1 SANDPIPER a Sons of Anarchy Story by Susan Fanetti

Total Page:16

File Type:pdf, Size:1020Kb

1 SANDPIPER a Sons of Anarchy Story by Susan Fanetti SANDPIPER A Sons of Anarchy Story By Susan Fanetti/laughingwarrior The roaring alongside he takes for granted, and that every so often the world is bound to shake. —from “Sandpiper,” Elizabeth Bishop Chapter 1: Chibs slammed his phone shut and stormed toward the clubhouse. He came up short. He wanted a drink—no, he needed a drink—but he didn’t want to go in there. Friday night. Place was crawling with ‘Eaters, and he was not in the mood. Dammit, Fiona. Dammit, dammit, dammit. That had been the latest—no, that had been the last—in a long series of bitter arguments with his old lady, who was rooted up to her righteous tight pussy in Irish soil. Jimmy O was dead, Kerrianne was grown and off at university—in medical school, for chrissakes—and still he could not get his woman to the States. He’d worked out a top-notch forged visa for her, cost him a bloody Queen’s ransom, and still nothing. Tonight, she’d finally said what was true. She’d made him face it. Fee, you’re me old lady. An old lady belongs with her man. Aye, Filip, she does. But I don’t. His wife, but not his old lady. Well, he’d be damned straight to hell before he divorced her. That much Catholic still ran deep in him. He stood in the middle of the T-M lot, angry and disconcerted, no idea what he wanted or where he wanted to be. Away. Drunk. That’s all he had. Fuck it. He’d go home, stop at the liquor store on the way. He went straight to his bike, ignoring Tig and Hap where they sat on the picnic table outside the clubhouse door, and took off, barely taking the time to strap on his helmet. -oOo- Still fuming, he stormed into Charming Package Liquor and headed straight for the Jameson. They kept the whiskey near the back of the store, and even that had him pissed off tonight. Christ, he was in a mood. He yanked a bottle from the shelf. 1 All he’d dealt with over the years—Jimmy taking Fee and him not being able to do shite about it, Jimmy raising his girl. All of it, and he’d stayed true to his old lady. Well, true in his heart, anyway. Christ, he was a sap. He’d sat on his arse all those years and let it happen. Sure, Jimmy was big news with the IRA, but he’d barely fought. Not for years. Finally slashing and killing that villainous son of a whore had been hugely satisfying. But the truth of it—the real, hard truth—was that, no matter how good the reasons, he’d sat by while Jimmy O’Phelan took his family. He hadn’t protected them—he’d thought so, but no. He’d told himself that by stepping aside he was keeping Kerrianne safe from the IRA and from Jimmy’s depravity. But that was a bag of shite. No wonder Fee was done with him now. He grabbed another bottle. He didn’t think one would be enough tonight. He turned and headed up to the counter. Just then, a woman yelled, “Dammit, please! It’s a local call! My cell is dead, and it’s important—like, life or death! Please! Be a human being and let me use the phone!” Desperation came off the woman’s voice in shards. A few rows of shelves separated Chibs from the front of the store, so he couldn’t see who’d spoken. He couldn’t hear Jonah, the guy behind the counter, reply, but he could tell the old man had said something, and it wasn’t what the woman wanted to hear. There was a metallic crash, and Chibs looked up into the round, convex surveillance mirror on the ceiling, to see long, golden hair and a long, loose floral dress; Jonah and his comb-over; and a spinning display of mini-bags of crisps—or chips, or whatever they were—lying on its side near the register. A lot of the bags had burst from the weight of the rack, which was in pieces. The woman was crying. Jonah, now, was yelling. “You’re paying for all that, you little bitch. If I have to take it out in trade!” In four long strides, Chibs came around the shelves and faced the scene. “Jonah.” Apparently, Jonah had forgotten Chibs was in the store, or he had never noticed. Now, he paled and took a step back. “Chibs. Hey.” Chibs walked up to the counter, stepping over the mess, and set his two bottles of Jameson down. Then he turned to the woman, who was getting control of her tears and eyeing him suspiciously. He pulled his prepay out and handed it to her. “Make your call, lass.” Her hands dropped away from her face, and she goggled at him, her eyes—deep blue, like sapphires—wide with shock. She had a spray of freckles over her nose and cheekbones. She was really quite lovely, despite the tears. Chibs’ eyes traveled downward. She was wearing a long, brown cardigan and a dress that looked like a big, flowered sack, so he had no idea if the body matched that lovely face. 2 “What?” He shook the phone a little. “Make your call. It’s alright.” She turned a bright, wide smile on him then—oh, really lovely it was—and took the phone from him. With a little nod toward the other side of the store, she silently asked if she could step away for some privacy. Chibs nodded and watched her go over to the chilled beers. He turned back to Jonah. “What d’we owe ya for the crisps—chips?” The old man looked at him over his trifocals. “We? Chibs, she’s just a drifter.” “How much?” He wasn’t in the mood to converse with the old fuck. He wasn’t sure himself why he was rescuing the damsel in the ugly dress, but he didn’t need to clear it with a sad case working second shift at a booze shop. “She broke the display, too. 200 bucks.” Not deigning to respond, Chibs peeled five twenties off his wad and laid them on the counter. “She’s even.” Jonah opened his mouth to protest, then closed it again after a good look at Chibs. After a pause, he found his balls and pointed to the bottles of Jameson. “What about the booze?” Chibs peeled two more twenties and set them down on the pile of bills. “Now I’m even, too.” He grabbed the bottles and turned away from the counter, almost clocking his distressed damsel, who’d come up behind him. New tears in her eyes and more worry on her face, she held out his prepay with a brave but faulty smile. “Thanks, really. That was so nice of you.” He took his phone and slid it back into his pocket. “No worries, lass. Everything sorted?” “Um, sure. I just have to—” She nodded toward Jonah. “No, lass. That’s sorted, too.” He smiled, and he saw her notice the scars bisecting his cheeks. She dropped her eyes as if she realized she’d been staring. “That’s—I don’t know what to say. Thank you.” “Welcome. You have a good night, love.” He took his fine Irish whiskey and headed out to his bike. There was an older station wagon, a Ford Taurus, mid-90s or so, parked in the lot near his Dyna. The back was packed to the roof. He put the Jameson in his saddlebags, and swung his leg over his bike. As he was putting his helmet on, his damsel came out and went to the beater Taurus. He watched, interested, as she opened the door to the back seat and leaned in. 3 There was a kid sleeping on the seat—a little girl. Chibs could see long, honey-blonde hair and a bit of a pink top. As he watched, his damsel fell to a squat just outside the car and put her head on the seat next to the child’s head. She was crying again. Clearly, big drama was happening over there. Drama Chibs didn’t need. He had plenty of his own. His best call was to head to his flat and proceed with his plan to drink until he forgot he’d ever known a woman named Fiona Larkin. He took off his helmet and dismounted. She didn’t notice him coming up on her, and when he bent down and put his hand on her back, saying, “Lass,” she almost leapt straight out of that ugly dress. “What do you want?” She stood and put herself between him and the little girl still sleeping, but beginning to stir, on the back seat. He hadn’t expected the belligerent tone. She was his damsel, after all. He’d done nothing but rescue her thus far. “Nothing. Just looks like you need some help.” “Well, I don’t. Thank you for what you did in there, but we’re fine now. Thanks, really.” She was tucked backwards between the car and the door, holding onto the door, protecting the kid like a mama bear. Chibs had had enough of a glimpse inside to know that they weren’t on a road trip. They were living in that station wagon. “I don’t mean to overstep, lass, but you look a fair stretch from fine.
Recommended publications
  • 2017 Information & Record Book
    2017 INFORMATION & RECORD BOOK OWNERSHIP OF THE CLEVELAND INDIANS Paul J. Dolan John Sherman Owner/Chairman/Chief Executive Of¿ cer Vice Chairman The Dolan family's ownership of the Cleveland Indians enters its 18th season in 2017, while John Sherman was announced as Vice Chairman and minority ownership partner of the Paul Dolan begins his ¿ fth campaign as the primary control person of the franchise after Cleveland Indians on August 19, 2016. being formally approved by Major League Baseball on Jan. 10, 2013. Paul continues to A long-time entrepreneur and philanthropist, Sherman has been responsible for establishing serve as Chairman and Chief Executive Of¿ cer of the Indians, roles that he accepted prior two successful businesses in Kansas City, Missouri and has provided extensive charitable to the 2011 season. He began as Vice President, General Counsel of the Indians upon support throughout surrounding communities. joining the organization in 2000 and later served as the club's President from 2004-10. His ¿ rst startup, LPG Services Group, grew rapidly and merged with Dynegy (NYSE:DYN) Paul was born and raised in nearby Chardon, Ohio where he attended high school at in 1996. Sherman later founded Inergy L.P., which went public in 2001. He led Inergy Gilmour Academy in Gates Mills. He graduated with a B.A. degree from St. Lawrence through a period of tremendous growth, merging it with Crestwood Holdings in 2013, University in 1980 and received his Juris Doctorate from the University of Notre Dame’s and continues to serve on the board of [now] Crestwood Equity Partners (NYSE:CEQP).
    [Show full text]
  • Television Academy Awards
    2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D.
    [Show full text]
  • The Work of the Critic
    CHAPTER 1 The Work of the Critic Oh, gentle lady, do not put me to’t. For I am nothing if not critical. —Iago to Desdemona (Shakespeare, Othello, Act 2, Scene I) INTRODUCTION What is the advantage of knowing how to perform television criticism if you are not going to be a professional television critic? The advantage to you as a television viewer is that you will not only be able to make informed judgment about the television programs you watch, but also you will better understand your reaction and the reactions of others who share the experience of watching. Critical acuity enables you to move from casual enjoyment of a television program to a fuller and richer understanding. A viewer who does not possess critical viewing skills may enjoy watching a television program and experience various responses to it, such as laughter, relief, fright, shock, tension, or relaxation. These are fun- damental sensations that people may get from watching television, and, for the most part, viewers who are not critics remain at this level. Critical awareness, however, enables you to move to a higher level that illuminates production practices and enhances your under- standing of culture, human nature, and interpretation. Students studying television production with ambitions to write, direct, edit, produce, and/or become camera operators will find knowledge of television criticism necessary and useful as well. Television criticism is about the evaluation of content, its context, organiza- tion, story and characterization, style, genre, and audience desire. Knowledge of these concepts is the foundation of successful production. THE ENDS OF CRITICISM Just as critics of books evaluate works of fiction and nonfiction by holding them to estab- lished standards, television critics utilize methodology and theory to comprehend, analyze, interpret, and evaluate television programs.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • Cinematic Specific Voice Over
    CINEMATIC SPECIFIC PROMOS AT THE MOVIES BATES MOTEL BTS A&E TELEVISION NETWORKS CHOZEN S1 --- IN THEATER "TURN OFF CELL PHONE" MESSAGE FX NETWORKS E!: BELL MEDIA WHISTLER FILM FESTIVAL TRAILER BELL MEDIA AGENCY FALLING SKIES --- CLEAR GAZE TEASE TNT HOUSE OF LIES: HANDSHAKE :30 SHOWTIME VOICE OVER BEST VOICE OVER PERFORMANCE ALEXANDER SALAMAT FOR "GENERATIONS" & "BURNOUT" ESPN ANIMANIACS LAUNCH THE HUB NETWORK JUNE STUNT SPOT SHOWTIME LEADERSHIP CNN NATIONAL GEOGRAPHIC CHANNEL SUMMER IMAGE "LIFE" SHAW MEDIA INC. Page 1 of 68 TELEVISION --- VIDEO PRESENTATION: CHANNEL PROMOTION GENERAL CHANNEL IMAGE SPOT GENERIC :45 RED CARPET IMAGE FOX BROADCASTING COMPANY HAPPY DAYS FOX SPORTS MARKETING HOLIDAY CAMPAIGN TELEMUNDO MEDIA MUCH: TMC --- SERENA RYDER BELL MEDIA AGENCY SUMMER BY BRAVO DESERT ISLAND :60 BRAVO GENERAL CHANNEL IMAGE CAMPAIGN COMPETITIVE CAMPAIGN DIRECTV DISCOVERY BRAND ANTHEM DISCOVERY, RADLEY, BIGSMACK FOX SPORTS 1 LAUNCH CAMPAIGN FOX SPORTS MARKETING LAUNCH CAMPAIGN PIVOT THE HUB NETWORK'S SUMMER CAMPAIGN THE HUB NETWORK ART DIRECTION & DESIGN: GENERAL CHANNEL IMAGE SPOT BRAG PHOTOBOOTH CBS TELEVISION NETWORK BRAND SPOT A&E TELEVISION NETWORKS Page 2 of 68 NBC 2013 SEASON NBCUNIVERSAL SUMMER BY BRAVO DESERT ISLAND :60 BRAVO ZTÉLÉ – HOSTS BELL MEDIA INC. ART DIRECTION & DESIGN: GENERAL CHANNEL IMAGE CAMPAIGN NICKELODEON HALLOWEEN IDS 2013 NICKELODEON HOLIDAY CAMPAIGN TELEMUNDO MEDIA NICKELODEON KNIT HOLIDAY IDS 2013 NICKELODEON SUMMER BY BRAVO DESERT ISLAND CAMPAIGN BRAVO NICKELODEON SUMMER IDS 2013 NICKELODEON GENERAL CHANNEL IMAGE SPOT --- LONG FORMAT "WE ARE IT" NUVOTV AN AMERICAN COACH IN LONDON NBC SPORTS AGENCY GENERIC: FBC COALITION SIZZLE (1:49) FOX BROADCASTING COMPANY PBS UPFRONT SIZZLE REEL PBS Page 3 of 68 WHAT THE FOX! FOX BROADCASTING CO.
    [Show full text]
  • Bamcinématek Announces the Main Slate for the Eighth Annual Bamcinemafest, a Festival of American Independents with 24 New York
    BAMcinématek announces the main slate for the eighth annual BAMcinemaFest, a festival of American independents with 24 New York premieres and one North American premiere, Jun 15—26 Opening night—New York premiere of Ira Sachs’ Little Men Closing night—New York premiere of Tim Sutton’s Dark Night Centerpiece—New York premiere of Todd Solondz’s Wiener-Dog Spotlight screenings—New York premieres of Ti West’s In a Valley of Violence and Jeff Baena’s Joshy The Wall Street Journal is the title sponsor for BAMcinemaFest, BAMcinématek, and BAM Rose Cinemas. Brooklyn, NY/May 10, 2016—BAMcinématek announces the complete main slate for the eighth annual BAMcinemaFest (Jun 15—26), hailed as “New York’s best independent film showcase” (The New Yorker). A 12-day festival presenting premieres of emerging voices in American independent cinema, this year’s lineup features 23 New York premieres and two North American premieres. "This year's annual snapshot of the best of American independent cinema is excitingly eclectic, ranging from a formally adventurous reimagining of post-World War I France to a vampy tribute to 60s erotica shot (and projected!) on 35mm film," says Gabriele Caroti, director of BAMcinématek. "We're thrilled to welcome the great Ira Sachs and Todd Solondz both who join us for the first time with this year's Opening Night and Centerpiece films Little Men and Wiener-Dog. And we're proud and honored to host our first three-time festival alumnus, Tim Sutton (Pavilion, BAMcinemaFest 2012; Memphis, BAMcinemaFest 2014), whose audaciously atmospheric Dark Night screens as this year's Closing Night film." “The Wall Street Journal is proud once again to join BAMcinemaFest in celebrating the work of dynamic new filmmakers,” says Gerard Baker, editor-in-chief of The Wall Street Journal.
    [Show full text]
  • Words and Images Matter NETWORK RESPONSIBILITY INDEX TABLE of CONTENTS
    A COMPREHENSIVE ANALYSIS OF TELEVISION’S LESBIAN, GAY, BISEXUAL, AND TRANSGENDER IMAGES. words and images matter NETWORK RESPONSIBILITY INDEX TABLE OF CONTENTS • TABLE OF CONTENTS TK EXECUTIVE SUMMARY 3 ABC 8 CBS 10 CW 12 FOX 14 NBC 16 ABC FAMILY 18 FX 20 HBO 22 HISTORY 24 MTV 26 SHOWTIME 28 TBS 31 TLC 32 TNT 34 USA 36 MORE CABLE NETWORKS 38 BIOS 41 EXECUTIVE SUMMARY The GLAAD Network Responsibility Index (NRI) is an evaluation of the quantity and quality of images of lesbian, gay, bisexual and transgen- der (LGBT) people on television. It is intended to serve as a road map toward increasing fair, accurate, and inclusive LGBT media representations. GLAAD has seen time and again how images of multi-dimensional gay and transgender people on television have the power to change public percep- tions. The Pulse of Equality Survey, commissioned by GLAAD and conducted by Harris Interactive, confirmed a growing trend toward greater acceptance among the American public. Among the 19% who reported that their feelings toward gay and lesbian people have become more favorable over the past 5 years, 34% cited “seeing gay or lesbian characters on television” as a contrib- uting factor. In fact when Vice President Joe Biden endorsed marriage equality this year, he cited the NBC sitcom Will & Grace as one of the factors that led to a better understanding of the LGBT community by the American public. As diverse LGBT images in the media become more prevalent, the general public becomes exposed to the truth of the LGBT community: lesbian, gay, bisexual and transgender Americans are parents and teachers, law enforce- ment and soldiers, high school students and loving elderly couples.
    [Show full text]
  • Annual Report 2013
    Annual report 2013 435216_Cover.Cs6.indd 1 Untitled-1 3 8/29/138/28/13 7:05 7:57 PM AM 435216_Cover.Cs6.inddUntitled-1 4 2 8/29/13 7:05 PM 8/29/13 2:38 PM Looking forward to the future 435216_PAGE 01.Cs6.indd 1 8/28/13 8:29 PM Dear Fellow Stockholder, move ahead of our peers. This unique culture allows us to attract and keep the best leaders and talent because it provides opportunities to grow and take on new challenges. That spirit will remain a cornerstone for us, to the benefit of our viewers, colleagues and investors. Shareholders of 21st Century Fox will see value driven by a commitment to bring consumers across the globe the very best stories in film and television, the greatest moments in sports, unrivaled TV news coverage, and an array of satellite products and services that deliver the world like never before. Our potential to expand our Rupert Murdoch, Chairman & Chief Executive Officer, 21st Century Fox franchises outside the U.S. is limitless, and, with many international markets still in their infancy, largely untapped. This past June, 21st Century Fox came into It is through this lens – dynamic content, global being as a separate public company, launching reach and entrepreneurial culture – that we view both a new era for a group of entertainment and the foundation and future of 21st Century Fox. While news entities that have time and again proven I’m not one to look back, the past 12 months have made to be among the most creative, innovative and me especially proud.
    [Show full text]
  • Decoding Deviance with the Sons of Anarchy
    Journal of the Scholarship of Teaching and Learning, Vol. 18, No. 2, June 2018, pp. 90-104. doi:10.14434/josotl.v18i2.22515 Decoding Deviance with the Sons of Anarchy Joseph Kremer Washington State University [email protected] Kristin Cutler Washington State University Abstract: This article explicates the ways that the popular television series Sons of Anarchy in conjunction with our content analysis coding tool can be used to teach theories and concepts central to Sociology of Deviance courses. We detail how students learned to understand deviance as a social constructed phenomenon by coding and analyzing the behaviors of their most liked and most hated Sons characters. Evidence extrapolated from students’ final projects, class discussions, and course evaluations suggests that this pedagogical technique creates a systematic teaching method enabling students to more actively engage in the course while enhancing connections to the course materials. Keywords: deviance, social construction of deviance, popular culture, content analysis Using television and film as a pedagogical tool in sociology is far from a new phenomenon. Scholars have attested to the fact that using television and film helps bring to life abstract sociological theories and concepts, helps to better engage students with course materials, and as a result stimulate their sociological imaginations (Burton, 1988; Champoux, 1997; Demerath III, 1981; Donaghy, 2000; Eaton & Uskul, 2004; Hannon & Marullo, 1988; Hutton & Mak, 2014; Khanna & Harris, 2015; Livingston, 2004; Loewen, 1991; Melander & Wortmann, 2011; Nefes, 2014; Trier, 2010; Wosner & Boyns, 2013). For example, when speaking to the benefits of using the cinema as a teaching tool Champoux (1999) states: “viewers are not passive observers.
    [Show full text]
  • KADM Productions Program Half Letter
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arida Amer (Kayla) is an Egyptian-American Actress who hails from Miami, Florida. Farida began her theatre career at age 4 when she realized acting was her calling. In 2014, Farida moved to Los Angeles to pursue acting full time while training at the prestigious American Musical and Dramatic Academy (AMDA). Since then, she has starred in many productions including August Wilson's King Hedley II, A Piece of My Heart by Shirley Lauro, and Noises Off by Michael Frayn. Film credits include Eyes of Deception (Sony Pictures), Elizabeth Blue, and Actors Anonymous with James Franco. Farida enjoys screenwriting, dialect work, and stage combat. As recent graduate of AMDA with a BFA in Acting, Farida is excited to create work that can lead the way for societal change with her new production company, and is currently developing several television projects. Eileen Grubba (Donna) is a lifetime member of the Actors Studio where her mentors include Barbara Bain, Allan Miller, Lou Antonio and Martin Landau.
    [Show full text]
  • Douglas Shaffer Produces the Real St. Nick Steve Peterson
    APRIL VOLUME 13 2013 ISSUE 2 THE PLAYERS MARKETPLACE Douglas Shaffer Produces The Real St. Nick PAGE 16 Steve Peterson Talks About Networking, Moving to L.A., and Summer Santas PAGE 22 FIND YOUR NEXT SCRIPT HERE! Getting the Right Script into the Right Hands® IT’S FAST AND EASY TO FIND THE SCRIPT OR WRITER YOU NEED ON INKTIP! Since 2003, at least 100 feature-length movies have in the trades and on national TV. Looking for that been made from writers and scripts found through great story that no one else has? Need to find the InkTip.com. We’ve been favorably mentioned perfect writer? Our company specializes in helping or inter viewed in just about every major U.S. producers (and other entertainment professionals) screenwriting and filmmaking magazine, as well as find good scripts and writers. YOU’LL FIND WHAT YOU NEED ON WWW.INKTIP.COM, A FREE SERVICE FOR ENTERTAINMENT PROFESSIONALS. Peruse this magazine, find the scripts/books you like, and go to www.InkTip.com to search by title or author for access to synopses, resumes and scripts! l For more information, go to: www.InkTip.com or call us at 818.951.8811. l To register for access, go to: www.InkTip.com and click Joining InkTip for Entertainment Pros l Subscribe to our free newsletter at http://www.inktip.com/ep_newsletters.php Note: For your protection, writers are required to sign a comprehensive release form before they can place their scripts on our site. They have no control over who is viewing their works.
    [Show full text]
  • Draft of Swpaca 2021 Conference Online
    DRAFT OF SWPACA 2021 CONFERENCE ONLINE 22 Feb 2021 – 26 Feb 2021 southwestpca.org 1 MON 22 Feb 2021 SWPACA 2021 Conference DRAFT Esotericism, Occultism, and Magic 1: Roundtable: Dark Psychedelia Mon, 02/22/2021 - 1:00 pm - 2:30 pm Zoom Room 1 Moderator: Erik Davis Erik Davis independent J. Christian Greer Harvard University Amy Hale Independent Scholar In her primer to esotericism Sane Occultism (1938), Dion Fortune declared “it may be axiomatic that any one who suggests the use of drugs for raising consciousness is definitely on the Left-hand Path.” Her appraisal seems particularly incongruous with respect to psychedelic culture, popularly identified with the promotion of peace, love, and mystical oneness. Popular appearances aside, Fortune astutely identified a potent subzeitgeist that subsequently emerged within the psychedelic milieu. This roundtable explores some of the psychedelic figures, movements, and teachings that draw upon an explicitly sinister aesthetic as their source of power. Dr. Erik Davis will excavate the weird fictions whose renewed popularity in the 60s and 70s helped construct a dark visionary template for the drug culture. Dr. James Riley will consider J.X. Williams’ allegedly “cursed” film The Virgin Sacrifice (1969) as an example of “acid horror”: a potent, talismanic mix of psychedelia and ritual imagery. Dr. Amy Hale will explore the unsettled spaces between object and subject that surround the dark psychedelic feminine, from the art and ritual of the mid-century magician Marjorie Cameron to the occult and violently speculative worlds of Tai Shani. Dr. J. Christian Greer will offer an analysis of the reception history of Charles Manson, who was hailed as a hero and inspiration for psychedelic ideologues in the 1980s.
    [Show full text]