Artman Gallery (Laguna Beach), 6–8pm.

Nelson Ramírez de Arellano Conde: I Wish I Could Understand: A History of Photography in Cuba, Annenberg Space for Photography (Century City), 6:30–8pm.

Provenance Research—A Personal Concern, Getty Center (Brentwood), 7pm.

Matthew Rolston: Hollywood Royale: Out of the School of Los Angeles, Fahey/Klein Gallery (Hollywood), 7–9pm.

Screen: Black Radical Imagination, MOCA Grand Avenue (Downtown), 7pm.

READINGS: Poetry: Rosanna Warren, Hammer Museum (Westwood), 7:30pm.

Friday, March 2

School of Music Visiting Artist Series: Jürg Frey, CalArts (Valencia), 10am–12pm.

First Fridays: L.A. Invents, Natural History Museum (Downtown), 5–10pm.

Walead Beshty: Equivalents, Regen Projects (Hollywood), 6–8pm.

Jessi Reaves, Mother Culture (Downtown), 6–9pm.

9th Annual Art For Hearts Fundraiser by Pico Youth & Family Center, Robert Berman Gallery (Santa Monica), 7–11pm. $15–40.

Movie Nights at the Museum: Wattstax, Los Angeles Poverty Department (Downtown), 7pm.

LALUZAPALOOZA 2018: OUR 32nd ANNUAL GROUP SHOW, La Luz de Jesus Gallery (Los Feliz), 8–11pm.

Yoshito Ohno: Flower and Bird, REDCAT (Downtown), 8:30pm. $20–40. Also March 3.

Saturday, March 3

Ranch Clinic - Safely Preserving Food at Home, The Huntington (San Marino), 9–10am.

ANDY WARHOL: Prints from the Collections of Jordan D. Schnitzer and His Family Foundation, Palm Springs Art Museum (Palm Springs), 10am–5pm.

Photo Workshop – Awkwardless Photos, ESMoA (El Segundo), 10am–12:30pm.

Workshop: INHABITANTS, A Physical Theatre Activation Lab with Gema Galiana + Emily Meister, Pieter (Lincoln Heights), 11:30am–3pm.

Artist at Work: Paper and Light, Getty Center (Brentwood), 1–3pm. Also March 24.

Closing reception: Hunter/Killer, Big Pictures Los Angeles (Mid-City), 3–7pm.

The Big Picture - Chinese & Mexican Artists Examine Contemporary Muralism in Mexico and China, USC Pacific Asia Museum (Pasadena), 3pm.

Bahia Through the Senses: A Capoeira Workshop, Fowler Museum (Westwood), 4–7pm.

Kcymaerxthaere: The Story So Far... (Folio 1) // Book signing and storytelling w/ Eames Demetrios, Arcana Books on the Arts (Culver City), 4–6pm.

NIRA PEREG: Melt Away Before You or I Can't Believe it's Not Battle!, LAXART (Hollywood), 4–7pm.

LAUNCH PARTY - FULL BLEDE Issue Four: The Pattern and WILLIAM POWHIDA – AFTER ‘AFTER THE CONTEMPORARY and IT'S OK.↘ closing receptions, Charlie James Gallery (Chinatown), 4–7pm.

50th Anniversary of the East L.A. Walkouts, The Church of the Epiphany/La Iglesia de la Epifanía (Lincoln Heights), panel discussion, 4pm.

Robin Mitchell: Paintings & Nancy Monk: Twelve by Nine, Craig Krull Gallery (Santa Monica), 5–7pm.

Martel Window Project: David Schafer and Roger Herman, Richard Telles Fine Art (Fairfax), 5–7pm.

Zoe Buckman: Let Her Rave, Gavlak (Hollywood), 5–8pm.

MYTHOPOETIC, Coagula Curatorial (Chinatown), 5–9pm.

YOUR MOUSE GOD IS DEAD (and other new works), CalArts (Valencia), 5–7pm.

¡ADIÓS, CUBA IS! Closing reception, Annenberg Space for Photography (Century City), 6–8pm.

Amy Sol and Liz Brizzi, Thinkspace Gallery (Culver City), 6–9pm.

Katherine Sherwood: The Interior of the Yelling Clinic, Walter Maciel Gallery (Culver City), 6–8pm.

Despina Stokou: Oh, Honey, Praz-Delavallade (Miracle Mile), 6-8pm.

Ben Sanders: I Come to the Garden Alone, Ochi Projects (Mid-City), 6–9pm.

Peles Empire and Oliver Osborne: Empire/Osborne, Moran Moran (West Hollywood), 6–8pm.

HIGHLIGHTAMIR NIKRAVAN: WORLD OF INTERIORS and KATHRYN GARCIA: A TANIT, Various Small Fires (Hollywood), 6–8pm.

By The Lights of Their Eyes, Shulamit Nazarian (Hollywood), 6–9pm.

Norm Clasen: Titled (Cowboy), M+B Photo (Hollywood), 6–8pm.

By The Lights Of Their Eyes, Shulamit Nazarian (Hollywood), 6–9pm.

Robin Cameron: No Now, Moskowitz Bayse (Hollywood), 6–9pm.

Emanuel Röhss: Out of Joint, 818 South Spring Street (Downtown), 6–9pm.

Emmeric Konrad, Tieken Gallery LA (Chinatown), 6–10pm.

NOTHING TAME, Keystone Art Space (Lincoln Heights), 6–11pm.

NOTHING TAME, ESMoA (El Segundo), 6–11pm.

Momo No Sekku and Year of the Dog, Giant Robot 2 (Sawtelle), 6:30–10pm.

Closing event, we tbd, Human Resources (Chinatown), 7–10pm.

ABDULLA IBRAHIM & EKAYA IN TRIBUTE TO THE JAZZ EPISTLES, CAP UCLA (Westwood), 8pm.

Analog vs. Digital, Hive Gallery (Downtown), 8–11pm.

To Kill Capitalism by Denae Howard, CalArts (Valencia), all day. Through March 9.

Sunday, March 4

KIDS: 826LA@Hammer: Advice Bot Repair Shop, Hammer Museum (Westwood), 11am.

Real Worlds: Brassaï, Arbus, Goldin, Give and Take: Highlighting Recent Acquisitions, Jackson Pollock’s Number 1, 1949: A Conservation Treatment, and Lauren Halsey: we still here, there, MOCA Grand Avenue (Downtown), 11am–5pm.

Shared Exhibition, Hannah Hoffman (Hollywood), Kristina Kite (Mid-City), Park View Gallery (MacArthur Park), 12–5pm.

Workshop: Improvisation Strategies for the Individual and Group with Spenser Theberge, Pieter (Lincoln Heights), 12–3pm.

Mr. Fish + Robert Scheer | Conversation + Book Signing, Robert Berman Gallery (Santa Monica), 1–3pm.

Mindfulness and Self-Care Tools for Healthy and Joyful Living, Main Museum (Downtown), 1–3pm.

An Old-Fashioned Craft-Cocktail Workshop with Bar Mattachine, Craft & Folk Art Museum (Miracle Mile), 2–5pm. $70–80.

Garry Neill Kennedy: Printed Matter: Selections from 1971 to Present, as-is.la (MacArthur Park), 2–5pm.

Eric Zammitt: Exhibition & Open Studio, 323 E. Altadena Drive (Altadena), 2–5pm.

Artists on Artists: Paul Mpagi Sepuya on Real Worlds: Brassaï, Arbus, Goldin, MOCA Grand Avenue (Downtown), 3pm.

CONVERSATION@PAM: AUSTENISTAN, USC Pacific Asia Museum (Pasadena), 3–5pm.

Drawing from the Masters: Drawing on the Edge, Getty Center (Brentwood), 3:30–5:30pm. Also March 18.

Shana Lutker: Chapter 5: Phosphorescence, Pheasants, and Unpleasants and book signing, Art Catalogues at LACMA (Miracle Mile), 4–6pm.

Ramiro Chaves & MANIMAS: NIESO NIESOTRO, Ruberta (Glendale), 4–7pm.

Nick Kramer: No Neighbors, Street Lights Are Out and Jennifer Rochlin: Wild is the Wind, The Pit (Glendale), 4–7pm.

Vittorio Brodmann: Two Birds, Two Stones, Freedman Fitzpatrick (Hollywood), 6–8pm.

SISTER SPIT TOUR 2018: QTPOC Cruising the West, Human Resources (Chinatown), 7–9pm.

Monday, March 5

A Day In the Garden, private estate (Palm Springs), 11am–1pm.

UPCOMING: School of Music Visiting Artist Series: Jerónimo (Jxel) Rajchenber, CalArts (Valencia), 2–4pm.

THIS, NOT THAT LECTURE: MARK FOSTER GAGE, UCLA (Westwood), 6:30pm.

Kip's Desert Book Club: The Dispossessed by Ursula K. LeGuin, private home (Joshua Tree), 7pm.

Wu Man and the Huayin Shadow Puppet Band, The Huntington (San Marino), 7:30pm.

Across Times, Bodies and Space: Films by Vivienne Dick, REDCAT (Downtown), 8:30pm

Tuesday, March 6

Points of Access: Artists in Conversation with Kenyatta A.C. Hinkle, Ramsess, Mark Steven Greenfield, and moderated by Isabelle Lutterodt, Art + Practice (Leimert Park), 7pm.

READING: Some Favorite Writers: Mary Gaitskill, Hammer Museum (Westwood), 7:30pm.

ArtCenter Spring 2018 Graduate Seminar Lecture: Laura Owens presents Candida Alvarez, ArtCenter College of Design (Pasadena), 7:30pm.

Wednesday, March 7

FOWLER OUT LOUD: CHRISTIAN BESA WRIGHT, Fowler Museum (Westwood), 6pm.

Cut! Paper Play in Photography, Getty Center (Brentwood), 7pm.

Distinguished Fellow Lecture - Conversion & Religions of the World in 18th-Century America, The Huntington (San Marino), 7:30pm.

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