pay telephone


Caught off guard: who startled who  (Part 1 of 2)

At 11:15 am, Freshman, Brandice ‘Brandi’ Helling accompanied by her friend, Freshman, Lauren Waterbury, took a bathroom break and then went to call their moms on the pay phones near the drinking fountains in the front entrance lobby area. She was engaging her mother in conversation when she noticed an unidentified male student running from the west down the main hallway and out the main doors around 11:17 a.m. Brandi recalled hearing “popping” noises coming from the west end of the main hallway, describing them as being firecrackers that were definitely in the upstairs area of the high school.  She recalled several more students running down the hallway from the west end of the school and heard one yell “Somebody has a gun, get out!”  

Brandi not knowing what was going on, started to walk north down the hallway and that her friend Lauren dropped the receiver on the phone and went to the women’s  restroom.  Lauren later came back out and picked up the phone to continue to speak with her mother (her mother was on the line the entire time).  Brandi was north down the hallway, from Lauren’s position, near the counselor’s office.  Brandi then described hearing someone running down the hallway and that a white male came down the hallway and stopped abruptly near Lauren’s position at the pay phones. Lauren described this male as being very tall, wearing a long coat, had some type of black hat on and that his coat was pulled closed.  Brandi described the individual as appearing surprised to see Lauren there and Lauren’s presence surprised the individual so bad that as he was running down the hall he actually came to a screeching halt.  Brandi described the individuals footwear actually made some type of noise on the waxed floor as he stopped. 

Brandi stated that she knew it was Dylan Klebold but she did not know his name until after she saw media reports. She knew Dylan previous to this incident as being a student but she didn’t personally know him or know his name. She described Dylan as having an unidentified weapon in his right hand. The weapon was pointed at the floor and he was looking at Lauren.  He initially had a surprised expression on his face, then he started to smile.  Simultaneously, at this point, Lauren had turned and also saw Dylan standing just south of her at which point she dropped the receiver of the phone and started to run towards Brandi.  Brandi again saw several students running down the hallway toward the direction of the main office. Dylan looked toward these students, raised his weapon and then started firing down the hallway in the direction of the main office.  Brandi stated after this, she didn’t turn back, she just ran north and exited the northwest doors just across from the counseling office.  Brandi explained that as she was going out the doors, she heard the sound of gunfire and heard what sounded like either the pay telephones being shot or the glass doors near the main office being shot. She stated that when she exited the school, she could tell Lauren was running behind her, but once she got out of the school she lost sight of Lauren. Brandi ran north towards the baseball field and a friend of hers helped her over the fence. She then went to Clement Park where she later found Lauren.

In Brandi’s recollection, as she initially saw Dylan Klebold and after she observed him register Lauren there at the payphones, that she briefly made eye contact with him she knew she was in trouble and that’s why she turned and started to run out of the school. She later mentioned she couldn’t look at Dylan because she feared she would see him raise the weapon and shoot her and her only recourse was to attempt to get out of the building.

Part 2 to follow:  Lauren Waterbury’s account of events.

photo credit: tecnine

anonymous asked:

Hi, did u get a chance to watch the chicon main panel? Did Jared say papa when playing at being one of Jensen's twins? If so, I love it, 'cause Jensen always calls Jared daddy when talking about the kids. And at around 44min Jared was so blunt, Jensen was giving baby advice to Jay Z, like get to your home and the fisrt thing is ask her what she needs, and Jared was yeah and the first words out of her mouth are as long as you keep paying my telephone and my automoviles the baby and I are chill.

Hello, dear anon!

(10:00) Yeah, it sounds like he says “mama” first and “papa” a bit later. I wonder if there’s a pattern here? I usually pretty much ignore the kid talk when I’m watching these panels, so I haven’t been paying attention to the terms they use. This is definitely something that we should point our antennas at in the future.

(44:56) Jared is quoting a Destiny’s Child song, which is a fitting joke seeing as how Beyonce used to be part of that group. The song is about a leeching boyfriend that begs his girlfriend for money and favours, so if there’s shade in here, it’s towards Jay-Z. However, I think this was just a clever joke Jared came up with on the spot - no shade at anyone. I could be mistaken, of course, but that’s what I’m getting from it. :)

Thanks for stopping by, sweet anon! I hope your weekend is going well.

anonymous asked:

Did u watch the chicon main panel? Jared let it show how fed up he is with Cortese or it could be about Danneel too. At around minute 45 Jensen was asked what advice he would give Beyonce about twins, and he said it would be for Jay Z, like your first words should be what can I do for you, and then Jared went and HER first words should be as long as you keep paying my telephone bills and my automoviles the baby and I are chill. Look at Jensen's face he couldn't believe the shade

Hahaha! I love when Jared has no fucks to give! 

I really do think that was Jared getting a dig in at Cortese because when they went to the Winchester Mystery House she had made a crack how Jared’s face pays her bills (x). I know many just brushed that comment off as a joke, but I thought it was done in poor taste and it’s apparent that Jared found it a little fucked up as well.

Thank you for dropping in, nonnie!


USP Victorville is a federal maximum security prison for men, located in Adelanto, California. Victorville was designed to hold 960 inmates, but currently houses over 1400. Housing units were built in a rectangular shape, with 12 units of cells that are roughly 13x6.6 feet large, built for two men. It has been reported that a 3rd inmate sleeps on the floor. Victorville is surrounded by four separate layers of electrified chain link fence, which is fortified by rows of razor wire. Inmate’s communication with the outside world is limited. They e-mail with friends and family using the TRULINCS system which limits the amount of characters they can send, and they are not allowed to view or send pictures. Telephone time is limited to 15 minute calls, with a maximum of 5 hours of phone time per month. Inmates pay for their telephone time out of their personal finance accounts.
Victorville houses many of California’s most violent offenders, and those who are serving long or life sentences. Several high ranking gang members and mafia hit men are serving time at the facility. The prison has a long history of inmate violence and murder, much of which is gang or drug related. However the practice of keeping inmates three to a cell causes most of the daily violence between inmates. Because of the layout of the cell, the inmate who sleeps on the floor is directly in front of the toilet, so if someone has to use the bathroom, the inmate has to cover up with their blanket or get up and stand somewhere else. In any case, the likelihood of the third inmate getting beat down and going to the hospital is extremely high.  In 2005, one inmate’s throat was slashed, apparently over a debt of less than $10 worth of tobacco. In 2014, five separate murders occurred within a 9 month period. In April of 2016, an inmate was beaten to death in his cell, the cause of which is still ongoing.

anonymous asked:

Let's get married

Can you pay my bills?
Can you pay my telephone bills?
Can you pay my automo-bills?
If you did then maybe we could chill/get married

anonymous asked:

Sticky, if you were ever in the position (hwood famous) I hope you'd find a way to spill the tea.

Please, I told y'all already, I am ready and willing to sell out! I will cut out my tongue if you pay my bills, pay my telephone bills, pay my automo bills…

50 Questions with Hosoya Yoshimasa (part 1)

Hosoya Yoshimasa aka fan of Jackie Chan and person who became a seiyuu because he wanted to do a warp requested by anon

part 2 here

01. How did you decide to become a seiyuu?
The movie “Kidou Senkan Nadeshiko” that I borrowed from my friend during high school. Yamadera Kouichi, who I liked and still likes a lot, played a character named Hokushin, who has a scene where he warps, and I thought “I want to warp too,” which is the reason why I wanted to become a seiyuu.

02. Your debut work in anime?
I think my first was probably the role of a shuttle crew in “Gallery Fake”

03. Of all of your works, which character left you a strong impression?
Shichika Yasuri in “Katanagatari”

04. In the characters you are acting right now, what parts in them are similar to you?
Since I voice a lot of characters who are different from me, I think we share similar voice.

05. In all the acting you’ve done, what is the most memorable scene?
The scene when Togame died during the last episode of “Katanagatari”

06. Failures or memorable stories during recording sessions?
At my first anime recording I didn’t understand the meaning of bolding (*bold words can indicate phrasing, entrance, etc.*), so I acted slowly without considering the phrasing. Afterwards, my senpai mentioned it to me and I felt very embarrassed.

07. Do you have any rival or target seiyuus?
There was a lot in the past, but now I think I want to find more good qualities in myself and polish them. 

08. What would you do if you weren’t a seiyuu?
I think I would work in my friend’s bar. (*hosoyan in bartender outfit hmm*)

Keep reading

Why Kesha's Case Is About More Than Kesha

When I saw the outcome of Kesha’s court case last Friday, I felt sick. Actually sick — I wanted to ask my Uber to pull over so I could throw up in a New York City trash can. The photos of her beautiful face crumpled with tears, the legally necessary but sickening use of the word “alleged” over and over in reference to the assault she says she remembers so vividly — it all created a special brand of nausea that comes when public events intersect with your most private triggers. I last experienced this when Rolling Stone botched a campus-assault narrative and as a result left millions of women exposed to doubt. I cried in a mini-mall in Brussels, imagining all the college-age girls suddenly changing their minds about coming forward against their rapists.

If you haven’t been following the case: for the last year and a half, Kesha has been trying to get out of a contract with her former collaborator and producer Lukasz Gottwald, known professionally as Dr. Luke (not a professional doctor). She has been shackled by a ten-year-old contract to Gottwald’s company Kemosabe, a subsidiary of Sony that controls both her recording and publishing — her entire livelihood as an artist and businesswoman. Here’s the reason she wants out: Kesha says that for ten years Gottwald drugged, raped, and emotionally abused her and controlled her creatively and emotionally through threats and manipulations. She explained that her dealings with Gottwald ultimately exacerbated a life-threatening eating disorder, which required rehab. When she concluded that continuing to work with Gottwald would kill her, she came forward and asserted herself.

Now Kesha has requested an immediate injunction that would allow her to begin to record without Dr. Luke. I think this seems like a pretty reasonable request. While the allegations of sexual assault and emotional abuse cannot be proven definitively, I think Kesha’s words speak for themselves: “I know I cannot work with Dr. Luke. I physically cannot. I don’t feel safe in any way.”

Sony could make this go away. But instead the company has chosen to engage in a protracted legal battle to protect Gottwald’s stake in Kesha’s future. Although the company insists that Kesha and Gottwald never need to be in a room together and that he will allow her to record without his direct involvement, they are minimizing what Kesha says regarding how Gottwald’s continued involvement in her career would affect her physical well-being and psychological safety.

Sony could make this go away. But instead the company has chosen to engage in a protracted legal battle to protect Gottwald’s stake in Kesha’s future.

So let me spell it out for them. Imagine someone really hurt you, physically and emotionally. Scared you and abused you, threatened your family. The judge says that you don’t have to see them again, BUT they still own your house. So they can decide when to turn the heat on and off, whether they’ll pay the telephone bill or fix the roof when it leaks. After everything you’ve been through, do you feel safe living in that house? Do you trust them to protect you?

That explanation is really for the judge, Shirley Kornreich, who questioned why — if they could be physically separated as Sony has promised — Kesha could not continue to work for Gottwald. After all, she said, it’s not appropriate to “decimate a contract that was heavily negotiated.” Guess what else is heavily negotiated? The human contract that says we will not hurt one another physically and emotionally. In fact, it’s so obvious that we usually don’t add it to our corporate documents.

To be clear, Kesha’s case is about more than a pop star fighting for her freedom, or a $60 million investment in a shiny commercial career. It’s about more than whether Kesha can strap on her cool leotards and make another album, free from a man who she says terrifies her. It’s even about more than the systemic misogyny of the entertainment industry, or the way that women in music and film have long been controlled and coerced by abusive Svengalis and entities larger than themselves. (Think: the studio system of the ‘40s and '50s, when starlets were essentially chattel. Think: Ike and Tina Turner.) What’s happening to Kesha highlights the way that the American legal system continues to hurt women by failing to protect them from the men they identify as their abusers.

What’s happening to Kesha highlights the way that the American legal system continues to hurt women by failing to protect them from the men they identify as their abusers.

For example: 19 states in America still allow rapists to assert parental rights over children conceived through rape, yoking women (and their children) to their attackers for a lifetime, an unimaginable cycle of revictimization. But it’s real. The same man who violently assaulted you could get the right to cuddle the baby that resulted from that assault.

A huge part of Kesha’s argument rests on her lawyer’s assertion that Gottwald, potentially enraged by Kesha’s sexual-assault allegations, could make efforts to bury her subsequent albums, preventing her from publicizing and therefore profiting from her work. This kind of control is a cornerstone of domestic abuse, and it’s far too common: according to the National Network to End Domestic Violence, financial abuse is an aspect of approximately 98 percent of abusive relationships. When a woman is not in control of her financial destiny, either because her partner is the primary breadwinner or because he makes financial decisions for the entire family, her world is made minuscule. Her resources evaporate. Fear dominates.

That’s not the only way legal ties can make it impossible for a woman to escape her abuser. Someone I love very much has been engaged in a years-long battle to allow her and her young daughter to move closer to where her successful business is (and away from her abuser). If he can’t control her directly, he will attempt to make sure that her choices are actually his. In some cases, victims of domestic violence can even be evicted from their homes for calling the police on their abusers. Yup, there are laws that allow landlords to kick tenants out if the cops are summoned for disorderly conduct of any kind — doesn’t matter who the “disorderly” one was — and this affects poor women most frequently. It’s why 20 percent of homeless women say they are on the streets because of domestic violence.

These women deserve better. They do not choose to have their reputations pilloried and their characters questioned as a tactic for getting what they want. What if we realize that the women who come forward have everything to lose, whether they’re pop stars or single mothers?

The fact is, Kesha will never have a doctor’s note. She will never have a videotape that shows us that Gottwald threatened and shamed her, and she will never be able to prove, beyond the power of her testimony, that she is unsafe doing business with this man. And no, none of this was in her contract. But what man, what company endeavors to keep a woman saddled with someone who she says has caused her years of trauma, shame, and fear? Fighting this fight publicly and in the legal system has already changed the course and tenor of her career forever. The lack of perspective on the part of Sony — the inability to look at the worth of a woman’s platinum records versus the worth of her soul being intact — is horrifying.

The public outcry about Kesha’s case has been truly heartening: the swell of shock and indignation from fans and fellow performers alike. It wasn’t long ago that women in the public eye didn’t have a loose-enough leash to reach out and support one another, for fear of losing all they had worked so hard to create. Instead they quietly watched on their televisions, hoping they wouldn’t be next.

Those days are over.

They are fucking done.

We are not scared anymore of losing what we worked for, of being branded hysterical or difficult, of being targeted and silenced by men in power. The women in the music industry speaking out for Kesha are proof. And their words will reverberate, inspiring the young women watching them for clues about the good life to speak up too. Soon, no one will accept shame and fear as the status quo. And so, while Kesha is indefinitely silenced, her voice has never been louder.


Weekend Hashtag Project: #WHPtelephone

Weekend Hashtag Project is a series featuring designated themes & hashtags chosen by Instagram’s Community Team. For a chance to be featured on the Instagram blog, follow @instagram and look for a post announcing the weekend’s project every Friday.

The goal this weekend is to take creative photos and videos that feature telephones. Some tips to get you started:

  • Keep an eye out for unique or quirky telephones. Pay phones, rotary dials and even cell phones all come with the stories of their time and place. Experiment to see how you can bring that into the story you tell with your photo or video.
  • You can also use your mobile phone as the subject of your photo and as a framing device. Turn its camera on, turn up the brightness and hold it at a distance, then photograph it using a friend’s device.
  • The sound of a ringing telephone can convey a lot of different emotions. Think about the different sounds a telephone can make if you’re planning out a video.

PROJECT RULES: Please only add the #WHPtelephone hashtag to photos and videos taken over this weekend and only submit your own photographs and videos to the project. Any image or video taken then tagged over the weekend is eligible to be featured right here Monday morning!