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So, here's Deathstroke. Why I made this figure was because my brother showed me the cinematic Arkham Origins trailer with Deathstroke and Batman fighting. I thought, his armor looked sweet, so I decided to make a custom figure. The helmet was made from a Brickwarriors Assassin mask that I sanded down. His shoulder plates were made out of 1x1 round tiles. The rounds on his left shoulder were made of a cut up Brickforge arrow. His staff was based on TheMooseFigs staff design. I did most of the detailing with a toothpick, so the details may look a little messy. He looks a little better in person. Let me know what you think of him.
One of the things I love about crossdressing is putting together new outfits from old stuff!
Here's a Free People skirt with a top of unknown origin...
Star Citizen Alpha 3.11
In-game Screenshot w Reshade
Interested in getting into Star Citizen? Use my referral code for a kickstart of 5 000 UEC ingame.
STAR-HSTL-M55H
We meet a criminal of sorts, mugging a man in an alley of Gotham... "Please!!! Don't shoot! I have a wife! A family!" The man yells... "Oh please... Your f$#king rich. You can pay to heal a couple god damn bullet wounds." The criminal states... "Please. Don't shoot." A voice demands...
~Scarecrow
Origin is an interactive sound and light installation that functions through the use of the electricity naturally produced from the bodies of the participants. Through this we are given the opportunity to experience a world of light and sound created by our own physicality. Photo by Kelvin Trundle : Facebook - www.facebook.com/KelvinTrundlephotography/
More Saturday sunset views of the Blue Origin New Glenn, shown in five acts. These views are from offshore; when I booked the trip, I thought it would be the last sunset on the pad for the NG-1 mission. Despite the calm water we had last night, the sea conditions for the far-away landing platform warranted delaying the launch.
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The build used in my Deadpool vs the Fourth Wall creation.
The build here was heavily inspired by X-Men Origins: Wolverine; and while it’s small and cute, I think it depicts the scene fairly well, considering that depicting the scene was not really the point of the build anyways. Originally, for my Deadpool vs the Fourth Wallbuild, I wanted to have Deadpool blasting out a wall on the back of a build, landing into the film production (Somewhat seen in the final build), but hah, well it’s not the “Fourth Wall” unless he’s jumping out of the invisible viewable wall in the front—required to do that made the overall build less “action-ey” but still nice in the end.
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In other J-No news, I’ve got a few things on the list to be made as well as released. Tuesday, October 1st, arrives Batman: Arkham Origins, Deathstroke. There are currently no Batman Animated Series builds scheduled to be released soon; I’m currently searching for episodes to create next, and then any pieces I may need to acquire for them as well. Potential Wonder Woman build coming, along with a possible Superman build as well as another Marvel build I’ve wanted to do for a while.
I just recently found out that what I thought was one doll with one name, was actually three dolls with three names and two origins!
**********
Me: Girls! Girls! Guess what! You are probably a Dasty and a Denny, not a Dusty at all! Now you can have one name each!
Dusty: ...
Dusty: ...
Me: What? Not even a giggle? You usually laugh at everyth...
Dusty: MmmOOwwaahh haha ha ha ha!!
Dusty: Whee hehehehehh hehe he!!
Me: Ah. Here we go.
Dusty: Look at that! Ha ha, it says Sport Girl. Not Sports Girl!
Dusty: Ha ha, and that Denny looks just like us! She even has the same fashion. Outrageously funny! Ha ha ha!!
Me: Yes, that was what I was trying to tell you. You two came wearing these outfits, therefore I strongly think you are produced in Germany and named Dasty and Denny.
Dusty: ...
Dusty: ...
Me: It's not a bad thing girls. It's actually quite nice to..
Dusty: Ich bin Denny! Ha hahaa!! (I am Denny)
Dusty: Wir sind besser als Dusty! Ich bin Dasty! (We are better than Dusty! I am Dasty!) Ha ha ha!!
Me: Oh boy! Perhaps I shouldn't have enlightened them.
______________________
I beg your pardon to all who speaks German. I used 'Google translate' so it might not be correct.
All these dolls look the same to me, so couldn't say for sure if they are Dusty, Dasty or Denny.
_______
Just learnt there's also a Jenny!
fore muscle cars, before drag racing, before WWII, there was racing on the dry lakes of southern California. On the dusty lakebeds of El Mirage, Muroc, Harper, and Rosemond, men pushed the limits of pre-war automotive technology in a quest for always more speed. They would take a 1926 or '27 Model T roadster body, put it on a Model A chassis, add some speed parts to the 4cyl or flathead V8 motor, and they had a hot rod. This car would serve as a daily driver during the week, then on the weekends it would be driven to the lakes, stripped of its fenders, headlights, windscreen, and top, a tonneau cover would be added to decrease wind resistance, and racing would commence. On Sunday night it would be put back together and driven home to get ready for the next weekend.
This build is my version of a '30's or early '40's pre-WWII hot rod. 1927 Model T roadster body on a Model A chassis, in its racing trim sans lights, windshield and other speed-robbing bits.
While her origins tie her to the most powerful magical beings of the medieval era, Madame Xanadu's powers are currently limited to the use of her tarot cards. She's able to see clearly into the future, but can only advise those who seek her help. She's also blind, as retribution from Merlin when she attempted to use her powers against him at a young age. While she has more than enough power to cure her blindness, the Spectre has made a point of using his own power to keep her that way.
This figure is...rough. I'm hoping this will spur some folks into making her themselves and maybe give me some ideas. It's just a real pain that the number of pink and magenta minifig parts is so limited!
Haynes can trace its origins to 1790 when the business was founded as an ironmongery and general store in the Edgware Road, London (now the site of the Metropole Hotel). In 1832 William Haynes took the two or three-day journey to Maidstone and went into partnership with John Gurney who had acquired an ironmongery business in 1817 on the corner of Week Street and Kings Street in Maidstone, which had been known to be trading there since 1771.
The Gurney and Haynes partnership continued until 1856 when John Gurney retired from the business and William Haynes bought his shares and took control. In 1857 William Haynes took into the business his eldest son, William Haynes, and traded in the name of Haynes & Son until 1863 when George Haynes, the second son, joined as a partner and it became Haynes & Sons. From the records that remain, the business expanded under the management of the father and his two sons, serving a large area of Mid and West Kent and part of East Sussex.
The business had active workshops and specialised in amongst other things, agricultural ironmongery, heating installations, kitchen ranges and developing patents. It secured important trading connections with the rising industries in the Maidstone area – paper mills, breweries and cement works. In 1872, following the death of William Haynes, the Company changed its name to Haynes Brothers – the name of the Holding Company today. The business continued to expand and with the advent of electricity the Company set up its own electrical contracting department. Additionally, with the introduction of the 'Penny Farthing' cycle, the Company capitalised on the boom in the 1890s in the cycle market.
Motorcycles followed and in 1903 the firm sold its first motor car – a Humber, and so the motor business was born with agencies for Daracq, DeDion, Sunbeam and the American Hupmobile. To house the expanding motor business additional premises were bought in 1906 in King Street. In 1894 the sons of George Haynes, Bernard and another William Haynes joined the Company, the third generation and two years later became a Limited company.
In 1911 one of the most significant events in the Company’s long history took place. Bernard Haynes was taken for a demonstration ride in a Model T Ford and was so impressed with its performance up Boxley Hill together with its competitive price that he ordered one immediately at a cost of £180. From this small beginning started the firm’s long connection with Ford Motor Company as one of their main distributors, the first in Kent and the 12th in the UK. In 1922 Ronald Haynes (eldest son of Bernard) joined the Company after studying at Cambridge and training with Ford Motor Company and he played an important role in the expansion of the developing motor business. He was joined by his brother Philip in 1928 and both became Directors in 1936.
Together they expanded the business and also bought the first 1¼ acres of the Company’s current 5 acres Ashford Road site. As times changed, the Company took the decision to focus on its motor and agricultural business acquiring a site in Parkwood, Maidstone in 1966 for its agricultural operation and body and paint division. This initiative was lead by David Haynes, son of Ronald, and then the fifth generation of the Haynes family to run the business, who joined the Company in 1953 and became Managing Director in 1966.
Under the leadership of David Haynes, the business again expanded significantly and included the opening up of an agricultural depot in 1962 at Appledore and a further depot at Eastry in 1992. Additionally, the Company began its long association with motorsport as David Haynes, a former successful saloon car driver for the Ford Willment team, took the decision to sponsor John Taylor in his Ford Escort in the widely televised and popular rally sports series in the 1970s, and who became the first European Rally Cross Champion.
In 2000, David Haynes’ son, Andrew Haynes, took over as Managing Director. In 2009 he took on the additional role of Chairman making him the sixth generation of the Haynes family to run the business. In 2021, to help spearhead the Company’s future growth, he took the decision to appoint the Company’s former Finance and Commercial Director, James Broadley, as Group Managing Director, with him becoming Chairman and CEO.
Since 2000 the Company has expanded significantly again and now operates with branches at Winchester, Newbury, Horsham, Uckfield, Wrotham Heath, Great Chart, Birchington and Ashford with its Head Office, Ford Transit-Centre, Accident Repair Centre and a new upgraded FordStore showroom situated on an expanded 5-acre site at Ashford Road in Maidstone. Today its major franchises include Ford, Iveco, New Holland, Case IH, JCB & Fiat Professional Commercials and with a staff of just under 340 the Company has sales in excess of £100 million
L'origine du château remonte à 1310 ! La grande aventure viticole du Château La Louvière peut désormais s'accomplir...
1398-1620 : La famille de Guilloche est fondatrice du vignoble moderne de La Louvière.
1620-1789 : Les Révérends Pères Chartreux et leur savoir-faire, sont à l'origine de la renommée des vins de La Louvière.
1792-1901 : La Famille Mareilhac, se caractérise par son amour pour l'art et la viticulture.
1911-1965 : Alfred Bertrand-Taquet, parisien d’origine, actionnaire de la « Revue Vinicole » acheta le domaine et en assura la gestion jusqu’en 1944. Il fut élu maire de Léognan en 1919 et le resta jusqu’au lendemain de la seconde guerre mondiale. Victime de l’absentéisme de ses propriétaires, la Louvière joua par la suite, les belles endormies pendant plus de quinze ans.
Enfin, en 1965 , André Lurton, viticulteur originaire de Grézillac tomba sous les charmes de La Louvière et s’en rendit acquéreur. Les années qui suivirent, virent ce domaine retrouver peu à peu son prestige d’antan… La demeure fut entièrement restaurée et le vignoble reconstitué…
Yashica Mat 124G | Ilford Delta 100
This is my first try with Ilford Delta 100. While I was processing this photo I listened to Vanilla - Origin album over and over again. youtu.be/lSU1eFxgr68 I think it affected in some way the final result. Track no 11 "Traveller" in particular.
Cliffsider is a common name that refers to the society of horned, human like people living like swallows on the sides of cliffs. Goat is a prime example of what most Cliffsiders look like.
The Cliffsider Origin Story (passed down orally from generation to generation): A great, angry cloud appeared and red water fell from the sky. The sun and moons were lost for days. The Smallhorns fought tirelessly against the red waters until one day, the great flood consumed them. Villages, cities, homes, families, crops, livestock – everything became wet with red sickness. Only a few were untouched by the waters and had no choice but to run. They ran for days and days until their feet could not move any more, but the red waters followed them. In the distance the angry cloud rolled and roared. When all was seemingly lost, a dream came to the Largehorned woman, Anakaya. In the dream, a maze of red sea twisted and turned violently. Swallow came to her and spoke. “Follow me,” Swallow sang. Anakaya followed. Higher and higher into the blue sky they climbed until they could climb no more. Swallow looked into the eyes of Anakaya. As Anakaya stared back, her eyes began to change, one blue and one red. Swallow disappeared. On the edge of heaven, Anakaya looked around her. Rocks twisted and turned painfully bringing forth Largehorns. The rocks continued to stretch and cry and Largehorns continued to appear. Anakaya awoke from her dream, one eye shining red and the other shining blue. “Red to remember our lost ones, blue to remind us to climb towards the heavens,” she said. Anakaya led the people north into the Canyon Lands and a new life began.
Volume 1 - Origin of Powerhouse: Issue #1
Flicker Fighters
It had been six months since Ben and his Mum had moved to Advent City. It was a big transition in both their lives moving from the Scottish countryside and into the big city. However, with his Mum being CEO of ‘Imagine’ he wasn’t surprised to hear she wanted to manage the company in person. Six months later, and Ben had only made one friend who he really liked, Connie. She was in the same college class as him studying Biomedical Sciences and she was also new to the city. They didn’t really have much in common other than that but, they both had the same personality and enjoyed one another’s company. They could talk about anything and always had a good laugh. Ben contemplated asking her out but he didn’t want to ruin such a good friendship and break the bond that they had, should anything happen. She was a total nerd for mech suits and it just so happened that the new branch opening in ‘Imagine’ was developing some. It was supposed to be kept a secret until their grand unveiling later in the year, but Ben knew Connie wasn’t exactly going to go around telling everyone. Therefore, he arranged to surprise her and set her up for a tour of his Mum’s company. She was more than excited for the day, and Ben struggled not to reveal the surprise. He planned to keep it for the end of the tour and then lead her through the storage facility, where the armoured suits are kept. Ben saw the suits and their designs, half of them were all ready to be showcased. However, his Mum planned to reveal them as a complete set on display once the others had been built. Ben was far too excited to show her the suits, so much so he was going to make her suspect something if he kept smiling like a lunatic.
Ben makes his way through the bustling crowd and is about to check his phone and ask where she is. She was supposed to be outside the main entrance. Although with the way he’s getting bumped about by the city crowd, he figures she got overwhelmed and went inside. She was probably chilling on her phone in a corner, the same thing he’d be doing to avoid the large crowds. He enters the building and there she is, exactly where he thought she’d be. As if she knows he’s watching, she looks up from her phone and smiles waving. They walk towards one another as she slips her phone back into her pocket.
Ben: “You ready for the best tour of your life?”
Connie: “Yeah, I got my camera ready like Peter Parker.”
Ben: “Well I can assure you there’s no radioactive spiders here. I asked my Mum to get some, but apparently it’s a ‘safety hazard’.”
The two shares a laugh and Ben begins to lead her through the tourist exhibits based on all of the new technology. Ben had heard about most of it when talking business with his Mum. Some of the projects were just frivolous crazy things for rich people with far too much money to purchase. Such as nanotechnology paint that allows you to decorate your room with micro robots. They can be remotely controlled to change colour, pattern, and even display images from the internet. Which meant you could paint a wall with these devices and have something different everyday. Then there were more useful pieces of technology for medicinal purposes. The kind of technology which would allow the replication of synthetic tissue and allow it to be ‘filled’ with a false but functional nervous system. It sounded like something from a Sci-Fi show. But that’s why the company was called, Imagine, they create technology that could only have been plucked from wildest of imaginations. Connie was overjoyed as Ben showed her some of the exhibits and the more excited she got the more he felt himself hurrying to show her the grand finale - the mech suits in storage.
Ben: “Come on, I got something cool to show you in the back. My Mum said as long as you keep it a secret and don’t take any pictures it’s okay.”
Connie: “Ooh, something top secret?”
Ben: “For the next year or so, yeah. Now come on, you’re going to love it.”
Ben leads her away from a bustling exhibit, he had to stop himself from pulling her to hurry. He knew she was going to love seeing these suits, she loved that sort of thing. She was a nerd just like him when it came to this stuff. As they are making their way through the crowd Ben turns, beaming a smile. However, someone in the building screams from just down the corridor. The overlapping conversation of the crowds around them fall silent. The scream echoes up the corridor, soon followed by other terrified shrieks. A large crashing sound causes a tremor to quake throughout the exhibit. People begin to murmur amongst themselves and others start to make their way to the exits.
Connie: “What the hell was that?”
Ben: “Um, I’m not sure. We should probably-“
An automated female voice blares from the speakers in the roof, “Emergency! Emergency! Everyone please evacuate the building in a calm and orderly fashion.”
Everyone begins pushing and shoving as they stampede towards the exits. Connie gets shoved to the ground by a larger man who doesn’t bother to look her way as she cries out. Ben yells in protest and struggles to make his way through the sea of panicked people to get to her. He loses sight of her as she’s engulfed by the mob. He knew she was on the floor, probably getting trampled on by all these people. They were scared but so was she, she was probably hurt as well. It was like the videos he had witnessed on Youtube of people going nuts over deals on Black Friday. Doing anything they can to be the first ones in the door - or in this case, out of the door. Eventually, the numbers of the crowd thin out and he sees Connie curled up in a ball on the floor, in a foetal position. Ben rushes towards her as the automated voice continues to repeat the order to evacuate. He kneels beside her and places his hand on her shoulder, she is trembling.
Ben: “Connie, we gotta get out of here.”
She doesn’t say anything and uncurls herself hesitantly. Ben’s heart sinks as he sees boot imprints on her hands and broken finger nails from being trampled on. Her cheek is red and swollen and her lip is busted in the centre. He forces a reassuring smile and lifts her to her feet pulling her towards the exit. Only to feel the building shudder with another tremor. Debris leaks from the ceiling and Ben looks up seeing a crack tear it’s way through the ceiling. His eyes widen and he continues to haul Connie to the exit. The building shakes one last time and the fracture in the ceiling pries apart. Chunks of rubble and debris rain down in front of him crashing against the ground, just inches away from them and blocking the exit. Ben begins to panic but remembers the emergency exit down the corridor. He turns and holds up Connie as she stumbles alongside him. As they make their way down to the corridor he hears something. At first he thinks it’s another tremor but no, it’s more structured with its sound - coordinated. They were footsteps. Loud, thundering footsteps from just one set of feet. Whoever it was, they were big or wearing steel boots and they were heading right for them.
Ben: “Something tells me that isn’t someone coming to help.”
Gilbert Scott-Heron (April 1, 1949 – May 27, 2011) was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues". His poem "The Revolution Will Not Be Televised", delivered over a jazz-soul beat, is considered a major influence on hip hop music.
His music, most notably on the albums Pieces of a Man and Winter in America in the early 1970s, influenced and foreshadowed later African-American music genres such as hip hop and neo soul. His recording work received much critical acclaim, especially for The Revolution Will Not Be Televised. AllMusic's John Bush called him "one of the most important progenitors of rap music", stating that "his aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career."
Scott-Heron remained active until his death, and in 2010 released his first new album in 16 years, entitled I'm New Here. A memoir he had been working on for years up to the time of his death, The Last Holiday, was published posthumously in January 2012. Scott-Heron received a posthumous Grammy Lifetime Achievement Award in 2012. He also is included in the exhibits at the National Museum of African American History and Culture (NMAAHC) that officially opened on September 24, 2016, on the National Mall, and in an NMAAHC publication, Dream a World Anew. In 2021, Scott-Heron was inducted into the Rock and Roll Hall of Fame, as a recipient of the Early Influence Award.
Gil Scott-Heron was born in Chicago, Illinois. His mother, Bobbie Scott, was an opera singer who performed with the Oratorio Society of New York. His father, Gil Heron, nicknamed "The Black Arrow," was a Jamaican footballer who in the 1950s became the first black man to play for Celtic Football Club in Glasgow, Scotland. Gil's parents separated in his early childhood and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. When Scott-Heron was 12 years old, his grandmother died and he returned to live with his mother in The Bronx in New York City. He enrolled at DeWitt Clinton High School, but later transferred to The Fieldston School, after impressing the head of the English department with some of his writings and earning a full scholarship. As one of five Black students at the prestigious school, Scott-Heron was faced with alienation and a significant socioeconomic gap. During his admissions interview at Fieldston, an administrator asked him: "'How would you feel if you see one of your classmates go by in a limousine while you're walking up the hill from the subway?' And [he] said, 'Same way as you. Y'all can't afford no limousine. How do you feel?'" This type of intractable boldness would become a hallmark of Scott-Heron's later recordings.
After completing his secondary education, Scott-Heron decided to attend Lincoln University in Pennsylvania because Langston Hughes (his most important literary influence) was an alumnus. It was here that Scott-Heron met Brian Jackson, with whom he formed the band Black & Blues. After about two years at Lincoln, Scott-Heron took a year off to write the novels The Vulture and The Nigger Factory. Scott-Heron was very heavily influenced by the Black Arts Movement (BAM). The Last Poets, a group associated with the Black Arts Movement, performed at Lincoln in 1969 and Abiodun Oyewole of that Harlem group said Scott-Heron asked him after the performance, "Listen, can I start a group like you guys?"[18] Scott-Heron returned to New York City, settling in Chelsea, Manhattan. The Vulture was published by the World Publishing Company in 1970 to positive reviews.
Although Scott-Heron never completed his undergraduate degree, he was admitted to the Writing Seminars at Johns Hopkins University, where he received an M.A. in creative writing in 1972. His master's thesis was titled Circle of Stone. Beginning in 1972, Scott-Heron taught literature and creative writing for several years as a full-time lecturer at University of the District of Columbia (then known as Federal City College) in Washington, D.C. while maintaining his music career.
Scott-Heron began his recording career with the LP Small Talk at 125th and Lenox in 1970. Bob Thiele of Flying Dutchman Records produced the album, and Scott-Heron was accompanied by Eddie Knowles and Charlie Saunders on conga and David Barnes on percussion and vocals. The album's 14 tracks dealt with themes such as the superficiality of television and mass consumerism, the hypocrisy of some would-be black revolutionaries, and white middle-class ignorance of the difficulties faced by inner-city residents. In the liner notes, Scott-Heron acknowledged as influences Richie Havens, John Coltrane, Otis Redding, Jose Feliciano, Billie Holiday, Langston Hughes, Malcolm X, Huey Newton, Nina Simone, and long-time collaborator Brian Jackson.
Scott-Heron's 1971 album Pieces of a Man used more conventional song structures than the loose, spoken-word feel of Small Talk. He was joined by Jackson, Johnny Pate as conductor, Ron Carter on bass and bass guitar, drummer Bernard "Pretty" Purdie, Burt Jones playing electric guitar, and Hubert Laws on flute and saxophone, with Thiele producing again. Scott-Heron's third album, Free Will, was released in 1972. Jackson, Purdie, Laws, Knowles, and Saunders all returned to play on Free Will and were joined by Jerry Jemmott playing bass, David Spinozza on guitar, and Horace Ott (arranger and conductor). Carter later said about Scott-Heron's voice: "He wasn't a great singer, but, with that voice, if he had whispered it would have been dynamic. It was a voice like you would have for Shakespeare."
In 1974, he recorded another collaboration with Brian Jackson, Winter in America, with Bob Adams on drums and Danny Bowens on bass. Winter in America has been regarded by many critics as the two musicians' most artistic effort. The following year, Scott-Heron and Jackson released Midnight Band: The First Minute of a New Day. In 1975, he released the single "Johannesburg", a rallying cry for the end of apartheid in South Africa. The song would be re-issued, in 12"-single form, together with "Waiting for the Axe to Fall" and "B-movie" in 1983.
A live album, It's Your World, followed in 1976 and a recording of spoken poetry, The Mind of Gil Scott-Heron, was released in 1978. Another success followed with the hit single "Angel Dust", which he recorded as a single with producer Malcolm Cecil. "Angel Dust" peaked at No. 15 on the R&B charts in 1978.
In 1979, Scott-Heron played at the No Nukes concerts at Madison Square Garden. The concerts were organized by Musicians United for Safe Energy to protest the use of nuclear energy following the Three Mile Island accident. Scott-Heron's song "We Almost Lost Detroit" was included in the No Nukes album of concert highlights. It alluded to a previous nuclear power plant accident and was also the title of a book by John G. Fuller. Scott-Heron was a frequent critic of President Ronald Reagan and his conservative policies.
Scott-Heron recorded and released four albums during the 1980s: 1980 and Real Eyes (1980), Reflections (1981) and Moving Target (1982). In February 1982, Ron Holloway joined the ensemble to play tenor saxophone. He toured extensively with Scott-Heron and contributed to his next album, Moving Target the same year. His tenor accompaniment is a prominent feature of the songs "Fast Lane" and "Black History/The World". Holloway continued with Scott-Heron until the summer of 1989, when he left to join Dizzy Gillespie. Several years later, Scott-Heron would make cameo appearances on two of Ron Holloway's CDs: Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.
Scott-Heron was dropped by Arista Records in 1985 and quit recording, though he continued to tour. The same year he helped compose and sang "Let Me See Your I.D." on the Artists United Against Apartheid album Sun City, containing the famous line: "The first time I heard there was trouble in the Middle East, I thought they were talking about Pittsburgh." The song compares racial tensions in the U.S. with those in apartheid-era South Africa, implying that the U.S. was not too far ahead in race relations. In 1993, he signed to TVT Records and released Spirits, an album that included the seminal track "'Message to the Messengers". The first track on the album criticized the rap artists of the day. Scott-Heron is known in many circles as "the Godfather of rap" and is widely considered to be one of the genre's founding fathers. Given the political consciousness that lies at the foundation of his work, he can also be called a founder of political rap. "Message to the Messengers" was a plea for the new generation of rappers to speak for change rather than perpetuate the current social situation, and to be more articulate and artistic. Regarding hip hop music in the 1990s, he said in an interview:
They need to study music. I played in several bands before I began my career as a poet. There's a big difference between putting words over some music, and blending those same words into the music. There's not a lot of humor. They use a lot of slang and colloquialisms, and you don't really see inside the person. Instead, you just get a lot of posturing.
— Gil Scott-Heron
In 2001, Scott-Heron was sentenced to one to three years imprisonment in a New York State prison for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003, the year BBC TV broadcast the documentary Gil Scott-Heron: The Revolution Will Not Be Televised—Scott-Heron was arrested for possession of a crack pipe during the editing of the film in October 2003 and received a six-month prison sentence.
On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. He claimed that he left because the clinic refused to supply him with HIV medication. This story led to the presumption that the artist was HIV positive, subsequently confirmed in a 2008 interview. Originally sentenced to serve until July 13, 2009, he was paroled on May 23, 2007.
After his release, Scott-Heron began performing live again, starting with a show at SOB's restaurant and nightclub in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titled The Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.
Malik Al Nasir dedicated a collection of poetry to Scott-Heron titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. Scott-Heron recorded one of the poems in Nasir's book entitled Black & Blue in 2006.
In April 2009, on BBC Radio 4, poet Lemn Sissay presented a half-hour documentary on Gil Scott-Heron entitled Pieces of a Man, having interviewed Gil Scott-Heron in New York a month earlier. Pieces of a Man was the first UK announcement from Scott-Heron of his forthcoming album and return to form. In November 2009, the BBC's Newsnight interviewed Scott-Heron for a feature titled The Legendary Godfather of Rap Returns. In 2009, a new Gil Scott-Heron website, gilscottheron.net, was launched with a new track "Where Did the Night Go" made available as a free download from the site.
In 2010, Scott-Heron was booked to perform in Tel Aviv, Israel, but this attracted criticism from pro-Palestinian activists, who stated: "Your performance in Israel would be the equivalent to having performed in Sun City during South Africa's apartheid era... We hope that you will not play apartheid Israel". Scott-Heron responded by canceling the performance.
Scott-Heron released his album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, I'm New Here was Scott-Heron's first studio album in 16 years. The pair started recording the album in 2007, with the majority of the record being recorded over the 12 months leading up to the release date with engineer Lawson White at Clinton Studios in New York. I'm New Here is 28 minutes long with 15 tracks; however, casual asides and observations collected during recording sessions are included as interludes.
The album attracted critical acclaim, with The Guardian's Jude Rogers declaring it one of the "best of the next decade", while some have called the record "reverent" and "intimate", due to Scott-Heron's half-sung, half-spoken delivery of his poetry. In a music review for public radio network NPR, Will Hermes stated: "Comeback records always worry me, especially when they're made by one of my heroes ... But I was haunted by this record ... He's made a record not without hope but which doesn't come with any easy or comforting answers. In that way, the man is clearly still committed to speaking the truth". Writing for music website Music OMH, Darren Lee provided a more mixed assessment of the album, describing it as rewarding and stunning, but he also states that the album's brevity prevents it "from being an unassailable masterpiece".
Scott-Heron described himself as a mere participant, in a 2010 interview with The New Yorker:
This is Richard's CD. My only knowledge when I got to the studio was how he seemed to have wanted this for a long time. You're in a position to have somebody do something that they really want to do, and it was not something that would hurt me or damage me—why not? All the dreams you show up in are not your own.
The remix version of the album, We're New Here, was released in 2011, featuring production by English musician Jamie xx, who reworked material from the original album. Like the original album, We're New Here received critical acclaim.
In April 2014, XL Recordings announced a third album from the I'm New Here sessions, titled Nothing New. The album consists of stripped-down piano and vocal recordings and was released in conjunction with Record Store Day on April 19, 2014.
Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a trip to Europe. Scott-Heron had confirmed previous press speculation about his health, when he disclosed in a 2008 New York Magazine interview that he had been HIV-positive for several years, and that he had been previously hospitalized for pneumonia.
He was survived by his firstborn daughter, Raquiyah "Nia" Kelly Heron, from his relationship with Pat Kelly; his son Rumal Rackley, from his relationship with Lurma Rackley; daughter Gia Scott-Heron, from his marriage to Brenda Sykes; and daughter Chegianna Newton, who was 13 years old at the time of her father's death. He is also survived by his sister Gayle; brother Denis Heron, who once managed Scott-Heron; his uncle, Roy Heron; and nephew Terrance Kelly, an actor and rapper who performs as Mr. Cheeks, and is a member of Lost Boyz.
Before his death, Scott-Heron had been in talks with Portuguese director Pedro Costa to participate in his film Horse Money as a screenwriter, composer and actor.
In response to Scott-Heron's death, Public Enemy's Chuck D stated "RIP GSH...and we do what we do and how we do because of you" on his Twitter account. His UK publisher, Jamie Byng, called him "one of the most inspiring people I've ever met". On hearing of the death, R&B singer Usher stated: "I just learned of the loss of a very important poet...R.I.P., Gil Scott-Heron. The revolution will be live!!". Richard Russell, who produced Scott-Heron's final studio album, called him a "father figure of sorts to me", while Eminem stated: "He influenced all of hip-hop". Lupe Fiasco wrote a poem about Scott-Heron that was published on his website.
Scott-Heron's memorial service was held at Riverside Church in New York City on June 2, 2011, where Kanye West performed "Lost in the World" and "Who Will Survive in America", two songs from West's album My Beautiful Dark Twisted Fantasy. The studio album version of West's "Who Will Survive in America" features a spoken-word excerpt by Scott-Heron. Scott-Heron is buried at Kensico Cemetery in Westchester County in New York.
Scott-Heron was honored posthumously in 2012 by the National Academy of Recording Arts and Sciences with a Grammy Lifetime Achievement Award. Charlotte Fox, member of the Washington, DC NARAS and president of Genesis Poets Music, nominated Scott-Heron for the award, while the letter of support came from Grammy award winner and Grammy Hall of Fame inductee Bill Withers.
Scott-Heron's memoir, The Last Holiday, was published in January 2012. In her review for the Los Angeles Times, professor of English and journalism Lynell George wrote:
The Last Holiday is as much about his life as it is about context, the theater of late 20th century America — from Jim Crow to the Reagan '80s and from Beale Street to 57th Street. The narrative is not, however, a rise-and-fall retelling of Scott-Heron's life and career. It doesn't connect all the dots. It moves off-the-beat, at its own speed ... This approach to revelation lends the book an episodic quality, like oral storytelling does. It winds around, it repeats itself.
At the time of Scott-Heron's death, a will could not be found to determine the future of his estate. Additionally, Raquiyah Kelly-Heron filed papers in Manhattan, New York's Surrogate's Court in August 2013, claiming that Rumal Rackley was not Scott-Heron's son and should therefore be omitted from matters concerning the musician's estate. According to the Daily News website, Rackley, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate, as Rackley stated in court papers that Scott-Heron prepared him to be the eventual administrator of the estate. Scott-Heron's 1994 album Spirits was dedicated to "my son Rumal and my daughters Nia and Gia", and in court papers Rackley added that Scott-Heron "introduced me [Rackley] from the stage as his son".
In 2011, Rackley filed a suit against sister Gia Scott-Heron and her mother, Scott-Heron's first wife, Brenda Sykes, as he believed they had unfairly attained US$250,000 of Scott-Heron's money. The case was later settled for an undisclosed sum in early 2013; but the relationship between Rackley and Scott-Heron's two adult daughters already had become strained in the months after Gil's death. In her submission to the Surrogate's Court, Kelly-Heron states that a DNA test completed by Rackley in 2011—using DNA from Scott-Heron's brother—revealed that they "do not share a common male lineage", while Rackley has refused to undertake another DNA test since that time. A hearing to address Kelly-Heron's filing was scheduled for late August 2013, but by March 2016 further information on the matter was not publicly available.[69] Rackley still serves as court-appointed administrator for the estate, and donated material to the Smithsonian's new National Museum of African American History and Culture for Scott-Heron to be included among the exhibits and displays when the museum opened in September 2016. In December 2018, the Surrogate Court ruled that Rumal Rackley and his half sisters are all legal heirs.
According to the Daily News website, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate. The case was decided in December 2018 with a ruling issued in May 2019.
Scott-Heron's work has influenced writers, academics and musicians, from indie rockers to rappers. His work during the 1970s influenced and helped engender subsequent African-American music genres, such as hip hop and neo soul. He has been described by music writers as "the godfather of rap" and "the black Bob Dylan".
Chicago Tribune writer Greg Kot comments on Scott-Heron's collaborative work with Jackson:
Together they crafted jazz-influenced soul and funk that brought new depth and political consciousness to '70s music alongside Marvin Gaye and Stevie Wonder. In classic albums such as 'Winter in America' and 'From South Africa to South Carolina,' Scott-Heron took the news of the day and transformed it into social commentary, wicked satire, and proto-rap anthems. He updated his dispatches from the front lines of the inner city on tour, improvising lyrics with an improvisational daring that matched the jazz-soul swirl of the music".
Of Scott-Heron's influence on hip hop, Kot writes that he "presag[ed] hip-hop and infus[ed] soul and jazz with poetry, humor and pointed political commentary". Ben Sisario of The New York Times writes that "He [Scott-Heron] preferred to call himself a "bluesologist", drawing on the traditions of blues, jazz and Harlem renaissance poetics". Tris McCall of The Star-Ledger writes that "The arrangements on Gil Scott-Heron's early recordings were consistent with the conventions of jazz poetry – the movement that sought to bring the spontaneity of live performance to the reading of verse". A music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists", while The Washington Post wrote that "Scott-Heron's work presaged not only conscious rap and poetry slams, but also acid jazz, particularly during his rewarding collaboration with composer-keyboardist-flutist Brian Jackson in the mid- and late '70s". The Observer's Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating:
Together throughout the 1970s, Scott-Heron and Jackson made music that reflected the turbulence, uncertainty and increasing pessimism of the times, merging the soul and jazz traditions and drawing on an oral poetry tradition that reached back to the blues and forward to hip-hop. The music sounded by turns angry, defiant and regretful while Scott-Heron's lyrics possessed a satirical edge that set them apart from the militant soul of contemporaries such as Marvin Gaye and Curtis Mayfield.
Will Layman of PopMatters wrote about the significance of Scott-Heron's early musical work:
In the early 1970s, Gil Scott-Heron popped onto the scene as a soul poet with jazz leanings; not just another Bill Withers, but a political voice with a poet's skill. His spoken-voice work had punch and topicality. "The Revolution Will Not Be Televised" and "Johannesburg" were calls to action: Stokely Carmichael if he'd had the groove of Ray Charles. 'The Bottle' was a poignant story of the streets: Richard Wright as sung by a husky-voiced Marvin Gaye. To paraphrase Chuck D, Gil Scott-Heron's music was a kind of CNN for black neighborhoods, prefiguring hip-hop by several years. It grew from the Last Poets, but it also had the funky swing of Horace Silver or Herbie Hancock—or Otis Redding. Pieces of a Man and Winter in America (collaborations with Brian Jackson) were classics beyond category".
Scott-Heron's influence over hip hop is primarily exemplified by his definitive single "The Revolution Will Not Be Televised", sentiments from which have been explored by various rappers, including Aesop Rock, Talib Kweli and Common. In addition to his vocal style, Scott-Heron's indirect contributions to rap music extend to his and co-producer Jackson's compositions, which have been sampled by various hip-hop artists. "We Almost Lost Detroit" was sampled by Brand Nubian member Grand Puba ("Keep On"), Native Tongues duo Black Star ("Brown Skin Lady"), and MF Doom ("Camphor"). Additionally, Scott-Heron's 1980 song "A Legend in His Own Mind" was sampled on Mos Def's "Mr. Nigga", the opening lyrics from his 1978 recording "Angel Dust" were appropriated by rapper RBX on the 1996 song "Blunt Time" by Dr. Dre, and CeCe Peniston's 2000 song "My Boo" samples Scott-Heron's 1974 recording "The Bottle".
In addition to the Scott-Heron excerpt used in "Who Will Survive in America", Kanye West sampled Scott-Heron and Jackson's "Home is Where the Hatred Is" and "We Almost Lost Detroit" for the songs "My Way Home" and "The People", respectively, both of which are collaborative efforts with Common. Scott-Heron, in turn, acknowledged West's contributions, sampling the latter's 2007 single "Flashing Lights" on his final album, 2010's I'm New Here.
Scott-Heron admitted ambivalence regarding his association with rap, remarking in 2010 in an interview for the Daily Swarm: "I don't know if I can take the blame for [rap music]".[81] As New York Times writer Sisario explained, he preferred the moniker of "bluesologist". Referring to reviews of his last album and references to him as the "godfather of rap", Scott-Heron said: "It's something that's aimed at the kids ... I have kids, so I listen to it. But I would not say it's aimed at me. I listen to the jazz station." In 2013, Chattanooga rapper Isaiah Rashad recorded an unofficial mixtape called Pieces of a Kid, which was greatly influenced by Heron's debut album Pieces of a Man.
Following Scott-Heron's funeral in 2011, a tribute from publisher, record company owner, poet, and music producer Malik Al Nasir was published on The Guardian's website, titled "Gil Scott-Heron saved my life".
In the 2018 film First Man, Scott-Heron is a minor character and is played by soul singer Leon Bridges.
He is one of eight significant people shown in mosaic at the 167th Street renovated subway station on the Grand Concourse in the Bronx that reopened in 2019.
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Another cloister shot to add to the collection, this is Worcester Catherdral - a little beauty if you're in the area.
Worcester, Worcestershire.
D40 | 10-20mm@10mm | ISO200 | 3s @ f/11
They say plants don't move.
Only some 120- hours ago these were all yellow dandelions.
And thye figured out haw to mix their males and females to fly far away without using any of their own energy,,
Parachutes come to mind.
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Edward Nygma was a forensic investigator for the GCPD with a penchant for asking riddles, one of the few fond memories from his abusive household. He was viewed as a know-it-all and weird by most of his co-workers, especially when he began to develop a crush on his fellow forensic investigator Ms. Kirsten Kringle. At first, what Nygma was doing seemed harmless enough; Small, passing gifts left on her desk now and then. Ed eventually started buying bigger gifts for her, though he found he needed the money to do so. He elected to grab money from the stolen goods processing vault and use it. No one would miss it, right? He bought watches, necklaces, expensive tokens of his affection. One day, while raiding the vault as usual, he was caught by an officer. Scared that he’d be reported to the captain, Ed stabbed him, over and over. He had cut the cameras to the vault earlier, replacing it with previous footage of the room so the officers wouldn't discover his theft. He remained within the vault, along with the body, until most had gone home. Ed dragged the body into the morgue and placed it in one of the freezers. He got a bit of a thrill from not being caught, and decided to chase that thrill, leaving a riddle on the body to find the killer and locking the freezer, heading out to buy Ms. Kringle a bracelet. Of course, Ed was caught. It didn't cross his mind that he was the only one in the GCPD known for riddles at the time, and when he tried to pass it off as a framing, the internal affairs investigation discovered the knife he left in the vault. Along with that, they uncovered the robberies he had been periodically carrying out. Awestruck that someone could possibly outsmart him, Ed snapped. He admitted to the murder and was locked in Arkham, where he quickly began to devise an escape plan and a new identity: The Riddler.