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capricorn-0mnikorn · 2 years

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So whenever your disability pride flag is shared on tiktok, ive noticed people asking why do disabled people need a pride flag, or saying that we dont deserve one because we are "co opting" the gay pride movement... and i am honestly at a loss at what to say to them

Okay, then: here's some Disability Pride Talking points for you, when you come upon that assumption:

First: The Disability Rights Movement gained steam in the U.S. at the same time as the Civil Rights Movement was advocating for racial equality, and the Women's Rights movement was advocating for gender equality -- all in the same decade as the Stonewall Riots.

Second: it may seem like Disability Pride Month is "copying" Queer Pride Month, because July comes right after June. But the reason we celebrate Disability Pride Month in July is because that's when The Americans with Disabilities Act was signed: on July 26, 1990. This was the first Disabilities Rights act in the world. It was followed in 1995 by the Disabilities Discrimination Act in the U.K., and in 2019 in Canada.

Third: on April 5, 1977, the (American) Nationwide 504 Sit-in (Wikipedia article) began, to protest the fact that three presidents in a row had been stalling for four years to implement Disability Civil Rights legislation. Disability advocates staged sit-ins in Federal Buildings for the Department of Health, Education, and Welfare, in Atlanta, Boston, Chicago, Denver, Los Angeles, New York City, Philadelphia, and Seattle, San Fransisco, and Washington D.C..

The sit-in in Washington D.C. lasted 28 hours. The Sit-in in San Fransisco lasted 25 Days, and remains the longest occupation of a Federal Government building in U.S. History (It was epic). The civil rights group The Black Panthers also helped with logistical support.

The police tried to force the people inside to leave by cutting phone lines, forgetting that there were people who knew American Sign Language both inside the building, and outside, in the crowd, and they relayed messages back and forth through the windows (excuse me while I take a Cackle break).

Finally: Disabled people are human beings, and deserve all the human rights as everyone else. But a lot of people in authority, look at our lives from the outside, decide that we already have a low-quality of life (without actually asking us), and deciding that it wouldn't be so bad if we died. You know, at the start of the COVID-19 outbreak in this country, it was a fairly common policy that if hospitals ran low on ventilators, they'd just take them from disabled people who needed to use them every day? Remember that?

That's why we have to get loud.

#Disability Pride Month ♿#Disability History #just a few talking points #there are many more #Covid-19 #Rationing health care #eugenics #''quality of life''#nothing about us without us

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kithtaehyung · 2 years

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⬛️ WEBSITE MOCKUPS : RKIVE.ORG ⬛️

“When we went abroad, we stayed in our hotel rooms except when we were working. The only places I could go then were museums. The art galleries full of Monets or Van Goghs were always crowded, but when I visited one weekday morning and had them mostly to myself, I had a eureka moment—an artist who’d passed away 100 years ago was communicating directly with a boy from Korea. I was so envious. From then on, I began seeking out and learning about Korean painters.” — HAPPY NAMJOON DAY! ; 940912 ; CLICK FOR HQ. twt | ig

Note: rkive and gallery walk gifs may take a bit to load, and look best on desktop. Note 2: To learn more about all of the artwork and artists showcased, click below.

When The Year 2000 Comes (2019), by YANG HAEGUE, the avant-garde of Korean art. “She is an accomplished and international artist. She notably represented Korea at the Venice Biennale in 2009 and participated to the prestigious dOCUMENTA (13) in Kassel in 2012. In her works, which flirt with conceptual art, she explores myths and stories, that touch on the universal. She appropriates them through sculptures, installations, performances, and video.”

From Point (1976), by LEE UFAN, Korean Zen Art. “He is a Korean artist known worldwide for his paintings depicting the mark of a brush whose color fades… Yet his practice goes far beyond that! He creates performances, sculptures and installations, which always question a certain “state of being.” He is influenced by Zen and Asian philosophy, but has also drawn heavily on Western thought. Among his favorite subjects: observing the intimate, conflicting or poetic relationship between natural and artificial elements.”

Brushstrokes-Diagram (2015), by SONG HYUN-SOOK, Korean and Western art. “With her, each brushstroke tells a story, a journey. She weaves links between Korean art and Western art. On the one hand, it expresses that almost meditative state of concentration that exists in the art of calligraphy. On the other hand, she uses tempera, a typically European oil painting technique, to create patterns that immerse the viewer in reality and the present moment.”

Drawing, Charcoal on paper, 65 x 50 cm (2014) and Issu de feu Charcoal on canvas, 100 x 81 cm, (2000), by LEE BAE, the Soulages of Korean Art. “A Korean abstract artist. Like Soulages, for whom black is a color, he explores the almost infinite possibilities of black. He sinks into the abyss of darkness. Until recently, he mainly used charred materials to paint his canvases. In doing so, he offered a powerful metaphor for the cycle of life.”

Écriture No.160523 (2016), by PARK SEO-BO, Korean abstraction. “One of the best known Korean artists. He is emblematic of the monochrome Dansaekhwa movement. A current that synthesizes the traditional Korean spirit and Western abstraction. In a way, he is very close to minimalist artists, choosing neutral tones to highlight components and fabrics.”

Mat 61 × 81 #19-17 (2019), by SUKI SEOKYEONG KANG, contemporary art. “Born in 1977, this Korean artist is one of the biggest names of the art market. Her work is mostly inspired by her own philosophical research and reflection on space and our place in it. She uses sculpture, installation, and performance to explore these ideas. Her works were presented, among others, in the Venice and Shanghai Biennales.”

Untitled (1966), by CHOI WOOK-KYUNG, the outcast. “Wook-kyung Choi (1940-1985) is an outcast in the history of contemporary Korean art. She is an abstract painter. But most Korean abstract painters shine in Dansaekhwa: the Korean monochrome. She, on the contrary, is mainly influenced by expressionism. Brutally, instinctively, aggressively, she throws the colors on the canvas. She seeks to immerse herself in the moment, and to create true, pure, expressive forms. Thus, it plays a capital role for the diversity of Korean abstract art.”

Thank you for your interest in these artists and this passion project! All of the website information (other than the artist bio on the Artist Spotlight page) is fictional. Happy Joonie Day 2022, and let’s continue to support him and all the fantastic Korean artists out there.

SRC: one, two, three

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yourwizardofaus · 6 months

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Elvis and his stretching pose, often during Polk Salad Annie. Like the flying karate kicks and windmill arm movements, it was one of those concert trademarks that declined after mid-1976 as his fitness worsened.

Dayton, OH, evening show on April 7, 1972.

An Ed Bonja picture from the evening show in Jacksonville, FL, on April 16, 1972.

Tulsa, OK, on June 20, 1972.

The closing show in Las Vegas on September 4, 1972.

In the Thunderbird jumpsuit in Oakland, CA, on November 11, 1972.

The afternoon show in Spokane, WA, on April 28, 1973.

St Louis on June 28, 1973.

The evening show in Atlanta, GA, on June 29, 1973.

Auburn, AL, on March 5, 1974.

Roanoke, VA, on March 10, 1974.

The evening concert in Amarillo, TX, on March 19, 1974.

In the rarely worn Aqua Phoenix jumpsuit in Milwaukee, WI,on June 28th, 1974.

During the College Park, MD, show on September 28, 1974.

In the Mad Tiger jumpsuit at the Indianapolis afternoon show on October 5, 1974.

Onstage in Jackson, MS, on May 5, 1975.

The Huntsville, AL, afternoon show on May 31, 1975.

In the Alaskan Totem Pole/Aztec jumpsuit in Greensboro, NC, on July 21, 1975.

At the Las Vegas opening show on December 2, 1975.

During the Las Vegas midnight show of December 13, 1975.

The Las Vegas dinner show on December 14, 1975.

In Johnson City, TN, on March 17, 1976.

The Johnson City evening show on March 19, 1976.

Wearing the Rainfall jumpsuit at the Cincinnati, OH, afternoon show on March 21, 1976.

St Louis, MO, on March 22, 1976.

In the White Bicentennial/Prehistoric Bird jumpsuit during the Atlanta evening show on June 4, 1976.

A couple of shots of Elvis in the Blue Bicentennial/Prehistoric Bird jumpsuit at the Atlanta evening show on June 5, 1976.

An undated 1976 picture of Elvis in the Blue Bicentennial/Prehistoric Bird jumpsuit.

Elvis in Champaign, IL, on October 22, 1976.

The Mexican Sundial jumpsuit in Milwaukee on April 27, 1977.

#Elvis #Elvis Presley #1970s #70s #seventies #rock music #pop culture

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familyabolisher · 4 months

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But Don Quixote’s names and actions hide a much bigger secret. Following Todorov, there is a double movement toward and away from the revelation. In the end, all that can be said is that the play of genre and narrative may point to a specific hidden mystery, one that deals with a clash of civilizations and the anxieties it causes the protagonist. This secret both complements and contrasts with the vision of a knight as a ghostly Charles V. Don Quixote as a new Charles is deprived of all power except that of the imagination as he rides through the genres. He personifies an emperor who upon abdication has become ‘the ghost of all power.’ While the emperor repeatedly walks the halls of the monastery thinking of his past achievements and hollow present, the knight rides through an impoverished Spain, seeking the power that Charles discarded, only to find visions less substantial than his emaciated body. It may be that his haunting is there to warn those who sympathize with the knight that the imperial pursuits of the narrative are flawed, that the secret must be revealed. Indeed, the narrative is filled with ghosts that haunt the text and the knight. We may recall that Derrida has fostered the study of what he calls ‘hauntology’ (1994, 10). I will use the ghostly in a different manner, seeking to glimpse at the mysteries that hide between worlds and between genres. In a sense, this study comes closer to Todorov’s view of the ghosts in Henry James, who are interpreted as part of the secret of narrative. While no one (except Sancho) really believes in Don Quixote’s ghosts, he does, creating a kind of hesitation in the novel that points to Todorov’s notion of the fantastic. But the ghosts in the novel are there to point to an absence, to that which is missing and cannot be fully recaptured: ‘the core of a story will often be an absence . . . and its quest will be the only possible presence’ (1977, 184). Although we are delighted by the permutations of Don Quixote’s quest, and we may even laugh at the ghostly appearances in the novel, there are secrets here that defy disclosure. As Todorov argues: ‘In order for this ever-absent cause to become present, it must be a ghost’ (1977, 154). Don Quixote is surrounded by the absent, by ghosts, as he unwittingly conceals the secrets of the narrative. But the novel makes his exploits even more mysterious. If Don Quixote stands for a ghostly Charles V, then what we have is a near impossibility – a ghost that is being haunted by other ghosts.

[…] Ghosts also have another important use: to whisper a secret from the past, an awful event that returns them to a world now alien to them. Two examples will suffice: Hamlet’s ghost comes to warn the prince of a terrible secret. We may read of a haunting similar to Shakespeare’s in a play ascribed to Lope de Vega, Dineros son calidad. These hollow beings impel the living to action. And this is precisely what happens in Don Quixote, although the ghosts’ whispers are never heard. Throughout part 1, we hear incessantly about ghosts. In chapter 17 the goings-on at the inn are attributes to Moorish ghosts; in chapter 19 a funeral procession in the night seems like a ghostly apparition; and in chapter 20 a clanging of chains make both Sancho and Don Quixote think they are in a ghost story. These ghosts that haunt Don Quixote could well be visions created by the excess of melancholy. Although this partially explains his imaginings, it says nothing of the secret they have come to reveal. This is the mystery that will never be told, preserving the essential absence as key to the text. At the same time, it is possible to build a theory overlaying absence; it is possible to trace the figures on the carpet, the whispers of the ghosts. These ghosts that pursue the ghostly knight are also ghosts of a Christian empire that seeks to subject and exorcise the other.

Frederick A. de Armas, 'Pillars of Genre, Ghosts of Empire: An Introduction,' from Don Quixote Among the Saracens: A Clash of Civilisations and Literary Genres

#currently reading #don quixote

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laliloon · 9 months

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🗓️Creepypasta Date of Birth Headcanons:

+ their ages in my au - set in late 2000 - early 2001

Jeff the Killer: 2nd June, 1974 (26 years old)

Homicidal Lou: 23rd November, 1970 (30 years old)

Jane the Killer: 5th April, 1972 (28 years old)

BEN: 9th February 1987 - d. 26th April, 2000 (13 years old)

Eyeless Jack: 13th December, 1969 (31 years old)

Nina the Killer: 30th March, 1979 (21 years old)

Laughing Jack: 25th December, 1862 (no specific age)

Laughing Jill: 25th December 1859 (no specific age)

Isaac Clement: 3rd December, 1854 - d. 3rd December, 1893 (39 years old)

Will Clement: 28th August, 1977 (23 years old)

Frank the Undead: 27th April, 1896 - d. 31st January, 1931 (34 years old)

Jason the Toymaker: 15th November, 1746 - d(?). 21st May, 1779 (32 years old)

Sally Williams: 7th September, 1963 - d. 19th July, 1971 (8 years old)

Toby: 28th April 1975 (25 years old)

Clockwork: 21st October, 1977 (23 years old)

Bloody Painter: 1st October, 1968 (32 years old)

Judge Angels: 29th September, 1964 (36 years old)

The Puppeteer: 18th July, 1973 - d. 29th December, 1992 (19 years old)

Zero: 10th May, 1980 (20 years old)

Nurse Ann: 9th January, 1957 - d. 16th February, 1984 (27 years old)

The Dollmaker: 22nd December 1968 (32 years old)

Kagekao: August 4th, 1979 (21 years old)

Candy Pop: c. Early 1400s (no specific age)

Slenderman: Unknown (no specific age)

Zalgo: 1000BC (no specific age)

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garbagegirlblog · 1 year

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my top 30 albums (not ranked in order)

.this is a long one.

Ultraviolence- Lana Del Rey • 2014 (January 1st)

2. feed me with your kiss- My Bloody Valentine •1988 (October 31st)

3. Unknown Pleasures- Joy Division • 1979 (June 1st)

4. Are You Experienced- Jimi Hendrix • 1967 (May 12th)

5. Shed- Title Fight • 2011 (May 3rd)

6. In Utero- Nirvana • 1993 (September 21st)

7. Loveless- My Bloody Valentine • 1991 (November 4th)

8. Vulgar Display Of Power- Pantera • 1992 (February 21st)

9. Souvlaki- Slowdive • 1994 (November 5th)

10. Rumors- Fleetwood Mac • 1977 (Febuary 4th)

11. Agents Of Fortune- Blue Öyster Cult • 1976 (?)

12. Born to Die (the paradise edition)- Lana Del Rey • 2012 (November 12th)

13. Crybaby- Lil Peep • 2016 (?)

14. Sing me a Lullaby, my sweet temptation- $uicide boy$ • 2022 (July 29th)

15. Led Zeppelin IV (Deluxe Edition) - Led Zeppelin • 1971 (November 8th)

16. Wish you were here- Pink Floyd • 1975 (September 12th)

17. 40o.z to freedom- Sublime • 1992 (June 1st)

18. Norman Fucking Rockwell • 2019 (August 30th)

19. Nevermind- Nirvana • 1991 (September 26th♡)

20. The Misfits Box Set • 1996 (February 27th)

21. So tonight that I might see- Mazzy Star ☆ • 1993 (October 5th)

23. Enema of the state - Blink-182 • 1999 (June 1st)

24. All hope is gone- Slipknot • 2008 (August 20th)

25. Dr. Feelgood (Deluxe Version)- Mötley Crüe • 1989 (September 1st)

26. The darkside of the moon 🌙-Pink Floyd • 1973 (March 1st)

27. Blue Banisters- Lana Del Rey • 2021 (October 22nd)

28. Among My Swan- Mazzy Star ☆ • 1996 (October 29th)

29. Flower Boy- Tyler The Creator • 2017 (July 21st)

30. Incesticide- Nirvana • 1992 (December 14th)

And that's all folks....for now >:)

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freddiemercurylegendabovelegends · 7 months

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Late 1976, in these days - Queen Story!

Queen filmed video for "Somebody To Love", directed by Bruce Gowers, at Sarm Studios, London, UK

🔸“I love the Queen of Soul, Aretha Franklin, above all other singers. She must have one of the best voices ever. She sings like a dream. I wish I could sing half as well as she does. It’s so natural.

“She puts her whole emotion into it.

Each word she sings is full of meaning and expression.

I could listen to it forever.”

- Freddie Mercury

07/19/1985 - The Sun

🔸"'Somebody To Love' is Aretha Franklin-influenced. Freddie's very much into that. We tried to keep the track in a loose, gospel-type feel. I think it's the loosest track we've ever done."

- Roger Taylor - 31/01/1977, Circus Magazine

👉 “Somebody To Love” by Freddie Mercury

➡️“White Man” by Brian May

#freddie mercury #queen band #london #zanzibar #legend #queen #brian may #john deacon #freddiebulsara #roger taylor #1976 #somebody to love #aretha franklin #circus magazine #the sun #Spotify

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rock-and-roll-hell · 1 year

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May 19, 1978

KIϟϟ Meets the Phantom Press Conference

Magic Mountain Amusement Park - Valencia, California

The concert depicted in the film was recorded in the parking lot of Magic Mountain on May 19, 1978, in front of a crowd of 8,000 people. Tickets for the concert were given out by local AM radio station KTNQ, where "The Real" Don Steele was a disc jockey. This is also the same radio station where Kiss made an appearance as DJs on Steele's radio program the previous year while in town to record Alive II at The Forum. The group performed a full concert, followed by lip-synched performances of some songs. "Rip and Destroy", an altered version of "Hotter than Hell" that was featured in the film, was not performed during the concert

KIϟϟ' commercial popularity was at its peak by 1978. The group's gross income in 1977 totaled $10.2 million. Creative manager Bill Aucoin felt, however, that the cycle of album releases and touring had taken KIϟϟ as far as they could go, and that it was time to elevate the group's image to the next level. He formulated a plan to cast KIϟϟ as superheroes, a process that began with the 1977 release of a KIϟϟ comic book. The band agreed, and plans were developed for a KIϟϟ film

#kisstory #kiss #1978 #kiss meets the phantom of the park #kiss band #kiss army #ace frehley #paul stanley #peter criss #gene simmons #the spaceman #the starchild #the catman #the demon

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garadinervi · 7 months

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'for colored girls who have considered suicide / when the rainbow is enuf' by Ntozake Shange, «Playbill», Equinox Theatre, Houston, TX, November 19, 1977 [Marjorie Randal National Women's Conference Collection, Box 1, Folder 11, UH Libraries Exhibits, University of Houston, Houston, TX]

With: Deborah Arceneaux, Laura Booker, Jan Crain, Dannette Johnson, Barbara Marshall, Leslie Mays, and Brenda Sers

Direction: Bruce Bowen

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flagwars · 8 months

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Historical Flag Wars Round 1

The first round of the Historical Flag Wars starts today! Which flag are you rooting for?

Here are the brackets for Round 1:

1. Republic of Rotuma vs. Sultanate of Sulu

2. Peru (May 1822) vs. Kingdom of Amber

3. Green Mountain Boys vs. Taipei, Taiwan (1981-2010)

4. Kingdom of Laos vs. Kingdom of Abemama

5. State of Deseret vs. Guilford Courthouse Flag

6. Mohanpur State vs. Attributed flag of Blackbeard

7. Nepal (1856-1930) vs. Empire of Brazil

8. Burma (1943-1945) vs. Latvian Soviet Socialist Republic

9. Wiphala of Tupac Katari vs. Mamluk Sultunate (attributed)

10. Islands of Refreshment vs. Imperial State of Iran

11. Union Mark of Norway and Sweden vs. Kingdom of Prussia (1892-1918)

12. Jewish Combat Organization vs. Kingdom of Kandy

13. Kingdom of Manipur (1891–1907) vs. International Revolutionary People's Guerrilla Forces

14. Venice (1922-1977, de facto) vs. International Brigades

15. Sultanate of Zanzibar (1963–1964) vs. State of Muskogee

16. Maine (1901-1909) vs. Taymyr Autonomous Okrug

17. Tibet vs. Dutchy of Brittany

18. Ryukyu Kingdom vs. Byelorussian Soviet Socialist Republic

19. Duchy of Milan vs. Republic of Yucatán

20. People’s Republic of Korea vs. Halliste Parish, Estonia

21. Jeju Province (1969–2009) vs. Republic of China (1912–1928)

22. House flag of Nedlloyd vs. Historical Mapuche Flag

23. Kingdom of Ireland vs. Starry Plough Flag

24. Royal standard of the Joseon Dynasty vs. Flag of David IV the Builder

25. Army of the Three Guarantees vs. Raven Banner

26. Iraq (1959–1963) vs. Republic of Formosa

27. Principality of Moldavia vs. Eureka Flag

28. Kingdom of Sikkim vs. Republic of Anguilla

29. Republic of the Rif vs. West Indies Federation

30. Bedford Flag vs. Ethiopian Empire

31. Rägavere Parish, Estonia vs. Unidentified Flag of the Kingdom of Benin

32. Comecon vs. Naval flag of the Duchy of Courland

#polls #flags #vexillology #history #historical flag wars #eyestrain #eye strain

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scotianostra · 6 days

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Happy Birthday former Snooker World Champion Graeme Dott, born May 12th 1977 in Larkhall.

Dott won the UK Under-19 Championship in 1992 and Scottish Amateur Championship in 1993 and turned. professional in 1994. He slowly climbed the rankings, reaching the top sixteen in 2001.

Graham has won two ranking titles, the 2006 World Snooker Championship and the 2007 China Open, and was runner-up in the World Championships of 2004 and 2010. His highest ranking was number 2 in the world in 2007, but a subsequent episode of clinical depression seriously affected his form, causing him to drop to number 28 for the 2009/2010 season. He then recovered his form, regained his top-16 ranking, and reached a third World Championship final. In 2011.

In his 2011 autobiography Frame of Mind, Dott describes his childhood growing up in the run-down Easterhouse estate in Glasgow. As a boy, he developed a strong relationship with Alex Lambie, a snooker club owner from Larkhall in Lanarkshire, who mentored Dott from the age of 12 and went on to manage his professional career. Dott has described Lambie as a “second father” to him .In 1997, Dott began a relationship with Lambie’s 16-year-old daughter Elaine. The couple married in 2003 and had their first child, a son named Lewis, in 2004. In January 2006, Alex Lambie was diagnosed with terminal kidney cancer. Although he lived to see Dott win the World Championship in May of that year, he died on 16 December 2006, while Dott was playing in the 2006 UK Championship.

Weeks afterwards, Elaine, who was pregnant, had a cancer scare when doctors discovered potentially cancerous cysts on her ovaries. Although she turned out not to have cancer, she suffered a miscarriage while Dott was playing in the 2007 Masters. After these experiences, Dott entered a severe depression, which affected his commitment to practice and his performance in matches .He lost 15 professional matches in a row and slid down the rankings, dropping out of the top 16.Dott and his wife had a second child, a daughter Lucy, born in November 2008.

Last month lifted the lid on his struggles away from the table.

"It’s been a terrible season for me. The results haven’t been good enough, I know that. I’ve had some things going on off the table, which I’d rather not divulge. But it’s been tough, it has been hard if I’m honest.

Dott was knocked out in the qualifying round of the recent World Championship 10-5 by Welshamn Jackson Page.

#scotland #scottish #history #snooker #world champion #sporting history

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breaniebree · 5 months

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Kismet Characters & Family Trees Part Three:

Luna Lovegood (13 February 1981) RAVENCLAW m. Rolf Scamander (13 November 1977) HUFFLEPUFF (2009): 1. Lorcan Xenophilius Scamander (11 July 2011) HUFFLEPUFF2. Lysander Harry Scamander (11 July 2011) RAVENCLAW3. Xara Pandora Scamander (13 September 2016) RAVENCLAW m. Everett Potter (21 October 2010) RAVENCLAW (2039): a) Hazel Ella Potter (2 September 2040) HUFFLEPUFF b) Galina Xara Potter (28 April 2042) RAVENCLAW c) Landon Everett Potter (19 June 2044) GRYFFINDOR d) Waverly Luna Potter (7 February 2046) RAVENCLAW

Harry Potter (31 July 1980) GRYFFINDOR m. Ginevra Weasley (11 August 1981) GRYFFINDOR (2000): i) James “Jamie” Sirius Potter GRYFFINDOR (5 April 2004) m. Hadley Grace Pritchard (2005) RAVENCLAW (2029): a) Rhysand James Potter (28 May 2032) GRYFFINDOR b) Emerson Fleamont Potter (11 March 2035) GRYFFINDOR c) Flynn Harry Potter (2 July 2037) GRYFFINDOR d) Grace Ginevra Potter (18 December 2040) GRYFFINDOR ii) Albus “Alby” Fleamont Potter (1 June 2006) SLYTHERIN m. Scorpius Malfoy (6 January 2006) SLYTHERIN (2031): a) Lyra Astoria Malfoy (1 June 2037) RAVENCLAW b) Celeste Ginevra Malfoy (5 March 2039) RAVENCLAW c) Archer Kai Malfoy (6 July 2044) SLYTHERIN iii) Lily Luna Potter (3 November 2007) GRYFFINDOR m. Oakley Wood (8 January 2007) GRYFFINDOR (2028): a) Nash Oliver Wood (31 July 2030) GRYFFINDOR m. Nixie Sparks (2032) RAVENCLAW (2058): aa) Sirius Harry Wood (25 December 2061) GRYFFINDOR bb) Remus Oakley Wood (25 December 2061) GRYFFINDOR b) Noah Harry Wood (31 July 2030) GRYFFINDOR c) Magnolia “Lia” Katherine Wood (2 May 2033) RAVENCLAW d) Zinnia “Zin” Ginevra Wood (11 August 2035) HUFFLEPUFF e) Zahira “Zee” Sorcha Wood (11 August 2035) HUFFLEPUFF iv) Cedrella “Ella” Theodora Potter (21 October 2010) SLYTHERIN m. Spencer Kane-Nott (3 July 2010) SLYTHERIN (2036): a) Logan Theodore Kane-Nott (23 March 2040) GRYFFINDOR b) Zeke Harry Kane-Nott (21 January 2042) SLYTHERIN c) Nolan Everett Kane-Nott (11 November 2044) RAVENCLAW d) Westley Sebastian Kane-Nott (9 December 2046) GRYFFINDOR v) Everett Arthur Potter (21 October 2010) RAVENCLAW m. Xara Scamander (13 September 2016) RAVENCLAW (2039): a) Hazel Ella Potter (2 September 2040) HUFFLEPUFF b) Galina Xara Potter (28 April 2042) RAVENCLAW c) Landon Everett Potter (19 June 2044) GRYFFINDOR d) Waverly Luna Potter (7 February 2046) RAVENCLAW vi) Genevieve “Evie” Zahira Potter (9 May 2012) HUFFLEPUFF m. Christian Lyon (2008) RAVENCLAW (2033): a) Leif Christian Lyon (1 October 2035) GRYFFINDOR b) Autumn Ella Lyon (21 September 2038) HUFFLEPUFF c) Winter Willow Lyon (21 December 2041) RAVENCLAW d) Summer Lily Lyon (21 June 2043) GRYFFINDOR e) Spring Rose Lyon (21 March 2047) HUFFLEPUFF vii) Henry Remus Potter (31 July 2020) GRYFFINDOR m. Daniella Zabini (7 July 2018) RAVENCLAW (2049): a) Cameron Blaise Potter (1 January 2052) GRYFFINDOR b) Aidan Hunter Potter (23 July 2055) GRYFFINDOR c) Jameson Henry Potter (14 March 2058) GRYFFINDOR d) Emilia Ginevra Potter (17 August 2060) RAVENCLAW viii) Hunter Colten Potter (31 July 2020) GRYFFINDOR m. Sloane Hart (2023) GRYFFINDOR (2046): a) Simon Hunter Potter (14 February 2049) RAVENCLAW b) Shay Cedrella Potter (14 February 2049) HUFFLEPUFF c) Colin Fleamont Potter (7 March 2053) GRYFFINDOR d) Beckett James Potter (19 June 2055) HUFFLEPUFF e) Parker Harry Potter (24 September 2059) SLYTHERIN f) Noelle Ginevra Potter (25 December 2061) GRYFFINDOR

Raymond Creevey (1955) m. Cora Benjamin (1959) (1979): 1. Colin Creevey (1981) GRYFFINDOR m. Mads Chavan (1973) RAVENCLAW (2016): a) Dennis Mads Creevey-Chavan (2026) GRYFFINDOR — adopted b) Divya Cora Creevey-Chavan (2031) HUFFLEPUFF — adopted 2. Dennis Creevey (1983) GRYFFINDOR (d. 1997)

Thanks to @ellieoryan7447 for taking the time and effort to create these.

#harry potter fanfiction #breanie #the world of asc #the kismet trilogy #the kismet trilogy by breanie #characters and family trees

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frankendykes-monster · 7 months

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Countdown to Halloween 2023, Ranked

43. Swamp Thing (1982)

42. Curse of Bigfoot (1975)

41. The Haunting (1999)

40. Orca (1977)

39. Teenagers Battle The Thing (1958)

38. The Beast (1975)

37. Don't Go in The House (1979)

36. Countess Dracula (1971)

35. Hillbillys in a Haunted House (1967)

34. Beware! The Blob (1972)

33. Alien Space Avenger (1989)

32. Baby Blood (1990)

31. Shriek of The Mutilated (1974)

30. The Mutations (1974)

29. Phase IV (1974)

28. Curse of The Faceless Man (1958)

27. The Sadist (1963)

26. Jennifer (1978)

25. The Wasp Woman (1959)

24. Noroi: The Curse (2005)

23. Girls Nite Out (1982)

22. The Monster of Piedras Blancas (1959)

21. The Cat and The Canary (1927)

20. Tell Your Children (Reefer Madness, 1936)

19. The Company of Wolves (1984)

18. It's Alive (1974)

17. The Wolf House (2018)

16. Michael Jackson's Halloween (2017)

15. The Girl Who Knew Too Much (1963)

14. The Omega Man (1971)

13. Gamera: Rebirth (2023)

12. Student Bodies (1981)

11. Night Caller From Outer Space (1965)

10. Inhumanoids (episodes 1 - 5, 1986)

9. Blind Woman's Curse (1970)

8. Maniac (1980)

7. The Child (1977)

6. Zombie 3 (1988)

5. Return of The Living Dead (1985)

4. Spider Baby (1967)

3. Basket Case (1982)

2. Messiah of Evil (1973)

Godzilla (1954)

Woof. Okay. This has been a mostly disappointing viewing experience.

Critical difference between this year's countdown and the past two is that now that I have stable employment, there is far less time to be watching horror films. I normally begin the countdown in September but we started in July of this year and still barely managed to crack 40, with my original goal being a full 100 this year. Timing. As such a lot of my plans and possible viewings were cut short and compared to last year specifically we fell back on a lot of "seen it already" at least for the top of the list.

This year's batch of viewings were largely blah, but a step up from the shitshow I put myself through last year (watching nearly every Texas Chainsaw sequel does things to a person). As such it'll be difficult to conjure up words for a decent chunk of these mostly because yes, these movies exist, I watched them, I would not recommend that you yourself watch them. That is all. If I write briefly on a given film that's not necessarily an indictment of its quality as there a decent number of these that I saw and enjoyed it's just their impact might be a bit fleeting. You will know which ones I actively disliked. I mostly just want to write about the top five or so but I will play fair.

Our grand loser this year is Swamp Thing, the DC Comics adaptation by Wes Craven. I watched this pretty much entirely because I finally got the Alan Moore Swamp Thing run in paperback this year after quite some time of having it on my to-buy list. Longtime Rachael/Ray/Ratchet fans may recall me reading it in early 2019 alongside [REDACTED]. Still one of the best Moore comics, and a second volume of Swamp Thing wouldn't have been possible without the success of this film. For context I did read the early Swampies by Len Wein and Bernie Wrightson and my general reaction to those was a'ight but there was definitely material for a serviceable film adaptation there. This is not that serviceable film adaptation. I'm not hung up on details like how Abigail has no connection to Arcane now despite being his niece in the comics, but this film is just kind of painful in how relatively unambitious it is which is saying something for Swamp Thing sword fighting another human mutation at the end of this. It's just silly and stupid and not scary or awe inspiring or anything, the Swamp Thing suit sucks, the action sucks, any sense of pathos is not there or gone, it stretches for 30 minutes too long like it's a padded TV pilot, the only highlight is being able to see Adrienne Barbeau's breasts. Fuck this it's a miserable experience to sit through. My mistake for watching a Wes Craven film that doesn't have "Scream" in the title.

Our next shitter is the two-for-one abomination that is Teenagers Battle The Thing (1958) and Curse of Bigfoot (1975); these are the same movie except Curse of Bigfoot has a 25 minute opening scene framing device that is bizarre given that "The Thing" of the original film is a Native American mummy of some sort unearthed by a group of white high school students. It's the rare personal pet project movie made for fun by some locals but the only highlights are the occasional kill scene, Curse of Bigfoot ranks lower just for making me sit through it longer. Blah.

Speedrunning through a bunch of these because theyre all varying degrees of bad and I don't want to spend any longer writing about these than you probably do reading about them: The Haunting is awful and I don't even super care for the original film so adding shitty CGI monsters and a moral lesson of "it's about family!" doesn't help. Orca is a shitty Jaws cash-in that's like a reverse Moby Dick where the sea animal hunts down the human, nice finale where the orca and shitty poacher guy are fighting it out in the Arctic but otherwise avoid. Don't Go in The House is a mysoginistic torture porn movie that really doesn't sell the "seemingly normal guy is a closet nutcase" thing even though movies made before and after have done it well (see Maniac several paragraphs below). The Beast is advertised as this really scandalous porno film but most of it is French aristocrats sitting around in stuffy rooms arguing about real estate. I think I only watched Countess Dracula for its inclusion in the "if this is her vibe I would fucking cum" meme and it's barely worth bringing up at all. Hillbillys in a Haunted House has an absolutely lovely Tennessee country soundtrack that I wish I could listen to without having to watch the actual movie which is devoid of both scares and laughs. Beware! The Blob gives off the feeling of sitting at a funeral for a family member that was just distant enough for you to be aware of them but not actually be upset but it's still a funeral so it's not like you're smiling, stick with the 1988 Blob film. Alien Space Avenger has some decent gore effects but that's all I can recall from it. Shriek of The Mutilated has one of the best titles for an otherwise uninspired yeti movie that has a needless third act twist about it being a cover for a cult and blah blah blah fuck you. Baby Blood has an alien mutant whatever crawl up a woman's vagina into her womb and she has to eat people to feed it and yeah I'm actually struggling to remember what happens here. The Mutations has a scene where a guy cuts into a tree and it bleeds, I think he's played by Donald Pleasance. Yeah, it's like Freaks except it plays to the freak show straight so you get to laugh at all the outcasts of society, no thank you.

Some odds and ends that I'd say are decent-to-pretty-good: Phase IV has some footage of ants and synth music. All you need is some footage of ants and synth music. Curse of The Faceless Man employs a rarely seen archetype of the living statue monster, it's cute. The Sadist is another starring vehicle for Arch Hall Jr., who was also the star of last Halloween's Eegah! (1962), though this film is a bold trendsetter for the 1960's with Hall being a unhinged killer holding people for ransom until they can fix his car and he can make a getaway. The film lives and dies by Hall's performance and it's mostly the latter until we get to an absolutely superb final act with him hunting down his remaining victims, it makes the whole film worth seeing. Jennifer is an oddball that plays out mostly like a character drama ("It wasn't my fault Daddy it was that stupid hillbilly bitch Jennifer") that suddenly remembers that it's supposed to be a cash-in of Carrie (1976) in the last 20 minutes and cue our titular character being able to summon and control snakes to send after her tormentors. Girls Nite Out is a plodding meandering slasher that's oddly hypnotizing considering so much of it takes place in pitch-black night and the killer is wearing a bear mascot costume with serrated knives hidden under the glove, not sure what fully to make of it. The Monster of Piedras Blancas is made up of leftover parts from the Gillman, Mole People, and Metaluna Mutant, but still manages to star in a decent enough film that gives a sense of what a series of monster attacks would do to a small seaside community. The Cat and The Canary is "cute" for lack of a better term being a horror comedy before the former genre had fully crystalized. Reefer Madness is horror adjacent more than anything but a hilariously good time about how the use of "marihuana" will drive today's youth into becoming crazed fiends and get involved in organized crime.

We can do this.

The Company of Wolves has an excellent story book like setting an atmosphere that you can't get in films nowadays and it's a shame that it's mostly remembered for its transformation sequences. it's Alive is the best Larry Cohen film by default of not sucking but it's still not "great", genius however for playing the concept of mutant newborn killer baby completely seriously without any sense of humor to the proceedings. The Girl Who Knew Too Much is almost a parody of giallo films which is interesting given those hadn't fully sprang up in 1963; absolute highlight is the main character being interviewed in bed by doctors and reporters and the like that yes she did see a murder and no she doesn't drink. I've always been fascinated and haunted by I Am Legend and while The Omega Man doesn't really capture the novel to a superb degree it's so beautifully shot that it lands high in the rankings for that alone. Night Caller From Outer Space is hilarious to me because of how it shifts halfway through from a Hammer-esque mystery about a meteorite with radioactive properties to a film about an alien that lures women in through a modeling advertisement. Blind Woman's Curse I've mentally confused with Irezumi for a while now (haha all 1960's Japanese genre films where woman have large animal tattoos on their backs are the saaame), and it's one I mostly watched for being directed by Teruo Ishii, but there's enough bloody yakuza fights and cats licking up blood for me to stick around; not the strongest Meiko Kaiji vehicle compared to Female Prisoner Scorpion or Lady Snowblood. Maniac I find mostly interesting as a precursor to American Psycho (2000) but also it's probably the only serious film to successfully pull off it's ending trope (which I will not spoil here). The Child is an absolutely lovely 1970's only-a-dozen-people-made-this-and-not-much-more-watched-it horror that oozes atmosphere, I could watch stuff like this all day. Aaand Zombie 3 is far and away the best film that Lucio Fulci has been involved with that I've ever seen. I love random scenes and set pieces of ghouls just massacring people that are shit out out of luck.

Okay, now for the ones I actually want to write about.

The Wasp Woman is one that sticks in my head way more than any other random monster movie that Roger Corman directed in the latw 1950's. I've said on here and Letterboxd that it could have served as a standard pop-feminist piece about how the cosmetology industry is built on misogyny and invariably a monster is accidentally created because of that, but this most recent viewing has made me sort of "get it" because that might be what the film is going for considering Susan Cabot's performance leads me to believe that she is aware that she is becoming a homicidal wasp monster but views it as a tragic means to an end where she still has the ability to have a new advertising campaign with her as the star. Tragic. This is why you don't wear make up.

Both Noroi: The Curse and The Wolf House are ones I didn't care for whatsoever but I put them in places on the ranking that I thought were fair given that people should probably watch them regardless of my personal thoughts. Noroi's format didn't really lend itself to the escalation of tension and reveal of information that the plot demanded and I found myself thinking it meanders quite a bit. The Wolf House was an odd one where everything that was happening onscreen bounced off of me mostly because I felt intimately aware that I was watching a movie, that someone had made something and that I was now being shown it. Blah. People like these so don't let me stop you.

Our animated offerings this year...

Michael Jackson's Halloween more than anything feels like an unlicensed creation that later had an English fan dub commissioned, not something that actually aired on CBS twice. Any laughs that I found in this thing were the unintentional type as we open up with Bubbles talking and being Jackson's chauffeur; you know exactly what you're getting into. Very little of the plot is explained but I'm assuming Jackson (who has no lines given this was made posthumously) orchestrates a dark fantasy adventure to hook two...teenagers? People in their late 20's? And convince them to follow their dreams of performing instead of working a deadend dayjob. I'm not sure who the actual audience for this was given it feels like so much of it was made for children but I will say anything that has this much of Michael Jackson's music in it can't be all bad, though I'm not sure why they didn't largely stick with tracks from the album Thriller (in the contention for best album ever, I don't care).

Gamera: Rebirth is one I feel like I'm on the outside on compared to most other tokusatsu fans because I didn't really *love* to a serious degree even though, yes, Gamera is finally back. The first three episodes are mostly just kind of a slog for me with the backhalf not doing enough to retroactively make me think highly of it, though giving off End of Evangelion vibes may make me consider that a second viewing must be in order down the line. Rebirth's strongest attribute is that it feels like it takes into consideration and influence from every prior era of Gamera, no stone is left unturned, and it's a marked contrast from how every recent Godzilla property only captures a single facet of their respective character. But that also creates unique issues like how a lot of criticism of ongoing US military presence in Japan is undercut so there can be a white kid in the main cast (because white children were always present in half of the Showa series) or having the ancient civilization that genetically engineered the kaiju now being malicious and actively sacrificing children as a means of reshaping the world gives me vaguely anti-semitic tones, I don't know, Gamera is still here, I guess.

"I was just a little twerp who liked Scooby-Doo and Smurfs, now I was viewing Cthulhu mutants ruin the Earth."

Everyday that we have Inhumanoids is a gift. Inhumanoids is another Hasbro/Sunbow production like G. I. Joe, Transformers, or Jem and The Holograms, and it is truly tragic that it never got anywhere near that level of attention compared to its siblings. The fact that a 1980's action figure tie-in cartoon is named for its antagonists is only the start; the series follows a small paramilitary outfit of scientists named Earth Core that are tasked with more or less saving the world alongside the Mutores, elemental beings, when the Inhumanoids, eldritch abominations, are unleashed. The degree of world-building beyond your typical "good guys vs. bad guys" affair is astounding with villainous humans and virtuous monsters abounding, but Inhumanoids is mostly magical and remembered for saying fuck all to any type of broadcast standards. Seeing giant monsters destroy cities, undead armies, and spelunking deep into the Earth (where nightmares begin...) are just standard fair here, as are witnessing the actual Inhumanoids such as Metlar (basically the devil) or D'Compose (giant undead entity that can zombify people by touching them and uses his ribcage like a jail cell) in action. The first five episodes here are the pilot movie of sorts for the series which only lasted thirteen overall, and they get more grissly from here on out, but maybe it's best that Inhumanoids is the short lived cartoon and no the cartoon that went soft as early as its second season. I will never not love this show, to this day it's one of my favorite animated series from any decade, much less the 1980's.

Back to our regularly scheduled live-action programming...

Student Bodies is a fascinating film for a myriad of reasons the first of which is that there were somehow enough slasher films by 1981 for there to be a comedy poking fun at all the already established genre-cliches. It's essentially Scary Movie (2000) a full 20 years ahead of the curve only actually funny in spite of the subject matter frequently being as juvenile and prejudiced; but it also reminds me quite a bit of Scream (1996) with stuff like two killers working together. All I know is I was in for a decent time when the film opens with three identical shots of a house just with different framing text: "HALLOWEEN," "FRIDAY THE 13TH," "JAMIE LEE CURTIS' BIRTHDAY" and then the killer, The Breather, calls the opening kill girl doing nothing but breathing heavily, she hangs up, he calls back with "I SAID [heavy breathing]."

Return of The Living Dead is one of those films that should have destroyed the any artifically-imposed boundaries between "high" and "low" art. Every aspect of this film is brilliantly made, it just so happens to be made for stuff like Scooby-Doo music overlaid on top of thunderstorms over graveyards where one female character is stripping to the concept of dying. Media involving ghouls is incredibly oversaturated, and this was still the case in the 1980's where a film like this had to redefine the rules to make it so killing ghouls was basically a non-option. It only recently struck me on this viewing that that's the whole purpose of removing virtually all weaknesses they have, to keep the characters as the nail instead of the hammer. Compared to the Romero films, there's never a point where anyone is in control of the situation, it just escalates further and further until there is literally no way out. Taking that into consideration, there's no way this film couldn't have been a comedy that frames people getting swarmed and eaten by ghouls as hilarious.

The soundtrack and the faux-punk sensibilities lend this a daft feeling of "you shouldn't be watching this" in spite of it not being one of the MOST gory horror films of the 1980's. I still don't get how this never broke into the mainstream. I mean somehow people know that ghouls (in this film) speak and only eat brains but I can't go down to Target and get a Tarman action figure like I can one of Michael Myers. As such Return of The Living Dead remains a criminally overlooked film regardless of its subject matter. It's made me laugh and cringe and feel disgusted and revolt at the concept at dying but mostly it's made me feel a delicious sense of joy at seeing corpses rise out of the ground to the tune of "Do you wanna party? IT'S PARTY TIIIME!" Some of you need to sit in the corner and think about your life choices for making stupid shit like Re-Animator (1985) or fucking Shaun of The Dead (2004) more popular than this, fuck you.

The act of watching Spider Baby is like discovering the missing link. For as much as 1960 gave us an explosion of horror (Eyes Without a Face, The Ship of Monsters, Psycho, Jigoku, Black Sunday, etc.) and Night of The Living Dead (1968) reins as the perennial transition point of the genre, Spider Baby is the road by which we go from The Cat and The Canary and The Old Dark House to the likes of The Texas Chainsaw Massacre and Eraserhead, it's magical finding an essential piece of a genre you love so much. Both the former and latter points of comparison are apt as a family of now only children [and their butler] suffering from Poe-esque hereditary illness have their condemned house set upon by distant relatives and everything slowly unravels.

Lon Chaney Jr. is an actor who for the longest time I felt never got a proper chance to shine wherein the last 25 years or so of his career was spent playing as side character actor in independent films. Spider Baby is his crowning achievement. Seeing him smile through almost tears on several occasions as he has to play bridge between worlds of sanity and madness and lie to everyone that he has some sense of control over the situation is brilliant in ways I always knew he was capable of but had never seen before this point. Bravo.

I will never not love Basket Case with everything I've got. This is the epitome of 1980's horror and my clear pick for best of the decade. It has everything from being a grungy putrid grindhouse spectacle to being an intimate character drama to everything presented through a wry ironic lense where you can't tell if any "bad" performances are all done on purpose. Between this, Brain Damage (1988), and Frankenhooker (1990), there is literally absolutely no reason why Frank Henenlotter shouldn't be more popular than Stuart Gordon, Brian Yuzna, and Lloyd Kaufman *combined*. It's tragic that the world of cinema being enclosed and captured by studios again in the late 1980's prevented us from getting more from him, but realistically could we ask anymore than what we already got from Basket Case? I could watch this every day and never grow tired of it. I will never stop making more and more people watch this.

If Basket Case is the apex of 1980's horror, then Messiah of Evil is the same for 1970's horror. This is one of the most efficient horror films ever made in how not a single frame is wasted, the opening scene is literally a guy running from unseen force, seeking refuge, getting his throat slit, cue title card with synth music that then leads us to a sunburnt hallway as our narrator descends into acceptance of complete lack of control of the situation. Every night shot in this film must be 50 - 75% completely black with whatever headlight or store front there is just making the scenery look like a dollhouse that our characters are trapped inside. There's so many shots of people running away or walking down streets that make them look tiny as the camera is so far.

Every scene is an exercise in building up dread. There's no point where the film relents, something awful is not only coming, it's already here and there's nothing anyone can do. What I love particularly is that the mystery being laid out doesn't offer any answers because there's another mystery on top of what our characters find out only too late. Layers upon layers of dread that even the titular Messiah of Evil isn't the center of. The world is a cruel fucking place where this film languishes in obscurity whilst shit like The Exorcist enjoys mainstream attention. A lot of my taste amounts to "why isn't this thing I like more popular" and cases like Messiah of Evil vindicate me.

"Godzilla is the son of the atomic bomb. He is a nightmare created out of the darkness of the human soul. He is the sacred beast of the apocalypse." - Tomoyuki Tanaka

Generally a yearly trend is that a #1 pick for Halloween is self-evident to me and this year it was Basket Case for all of 30 seconds until I picked Godzilla back up.

There's something to be said how Godzilla isn't quite a horror monster? Terrifying but not necessarily creepy, but what power do things that go bump in the night have against the destruction of everything you know? Everytime I watch Godzilla is like the very first time, when flashing lights out at sea destroy fishing ships I have no idea what happened, or at least any much of a clue as anyone in film does when we're told that the entire ocean exploded.

Godzilla is a reptile, but lacks scales and its entire body is coated in keloid scars. In 1954 Godzilla must have been the largest monster every committed to film, trains are derailed from running against its ankle and bell and radio towers are throttled for being a sensory inconvenience. Godzilla's first on-screen appearance on Odo Island is obscured by a hurricane but the impression is clear; you can't fight Godzilla in the same way you can't fight a natural disaster. When Tokyo is reduced to complete ruin amidst a sea of flames, it's an onslaught of destruction never before seen in a film of this genre. Survivors being afflicted with radiation poisoning shows that Godzilla will claim victims long after being driven back to sea.

There's a sheer apocalyptic dread to all of this sensed by all the characters. Love tries to exist on the edge of annihilation. There's nothing that can be done but persevere and maybe hope tomorrow will be better. A scene that always strikes me is when Serizawa is adamant about not using the Oxygen Destroyer until forcibly confronted with the results of one night of Godzilla making landfall in Japan. The absolute pain felt by everyone in the finale starts here, things couldn't play out any differently as the "scientist of the century" can't join in and celebrate his victory.

Godzilla is a rare perfect film. I will never tire of it.

#long post

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yourwizardofaus · 11 months

Photo

Elvis; Photographed at the same moment from different cameras. Part 4 of 5.

When someone is the most photographed person in history, it stands to reason that they might be photographed at the very same time by two different people. Here are some instances of King Elvis caught at the same moment from two different photographers. In collecting Elvis pictures since the 1990s I’ve noticed these pictures had the same timing.

Following on from my last post on this theme, here’s another two pictures of Elvis in Columbia, SC, on 18 February 1977. He’s having fun here with entourage member and onstage sidekick Charlie Hodge.

Johnson City, TN, on 19 February 1977.

In Charlotte, NC, on February 20, 1977, Elvis was gifted the iconic photo of him as a child with his parents.

Elvis in Knoxville, TN, on the troublesome May tour (May 20).

Taking a rest on a stool while a backing singer takes over in Macon, GA, on June 1, 1977.

#Elvis #Elvis Presley #1970s #70s #seventies #same moment different angles

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