#please return the Afro era

[moon-personality-art]

Why do people not have Afros nowadays? Why do we got get a giant Pom Poms bigger than our heads glued to said head? It’s truly beautiful and majestic to look at

#free the Afro #please return the Afro era #Afro #random though of the day

[the-goblin-cat]

whole hog: henry sinclair

Time for the man, the myth, the legend...

Henry is the protag of my novel, read it here

✨- How did you come up with the OC’s name?

There's nothing behind this name at all. It sounded both bougie and old timey American, which I was going for due to him originally being from New England.

🌼 - How old are they? (Or approximate age range)

Henry starts off Dream Quest at 14, and turns 15 at some point during the story. Like Cherise and Neville, he will continue to age as the stories go on and be in his 20s in the final arc

🌺- Do they have any love interest(s)?

Henry's primary love interest is Ayane, the dream spirit/tulpa of a popular fictional character he brought home from the Dreamlands. However they aren't going to get together just yet; he'll date a couple other girls before they come to terms with their feelings.

🍕 - What is their favorite food?

Chicken parmesan for dinner, baklava and black coffee for dessert

💼 - What do they do for a living?

Henry is a student at the current age. His family is too affluent for him to have to work for a living. The trajectory of his life is such that he will likely either join the magic council of San Francisco or be shipped off to Greece to apprentice under his "grandfather," really his immortal ancestor Lelantos. However, most likely, he will not do any of that.

🎹 - Do they have any hobbies?

Henry loves to read heavy tomes, usually fantasy novels if they aren't arcane grimoires.

🎯 -What do they do best?

Henry's greatest talent as a practitioner is to alter the shape and properties of earthen materials. He can make stone and metal soft and spongy on contact or shape it with his hands, which he is quite good at.

🥊 -What do they love to do? What do they hate to do?

Henry loves to sing, and will probably lean more into music as an escape after returning him. He is starting to learn that he hates being told what do do and will soon enter his rebellious phase.

❤️ - What is one of your OC’s best memories?

We explore it in the dream quest novel! He remembers going to the beach as a toddler with his mother. This is one of his last memories of her before she died.

✂️ - What is one of your OC’s worst memories?

Probably what came right after the last one, being told that she had died. I have not fleshed out the details of that incident however.

🧊 - Is their current design the first one?

Like Neville, he underwent a latinization lmao. He was originally a pasty white boy and is now mixed white/afro-latino. I think of this era as the "punished Henry" design since he has grown his hair out long and lost his arm, which were both absent originally.

🍀 - What originally inspired the OC?

the deep lore is that he was based on a big name fan's homestuck fankid. I don't remember either of their names. Just know that someone else made up a black haired child with a big blue coat who was interested in the occult.

🌂 - What genre do they belong in?

Seeing as he was raised among magic with it as his birthright, and is in the process of becoming even more magical, he could only ever be a fantasy character. He would probably do well in one of those political fantasies about warring houses though, mind you.

💚 - What is your OC’s gender identity and sexuality?

Henry is cis and bisexual. I know I said he mostly dates girls back there, but he will show interest in at least a couple boys at one point.

🙌 - How many sibling does your OC have?

Henry has no siblings. He does however have a younger cousin, Ruby, with whom he has been raised, and they see each other as siblings.

🍎 - What is the OC’s relationship w/their parents like?

Henry really wishes they were still alive. He instead is being raised by his aunt. She is a cold woman and difficult to please, but can be loving now and then. He is starting to distrust her, however.

🧠 - What do you like most about the OC?

He just has a certain je ne sais quo...

✏️ - How often do you draw/write about the OC?

There was a period where I didn't talk about him at all because I was unsatisfied with his original introduction and wanted to write a new one. Then when that was done I never shut up about him.

💎 - Do you ever see yourself killing off the OC?

If Henry dies he will simply hatch out of the corpse like a cicada.

💀 - Does your OC have any phobias?

Surprisingly no.

🍩 -Who is your OC’s arch-nemesis or rival?

For nemeses he has his evil genderbent doppelganger from the mirror dimension, Leila. I suppose they could also be construed as rivals due to being in the same age range and having similar abilities. literal foils and such. He is also going to come to hate his grandfather.

🎓 - How long have you had the OC?

November of 2013. I remember because it was a NaNo project.

🍥 - What age were you when you created the OC?

21...

#ask game #henry sinclair #filmverse

[ausetkmt]

Funk. It’s not just the notes and it’s not just the rhythm. It’s the feeling. When you’re listening to a band or a song, you shouldn’t have to do too much thinking to tell if it’s got the funk. You’ll feel it. And if it’s got the funk, ipso facto, it is funky.

Funk bands and funky music have recently, I’m pleased to report, experienced a bit of a resurgence – that is if one is to believe the august New York Times, who on November 3rd ran a lengthy article in it’s Sunday Review section entitled, “The Glorious Return Of Funk.” Oddly, at least on the surface, the article’s author, professor and musicologist Nate Sloan, cited as his first example the song ‘Sucker,’ a current Top 40 hit by the decidedly un-funky Wyckoff, NJ trio (and all-time favorite of my daughter, Mary), the Jonas Brothers. But sure enough, precisely 1:55 into the tune and for the succeeding 14 seconds, comes the moment Sloan described as a “stupefyingly funky drum break.” I’ll be damned if I didn’t feel it. With reflections of academia, Sloan went on to explain funk’s elusive heart is in its syncopation. “(It’s) The art of placing rhythmic accents in unexpected places,” he expounds. “The cognitive dissonance created every time a drummer, a guitarist or a group of horns strikes a note on the offbeat has a way of generating a propulsive power that can’t be denied.”

Current renaissance notwithstanding, what can similarly not be denied is that such funky syncopated power was at its peak in the groovy era of the 1970’s. Earth, Wind & Fire, The Isley Brothers, Sly and the Family Stone, Kool & The Gang, The Gap Band, The Brothers Johnson, The Commodores, The Meters (later The Funky Meters), and certainly Parliament-Funkadelic, were just some of the roster of gigantic ‘70’s bands delivering the almighty funk.

Invoking the unlikely pairing of Descartes and the aforementioned Parliament, professor Sloan further attempted to ascribe scholarly meaning to the subject with the moving, sensory description, “The olfactory nature of the name ‘funk’ suggests the music was all about sweat and sociality. And it is. But it’s also something greater. Funk insisted that physical release begets mental salvation and vice versa, a collapsing of Cartesian mind-body duality summed up succinctly in the title of a 1970 Funkadelic album: “Free Your Mind … and Your Ass Will Follow.””

That’s heady stuff (and, I suppose, booty stuff). More directly, James Jamerson, acknowledged recently as the “most influential bass player ever” by Bass Player magazine, was known to have said, “The funk is in the funk.”

Personally, I just know it when I hear (and feel) it. And probably no band (outside of James Brown and The Famous Flames) put that feeling across quite like The Ohio Players. Originally formed in Dayton, Ohio in 1959, The Ohio Players reached their zenith in the ‘70’s with gloriously funkified hits such as ‘Love Rollercoaster,’ ‘Skin Tight,’ ‘Funky Worm,’ ‘Jive Turkey,’ and, undoubtedly their greatest ever, our featured song, ‘Fire.’ The video clip, taken from a 1975 live performance on the beloved late-night musical variety series, The Midnight Special, is over nine minutes long, but well worth the time.

Right from the marvelously incongruous introduction by funk-less ‘I Am Woman’ Aussie, Helen Reddy, the Ohio Players launch into an elongated funk-fest that would almost seem to be parody – or an outtake from the Will Farrell flick, “Semi-Pro” – if not for the fact that it’s so damn awesome. There’s a lot to follow here: smoke, bubbles, sirens, afros, denim ‘n diamond-bedazzled outfits, flame-licking graphics, runway strutting, O-H-I-O chanting, the sudden appearance (then re-appearance) by a crew of pop-and-lock dancers, all happening while the band keeps churning away at its mighty funky business. But I do especially hope you’ll stick around until the end when (beginning at 8:24) double-neck guitarist Leroy “Sugarfoot” Bonner – that’s right, “Sugarfoot” – does a mind-blowing, pretty much indescribable scat/guitar finale that in retrospect seems like the only possible way to bring the entire eccentric exercise to a conclusion.

Of its madcap mayhem, a YouTube commenter astutely wrote, “Caution: this is straight funk, please warm up with lesser funk before watching. Side effects may include uncontrollable urge to get down, get it on, or get on wit’ yo bad self, randomly begin shouting and whooping, and possibly, in severe cases, set fire to your house in honor of the funk.” To that, stretching back from the Ohio Players on up to the Jonas Brothers, all I can think to say is “Funk yeah.”

#Ohio Players #Ohio Players “Fire” (1974) #funk #funk bands

[nuance-twice-thrice]

¿Dónde está Ana Mendieta?

Ana Mendieta was a multidisciplinary Cuban-American artist who lived and worked in Iowa, Cuba, Mexico and New York. In this essay I will discuss the way in which she was influenced by the political and social landscapes surrounding her and, in turn, her impact on art and politics.

Mendieta’s early life was incredibly formative for both her personality and practice – born in Cuba in 1948, her father was a radical supporter of Fidel Castro. Under Operation Peter Pan, a clandestine exodus of thousands of unchaperoned adolescents, Mendieta and her sister were exiled to the US. The programme was intended to prevent the socialisation of Cuban children under Castro’s regime, but what it truly accomplished was the mass separation of children from their families – arguably more harmful than their internalisation of communist ideology. This instilled in Mendieta a longing to return to the homeland from which she was forcibly separated. This feeling of displacement is intelligible in Mendieta’s Silueta (earth-body) series, a prolific body of work beginning in 1973 as part of which the artist produced over 200 land installations; carving abstract feminine forms into the earth of Iowa and Mexico. Many interpret this as longing to return to the literal earth from which she was separated at such a young age. She also utilised other elemental mediums, including ice, fire, flowers, twigs, water, moss, and gunpowder [see Silueta series 1973-78, pictured below].

Silueta series, 1973-78

Through this process, she forged connections between the body and nature, paying homage to the female form and manifesting a corporeal ‘Mother Earth’. This made for part of a larger commentary on humanity’s relationship with the earth and universe. She amalgamated the ideology of feminist thought with the medium and aesthetics of the ecological community. Through this, she tethered herself to Afro-Cuban religious tradition and heritage, such as the indigenous Taíno people, and African diasporic faith Santería (Way of the Saints). Santería takes its roots in Yoruba belief, practice and tradition, and integrates elements of Roman Catholicism and Spiritism. Therefore, the religion is syncretic, meaning multiple different belief systems are assimilated. This is ideologically similar to Mendieta’s approach to art making, in that she incorporates different elements of her political ideas, cultural and religious heritage, and her spiritual ties to the earth. Although Mendieta intended for these works to be discovered, most eroded before they could be preserved. In spite of her intentions, there is a pleasing temporality about them. The sculptures appear for just a moment in time, an ethereal spectre, and refuse to be defined to an established classification of artwork, bridging the gap between performance, photography, sculpture and land art.

Untitled (Facial Hair Transplants), 1972

Mendieta exemplified a dissent from other popular feminist narratives at that time. Her embodiment of an omnipresent goddess form, her apotheosis of womanhood, and her manifestation of a divine feminine was contrary to the values posited by second wave feminism, which denounced stereotypically feminine attributes and aligned itself with masculinity. They cannot be blamed for their attempts to relinquish the title of femininity: in an era of masculine hegemony, emancipating oneself from girlhood may be a device through which they can be taken seriously, and an attempt to free oneself from patriarchy, however misguided. Mendieta herself, in her 1972 series Untitled (Facial Hair Transplants) [pictured above], separated herself from her identity as a woman and experimented with the boundaries of gender and the implications of its perception. Throughout history, women’s bodies have been objectified, politicised, colonised; physical domination sowing the seeds for an emotional and intellectual domination, and one can understand the desire to escape this. This aversion to hyperfemininity is seen to this day through several seemingly innocuous archetypes in popular culture, but we are collectively becoming more aware of the problematic basis of this ideology. In contrast, Mendieta finds power in womanhood; embracing femininity rather than distancing herself from it.

The work Mendieta produced before Silueta took a more confrontational approach. She observed the violence which women were subjected to, as well as the cultural normalisation and apathy towards this subjugation. She began to explore violence towards women, following the brutal sexual assault and murder of a fellow female student on campus in 1973. The month following, in her performance piece Untitled (Rape Scene), she invited other students to her apartment, where she was posed as seen below. She also made many further pieces using the medium of blood, including Untitled (People Looking at Blood, Moffitt), in which she documented the reactions of passers-by to the pool of animal viscera on the doorstep to her apartment [see image 2 below]. This was part of a wider investigation, a series of works which were graphic, outspoken, and featured the use of blood and self-degradation as a medium through which she commented on the normalcy of this kind of violence. In my opinion, Mendieta represents a force of insurrection in an age of hegemonic masculinity; a time that legitimises the subordination of women, and the domination of patriarchy amongst the common population.

Untitled (Rape Scene), 1973

Untitled (People Looking at Blood, Moffitt), 1973

Mendieta’s willingness to openly display honest visualisations of the brutality towards women is admirable. I fear that 21st century censorship is fostering our ignorance of reality. There are elements of truth to the discussion around desensitisation regarding the internet and its role in the development of children, but I believe this term is misappropriated for adults. There is a counter-movement of the pathological need to be protected from imagery that could be perceived as upsetting, triggering or offensive. Art that has made a political impact has always been controversial, and rightly so. Without discourse, can we be remembered? I fear that this desire for protection is a dangerous regression to a 1950’s vision of decorous and fragile femininity, whilst second wave feminism claims to represent strength and equality. Art should not mollycoddle us, but reflect the world as it is. Women do not need to be protected from the realities of violence. All that achieves is ignorance; without education, how will we recognise when it is happening? In order to deconstruct the power structures that facilitate abuse, we must be cognisant of what constitutes it.

Mendieta was conscious of how her identities as a woman and as a person of colour intersected. In a curatorial statement for an exhibition exclusively displaying the work of women of colour, she wrote “As non-white women, our struggles are two-fold. This exhibition points not necessarily to the injustice or incapacity of a society that has not been willing to include us, but more towards a personal will to continue being ‘other’.” This demonstrates that intersectionality has always been an issue, but that has only been brought into the public eye in recent years. They have to be exceptional in order to be recognised where the privileged can coast off of mediocrity. The term ‘intersectionality’ was coined in 1989 by leading scholar of critical race theory Kimberlé Crenshaw, and has recently been brought into the popular cultural lexicon, only to come under fire by American conservatives. The power balance, one forged in the wake of imperialism, patriarchy, and capitalism, is immediately threatened once women and minorities realise their power. And those who benefit from these structures are afraid to recognise that, lest it means they will have to live without it.

In 1978, Mendieta settled in New York City, where she became friends with leading feminist contemporaries including Nancy Spero and Carolee Schneemann. It was through these social networks that she met famous sculptor Carl Andre. Their relationship struck many as odd; 14 years her senior, he was aloof, cerebral and supercilious where Mendieta was ritualistic, outspoken and opinionated. The couple were married in January 1985, but their marriage was tempestuous, frequently fraught with drunken altercations, and ultimately short-lived. Just seven months later, Mendieta was fatally wounded in a tragic incident. When she fell from the 34th-floor window of their apartment, her almost-naked body hit the delicatessen below with such an impact that it left an imprint of her head on the roof, cruelly mimicking the imagery of her Silueta works.

The circumstances surrounding her death were, although legally conjecture, incredibly suspicious. Why would an artist with a promising future (and an acute fear of heights) throw herself from the window of her apartment in just her underwear? Standing at less than five feet tall, Andre claimed that she had climbed up onto the windowsill to pull the window shut, where she had accidentally fallen out, despite having previously claimed that she had committed suicide. Furthermore, the police arrived to find the bedroom in disarray, scratches on Andre’s nose and arms, and the building’s doorman reported to having heard a woman begging “No, no, no”, shortly followed by the sound of her body as it collided with the roof below.

This evidence was ultimately insufficient, and as a result Andre was acquitted at trial in 1988 on grounds of reasonable doubt. His defence attorney proclaimed that she committed ‘sub-intentional suicide’, and that her interest in Santería and ‘fiery Latin temperament’ evidenced her suicidal disposition. The judge who acquitted Andre later admitted that ‘he probably did it’. This case proved to be very divisive; in a campaign by the Guerrilla Girls, he was likened to OJ Simpson [see below], whilst his friends claimed he was simply being ‘victimised by a feminist cabal’. Despite this, Andre continued to live in relative artistic success, although he was ostracised by feminist art communities.

In 1992, the Guggenheim held a group exhibition, selecting none other than Carl Andre to display his work. In a protest primarily organised by the Women’s Action Coalition, demonstrators gathered at the exhibitions opening, yielding signs reading ‘Carl Andre is in the Guggenheim. Where is Ana Mendieta? ¿Dónde está Ana Mendieta?’ In Where Is Ana Mendieta: Identity, Performativity, and Exile, author Jane Blocker examines the nature of this question. She asserts that the phraseology of this question is in fact not literal, but rhetorical. In asking ‘Where is Ana Mendieta?’, the protestors actually criticise her absence. It interrogates Andre’s established position within the art world, in which he is supported by ‘gender, racial, aesthetic, and institutional traditions’, whilst Mendieta is erased.

Mendieta’s posthumous position within the art world is a complex one. In the aftermath of the protests, she received a righteous level of exposure and veneration that she never saw in lifetime, although has in turn undergone a process of canonisation within feminist artistic spheres. Her story has been weaponised by protesters, her victimhood becoming an allegory for their criticism of wider social ills. Fellow Cuban-American artist Coco Fusco articulated her thoughts on Mendieta’s martyrdom. ‘The people who can’t separate her from Carl Andre and from her untimely death are obsessed with constructing female experience as victimisation. They are not concerned with her art or her life, only with capitalising on her death to justify fantasies that are neither empowering nor politically sound.’

I believe there is something inherently unethical about the utilisation of these case studies as symbolic representations of societal and institutional problems. The very act of turning an individual into a metaphor is quite literally dehumanisation; stripping away their experiences, actions, and every nuance of their personhood in order to apply them to a broader political conflict. Action against Carl Andre is not equivocal to action against the patriarchy. Yes, these individual instances of interpersonal harm may be exemplary of a larger systemic problem; but through the processes of both victimisation and vilification, we lose sight of all objectivity. In our quest to engineer this narrative, we wittingly disregard the totality of people’s personalities in order to fit our casting as ‘victim’ and ‘perpetrator’. Through this conspiratorial lens, we assassinate the characters of private individuals within the Foucauldian panopticon, becoming a self-asserted justice system where we perceive established legislation to have failed. And yet there is a sadistic catharsis gained from this social ostracisation, a hunger for a perverted retributive justice for perceived social transgressions. It is the ‘cancel culture’ of the 20th century, and has the same motivation: schadenfreude hiding beneath the mask of punitive justice.

In conclusion, though her career was brief, Ana Mendieta made a remarkable impact on the art world. Although she existed in relative obscurity until after her death, I would argue that her influence was ubiquitous to the movement of women’s liberation against sexual and domestic violence. However, when discussing her impact, we should not forget her multifariousness, her personhood, her humanity.

References

Bbc.co.uk. 2022. BBC - Religion: Santeria. [online] Available at: <https://www.bbc.co.uk/religion/religions/santeria/

Blakemore, E., 2022. The Secret Cold War Program That Airlifted Cuban Kids to the U.S.—Without Their Parents. [online] HISTORY. Available at: <https://www.history.com/news/cold-war-refugee-operation-peter-pan-cuba-eisenhower

Blocker, J., 1999. Where is Ana Mendieta? Identity, Performativity and Exile. Durham, N.C.: Duke University Press.

Burkett, E., 2022. feminism - The second wave of feminism. [online] Encyclopedia Britannica. Available at: <https://www.britannica.com/topic/feminism/The-second-wave-of-feminism

Coaston, J., 2022. The intersectionality wars. [online] Vox. Available at: <https://www.vox.com/the-highlight/2019/5/20/18542843/intersectionality-conservatism-law-race-gender-discrimination

Crenshaw, K., 1989. Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics. University of Chicago Legal Forum, Vol. 1989(1), Article 8.

Manatakis, L., 2022. Ana Mendieta was the controversial artist who helped pioneer earth art. [online] Dazed. Available at: <https://www.dazeddigital.com/art-photography/article/39819/1/ana-mendieta-was-the-controversial-artist-who-helped-pioneer-earth-art

Manchester, E., 2022. [online] Available at: <https://www.tate.org.uk/art/artworks/mendieta-untitled-rape-scene-t13355

McLaughlin, R., 2022. Ana Mendieta: Artist or Martyr?. [online] Artreview.com. Available at: <https://artreview.com/ar-april-2018-feature-ana-mendieta

Mendieta, A., Rosenthal, S., Heathfield, A. and Bryan-Wilson, J., 2013. Traces. London: Hayward Pub., p.19.

Metmuseum.org. 2022. [online] Available at: <https://www.metmuseum.org/perspectives/articles/2021/10/from-the-vaults-remembering-ana-mendieta

O’Hagan, S., 2022. Ana Mendieta: death of an artist foretold in blood. [online] the Guardian. Available at: <https://www.theguardian.com/artanddesign/2013/sep/22/ana-mendieta-artist-work-foretold-death

Pompeo, J., 2022. “Journalism Is Not About Creating Safe Spaces”: Inside the NYT’s Woke Civil War. [online] Vanity Fair. Available at: <https://www.vanityfair.com/news/2018/04/a-woke-civil-war-is-simmering-at-the-new-york-times

Swanson, C., 2022. The History of New York Scandals - Carl Andre’s Murder Trial -- New York Magazine - Nymag. [online] New York Magazine. Available at: <https://nymag.com/news/features/scandals/carl-andre-2012-4

The Museum of Modern Art. 2022. Ana Mendieta | MoMA. [online] Available at: <https://www.moma.org/artists/3924

Trotman, N., 2022. Untitled: Silueta Series | The Guggenheim Museums and Foundation. [online] The Guggenheim Museums and Foundation. Available at: <https://www.guggenheim.org/artwork/5221

Wadler, J., 1985. A Death In Art. New York Magazine, Vol. 18, No. 49, pp.38-46.

[skippyv20]

Bright Nights: Empire

When

09 October, 29 October and 13 November 2019

Arrival at 19:00 or 19:30. Event ends at 22:30.

An evening at Kensington Palace to experiment, think, debate and drink

Writers, artists, scientists and psychologists will explore the complex and contested legacy of the British Empire over a series of three thought-provoking evenings at Kensington Palace.

In the very spot where Queen and Empress, Victoria, was born and grew up, join us to debate the impact of the Empire on our contemporary ideas about race and identity. 

We’ll be celebrating the diverse, vibrant city we live in today with games, cocktails, and a Bollywood meets Afro-themed DJ set from Hit-Maker Music, alongside craftivism, and on select nights, a sneaky peak of a new dance piece: ‘Black Victorians.’

Throughout history, Kensington Palace has been a seat of the powerful. The aristocracy flocked to hear from the great thinkers and artists of the day, invited by the Royal Family to present their work at court.

In 2019, you are invited to return to the palace to explore the stories of those who were once voiceless in this royal building.

The palace will be buzzing with ideas, art and experiments once more – only this time, everyone is welcome!

Schedule of discussions

Wednesday 09 October

Award-winning poet Anthony Anaxagorou will perform original works on race, identity and notions of personhood.

Historian Dr Katrina Marchant will interrogate the idea of Empire as an anxious abjection and how the Elizabethan era shaped the values of Empire.

Ethnographer and journalist Irna Qureshi will explore the idea of Britishness in a Pakistani context with reference to Queen Victoria’s role in her family.

Tuesday 29 October

Literary researcher Sarah Jilani will question the makings of Englishness through literature.

Curator Subhadra Das will explore the role science museums have in the building and dismantling of imperial power.

Dance performances of new work-in-progress between Historic Royal Palaces and choreographer Jeanefer Jean-Charles. Dancers explore the fusion of the African movement and Victorian court dances with a contemporary approach, inspired by the Black Chronicles II photography exhibition.

Wednesday 13 November

Spoken word artist Jaspreet Kaur (Behind the Netra) will share poetry on the impact of Empire and taboo subjects both in the Asian community and wider society.

Psychologist Dr Erica McInnis will explain how Eurocentric psychology isn’t serving a diverse population and how African-centred approaches can provide complementary treatment and practice to people who have different needs.

Historian Dr Sally Tuckett will trace the history of Empire through Scottish textiles to tell us more about people not recorded in written histories.

At all the events

Drop-in craftivism workshop with Italian photo artist Naomi Vona.

Sensory installation that fuses art and fragrance from AVM Curiosities.

History Speak workshop from Manasi Pophale which analyses the “telling” of historical events by comparing school history textbooks from countries around the world.

Games, cocktails and a Bollywood meets Afro-beats DJ set from Hit Maker Music.

Important information

Kensington Palace is situated within a Royal Park and the gates close at dusk. Please arrive via Orme Square Gate (via Bayswater Road). To ensure your safety, a bag check will be undertaken on arrival.

October half term activities

When

Start date: 19 October 2019

End date: 27 October 2019

Drop-in activities throughout the day

Join Queen Victoria this half term and express yourself through photography, music and fashion

Meet Queen Victoria and her daughter Princess Louise

Queen Victoria is paying a visit to her daughter Louise at Kensington Palace. It is Louise’s first time living away from her mother, and Victoria is keen to make sure that Louise is behaving herself like a Princess should.

However, Louise has got a plan up her sleeve and it is definitely not Princess like! Can she manage to persuade the Queen to let her have her way?

Location: Drawing Room, Kings State Apartments, Level 2 Time: 11:15, 13:15, 14:15 and 15:00 (20 mins)

Victoria’s story trail

Pick up a trail and go on a hunt for special objects belonging to Queen Victoria located around the palace.

Walk through the rooms where Victoria grew up, read The Naughty Book, look at her sketch books and see how she expressed herself through some of her most treasured possessions.

Collect your prize when you have found them all.

Free creative workshops

Rap music workshop

Write your own rhymes over beats ready to perform with help from rap artists from Student of Life. 

Queen Victoria wrote in her diary everyday throughout her life. This was where she recorded important events and what she honestly felt. Go with your flow and explore this contemporary music style, where being yourself and speaking the truth is what’s important.

Time: 12:00-13:00 and 14:00-15:00  Location:Sign up at Family Desk, Clore Entrance Hall, Ground Floor

Photo portraits workshop

Compose your own family photo portraits or selfies with help from photographers from Sharp Shot Photo Club.

Victoria was the first monarch ever to have her photo taken. She used painted portraits and photographs of herself to show the world the type of Queen she wanted to be.

Time: 10:30-12:45 and 13:30-15:30 Location: Battenberg Room, Level 1, opposite the lift

Fashion designs workshop

Create your own fashion piece with help from artist facilitators to express what is important to you.

Victoria and her daughter Louise both used clothing to express their opinions, personal experiences and tastes. Find out more about how they cleverly used clothing to send messages and how we still do this today.

Time: 10:30-12:45 and 13:30-15:30 Location: Clore Learning Centre, Ground Floor

More family activities

Activity bags for children aged 0-8 years old

Pick up a self-directed activity bag and explore the King’s State Apartments. We have a range of bags aimed at babies, toddlers and children up to the age of 8.

Time: 10:00-15:00 Location: Family Desk, Clore Entrance Hall, Ground Floor

Digital mission – The Artist’s Perfect Painting

Go on an interactive adventure around the King’s State Apartments. Meet a character from history, explore all around you, do challenges on your mobile device and win a badge!

Download the ‘Time Explorers’ app from the App Store or Google Play Store using free Palace Wi-Fi.

Thank you....wonderful😊❤️❤️❤️❤️❤️

[cherrycxsmos]

Singularity

I wake up to the sound of my alarm blaring at 6:29 in the morning. Letting out an exhausted yawn I force myself out of bed. A shiver runs through my body as my feet touch the cold marble floor. I trudge over to the bathroom, hitting my pinky toe on my desk chair in the process. A small hiss left my lips and I limp to the bathroom, turning on the light. The brightness of the light has me temporarily shielding my eyes as my pupils get used to the change. I glance up at the mirror and I catch sight of my tired, worn out, and annoyed appearance since I was robbed of my 1 minute of sleep. Baggy eyes, disheveled afro, dried up drool at each corner of my mouth. I let out a quiet chuckle and turned on the water faucet so I could wash my face and brush my teeth.

 It’s too quiet. 

“Alexa, play my k-pop music box playlist, volume to 3”, I said loud enough for the speaker to hear but quiet enough that it wouldn’t disturb the rooms that surrounded mine. The soft music played through my room as I finished getting ready for the day. 

By 9 am I was ready for my first class of the day, but I would rather stay in bed. I sigh and begin to walk out the door when I receive an email from my professor. “Class has been cancelled. Please work on the assignment that is written on the syllabus and prepare it for the next class.” Overcome with immense joy, I step back inside of my apartment and return to my room. I throw my bag onto my chair and climb on to my bed. I grab my koala stuffed animal and cling on to it as an actual koala would cling and the warmth of my blanket makes it easy for me to fall into a euphoric state of sleep.

  Wake up…

Wake up…

Wake up…

“Lorelei wake up...” I awake to the feeling of someone shaking me. I stretch and yawn, rubbing the sleep out of my eyes and see that it’s my best friend and roommate, Hani. 

“Eonni... You’re gonna be late to your Korean class. Get up.” Hani says with an annoyed tone and her arms crossed. I check the time and oh my goodness it’s almost noon. I shoot up from my bed and grab my bag from my bean bag chair.

 “Do you think I will have enough time to get food?” I ask, “Class doesn’t start for another 45 minutes.” She shrugs and sits down at her desk.

 “If you hurry up and get there in the next…” She pauses to look at her watch and continues, 

“15 minutes, you should be fine.” I shoot her a thumbs up before putting on my pink fluffy slides and rushing out of the dorm. 

As soon as I step outside, the warm summer air greets me. It’s not terribly hot outside like it has been for the past few days. Should I get a snack or an actual meal? I look at the time seeing that I only have about 20 minutes before my next class starts. It looks like I’ll only have time for a snack. I walk briskly to the nearest corner market. Walking into the store, the smell of fresh bread fills the air and I see that a line of about 5-6 has formed in front of the cashier. I make a beeline straight to where the kimbap and the egg sandwiches are and I take one of each. By the time I get to the line, it has gone down to 3 people. I stand in line for 5 minutes before I’m next and I quickly pay for my food and hurry back to campus. 

As I walk into the building, a group of students that are in my class are standing outside of the classroom waiting for the door to be unlocked. There are some students talking about a party happening this weekend and their plans after this class, while others are stressing over a grade they got on their test in their last class. I lean my body against the wall and close my eyes, still tired from my nap, when I feel someone tap my shoulder. I open my eyes partly and turn my head to see my classmate that I am pretty good friends with, Eden.

 “Are you feeling alright?” Eden questions with concern etched over her face.

 I nod and stand up straight. “I’m just drained.. if I could drop out, I would but my parents would kill me. And I’d honestly give anything not to be in this class right now.” I reply with a chuckle. Eden nods and looks around my shoulder, pointing at the students that are filing inside of the classroom. 

“Lets go, the door is unlocked.” She moves towards the classroom. Following her into the room, I see a few new students and the most alluring guy catches my eye. I find myself staring and we make eye contact for half of a second before I look away. I quickly walk to my seat next to Eden and set my food down on the desk.

 “Hey… Eden… Did you happen to see the new guy?” I ask her in a voice loud enough for only her to hear. She scans the room with a confused look on her face. 

“Which one?” She asks. Before I can utter another word she notices. “Ohhhhh him?” She says loud enough for the whole class to hear. My eyes widen in sheer panic. I take a quick glance around the room to see if anyone heard her and I made eye contact with the new boy again. 

My face begins to heat up and I turn away from him utterly mortified. “Pipe down!” I exclaim as I cover my face with my hands in embarrassment and Eden suppresses a laugh.  I fan my face to ease the heat from the embarrassment I have been subjected to. As soon as I calm down, I put my kimbap in my bag and unwrap my sandwich, taking a bite out of it. 

 The surrounding chatter from the other students starts to die down as soon as our professor walks in. I internally groan. This man is the definition of boring. He sets his stuff down on the podium and starts his lecture. 

 “Good afternoon class. Today you will be starting on a presentation, and it has to be on something that we haven't learned about already in this class. Since this is beginner Korean, I’m not going to have you do it all in Korean. You guys can do it over the history of Korea itself, or pick an era during the Korean Kingdoms. I am going to pair you guys up. This project is due by the end of the semester so work diligently on it.” He then clears his throat to begin to call out our names and assign pairs.

 “I hope he partners us up together.” Eden whispers to me. I shrug knowing better than that. “I highly doubt it,” I respond between bites. ‘“Eden Yaloussi and Rylee Lambert…. Lorelai Beaulieu and Leo Castillo…” He starts to list monotonously. Leo Castillo? Who is that?

 “... Winnie Lau and Helena Brown… I think that's everyone. Please go ahead and break out into your pairs.” He sits his paper down and saunters up to the board to write our due date. I looked over to Eden, who is already packing up her stuff to move.

 “Do you know who Leo Castillo is?” I ask her as I take the last bite of my sandwich. She shakes her head. 

“That would be me.” Someone voices.

I shift my gaze to the boy that just walked up and is now standing beside Eden.  It's the new guy. Now that he is up close, he’s taller than I had originally thought. Eden quickly shuffles away and I stand up to greet him. 

“Hi, I’m Lorelai.”

“I’m Leo.” He responds back with a smile. I sit back down in my seat and gesture to the seat next me beckoning him to sit down. He moves to sit down next to me and the warm smell of his cologne wafts to my nose and intoxicates me. 

“So… I think we should do our project on the Goryeo Dynasty. There’s a lot of information on that time and we can even focus on one of the many popular kings.” I suggest and he just nods along. I glance at him and take note of tanned skin and scattered freckles along his cheeks. 

“I’m free after this class if you want to get started on it. We can meet in the library. ” He says and I nod in agreement. I write down our topic, as well as the due date that our professor had written up on the board. 

I start packing my stuff and peek up at Leo and see that he has focused his gaze elsewhere.  “Do you want to walk together to the library?” 

He shifts his gaze back to me and awkwardly laughs. “I thought that’s what we were going to do anyways.”

“Well I didn’t want to assume.” I laughed.

Soon after, the professor ends class and students begin filing out of the classroom. I pick up my book bag and turn to Leo who was packing his things.

“Ready?” I ask him

“Yeah, let’s go.”

With that, we walk out of the room and out of the building towards the library.

As we walk, the sound of other students' conversations fills the air and the sensible smell of magnolias and freshly mowed grass surrounds us. 

“So.. since we are partners, I guess it’s only customary that I get to know you a bit better.” I recommend, peeking up at him. 

He lets out a chuckle and nods. “Okay. What do you wanna know?”

“Anything.. Like where are you from? What’s your major?”
“Hollister, California and I used to major in Computer Science but I changed my major to International Affairs. What about you?” He asks.

“Me? Well.. I’m from Vancouver, Washington and I major in Business. And I guess that explains why you’re in Beginners Korean” I respond back to him.

He nods his head and hums quietly. The rest of the walk to the library is silent between us, only the sound of the birds chirping and cars passing by in the distance could be heard. Five minutes later, we reach the library and Leo holds the door open, allowing me to walk in first.

As I walk in, the familiar woody smell of the building as well as the scent of old books fill my nose. I lead Leo to an emptier area of the library and find a table big enough for us to spread our belongings out on. I set my book bag down on top of the table and take out my kimbap. 

“Would you like some?” I ask Leo, knowing it would be rude for me to eat in front of him without offering. 

He shakes his head. “No thank you. I ate before class.”

I shrug and sit down, pulling out my notebook and a pencil. “Okay.. So I know the basics of that era. It was founded by Wang Geon, who would be the first ruler of the dynasty, he unified the majority of the other kingdoms under Goryeo, and he had a lot of political reforms. That’s about it.” I twiddle my pencil in between my fingers and sigh. Leo takes a seat across from me and takes out his laptop. “Well that’s somewhat of a start. The only ruler I really only know about is Wang So… Well Gwangjong because of that one Korean drama. Scarlet Heart I think it’s called” He chuckles. I look at Leo in utter amazement. He looks back at me with a clueless look on his face. “I know that drama too.” I tell him in an excited whisper. He grins and we begin to talk about how one character was done wrong, completely forgetting about the reason we came to the library in the first place. I find myself staring at him as he spoke, taking into account the tiny details that I missed when I first came in contact with him. The raspiness of his voice, his emerald green eyes, and his honey coloured hair.  

Lorelai..

“Lorelai.. Earth to Lorelai…” Leo waves his hand and front of my face and I jolt up. 

“I am so sorry. I zoned out for a second. It happens a lot… too much if you ask me..” The feeling of embarrassment washing over my body. “Let’s… Get back to work.”

We worked this way everyday until it was our time to present. During this time, we got to know more about each other. We even spent time together outside of working on the project. I started to notice the little quirks that he had and he probably didn’t notice that he had them. Like the way he would tilt his head whenever someone confused him. He told me that  isn’t the type to get angry and he is rather patient. We learned about each other's likes and dislikes during the month we worked together and it made us closer than we thought. I 

--

Finally, it was the day of our presentation. 

At 6:30 am, I wake up to the sound of my alarm blaring.  I force myself out of bed and hobble over to the bathroom, being careful not to hurt myself like I usually do every morning. I do my usual morning routine of brushing my teeth and skincare. My professor for my 8 am class cancelled again so this gives me more time to do my hair and makeup. I also make sure to eat breakfast so I am not rushing to get food before class.

A few hours later, I was ready for class. As I am leaving the room, Hani walks in with a look of glee on her face.

“Well well well.. I don’t think I have ever seen you this happy.” I backtrack and see how happy she really looks .

“I just got an A on my project for European history and an A on my statistics and marketing exam!” She exclaims as she plops down on her bed.

“Congratulations! I know you needed those two As in order for you to pass the class right?”

She nods and sighs out in sheer joy. “Now my parents won’t be on my tail about failing.”

“That’s true.. Well I have to get going now, I’m going to be late.” I say to her and before I can leave, she stops me.

“Eonni… You haven’t told him yet have you?” She questions.

I let out an embarrassed giggle. “No.. but I will today.. after class..” I respond back and scurry out of the room before she can say anything else. Walking out of the dorm, the smell of burnt charcoal from a barbeque fills my nose and the warm summer air touches my skin. Thankfully I picked out the right clothes for the weather. I travel to the building where my class is in and see that people have already gone inside. I stroll inside of the classroom and see that Eden and Leo were already seated. I wave at Leo and move to go sit in my seat beside Eden.

“So… have you told him yet?” Eden asks before I can get comfortable.

I sighed. “I’m going to tell him after class.”

She looked at me with a determined demeanor. “You better. You have to say something before it’s too late.” 

She’s right… 

Moments later, the professor walks in and sets his stuff down on the podium, starting his lecture.

“Today you guys will be presenting. We will have two pairs go today and 2 pairs go next class.” He pauses briefly, looking at his list. “First up is Lorelai and Leo. Their presentation is on the Goryeo Dynasty.” 

Leo and I move from our seats and up to the front of the class. Leo goes to the computer to pull up the powerpoint presentation. 

Leo moves to stand next to me once the powerpoint is pulled up.

“Hello my name is Lorelai.”

“And my name is Leo. Our project is on the Goryeo Dynasty.”

We spend ten minutes presenting, talking about the major accomplishments of the Goryeo Dynasty as well as some key figures. We finish with a bow and walk back to our seats. “Leo.. I need to talk to you after class. It’s important.” 

Glancing over at him, I watch him look down at his phone and his expression changes from a neutral expression to one of seriousness. He looks over at me and I quickly look away.

Fifteen minutes go by and the pair is done presenting, they go back to their seats and the professor comes back up to the podium. “Thank you to the two pairs that presented. That was very informational. Alright guys.” The professor says with a yawn. “I’ll see you guys next class. Be safe.” 

The students begin to file out of the class and I see Leo follow everyone out of class. I get up from my seat and say my goodbyes to Eden and a few of my other classmates before walking out of the classroom. 

“Lorelai!” I hear a familiar voice call out. 

I turn to see that it’s Leo and a wave of anxiety floods over me.

 How am I going to tell this guy that I like him? 

“You said that you had something important to tell me?”

“Yeah.” I take a deep breath and exhale. 

Now is the time to tell him… I can’t wait any longer.

“Leo… The time that I spent with you has made me the happiest person and I just wanted to tell you that I like you..” I blurt out.

He’s silent and another wave of anxiety washes over me. 

“Say something… Anything..” I say and I begin to lose the bit of confidence I had left. 

A/N: Should I continue?

#kpop #korean #drabble #fanfic

[ronniesshoes]

Keep Yourself Alive

It’s ten past nine, Tuesday evening, and despite the meeting having begun not twenty minutes ago, the table is a right mess already; littered with old magazines and library books he doubts will be returned anytime soon, Freddie’s sketches and scribbles, Roger’s Macbook, and a knocked over jar of glitter that was already there when Brian got home. He supposes Roger and John might have something to do with it, because there’s a fair amount of glitter in the bassist’s hair, and a speck just beneath Roger’s left eye.

“Okay, so, stagewear,” Freddie says, holding up his index finger as if about to start counting, and Brian, having been designated as scribe, starts scribbling, “and, no matter if we get signed or not, ideas on how to promote the next album. Personally I think we might as well go full glam, because as of now it seems like we are unsure of what’s going on ourselves. Anything else?”

John’s eyes drift towards the ceiling, and Roger, brow furrowed, is drumming a pen against his thigh. Brian reaches out to stop him.

“Well?”

“The website is still not up and running,” Roger begins slowly, having now begun to draw small triangles on the thigh of his jeans, “and we should probably talk about who’s in charge of social media as well, because as of now, the few people who actually write to us may never get back a reply.”

Freddie nods. “Right, yes, the banner is almost done, and you’re right about social media. Brian, what about your friend, what’s his name?”

“Daniel. He promised to get back to me before next week,” he says, making a mental note to do a follow up tomorrow.

“Good. Let’s start with stagewear, shall we?”

Brian drops his head in hand, attempting to hide his smile. Dressing his band for concerts and photo shoots is no doubt one of Freddie’s favourite pastimes, right up with researching Oscar Wilde and trying to persuade them to get another cat.

“I like these,” John says, holding up two of Freddie’s sketches of different batwing costumes which he has been examining, “on you two, at least. I’m thinking it would look really good on stage.”

“I looked at some of Zandra Rhodes’ designs,” Freddie says, reaching for one of the books, “obviously she does a lot with colour, but look at this wedding dress, for example. Imagine very large sleeves with pleats like that, how great a visual effect we could achieve. I’m sure I could ask Mary to make something like that.”

“I think it’s great, it goes well with the whole black and white theme we’ve got going,” Roger says.

“So we’re keeping that?”

“Didn’t they wear lots of colours back then?” Brian wonders aloud, trying to recall the pictures Roger and Freddie have shown him on various occations.

“They did, but to be perfectly honest, things like coloured satin and sequins and the like looks rather cheap to me,” Freddie says with distaste.

“Basically we’re taking the best of glam and ignoring the things we don’t like,” Roger says, tipping his chair back.

“Yes, but what I don’t understand is why we haven't had a glam revival yet,” Freddie says, sitting up straighter, “today’s rock scene is so ... insipid; really, it’s the perfect time to spice it up a bit of flamboyance, to provoke and to provide a bit of fun in a time where music has sounded pretty much the same for the past three decades. And, I mean, I understand the importance of the movement back in the 70s, but most of the performers who dressed up and did the whole androgynous thing were straight men, and now we have the opportunity to create a space where actual queer artists can express themselves. I mean, how often do you hear someone like Jobriath mentioned?”

Despite the rhetorical question, Roger shrugs, expression bemused. John purses his lips.

“So obviously we’ll have to find a new drummer,” Brian says, lazily adding to his stick figure portrait of only drummer present, already wearing a hat atop significantly longer locks and dressed in a tutu.

Roger opens his mouth to retort, but Freddie is quicker. “Don’t worry, dear, a dash of glitter and a haircut like Brian Connolly, and no one will notice!”

That comment makes John snorts into the crook of his elbow, and Roger looks like he's not sure whether to feel indignant or to laugh.

“The token straight,” Brian continues with a sigh, merely laughing when Roger socks him in the arm. Ziggy, disturbed by the commotion, hops down from the armchair he’s been sleeping in for the past hours, and starts rubbing his head against Freddie’s leg until the singer starts petting him.

“We can’t really go fully glam with short hair, though,” John points out, and they all fall silent, exchanging tentative glances.

“I suppose it’s not uncommon to see guys with long hair anymore,” Roger says after a while, “I do have a some trouble imagining it, though.”

He’s not the only one; every long haired guy Brian can recall seeing has been a whole other type, one he doubts any of them fits, especially not if they are going to adopt the glam style, which in and of itself is way out of Brian’s comfort zone. It may be less of a trouble for Freddie, who already owns a fair few pieces from that era, and generally dresses more or less glam already, if perhaps a bit more subtly, and Roger, who gladly lets Freddie dress him, and whose style spans from pretentious art kid to burnt out rock n’ roll star to a walking Adidas ad, and that despite not having engaged in any kind of sports since leaving Cornwall as far as Brian is aware.

“I think it’s a good idea,” Freddie says, “we should give it a go.”

“As long as I’m allowed to keep my hair as it is,” Brian says, suppressing a grimace at the thought of himself with long hair.

“What, no! If we’re all growing our hair out, you’ll have to do it as well,” Roger protests.

“Not with curly hair," he says, going for patience but finding it hard to, "I’ll end up with an afro, and I doubt that’s the look we’re trying to achieve.”

“It looked fine on Bolan!”

“Don’t know who he is, and it doesn’t matter anyway, I won’t do it,” he says, ignoring Roger’s outraged expression. He reaches for his Mac, punches the keyboard buttons, and shoves the screen into Brian’s face, showing a pretty faced guitarist who indeed works both long and curly hair.

“See?” Roger urges, a slightly manic expression on his face, “and Jimmy Page! You practically drool every time you see a picture of him, how can you doubt that curls and long hair don’t go together?”

“I would’ve phrased it differently, but I have to agree with Roger, dear, almost everyone wore their hair long in the 70s, and no doubt it will look good on you, too.”

“John and Freddie have curly hair as well, you know,” Roger offers, like he’s being helpful.

“Not the same,” he says, but when even John’s usually neutral expression shifts just slightly enough to convey his opinion on the matter, Brian knows he's lost. “All right, fine. I’ll complain, though, and if it looks stupid, I’ll cut it short again.”

He pointedly ignores the way Roger’s face fills with glee and Freddie looks pleased, opting instead to exchange glances with John, who merely lifts one eyebrow a fraction, a hint of a smile on his lips.

“Right,” he says, looking down at his notepad, “promotion?”

“Yes, right,” Freddie says, pausing for a second as if about to reveal some no doubt grand, but probably a bit mad, idea, a slightly worrying glint in his eyes, “I’m thinking a nude photo shoot for—”

“You’re thinking a what?” Brian interrupts, certain he’s heard wrong. Roger also looks uncertain, John plain uncomfortable.

“A nude photo shoot, of course,” Freddie repeats, like it’s no big deal.

Brian hides his face in his hands, wondering not for the first time how he's survived living with these maniacs for this long.

“I think Stones did that for Sticky Fingers though,” Roger says, and Brian looks up to see him already tapping on his keyboard.

“What?” Freddie exclaims, looking mildly outraged, “let me see.”

“No, sorry, it’s only Mick,” he replies, handing his laptop to Freddie, “I remembered it as all of them.”

“Well, I’m thinking more along the lines of Performance, now you mention him. Only less hippie and more stylish, you know.”

“We still haven’t seen it, Fred,” Brian says, because it’s not the first time Freddie has referred to a weird art film, and especially Performance he has talked about a lot for a movie he claims to hate.

“You don’t have to,” Freddie says dismissively, “you wouldn’t like it anyway, but here, look.” He turns the laptop so they can all see the picture of Mick Jagger, seemingly naked, reclining on a large bed. A moment later, Roger gets up and disappears into the kitchen.

“I want us all in the nude, sprawled on a large bed with expensive sheets and a bottle of champagne,” Freddie continues, raising his voice enough for Roger to hear.

“So just an ordinary day, then?” Roger asks as he return with more beers, making John laugh and Freddie hide his teeth.

“And why exactly is it that we have to be naked for this to be glam?” he asks after a moment. John, newly-brought beer can to his lips, shoots him a glance, and Brian thinks he looks relieved.

“It’s provocative, and that’s all I’m about, dear, you know that. God knows that it shouldn’t be, but here we are. Obviously you don’t have to be naked, it just has to look like you are.”

"Fred, I don't—"

“Oh, I know, Fleetwood Mac definitely had a picture taken where they were all in bed,” Roger interrupts.

“Roger,” Freddie says, tone saccharine, but when the drummer turns to look at him, he chucks a piece of crumbled up paper at him, “shut up.”

“But we’re trying to sell music, Fred, not ourselves,” Brian tries to reason, “I know you want us to be outrageous, but to be honest I can’t really see the point.”

“Of course we’re trying to sell ourselves,” Roger says, looking up from where he’s been inspecting the tattoo on his right wrist, “that’s the whole point, isn’t it? I mean, no one’s asking you to get your cock out on stage, but I agree with Freddie that it’s possible to do this with taste. Personally I think it’s a good idea.”

“You just want an excuse to show off,” Brian grumbles, annoyed that the two of them always gang up on him, “like we don’t see more than enough of you already.”

“Brian,” Freddie warns.

“I don’t— what are you talking about?”

“Forget it,” he says, working hard to keep his voice level, “if you really want to, I suppose there’s nothing I can do about it.”

“Well,” Roger says after a beat, looking uncertain, “what do you think, John?”

“The four of us sprawled naked on a big bed might be a bit much,” he allows, “but I don’t see anything wrong with having pictures taken from the waist and up, for example. It comes down to the photographer as well. Did you have anyone in mind, Fred?”

“I thought maybe Tim, he’s been doing lots of weird art films lately, I’m sure he would be happy to do it if he’s not busy.”

Brian nods along with the others and quickly scans the bullets on his pad. “Should we keep our music on Soundcloud or extend it to Youtube as well? We all know Roger’s opinion on the matter, but what do you two say?

“It might be easier to share new songs on Facebook,” John says, “it looks neater with actual videos, but unless we keep it up to date and reply when people comment it just looks unprofessional and has the potential to do more harm than good.”

“John is right, and Roger mentioned it earlier as well, we need become better at checking up on social media,” Freddie agrees.

Brian caps and uncaps his pen. “Any volunteers?”

“As long as you check up on it once in awhile as well, I suppose I wouldn’t mind too much,” Roger offers.

“Great,” Freddie says, “now, does everyone have an outfit for the concert at King's College?”

“I don’t,” John says. Brian dips a finger in some of the glitter still on the table and carefully inspects it.

“Come down to the stall Friday, we’ll find you something,” Freddie promises. “Roger, I’ve seen yours already, Brian? Not gonna show up in one of those awful shirts, are you? I age ten years every time you wear one in public.”

Brian rolls his eyes, about to say a thing or two about some of the singer’s more outlandish clothes, but he holds his tongue. “No, Fred.”

He looks at his notepad again. “So I’ll call Daniel, Freddie will talk to Tim, Roger is responsible for social media, and John ... please turn it down a notch with Bonnie Tyler while you shower. It’s a bit disconcerting.”

“I’ll try to keep it down,” John offers, a smile tugging on his lips when Roger lets out a snort of laughter.

"If that's all, I'm off to bed," Freddie says, pushes his chair back, and stands. He pauses for a moment, looks at the table, and adds, "I hope this mess is gone tomorrow", before he disappears into their bedroom, Ziggy close on his heels.

♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛

It’s completely dark outside when he stumbles out of bed some hours later, half asleep still, but he barely registers it, his only thought revolving around the pressure on his bladder. It takes lots of fumbling before he finds the light switch, and when he does, the sudden light is too bright, and he has to screw his eyes shut again. He somehow succeeds in shoving down his pyjama bottoms and pushing up the toilet seat without ever opening his eyes, but he doesn’t trust himself enough to have a go at it and end up missing the bowl, and so he tentatively opens one eye, inwardly cursing himself for drinking those extra beers.

It is as he’s making his way back that he notices faint noises coming from the living room, and despite his desire to get back to bed as quickly as possible, he stops to push open the door to blearily peek in. Roger is there—or at least his blond head of messy hair is—huddled up in a corner of the couch watching A Clockwork Orange for the umpteenth time. Brian steps into the room, and Roger turns, startled by the creak of the floorboards, before his face quickly morphs into a smile.

“Why aren't you in bed?” he asks, and Brian waves a hand towards the bathroom with a grunt, too tired to form a proper sentence. Roger seems to understand, but there’s an amused smile playing on his lips. He decides to ignore it, and instead sinks onto the couch, his whole body melting into the soft, worn cushions.

He thinks about staying here for a while, because the couch really is soft, and conveniently enough he’s already sitting on it, whereas his bed is in another room, and now his eyes are falling shut anyway. If only he had something to support his head on, because the back rest really is too low and, weird, it never struck him how bony it feels, not at all like the rest of it, and ...

“Wanna lie down?” At the sound of Roger’s voice he looks up, and, wow, he has got a lot of hair. Finally registering the question, he lifts his head from where it appears to have settled on Roger’s shoulder, and nods, once, before shifting back to lie down with his head in the drummer’s lap. Only for a moment, though, then he is going back to bed. Said moment passes, and then Roger's hand comes down to thread through his hair, and no, he is definitely okay with staying here. For a while he tries to focus on the movie, but his eyes are heavy and stinging and keep falling shut. The scenes from the movie are in his head, created by memory and sounds, and even though Roger's thigh could've been softer, there are certainly less comfortable places to rest. If only it wasn't so cold, he thinks, and he really does want to open his eyes and go back to bed, it’s just so, so far away. Roger shifts underneath him then and removes his hand, and Brian tries to communicate his displeasure with a small noise in the back of his throat. A moment later, something warm and soft is draped over his body, and Roger's hand returns, lightly massaging his scalp with calloused fingertips. A minute or less, for sure, later, and Roger's voice, soft and gentle albeit somewhat distant, sounds, and then he's manipulated into first sitting up and then standing, and with the blanket around his shoulders he is dimly aware of the fact that he is being lead into his room, too dazed to even realise he is walking, before he falls into bed with a warm sort of gratefulness. ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛

The next morning, early but not too early in case he’s sleeping in, he calls Daniel. Brian doesn’t actually know the guy, except that he attends the same course as Brian, and that he has a knack for setting up websites. He has been very sweet and helpful about it all, but they haven’t even discussed a price yet, and the whole thing makes Brian stressed and unsure and a bit nauseous. When he gets the answering machine, it’s with equal measures of relief and exasperation that he throws his phone on his bed and gathers his books to finish his assigned readings. The kitchen is blissfully quiet, Freddie having left half an hour ago and John and Roger most certainly not up yet. It’s with some envy that he thinks of this, because his body is stiff and heavy from lack of sleep, but before readings and phone calls and his afternoon lecture are well over, he can’t justify going back to bed.

Two hours later and halfway done, he is just contemplating whether to take a break when the door at the far end of the living room opens and the rhythm section appears, both bleary-eyed in bare legs and jumpers and with their hair mussed from sleep, John wearing two different socks as usual and Roger only wearing one. “Good morning,” Roger says around a yawn, even though it’s closer to noon. Still, they’re up unusually early considering. “Morning,” he replies, “you’re up early.” “The bloody neighbours started having sex again,” Roger complains, flicking on the kettle and reaching for two cups. “They’re pensioners,” John explains, “suppose they don’t hear very well.” “They could at least close the window. It’s november, bloody freezing anyway,” Roger says, dumping tea bags into the cups, “can barely look them in the eye when I meet them. You want tea as well?” “Please,” he says, handing over his empty mug before returning to his work. “Do you actually colour code your stuff?” Roger asks a while later, so close to his ear it makes him jump. “It’s what I imagine Freddie does because he thinks it looks pretty.” “He does,” John confirms. “I don’t do it because it looks pretty, I do it because it helps me stay organized. You should try it sometime,” he says pointedly. “What, being organized?” Roger yawns, “nah, never works. I find comfort in chaos.” “Unless you’re late and can’t find your earphones,” John says, filling up a bowl with granola until it’s almost overflowing. “Or your phone,” Brian adds. “Okay, but everyone loses their phone once in awhile, that doesn’t mean I don’t know exactly where every other thing in my room is.” “Under your bed,” John says. “Exactly,” Roger says, pointing his spoon at John like he’s the one who really gets it. Which he probably is, because he’s not much better. He tries to return to his readings once again, but the two of them together make for a pretty big distraction, even when he does his best to stay out of the conversation. He picks up the tea Roger made him and reads the same line over and over again until his head is swimming and he starts thinking about everything on his to-do list. “Are you up for practise later?” John asks around a spoonful of granola, pulling him from his thoughts. “Sure,” he says, and dies a little inside. It's when they've finally buggered off that he realises just how tense he's feeling. He rolls his neck and shoulders, trying to work out some of the tension, but it only serves to make him even more aware of the stiffness. He idly wonders if a good, long wank is what he needs, but quickly decides that hoping to be left alone long enough is unrealistic. He doesn't fancy doing it in the shower, his body not responding to being naked the same way it does when he's in bed, but unless Roger has a lecture, even a few hours alone very unlikely to happen. John and Freddie both work Wednesdays, so it's practically the only day of the week where there’s a slight chance he can get some time for himself, but most often the drummer is there to keep him company. And it’s not as if he doesn’t like to spend time with him, but he really is not at all like Roger who thrives off company, and sometimes all that socialising is a bit much. Sighing, he packs up his stuff, saves his notes for the thirteenth time, and closes his laptop. He drains the rest of tea, long gone cold now, and allows himself a minute to just sit. He tries one of Freddie’s meditation techniques, but immediately feels stupid and stops. It would just be his luck for John or Roger to walk in on him. As it happens, Roger does have a lecture, and appears again half an hour later, smartly dressed which means the girl he fancies is going to be there, grabs a bottle of juice from the fridge, and hangs around for a good five minutes to chat. “Didn’t you have a lecture?” he hints when it becomes clear that Roger has lost all track of time during his not particularly asked for review on the new Roger Waters album. Roger stops mid-sentence, lets out a laugh, and puts on his shoes, waving at him before disappearing outside. Appreciating the near-silence immensely, Brian goes back to brainstorming his next paper. John appears again a while after to make another cup of tea, but he doesn't strike up conversation, and for the next half an hour, Brian manages to fill three pages in his notebook. Satisfied with his work, he puts it away and mentally goes through the rest of his tasks. There's that phone call again, which he supposes he can't really put off any longer, and afterwards there's lunch, and then he thinks he should be able to squeeze in a wank before he leaves for uni. “Right, I’m off,” John announces, patting his coat pockets, “see you later.” “See you. Have a nice shift!” John thanks him and leaves, and Brian is left alone. No point in putting it off any longer. He walks back to his room to get his phone and lies back on his bed, scrolling through his contacts until he finds Daniel’s number. While waiting for him to pick up, Brian eyes wander to the large poster of a deliciously sweaty Jimmy Page on the opposite wall. He thumbs at the hem of his trousers, his own cold fingers making him shiver when he brushes against the bare skin of his stomach. “Hello?” Daniel says, and Brian almost drops his phone, guiltily snatching his hand away. “Hi, uhm, hi,” he says, immediately feeling stupid, “sorry to bother you, but you never called me back, and—” “Right, yes, sorry about that. It’s just about done, I thought we could look over it after the lecture today if you’re not busy?” “No, that would be great, thank you.” “Alright, Brian, see you in a couple of hours.” “Yeah, alright. Bye!” Embarrassed by his lack of social skills, he finds that he’s not particularly horny anymore, and so deems it to be too much work. Glancing at his watch, he finds that he still has an hour to kill before leaving for class, and so he retreats to the studio and picks up his guitar, relaxing properly for the first time that day. ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛

“Yes, mum— No, I told you today is not so good,” he says, phone pressed against his ear as he steps up the stairs from the Tube, “but I don’t work Saturday, how’s that?”

“The Parkers are visiting, dear, I told you so the last time we spoke,” mum says.

“Right, sorry—”

“Are you sure you can’t come by today? Surely the guys won’t be cross with you for skipping band practise this once, I imagine they have mums who miss them, too.”

“It’s not just band practise,” he says, weaving through the crowd and wishing he was home already, “and I can’t skip, mum, I already agreed— hold on.”

He passes a group of construction workers drilling, and returns to the phonecall.

“What about tomorrow? I finish work early.”

He will have to move a few things around, and stay up after practise to rewrite his lecture notes, but there’s that.

“Oh yes,” mum thrills, “how’s it going with, what’s his name?”

“Louis,” he says, narrowly avoiding bumping into an old woman, “and it’s going fine. But mum—”

“Louis, that’s right. You know, I talked to Deborah, and I told her you started tutoring recently, and she’s looking for someone to help her son with maths, and I told her that I’m sure you’d love to, but she’d have to call you herself to make an arrangement, so I gave her your number, and—”

“Mum,” he says, unable to keep the slightly whiny tone from his voice, “I appreciate you trying to set me up with more work, but I’ve got enough on my plate as it is, and I’m not sure I have the time.”

“Of course, dear, but you know it would really help them a lot, and it’s only twenty minutes by the Underground.”

“Right,” he says. Twenty minutes to the station, and then he has to walk for twenty more to get to their house if memory serves him well. “I’ll think about, but I really can’t promise anything.”

“Oh, she’ll be thrilled,” mum says.

“Bri?” someone calls, and he spins around to see John a few blocks down.

He waves at him and says to mum, “how was tomorrow for you? I can probably be there around five-ish, is that alright?”

“Five is perfect. Dad will be happy to see you, I know he has quite a lot to talk to you about. In fact—”

“No, Mum, sorry, but John’s here, I really have to go now. Please tell dad I said hi, and then I’ll see you tomorrow, alright?”

“See you tomorrow. Tell John hello from me!”

“I will,” he says, just as John catches up with him, “bye, mum!”

“Wanted you to skip practise?” John guesses as Brian lets out a sigh.

“Like always,” he says, smiling in spite of himself. “How was work?”

“It was all right,” John says mildly, “did you talk to that Daniel?”

“Yes, he showed me how to set it up and everything, it looks really good,” he says, following John up the stairs to the flat.

“Seems like everything’s coming together then,” John replies, opening the door to the flat and the music coming from inside.

It’s Roger singing and playing Don’t Play Your Rock and Roll, which Brian has only ever heard him sing in the shower, and that only once or twice. “It’s not half bad,” he says genuinely, toeing off his shoes.

“What’s more baffling,” John says, not sounding baffled at all, “is how the two of them manage to play all three instruments at once.”

Brian is surprised to discover he is right - it’s a slightly stripped down version of the original, but never mind that, he already has trouble wrapping his head around the fact that they indeed are playing both drums, guitar, and bass. “How are they doing that?”

John shrugs and pushes his boots to the side with his foot. He’s wearing a sock patterned with pink octopuses, Brian notices. The other has The Great Wave off Kanagawa on it.

He follows John into the living room just as the door to the studio opens and Roger comes bouncing out, waving the drumsticks still in his hands. “Oi, there you are! Thought I heard you!”

“How did you—” he begins, but then Freddie and Tim both appear, Tim with John’s bass hanging from around his neck, and the pieces fall into place.

“Tim! How are you?”

“I’m good, I’m good. Just stopped by to pick up the drinks dispenser.“ He looks at John, “I hope it’s okay I borrowed your bass.”

“Of course,” John says, dodging Roger’s attempt at putting his arms around him. “Roger, stop, you’re all sweaty.”

“Tim,” Roger says, dragging out his name, “this is our new and better bass player, Deacon John. John Deacon. Deaky.”

“I know, Roger,” Tim replies with great patience, “I’ve known him for two years.”

This apparently strikes Roger as terribly funny, because he starts laughing so hard that no sound comes out and John has to hold him upright, all the while trying his best not to smile.

“Who let him have sugar?” Brian asks, watching with slight worry as Roger gasps for breath.

“Tesco had a 3 for 2 offer on all sweets,” Freddie replies, and knowing Roger’s absolute weakness for Tesco offers and sugar in general, Brian thinks this explains it very well.

Roger, seemingly able to breathe again, brightly offers to get the last bag to share, but luckily, everyone reclines.

“I was actually about to leave,” Tim says, “did you want me to have a look at your ideas for a photo shoot before I go?”

“That would be great,” Brian says, “Fred?”

“Right, yes,” he begins, before launching into a detailed description of his idea, one that impossibly enough involves even more nudity than the night before. He opens the door to their bedroom, and they all follow him inside. “I’m thinking my bed,” he says, gesturing to his god-awful rococo bed, “it’s as big as Brian’s but much nicer.”

“I see,” Tim says, tone neutral.

Roger, now looking bored, and clearly on the way down from his sugar rush, looks like he is strongly considering lying down on either bed. Brian takes a step to the side, blocking his own.

“I’m afraid I don’t have time the next couple of weeks, but things slow down quite a bit for me after the 1st,” Tim says, “I’ll get back to you, yeah?”

Hugs and claps on the back are exchanged then, and soon after Tim leaves with the drinks dispenser in hand, and another promise to stay in touch. 

♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ ♛ Thursday morning sees Brian waking slowly, reluctantly, stirred from sleep by melancholic piano play he instantly recognises but doesn't remember. Eyes still closed, his attention is stubbornly focused on the warmth of his covers, the way his sleep-heavy body merely exist in this warm cocoon that is his bed. When he finally opens one eye—the song he now recognises as Für Elise still playing— Freddie is sitting in his bed, looking sleepy rather than tired, and lets the music play instead of turning the alarm off right away.

"Good morning," he says, and Brian's murmured remark gets lost somewhere between his lips and pillow. "It's nice, this, isn't it?" Freddie continues, wriggling out of his pyjamas and turning down the heat before reaching up to crack the window open. Brian pulls his duvet tighter around him. "Better than his 5th, definitely," he says, watching as Freddie rummages through his closet, "or that awful one, Rossini I think it was." Freddie's sudden interest in classical music and insistence to use a new piece every day for his alarm the past month has at times been trying, and while some of it is quite nice, Brian is unable to enjoy any kind of music before breakfast and two cups of coffee, and that's no matter how great a masterpiece it supposedly is. Freddie laughs. "Never seen you up so fast." He grimaces. "'m not a morning person." Nine months of living together, and it still seems necessary to point out ever so often. He envies John and Roger at times, because their sleeping arrangement seems to work quite well. While Freddie is in the shower, Brian lies in bed, face buried in his pillow, torn between getting up and go about the day, and staying in his bed, the internal struggle an as important part of his day as his morning coffee and Freddie's shower first thing in the morning. At last he gets up, albeit reluctantly, and if only to shut the window. Throwing on a warm sweater, he heads into the living room. John and Roger are there, still playing Mario Kart by the looks—and sounds—of it, just like they did when he went to bed last night. There's a crumbled bag of Walker's crisps under the sofa, and John is chewing on a strawberry lance, a concentrated look on his face. “Morning,” he greets. Receiving no answer, he tries instead, “have any of you fed the cat?” “I think Freddie did,” Roger replies distractedly, before letting out a shout of “bastard!" Brian checks Ziggy’s bowl and puts on the kettle, leaning against the counter while idly watching the other two play. "So who's winning?" he asks, already knowing the answer. "Not Roger," John says, face arranged in a carefully blank expression, but there's a smile in his voice, which breaks onto his face when Roger elbows him in the side. "Did you eat at all?" he asks, looking through the cupboard in search of coffee. "A bag of Cheese and Onion," Roger replies before throwing his whole body to the left to avoid crashing into another player. "Maybe you should get some sleep," he suggests, blowing at his tea. "I just need to win, just one more time." John keeps quiet, and races past the goal line. While waiting for the water to boil, Brian takes out his phone to check his university email. There’s a new one from one of his favourite professors, but he rarely ever writes emails. Curious, he opens it, leaning back against the counter while waiting for it to load. He glances at John and Roger who is finally turning off the TV, and when he looks at his screen again, a rather long mail has appeared. He scans the contents of it rather quickly, at once filled with excitement and quite a bit of nausea. “Fuck,” he whispers, just as Freddie enters the room, dressed in a kimono and drying his hair with a towel. “You alright, dear? You look terribly pale.” “No, I—” he begins, dimly aware of John and Roger turning to peer curiously at him as well, “my professor, he wants me to be a part of a team going to Tenerife.”

Next

#i forgot i was supposed to post it this week hah #but that means two chapters in less than a week #i also couldn't come up with a summary but if anyone's dying to write one for me i'll include it

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Sunil Chhetri, IM Vijayan, Bhaichung Bhutia

Sunil Chhetri is arguably India’s best striker, possibly even footballer, at present. How does he match up with Bhaichung Bhutia and IM Vijayan, two of the other modern greats? There are numbers, of course, but they only tell part of the story.

ESPN reached out to four of their contemporaries — Subhas Bhowmick and Shabbir Ali, who coached all three or managed teams against them in domestic football, and midfielder Noel Wilson and current national teams’ director Abhishek Yadav, who have played with all three for India and in domestic competition. We asked them to grade the three on four parameters that define a good striker, and Vijayan finished on top.

For younger Indian fans, Vijayan might have been somebody they have read or heard about but not seen. His career (1987 to 2006), especially its peak, was before the era of football being broadcast nationwide. Bhutia and Chhetri, who both played abroad, had a far higher profile off the field.

Vijayan though was in a different class as a player, judging by his contemporaries’ assessment of him, and one wonders how his legend might have fared in the era of social media. This video helps you compare Vijayan with the early years of Bhutia through the first four and a half minutes, including a short clip of Bhutia dribbling past a young Wes Brown in a reserves match in England.

First, the raw numbers

When Vijayan retired from international football soon after the Afro-Asian Games of 2003-04, he held the Indian record with 39 goals. It was a mark that Bhutia would improve to 42 before his last India game in 2011 and that has since been surpassed by Chhetri, who has 72 goals from 115 matches. Their strike rate: Bhutia, 0.39 goals a game, Vijayan, 0.44 and Chhetri, 0.63.

Chhetri’s numbers by themselves are impressive enough, and then he has three international hat-tricks — Vijayan, Shabbir Ali and Bhowmick are three of only eight others who have hat-tricks for India in football, none more than one.

Bhutia has the best win percentage, with 49 wins off 107 matches. Chhetri has had 51 wins off 115, while Vijayan was on the winning team 30 times in 88 appearances for India.

Bhutia’s career overlapped with Vijayan first and then Chhetri. But Vijayan and Chhetri never got the opportunity to play for India together.

Comparing the scoring records of IM Vijayan, Sunil Chhetri, and Bhaichung Bhutia for the Indian national team. Girish TS

These are just numbers, though, and don’t include the context — how many goals came against higher-ranked opposition, or the importance of games they were scored in. So, what are the four parameters we evaluated them on? (We asked the experts to rank the players on each quality, and assigned points accordingly. Where they failed to separate the players, the points were split equally among all three.)

Match awareness

(1 Vijayan, 2 Bhutia, 3 Chhetri)

Noel Wilson (NW): I would call him [Vijayan] a total striker. He was not just a guy who scored goals, but he was also a player who could effortlessly drop to midfield, and would also come to defend. It’s not necessary that he would score from inside the 18 yards — he scored so many goals from outside the area. Basically, he was a total footballer, and he could score from anywhere.

Subhas Bhowmick (SB): Bhaichung, I personally think, was his generation’s idol. He was not a raw talent particularly, but he had an uncanny ability to come up with goals. He was a poacher. He knew when to rise to the occasion. If IM could have understood this point, he would be in the league of all-time greats of the game.

Shabbir Ali (SA): Bhaichung and Vijayan would come first, especially Vijayan. Chhetri would be third.

Abhishek Yadav (AY): Honestly, it has been an absolute privilege to play with all of them. Watching Vijayan in action was a delight. Bhaichung and Sunil on the pitch have the capability to inspire the full squad and are born leaders.

Positioning

(1 Vijayan = Bhaichung, 3 Chhetri)

NW: If the chance was there, he [Bhutia] was very good with his agility and speed. He was more dangerous and effective inside the 18 yards. Bhaichung wasn’t scared of putting in slides and dives when faced with a 50-50 opportunity.

SB: IM Vijayan, one. Followed by Bhaichung and Sunil.

IM Vijayan(R) lifts Bhaichung Bhutia in celebration after scoring a goal for India in a World Cup qualifying match against Brunei in Bengaluru in May 2001. India won 5-0. INDRANIL MUKHERJEE/AFP

SA: When Bhaichung came into the picture, Vijayan was already a very experienced player. Bhaichung himself used to say that he was a huge fan of Vijayan. But after 1995 or so, he became a really serious player, a thorough professional, and then he really established himself. The way Chhetri has done now.

AY: It will be unfair for me to rank them, as all three are extremely talented and successful professionals.

Finishing

(1 Vijayan = Bhaichung = Chhetri)

NW: They were all so good in finishing, that’s why they got so many goals. I think Vijayan is the best, because he had an amazing touch. If Bhaichung had the ball in midfield, he would not try to dribble you. He would receive it, and try to play it to the wings, because he knew from there the cross would come into the 18 yards. That was Bhaichung’s style of play. He was not in the Vijayan mould — dribble players, take them on, feint and go. Vijayan was the cleverest player out of them all. He knew when to release the ball, when to go, and when to surprise the goalkeeper and defence. He wasn’t as dependent on receiving the ball inside the 18-yard box. Chhetri is good because he gets very good ball supply from the wings. He’s at the right place at the right time, which is a great attribute. He gets his goals.

SB: Sunil. I would put Bhaichung at two and Vijayan third.

Sunil Chhetri scores against Bahrain during the 2011 Asian Cup. PORNCHAI KITTIWONGSAKUL/AFP/Getty Images

SA: Of course, [the best was] sometimes Bhaichung and sometimes Vijayan, but Vijayan was really good. Now Chhetri has also come into his own.

AY: It’s been pleasing to watch Sunil play and grow over the years as one of the best that India has produced.

Overall contribution to the team

(1 Chhetri, 2 Bhaichung = Vijayan)

NW: Vijayan is one, Chhetri at two, and Bhaichung is three.

SB: We talk of this term ‘professionalism’ to the point that it has become clichéd, but Sunil was the complete professional when he returned from Portugal. Now I know if anyone asks Sunil, if they offer him anything at the wrong time, [he will refuse]. He has his routine chalked out — he knows when to have his food, when to have his energy drinks, and when to have his snacks.

[When Vijayan first came to Mohun Bagan in 1991], he was the kind of talent that nobody could even dream of having. However, he was a talent with a flaw. The next time I got Vijayan [with East Bengal in 2001-02], he was very difficult to coach. That is one of my big regrets in my life — that I did not get Vijayan as a coach when I had matured. In 2001, he had become badmaash (hard to control/mischievous). If he had the discipline and dedication that Sunil and Bhaichung had, then Vijayan could have made history in Indian football.

SA: Basically, a striker has to be an opportunist. You need to be good in the air, and have the ability to be at the right place [at the right time]. He should be a risk-taker, and he has to be quick, because goals are scored in that extra fraction of a second. He has to see the flow of the game — sometimes he has to pass and not score. Chhetri is excellent in these aspects.

AY: Bhaichung and Vijayan were my seniors and I always looked up to them with a lot of respect. Sunil was my junior and was the live wire in the squad — keeping everyone together — something he still does.

THE CONCLUSION

1. IM Vijayan (50 points)

2. Bhaichung Bhutia (48 points)

3. Sunil Chhetri (46 points)

(Stats courtesy Gautam Roy)

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Tags: Bengaluru FC, Bhaichung, Bhaichung Bhutia, Bhutia, Chhetri, Debayan Sen, East Bengal, ESPNFC, Great strikers, greatest indian footballers, Im, IM Vijayan, India, Indian football, Indian football team, Indian I-League, JCT., Mohun Bagan, Soccer, Sunil, Sunil Chhetri, Vijayan

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12 Cool Hairstyles For Men That Have Stood The Test Of Time

A man’s hair has always been an important identifier of success; historically, it would denote class, wealth and masculinity. Now? Well, not much has changed. And despite some tweaks to length and texture, nor have the styles.What looked good on Roman emperors still has the potential to flatter a modern mug. So take a lesson from these entries into the follicular hall of fame – the cuts that have somehow managed to transcend time and stay looking great – and maybe one day they’ll carve your ‘do in marble.Alexander The Great’s Shaggy But StylishIt’s not easy being in charge of the entire Macedonian empire. When you’re considering which Aegean territory to take over next, you don’t want to worry about whether it’s got styling mousse. For that reason, Mr The Great opted for a tousled, shaggy look that’s a particularly easy option for men with curly hair.“This hairstyle is best worn pushed just off the face, and tucked behind the ears,” says Murdock master barber Alex Glover. This allows the natural direction of the hair’s growth to frame the face.There are far more styling products on the market today than there were in 320BC, so if you have time, enhance the cut’s natural texture, by scrunching in a sea salt spray when drying – and then use a matte clay or putty for control.If your battle uniform is a bespoke suit, your superior officer might confuse ‘texture’ for ‘mess’. So only copy this style if your workplace tends more towards neatly cut raw denim. Wear without a beard or any facial hair, like Alexander himself (he was famous for having the ancient world’s only clean-shaven army), or the overall look will appear untamed.Modern ExamplesKey ProductsBrad Pitt’s Buzz CutThe noughties were a particularly regrettable decade in terms of men’s hair trends. We had big slicked fringes, frosted tips and that unsettling noodle thing on Justin Timberlake’s head. Unlike the others on this list, we’re not about to suggest those looks make a comeback.Instead, Joe Mills, owner of Soho barbers Joe & Co, points to the current trend for military haircuts – worn best by hair god of the time, Brad Pitt, in around 2005 – as a modern alternative.“The buzz cut has been seen on the catwalks for the last few seasons and has gradually filtered down as guys got bored of the short back and sides look.”Named after the sound made by hair clippers, it’s a look than can be achieved at home if you’re after a uniform length, but for guys looking to camouflage scars or a protruding occipital bone, leave it to the professionals.Modern ExamplesKey ProductsJFK’s Ivy LeagueForget your gravity-defying pompadour and bushy sideburns – the real star hairstyle of the 1950s was the Ivy League. Also known as the Harvard Clip or Princeton, this classic preppy style is a slightly longer version of the military crew cut.Popularised by style-god-in-chief, JFK, the extra length allows the wearer more scope for styling on top – traditionally into a side parting. Think Daniel Craig or Ryan Gosling’s shorter styles.“In the 1950s and early 1960s, Ivy League universities had policies on how students should wear their hair,” explains Joe Pomper, a senior barber at Murdock in Covent Garden. “This style spread throughout the US in popularity and became a standard offering on barber’s boards.”To recreate the look today, Pomper suggests asking the barber to use a grade five on the back and sides, blending downwards to a three and eventually a two at the nape of the neck. On top, have any excess length trimmed with scissors to keep everything neat, and style using a medium hold and shine product.Modern ExamplesKey ProductsDavid Beckham’s Textured Falling QuiffArguably David Beckham’s best hairstyle, the textured falling quiff makes it onto this list for its contemporary classicism. Or classic contemporaneity. Basically, it will stand the test of time.An ordinary footballer fade this ain’t. “Clippers shouldn’t be used here,” says Tucker. “The back and sides must be scissored for extra texture and less noticeable contrast.” When styling, take a paste and a pomade and rub them together in your hands.Apply the products into towel dried hair with your hands, perhaps with a bit of salt spray for extra texture. “Then rake backwards, scrunching, to achieve that falling strand.”It’s quite a floppy style, so works well with medium-to-thick hair with a slight natural wave. And wear it standing on the sidelines, rather than running about for 90 minutes or that volume will quickly collapse into a sweaty mess.Modern ExamplesKey ProductsRiver Phoenix’s Long Textured HairAside from bell-bottoms (shudder) and the rise of disco, the 1970s are known for being the decade in which men stopped being ‘men’ – by adopting long hairstyles for the first time in centuries.And far more than a follicular flash in the pan, the trend stuck around well into the 1980s, when young stars of the screen like River Phoenix kept the look.“This is a great era to take inspiration from at the moment, as it’s hitting the fashion world everywhere,” says Mikey Pearson, director of Manifesto barbershop in London’s Clerkenwell. “We mostly have Gucci to thank for that.”To recreate this style, you need to ask the barber to cut in layers, which are great for adding softness and adapting the cut to different face shapes. “Always remember this rule: long hair must have long layers. It’s all about a visual balance, so you don’t end up with two haircuts in one,” adds Pearson.A strengthening shampoo and conditioner will keep your trailing tresses in good condition, while a surf spray or texturising cream will add volume and definition.Modern ExamplesKey ProductsJean-Michel Basquiat’s Short DreadsJean-Michel Basquiat had a professional career that spanned just nine years, but the brilliance of his barnet is something that has lasted for decades.The artist’s iconic short dreads continue to inspire afro haircuts to this day, reappearing on heads such as The Weeknd, but it’s not a look you can curate between Friday and Monday.“Dreading hair takes time and work,” says Mills. “You have to twist and lock the hair. Ideally this is best done by someone who knows what they are doing – it’s not a DIY thing.”Fortunately the upkeep of this up-do is something that can be done at home. “You need to keep twisting them and rinse your hair as opposed to shampooing,” adds Mills. Using a wax or moisturising gel will also help maintain the style and tame any rogue hairs.Modern ExamplesKey ProductsJulius Caesar’s Face-Framing CropCaesar’s textured crop is as flattering as it is recognisable, not least because it’s a style that has returned to rule in recent years.“The look is defined by the hair being trimmed to the same length all over,” says Glover. “This gives a gentle appearance to a man’s face.” Not to mention some imperial cheekbones. “To replicate the look, the edges should be naturally textured and not too neat.” So make sure your local barber doesn’t come over all Brutus with the scissors.As a cut, it’s suited to those with thinner hair who want to give the illusion of thicker growth. To further this effect when styling, allow the hair to dry naturally after showering, then apply a soft finish hair product such as a styling cream, gum or wax.Just don’t pair with a toga, no matter how classic your style.Modern ExamplesKey ProductsCillian Murphy’s Disconnected UndercutA good haircut can define a man, but a great haircut can define an entire decade. Sure, a bad haircut can too, but we’re not here to talk about mullets or man buns.Since swaggering onto screen in 2013, Cillian Murphy’s turn as Thomas Shelby in Peaky Blinders has made men get all misty-eyed about the 1910s in a way that hasn’t been achieved about age-old style since Mad Men. And one of the primary reasons is the show’s grooming.“Men have moved from salons back to barbershops and as a result, traditional styles have become the go-to look,” explains says Liam Campbell, a senior barber at Nomad in Shoreditch.More recently, hair trends have leaned towards slicked back styles with disconnected sides. But for a blinder of a barnet, Campbell suggests opting for a disconnected undercut. “Ask the barber to leave length on top, but take the sides in tight, preferably skin faded to add definition with a raw edge.”Flat cap optional.Modern ExamplesKey ProductsElvis Presley’s Textured PompadourA little less slick-back action, a little more texture, please. Having been a trend for over a decade, it’s well-known that there are few grooming moves more stylish than the pompadour. But as Jones points out, it’s important to go for a modern version of The King’s iconic look to avoid getting stuck in a time warp.“This look is not for everyone, as it’s a longer, more natural style,” he says. “It’s better for someone with thick hair and a natural wave.”As an update, go for a short taper on the neckline and softer scissored texture on top, then apply a base product, like a cream, while damp before coiffuring your quiff. “Rough dry the hair with your fingers to get it into place and finish with a fibre – but you only need to apply a little bit.”The style can fall out of place easily, so fix with a strong hold hairspray if you find your pomp falls flat before lunch.Modern ExamplesKey ProductsWill Smith’s High-Top FadeIt’s difficult to imagine a time when hip-hop and rap music didn’t rule the charts, but in the 1980s it was just getting started. The the high-top fade symbolised hip-hop’s golden age and was worn proudly by many of the scene’s key players like Big Daddy Kane, Kid ‘n Play, and the Fresh Prince himself, Will Smith.To get it for yourself, you’re going to need someone who knows their craft. “It’s become an art form that barbers try to perfect, and customers love the precision,” says afro specialist Richard Tucker from Ruffians Barbers. “It’s a great way to control thick, curly hair, but you’ll need to visit your barber every couple of weeks for top-ups to keep it looking its best.”To style, use a bristle brush to keep any fly-away hairs in check, and then scrunch in a pomade to achieve a healthy-looking finish. If you’ve gone for a full-on high-top (rather than a low-top), use a hairspray and afro comb to properly shape and pat to keep in place.Modern ExamplesKey ProductsLiam Gallagher’s Brit Pop MopThink of the 1990s, and your mind probably conjures up images of raves, ecstasy tablets, Brit Pop and Nicholas Cage action movies. What a time to be alive.While curtains and bowl cuts were both immeasurably and inexplicably the haircuts du jour, Oasis frontman Liam Gallagher’s messy textured mop is what stands out as the ultimate style.“Gallagher was arguably the coolest man of nineties Britain,” says Nomad’s Campbell. “His hair reflected his youthful rock ‘n’ roll attitude perfectly.”Campbell adds that using photos for reference is key to helping a stylist or barber recreate this cut. “This is because the fringe and sideburns will sit differently on different hair types, but an experienced barber will know what to do.”From there on in, some texturising products and a little IDGAF attitude is all you need to keep it looking good day-to-day.Modern ExamplesKey ProductsGeorge V’s Slick Side-PartingIn the current decade, the biggest men’s hair trends aren’t limited to what’s on top of the head. Since around 2010, every man and his dog has been growing a beard like a badge of honour, but few do it as well as George V.“The King had a well-groomed style that would not look out of place in any decade,” says Alan Jones, from the eponymous grooming parlour.It’s versatile, too. “The side-parting can be worn at different lengths, so is great in between cuts,” adds Jones, who also suggests tapering the back and sides for a more modern take.To style, separate the parting using a comb and apply a wax or pomade with a slick look, or matte paste or clay for a natural finish. If your hair is particularly unruly, use a hairspray to set the parting in place.To achieve facial hair fit for a king, run a beard oil through your facial forestry to condition, then use a moustache wax to bring definition to your upper lip.Modern ExamplesKey Products Source link

source https://www.kadobeclothing.store/12-cool-hairstyles-for-men-that-have-stood-the-test-of-time/

[fashiontrendin-blog]

The 12 Most Iconic Men’s Hairstyles Of All Time

http://fashion-trendin.com/the-12-most-iconic-mens-hairstyles-of-all-time/

The 12 Most Iconic Men’s Hairstyles Of All Time

A man’s hair has always been an important identifier of success; historically, it would denote class, wealth and masculinity. Now? Well, not much has changed. And despite some tweaks to length and texture, nor have the styles.

What looked good on Roman emperors still has the potential to flatter a modern mug. So take a lesson from these entries into the follicular hall of fame – the cuts that have somehow managed to transcend time and stay looking great – and maybe one day they’ll carve your ‘do in marble.

Alexander The Great’s Shaggy But Stylish

It’s not easy being in charge of the entire Macedonian empire. When you’re considering which Aegean territory to take over next, you don’t want to worry about whether it’s got styling mousse. For that reason, Mr The Great opted for a tousled, shaggy look that’s a particularly easy option for men with curly hair.

“This hairstyle is best worn pushed just off the face, and tucked behind the ears,” says Murdock master barber Alex Glover. This allows the natural direction of the hair’s growth to frame the face.

There are far more styling products on the market today than there were in 320BC, so if you have time, enhance the cut’s natural texture, by scrunching in a sea salt spray when drying – and then use a matte clay or putty for control.

If your battle uniform is a bespoke suit, your superior officer might confuse ‘texture’ for ‘mess’. So only copy this style if your workplace tends more towards neatly cut raw denim. Wear without a beard or any facial hair, like Alexander himself (he was famous for having the ancient world’s only clean-shaven army), or the overall look will appear untamed.

Modern Examples

Key Products

Brad Pitt’s Buzz Cut

The noughties were a particularly regrettable decade in terms of men’s hair trends. We had big slicked fringes, frosted tips and that unsettling noodle thing on Justin Timberlake’s head. Unlike the others on this list, we’re not about to suggest those looks make a comeback.

Instead, Joe Mills, owner of Soho barbers Joe & Co, points to the current trend for military haircuts – worn best by hair god of the time, Brad Pitt, in around 2005 ��� as a modern alternative.

“The buzz cut has been seen on the catwalks for the last few seasons and has gradually filtered down as guys got bored of the short back and sides look.”

Named after the sound made by hair clippers, it’s a look than can be achieved at home if you’re after a uniform length, but for guys looking to camouflage scars or a protruding occipital bone, leave it to the professionals.

Modern Examples

Key Products

JFK’s Ivy League

Forget your gravity-defying pompadour and bushy sideburns – the real star hairstyle of the 1950s was the Ivy League. Also known as the Harvard Clip or Princeton, this classic preppy style is a slightly longer version of the military crew cut.

Popularised by style-god-in-chief, JFK, the extra length allows the wearer more scope for styling on top – traditionally into a side parting. Think Daniel Craig or Ryan Gosling’s shorter styles.

“In the 1950s and early 1960s, Ivy League universities had policies on how students should wear their hair,” explains Joe Pomper, a senior barber at Murdock in Covent Garden. “This style spread throughout the US in popularity and became a standard offering on barber’s boards.”

To recreate the look today, Pomper suggests asking the barber to use a grade five on the back and sides, blending downwards to a three and eventually a two at the nape of the neck. On top, have any excess length trimmed with scissors to keep everything neat, and style using a medium hold and shine product.

Modern Examples

Key Products

David Beckham’s Textured Falling Quiff

Arguably David Beckham’s best hairstyle, the textured falling quiff makes it onto this list for its contemporary classicism. Or classic contemporaneity. Basically, it will stand the test of time.

An ordinary footballer fade this ain’t. “Clippers shouldn’t be used here,” says Tucker. “The back and sides must be scissored for extra texture and less noticeable contrast.” When styling, take a paste and a pomade and rub them together in your hands.

Apply the products into towel dried hair with your hands, perhaps with a bit of salt spray for extra texture. “Then rake backwards, scrunching, to achieve that falling strand.”

It’s quite a floppy style, so works well with medium-to-thick hair with a slight natural wave. And wear it standing on the sidelines, rather than running about for 90 minutes or that volume will quickly collapse into a sweaty mess.

Modern Examples

Key Products

River Phoenix’s Long Textured Hair

Aside from bell-bottoms (shudder) and the rise of disco, the 1970s are known for being the decade in which men stopped being ‘men’ – by adopting long hairstyles for the first time in centuries.

And far more than a follicular flash in the pan, the trend stuck around well into the 1980s, when young stars of the screen like River Phoenix kept the look.

“This is a great era to take inspiration from at the moment, as it’s hitting the fashion world everywhere,” says Mikey Pearson, director of Manifesto barbershop in London’s Clerkenwell. “We mostly have Gucci to thank for that.”

To recreate this style, you need to ask the barber to cut in layers, which are great for adding softness and adapting the cut to different face shapes. “Always remember this rule: long hair must have long layers. It’s all about a visual balance, so you don’t end up with two haircuts in one,” adds Pearson.

A strengthening shampoo and conditioner will keep your trailing tresses in good condition, while a surf spray or texturising cream will add volume and definition.

Modern Examples

Key Products

Jean-Michel Basquiat’s Short Dreads

Jean-Michel Basquiat had a professional career that spanned just nine years, but the brilliance of his barnet is something that has lasted for decades.

The artist’s iconic short dreads continue to inspire afro haircuts to this day, reappearing on heads such as The Weeknd, but it’s not a look you can curate between Friday and Monday.

“Dreading hair takes time and work,” says Mills. “You have to twist and lock the hair. Ideally this is best done by someone who knows what they are doing – it’s not a DIY thing.”

Fortunately the upkeep of this up-do is something that can be done at home. “You need to keep twisting them and rinse your hair as opposed to shampooing,” adds Mills. Using a wax or moisturising gel will also help maintain the style at tame any rogue hairs.

Modern Examples

Key Products

Julius Caesar’s Face-Framing Crop

Caesar’s textured crop is as flattering as it is recognisable, not least because it’s a style that has returned to rule in recent years.

“The look is defined by the hair being trimmed to the same length all over,” says Glover. “This gives a gentle appearance to a man’s face.” Not to mention some imperial cheekbones. “To replicate the look, the edges should be naturally textured and not too neat.” So make sure your local barber doesn’t come over all Brutus with the scissors.

As a cut, it’s suited to those with thinner hair who want to give the illusion of thicker growth. To further this effect when styling, allow the hair to dry naturally after showering, then apply a soft finish hair product such as a styling cream, gum or wax.

Just don’t pair with a toga, no matter how classic your style.

Modern Examples

Key Products

Cillian Murphy’s Disconnected Undercut

A good haircut can define a man, but a great haircut can define an entire decade. Sure, a bad haircut can too, but we’re not here to talk about mullets or man buns.

Since swaggering onto screen in 2013, Cillian Murphy’s turn as Thomas Shelby in Peaky Blinders has made men get all misty-eyed about the 1910s in a way that hasn’t been achieved about age-old style since Mad Men. And one of the primary reasons is the show’s grooming.

“Men have moved from salons back to barbershops and as a result, traditional styles have become the go-to look,” explains says Liam Campbell, a senior barber at Nomad in Shoreditch.

More recently, hair trends have leaned towards slicked back styles with disconnected sides. But for a blinder of a barnet, Campbell suggests opting for a disconnected undercut. “Ask the barber to leave length on top, but take the sides in tight, preferably skin faded to add definition with a raw edge.”

Flat cap optional.

Modern Examples

Key Products

Elvis Presley’s Textured Pompadour

A little less slick-back action, a little more texture, please. Having been a trend for over a decade, it’s well-known that there are few grooming moves more stylish than the pompadour. But as Jones points out, it’s important to go for a modern version of The King’s iconic look to avoid getting stuck in a time warp.

“This look is not for everyone, as it’s a longer, more natural style,” he says. “It’s better for someone with thick hair and a natural wave.”

As an update, go for a short taper on the neckline and softer scissored texture on top, then apply a base product, like a cream, while damp before coiffuring your quiff. “Rough dry the hair with your fingers to get it into place and finish with a fibre – but you only need to apply a little bit.”

The style can fall out of place easily, so fix with a strong hold hairspray if you find your pomp falls flat before lunch.

Modern Examples

Key Products

Will Smith’s High-Top Fade

It’s difficult to imagine a time when hip-hop and rap music didn’t rule the charts, but in the 1980s it was just getting started. The the high-top fade symbolised hip-hop’s golden age and was worn proudly by many of the scene’s key players like Big Daddy Kane, Kid ‘n Play, and the Fresh Prince himself, Will Smith.

To get it for yourself, you’re going to need someone who knows their craft. “It’s become an art form that barbers try to perfect, and customers love the precision,” says afro specialist Richard Tucker from Ruffians Barbers. “It’s a great way to control thick, curly hair, but you’ll need to visit your barber every couple of weeks for top-ups to keep it looking its best.”

To style, use a bristle brush to keep any fly-away hairs in check, and then scrunch in a pomade to achieve a healthy-looking finish. If you’ve gone for a full-on high-top (rather than a low-top), use a hairspray and afro comb to properly shape and pat to keep in place.

Modern Examples

Key Products

Liam Gallagher’s Brit Pop Mop

Think of the 1990s, and your mind probably conjures up images of raves, ecstasy tablets, Brit Pop and Nicholas Cage action movies. What a time to be alive.

While curtains and bowl cuts were both immeasurably and inexplicably the haircuts du jour, Oasis frontman Liam Gallagher’s messy textured mop is what stands out as the ultimate style.

“Gallagher was arguably the coolest man of nineties Britain,” says Nomad’s Campbell. “His hair reflected his youthful rock ‘n’ roll attitude perfectly.”

Campbell adds that using photos for reference is key to helping a stylist or barber recreate this cut. “This is because the fringe and sideburns will sit differently on different hair types, but an experienced barber will know what to do.”

From there on in, some texturising products and a little IDGAF attitude is all you need to keep it looking good day-to-day.

Modern Examples

Key Products

George V’s Slick Side-Parting

In the current decade, the biggest men’s hair trends aren’t limited to what’s on top of the head. Since around 2010, every man and his dog has been growing a beard like a badge of honour, but few do it as well as George V.

“The King had a well-groomed style that would not look out of place in any decade,” says Alan Jones, from the eponymous grooming parlour.

It’s versatile, too. “The side-parting can be worn at different lengths, so is great in between cuts,” adds Jones, who also suggests tapering the back and sides for a more modern take.

To style, separate the parting using a comb and apply a wax or pomade with a slick look, or matte paste or clay for a natural finish. If your hair is particularly unruly, use a hairspray to set the parting in place.

To achieve facial hair fit for a king, run a beard oil through your facial forestry to condition, then use a moustache wax to bring definition to your upper lip.

Modern Examples

Key Products

[sportslive247news-blog]

Chairman of the National Board of Directors for the National Association for the Advancement of Colored Peopl

Without precedent for almost 18 years, the prestigious  NAACP Image Awards Live Jackie Robinson Sports Award will be displayed to LeBron James – one of America's most regarded, capable and compelling competitors today evening time.

Event: NAACP Image Awards Live Date: 11 February 2017 Place: Pasadena Civic Auditorium TV Info: naacpimageawardslivestream.net

This honor is exhibited to people in games for their high accomplishment in games and commitments in the quest for social equity, social liberties and group contribution.

Roslyn M. Brock, Chairman of the National Board of Directors for the National Association for the Advancement of Colored People (NAACP) will give James the respect amid The Cleveland Cavaliers' pre-amusement services at The Quicken Loans Arena in Cleveland, Ohio on February 1. Highlights from the service will air amid the elegant 48th NAACP Image Awards facilitated by Anthony Anderson LIVE on TV ONE on Saturday, February 11, 2017 at 9pm/8c as a two-hour uncommon.

The NAACP Image Awards Live Stream commends the achievements of ethnic minorities in the fields of TV, music, writing and film and furthermore respects people or gatherings who advance social equity through imaginative attempts. Past beneficiaries of the Jackie Robinson Sports Award have incorporated: The Harlem Globetrotters, Anita DeFrantz, Jim Brown, Jackie Joyner-Kersee, Sugar Ray Leonard, Eddie Robinson and Michael Jordan.

LeBron James

LeBron James is viewed as one of the best competitors of his era. James' NBA vocation started as a Cleveland Cavalier when he was drafted out of secondary school by the place where he grew up group with the main general pick in the 2003 NBA Draft. In 2010, James joined the Miami Heat where he drove the group to four straight NBA Finals appearances that included consecutive NBA Championships in 2012 and 2013. In 2012, James drove the United States to a gold decoration at the mid year Olympics in London, his second gold award as an individual from Team USA.

In 2014, the four-time NBA MVP returned home to join the Cleveland Cavaliers in quest for a greater mission in the district that raised him. Amid his second season back in Cleveland, James helped the Cavaliers convey the city its first expert games title in over 52 years. Taking after his group's remarkable rebound in the NBA Finals, James was named the NBA Finals MVP for the third time in his vocation.

All through his vocation, James has tried altruistic endeavors a need in particular through the LeBron James Family Foundation (LJFF). Established by James in 2004, the program endeavors to emphatically influence the lives of kids and youthful grown-ups through training and co-curricular instructive activities. In 2011, the Foundation started taking a shot at the secondary school dropout emergency confronting LeBron's main residence group and propelled its "Wheels for Education" program, which has since extended with the "Akron I PROMISE Network."

These activities bolster internal city understudies with the projects, support, and tutors they require completely through graduation. In association with The University of Akron, James has ensured school trainings for a great many Akron Public School understudies that entire the Foundation's projects and meet certain scholarly and magnanimous criteria. Through these endeavors, James has utilized his impact to move a whole group to rally around the young in Akron and help them accomplish their fantasies through training.

Combined with his prosperity on the court, James' various business arrangement of inventive supports and credible speculations has set up him as a standout amongst the most famous figures on the planet. Adding to his off-the-court portfolio, James keeps on expanding his impact in media outlets through his generation organization, SpringHill Entertainment. Named after people in general lodging complex where James experienced childhood in Akron, Ohio, SpringHill Entertainment is an excitement and substance organization that creates innovative substance over an assortment of stages including computerized, narrative and highlight movies, and scripted and unscripted TV.

For data and the most recent news, please visit the authority 48th annual NAACP Image Awards Live site at The NAACP "President's Award," picked by NAACP President and CEO Cornell William Brooks, is offered in acknowledgment of exceptional accomplishment and recognized open administration. Past honorees incorporate John Legend, Van Jones, President Bill Clinton, Soledad O'Brien, Ruby Dee, Muhammad Ali, the Founding Members of the Black Stuntmen's Association, Kerry Washington, and Spike Lee.

"Antiquarian, researcher and creator Lonnie G. Group III, has secured among the holy spots of the American story, a position of respect for the commitments of African Americans to our country's history. As the establishing executive of the Smithsonian's National Museum of African American History and Culture (NMAAHC), he has intensified stories of our battles and endeavoring to wrest the shackles of mistreatment from both body and psyche in our unquestionable journey to be free," said Cornell William Brooks, President and CEO, NAACP.

"Dr. Group's steady work to sparkle an eminent light into the mind blowing American crystal of the Black involvement from oppressed ranches to the White House manor, has earned him the current year's NAACP President's Award. The honor bears the name of the NAACP yet is undetectably engraved with the names of Americans of each shade and legacy speaking to the appreciation of the country for Dr. Cluster's endeavors."

Lonnie G. Cluster, III is the establishing executive of the Smithsonian's National Museum of African American History and Culture. In this position he is attempting to set the exhibition hall's main goal, facilitate its raising money and participation crusades, build up its accumulations, and set up social associations. He is planning a prominent program of voyaging shows and open occasions extending from board discourses and courses to oral history and gathering workshops.

Before his July 2005 arrangement as executive of NMAAHC, Bunch filled in as the leader of the Chicago Historical Society, one of the country's most seasoned galleries of history (January 2001-June 2005). There, he started a phenomenal effort activity to various groups and propelled a highly praised display and program on young life titled "Youngster Chicago." He additionally drove an effective capital crusade to change the organization in festivity of its 150th commemoration and dealt with an institutional revamping.

Cluster has held a few positions at the Smithsonian. As the National Museum of American History's (NMAH) Associate Director for Curatorial Affairs (1994-2000), he supervised the curatorial and accumulations administration staff of almost 200. NAACP Image Awards Live Stream  Notwithstanding driving the curatorial group that built up the real changeless presentation "American Presidency: A Glorious Burden," he filled in as co-writer of the display's buddy book by a similar name.

While collaborator executive for curatorial issues at NMAH (1992-1994), Bunch built up "Smithsonian's America," a presentation that investigated the history, culture and assorted qualities of the United States; it was appeared in Tokyo, Japan as a feature of the "American Festival Japan '94. He likewise administered the arranging and usage of the gallery's exploration and gathering motivation. As an administering guardian at NMAH (1989-1992), he supervised a few of the historical center's divisions, including Community Life and Political History.

From 1978 to 1979, Bunch was a training expert and student of history at the Smithsonian's National Air and Space Museum, where he created multi-social instructional projects and inquired about and composed the historical backdrop of African Americans in flying.

Bundle filled in as the keeper of history for the California Afro-American Museum in Los Angeles from 1983 to 1989. There he sorted out a few honor winning displays including "The Black Olympians, 1904-1950" and "Dark Angelenos: The Afro-American in Los Angeles, 1850-1950." Committed to leaving a mark on the world open, he likewise delivered a few verifiable documentaries for open TV.

A productive and generally distributed writer, Bunch has composed on themes running from subjugation, the dark military experience, the American administration and every dark town in the American west to differences in historical center administration and the effect of financing and governmental issues on American exhibition halls. In 2010, he distributed the honor winning book "Get back to the Lost Dream: Essays on Race, History and Museums." "Slave Culture: A Documentary Collection of the Slave Narratives" was distributed in 2014 and in 2015 he distributed "Recollections of the Enslaved: Voices from the Slave Narratives."

In 2016, Bunch co-wrote "From No Return: the 221-Year Journey of the Slave Ship Sao Jose." Lectures and introductions to gallery experts and researchers have taken him to real urban areas in the United States and to numerous countries abroad including Australia, China, England, Italy, Japan, Scotland, South Africa, Sweden, Ghana, Senegal and Cuba. Since 2008, Bunch has filled in as the arrangement co-manager of the "New Public Scholarship Edition" of the NAACP Image Awards Live Stream University of Michigan Press. Amid the introductions of President Barack Obama, Bunch filled in as an on-camera reporter for ABC News.