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Photo taken by Wilhelm Hell, scan kindly provided by him for inclusion on this page.
München-Riem
1973-08-12 (12 August 1973)
YA-HBA
Boeing 720-030B
18060 / 210
Ariana Afghan Airlines
YA-HBA at the holding point for runway 07. This was the only time this airframe visited during its time with Ariana - it had been seen at Riem before as D-ABOM with Lufthansa.
Information from airhistory.net - thanks to Paul Seymour:
Delivered to Lufthansa as D-ABOM in 1961. To Pan Am as N785PA in 1966, Ariana Afghan Airlines as YA-HBA in 1973, International Air Leases as N3746E in 1980 and Aerotal Colombia as HK-2558X in 1980. Withdrawn from use at Miami in 1983 and scrapped in 1984.
Registration details for this airframe:
www.planelogger.com/Aircraft/Registration/YA-HBA/490173
This airframe as D-ABOM with Lufthansa at HKG (?) in December 1962:
www.airlinefan.com/photos/memberdir136/watermarked/large_...
D-ABOM with Lufthansa at FRA in June 1965 (revised colours):
www.airhistory.net/photo/9064/D-ABOM
This airframe as N785PA with Pan Am ca. mid to late 1960s:
www.flickr.com/photos/154191970@N03/45412053981
This airframe as N3746E with Aerotal Colombia at MIA in November 1980:
www.airhistory.net/photo/567708/N3746E
This airframe as HK-2558X with Aerotal Colombia at MIA ca. early 1980s:
www.flickr.com/photos/154191970@N03/44496136315
Scan from Kodachrome slide (on Kodak Photo CD).
Nikkormat FTN w/Nikkor 50mm f 2.0 Prime on K64
My late wife, Delores [1957-2004] with my father and me in front of the Luscombe 8F that we flew to TX for him. My dad’s cousin [Woody Byers] had rebuilt and modified it from the stock 8F after he had had an engine failure and bent it during the ensuing forced landing. After about 15 years he finally finished it, but he was getting older, so my father bought it from him. Dad allowed me, a fresh - newly rated COMM/INST pilot to ferry it to TX from MI for him so that I could add some X-country time to my meager log book.
The compass had not been swung in about 30 years and I had no maps, no radio, no Nav Aids when I left southern MI for central TX [a hurried last minute trip, we flew into Battle Creek on the Kellogg Corporate Falcon 20 from KDCA – my brother flew many years for them and retired in about 2004]. I figured that since the 8F was a VFR only bird, that I would just head….. like….. that-a-way!!! I figured that if I was too far west I would hit the Rockies and if too far east the Gulf!! We got stuck in Fort Smith for a few days because of bad weather, but the actual flying was about 2 long days worth.
My father, Norman M Reed [11/11/1925 to 02/23/2023 – 97 yrs old], was a retired Allegheny Airlines Captain [US Airways]. He spent 13.5 years, 11,800 hours and 30162 take-offs & landings while flying the DC-3 in scheduled airline service for Lake Central Airlines [The FAA says it is a record for To's & Ldgs in a DC3 in domestic scheduled airline service], one of the legacy airlines of the "New American" Airlines.
Dad & Mom moved to Texas in 1977 from Catharpin, VA after my father retired from Allegheny Airlines [just before they changed their name to USAir in 1979 - he was originally with Lake Central Airlines - hire date 1953 - that merged with Allegheny in 1968] as a DC-9 Captain. He has flown in scheduled airline service the DC3, Nord 262, Convair 340 & 580 and the DC9-30 &-50. He was trained in the Army Air Corp during WWII on the P-47 & P-38. He never saw combat. Mom is 93 this year - 2026.
Luscombe dealer since the 1930s. His new venture opened in Fort Collins, Colorado, as Silvaire Uranium and Aircraft Corp. From 1956 to 1961, this firm produced 80 aircraft. The make and model for all 80 was Silvaire 8F, with "Luscombe" shown in quotation marks in company literature. N9900C, serial number S-1, was built in 1956. This first aircraft was constructed from spares or Material Review Board (MRB) parts that were serviceable, but remaining from TEMCO's prior production. TEMCO supplied enough inventory for the completion of approximately four aircraft. N9900C first flew on September 10, 1956 and was sold, according to the FAA aircraft database, to a dealer, Boggs Flying Brokers, in California the following spring. Six aircraft were built in 1957 (serial numbers S-2 through S7). Serial numbers S-2 and S-3 were shipped via C-46 aircraft to Buenos Aires, Argentina.[4]
Source: en.wikipedia.org/wiki/Luscombe_8
We got him from a french animal shelter. He was sent to another family in Germany that was not suitable for him. Loui is since one year a member of our family. Gained 5 Kilos, got a wonderful fur and clear eyes. He is a great family member and a excellent companion when I am walking around with the cam.
..::LOG ENTRY 17.4::..
Corellia.
Durge. I'd never faced him, but the stories told of him are a Clone's worst nightmare. Furthermore, the sewers are playing havoc with our communications equipment.
"Lieutenant, These guys are still alive!" came Easys voice. I could see the Durge's silhouette from the storm drain get larger and larger. We were running out of time. Squads of fully trained ARC troopers have failed to bring Durge down, what chance do I have against this beast with a squad of rookies!.
I moved back to Reaper squads position and knelt down by the injured troopers they'd found. It was the remains of Spectre squad, they'd be sent to find Alpha-19, just like we had.
We have no heavy ordnance, nothing that would touch Durge if the stories were to be believed and we have no detonators left. This is a suicide mission.
"Listen up squad! Take the injured and get out of here. Get a message back to command. Make sure they know where Durge is and get some ordnance down here to deal with him! Go. NOW!"
"But...." started the entire squad.
"I SAID NOW!"
Hesitantly, Reaper squad helped up the remnants of Spectre squad and headed to the surface. I turned and headed back towards Durge. Hopefully I'll buy them enough time."
As I entered the storm drain, it was clear to see that the rumours were true, Durge was huge and easily towered over me. Without hesitation, I open fired. The blasts just deflected off his armour, and those that hit him did little good. He just continued to walk toward me.
His walk became a run and he charged at me with inhuman speed. I continued to fire shot after shot at him. As he was about to collide with me I dived to one side, but he was ready. He reached out with a tree-like limb and delivered a blow to my helmet sending me crashing into the ground. I quickly got to my feet, something was wrong. I felt no pain, but my vision was blurred and I could feel the drips of blood run down my nose, I felt the dent in my helmet on my cheek, and my visor had been smashed clean of the helmet.
Trying to regain my senses, I tried to turn to face the monster, but my feet couldn't feel the ground. Looking down, I realised I was being held in the air. I couldn't feel the pressure of Durges hand on the back of my neck. He launched me into the air. I hit the wall of the drain and smashed into the floor once more. A sharp pain shot through my leg as I tried to stand up. Something was broken.
At this point, I had no clue what was going on. I turned to try and get my bearings, but I couldn't see in the murk of the sewer. I heard a voice mutter, "impressive" and it was swiftly followed by a heavy impact to my chest that sent me into the wall for a second time. I fell, face first into the ground. This was it, the end of the war for me.
I could make out muffled voices coming from the entrance to the storm drain. I tried to look up. Even through the haze, I could pick out the white armour of my brothers. The republic was here!
From the cover of the entrance, several clones lay down covering fire. The beast that was Durge seemed to instantly forget I was there as he disappeared in a volley of fire. The troopers were covering my escape, but I couldn't move.
No, I was wrong. They weren't covering me.
A clone trooper had made a break from cover down the far side of the storm drain. With renewed hope, the adrenaline started to pump through my body again, lifting the haze slightly. That was no random trooper, that was Trigger!
Trigger dived toward a prone ARC Trooper while Durge continued to recoil from the heavy volley of fire. As Trigger reached the trooper, he reached down and scooped up the dead troopers RPS-6. Hoisting the rocket launcher onto his shoulder, and barely with time to aim, he fired a rocket straight at the retreating beast. I couldn't make out what happened to Durge. Reaper squad and Spectre squad continued to cover Triggers reload. Trigger hoisted up the rocket launcher once more and fired a second time. My head span, and I blacked out.
..::END ENTRY::..
Cage woke up in the medical bay on an un-comfy cot. A trooper I recognised from Spectre squad sat on a stool at the far end of the cot.
"Ah, you're awake boss!"
"Boss?"
"That's right. The remains of Spectre squad have been assigned to you. Sergeant Deano, at your service Boss" Deano extended his hand for a handshake, but quickly pulled it back seeing Cage was a little too rough to move.
Cage was visibly panicked.
"Where is Reaper Squad?"
"Oh, don't you worry about those guys. They were the only guys who faced Durge and aren't in the medical bay. We owe them our lives. How are you feeling?"
"Rough. Better knowing Reaper Squad are ok. They really came out unscathed?"
"Yeah, your boy Trigger drove Durge back. We dragged your sorry behind up and got the hell outta there! What was it Bench said? That's it. 'We all go home, or nobody goes home!'. Bench practically dragged us back for you."
"They disobeyed orders...."
".... They saved your life! And several other troopers too. For rookies, they really showed the seppies that we are made of sterner stuff! I know you thought you were protecting them, trying to stop command from wasting lives of good clones, but this is what we were made for. The moment Bench learned that we had taken a rocket launcher with us, he insisted we could help you. And he was right. I know you're a 'by the book' kinda guy, but you can't protect your squad from commands decisions. Just trust that Reaper squad are capable clones and use them sensibly instead of sending them out the way."
Cage pondered Deanos words. He remembered Spectre squad was lead by ARC Captain Nate, he had trained with Nate when he joined the ranks of the ARC Troopers.
"What happened to Nate?"
"He didn't make it, that's why we were assigned to you. But your 'rookies' did what the rest of us couldn't and held back Durge. I think it's time you stopped calling them rookies. I'm going to go tell the staff you're awake."
Deano moved to leave and stopped at the door, he turned back.
"Oh, and one more thing. You're going to need new armour, the last set you had was shattered into splinters."
He left the room.
Cage pondered for a moment and then muttered to himself.
"Well if command aren't going to protect us, then maybe I shouldn't do things 'by the book' anymore."
It is with great sadness that I learned that long-time friend and noted rail photographer Dave Augsburger passed away yesterday afternoon. I find that as I process the photos that I post here, I think more about the friends that I was with as well as circumstances and incidents that accompanied the outing than I do the train itself. Dave comes to mind frequently. Beside photography, Dave and I shared interests in history of the Lehigh & New England and other anthracite railroads, prewar American Flyer trains, and Pennsylvania Dutch (German) culture and language.
Here, in happier days, Dave and I were out for the day, and had gone in futile search for an infrequent Conrail train that served the cement mill in Evansville, Pennsylvania, With the day coming to a close, we decided to stop by the Wanamaker, Kempton, & Southern in Kempton. Seeing an opportunity, I had the most prolific photographer of the Lehigh & New England pose next to one of the WK&S’ L&NE gondolas. Dave is now with many of his contemporary friends who have passed in recent years, including Dick Samsel and Neil Shankweiler. I will miss Dave and treasure the many memories of him for years to come.
aka Mystery Rose Paynesworth
spoiled Lil Rich Girl
My mother was a Rare beauty with the voice of a Angel... A lounge singer, when I was a wee Child use to sneak into the lounge hiding under tables just to catch a glimpse of her... My Father the best Hitmen out there... I do not remember him as he was taken from this world when I was just a baby, but as a grew up became pretty deadly myself with a set of throwing knives my father left to Me...
This is where my story takes a turn, and my mother met HIM a disgusting pig of a man...
I was young wild carefree and completely out of control.. Dreamed of being just like my Mother... The man that had my mother in his sight was slowly killing her, and I was completely blinded when she needed me the most... Fearing for my own life, as this man crept into my room in the dead of the night, every night she worked, to do untold and unbelievable things to my body my mind my soul....
Breaking my Spirit my once bright light slowly dimensioning with every encounter... My whimpers my cries my pleads for the nightmare to end, was never heard and would never be answered....
But................ One night my mom to ill to work to weak to carry on, stumbles home in the pouring rain... the winds hollowing and whispering sending bone chilling shivers through my mothers tiny frail body.... a streak of light dances across the deathly dark skies, the thunderous rumbles rocking the house and shaking the crystal chandlers.... He does not hear her enter the house.....
Tied to my bed, completely naked covered in burns,bruises and abrasions from the leather studded belt that holds his jeans up... My mother follows to her knees kisses both of tear stained cheeks singing my beautiful rose, the song that was written for me and a begin to silently hum along... My mother reaches up freeing my arms... she stands blows a kiss and places the roses at the foot of my bed... Disappearing out my door.... I am screaming NO come back don't leave me... He is a Monster I need YOU.... PLEASE come back... Struggling to free my legs barely able to stand on my own two feet, more lightening streaks the midnight sky with the rumbles growing louder the lights flickering in the huge bone chilling Mansion... Riping at my night stand drawer taking two stone cold steal blades running down the hall, stumbling falling bouncing off walls I burst into my Mothers room....
More lightening dancing across the sky, with the wind sending a broken branch through the window the rain pounding down through the shards of broken glass, the wind whipping the curtains madly about... I burst through the door pausing for just a second my mother dangling in the air held by her neck against the wall, and him hissing nothing happened the girl has done it to herself say it woman... I whip both knives through the air hitting Him in the shoulder blade and the other grazing his cheek, then plunging into my motherès neck... He turns around stumbling and falling to the floor yell and screaming like thee coward he is... my bright blue eyes fall to my mother whom slips down the wall leaving a streak of blood glistening off the egg shell walls... running to my mother a soft smile on her lips she whispers it will all be over soon my darling a trail of blood dips from her soft lips as she goes limp in my arm.... curling up in her lap I begin to weep...
spoiled rich girl has gone mad, my mother leaving my fathers wealth to me which mad HIM go...... BAZARK.... drugging me beating me and leading me down a dark path.. taught myself to loose it in the music,and one night tired of the beatings the drugging I lashed out turning the tables...
with him cooing on the floor and me above him with a lamp in my hand, the door flies open and the room is filled with flashing lights cops and doctors... throwing the lamp screaming on the top of my lungs the world goes dark a quick prick felt in my upper thigh and when I wake I am at the gates of Rosewood Asylum arms strapped around me in some kind of jacket... arms reaching in to grab me I sink my pearly whites into the skin of a rather large forearm with the world going dark again as I am ripped from the back of the cop cruiser....
Welcome Home Darling our delicate Lil Rose.....
Thee perfect Doll that can and will hypnotize you with a simple swivel of her hips
A Private Dancer, a Dancer for money do what she needs to do in order to survive...
♛CREDITS Here: spartanfashion.wordpress.com/2015/03/06/ᴸᴼᵀᴰ-36-f...
▬Photographer & Model:
Chriiztophervail (Spartan)
"Emperor Karl Franz's armies and allies ready themselves to engage The Waaagh. Outnumbered three to one, with other reinforcements still to come, Karl Franz cannot wait any longer and has no choice but to face the Waaagh head on. He must use his wit, tactics, and strength to win the day along with relying on his allies, friends, and other heroes to help him in the process. If not, then all of Reikland and the Dwarven Kingdoms will suffer at the hands of the Orks..."
Its finally done, after months in the works its finally completed. Probably one of my biggest battle moc's ever created. I hope you all like it as I did building it.
“Every man carries with him through life a mirror, as unique and impossible to get rid of as his shadow.”
― W.H. Auden, The Dyer's Hand
Photography by Cajsa Lilliehook
Store info at Blogging Second Life
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Couture Chapeau CC Alhambra Lily Cloche {MESH} Black
Shoes: Garbaggio // Mary Pumps @ The Arcade
Jewelry: Donna Flora Miss G
Photo from the Michael Riedl collection, scan kindly provided by him for inclusion on this page.
München-Riem
December 1989
G-GCAL
McDonnell Douglas DC-10-10
46501 / 2
Novair
This airframe was also reported at Riem as G-BELO with Laker Airways Skytrain on 30 December 1979 (there were probably more visits with Laker during the early 1980s). In the late 1980s it was frequently noted here as G-GCAL first with Cal Air and then with Novair.
Information from airhistory.net - thanks to Alastair T. Gardiner:
This very early DC-10 - airframe no. 2 - originally flew for McDonnell Douglas before being delivered to Laker Airways as G-BELO in June 1977. It went to American Trans Air as N183AT in February 1983 and then Cal Air three years later. It transferred over to Novair in December 1988 and then went to Project Orbis as N220AU in November 1991 as a flying hospital. The frame is now preserved in Tucson at the Pima Air & Space Museum.
Registration details for this airframe:
www.planelogger.com/Aircraft/Registration/G-GCAL/650726
This airframe as N10DC with McDonnell Douglas at LGB in June 1973:
imgproc.airliners.net/photos/airliners/5/9/5/2733595.jpg
This airframe as G-BELO with Laker at LGW in June 1978:
www.flickr.com/photos/105925977@N03/32777870341
This airframe as N183AT with American Trans Air at FRA in June 1985:
www.flickr.com/photos/aero_icarus/51771300755
Another shot of G-GCAL with Cal Air at Riem, from 10 January 1987:
www.airhistory.net/photo/391627/G-GCAL
This airframe as N220AU with Orbis ca. early 2000s (initial colours):
www.flickr.com/photos/154191970@N03/50775068213
N220AU with Orbis at DUB in April 2005 (later colours):
www.flickr.com/photos/53277566@N06/5955863264/in
N220AU with Orbis at LAX in November 2016 (later colours):
www.flickr.com/photos/92009354@N00/30743279811
N220AU at DM AFB Tucson AZ going to Pima Air and Space Museum in November 2016:
www.flickr.com/photos/cactusbillaz/25330529249
N220AU preserved at Pima Air and Space Museum in October 2020:
www.flickr.com/photos/37585658@N00/50501538926
Scan from slide (unknown brand).
Photo from the Michael Riedl collection, scan kindly provided by him for inclusion on this page.
München-Riem
ca. June 1983
N790FA
Boeing 707-138B
17697 / 39
Private Jet Services
This airframe had visited Riem before as D-ADAP with Air Commerz and as TC-JBN with THY Turkish Airlines, and it was seen several times as N790FA: on 7 and 8 December 1979 with Jet Aviation, from 3 to 5 July 1980 with Private Jet Services, as well as on 4 February 1981, 5 November 1982, 11 to 12 June 1983 and 18 June 1983 with Private Jet Services.
This was the first Boeing 707 delivered to Qantas (as VH-EBB) and the first Boeing 707 to land at Honolulu and Brisbane. There’s lots of information to be found on this airframe due to its significance for Australian aviation.
Information on this airframe from flickr - thanks to Paul:
New to Qantas as VH-EBB in 1959. To Standard Airways as N790SA in 1967, Air Commerz as D-ADAP in 1971 and back to FB Ayer as N790SA in 1973. To Pan Ayer and leased to Turk Hava Yollari as TC-JBN in 1976. Back to Pan Ayer as N790FA in 1977. To Jet Aviation in 1978, Lowa Ltd in 1979, Comtran in 1986, Exec-Aire and Jetran in 1988 and Comtran in 1989. Reregistered as N138SR in 1990. Damaged beyond repair by arsonist at Port Harcourt, Nigeria in 1998.
Based on Google Earth imagery, the aircraft was present on 24DEC03 but gone by 26DEC07 (source: 707.adastron.com).
Registration details for this airframe:
rzjets.net/aircraft/?reg=124357
Very detailed history of this airframe with many photos:
www.aussieairliners.org/b-707q/vh-ebb/vhebb.html
Another detailed history:
www.707.adastron.com/qantas/VH-EBB.htm
This airframe as VH-EBB with Qantas in Australia ca 1959 (before conversion to -138B with turbofan engines):
www.flickr.com/photos/nickant44/8143539882
VH-EBB with Qantas in the original 'V-Jet' livery at LHR in August 1963:
www.aussieairliners.org/b-707q/vh-ebb/4604.157l.jpg
This airframe as N790SA with Standard Airways at SYD in May 1967:
www.aussieairliners.org/b-707q/vh-ebb/4604.315l.jpg
This airframe as TC-JBN with THY at DUS ca. 1976:
www.flickr.com/photos/154191970@N03/30713739267
This airframe as N790FA with Private Jet Servicves at LBG in June 1979:
www.flickr.com/photos/pslg05896/31363223521
N790FA with Private Jet Services at Riem in March 1983 (revised livery):
www.aussieairliners.org/b-707q/vh-ebb/4604.162l.jpg
This airframe as N138SR with Republique du Congo at LBG in May 1994:
www.aussieairliners.org/b-707q/vh-ebb/4605.354l.jpg
N138SR with Comtran International at GVA ca. 1995:
www.flickr.com/photos/154191970@N03/48008401091
N138SR with Comtran International/Kingdom Entertainment under charter for Michael Jackson's HIStory World Tour at STN in October 1996:
www.flickr.com/photos/chrischenn76/5733909039
N138SR stored and rotting away at PHC in April 2005:
imgproc.airliners.net/photos/airliners/1/1/3/0865311.jpg
Scan from Kodachrome slide.
12-16-23
"I hɑve ɑ cɾush on γouɾ mind. I fell foɾ γouɾ peɾsonɑlitγ. Youɾ looks ɑɾe just ɑ bonus."
—The Notebook
=====Arkham City======
*He's in my head. He's still in my head, taunting me. Telling me to let go, and kill Simms... I can smell him- one of my few senses not damaged, and he smells of blood and rot. Simms' is crying... something tells me I should kill him, for thinking he knows pain like mine... No, what am I thinking? It's the drug... Got to drown it out*
Blackfire- Not even Batman could resist my pull Philip, and you are not he. You're just a sad blind man. But join me, and you can become so much more.
*Simms whimpers, he's struggling, trying to get free. He's... Pathetic. Yes. Blackfire's right. He's a pathetic, disgusting man, he deserves death... He deserves... The gun feels heavier all of a sudden*
Ten- You're right. I am just a blind man.
Blackfire- Yes.
*It'll all be over. If I just pull the trigger*
Ten- These mechanical things aren't my hands, I lost those too.
Blackfire- You would be rewarded Philip, handsomely.
*But I don't care about what's easy, or not. I'm not going to satisfy this... this devil... this snake*
Ten- Or you could kill me. Your drugs only work when you have nothing left, and *I* have faith. You'd be better off killing me. I'm a criminal after all. That's why you would want me to kill Mr Camera, isn't it? But maybe, maybe I'm just guessing, but I don't think your followers would want you murdering a defenceless blind man. A blind man with no hands to defend himself. Is that it? God knows I'm not a
threat to you, He knows.
*The gun falls to the ground. Simms sniffles some more. Snot runs down his tuxedo*
Blackfire- What are you-?
*Ten removes his hands, and walks back from Blackfire.*
Ten- Kill me. And show your followers the truth about Deacon Blackfire
*They watch all three of them. Blackfire for the first time in an eternity looks unsure of himself. Ten places a handless arm around Simms*
Ten- Get up.
Blackfire- You can't defy me Philip! I see your future! Nothing but bones, and death!
Ten- What... what else is new.
*The watchers growl. "He's a fraud!" cry some. "He's a liar!"*
Blackfire- You... You dare? You all dare?
*Blackfire picks up his gun and fires. It's empty*
Ten- You... You didn't think I'd leave it loaded, did you? I thought you'd know.
Blackfire- No.
*"He would have shot the blind man!" "Where's his honour!" "He doesn't have any power! If he did, he wouldn't need a pistol!"*
Blackfire- Lies! The Ten-Eyed Demon lies!
Ten- Tut tut Deacon, you forget the Ninth Commandment "Thou shalt not bear false witness against thy neighbour."
*Ten leaves, just as the mobs of Blackfire's followers leap from the balcony, atop of him*
Blackfire- He's the liar! I would never-
*But that was the last thing Philip heard from The Deacon, as the followers cries drowned him out. As he made his way through the labyrinth, Simms finally spoke*
Simms- You should have killed me. I would've.
Ten- Your life is not mine to take, and there are codes in place I will never break. For months, my principles have been tested. They've brought me pain, and agony. But, if I abandon those, I don't know what I'd have. I can't feel, I can't see. Those principles. My will. Those are the only things that have kept me going. Since the war, since Blackgate.
Simms- You're an idiot, then?
Ten- You tried to kill me over a photo. Tell me, who's really the idiot.
Simms- My issues are a compulsion Reardon. Yours, are just a delusion.
Ten- So you're not a religious man.
Simms- Of course not. No God would put people through this hell. No God would idly sit by while his people fought and killed each other. And, if he did, I wouldn't *want* him to exist, because he'd be an utter psycho, worse than that cultist back there.
Ten- Hm.
*Ten and Simms arrived at Elliot Heights a half hour later. Rigger and Brown were very accomodating. Rigger was quick to tell the tale of how he'd caught the Iceberg shooter all by himself. And Philip sat in a chair. He wasn't going to allow Simms words to change him. No. He was proud of who he was, and, quite frankly, he was getting rather bored of being told what to do by maniacs*
---------ONE WEEK LATER--------
====Gar's Apartment====
*After his wrongful imprisonment in Arkham Asylum, and for his bravery "rescuing" Hugo Strange from Killer Wasp, Gar was rewarded with a new home- he'd lost the other one the night his daughter was conceived. Drury was quick to help him settle in. Sitting across from his date, he couldn't help notice her unease*
Gar- I'm sorry, you seem distracted.
Shawna- Huh?
Gar- Is it Josie? I can move her if you want, it should be her bedtime anyway.
Shawna- No... No.. You have a lovely daughter, really, but-
*Here we go, Gar thought*
Gar- Is it the dogs? They're Rigger's.
Shawna- No... You, um, you don't look quite like your profile picture.
Gar- Ah. Yeah.
Shawna- What did you say the accident was? Sorry, I'm intruding.
Gar- No, not at all... Pyrotechnics exploded, nasty, real pretty, but nasty...
*Of course. This was the third date he'd had this month, and the third to leave because of his burns. Gar never insulted her ventriloquist dummy...*
Shawna- Sorry, I think I should go.
*She grabs her coat and gets up to leave, passing Drury as she leaves, puppet in hand*
Drury- Gar?
Gar- Drury.
Drury- Sorry, is this a bad time?
*Gar glances at his date, now halfway up the driveway with no signs of stopping*
Gar- Nah, couldn't be better.
Drury- Find a Foe?
Gar- Yeah.
Drury- Ah, who needs 'em! You'll find someone! I did!
Gar- And every day I question it... here, come in. Got you those beers ya like.
*Gar hands him one. A Scottish import. Drury gratefully accepts it, and takes a sip*
Gar- This isn't a social visit I take it?
Drury- Heh... How could you tell?
Gar- You're a terrible liar for one thing.
Drury- Heh, so I've been told.
*Gar swigs his beer, and smirks*
Gar- We were lucky Drury. If you weren't mayor, they'd have shipped us off already. Me. You. Miranda. Those... Talons? They're just the first sign.
Drury- ... I need you Gar.
Gar- I know. I know. I'd burn that whole stinkin' place down if I could. Place is an eyesore. Psychos everywhere.
Drury- And our friends?
Gar- They're tough Drury. Think they haven't been through worse?
Drury- You're right, but this is Ra's Al Ghul we're talking about! I... I need a new team. Now that the Misfits are... divided.
Gar- That's one way of putting it. Who have you got in mind?
*Drury moves uncomfortably in his seat*
Gar- Ah. Him. Good luck.
*Gar rubs his ribs, remembering the scars Drury returns a wry smile. Gar didn't get a lot of visitors these days, so he couldn't help but keep Drury around, just a little longer*
Gar- Hey, I shouldn't be showing you this, but the editing team put together a trailer for Billings' film. Want a look?
Drury- Isn't it a little early into production?
Gar- Don't worry, they'll fix it in post.
*So they watch it. From it's poor CGI, to Killer Croc's cry of "Truly Billings you are the greatest" and Scarecrow admitting to Billings "You win, you beautiful man, you win!" the two watch the trailer in full. When it's finished, Gar turns to Drury expectantly*
Drury- Ohhh, it's like The Room.
Gar- What, no it isn't! That film's like a parody or something isn't it?
Drury- No, no it isn't.
....
Gar- Fuck, my film's The Room...
====Diner. Metropolis East-Side====
*A young waitress walks over to the four men in the corner booth, and pours them coffee. One, is a man in his late forties, small, skinny. He's greying, and wears a pair of small half moon glasses. The next man wears a long overcoat, gloves and a round cap, which covers his peculiar skin tone and pointed ears. The third is of African decent. His hair is slicked back, and his eyes are drawn to a pair of young men fighting outside. The fourth is hunched over, he's old, dressed in what looked like a silk dressing gown. The last towers over the first. He, like the waitress is a Spanish immigrant of some description*
Waitress- Can I get you anything to eat sirs?
*The small man looks at his cohorts. " Caesar salad. No dressing. No bacon please."*
*The others order the house special: Soup and a steak sandwich. The big man turns to the waitress and uncharacteristically smiles, talking with her in Spanish. She laughs, glancing at Kuttler before giggling again and walking over to the register
Kuttler- What did you say?
Bane- I said, "Best give this one that bacon He could use it"
Kuttler- I'm on the diet.
Bane- You should keep your strength up.
*His voice turns into a deep whisper*
Bane- Now, tell us about Brown.
Kuttler- *You* already know my thoughts on the matter. His type is a liability. Him, Nygma, Answer. They can't help but talk and spew clues. And, if he *does* cut a deal, there's no telling what-
Bane- Brown knows nothing about *this.*
Adam- I side with Kuttler. He knows about our existence. Is that not enough?
Sinestro- I say we're wasting time with this Cluemaster. Our priorities should lie with the Saviour Agenda and the Justice League, not "Arkham City." Let Earth's government have their fun. Why, have you seen the crime reports? All the most dangerous threats are under lock and key, and the second stringers who aren't are too afraid to step out of line out of fear of joining them. It *is* impressive.
Bane- Too impressive.
Sinestro- So long as they're not interfering with *our* plans, they can do what they please. *I'm* concerned about Flannegan.
Adam- Are you referring to that... Ratcatcher?
Sinestro- Yes I am. He flew off with one of my rings Adam, and now that lunatic is out there, using it for lord knows what.
Bane- No. Thawne said Flannegan wasn't wearing the ring.
Kuttler- You talked to Thawne? When? Why wasn't I-?
Bane- Last year. After that New Mexico... fiasko. That was Flannegan's work. And the Beast's.
Faust- It's true then. He's dead!
Kuttler- Not so loud...
Bane- I'm not so sure.
Sinestro- We'll have to make a decision shortly if we are to search for a replacement speedster.
Adam- He wouldn't like to be replaced.
Sinestro- Then the least he could do would be to attend our meetings. Where's Ocean Master?
Bane- The Amazon. Someone needed to deal with it.
*Faust finishes his coffee
Faust- Bah. Speedsters. They're overrated anyhow.
"Jesus said to him, "I will come and heal him."
New American Standard Bible (©1995)
..............
Please keep Vivian in your prayers...
Re: Viv
27 Jan 11, 6.28PM JST (below is the message I received from Viv)
I know this is sudden, but I will be going for surgery again, Monday, I had my Cat Scan results and my primary Doctor wanted me to contact my surgeon right away, and he has decided to go ahead & do this surgery now.... Today this morning at 6:00 I will be at the hospital at the pulmonary. They found a polyp and they are considering a Bronchoscopy to remove it & sending to the lab for biopsy.
If all goes well, I will return home tonight.
Love you very much,
Viv
God listens and will help Vivian recover. Say a prayer for Bobby to keep his heart strong, too. Please take a moment and include Vivian and Bobby in your prayers.
To: Vivian and Bobby...
Love ya, heaps of hugs and prayers,
Chris and Yoji
PS if you get a moment... stop by vivsirena and leave some love, too!
The funny thing is that we bought a book about tribes (Pokot, samburu, masai, etc) and..he was in the book! So we let it to him. The world is really small!
The Pokhot live in the Baringo and Western Pokot districts of Kenya and in Uganda.
There are two main sub-groups depending of their location and way of life. The first group consist of the Hill Pokot who live in the rainy highlands in the west and in the central south, and are mainly farmers and pastoralists. The second group is made up of the Plains Pokot who live in dry and infertile plains, with their cattles. A homestead is composed of one or more buildings for a man, his wife and children; eventual co-wives live in separate houses. The role of the community in teaching children ethical rules. Most of the Pokot are nomadic and thus have interacted with different peoples, incorporating their social customs.The Pokot are very proud of their culture. The Songs, storytelling, and decorative arts, especially bodily decoration, are very appreciated. They adorn the body with beads, hairstyling, scarification, and the removal of the lower central incisors. Pokot girls wear a beaded necklace made of the stems of an asparagus tree. Most Pokot have some knowledge of herbal medicine, so they often use these treatments along with those of the hospitals. They belong to the Kenya's Nilotic-speaking peoples. .
For the Pokot, the universe has two realms: the above is the realm of the most powerful deities—Tororot, Asis (sun), and llat (rain); and the below is the one where live humans, animals, and plants. Humans are responsible for the realm that they inhabit, but they rely upon divinities to achieve and maintain peace and prosperity. They worship many deities like the sun, moon and believe in the spirit of death.The Pokot communicate with their deities through prayer and sacrifice. They perform it during ethnic festivals and dances. Oracles are responsible for maintaining the spiritual balance within the community. They are superstitious and believe in sorcery, so sometimes they call on shielding lucky sorcery. They have prophets, either male or female, who foresee advise, usually by the means of animal sacrifices. His or her ability is considered as a divine gift. Clan histories recount the changes of location, through poetry and song, emphasizing the vulnerability of humans and the importance of supernatural powers to help them overcome hunger, thirst, and even death. Ceremonies mark the transitions in the people's social lives. Among these are: the cleansing of a couple expecting their first child; the cleansing of newborn infants and their mothers; the cleansing of twins and other children who are born under unusual circumstances; male and female initiation; marriage; sapana, a coming-of-age ceremony for men; and summer-solstice, harvest, and healing ceremonies. The most important rite of passage for most Pokot is circumcision for boys and clitoridectomy for girls. These rites consist of a series of neighborhood-based ceremonies, emphasizing the importance of having a good behavior. When boys are circumcised, they acquire membership in one of eight age sets. Women do not have age-sets. After excisions, for several months, girls have a white painting on their face and wear a hood made of blackened leather with charcoal and oil. This means they are untouchable until the lepan ceremony, that marks the passage to womanhood. Unlike other tribes, the Pokot keep the affiliation to their clan throughout their lives, there is no disruption with marriage. Surprisingly, the agreement before marriage is made by gift giving, from the groom and his family to the bride and her family, often over a period of years (and not the contrary). It often implies the gift of a combination of livestock, goods, and cash to the bride's family, and the allotment of milk cows and rights to land to the bride. The bond between a husband and wife lasts for 3 generations, after what marriages can take place again between the two groups. Polygamy exists but is not prevalent among men before 40. The spirits of the elder anticipate reincarnation in their living descendants: when a child is said to resemble the elder, the same name is given. Disputes are resolved in neighborhood councils and in government courts. Some of the sanctions include shaming, cursing, and bewitching.
© Eric Lafforgue
That is, fire him first, before he has the Constitution go completely up in flames.
I wanted to get this sign, but it wasn't until I got home and edited it on my computer that I noticed how the flags in the shot worked so well. This was shot not long before 11:00 AM. So things were just getting more interesting by this time.
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.