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detunehauas · 23 days ago

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Thoughts On The Living Tombstone's Rust

the album 👇👇👇

Spoilers I guess?

My TLT Experience

Considering the fact I listened to The Living Tombstone (TLT) regularily before I properly got into music and have continued doing so likely means they're my most listened to band. Like any old 12 year old kid, I was hooked on the Five Nights at Freddy's (FNAF) songs, especially "Die in a Fire" and "I Can't Fix You". In fairness, I still like those songs today... though not too sure about the obsession over

"Pikachu's Lament (Red Version) [Instrumental] (Red Version (Instrumental))"

(why is it called that?)

I was very much used to TLT's wide range in genres from dubstep, ska to alt rock. Listening to zero_one in 2023(?) wasn't particularily jarring despite technically being a departure from their usual sound and considering that TLT now has a backing band, I was expecting to be prepared for rust...

i was not prepared for rust.

"Be Alone"

The funny thing about YouTube Music (and maybe spotify?) is that you can listen to TLT's songs before their premieres start. That's exactly what I did with "Be Alone" and on first listen I was struck by how compressed everything sounded. Not sure if it's also compression but the vocals also have a similar quality to them too. It took me a good while to figure out what zero_one was saying in the chorus.

In the grand scheme I wasn't too fussed because instrumentally the song is swell. The bass line was solid, akin to the ones in the verse of "Fly Home" and the pre-chorus of "Long Time Friends". The drops are very cool.

Lyrics are another story. Rust has good flow as always but the verses and choruses feel somewhat disconnected. With how angry the verse is, I expected that rage against the... corporation to continue into the chorus but it doesn't. Instead we have a hopeless plea over a dance beat, which is an interesting idea but I would of liked that plea to be answered in some way. Personally, I would fix this by having an acoustic version of the chorus play at the end of the song with zero_one's raw vocals. As a Korn fan, I think some crying would be nice too, though I get it if they don't wanna do that.

I also caught the premiere of "Be Alone" and I think it's a nice campy music video. It's very much understandable but I'm dissapointed that the tombsonas don't have grey skin but they make up for that with a fun music video with some good comedic bits with the governor becoming "Former Employee". It would be nice to have clearer shots of the band playing (especially Tesla beloved <3). Maybe even some fret board action but... well...

Guitar wise... uhhh... oh no. Where is it? zero_one was heavily guitar based and of course they have a backing band so it was suprising to hear a lack of guitar. Surely they wouldn't just abbandon the genre of their first album?

In conclusion, this song is good enough for me to put on loop but the lyrics can be embarrassing to listen in public.

"I Walk Ahead Of You"

...is what I was saying as I skipped the premiere. Jokes aside this song is dissapointing.

Guitar? Gone. Bass guitar? Gone. Clean vocals? Gone.

Inherentley, these aren't bad things to do. After all, you are talking to a fan of "Pikachu's La- I'm not typing that again. But this song doesn't really have much going for it.

Forgive me for being bad at genres but I think the song is a (pop?) house song, which I don't think TLT has done before, hence this song mostly not sounding like a TLT song. The one bit that does sound like TLT is the chromatisism during the bridge but that's incredibly insignificant.

TLT not sounding like TLT isn't the end of the world. After all zero_one was able to pull that off but this song lacks a catchy chorus and any memorable bits. The song is also way too short with the transition to the bridge feeling incredibly awkward since it feels way to early. The lyrics also rehash the same ideas of "Be Alone", that being the unfairness of society. A strange choice to make the chant be "I Walk Ahead Of You". Perhaps a line like "but they'll drop you as they call" (a great line I know /sarcasm) before the chorus specifying this line is spoken by a greedy person would make audiences more willing to join in.

To make this song stand out more than "Be Alone", I would lean into the lyrics of betrayal in the bridge and essentially make this song about the followers of populist leaders realising the lies they've been told and grappling with that. I'd imagine a house beat wouldn't fit that song though.

Ultimately, this song doesn't sound like TLT and is likely going to be a skip on the album.

"Malibu Pier"

I think I missed the premiere for this one which is a shame because I like this tune!

"Malibu Pier" actually features guitars! Review done.

Nah kidding.

This song covers a different but related topic to the previous two. The topic being, climate change. Unlike the other singles, "Malibu Pier" takes a less on the nose approach to the lyrics, invoking some powerful imagery showing the sheer power of nature, which is especially potent since previous tracks on the album have built up the rich as unstoppable.

Though I don't like how Rust's voice doesn't continue into the chorus. By that I don't mean staying for the entire chorus. It's more for smoothing out the transition.

Also (to steal an opinion from a random comment I saw) I'm not a big fan of the "Basics in Behavior [Blue Version] (feat. Or3o)" esque synth solo at the end of the song, because it's so ill fitting, especially considering the slow and cinematic ending of the piece. The older version (put a pin in that) instead repeats the chorus but without the lead vocal line which transitions better into the ending.

This song is in a more familiar style to TLT, that being synthwave but they still went with the more overly processed vocals. Like zero_one is already processed enough. Anyhow, especially considering the beach side nature of the song as well as the almost nostalgia for a place that's been destroyed, it felt quite fitting the genre choice, though the barbershop quartet teaser should have made it for the final song. The vocals during the chorus sound great regardless!

I feel mixed about the music video. Firstly, I'm not the biggest fan of the idea of the Tombettes because amatonormativity sucks. It's fairly cliche in it's pandering of the past but it's a dang fun watch with the band and the Tombettes getting up to anctics. It's also nice having the production fall apart at the end, mirroring the song by having what seems like a perfect world being brought to an abrupt end.

In my opinion, this song is strong lyrically and serviceable musically with a catchy chorus but would've benefited from a longer run time.

Bootlegs

It was at this point when I realised that there'd be bootlegs lying around on the web, so I started searching around. For now, I won't go into to too much detail of the bootlegs but I rather enjoyed "Somebody" and "Goliath" in particular. "Somebody", being a moody synthwave track and "Goliath" potentially being similar to "Long Time Friends" on zero_one respectively, so I was hoping they would stay in those forms rather than conforming to the released tracks. There was also a demo of a song called "Kill Us All" and I wasn't particularily interested in its trap beats but I did appricieate a more direct call to action in its lyrics.

There was also...

"Orphans"

I still find it funny that I went out of my way to listen to this at a dessert restaurant and boy was it worth it because it survived the Rustification. (it even has a guitar!)

Orphans is about the people who have been abandoned by society and their desire to make their voices heard. Lyrically this one's more in line with TLT's usual lyrics. No major hiccups besides "Nothing to lose because we lost it all before" which doesn't work because it's a bit pointless and features the repetition of "lose" words.

There isn't much to point out musically expect for the differences between it and the bootlegs. The main differences is in the vocals where there's some ethereal backing vocals an octave up in the verses, a doubling(?) of the final chorus an octave down and a slide down on the note "drown". All these are great additions to the song. Though the doubling of the final chorus feels a bit confusing. Interestingly enough the chorus reminds me of the closer "Chosen" from zero_one.

The music video is well made and everything but is just kinda boring really. That shot of the car driving towards the crowd is cool though. The unclear shots of the band less so. The transition and such to the album cover and release date was cool but I CANNOT take that album cover seriously. It's so "we live in a society" coded.

Anyways, I certainly did put this song on loop a good few times thanks to it's catchy chorus and chants.

The Leadup to Rust

The community really didn't take kindly to the reveal of the tracklist. Why? Because none of the songs were over 3 minutes long. I was suprised about this complaint but in fairness TLT songs usually last 3 mins long. All singles, expect for "I Walk Ahead Of You" (and agruebly Orphans but that feels too short to be a bridge) lack bridges and post-choruses.

Bridges have been the most iconic moments of TLT songs such as "No Mercy (feat. BlackGryph0n & LittleJayneyCakes)", "Drunk" and the post-chorus of "It's Been So Long" in itself is probably the 2nd most iconic melody TLT has made. Having a few songs that lack more complex structures, is fine in the context of singles. It's just the concern that there'll only be one or two more songs with these complexities. Despite liking the cinematic endings of "Malibu Pier" and "Goliath", I do wish that these structures were used part way through the song rather than just at the end. They almost feel like cheats to get those songs over a certain length.

Another thing the community was ticked off by was the ommision of "Shut The Hell Up" and "Under The Sun", which were teased by the band previously. Oddly enough "Shut The Hell Up" sounded more similar to "Sunburn", whilst "Under The Sun", the literal sequel to "Sunburn", sounded more like a zero_one B-side and a bit like Weezer but I'm not sure how exactly. The cut of a follow up of such an iconic track certainly struck a nerve with the fandom but the fact that they replaced them with a 1:36 song ("This Will Be Our Year") really rubbed salt in that wound... or nerve I guess?

It was an interesting choice them cutting those two more rocky songs huh... I'm sure that's not a sign of anything to come.

i love you too

A few days before the release of Rust, I was looking around TLT's YouTube posts and found that Yoav had released a solo EP called i love you too via his side project SugarVision. The EP seems to be mostly hyperpop with a tearout song in between, which I was quite suprised by since TLT's last dubstep song was probably in 2017. Lyrically, it's more in the spirit of zero_one with it's themes of loneliness, betrayal and depression. Added to the mix we've got some neurodivergence and childhood in the context of adulthood. It's a very different listen for me since I don't know much about hyperpop and have only just started listening to tearout but it was a pleasant suprise. My faves of the EP are "Don't lie to Me", "Believe me" and "Overload Overwhelmed", though the last one is a bit repetitive. I was a bit dissapointed that Yoav's probably gonna leave the tearout for his solo work but am glad that his dubstep phase wasn't just a phase.

"Kill Us All"

"TEAR OUT??!!! DUBSTEP?!?! I DUNNO BUT IT SOUNDS GOOD" is probably what was going on in my head when the tune started. They've got the St. Anger snare and everything! Although, I'd imagine the rest of the fandom isn't gonna be too happy.

Lyrics are better than most of the album with, as said before, calls to direct action against the state but they removed some lines from a bootleg, which made it feel more direct in its critisism of the inaction of the democrats in the US. Though we did get the line "They're preparing for a massacre. Last chance while the Panzer's still got gas in her", which I very much enjoy.

Some of the other lyrics are a bit on the nose like "the grand experiment is done, it got cancer" and the refrain "they wanna kill us all". I do like the delivery though which I initially thought was zero_one but was actually Rust. Rust just sounds so angry on this track and I feel the processing on the vocals actually helps in this case. It explains why all the other songs' vocals are overly processed.

The visualiser is kinda mid though.

In conclusion, this song is a far depature from TLT's usual sound but itches my dubstep loving ears. Lyrically it can be cheesey but backs it up with some clever wordplay and calls to action.

"Somebody"

This was a great track to choose to tease the release date, especially considering it's the closest stylistically to "Orphans" and that it's one of the better tracks.

Initially I liked the song mostly for its ending, but upon examining the lyrics I've grown to enjoy it more. On previous listens, I just took the song to be about somebody (ba doo chhh) who lived the life of a model citizen but in doing so they feel they lack a purpose. Upon further listens, the focus on masculinity, partiotism, violence and the imagery of "boys lining up" invokes the idea of serving in the military, which feels more interesting than my previous reading though both are valid of course.

Rust really can scream as shown in the outro but it's quite dissapointing that the Tom Morello type guitar work by Armstrong didn't make it into the leadup of the drop. Thankfully the vocal harmonies of the 2nd verse stayed intact. The music video of Rust running is also fun but it does take away from my military reading.

In summary, this tune sounds rather generic but backs it up with more interesting lyrical ideas and a memorable outro.

"Rust"

"Rust" from Rust is NOT sung by Rust.

Well okay. Rust does sing in the last pre-chorus but it does strike to me as odd. I do like hearing zero_one have a larger part though but I'm not a fan of the effects used here. It could be due to being dumb, but I'm dissapointed that the track doesn't really connect to the character of Rust that much and is rather an extended metaphor for justice and how exposing lies and corruption brings about justice. I apriceiate how they don't state justice to be inevitable because it isn't.

Musically, it's... Imagine Dragons? I dunno what genre it is exactly but I like the guitar arpeggios as well as those bass chugs, especially in verse two. The drop is cool and screams TLT, but some singing from Rust would've made sense for the climax of the piece.

The visualiser sucks.

This song invokes some interesting imagery but the vocal effects are hard to listen to and the Imagine Dragons stadium rock style instrumental puts me off. It's also very dissapointing how it only touches on the story of Rust.

"Boulder"

5/8. YES. I mean uh.. this song is about wanting to be free from a life of endless, repetitious, passionless employment that you cannot leave no matter how hard you try. It's fine lyrically. Not much interesting imagery though. There is the boulder but I'm pretty sure they just did that cause it was a meme back in the days haha.

Musically we've got another tear out (I think?) track which has sick drops but has otherwise uninteresting verses, especially considering verse two doesn't really add too much. Kinda wished the delivery in the chorus was more clearer. The 5/8 for this song actually makes sense cause it can get exhausting to count. It's a cool sound though, especially with the triplet figures in the chorus.

The visualiser is quite entertaining to watch but could've used different animations for Rust being sent back down.

"Boulder" has a catchy instrumental hook and stands out with its use of 5/8 but the vocals in the chorus fail to make the song memorable.

"Goliath"

Look how they massacared my boy... ok it's not that bad really. "Goliath" is about oppression under a regime. It honestly doesn't do too much interesting with the idea. The "I'm not a statistic" line could've been expanded upon more showing how media misrepresents oppression around the world but instead we just get alot of words just saying "this regime is cruel and powerful and I want to defeat them". For the longest song on the album, it is dissapointing that it doesn't contain that much actual lyrical substance.

The album makes mention to religion in "Somebody" and "Boulder" and having "God doesn't love me" as the main line in this song makes it dissapointing that they didn't go further with the topic. For context, I myself am religious but it's undeniable the harms that have been perpetuated by organised religion. The use of religion in "Goliath" and "Boulder" come off more than edgy than anything.

Despite being a bit cheap in places, I quite liked watching the music video. Didn't quite understand everything but it was a very striking art style with its mix of styles and use of monochrome. I especially liked the shot in the final chorus where they put down one of the deers with the calculated symmetry of the shot being thrown off by the corpse falling over. It would've been nice if the song itself followed the story told by the video.

Originally, I heard the live performance of "Goliath" and was expecting it to be in TLT's more usual style like "Be Alone" but was dissapointed to hear that it was sounding more so like "I Walk Ahead Of You". However, the song still sounds pretty good despite that. The main bass line of the song is very traditional TLT as well as those ska chords. I'm also a fan of how Rust delivers of those lower lines throughout the song. It's very graveley and lowkey attractive? (don't judge me, don't judge me, don't judge me) Also a fan of how Rust delivers "I want" in "I want the regime to fall".

Despite my problems with the lyrics, I do still rather like the song's more traditional TLT sound.

"This Will Be Our Year"

Dare I say this is a better closer than "Chosen"? Listening to this tune feels similar to Weezer's "Butterfly", which also covers a sophomore album that's significantly different in sound and themes than the debut. The two songs are also more slow paced, acoustic, bitter sweet tunes. The song also reminds me of TLT's Kingdom Hearts song "Memory", which I'm a big fan of... though I dunno much about Kingdom Hearts.

Musically, the chord progression of the song is nice, Rust's singing is on point and the whistling, which leads into the explosion, sounds very raw. Though I do struggle to decide whether ending the album with a couple being bombed is clever or unnecessarily cruel. Oddly enough, this song covers the topic of "Goliath" better than it could since it covers specific individuals in a conflict areas rather than more general groups experiencing oppression.

This song is a great tune to close an otherwise mixed album with a subdued ballad with a heart wrenching ending.

Summary

Sonically, Rust is a bold step from the band into a more modern electronic sound, which edges on pop at times. In doing so it abbandons the more rock band based tunes that they've established with their debut album and touring. Many of the songs have also lost the harmonic and ska elements that make TLT stand out making the album sound generic. The lyrics of the album are more unfocused and impersonal than zero_one but somewhat successful at not coming off as too edgy (the album cover doesn't help). This results in most songs feeling very one note expect for "Malibu Pier", "Somebody" and "This Will Be Our Year".

I strongly suspect this album won't be looked on as fondly as zero_one but since TLT has attracted an audience of outcasts, I don't expect the album to completely flop, cause it'll likely resonate with them. Personally, my favourites of the album are "Kill Us All", "Goliath" and "This Will Be Our Year" because of their catchy instrumentals. "I Walk Ahead Of You" is my only skip.

In conclusion, this doesn't sound like a TLT album but it is serviceable enough.

Hasn't stopped me from listening it 10+ times though...

Despite that I can't wait for Armstrong!!!

#/op #tlt rust #the living tombstone #thoughts #review #music #album review

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staytruetonorthch · 2 years ago

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08.24.23

Honorable Mentions

Three posts simply were not enough for last week, but alas, I am only one person and my attention span is only so long (ADHD kicks my ass on the daily, but we soldier on through the obsessive minutes of productivity and the hours long spells of procrastination). That’s all to say, I’d love to rapid fire through a few thoughts before tomorrow’s drops because it’s going to be a doozy this week. Jaguar II, Yours Truly Deluxe, Miley, and if I’m feeling generous, I might even give Aubrey a listen. Let’s hop in >>>

Better Things – Aespa: I personally like this sound on Aespa. It fits their voices well; they shine the most when they can flex their vocal technique. It’s clean and the video reflects the brightness. Now, does it suffer from the SM Ent. trademark tone shift and break*? Absolutely. But as per usual, once you get past the first listen and you expect it, it’s not as jarring, [*I’ll go into more depth about this in a different post but iykyk]

HOT TO GO! – Chappell Roan: This blurb is more of an excuse to celebrate the fact that an album is finally coming for the Pink Pony Club. For all of the girls, gays, and theys, if you’re not on Chappell, don’t walk, RUN. After a string of clever, charming, and just damn catchy singles, she’s finally announced her debut album. HTG! Is just as fun and poppy as the rest boasting a chant along chorus that is impossible not to join in. This is a win for people who a) are hot, b) love pink, and c) are kind of annoying, but did I mention the hot part? Go listen.

Rainy Days – V: I’ve touched on this a little, but I’m just so charmed by V as an artist. I think there’s a clear vision here and it’s a little melancholy, but so warm it feels like the sadness is immediately being nursed by the most comforting hug. Some solo stans are upset about the general reception or lack thereof, but I think we’ve got to look at a few key factors here– Taehyung is doing the promo he wants. He’s mentioned that the company would do more, but he just wants to take the simple route, which I believe is indicative of the genre. Point blank period, R&B does not get the same reception as Pop songs. It’s just the nature of the beast. As I’ve mentioned, some songs are formulated to be radio smashes and they absolutely kill because that’s what they’re designed to do. V is making the music he wants knowing that there’s going to be a muted response and he’s cultivating a space for that. You either rock with it, or you don’t. I for one cannot wait to be cozy listening to this album in the fall. Which brings me to my one grievance: this is not the music to release (even pre-release) in Summer. Pumpkin spice lattes aren’t even available yet, and we’re looking for rainy days. In Min Hee Jin we trust (I know a lot of people have issues with her, and I probably will never go out of my way to speak about NwJns because some of them are minors and I do not wish to engage minors, but you cannot deny that she curated a great second mini album for them that will transition from Summer to Fall seamlessly) and I know this album is going to be very well produced and he doesn’t necessarily have a ton of say in when he is able to release for various reasons, but I do wish the winter bear was able to reclaim his season.

New Dance– XG: This one is kind of cheating timeline wise, but I don’t have a ton of thoughts. The song is a well produced homage to the early 2000s hip hop we all (hopefully) know and love. The easy acoustic rhythm and well handled rap verses are easy listening at its finest. I wish this was the follow-up to ‘Grl Gang’ instead of ‘TGIF’ so that it could’ve been released a little earlier in the Summer (I guess I’m not getting over this season thing, but I really think it makes the difference.) There’s a lot of potential here, maybe even another 2000s legend collab could’ve happened earlier in the Summer. Tap Nelly to give you a verse a la ‘Ride With Me’ which this song clearly calls back to. It works for XG to draw on nostalgia to draw in their audience. Once you’ve got the eyes, experiment on the album which isn’t coming for a while yet.

Now for the real rapid fire>>>

Unreal Unearth – Hozier: When the woodland fairy king comes a callin’, I answer. There are some bangers on this one.

AR - EP – Addison Rae: I only listened to the Charli XCX feature because of course, but I’m a little intrigued to listen to it? From what I can tell, the gays have claimed Ms. Addison, which I’m not fully sold on, but I can’t say the marketing isn’t there. Might listen for science.

[TBR] Snow Angel – Renee Rapp: I like her as a person, therefore I need to give this the time of day before I listen to Addison. I’m always going to favor queer representation over a cosign.

So much music, so little time, but I’m so enamored with the machine. Until tomorrow x

#hi #music thoughts #v #kth #rainy days #aespa #better things #chappell roan #xg #kea blog

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damnesdelamer · 4 years ago

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Recommended reading for leftists

Introduction and disclaimer:

I believe, in leftist praxis (especially online), the sharing of resources, including information, must be foremost. I have often been asked for reading recommendations by comrades; and while I am by no means an expert in leftist theory, I am a lifelong Marxist, and painfully overeducated. This list is far from comprehensive, and each author is worth exploring beyond the individual texts I suggest here. Further, none of these need to be read in full to derive benefit; read what selections from each interest you, and the more you read the better. Many of these texts cannot truly be called leftist either, but I believe all can equip us to confront capitalist hegemony and our place within it. And if one comrade derives the smallest value or insight herefrom, we will all be better for it. After all... La raison tonne en son cratère. Alone we are naught, together may we be all. Solidarity forever.

***

(I have split these into categories for ease of navigation, but there is plenty of overlap. Links included where available.)

Classics of socialist theory

Capital (vol.1) by Karl Marx Marx’s critique of political economy forms the single most significant and vital source for understanding capitalism, both in our present and throughout history. Do not let its breadth daunt you; in general I feel it’s better to read a little theory than none, but nowhere is this truer than with regards to Capital. Better to read 20 pages of Capital than 150 pages of most other leftist literature. This is not a book you need to ‘finish’ in order to benefit from, but rather (like all of Marx’s work) the backbone of theory which you will return to throughout your life. Read a chapter, leave it, read on, read again. https://www.marxists.org/archive/marx/works/download/pdf/Capital-Volume-I.pdf

The Prison Notebooks by Antonio Gramsci In our current epoch of global neoliberal capitalism, Gramsci’s explanation of hegemony is more valuable than much of the economic or outright revolutionary analyses of many otherwise vital theory. Particularly following the coup attempt and election in America, as well as Brexit and abusive government responses to Covid, but the state violence around the world and the advent of fascism reasserts Gramsci as being as pertinent and prophetic now as amidst the first rise of fascism. https://abahlali.org/files/gramsci.pdf

Imperialism: The Highest Stage Of Capitalism by V.I. Lenin Like Marx, for many Lenin’s work is the backbone of socialist theory, particularly in pragmatic terms. In much of his writing Lenin focuses on the practical processes of revolutionary transition from capitalism to communism via socialism and proletarian leadership (sometimes divisively among leftists). Imperialism is perhaps most valuable today for addressing the need for internationalist proletarian support and solidarity in the face of global capitalist hegemony, arguably stronger today than in Lenin’s lifetime. https://www.marxists.org/archive/lenin/works/1916/imp-hsc/imperialism.pdf

Socialism: Utopian And Scientific by Friedrich Engels Marx’s partner offers a substantial insight into the material reality of socialism in the post-industrial age, offering further practical guidance and theory to Marx and Engels’ already robust body of work. This highlights the empirical rigour of classical Marxist theory, intended as a popular text accessible to proletarian readers, in order to condense and to some extent explain the density of Capital. Perhaps even more valuable now than at the time it was first published. https://www.marxists.org/archive/marx/works/1880/soc-utop/index.htm

In Defense Of Marxism by Leon Trotsky It has been over a decade since I have read any Trotsky, but this seems like a very good source to get to grips with both classical Marxist thought and to confront contemporary detractors. In many ways, Trotsky can be seen as an uncorrupt symbol of the Leninist dream, and in others his exile might illustrate the dangers of Leninism (Stalinism) when corrupt, so who better to defend the virtues of the system many see as his demise? https://www.marxists.org/archive/trotsky/idom/dm/dom.pdf

The Conquest Of Bread by Pyotr Kropotkin Krapotkin forms the classical backbone of anarchist theory, and emerges from similar material conditions as Marxism. In many ways, ‘the Bread book’ forms a dual attack (on capitalism and authoritarianism of the state) and defence (of the basic rights and needs of every human), the text can be seen as foundational to defining anarchism both in overlap and starkly in contrast with Marxist communism. This is a seminal and eminent text on self-determination, and like Marx, will benefit the reader regardless of orthodox alignment. https://libcom.org/files/Peter%20Kropotkin%20-%20The%20Conquest%20of%20Bread_0.pdf

Leftism of the 20th Century and beyond

Freedom Is A Constant Struggle: Ferguson, Palestine, And The Foundations Of A Movement by Angela Davis This is something of a placeholder for Davis, as everything she has ever put to paper is profoundly valuable to international(ist) struggles against capitalism and it’s highest stage. Indeed, the emphasis on the relationship between American and Israeli racialised state violence highlights the struggles Davis has continually engaged since the late 1960s, that of a united front against imperialist oppression, white supremacists, patriarchal capitalist exploitation, and the carceral state. https://www.docdroid.net/rfDRFWv/freedom-is-a-constant-struggle-pdf#page=6

Postmodernism, Or, The Cultural Logic Of Late Capitalism by Frederic Jameson A frequent criticism of Marxism is the false claim that it is decreasingly relevant. Here, Jameson presents a compelling update of Marxist theory which addresses the hegemonic nature of mass media in the postmodern epoch (how befitting a tumblr post listing leftist literature). Despite being published in the early ‘90s, this analysis of late capitalism becomes all the more pertinent in the age of social media and ‘influencers’ etc., and illustrates just how immortal a science ours really is. https://is.muni.cz/el/1423/jaro2016/SOC757/um/61816962/Jameson_The_cultural_logic.pdf

The Ecology Of Freedom: The Emergence And Dissolution Of Hierarchy by Murray Bookchin I have not read this in depth, and take issue with some of Bookchin’s ideas, but this seems like a very good jumping off point to engage with ecosocialism or red-green theory. Regardless of any schism between Marxist and anarchist thought, the importance of uniting together to stem the unsustainable growth of industrialised capitalism cannot be denied. Climate change is unquestionably a threat faced by us all, but which will disproportionately impact the most disenfranchised on the planet. https://theanarchistlibrary.org/library/murray-bookchin-the-ecology-of-freedom.pdf

Why Marx Was Right by Terry Eagleton I’ve only read excerpts of this; I know Eagleton better for his extensive work on Marxist literary criticism, postmodernity, and postcolonial literature, so I’m including this work of his as a means of introducing and engaging directly with Marxism itself, rather than the synthesis of diverse fields of analysis. But Eagleton generally does a very good job of parsing often incredibly dense concepts in an accessible way, so I trust him to explain something so obvious and self-evident as why Marx was right. https://filosoficabiblioteca.files.wordpress.com/2018/12/EAGLETON-Terry-Why-Marx-Was-Right.pdf

By Any Means Necessary by Malcolm X Malcolm X is one of the pre-eminent voices of the revolutionary black power movement, and among the greatest contributors to black/American leftist thought. This is a collection of his speeches and writings, in which he eloquently and charismaticly conveys both his righteous outrage and optimism for the future. Malcolm X’s explicitly Marxist and decolonial rhetoric is often downplayed since his assassination, but even the title and slogan is borrowed from Frantz Fanon.

Feminism and gender theory

Sister Outsider: Essays And Speeches by Audre Lorde The primary thrust of this collection is the inclusion of ‘The Master’s Tools Will Never Dismantle The Master’s House’, probably Lorde‘s most well known work, but all the contents are eminently worthwhile. Lorde addresses race, capitalist oppression, solidarity, sexuality and gender, in a rigourously rhetorical yet practical way that calls us to empower one another in the face of oppression. Lorde’s poetry is also great. http://images.xhbtr.com/v2/pdfs/1082/Sister_Outsider_Essays_and_Speeches_by_Audre_Lorde.pdf

Feminism Is For Everybody by bell hooks A seminal addition to Third Wave Feminist theory, emphasising the reality that the aim of feminism is to confront and dismantle patriarchal systems which oppress - you guessed it - everybody. This book approaches feminism through the lens of race and capitalism, feeding into the discourse on intersectionality which many of us now take as a central element of 21st Century feminism. https://excoradfeminisms.files.wordpress.com/2010/03/bell_hooks-feminism_is_for_everybody.pdf

Gender Trouble: Feminism And The Subversion Of Identity by Judith Butler Butler and her work form probably the single most significant (especially white) contribution to Third Wave Feminism, as well as queer theory. This may be a somewhat dense, academic work, but the primary hurdle is in deconstructing our existing perceptions of gender and identity, which we are certainly better equipped to do today specifically thanks to Butler. Vitally important stuff for dismantling hegemonic patriarchy. https://selforganizedseminar.files.wordpress.com/2011/07/butler-gender_trouble.pdf

Trans Liberation: Beyond Pink Or Blue by Leslie Feinberg Feinberg is perhaps the foundational voice in trans theory, best known for Stone Butch Blues, but this text seems like a good point to view hir push into mainstream acceptance where ze previously aligned hirself and trans groups more with gay and lesbian subcultures. A central element here is the accessibility and deconstruction of hegemonic gender and expression, but what this really expresses is a call for solidarity and support among marginalised classes, in a fight for our mutual visibility and survival, in the greatest of Marxist feminist traditions.

The Haraway Reader by Donna Haraway Haraway is perhaps better known as a post-humanist than a Marxist feminist, but in all honesty, I am not sure these can be disentangled so easily. My highest recommendation is the essay ‘A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century‘, but it is in many ways concerned more with aesthetics and media criticism than anything practical, and Haraway’s engagement with technology has only become more significant, with the proliferation of smartphones and wifi, to understanding our bodies and ourselves as instruments of resistance. https://monoskop.org/images/5/56/Haraway_Donna_The_Haraway_Reader_2003.pdf

Postcolonialism

The Wretched Of The Earth by Frantz Fanon Perhaps my highest recommendation, this will give you better insight into late stage (postcolonial) capitalism than perhaps anything else. Fanon was a psychologist, and his analyses help us parse the internal workings of both the capitalist and racialised minds. I don’t see this work recommended nearly enough, largely because Fanon’s Black Skin, White Masks is a better source for race theory, but The Wretched Of The Earth is the best choice for understanding revolutionary, anti-capitalist, and decolonial ideas. http://abahlali.org/wp-content/uploads/2011/04/Frantz-Fanon-The-Wretched-of-the-Earth-1965.pdf

Orientalism by Edward Said This is probably the best introduction to postcolonial theory, particularly because it focuses on colonial/imperialist abuses in media and art. Said’s later work Culture And Imperialism may actually be a better source for strictly leftist analysis, but this is the groundwork for understanding the field, and will help readers confront and interpret everything from Western military interventionism to racist motifs in Disney films. https://www.eaford.org/site/assets/files/1631/said_edward1977_orientalism.pdf

Decolonisation Is Not A Metaphor by Eve Tuck and K. Wayne Yang In direct response to Fanon’s call to decolonise (the mind), Tuck and Yang present a compelling assertion that the abstraction of decolonisation paves the way for settler claims of innocence rather than practical rapatriation of land and rights. The relatively short article centres and problematises ongoing complicity in the agenda of settler-colonial hegemony and the material conditions of indigenous groups in the postcolonial epoch. Important stuff for anti-imperialist work and solidarity. https://clas.osu.edu/sites/clas.osu.edu/files/Tuck%20and%20Yang%202012%20Decolonization%20is%20not%20a%20metaphor.pdf

The Coloniser And The Colonised by Albert Memmi Often read in tandem with Fanon, as both are concerned with trauma, violence, and dehumanisation. But further, Memmi addresses both the harm inflicted on the colonised body and the colonisers’ own culture and mind, while also exploring the impetus of practical resistance and dismantling imperialist control structures. This is also of great import to confronting detractors, offering the concrete precedent of Algerian decolonisation. https://cominsitu.files.wordpress.com/2020/05/albert-memmi-the-colonizer-and-the-colonized-1.pdf

Can The Subaltern Speak? by Gayatri Spivak This relatively short (though dense) essay will ideally help us to confront the real struggles of many of the most disenfranchised people on earth, removing us from questions of bourgeois wage-slavery and focusing on the right to education and freedom from sexual assault, not to mention the legacy of colonial genocide. http://abahlali.org/files/Can_the_subaltern_speak.pdf

Wider cultural studies

No Logo by Naomi Klein I have some qualms with Klein, but she nevertheless makes important points regarding the systemic nature of neoliberal global capitalism and hegemony. No Logo addresses consumerism at a macro scale, emphasising the importance of what may be seen as internationalist solidarity and support and calling out corporate scapegoating on consumer markets. I understand that This Changes Everything is perhaps even better for addressing the unreasonable expectations of indefinite and unsustainable growth under capitalist systems, but I haven’t read it and therefore cannot recommend; regardless, this is a good starting point. https://archive.org/stream/fp_Naomi_Klein-No_Logo/Naomi_Klein-No_Logo_djvu.txt

The Black Atlantic: Modernity And Double Consciousness by Paul Gilroy This is an important source for understanding the development of diasporic (particularly black) identities in the wake of the Middle Passage between African and America, but more generally as well. This work can be related to parallel phenomena of racialised violence, genocide, and forced migration more widely, but it is especially useful for engaging with the legacy of slavery, the cultural development of blackness, and forms of everyday resistance. https://dl1.cuni.cz/pluginfile.php/756417/mod_resource/content/1/Gilroy%20Black%20Atlantic.pdf

Imagined Communities: Reflections On The Origin And Spread Of Nationalism by Benedict Anderson This text is important in understanding the nature of both high colonialism and fascism, perhaps now more than ever. Anderson examines the political manipulation and agenda of cultural production, that is the propagandised, artificial act of nation building. This analyses the development of nation states as the norm of political unity in historiographical terms, as symptomatic of old school European imperialism. Today we may see this reflected in Brexit or MAGA, but lebensraum and zionism are just as evident in the analysis. https://is.muni.cz/el/1423/jaro2016/SOC757/um/6181696/Benedict_Anderson_Imagined_Communities.pdf

Discipline And Punish: The Birth Of The Prison by Michel Foucault Honestly, I am not sure if this should be on this list; I would certainly not call it leftist. That said, it is a very important source to inform our perceptions of the nature of institutional power and abuse. It is also unquestionable that many of the pre-eminent left-leaning scholars of the past fifty years have been heavily influenced, willing or not, by Foucault and his post-structuralist ilk. A worthwhile read, especially for queer readers, but take with a liberal (zing!) helping of salt. https://monoskop.org/images/4/43/Foucault_Michel_Discipline_and_Punish_The_Birth_of_the_Prison_1977_1995.pdf

Trouble In Paradise: From The End Of History To The End Of Capitalism by Slavoj Žižek Probably just don’t read this, it amounts to self-torture. Okay but seriously, I wanted to include Žižek (perhaps against my better judgement), but he is probably best seen as a lesson in recognising theorists as fallible, requiring our criticism rather than being followed blindly. I like Žižek, but take him as a kind of clown provocateur who may lead us to explore interesting ideas. He makes good points, but he also... Doesn’t... Watch a couple youtube videos and decide if you can stomach him before diving in.

Additional highly recommended authors (with whom I am not familiar enough to give meaningful descriptions or specific recommended texts) (let me know if you find anything of significant value from among these, as I am likely unaware!):

Theodor Adorno (of the Frankfurt School, which also included Herbert Marcuse, Erich Fromm, and Walter Benjamin, all of whom I’d likewise recommend but with whom I have only passing familiarity) was a sociologist and musicologist whose aesthetic analyses are incredibly rich and insightful, and heavily influential on 20th Century Marxist theory.

Sara Ahmed is a significant voice in Third Wave Feminist criticism, engaging with queer theory, postcoloniality, intersectionality, and identity politics, of particular interest to international praxis.

Mikhail Bakhtin was a critic and scholar whose theories on semiotics, language, and literature heavily guided the development of structuralist thought as well as later Marxist philosophy.

Mikhail Bakunin is perhaps the closest thing to anarchist orthodoxy. Consistently involved with revolutionary action, he is known as a staunch critic of Marxist rhetoric, and a seminal influence on anti-authoritarian movements.

Silvia Federici is a Marxist feminist who has contributed significant work regarding women’s unpaid labour and the capitalist subversion of the commons in historiographical contexts.

Mark Fisher was a leftist critic whose writing on music, film, and pop culture was intimately engaged with postmodernity, structuralist thought, and most importantly Marxist aesthetics.

Che Guevara was a major contributor to revolutionary efforts internationally, most notably and successfully in Cuba. His writing is robustly pragmatic as well as eloquent, and offers practical insight to leftist action.

Hồ Chí Minh was a revolutionary communist leader of the Democratic Republic of Vietnam, and a significant contributor to revolutionary communist theory and anti-imperialist practice.

C.L.R. James is a significant voice in 20th Century (especially black) Marxist theory, engaging with and criticising Trotskyist principles and the role of ethnic minorities in revolutionary and democratic political movements.

Joel Kovel was a researcher known as the founder of ecosocialism. His work spans a wide array of subjects, but generally tends to return to deconstructing capitalism in its highest stage.

György Lukács was a critic who contributed heavily to the Western Marxism of the Frankfurt School and engaged with aesthetics and traditions of Marx’s philosophical ideology in contrast with Soviet policy of the time.

Rosa Luxemburg was a revolutionary socialist organiser, publisher, and economist, directly engaged in practical leftist activity internationally for a significant part of the early 20th Century.

Mao Zedong was a revolutionary communist, founder and Chairman of the People’s Republic of China, and a prolific contributor to Marxism-Leninism(-Maoism), which he adapted to the material conditions outside the Western imperial core.

Huey P. Newton was the co-founder of the Black Panther Party and a vital force in the spread and accessibility of communist thought and practical internationalism, not to mention black revolutionary tactics.

Léopold Sédar Senghor was a poet-turned-politician who served as Senegal’s first president and established the basis for African socialism. Also central to postcolonial theory, and a leader of the Négritude movement.

***

I hope this list may be useful. (I would also be interested to see the recommendations of others!) Happy reading, comrades. We have nothing to lose but our chains.

#original #leftism #leftist #Marxist #Marxism #socialist #socialism #literature #reading list #critical theory

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al3x1ss · 5 years ago

Text

Cheerleader Captain {HCs}

Includes: Terushima, Oikawa

THIS IS WRITTEN WITH A GENDER NEUTRAL READER!

Authors Note: This is a sort of collab with @lexysclubhouse based on our conversations LMAO, but seriously go check hers out!

If a part 2 is wanted, leave an ask!

Warnings: Cursing

Terushima

aLRIGHT KIDS LETS GET TO IT

also hello go check out Lexy’s part of this (collab? Idfk)

you two probably met while he was in practice, but since you’re the cheer captain, you needed to get the last jacket for one of your competitions coming up

so they’re on a water break and they just see a random person come in like

👀

are you lost baby gorl 😏

ANYWHO

Terushima comes up to you smirk and all

“Hey gorgeous, you lookin for me?”

You just look up at this man

Bored as hell

And you’re just SILENT

sO HES JUST LOSING CONFIDENCE LMAO

“No.”

YOU JUST SHOVE PAST HIM

HOMEBOY LOOKS LIKE A LOST PUPPY

so you go to your coach, and immediately a smile comes of your face

and he’s like oh my god

Angel 🥺

so you talk with your coach, get the jacket and say goodbye to her

jacket w a v i n g in the wind behind you like there’s literally a fan on but there’s not?

you’re just so cool to him

so he has already fallen like

IMMEDIATELY

was trying to find you but he can’t

He’s over here thinking you’re a 3rd year from how mature you were

(You’re a second year hehehehe)

so the next time he sees you, YOURE at practice!

His team wasn’t told that their gym was gonna be used for a little before practice

So his team got their early and saw your team doing a routine to “Livin’ La Vida Loca”

ONCE AGAIN HE HAS FALLEN IN LOVE AND CANT GET OUT

DUDE

YOU WITH YOUR POM POMS?

YOUR HIPS

MF ALMOST GOT A NOSEBLEED SHIT

LIKE IT WASN EVEN EROTIC

YOJ WERE JUST SO STUNNING AND COOL LIKE SHIT

HE FELT LIKE A LITERAL NERD

the words “I don’t deserve their oxygen” full on came out from his mouth

ONE OF HIS TEAMMATES JUST STARTED WHEEZING LIKE

OH MY GOD

THEIR CAPTAIN?

W I M P

Like you’re practicing in sweats but shit I mean I’d simp 😳

About 2 weeks later he hears about you guys winning your competition

At this point you kind of know him? Like after that small interaction the cheer team and volleyball team were introduced to eachother

Especially since you were going to be cheering at prelims in 2 months

So the next day he pulls you aside and confesses

Stuttering and ALL

HE GOT YOU FLOWERS

LIKE HE GOT ROSES CUZ HES A BASIC BITCH

BUT LEAVE HIM ALONE HES TRYING 🥺

Shit I’d KILL to get flowers from someone

especially him

okay lex not the time

HE TAKES YOU ON A DATE TO THIS REALLY CUTE DINER

YOU KISS HIS CHEEK AT THE END OF THE NIGHT EIRHHTHTYN

YOU LUCKY MF I LOVE HIM SO MUCH

literally the first conversation was about his tongue piercing

And he got REALLY self conscious

BUT

YOU HAD ONE TOO?

WHICH WAS SUPER COOL

LIKE OMG TWINSIES

like of course you took it out for comps and stuff but for just hanging out you had it in

You look so hot with it to him

so two weeks pass and it’s pre-lims!

At this point you’re one of Johzenji’s favorite couples

Like why didn’t y’all get together sooner you cute as FUCK

So you guys are doing a small routine while Terushima goes up to serve

ITS THE SAME LIVIN LA VIDA LOCA ROUTINE LMAO

MANS IS JUST HOLDING THE BALL STARING AT YOU

NOT KNOWING THAT THE WHISTLE BLEW ALREADY

AND THEN HE SNAPS OUT IF IT REALIZING HIS 8 SECONDS WERE UP

HE LITERALLY G A V E A POINT TO THE OTHER TEAM BECAUSE YOU WERE SO PRETTY

Now between switching sides after losing the 1st set, you walk up to him

He’s just staring at you smirking

“So, you wanna talk about that serve?”

“OH IM SOOOOORY, my pretty baby was just so beautiful, I couldn’t look away.”

THIS MAN DOESNT WALK AWAY

HE MF S K I P S

YOURE RED AS HELL

PRETTY BABY?

BEAUTIFUL?

UGH

Oikawa

heheh HES WEARINT MY NUMBER I ALWAYS SCREAM AT THIS

OKAY SO I HAD A DRESM AB THIS

AND I LOVED IT

SO ITS HAPPENING

ENJOY

OKAY

here’s what I’m thinking

Terushima HAS a cheerleading partner?

Oikawa HAD a cheerleading partner

Your schedules just never lined up and it was a mutual break up!!

You guys broke up about 3 months ago so the awkwardness is basically gone?

Like y’all are friends ya know

And yeah both of you do both still think about it randomly

mostly oikawa 👀

So they’re at practice and you come in SPRINTING

LIKE BOYS ARE ABOUT TO BLOW THE WHISTLE TO START A GAME AND THEY JUST SEE YOU ZOOM

SO EVERYONES JUST KINDA WATCHING LMAO

you don’t come out of the office for a while so they end up starting the game

you wanna know who’d up to serve

Oikawa :)

boy serves RIGHT when you come out

Like the universe was like “oh? let’s scare the mother loving SHIT out of ‘em!”

literally hits the wall next to you

“OIKAWA TOORU GET YOUR ASS OVER HERE!”

MAN FREEZES

like shit

He was already gonna get scolded by iwa

but you?

he comes up to you with his arms behind his back, his eyes obviously terrified

“Do you know what you just did?”

“Yes.” 🥺

“And do you realize what you’re gonna do?”

“Yes.”

“Good.”

Homeboy has never eeen this side of you so he’s terrified.

And when you go to walk away he realizes you’re wearing a captains jacket

“Wait, Y/N, you got promoted?”

“Oh, yeah, I tried for it like a month ago.”

“Congratulations.”

he kinda just stares at you walk out like

Me?

oIKawA tOoRU

missing my ex?

n e v e r

okay maybe sometimes

so the next time he sees you they’re at the prelims against date tech

And he seems you come in in your uniform

wOOSH 🥰

So you guys lock eyes and y’all wave at eachother

you can see his face is r e d so you’re smiling

the game starts, you guys doing simple cheers, but as they get to the transition to the second set, you guys start doing a cheer to “Idol” by BTS that you choreographed

And seeing you as a captain?

H I T THIS MAN

HIT IT TIL IT BREAKS TYPE BEAT

he literally paused to stare at you, iwa was like

“GET YOUR SHIT TOGETHER AND DROOL AFTER THE GAME”

stan iwa honestly y’all would make fun of him together whenever you guys had time to hang out

So, end of prelims, they lost to Karasuno

And you’ve been to his house maybe a few times when you guys were dating?

so you remember where it is

his mom?

kinda shocked to see you?

especially in a cheerleading uniform since she never realized you did that?

but you were talking about how you just wanted to see him

so you go upstairs and into his room and he’s just in the corner with his alien plushy sobbing

Your heart is breaking at this point for this man

You go and sit beside him, him not really acknowledging you

“Tooru, I’m really really proud of you and what you’ve become. That will not be the last time you’re on a court, and I will make sure it that as long as I live.”.

he turns to you and turns his alien pushy, instead clinging onto you

You can feel your uniform getting soaked, but you run your fingers through his hair anyway, giving him forehead kisses

after a while of crying, he lifts his head to look at you, eyes still very puffy

You look at him back and you give him a small smile

And he puts his hand on your chin

Gotta get that kiss kiss after missing you for so long

SOFT MAKEOUTS WITH OIKAWA OKAY

so here you guys are at about 2am

Talking about how you missed eachother

“Y/N, I really want to get back together with you.”

😳

“Who would I be to say no to an offer like that?”

You guys go to school the next day

Give the rest of Seijoh 4 sQUEEZES

cuz they deserve it I love them dearly

on Saturday you guys actually went on a date!!

you wanna know what song came on the radio

MF IDOL

HE TURNS TO YOU GRINNING AND GOES

“Ya know you looked really cute doing this cheer, might want to see it again~”“OIKAWA TOORU I WILL NOT HESITATE TO CRASH THIS CAR”

End note: “Just a Friend to You” begins in two days and I’m v excited! (Once again thank you for 100 notes!) (self promotion ✨) But in all seriousness, please go check out Lexy’s stuff! She’s a great writer and is so sweet ❤️

~ Lex 🖤🤍

#haikyuu!!#haikyuu #haikyuu headcanons #haikyuu x reader #oikawa headcanons #oikawa tooru #oikawa x reader #oikawa tooru x reader #terushima headcanons #terushima yūji #terushima x reader #terushima yuji x reader #haikyuu oikawa #haikyuu terushima #Royal Flush

219 notes · View notes

its-bound-to-get-loud · 4 years ago

Text

Michael Clifford hair timeline

As some of you might know, this blog started from the frustration of missing certain things in the 5SOS fandom. I’m a 1D fan, I’m used to seeing masterposts about anything and everything. That’s very much not the case in the 5SOS fandom. So I figured, if it’s not here, I might as well go and do it myself. A while back I came to the conclusion there doesn’t seem to be a proper detailed timeline of Michael’s hair journey. So of course, I decided to make one. I heavily underestimated the amount of time this would cost, but I (mostly) had fun making this. So, now I would like to present you with the finished result. It should have every hair color ever in here, but if I somehow missed something or got something wrong, please let me know. I’ve tried my best to be as thorough as possible, but I only became a fan in 2020 and basically had to work my way through 5SOS history for this.

I used Michael’s instagram as a guide and filled in the gaps with interviews, tour diaries, etc. Thankfully he documented most of his hair changes on instagram, which made my job a little easier. So let’s get going!

I have combined 4 pictures into a collage, to prevent having to post close to 50 pictures below each other. The order of every collage is left to right, top to bottom.

So we start with Michael’s natural hair color,. This is a picture I found on Google, I have no idea about the exact date. But this is his natural hair before he started dying it. The next picture is the very first time he dyed his hair, this was a red-ish brown. This picture was posted on January 2 2013. Then later on in the same month he decided to dye his hair darker, to a chocolate brown, which he posted a picture of on January 27. His first bold color happens about a month later. On March 30 2013 he posted this picture of himself with dark blue hair and some lighter blue highlights in his fringe.

The next change comes June 19 2013. When the blue has been mostly removed, you can tell there’s some blue left in the fringe from the highlights, and the rest of his hair still has a blue-green tinge to it. This picture is a screenshot from the 5SOS vs. food video, Michael did post a picture of it on instagram captioned: “when I went blonde for a day”, but the color of that one is quite saturated. So is a better representation. After that, we move on to galaxy hair! The first picture with this hair was posted on instagram on June 19 2013. I thought this was a separate color from the 3rd picture in this collage, but it’s possible it’s the light playing tricks. Picture 3 was posted on June 26, exactly a week after the previous one. On July 6 we move on to the next change, bleach blonde! I think this is the first time he bleached his whole hair. Since the previous color’s were all darker than his own hair, he wouldn’t necessarily have needed bleach. As seen in the first picture of this collage, his hair wasn’t bleached yet. Except for the highlighted fringe. I assume a color removing product was used to get most of the blue dye out, because he said he went blonde “for a day”, which doesn’t indicate fading to me.

The bleach blonde seem to stay for a while, because the next change is almost 3 months later. September 28 2013 brings the reveal of the smurf blue hair. This obviously fades over time, leaving a light, almost pastel blue color as seen in the screenshot I included from their Australia/New Zealand tour diary, opening for One Direction. As October 21 comes around we get a brand new color, bright pink! This faded into a pastel pink as can be seen in the screenshot from this thank you video, posted on November 24.

Up next is reverse skunk, as posted on instagram on November 26 2013. This seems to last a good while, because the next change doesn’t come until 2014, judging by this twitcam from January 18 where the reverse skunk hair is still present. February 10, is when this picture of the purple hair was posted. Moving on to March 21, we get dark red, or maybe dark brown with red highlights, it’s hard to pinpoint what exactly this color is. There is no instagram picture for this one, so I’ve used a screenshot from the 5SOS Livestream to show this one. While writing this I discovered in this video, posted on March 13. where his hair was also this color already. The 4th screenshot from the Don’t Stop video, to demonstrate how long their hair lasted. The video was released May 18 2014. So I’m assuming it was filmed somewhere in (late) April.

The next hair color in line is brown, the picture in this collage was posted to on May 18. However, going back through Michael’s instagram it seems like he already had this color at the start of the There’s No Place Like Home tour in Sydney, on April 30 2014. It’s likely he dyed it right before the start of tour. The next change comes a little quicker, the earliest I could pinpoint this brown/blonde combo is May 18 at the Billboard music awards 2014. I can’t pinpoint, when exactly he got it done, but I’m assuming it was close before the BBMA’s. Moving on, we’re getting to the iconic green hair era. Again it’s hard to pinpoint when he exactly got it. There’s only 1 picture of it on his instagram, which was uploaded in July. The picture I used is from the Capital Summertime Ball 2014, held on June 21. The website describes it as “his new green hair”. So I’m assuming this is where he debuted it. After green we get this mystery lilac type color. I only found it in this Target Prank video on the 5SOS Youtube channel. Since they are promoting 5SOS1, which was released June 27, 2014, the video can be narrowed down to late June, early July of 2014. That’s as close as I could get it. I even went back to check if maybe they pre-filmed this in february/march and this was the faded purple hair, but the timeline still holds up.

September 1 2014 is when we see a new hair color appear on instagram. For (what appears to be) the video of Good Girls Michael bleached his hair to a white blonde. A better picture is the screenshot from the Good Girls video I included. The next change we see is on September 4 at the 5SOS performance for the iTunes festival 2014. This means that either he bleached his hair a while before September 1 or it was just a transition before the red with the orange undertone. This color fades throughout September judging by the pictures on instagram. I probably should have included one in here, but you can easily find them if you look for them. However on September 29 it seems the color got a refresh, looking nice and bright again.

The first picture in this collage, posted December 17 2014, shows the hair fading again. Then on December 18, at the People Magazine Awards the hair seems refreshed again. It looks to me as if the color has a slightly less orange undertone as well. But that’s hard to determine from 1 picture. The next picture, posted February 4 2015 shows the red has once again faded. After the red he moves on to this purple color. The first time we see it on instagram is February 18 in a video from the studio. The picture used for illustration was posted on February 27.

A better view of the violet/purple hair can be seen in the screenshot from the Japan Tour Diaries part 1. In part 2 you can already see the color fading again. The next picture, posted February 28 2015 shows and even more drastic fade, where his hair has turned almost blonde again. Then around March 15 his hair goes fully white blonde again. At the start of the ROWYSO tour in Portugal, May 4, Michael’s hair is still blonde. However 2 days later in Spain, on May 6, he seems to be back to a violet/blue color, like he had previously.

Then May 24 2015 we move to the next change, (jet) black hair (sorry, it had to be done). On July 16 a touch of color is brought into the hair, with addition of a few colorful streaks in his fringe. right on time for the start of the next leg of the ROWYSO tour that starts in Las Vegas. On July 23 he seems to have added a feather extension in the mix. This may have just been a temporary thing, because I can’t find any further evidence of this beyond the 1 instagram picture. Then August 29 brings a drastic change. From black we move back to blonde.

The blonde seems to last for quite some time. Judging by this performance of Hey Everybody, his hair was still blonde on November 11 2015 (the video was uploaded on the day of the performance, I checked). But then November 22 brings us red hair at the American Music Awards. Judging by other pictures on his instagram this seems to be a more true (less orange) red than in 2014. The red slowly fades, first to a more orange toned color in Bali (picture posted January 2 2016). And eventually it fades all the way to blonde wint a soft hint of red/pink in the 3rd picture, posted January 25 2016. Shortly after he premieres a teal hair color at the G’day USA red carpet on January 28.

The teal color sticks around for a while, even during the first leg of the SLFL tour. The last I saw of it was on March 12 2016, at the Philippines show. Then in between the Asian and Euopean leg the color changes from teal to brown, as seen at the Sheffield SLFL show on April 5. Then in the break between their last Dublin show (April 27) and their Vienna show (May 12) he bleaches his hair again. After this the era of Michael frequently coloring his hair seems to be done. He stays blonde, at some point he grows it out until only the long parts of his hair are still blonde. As can be seen in this picture posted on October 16 2017. Then at the start of the Meet You There Tour in Japan (August 2 2018) the colored hair makes a brief return with this pink moment. It doesn’t seem to last long however, since I can’t find a lot about it after Japan. So it may have been a temporary thing.

October 9 2018 he posts the first picture in this collage. It’s very possible this is faded pink from the previous picture. Or maybe he dyed it a lighter shade later on. After this the colored hair stops, but we do occasionally get various shades of blonde. The second picture, from November 16 2018, shows a caramel tone to his hair. In the third picture, posted on October 21 2018, we see sort of a dirty blonde. We end this timeline the way we started, back to natural hair. because of quarantine the bleached blonde grew out and eventually disappeared once he cut it. So we have come full circle. We started with natural hair and we are ending it with natural hair. If we get any more changes in the future I will be sure to add them to the timeline.

Finally, a few facts, for fun.

In total, Michael has had 29 color changes in a span of roughly 8 years.*

He’s had the most colors in 2013 and 2014 (both years he’s had 8 different colors)

The orange red was the color he had the longest, 150 days to be precise (based on the information available).

* Not counting fades or the “blonde for a day. Since they are part of 1 color or were just used to transition to another color. Also not counting the various shades of bleached blonde in the last collage, since it’s hard to tell if they are actually different, or if it’s light. I did count the transition from blonde to natural.

#5 Seconds Of Summer #5SOS #Michael Clifford #hair timeline #Michael hair

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chiseler · 4 years ago

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Ginger Rogers: Curse of the Working Class

A natural-born mimic, ham, tease, hard worker, stoic follower and out-of-reach babe, Ginger Rogers has proven one of the most difficult to define of all the 1930s Hollywood stars. At her best she was a synonym for fun and high spirits while also conveying a dignified and skeptical kind of resistance to other people, and these contradictory impulses made her one of the most special and ambiguous performers of her time. Rogers excelled in her first seven musicals with Fred Astaire and in several of her comedy vehicles and even in some of the programmers she churned out in the early 1930s. She was beloved, and rightly so.

In Stage Door (1937), Rogers gives one of the most distinctive, most suggestive, and most perfectly judged performances of the period, molding every one of her bone-dry, wisecracking line readings (and what lines she has in that movie!) into something pleasurable, something unexpected, even something profound, delivering them all with her guarded, in-transit sort of face.

I’ve seen Stage Door probably more times than I’ve seen any other movie, but I always notice something new in it, some new line, some new angle. As a kid, I didn’t really understand the source of Rogers’s misgivings here, which is the same source that animates her outrageously and inventively bitchy yet somehow tender and worldly fights with Linda (Gail Patrick), her high-falutin’ former roommate. Linda is the mistress of Anthony Powell (Adolphe Menjou), a powerful Broadway producer. When Powell sees Rogers’s Jean Maitland rehearsing a dance routine, his little weasel eyes light up with lust. He thinks she’s just playing hard to get when she makes her habitual mordant jokes at him, but she is really just trying to delay the inevitable. She wants no part of sleeping with a man for his money not because she thinks it’s morally wrong, per se, but because she’s basically too tired-out to go through those motions.

Jean is so disenchanted that the disenchantment seems to be leading her to some kind of drastic change. She talks herself into going out with Powell but gets out of sleeping with him by getting, or pretending to get, disruptively yet vaguely drunk. Jean gets drunk the way she does everything else, at some very unusual kind of steady and wary behavioral half-mast. She cracks wise as a matter of course, but she sleeps with a doll and she plays a ukulele. These cute details don’t seem to fit her character, but they do express the divided character of the woman who was playing her.

Jean stumbles home from Powell’s penthouse to her new roommate Terry (Katharine Hepburn), a rich girl with airily la-di-da attitudes about life and the theater. Hepburn had not endeared herself to Rogers with her much-repeated remark about Rogers’s partnership with Astaire: “He gives her class and she gives him sex.” The competitive rivalry between Hepburn’s upper-class pretension and Rogers’s low-burning common sense is the heart of their conflict in Stage Door, and this conflict and mutual dislike reads as pure chemistry on screen, just as it did for Rogers with Astaire.

There is such chemistry between Jean and Terry that Stage Door has always been a kind of closeted lesbian classic just waiting to burst into full-on Sapphic love. Terry has no love interest and shows zero interest in acquiring one, while Jean looks more than ready to give up on poor, unreliable young men and rich, sexually demanding older men like Powell. Jean and Terry, in fact, are perfect for each other and wind up with each other, and in the last scene Rogers reaches a kind of epiphany as she reacts to their friend Judy (Lucille Ball) leaving New York to get married. “At least she’ll have a couple of kids to keep her company in her old age, and what’ll we have?” she asks. “Some broken-down memories and an old scrapbook that nobody’ll look at.”

I first saw Stage Door when I was eight years old. Now that I’m well into adulthood, these last few lines that Rogers tosses off with such face-the-facts casualness have the force of revelation, as if she has finally washed up on the shores of some final philosophy. They predict the real lives of both Hepburn and Rogers (though some people still do want to leaf through those particular scrapbooks) and Terry and Jean, and everybody else for whom the easy way and the conventional way of living will never fit or will never be acceptable.

Rogers was capable of that tough-minded and frank and bleak attitude on screen, but in life and in general she was actually, and alarmingly, one of the most clueless of stars, never quite knowing what it was that people liked about her. Starting as early 1938, the year she made Vivacious Lady and Carefree, something peculiar started to happen to Rogers. After years of the most unlikely and enormous success in her Astaire films, where she was up to any dance challenge he gave her and where her timing in both musical and comic and dramatic scenes was magically sharp, her timing started to go horribly awry. Rogers began to be afflicted by self-consciousness, miscalculation, cutesiness, self-infatuated archness and flashes of deep-rooted mean-mindedness. She slipped back into her best controlled star mode in several films after that year, but she started to deteriorate more and more by the mid-1940s, almost as if someone had put a curse on her.

Rogers was born Virginia McMath in Independence, Missouri in 1911. Her formidable mother Lela Rogers was a writer for silent films and a journalist, and she was seemingly joined at the hip to her daughter. It was Rogers who wanted a career as an actress, and Lela resisted this at first, but when Ginger won a Charleston contest Mama Lela knew which way the wind was blowing. She poured all of her own considerable energy and ambition into making Ginger a star and keeping her one (that first name supposedly came about because a cousin couldn’t pronounce the name Virginia).

At the height of her stardom, when Rogers was sent the script of The Hard Way (1943), she wonderingly said, “This is the story of my life,” and turned it down. In that movie, Ida Lupino works like a demon to get her malleable kid sister (Joan Leslie) into show business, and the comparison is not flattering to Lela, who made a fool of herself testifying before HUAC as an expert on Communist infiltration of Hollywood, citing particularly the time when Rogers had to say Dalton Trumbo’s line, “Share and share alike, that’s democracy” in Tender Comrade (1943). Lela herself actually turns up playing Ginger’s mother in Billy Wilder’s The Major and the Minor (1942), and she’s a rather low-key presence, but she talks and moves like a woman who has power and feels no need to make any outward show of it.

In that Wilder movie, Rogers spends most of her time pretending to be a twelve-year old, and this uneasy reversion to little-girlhood was one of her most troubling fallback modes. She had made her first successes on stage with “baby talk monologues” written by Lela, and her early style, as seen in films like Young Man of Manhattan (1930) and Honor Among Lovers (1931), was very much a hold-over from the 1920s, a Betty Boop baby vamp persona that was more suited to cameo roles than to leads (Claudette Colbert, the star of Young Man of Manhattan, gently mocks these baby affectations after meeting Rogers’s character).

She churned out lots of low-budget programmers in 1932, and in 1933 she made ten films. In two of those, 42nd Street and Gold Diggers of 1933, Rogers nearly steals the show in fairly small parts. As Anytime Annie, a notoriously obliging chorus girl in 42nd Street, Rogers is first seen wearing a monocle and affecting a grand manner accent, and this was the first sign of her aptitude for two-faced disguise. As Manuel Puig once said of Ann-Margret, Rogers is anything but reassuring.

She’s close to surreal in her gold-coin outfit singing “We’re in the Money” with pig Latin verse in Gold Diggers of 1933, looking directly into the camera and not flinching as it travels all the way up to her face. Rogers gobbled up attention like that, and she had what it took, but she needed something or someone to stabilize her. When she strips down to her slip and stockings and gyrates in Professional Sweetheart (1933), an outraged Norman Foster spanks and then punches her, the first in an increasingly ominous series of punishments that would shadow her later career.

In the very horny Pre-Code musical Flying Down to Rio (1933), her first film with Astaire, Rogers is a hot mama, singing and swaying to “Music Makes Me” in a vagina power dress that even Marilyn Monroe might have rejected as too overt. When they dance “The Carioca,” Astaire starts out holding his head slightly away from Rogers, as if she might be diseased, but by the end their electric chemistry has fully kicked in.

Astaire had spent his youth dancing with his sister Adele and didn’t want to get stuck with another steady partner. Rogers had her eye on dramatic parts, announcing to an incredulous press that she wanted to play Joan of Arc. She was an ambitious and competitive person, and she knew that she was not even close to Astaire’s Olympian league as a dancer. But that’s part of the magic of their series of films, in which Rogers improves as a dancer bit by bit until she is fully capable of following his every step.

Astaire objected that no one would believe Rogers as an English girl in The Gay Divorcee (1934), and surely no one could mistake her for English, but this part gave her the reserve that she intriguingly used and toyed with for her best years as a star. Like most first sexual experiences between two people, their first real romantic dance together in that film, “Night and Day,” is both exciting and a little awkward. In their follow-up Roberta (1935), Rogers looks tense during their slow “Smoke Gets in Your Eyes” routine, but she comes wonderfully alive when they casually tap to “Hard to Handle,” their first really great dance together.

She was always at her best in the lively comic numbers, where her wacky energy seems to warm Astaire, but she worked hard at the dramatic routines, so that when they do “Let’s Face the Music and Dance” in Follow the Fleet (1936), Rogers has somehow ascended up to Astaire’s level as a dancer. It must have taken nearly super-human will, but she did it, and audiences saw and felt her progress, and they loved it because it meant that anything was possible if you worked hard enough, even dancing like or with Fred Astaire.

Astaire didn’t like her feather dress for the “Cheek to Cheek” dance in Top Hat (1935), and you can see why he didn’t: it’s a little tacky. Costumer Walter Plunkett said Rogers always wanted to “add a crepe paper orchid or a string of beads or some goddamned feathered thing. She just never could resist little improvements.” But her feather dress in Top Hat does move beautifully when she dances, even if we do see some of the feathers floating away from them, as if she’s molting.

A more characteristic and winning image of her comes in the way she hikes up her skirt in the “Pick Yourself Up” number in Swing Time, which has a deeply charming kind of put-on nonchalance, or in the soldier-like way she executes a series of brutally exacting turns at the end of the “Never Gonna Dance” finale toward the end of that movie (while she shot this scene, her feet started to bleed in her shoes). One of the real pleasures of American moviegoing is watching Rogers as Astaire sings a love song to her: she would listen so intently, with barely any change of expression, but with such sensitive receptivity behind her eyes and in the set of her mouth.

People like to wonder if Astaire and Rogers hated each other. Maybe there were moments when they did, but mainly they just resented being tied together as a team, and those misgivings are part of what give their partnership and their best dances such impact, such crackle. Rogers reported in her autobiography that Astaire had taken her out on dates in New York when they were both working in theater, and at the end of one such date he gave her “a kiss that would never have passed the Hays Office Code!” But when they worked together in films, Astaire was married to a woman he adored, and he was a distant taskmaster in the killer rehearsal sessions for their dance routines. His friends, cultivated when he played on stage in London in the 1920s, were the English gentry. Rogers was not his cup of tea, and he made that known to her in subtle ways. She said either, and he said eye-ther, and they wanted to call the whole thing off, but no one else ever did.

In the many years after their partnership ended, they were still stuck with each other, and they both still resented that. Rogers would sometimes make friendly overtures to Astaire, and he would politely but firmly put her off, and this led to hurt feelings for her, so much so that she didn’t even go to his American Film Institute Lifetime Achievement Award ceremony. Film scholar Joseph McBride helped to put together that evening, and when I asked him about it, he remembered Astaire saying, “I suppose we’ll have to have Ginger,” in an irritated voice. When she didn’t come to the ceremony, it seemed like sour grapes on her part, but it had been made clear to Rogers that Astaire only wanted the bare minimum to do with her, and so she withdrew. It would do well to remember, of course, just how obnoxious Rogers could be. If you want to feel the full force of that, just look at any number of the films she made from 1944 to 1964 and you’ll see one garishly misplayed, mistimed performance after another, including the last one she did with Astaire, The Barkleys of Broadway (1949), where her dramatic aspirations were mocked and then the mockery was unintentionally confirmed when she did a goggle-eyed recreation of Sarah Bernhardt reciting the Marseillaise.

So what happened to Rogers? Why did she lose all of the qualities that had made her a star right after her stardom was confirmed? Many writers have tried to explain it. Analyzing Astaire and Rogers in The Fred Astaire and Ginger Rogers Book (1972), Arlene Croce says, “She’s an American classic, just as he is: common clay that we prize above exotic marble. The difference between them is that he knew it and she didn’t. Rogers always wanted to be something more. Probably no other major star has so severely tried the loyalty of her public by constantly changing her appearance and her style.” In his book Romantic Comedy (1987), James Harvey writes, “Can there be any other major star who was so variable, even from film to film, as she was?”

Harvey blames George Stevens, who directed maybe the finest Astaire/Rogers film, Swing Time (1936). He sees a softening of her character in the straight scenes in Swing Time, but the rot really sets in with Vivacious Lady, a romantic comedy that has all the elements for success but perversely ruins them with its taffy-pull pacing, its willful lack of coordination, its leaning on jags and cutesiness and bizarre sequences like the fight scene between Rogers and a rival that devolves into a series of unmoving tableaus broken only by a coy laugh from Rogers, as if Stevens wanted to turn her into Frank McHugh. In the same year, in Carefree with Astaire, Rogers exhibits such unpleasant sadism when her character is under hypnosis that it feels like a revelation of some inner nastiness that had always been prudently hidden from view.

The damage was reversed in Bachelor Mother (1939), a working girl comedy that has no right to be as charming as it is, where Rogers added a kind of moony dreaminess to her repertoire of personas. She then made two films for Stage Door director Gregory La Cava, 5th Avenue Girl (1939) and Primrose Path (1940). In her second La Cava film, Rogers is so deadpan that it reads as a lack of basic vitality, a first in her career; it’s as if La Cava is unearthing the suicidal or even homicidal side of Jean Maitland. “People annoy me,” she says in that movie, and boy does she mean it. In Stage Door, when Powell tells Jean he wants to put her name in big electric lights, she says, “Gotta be big enough to keep people away.” La Cava is the director who understood Rogers the most, discerning something anti-social and solitary behind her sunny audience-pleasing looks and manner. In Primrose Path, he cast her as a teenager who breaks away from her family before she joins their prostitution racket, and her work in that movie is stark, clean, unsentimental.

Rogers won an Oscar for Kitty Foyle (1940), and many have dated her decline from that point, even if she is modestly touching in what is a modest working girl soap opera. She was close to unbearable in Tom, Dick and Harry (1941), where director Garson Kanin seems to dote on every moment of her self-indulgent performance as a dumb and narcissistic telephone operator who must choose between three suitors. Something about playing dumb here makes Rogers’s style seem laborious and throws her timing all out of whack, yet the following year, in Roxie Hart (1942), she certainly gets her laughs with her broad playing of a very dumb murderess who lives for publicity and likes to do the Black Bottom for reporters. In her segment in Tales of Manhattan (1942), you want to say to her, “OK, you can have all that hair on the top of your head or you can have all that hair fanning over your back, but you can’t have both, Ginger.”

Leo McCarey’s Once Upon a Honeymoon (1942) did her no favors, but most writers agree that the real coup de grâce in her career was Lady in the Dark (1944), a Technicolor movie of the psychoanalytical stage musical that had starred Gertrude Lawrence. Rogers insisted on playing it, and she was at loggerheads with director Mitchell Leisen and Paramount studio chief Buddy DeSylva, who vengefully cut most of the Kurt Weill songs from the film. All in all, the mercifully little-seen Lady in the Dark looks now almost as if it had been made in a spirit of deliberate sabotage. It is has to be the most nastily misogynist of any major studio production of this time, constantly hammering home the idea that Rogers’s Liza Elliott is an unnatural woman unhealthily attached to her work, and her leading man Ray Milland warrants particular scorn here for the gleefulness he brings to the scenes where he humiliates Rogers’s character. In the one extended musical number Rogers has, “The Saga of Jenny,” she doesn’t seem to have been given any choreography or direction and she can barely move in the outfit Leisen designed for her. “After Lady in the Dark there was nothing left of the Rogers character,” wrote Croce. “She died on the analyst’s couch.”

Rogers’s career proceeded only through sheer determination on her part (and on Lela’s part). She floundered in an updated remake of Grand Hotel (1932) called Week-end at the Waldorf (1945), and the next twenty years of her career were a real trial for her fans from the 1930s. Howard Hawks’s Monkey Business (1952) was supposed to be about scientist Cary Grant reverting to childhood when he drinks an elixir of youth, but Rogers insisted that she “wanted to do the kid thing too,” and so she ripped into scene after scene of coarse-grained youthful impersonation, the wise child of her early ‘30s character bearing rotten and poisonously un-watchable fruit. Cast as a hardened gangster’s moll in Phil Karlson’s Tight Spot (1955), Rogers is so heavy-handed and slow and cutesey with her dialogue that the effect is ghastly. If I were to make a simple diagnosis of her problems in the last half of her film career, I’d say that she caught a bad case of George Stevens-itis and never got over it (she had an affair with the married director during Vivacious Lady, which had Lela up in arms).

When she worked with a fine and sensitive director, as she did with Frank Borzage for Magnificent Doll (1946) and with Edmund Goulding for Teenage Rebel (1956), Rogers was still capable of restrained and acceptable if somewhat colorless work. But hateful things kept happening to her. In something like Storm Warning (1951), where she does battle with the Ku Klux Klan while also doing a transposed version of A Streetcar Named Desire, it seemed as if someone behind the scenes wanted to see Rogers punished. When Steve Cochran attacks her in Storm Warning, the scene is so prolonged that finally it is Rogers being humiliated and hurt, not the character she is playing.

Rogers went through five husbands, including the pacifistic and beautiful Lew Ayres, and most of them lasted for a couple of years, but Lela was her real partner for life. The last husband, William Marshall, got her to play a madam in a dire film shot in Jamaica, variously known as The Confession and Quick, Let’s Get Married (1964), and after that low point she made only Harlow (1965), where she was intriguingly cast as Jean Harlow’s mother, before retaining her star status in long-running stage stints in Hello, Dolly! on Broadway and Mame in London. After that came a little TV and nightclub work, where she ended most of her songs with a corny wink to the audience. A Christian Scientist like her beloved or at least inescapable mother, Rogers refused medical treatment after having a stroke, and she was ill for several years before dying in 1995.

The last forty-five or so years of Rogers’s long career basically ran on fumes of good will from her first twelve years in movies, and particularly those Fred Astaire musicals that she preferred to forget. Like many actors, Rogers had no real center or base that was really her, and this lack of center meant that she was able to in effect be something she wasn’t with Astaire, and transcendently so, but it also meant that bad habits and instincts were ready to rush in and overwhelm her when her guard was down.

“May I rescue you?” Astaire asks her in Top Hat, to which she snaps, “No, I prefer being in distress.” The Astaire/Rogers films are so romantic because part of her resistance is that she is suspicious of romance, and maybe she doesn’t believe in it at all. That lack of belief was what made her so sexy beyond her God-given but worked-on perfect figure (“Women weren’t born with silk stockings on, you know,” she says in Follow the Fleet). Look at how cool and unreachable she is when Fred is singing his heart out to her during “Never Gonna Dance” in Swing Time. She preached that God is Love and soda fountains were forever, but in her best work with Astaire and in Stage Door, she let darker and more movingly yearning things cloud her almost cartoonishly pretty brow, and those things are what should define her and what should be remembered.

by Dan Callahan

#Dan Callahan #The Chiseler #Ginger Rogers

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scabopolis · 4 years ago

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*chants* E, K, R, Z

E - Have you added anything cracky/hilarious to your fandom? If so, what?

I didn’t create this cracky/hilarious thing, but I think I inspired it! And then you took the idea and ran with it, you utter genius.

I wrote this VERY REAL CONVERSATION Rob Thomas had with his writers while writing Mr. Kiss and Tell. (My tags on this post make sad AND lol at the same time: #can you tell i just finished mr. kiss and tell #mkat spoilers #book: mr. kiss and tell #rob thomas #i might be done w/ new canon #i don't trust this dude - HOW RIGHT YOU WERE, 2015 SUZANNE).

And then here I processed my reaction to the L/V ATTB scene in the movie via Monsters Inc. gifs, as one does.

K - What character has your favorite development arc/the best development arc?

I already talked about our boy Logan Echolls here, so let me take this chance to mention our other boy, Chidi Anagonye.

I think that Mike Schur’s way of doing character arcs/development is so interesting because rarely do the arcs of his characters go from “person never cared about anything!” to “person cares about things!” I guess, perhaps, that’s Eleanor’s character arc but I think hers is actually a little more complicated (though that’s a subject for a different time).

No, what Mike Schur does really well is move a person from “person cares about things in a way that prevents them from getting the things they want!” to “person cares about things in a way that is more in line with who they are as a person!” And I think that arc is very well done with Chidi.

R - Which friendship/platonic relationship is your favorite in fandom?

There are so very many but here are a few with one thing I like about them!

Leslie Knope and Ann Perkins from Parks and Recreation - I love how they’re basically the adult equivalent of two five-year olds sharing snacks out of their lunch boxes and being like “I don’t know anything about you, but we’re best friends now.” Very sweet. Very funny. 10/10.

Pam Beesley and Dwight Schrute from The Office - I haven’t rewatched The Office in a hot minute, but I do remember that the first episode that we really see the Dwight/Pam friendship is an utter delight to me, and the little snapshots we get into their dynamic are such a true highlight.

Michael Cordero and Rogelio de la Vega from Jane the Virgin - There were many issues I had with the later seasons of JTV (which is in large part why I stopped watching it), but my love for these two knuckleheads is unparalleled. They make me laugh, they make me smile, they make me wish for a Michael/Rogelio spinoff show. (Also, one of the big failures for what they did is that when they brought Michael back, THEY DID NOT HAVE HIM INTERACT MEANINGFULLY WITH ROGELIO. HE NAMED HIS DAUGHTER AFTER MICHAEL. I MEAN....)

Alexis Rose and David Rose from Schitt’s Creek - This is hands down the best sibling relationship I have ever seen on television. Would watch the reality show where the two of them travel across the country in a Drivers, Diners, and Dives type show.

Z - Just ramble about something fan-related, go go go! (Prompts optional but encouraged.)

I am having all sorts of thoughts, opinions, and feelings about what happens to character relationships when they transition from best-buddies with a will they/won’t they dynamic to a romantic couple. Specifically how the show dramatically changes the nature of their relationship, often in a way that is so ... lackluster? unsatisfying? disappointing?

Couples with this unsatisfying shift, in my opinion, include Nick/Jess (New Girl), Jonah/Amy (Superstore, I presume...I am pretty early into the season but I’ve noticed a shift), Luke/Lorelai (Gilmore Girls, not to mention all of Rory’s relationships and maybe even Sookie/Jackson to a certain degree), Mindy/Danny (The Mindy Project), J.D./Elliott (Scrubs).

I think what happens is that the elements of a good flirting/pining/will-they-won’t-they dynamic rarely carry over into the romantic relationship. And, if they do, they are immediately given this emotional heft to them that take a lot of the fun out. How many couples in the will-they-won’t-they stage have an episode or multiple episodes where they’re very distracted from their real life commitments goofing off, or hanging out with the person they’re pining for? Once they get together, those episodes somehow no longer exist. As if...once a couple gets together they stop flirting? stop wanting to spend time together? stop wanting to go on stupid dumb adventures and be their utterly dorky selves?

For example, if in their pre-relationship phase person A routinely made fun of person B’s clothes, and made them go shopping, and person B grumbled about it the whole time but secretly loved the attention - once they start dating if that exact scenario were to happen, it would be much more likely that person B would not love the attention. The show would be much more likely to have person B conclude that person A wants to change them, and won’t accept them for who they are. Basically, even in shows where the couples stay together post will-they-won’t they, fun is ultimately cashed in for commitment. “These two people don’t flirt anymore because they’re together!” these shows say. “Remember in their will-they-won’t they phase how every almost kiss and kiss had this tension and catharsis and passion? Now that they’re together kissing is obligatory and doesn’t matter and is DUMB!”

What is this? What are these writers relationships like? Why can’t couples keep flirting once they’re committed? Why can couples only see their partner as the one they confide in when they’re not together? MAKE IT MAKE SENSE!

(And then there’s the exceptions, those couples who I believe maintain a key element of their dynamic upon getting together. These couples include Ben/Leslie (Parks and Recreation), April/Andy (again Parks and Recreation), Jake/Amy (Brooklyn Nine-Nine), Jim/Pam (The Office), Janet/Jason (The Good Place) and yes I am demonstrating my huge Mike Schur bias - I AM AWARE!)

#long post #nightlocktime

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marmolady · 5 years ago

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Growing Pains: Part Two

PART ONE PART THREE

Main Pairings: Estela x MC/Taylor (f)

Summary: Post-ending. For Liv and her mothers, Taylor and Estela, a turbulent period of transition is afoot. Set primarily in the distant future of 2033.

This was only going to be a two-parter, but this installment got so long-winded I split it. So, you can look forward to Part Three soon-- and art for the second and third parts as well.

Word Count: 5636

WARNINGS: Mentions of transphobia.

More Liv fics here: Livita, Teething Problems, Milestones and Memories, Mutual Comfort, All That Matters

Reviews and reblogs are hugely appreciated!

Tagging: @brightpinkpeppercorn, @mrsmontoya, @saivilo, @edgydepressedchoicesthot, @sceptilemasterr, @quinnkellys-wife, @greengroove

San Trobida, 2006

The scratch of her pen on the notebook was not enough to keep the voices in the room next from reaching Estela’s ears, even muffled as they were. She’d pause to concentrate; math wasn’t her strong point, it tended to require a lot of hard thinking, and she’d catch a few more snippets of conversations she knew very well she had no business hearing. Whether she was supposed to or not, she always kept an ear out for her tio’s voice, or his name being mentioned. How could anyone expect her not to? Of course she’d want a heads up if something was planned that would take him away for days at a time. Sometimes the people who left on these missions didn’t come back. Tio Nicolas had a very important job to do, and it made Estela proud, but she was forever holding her breath, waiting to hear whether her uncle would be on the front lines or safe at home. All strategy talk soared straight over her head, but she knew what it meant when Nicolas was called to action.

Then came the voice that Estela had been waiting to hear. Immediately, she scrambled to put her things together, ready, so ready to go home.

The door creaked open, and her mother was standing there.

“Estelita, I’m so sorry I’m late,” she said, a little breathless, as though she’d been rushing to get to the secret house. There was no doubt in Estela’s mind that she had been. “I had some important things to sort out with my manager. No doubt it will be worth it, but I hate leaving you here.”

Estela jumped up, already set to go, and gave Olivia a one-armed hug. “That’s okay. I managed to get most of it finished without help.”

With a sigh, Olivia kissed her daughter’s head. “We’ll finish it off together tomorrow, I promise. But for now, I think we could both do with just putting our feet up. Come on. Let’s get you out of here.”

Having slipped through the hallway quietly enough to not disturb anything important, the pair drove off into the night. It had to be getting on for nine by now. Dinner had been a slapped-together rush, as it always was when Nicolas had to go out in the evenings. Estela knew her mother would’ve taken a break for something to eat at work, but probably when they got home, they’d share some cocadas and hot chocolate. As per tradition. Estela noted the clear agitation in her mother’s demeanour; it seemed that Olivia could really use cocadas and hot chocolate tonight.

“Are you okay, Mami?”

Olivia grimaced. “I really don’t like you being at those meetings. I know you’re in a separate room, but a kid your age shouldn’t be exposed to-- it’s just not right. The fact that I let it happen at all, I-- I’m sorry, mija.”

“You don’t have to be sorry. I’m fine.”

“Fine isn’t good enough. You deserve better than that.” Olivia looked to her daughter with the fondest of smiles, though guilt shadowed her features. “It took a bit of negotiation, but I’m changing around my shifts at work. I’ll be going in for five--”

“In the morning?”

“It won’t be for a few weeks yet, unfortunately. But this will work better for all of us. I’ll be finishing when I’d usually be having lunch, leaving my afternoon free to do your lessons. Early mornings mean nothing to me if I get to be with you.”

Then Estela was smiling back. “It’s gonna be like every day is half a Mom day off. I’ve missed hanging out with you; it gets kinda lonely.” It wasn’t Tio Nicolas’ fault. The work he had to do was important; it would change San Trobida forever. Spending quality time with the tag-along ten-year-old couldn’t be a priority.

“I know. And I’ve really missed you too. I feel as though you’re growing so much, and it’s passing me by. Now, we’re going to be a team. Together, you and me are gonna kick elementary school in its ass.”

Estela burst out giggling. Unlike Nicolas, her mother only brought out the unsavoury language on special occasions. So… she was stressed but… feeling optimistic? That things were going to get better?

“I think Tio taught me some moves for that.”

Olivia rolled her eyes with an affectionate scoff. “I’ll bet he has.”

______________________

USA, 2033

Estela lay in bed with her eyes closed, though expectation of getting back to sleep had long since passed. There was little point anyway, Liv would be up at the crack of dawn, as she always was before the reunion trip. For the time being, there was nothing to distract Estela from her thoughts, just the gentle sound of Taylor breathing beside her.

Drowning in thought seemed to just be Estela’s state of existence these days. Liv needed her to come through, to magic up way to ease her through the turbulent period of preadolescence. It had been a heavy burden on Taylor as well, and it was all Estela could do to try and relieve it-- it certainly seemed to her as though Taylor could well be suffering from post-partum depression, and what she didn’t need was any guilt. In the end, Liv had handled the baby Michael situation like a champ; she’d given him a cuddle on his first day in the world, but then was happy to return to something close to normal. In her own loneliness, she’d been the snuggly little rock that Taylor had so needed. Estela had done her best, of course, but it was hard to shake the feeling that she just couldn’t do enough for either of them.

That was going to change. That year, when they went to their reunion on La Huerta, they wouldn’t be coming back. Between herself and Taylor, there had been so much back and forth about how best to get Liv through the next couple of years to high school, but in the end, they’d kept coming back to home-schooling. Liv needed a break from the social stresses of being shut up with dozens of pre-teen kids all day. Taylor needed to reconnect with herself as a mother. And she, Estela, wanted to hang onto her little girl, to hold her tight and make the most of what should be the best years of their lives; after all, you could never know just how precious those years would become.

Taylor rolled over with a muffled groan, her face registering surprise as Estela’s eyes flickered open.

“Hey,” she said. “Given up on getting back to sleep?”

From the sound of Taylor’s voice, she too had been wide awake and lying there in silent thought for some time herself.

“Mmm… the same as you, I’m guessing.” Estela reached and stroked a stray hair from Taylor’s face. “How are you feeling?”

“I… well, tired.” Taylor chuckled darkly. “You know, the usual. But, on top of that… my stomach’s so full of butterflies I could throw up.” She leaned her face into Estela’s touch, seeking comfort, reassurance. It was a subtle movement, tiny, but there was no doubt that it had been read and understood, for in seconds, Taylor had been swept into a close and warm embrace. She squeezed back, hanging on as if for dear life.

“It’s weird…,” she choked out. “I never thought I’d feel like this before a reunion. I’m almost dreading it. Part of me just wants to see everyone-- but I’m terrified of what I’ll feel when I see Michael again.”

Estela pulled away just enough that she could press a kiss to Taylor’s forehead. “I’ve got you,” she whispered. What more did she even have to offer? She couldn’t make this easier. In the weeks since the birth, they’d kept their distance. Taylor hadn’t been up to anything more than the briefest of visits prior to Jake and Sean returning home with the baby. The step about to be taken was huge. This was a full week of close proximity, with emotions running wild all over the place. She kissed Taylor again, and again. “I’ve got you.”

“It’s just been so hard. I feel like I’ve just about clawed myself out of the slump, but what if I take one look at him and I crash all over again? I can’t run away from this-- I know that will only make it worse in my head.”

“The option is always there, okay? If we get to the airport and you can’t do it, taking care of yourself first isn’t running away.” At the look of protest she received, Estela added, “I know, I know that right now, we’re going with ‘plan A’. You’re going to get through this, mi amor. From the moment you step onto that plane, you’re gonna have the world’s best support network right there. So, whatever this brings up for you, whatever it is you need to feel, you can feel it and know we’re on your side.”

Taylor heaved a sigh. “This will be good for me. Of all the things I’ve had to face… this shouldn’t be so scary.”

“Well, we’re out of practice. Tell me the last time you had to face down a heavily armoured pack of mercenaries? Or a sea monster with control over the weather?”

The sigh became a snort of laughter. “True. It’s no damn wonder we’re going soft. I’m pretty sure the scariest thing I’ve had to deal with in the past ten years was that time I thought Liv had come home from school with headlice.”

Estela gave an exaggerated shudder. “Joder. Even the thought….”

Taylor giggled into her wife’s shoulder, and relaxed there, letting the tension flow from her body. “I love you,” she breathed.

“I love you too.”

For a little while, they held one another, then all too soon came the tell-tale thumping of kid footsteps.

“I swear she gets earlier every year,” Estela chuckled against Taylor’s temple. “When is she gonna turn into a teenager that we have to drag out of bed with a mechanical crane?”

“Ugh, I know.” Taylor couldn’t help but smile. Recently, she wasn’t sure how she’d have dragged herself out of bed each day if it hadn’t been for Liv. She sat up. “Okay. Let’s do this.”

____________________

Liv bounced her way down through to the departure lounge at Northbridge airport, leading her three cousins in a merry dance.

“Can you see them?” Immy cried out. Four-and-a-half, she was the slightly younger of Aleister and Grace’s twin girls.

“Immy, inside voice, please,” Grace urged, following behind the excitable children with a trolley.

Attempts at calming the horde were all for naught when they turned the corner to find Zahra and Craig waiting for them, their flight having come in some hours before.

“Eh, look who it is… all the l’il brats.”

“Chyeah, it is!”

Craig hoisted Liv into the air as she squealed.

“We were trying to keep them all calm, what with this being a public airport and all, so thanks for that.”

“Sorry, Mom,” Liv laughed. “I’ll save most of my jumping up and down and yelling for when we get there.”

“For the pool party!” Craig hissed under his breath.

Zahra was scowling. A friendly scowl, her friends knew by now, but a scowl nonetheless. “Have I ever told you people how stupid it is that we all drag our asses back to Northbridge each year rather than just fly to Costa Rica from wherever the hell we are? No?”

Taylor pulled Zahra into a crushing embrace. “It’s tradition! Just like my great, big Reunion Zahra Hug! One of only, what?-- three-- scheduled Zahra Hugs I get each year!”

When she managed to extricate herself from Taylor’s embrace, an then another one from Liv, Zahra’s attention was caught by young Immy, who appeared to be twisting herself up like a pretzel next to the walkway out to the Jake’s plane.

“Uh, you all right there, pipsqueak?” Zahra asked, just about managing not to smirk at the exaggerated runner’s stance the small girl had taken up.

“I’m getting on the plane first,” Immy proclaimed. “That baby’s gonna be up the front, so I won’t be. And Reggie says you’re more likely to survive a crash up the back. I’m not dumb!”

“Ha. No, you are not. Saving seats up the back for your parents, or can we join you? Between you and me, the pilot’s a walking disaster.”

“Hmm.” Immy stood up straight and looked Zahra and Craig over. “If you’re smart enough to come to the no-baby, no-dying seats, you can sit with me. Mommy and Daddy know about natural selection; they’ll understand.”

Craig’s mouth fell open. “Ice cold.”

Zahra sniggered appreciatively. “Craig,” she said, as Immy returned to doing stretches beside the walkway. “If anything happens to Aleister and Grace, we’re keeping this one. Kid’s going places.”

A short distance away, Taylor was oblivious to any jostling for positions on Jake’s supposed ‘death-trap’. Sean had come around the corner, grinning broadly and pushing a small pram. The world seemed to slow. Taylor knew Jake was calling out a greeting, but she couldn’t make out a word.

Sean approached, and greeted Taylor with warmth enough that it roused her from her anxious stupor. “Taylor, hi. It’s so good to see you again-- come here!”

She’d needed that hug. She buried her face in Sean’s chest and exhaled. It’s okay. It’s okay. “It’s so good to see you too.”

“Aaand, here’s L’il Captain Cranky.” Jake the pram closer. “Looks like you caught him in a good mood. Must be a special occasion.”

Taylor felt her heart skip a beat. Her mouth was suddenly dry. There he was. Tucked up in the pram, swaddled into a cozy bundle… fuzzy hair surrounding his calm face. She felt Estela’s hand on her shoulder, a quiet gesture of support. But maybe… maybe she was okay?

“Hey there, little man!” she purred, reaching to stroke a chubby cheek. “I can’t believe how much he’s grown already. Nice work, Top Gun.”

“Aw, shucks. I do my best. Haven’t got him flying a plane yet, but we’ve got time. You wanna hold, Princess?”

“If I won’t disturb him?”

“Nah, course not. If anything, it’ll get him more settled before the plane. Believe me, y’all are gonna want to pray this good mood lasts.”

“Hello….” Taylor’s voice shook with emotion. For so long, she’d feared this moment. Having that little baby in her arms for the first time since leaving the hospital. The distance had been for everyone’s benefit; certainly she wasn’t emotionally ready for a good while after the birth. This was okay, though. This was just her being cuddly Auntie Taylor. She was looking at that baby and was just damn proud that she’d been able to give her friends such a precious gift. When she looked at at Michael’s fathers, she was grinning from ear to ear. They were so happy. “Guys, he’s just… amazing. And I can’t wait to see his two daddies in action.”

“What, you’re flying all the way to La Huerta just to watch the competitive diaper changing?”

“Can I give him a pat?” Liv piped up, peering over her mother’s arms at Michael.

“He’s not a dog, weirdo,” Reggie teased.

Liv brushed off her cousin’s remark, and gently stroked the baby’s leg. Since he’d gone off to live with Jake and Sean, her insecurities had faded dramatically. Looking at Michael gave her warm, fuzzy feelings, but she was sure this wasn’t what having a sibling felt like. This was just another cousin, albeit an extra special one, having been a visitor for so long.

Sean watched quietly, his eyes full of affection. This would be one reunion trip that he’d never forget.

“Liv, if you like, you can have a cuddle with him on your lap when we’re on the plane.”

“Ooh! Yes, please!”

Then, Michelle and Quinn made an appearance, with six-year-old Isla and two-year-old Conor in tow. And of course, they made a beeline straight for the growing crowd around baby Michael.

“Hey, Meech! Meech!” Craig called out.

“You’ll be lucky,” Zahra scoffed. “We all know these people are suckers for babies….”

________________________

La Huerta, 2023

Her arm wrapped around the little bundle on her chest, and Estela’s arm wrapped around her shoulder, Taylor walked proudly out to the central rotunda in Catalyst Village, where the group had gathered for brunch-- not breakfast, for some of the number had desperately needed a sleep-in after the night before.

It was not a new thing for Taylor and Estela to join their fellow Catalysts-- their family-- for reunion festivities, but this was something different. What they were sharing now was themselves at a most monumental turning point, vulnerable as they tumbled into some wonderful unknown. Holding onto her baby daughter and stepping out into the sun, Taylor couldn’t feel any trepidation for what lay ahead, she was simply ecstatic.

There was a cacophony of gasps and coos, oohs and aahs as they approached, all eyes going straight for the tiny person Taylor was holding.

“Hey,” she said, unable to repress the grin that was fast spreading across her face. “Do you think we might have room for a new member of the gang?”

Estela was beaming, alight with elation and love. “Everyone who hasn’t met her yet, this is Liv. Olivia Andromeda Montoya. Our little girl.”

Quinn clapped her hands to her mouth. “Oh, you guys! She’s divine! Oh my god….”

Taylor walked over to Grace, who had little Reginald perched upon her hip.

“Would Reggie like to say hi?”

“I think Reggie would love to,” Grace said softly, smiling at her young son’s wide-eyed expression. He certainly didn’t meet many babies living on La Huerta. “Look, honey! Who’s Auntie Taylor got? Who’s this?”

“Buh-buh-buh?” Reggie reached out a chubby hand and patted the blanket.

“See, Reggie?” Grace cooed. “This is the baby from Tia Estela’s tummy. This is baby Liv.”

“Ih.”

“That’s it, sweetheart. Nice and gentle.”

“Good boy, Reggie,” Taylor said. “Looks like this could be the start of a beautiful friendship.”

One of many. Taylor knew it as she did the rounds. Their family welcomed Liv with the joy of close relatives, as if she were theirs, born into the fold and taken with open arms.

The baby stirred, and Craig made a sound of a higher pitch than anyone present had previously thought possible, which promptly earned a glare from Estela and made baby Reggie, now sitting on Aleister’s lap, burst into tears.

“Oh, for heaven’s sake, you idiot!” Aleister hissed, as he tried to placate his son.

“Um, Craiggers, I think Estela would prefer it if you didn’t make the baby want to crawl back up the hole she came from.”

“Yes, that would be preferable,” Estela growled.

Liv grumbled, her face screwed up in protest.

“Sorry, mija. You’ll learn to love these people, trust me.”

“You really think so?” Craig asked jovially. “Thanks, Estela! I’ll babysit for you anytime.”

Quinn chuckled. “I hope you realise that there’s going to be some heavy competition for babysitting privileges. Bubba’s gonna be spoilt rotten!”

Taylor could feel it. From every one of her friends. Liv was their family, and they loved her.

Baby girl, you are so, so lucky.

___________________________

La Huerta, 2033

Finally, home.

Taylor didn’t know if she’d ever been more ready to step foot back on La Huerta, but from the moment she stepped off the plane, she felt lighter in herself than she’d done in weeks.

It became clear very quickly that she wasn’t alone in that sense of relief. As if by magic, her effervescent Liv was back; the cloud that had been hanging over her head unable to follow into what was the family’s sanctuary. Liv had been seated next to Quinn and Michelle’s daughter, Isla, through the flight; the younger girl all but talking Liv’s ear off. Then, once they’d hit the beach, Reggie and the twins had joined them, and play had come effortlessly. Now the intrepid adventurer she was meant to be, Liv was accepted and wanted; in her element with people she could trust. And Taylor felt herself letting go. For this shining time, she didn’t have to worry about her daughter at all.

Feeling that her loved ones were contented, far more so than she'd seen them in months, Estela wandered over to join Aleister on the beach. She settled down in the sand beside him, looking over the children as they splashed about in a sparkling sea.

“This is nice,” she said, stretching out her body and feeling the sun’s rays. All this fresh air and sunshine, she knew, would do them all good, especially her wife. “I’ve missed this. I think we all have.”

“How is Olivia? Since the, er, unfortunate incident?”

“Well, school’s been harder. Actually, it’s been absolutely horrible. But it’s done and finished. She’s not going back there. I’m just so damn relieved neither of them got hurt. I never thought it would be Reggie getting in a fight.”

For several long moments, Aleister silently watched his son playing in the waves, swinging his little sisters around in his arms and flinging them into the water. Reginald wasn’t a fighter; that he’d been pushed to violence spoke volumes of just how much that school had failed him-- and Liv, who’d valiantly had his corner, oblivious even to what had triggered the outburst.

“For the longest time, Reggie wouldn’t say what the fight was about. We could both tell that whatever it was had hurt him terribly. What we learned after several long talks…. The other boy had been saying things about Erin. I don’t know the details, nor do we want to, but they were cruel.”

Estela’s eyes had grown wide, then hardened with outrage. “Oh, shit. God, poor Reggie.” She shook her head, anger bubbling up inside her. How the hell was this still happening? How dare they? “Did the staff know exactly what happened?”

“At the time, no. Reginald refused to repeat what had been said. By the time Grace and I found out it was so long after the fact that when we brought the information to the school, they let it slide. To say I was fuming….”

“And these people are expecting you to happily enrol the girls at this school when that’s the care given?”

“Our thoughts precisely.” Aleister’s expression softened as he looked out to the beach. In the shallows, his daughters were jumping over small waves as they rolled in, and squealing with laughter. “I won’t have her be made to feel alone. This is all… new. For her, for us… she needs to feel safe to develop into a self she’s comfortable with. When you told me that you were taking Olivia out of school, my immediate gut reaction was fear. For Reginald.” He scoffed. “How utterly ridiculous that I should feel as if my son would need a bodyguard in his own school? And the more we’ve talked, it has gotten all the clearer that what we have in place isn’t working. We set up our main bases of operation on La Huerta and in San Trobida. The only reason we came back to the States was for the children’s education. Grace would have happily stayed in our La Huerta home; for so many years it was our sanctuary, the place that allowed us the freedom to truly grow. I think….” He hesitated. “If you don’t return to the States, it is likely that we will join you. As you say, it’s only matter of two years, or even one, before Reggie and Olivia will be changing schools as it is. We want to have that time with him. And for Erin… it’s time she needs to grow into herself.”

“Wow. That’s big… that’s huge. So, you’re just going to stay on La Huerta?”

“Perhaps. Certainly, in the short-term it is the ideal solution. But when we do enrol the children in a mainstream school, well… we’re considering moving the family to San Trobida in the future.”

Estela felt certain her eyes must have near popped right out of her head. “You would move to San Trobida?” With your transgender daughter? The initial wave of something close to panic subsided. The southern parts of the country were, these days, refreshingly egalitarian. Reforms had been sweeping under the democratically elected government, and the free San Trobida had embraced a fast-moving shift towards social equality. They weren’t talking about the same country that she attended school in some twenty years ago. “You’re… you’re serious?”

“I’m sorry, have you mistaken me for the type of person who uses humour to diffuse serious conversations? Yes, I am serious. I’ve seen first-hand what has been happening there, in no small part thanks to the mountains of our father’s fortune that you’ve quietly invested, and I would proudly see that growth continue.”

It was true; Estela’s home had come so far. The pull never lessened; nowhere else save for La Huerta could give her that same feeling. But growing up with ‘we’ve got to get out of here’ hammered in had lasting effects, as did the horrifying violence witnessed. How much would it take for her to believe in a new, better San Trobida? If it was just herself and Taylor, it’d be different, but they had Liv. It was why testing the waters with home-schooling between San Trobida and La Huerta had looked so promising.

“My mother wouldn’t recognise it,” she admitted, shaking her head. “She would have gone back to the university in San Trobida City, I’m sure of it. She’d help it get back to its former glory. We probably would have stayed in Las Rocas-- I can imagine her face if I could tell her it’s now part of what they’re calling ‘the Costa Libertad’! Maybe… maybe she’d have said I should stay.”

“If you don’t mind my saying, I’ve always thought you’d do what you saw fit, and to hell with what anyone else advised. Certainly, that’s been my experience.”

That made Estela chuckle. “I think I’m used to being more sure. Don’t worry; I haven’t lost my pig-headedness. I can still dig my heels in like nobody’s business.”

“That, I have seen for myself. But it is wise to have an open mind and get some balanced perspective before that stubborn streak of yours rears its ugly head.”

Estela bit her lip. If Liv flourished during time spent in San Trobida in the next year of home-schooling, it really would be hard to leave, especially if Aleister and Grace’s family were considering immigrating.

What more could you wish for?

“I’ve been resistant… for a long time,” she said, thoughtfully. “But every time I go back, San Trobida is looking more and more like somewhere we can be happy and safe. You know, Livi is my tio’s sun and his stars. I want her to have him there for her the way I did, the way he wants to be there for her. It is… hard to shake the fear, though. If I misjudge it; if I put too much hope in my home and she gets hurt or…. I don’t know if I’m too broken and traumatised to be rational about this.”

“And what does Taylor think?”

“Taylor would live in San Trobida. It’s simple to hop to and from La Huerta. That’s good for her; to be that close to Diego now he’s there almost permanently. She wants to be a bigger part of the forward momentum for young queer people. But, she worries. I know I’ve influenced that.”

“I feel that’s fairly inevitable,” Aleister conceded. “If there’s one thing I’d give Taylor, it’s that she’d very emotionally perceptive.”

“Yes, that’s her. I’d rather she didn’t take on board all of my baggage, because, let’s face it, that’s a whole lot of shit to carry. But if she wasn’t so empathetic, she wouldn’t be Taylor.”

“If we were to take Taylor and Olivia out of the equation, where would you want to be?”

Estela grumbled, damn well aware that Aleister knew the answer to that.

“I’d want to be home,” she said simply.

“You never were one for straight answers. Do you know how many headaches you’ve given me over the years?”

“Isn’t that what little sisters are for, hermano?” Estela laughed. Aleister had been forced to develop some amount of patience with her; by her reckoning, it had been good for him. Certainly it had put him in good stead for handling his more obtuse children, namely Immy.

“Like I said, we’re going into this with some flexibility. We don’t know what will be best for Liv, for all of us. We can start here, spend some time with Diego, then live back with my Tio for a few months. Then, I dunno, maybe travel around the world a little bit, expand Livi’s horizons. But down the road…. If settling in San Trobida is the direction you want to head in, that will be one hell of a pull for us.”

It’s just about decided it. That’s gonna be us. Our family. Our home.

#playchoices #endless summer #estela montoya #estela x mc #liv montoya #olivia montoya

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goodbysunball · 5 years ago

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Quarantine rock, pt. III

Another long overdue update from the indoors. Hope you and yours are hanging in there - if nothing else, there’s no shortage of great music to keep you company. Here’s my take on some recent favorites.

C. Lavender, Myth of Equilibrium (Editions Mego)

Admittedly had not heard of C. Lavender until her collaborative cassette with Aaron Dilloway dropped earlier this year, but it’s safe to say that the tape was strong enough to blindly buy her new LP on Editions Mego. Myth of Equilibrium has been one of the best surprises from this year, drone at its core but opening up to something much more soothing over repeated listens, despite the jagged edges and tendency to embrace caustic noise. It came as no surprise to find out that C. Lavender embraces sound as a healing medium, as Myth of Equilibrium takes a deep, buzzing bass tone and twists and stretches it until individual packets of sound are weightless and ethereal. “Remedy Potion Extraction” is the most obvious example of this dark-to-light transformation C. Lavender excels at, but mostly the tracks present a satisfying puree of sound over shorter durations (”Engulf the Mystery,” “Dimly Lit Exit”). The brevity is a strength, and in that way C. Lavender reminds me of French duo Femme or even some of Tim Hecker’s work, but without the startling track-to-track transitions of the former or the diaphanous shroud of the latter. The bass keeps Myth of Equilibrium tangible and firmly grounded, and the rest of the sounds conjured by C. Lavender weave a very heady, very rich tapestry. The best respite from 2020 money can buy; soak it in. The LP is sold out from Editions Mego but those in the US can order it direct from C. Lavender for a very fair price.

Kobra, Confusione (Iron Lung)

Alright, I’m admittedly not a huge fan of the cover art for this record, but it’s an easy enough barrier to jump over when the music rips this hard. Kobra is from Italy, and they traffic in a mid-paced, pounding strain of punk that is right up my alley. Sounds like Una Bèstia Incontrolable meets Mecht Mensch to these ears: like the title track, which starts out like “Zombie” and then flips into a UBI-level groove, sax bleating and moaning on top of it all. This is punk through and through, the blown-out drums always there to remind you that this is presented by Iron Lung Records, but there’s a definite early post-punk/art-rock vibe present, too - check the groggy “Fogna” that opens up side B, which kinda sounds like Kobra doing their best impression of the Circle Jerks in Repo Man. The guitars don’t riff as much as they slash and chop, fragmented stabs landing among the onslaught of drums. The vocalist uses a menacing speak-scream (most effectively on ”Sogni Illusioni” and closer “C.P.D.M.”), and if I could speak or read Italian, I’m sure the lyrics would be intelligible amongst the din. Confusione is loaded with hits, but when the band clicks and all the parts come together, Kobra whips up a maelstrom; hard to deny the power of “Dentro Agli Schermi” (my favorite track) or “C.P.D.M.,” and though both of those tracks feature the saxophone, I’m glad the band wields that weapon sparingly for maximum effect. One of the most memorable and exciting punk releases of 2020, for sure, a formidable, brawny brew that’ll flex your pencil neck and have you involuntarily pogoing in no time. Highest recommendation! Confusione is sold out direct from Iron Lung, but Sorry State, Feel It, Grave Mistake, etc. all have it in stock.

Oily Boys, Cro Memory Grin (Cool Death)

The best musical news this year, hands-down: NEW OILY BOYS. Not only was an Oily Boys LP drop completely unexpected, I am completely steamrolled by this record every single time I drop the needle, from the opening “UGH!” on “Given” to the nearly nine minutes of caustic self-loathing on “GTrance.” There’s a definite metallic edge to the way Oily Boys approach punk, from the riffing to Drew Bennett’s brutally intense vocal performance, but while most punkers approach metal as a gimmick and end up sounding pretty tame, Oily Boys just sound absolutely mad - the 1-2 of “C.B.D.” into “My Sex Life,” especially the wild guitar theatrics on the latter, carry an intense, teeth-clenching physicality. If that was all Oily Boys did on this LP, it’d be a success, but the band throws curveballs and mid-tempo fits across Cro Memory Grin’s 13 tracks. “Heat Harmony” was the most jarring inclusion at first, relatively tuneful dark punk that could’ve been lifted from drummer Yuta Matsumura’s other band Orion. It definitely works, and the slightly softened approach of the band thankfully has no effect on Drew Bennett’s vocals. “Lizard Scheme” is another detour, swelling noise and Bennett’s barking (”Stupid is as stupid does, jazz boy!” is a choice lyric), reminiscent of Gutter Gods’ dizzying “Allan.” Probably the two most pummeling tracks here slow the tempos significantly and close out each side: “Stick Him,” my favorite track, and “GTrance,” the exhaustive closer. “Stick Him” is absolutely ferocious, the band emphasizing the quiet-loud dynamic with saxophone, the loud parts lurching into place like heavy machinery turning on, Bennett screaming the title with a violent ferocity. Where “Stick Him” is feral, the screed unleashed on “GTrance” by Bennett feels therapeutic, expelling every bit of toxic bile into the song without a break, and even if there is no resolution, the end result is a momentary peace, the same kind afforded by pushing to the full extent of one’s mental or physical abilities. That kinda seems like the point of Oily Boys, from the self-effacing name to the poisonous lyrical content to the absolutely ferocious performance: know your enemies, push back against the lowering boot of the world, fuck the rest. 2020′s best punk record, no contest, and maybe even the best record/soundtrack to the perfect storm of this year. Sick artwork/inserts on this LP, a nice job as usual from Cool Death. Cro Memory Grin is still available direct from them, and Goner still has it domestically.

Subdued, Over the Hills and Far Away (Roachleg)

With last year’s Bad Breeding LP still fresh and prescient as ever, and the political climate seemingly spiraling into reality TV while people mercilessly struggle and suffer all over, it seemed like scoping this new LP from the UK’s Subdued was more than appropriate. It’s reductive and maybe a little offensive to mention UK compatriots Bad Breeding in the first line of this review, but the similarities are hard to ignore: both bands create fiery politically-charged punk that flirts with metal and noise, delivered in screamed vocals with a heavy British accent. Subdued don’t fly off the rails as much as Bad Breeding; there’s more of a Crass/Rudimentary Peni vibe, with the emphasis on vocal delivery and riffs rather than conjuring a visceral tornado of noise. Sometimes the riffs can be a little clunky (particularly the end of “The Joke,” even though “Is hope the joke?” is a pretty powerful lyric), and for how much room the vocals are given, the lyrics can tread into oft-used clichés. Doesn’t make the message any less true, and I think the longer I spend with Over the Hills and Far Away, the more I come under its spell. “Problem of Evil” is probably the best song here, a near-perfect blend of deathrock, stomping riffs and barked vocals, and when it turns into the sprint of “No More,” Subdued are an undeniable force. Not sure if it just takes me until those two songs to warm up to Over the Hills, but the B-side of the LP seems to be more memorable - like the world-beating metallic riffs of the title track, or the frenetic guitar solo that finishes off “Call to Suffer.” There’s more than enough at play on Over the Hills to keep me coming back, and overall it’s a strong debut LP, and a great reason to check in with what Roachleg Records is bringing to the US punk scene. Cop the LP direct from Roachleg, and if you’re lucky you might have a chance at one of the limited-to-100 hand-screened covers. La Vida Es Un Mus put out the LP for the rest of the world, another solid co-sign for Subdued.

Aviador Dro, Nuclear, Sí 7″ (La Vida Es Un Mus) // Algara, Enamorados Del Control Total 7″ (La Vida Es Un Mus)

I don’t think these two 7″s have much in common other than the fact that they’re both put out by La Vida Es Un Mus, they’re both sung in Spanish and they’ve both been ruling my turntable this year. The Aviador Dro record is a reissue, one that came out last year, and it’s a gem: sci-fi keyboard punk from the '80s, the titular track one of the best songs I’ve ever heard, a slinking, funky beat driving the song into your brain forevermore. The B-side feels more edgy than the A-side but it’s all undeniably great; Paco did us all a favor by repressing this record, and continuing to keep it in print. Fast forward to 2020 for Algara’s 7″, their debut, which came out way back in pre-pandemic January. The cover art caught my eye, and the spindly, groovy drum-machine post-punk within is immediately addictive. The label says Crisis and Joy Division are in Algara’s musical DNA, and that sounds about right; the sound is spare, you can kinda dance to it, the bass lines carry the weight and the wiry guitars smear into each other (”Miedo a Perder”) or stitch single golden threads into the tapestry (”Dopamina y Producción”). Algara’s a 4-piece now, and they’ve got an LP coming soon on LVEUM, so 2021′s lookin’ bright. Both 7″s are mandatory, widely available from distros and direct from La Vida Es Un Mus. Scope the feature that Lulu’s wrote on Algara while you’re at it.

Saskia, Eeuwig Op Reis 7″ (Stroom)

The record collector sweat starts when you read about a 7″ reissued from a “highly intimate cassette” limited to ten or so copies in 1983, circulated only amongst friends and family. My eyes typically roll at such uncovered “gems” or whatever, but these two songs definitely deserve a wider audience. “My Lips Get Hot” splits the difference between the foggy late night atmosphere conjured by Chromatics and a breezy Balearic vibe, topped by sensual, high-pitched vocals that really drive the whole woozy, lovesick message home. The flip has the instrumental “You Left Your Soul Behind,” wherein said Balearic vibe is now at the forefront. It’s a strong track on its own, but kinda just serves as the comedown from “My Lips Get Hot” in this presentation. Stroom continues to unearth overlooked records with unnerving ease, and this Saskia 7″ might be the one that makes the label a more common name. One copy of this record is left at Stroom’s Bandcamp as of this writing - move quick.

Glen Schenau, “Jhumble” b/w “Jearnest” (self-released)

Glen Schenau is at the forefront of Brisbane’s experimental musical scene; he’s done time in Kitchen’s Floor, Bent and has even self-released a few things under his own name. The solo stuff I’ve checked by him was restless, frantic guitar and bass lines seemingly swimming against the current of his Bryan Ferry crooning. While there’s no denying that it was singular, it never really coalesced for me in the same way that this new 7″ does. That same restlessness is still at play here, obvious from the beginning strumming of “Jhumble,” and Schenau seems to still relish the vocal stylings of Ferry, though his vocals also remind me of some of the alterna-rock radio I was subjected to while working in a warehouse during summers between school. Normally that sort of vocal homage would send me running to the hills, but it really works here: the busy guitar line and the drums lock into an undeniable groove on “Jhumble,” and whatever Glen is singing, the melody is stuck in my head for days. “Jearnest” is my pick, the more difficult foil to “Jhumble”’s pop leanings. The sprightly guitar at the beginning is submerged into this rubbery goo, which eventually takes over the song while a whistle floats in to carry a melody over the tarry pit. Can’t say I’ve ever heard anything like it, but it doesn’t just float along on that claim; this is a highly potent brew served up on both sides of this single. Glen self-released this record and it’s limited to 150 copies; mine came with a hand-written note and drawing, which was a nice touch. High marks all around. I’ve got to echo Matt K.’s sentiments when he reviewed this record: “Seems like every Australian band gets their own album without much delay, so I have to ask: where the hell is Glen Schenau’s?!”

#C. Lavender #Kobra #Oily Boys #Subdued #Aviador Dro #Algara #Saskia #Glen Schenau #Editions Mego #Iron Lung Records #Cool Death Records #La Vida Es Un Mus #Roachleg #Stroom

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multimetaverse · 5 years ago

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HSMTMTS 1x10 Review

Act 2 was a great finale that capped off a great season though somewhat marred by Disney censorship. Let’s dig in!

Finally Ricky and Nini have found their way back to each other. Sweet callback to Ricky lighting Nini up with his phone as Nini does the same. Breaking Free was great though I had to keep pausing during the EJ to Ricky transition because it was so cringey. Ricky and Nini really do have the best chemistry on the show and it shines through this ep. Joshua did a great job improvising Ricky’’s confession to Nini as did Olivia reacting to it. Tim mentioned in an interview that originally Ricky was supposed to tell Nini that he thinks he kinda you knows in a callback to the premiere but on set he realized that it was too cheesy and decided to let Joshua come up with a confession based on memories of his and Olivia’s real life friendship. That was certainly the steamiest kiss we’ve yet seen on Disney + but it was well earned

It speaks well of Tim that he recognized that his own writing wasn’t good enough and that he trusted his actors to take charge. It also goes to show how much of a difference it makes having the showrunner actually on set in Salt Lake, whether that was Tim or Disney’s decision. It’s a sharp contrast with Andi Mack where Terri the showrunner was based in LA and only rarely visited set while Michelle Manning was the producer in charge in Salt Lake, a split which I think hurt the show in some ways

That rainbow heart sign from the Mathew-Smith family was lovely. It’s great to see Seb’s family of Utah farmers being so supportive. This also confirms that Seb is out to his family, and since Miss Jenn seemed to greet Carlos’ father near the beginning of the ep it’s likely that Carlos is also out to his family

A historic first for Disney with a Seblos cheek kiss. Though of course while it’s progress it still isn’t equality. It’s not so much the Rini kisses that really drives home the inequality since they’re the main couple and were always going to kiss in the finale but rather it’s the Redlyn kiss. It’s not like Redlyn has gotten any real development nor did their story line really need a kiss so early. They got to kiss simply because they’re straight. That being said, it does once more show that the limits are looser on Disney +, we never would have gotten even a Tyrus cheek kiss on Disney Channel

Unfortunately Disney for the second ep this season released promotional photos of Seblos scenes that were cut from the episode itself. It’s not queerbaiting in the traditional sense but it is baiting the audience as they know that a lot of people are very invested in Seblos and seeing that rep on screen and Disney is willing to use that to draw in viewers while cutting the actual on screen rep down. What’s worse is that if it wasn’t for Disney itself letting us know that these scenes existed we’d never know that Seblos scenes were being cut. And of course, it’s a waste of time and money for the show to film these scenes only for them to be cut. A big complaint with Seblos this season has been their lack of development but that seems to be less on the writers who are in fact giving them more scenes then on Disney which is cutting them down to the bare minimum

It’s all shameless triangulation on Disney’s part, trying to be progressive but not so progressive as to alienate conservatives. It’s not like any homophobes are still watching the show after Seblos got together. So far it seems like the Disney censorship on HSMTMTS is coming mainly in post production like it was in Andi Mack S2 with the cut bash mitzvah scene and the edited look back which is awful but is still better than the much heavier censorship we saw in Andi Mack S3 that was coming in pre-production when things like Cyrus being able to talk about his feelings for TJ and vice versa were just never being written. Hopefully Seb being a main character in S2 means that the censorship lessens at least a bit or at the very least stays in the post production stage

In an interview done early on in the season, Tim talked about sometimes taking giant leaps and some times taking small steps in terms of the representation on the show and know we have a much better sense of what that means in practice. There was the giant leap of Seblos getting together at Homecoming and the small step of them kissing on the cheek. Afaik Tim hasn’t addressed the Seblos cheek kiss which is probably for the best and if he does I hope he has the good grace to not lie to the audience about his ability to have gotten an actual Seblos kiss approved. I do think we’ll eventually see a Seblos kiss though I think the earliest that could happen would be the S2 finale

Very telling that Ashlyn assumes EJ is behind Ricky’s exit and not a good look on EJ’s part to not tell Miss Jenn at least that Ricky left. . Good for him though for playing to lose and giving up the role of Troy to help Nini and Ricky. Confirmation that he paid for Gina’s ticket and we got our first Hell Yeah on the show. I don’t like it but it does seem like that scene was set up for Portwell in S2; at the very least it seems like Gina may have started to feel something for EJ

Pour one out for those poor audience members having to sit through that trainwreck of a second act. You know you’re really in trouble when you have to send your choreographer out there as an understudy

I loved Big Red’s little xylophone during the intermission

Nice to see Nini and Gina end on a friendly, supportive note. Hopefully that continues next season

Kudos to Olivia and Matt for really selling the high school theatre actors barely keeping it together on stage aspect of the performance. Nini and EJ have so little chemistry that it’s almost hard to remember that they were dating for several months

Mr Darbus’ office set looked great. Nice touch to have Miss Jenn mouthing the lyrics to Wondering off stage

Lynne really sucks. Can’t say I’d miss her if we don’t see her in S2

Will be interesting to see how Miss Jenn and Mr. Mazzara save their jobs

Realistically I don’t think Nini’s performance was strong enough to earn a spot at YAC; someone like Gina or Seb would have been a much more credible choice imo. Nice touch to have the Dean leave through one door and Ricky the other

Now that the season is done it’s hard to see any traces of whatever more mature direction former showrunner Oliver Goldstick wanted to go in. The whole season seems very coherent and consistent in terms of tone. We did learn from Tim and Olivia that her song All I Want was a re-shoot so maybe it was a replacement for a song or scene that was pushing the envelope more than Tim and Disney wanted

One thing that may or may not be connected is that EJ’s panic attacks from the original character breakdown made no appearance this season and who knows if we’ll ever seen EJ having panic attacks or suffering from anxiety. Disney seemingly had no trouble showing Jonah’s panic attacks on Andi Mack which is doubtless where HSMTMTS took the idea from but it’s also true that Jonah’s anxiety story line was abandoned halfway through S3 and though it’s likely just the result of bad writing it can’t be ruled out that Disney got cold feet over focusing on mental health in both Andi Mack and HSMTMTS

Looking Ahead:

One benefit of this review being so late is that we now know the spring muscial! Beauty and the Beast which seems to suggest that all future musicals will be Disney owned properties

Tim also confirmed that they will still be incorporating songs from HSM 2 and 3 into the show which will certainly help pad out the 16 extra songs they’ll be doing in S2. Having 12 eps will be a big help to the show; 10 eps just wasn’t enough to properly deal with all the characters and plots

HSMTMTS really turned out to be a delight and while I think S2 will be as well there are definitely potential issues ahead that will need to be deftly dealt with. Nini either going away to YAC and then coming back to SLC or just not going to YAC is probably going to be wrapped up in an unsatisfying manner. In all honesty this kind of plot would have worked much better if it had been saved for Nini’s senior year

Whatever plan Ashlyn is cooking up to keep Gina in SLC is also probably going to be poorly done as there’s no reason Gina’s mother would willingly leave her daughter in another state

EJ is either leaving the show after he graduates or they’re going to have to contrive some way to keep him around East High in future seasons

Seb now being a main will be interesting, if nothing else to see what Disney’s limits are. Tim has hinted at their being drama for Seblos in S2 and I hope that it serves to develop them and is not just a means to keep them apart so there can be two gay mains but no gay relationship. As an aside Tim revealed that Joe originally auditioned for EJ which is wild; it’s funny that both Joshua Rush and Joe Serafini auditioned for EJ when neither of them had any realistic chance of being cast

I have no strong feelings on the cast list for Beauty and the Beast though I do think it’s likely that either Kourtney or Gina end up playing Belle as I think having a black girl play Belle is just the type of subversion that would appeal to Tim. Miss Jenn did say that she wanted Kourtney to come speak to her over break and while Gina is a bigger character I’m not sure if Sofia’s singing is quite good enough to carry the lead in the musical while I think Dara’s definitely is

I’d say it’s very likely EJ ends up either as the beast or as Gaston since he’s in what should be his last semester. And if Gina also gets a big role it would make it easier to play with Portwell in S2. If EJ is the beast I could see Seb getting Gaston in another subversion of expectations. Regardless I think with Seb now being a main and with Joe having one of the strongest voices in the cast that he’ll play an important role

Until next season Wildcats

#HSMTMTS #Rini #Seblos #Ricky Bowen #Nini Salazar-Roberts #seb mathew-smith #carlos rodriguez #EJ Caswell #Gina Porter #HSMTMTS Reviews

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intomark · 5 years ago

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nct 2020 'resonance pt.1' album digest tl;dr love this album, we get to hear some very interesting member combinations that we've never heard before and it works + i cant wait for pt.2

Make a Wish: such a catchy song with the utilization of whistling. the track draws from both mid-90s and mid-00s influences. their kind of languid, ‘slurred’ style of singing makes the melody so memorable. the refrain has a funk feel, and is underlined with a bouncy, percussion instrumental and really gets your head nodding along with it. for the structure, its more common for the rap versing being placed after the first chorus, however, make a wish’s opening verse chooses to utilize rap/hip hop instead. this results in there being a bright melody that follows the chorus, which adds a little surprise to the song. the bridge with the muffled bass in the instrumental really reminds me of h.o.t’s ‘descendant of warriors,’ showing the influence of older styles in the song.

Misfit: love the lineup. all the members really fit this song and the track plays like a cypher. the theme of not conforming with societal standards is prevalent in the track; through the instrumental, lyrics, and the delivery. the track is influenced by early 90s hip hop, and the mesh of samples/genres (beats, riffs, drums, funk, rock and roll) are some that you wouldn’t expect to go together, but they do complement each other in the track. the chanting of the chorus emphasizes the coming together of individuals and the formation of a group. each of the members has a different rapping style/intonation/delivery, and its great to see how they are able to blend together cohesively in one song, while still keeping their individual colours.

Volcano: featuring the legendary boss unit, the hype was there even before i heard the song. the track feels a bit like an homage to boss, due to the dark hip hop beats and the baseline. the pre-chorus was beautiful with doyoung and jungwoo’s vocals, and the contrast of these vocals with the rap verses was great (mark’s in particular was the standout). the bridge was beautiful (like always), however, it seemed to similar to the pre-chorus until the high notes. i also couldn’t pick out winwin’s voice in this unfortunately (i really hope that he has more chances to really show off his talent).

Light Bulb: saw kenzie on the track and was already excited. comparted to the previous three songs, this track slows the pace down with the soft piano intertwined with the airy percussion and tambourine. the smaller amount of members on the track allows for longer verses for each member which is great. sungchan sounds super good (his style of rapping reminds me of a more yg-esque style seen with the likes of mino/bobby). doyoungs voice is beautiful and kun sounds amazing!! their harmonies are such a treat! taeyongs rapping was also super good as well.

Dancing in the Rain: the transition from the thunder at the end of light bulb to the drizzling in dancing in the rain was so satisfying. the piano in the instrumental paired with the typical jazz and r&b elements (electric guitar, drums, a noticeable swing) gives the song a super homey feel. it really reminds me of sitting in a coffee shop on a rainy day and just taking in the vibes around you, or spending time with someone that you love and that content, secure feeling. (bonus points bc i live in a super rainy city so this track truly reminds me of it)

Interlude: Past to Present: i really enjoy all of nct’s interludes and this one is no exception. the first half has a more old, nostalgic vibe, due to the samples used from the 20th century, and also reminds me of nct’s ‘nctmentary’ videos. the second half seems more futuristic, due to the use of synths and distortions. the track also reminds me of the theme of retro futurism that was seen throughout the nct 2020 teasers (depictions of the future in earlier eras, the future as seen in the past, and tension between the past and future). in addition, the tracks before the prelude seem like songs that would fit into nct’s discography in prior years/gives a nod to older styles of music, while the tracks after the interlude are more of the sound that we associate with the group through their most recent releases.

무대로 (Déjà Vu; 舞代路): 7dream is back! the opening with haechan prefaces the song in an ominous way, and the transition with into the four beat kick seems to throw you in the song. the track has some youthful elements that are heard (the nursery rhyme-like chime sequence, the la’s in the outro), and are paired with an energetic chant for the chorus and a hard hitting beat, which creates for a sound that is both mature and youthful/fresh.

月之迷 (Nectar): GROOVY. the song itself sounds super sensual, and it's honestly such a wayv sounding track. the chorus is so addicting due to the spoken nature of it and is definitely going to be an earworm. the instrumental is so good; the synths paired with ad-libs like zippers, triangles, clocks ticking and the use of horn instruments and bass make for a masterstroke of a production.

Music, Dance: a super fun track!! i can see this being played in a club or runway setting, probably due to the addictive, strong bassline. with a more minimalistic backing, that empty space is filled with a chanting chorus. the instrumental breakdown wasn’t something that i expected. this track is definitely a polarizing track for some.

Faded in My Last Song: the blend of lo-fi trap, piano, and r&b creates such a harmonic bliss and is memorizing. the delivery of the track’s lyrical delivery is addicting, probably due to it being in a minor key and the use of the members voices echoing each other in the chorus, creating a track full of textures. the bridge is super good, and the combination of haechan and jaehyun is something i didn’t know i needed until now. one of my favourites on the album.

From Home: a FLEX, both vocally and with their multilingual skills. going by the members in the lineup and the title i knew that it was going to be a ballad. this was a beautiful showcase of the members vocals, and the combination of voices go together very well. the singing carries the track, and the piano instrumental is just there for support. the song also gives me winter vibes, and will definitely be on repeat in the coming months

#yeah get into itttttt #i do be speaking into the viod #many words bc the whole album was 😍😍#kat comments #album digest

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abitterlifethroughcinema · 6 years ago

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WOKE! Film Reviews in BCN

The Summer 2019 Movie Season Kick-Off!

by Lucas Avram Cavazos

Cue DJ Jazzy Jeff and the Fresh Prince! When I was coming of age in the 90s and early millennium, there were moment of sheer relief, joy even, as June broke through with certain heat in tow, that the summer would be bringing with it a break from the reality of non-stop scholastic rigamarole, as well as, a load of blockbuster films and some hot dance jams of the summertime. It was also usually ushered in by the Entertainment Weekly annual summer movie preview, but who gets magazine subscriptions nowadays? What we do get is down to business, so let’s roll!

Men In Black International ##-1/2

The first MIB film was released just as I made that high school to uni transition, and over two decades later, we start the 2019 summer movie season with this fourth instalment of what may have easily been put out to pasture long ago, but why stop when there is profit to be had, right? The charming sense of wonder that was first introduced to us back in ’97 was even served up back then with a now no longer Fresh Prince, but instead a mediocre hip-pop Will Smith single…oh the 90s. The thing is, that first film came across as right on time. Remember, this was at the height of paranormal entertainment, as the X-Files ruled the telly waves, alien movies started being produced in spades and pretty much everything commenced a somewhat pre-millennium tension, so setting a comedy/action thriller based on the tracking and maintaining of aliens in modern NYC society was a perfect, cinematic fit. In 2019, we now get the “int’l” version of MIB, where Agents H and B come poised like action figures in the skins of Thor:Ragnarok alums Chris Hemsworth and Tessa Thompson. They have been given the specific job of playing escorts to one of H’s old alien buddies who is a bigwig now and visiting Earth in search of a grand old time…cute. And then it becomes clear that old homeboy is also in possession of a diamond-sized weapon that could be a seismic shift to life as we know it and other evil forces want this for their possession too and la di da di da….It’s all been so overdone before, and I abhor seeing Miley Cyrus’ bro-in-law making such trite shite when, despite the obvious camaraderie between him and Lady Agent B, of which there is suspiciously mucho, when the script by three different writers is so obviously lacklustre, where is one to go from there? I digress but while it’s fun to see director F. Gary Gray do his attempt at dealing with alien life forms and shape-shifting cretins with a glossy sheen of comedy, if there is such real substance, how can you make a tired series shoot back to life? Answer: NOT LIKE THIS!

Aladdin ###-1/2

Disney’s consistent, modern renderings of animated classics into live-action, blockbuster behemoths continues with Guy Ritchie’s take on this undoubted classic from 1992 remade for #metoo 2019. While it may seem odd to not give the task to an Indian or Arab director, Ritchie takes on the task with aplomb that even gives this version a, dare I even say it, a woke feel to a story that truly should not be lily-white. Original Broadway star of Aladdin and TV’s Jack Ryan star Mena Massed nails it just as annoyingly as Robbie Benson did back in the day as the titular character, and although Indan-English actress Naomi Scott is a tad meh in her role, she also employs a fresh sense of independent woman ‘tude that vibrates through the celluloid and scenery despite the paint-by-numbers songs. But, let’s be frank, it’s beyond time that a production so perfectly timed and so immense in this modern time should and would have POC actors painting a picture of those times, so it comes to no surprise that Ritchie would want a big name star like Will Smith to embody the role left so perfectly-tinged with greatness like the cartoon original voiced by the late, great Robin Williams. Guess what? He does the role very fine justice…thankfully. And he does it in a classic, Fresh Prince vibe…smoothly and with easy aplomb. I also found the choices of lady-in-waiting Nasim Pedrad as Dahlia and Marwan Kenzari as the cruel Jafar as impeccably cast worthy…timely comic and story relief. Gone, however, is the annoyingly necessary voice of evil parrot sidekick Iago by Gilbert Gottfried and instead is a guy with a bird-like tone. Only time will tell if this particular film piece stands the test of time as I believe The Jungle Book and latter Beauty and the Beast will, but after the ho-hum taste of MIB Int’l, I’ll take this eye-spectacle anyway!

Godzilla: King of the Monsters ##-1/2

In this new addition to the decades-old franchise, our infamous title character gets to slug it against a foe out on the field at Fenway Park…fun! For years now, dino and/or Godzilla movies have consistently littered the summer movie theatres for more than a couple of decades now. Godzilla: King of the Monsters is a sequel to the last 2014 eyesore, which was released just before I began critiquing cinema, so right off the bat, the film commences with a throwback to the drama where the other film left us and we get paleo-biologist and mum Emma Russell (Vera Famiga of The Conjuring and Bates Motel fame) tethered to her adorable one Madison (Stranger Things star Mille Bobby Brown) as they gaze in awe at the apparent nascence of a larva named Mothra. This kaiju movie (entertainment that employs the use of oversized combative creatures) happens to present us with the fact that Godzilla is a supposed ringleader of the Titans, which are huge, dormant creatures ensconced beneath the earth…you know the ones, Rodan, the aforementioned Mothra, Monarch, something called Monster Zero…oh and don’t forget that Monster Zero is also called Ghidora, and if you’re not confused yet, let me give you another interesting summer movie fact…this film also stars Sally Hawkins of The Shape of Water and Blue Jasmine success and king of character actors and John Sayles movies David Strathairn as some admiral. My qualm comes down to this…if this is the shlocky summer stuff Hollywood is going to be throwing at us for the next three months, we’ve got a long way to go, and I’m going to have to apply some indie skills real fast because watching so many good actors put to mediocre use is not the way to start off the summer! Here’s to hoping.

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tastydregs · 2 years ago

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Rapidly forming El Niño to boost global warming, lead to widespread extreme events

Data: NOAA; Chart: Alice Feng/Axios

A double whammy of natural climate cycles and human-caused climate change will likely make next year Earth's warmest on record, climate experts tell Axios.

The big picture: Forecasters now expect that a moderate El Niño, the climate pattern characterized by warmer-than-usual sea surface temperatures, will develop this summer, bringing sweeping shifts to weather patterns worldwide.

El Niño teams up with human-caused climate change and pushes global average surface temperatures higher.

Even a relatively weak event could lead to new records for the warmest year in 2023 and 2024.

What's happening: Three straight years of La Niña, which features cooler-than-usual sea surface temperatures in the tropical Pacific, have given way to a rapid transition to an El Niño state.

The National Oceanic and Atmospheric Administration (NOAA) declared an El Niño watch last week, putting 62% odds of an event setting up during the May to July period.

The odds jump to about 85% later in the year, according to Michelle L'Heureux, a meteorologist who leads the El Niño-Southern Oscillation team at NOAA's Climate Prediction Center.

Threat level: The last global record occurred in 2016, which was also an El Niño year.

The planet has continued to warm since: The past eight years were the warmest such period on record. And in just the last few weeks, ocean temperatures reached unprecedented levels.

The ocean and atmosphere climate pattern also shifts weather across the globe, shutting down much-needed rains for tens of millions, while bringing deluges to other areas.

El Niño can lead to drier-than-average conditions in parts of eastern Australia, wet conditions in East Africa — plus a host of shifts across North America during the fall and winter.

Between the lines: Typically, computer models are less accurate in forecasting El Niño events during the spring, which is known as the "spring prediction barrier."

But L’Heureux told Axios via email that the "key precursors to El Niño development" are already evident in observations, which makes forecasters more confident.

"Specifically, we currently are seeing a large amount of subsurface oceanic heat building in the tropical Pacific," which will eventually bubble up to the surface, she explained.

In addition, east-to-west trade winds along parts of the equatorial tropical Pacific have slackened somewhat, which is a key ingredient for setting an El Niño into motion and maintaining it, L'Heureaux added.

By the numbers: Model projections have been leaning toward a moderate-to-strong El Niño by the fall and winter, notes Zeke Hausfather, climate research lead at web payments company Stripe.

He said these events can boost global temperatures by about 0.2°C (0.36°F), on top of the larger long-term, human-caused warming trend.

"While it's too early to know for sure, it is likely that 2024 will be the warmest year on record. Exactly how warm will depend on how long El Niño conditions persist," Hausfather said.

Hausfather echoed Adam Scaife, head of long range prediction for the U.K. Met Office. Both say the developing El Niño may cause global average surface temperatures to temporarily come very close to, or even briefly reach, the Paris Agreement's temperature guard rail of 1.5°C (2.7°F) above pre-industrial levels.

Yes, but: This would be a symbolic milestone, since the Paris Agreement targets refer to long-term averages, not one or two years.

"Perhaps the important thing is not whether it actually reaches 1.5 degrees next year," Scaife told Axios via email, "But that this will be the first time in history we are within reach of this level for [the] annual global [average] temperature."

The intrigue: One potentially positive aspect of an El Niño is that they tend to reduce, but not eliminate, Atlantic Ocean hurricane activity by increasing upper atmospheric winds, which can tear nascent storms apart.

What we're watching: If a spate of weather extremes and a new record warm year reverberate politically. The so-called super El Niño of 2015-2016 coincided with the negotiating and adoption of the Paris Agreement.

The upcoming U.N. climate summit in Dubai starting in November will test whether nations can commit to more aggressive near-term emissions reduction targets.

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kathleenkatmary · 7 years ago

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Noirvember Viewing and Reading: Moonrise and Fatale

Most of director Frank Borzage's best known work looks quite different from his noir masterpiece Moonrise on the surface. They're hazy, dreamy, romantic films from the silent era and early 1930s, stories about people left on the margins of society through little or no fault of their own finding an all encompassing love that saves them. Initially, Moonrise seems quite different from that. It's protagonist is more darkly flawed, more brooding and less charming than the typical Borzage hero, and the world of swamps and deep shadows feels worlds away from the high-art fairy tales of films like Seventh Heaven, Street Angel, and Man's Castle.

And there certainly is a darkness to Moonrise that's different to his earlier works (though, in fairness, those films often carry a layer of darkness under their romantic surface). There's a certain brutal violence to so much of this story, from the encounter that kicks things off, to the back story of Danny, the film's main character, to the way some character behave and are treated. There's also far more realism involved. While Borzage often made films about the difficult realities of poverty, especially during the Depression, his films had a romantic sheen to them that made the character's surrounding feel like something out of a storybook. The southern small town setting of Moonrise, on the other hand, is steeped in realism, even when the more stylistic flairs of noir touch it.

But it's far more like the director's earlier output than one might think at first glance. Philosophy is at the core of Moonrise, as it is in varying degrees with most of Borzage's work, and it drives the trajectory of the story. While most of the focus is on what Danny's done and his mounting fear of being caught, the love story between him and a kind, gentle local school teacher is an integral part of the story. The theme of "love saves" is still there, with Gilly presenting the possibility of saving Danny from both himself and the family history over which he has no control. The romantic scenes offer a stark, yet needed contrast to the darker and more paranoia and tension filled scenes of the film. They share a lovely, dreamy tone that's similar to Borzage's earlier output, while adhering more to the styles of film noir than the soft focus romance of silent film and the pre-code era.

Moonrise itself feels quite different from a lot of noirs. It has the gripping paranoia that's a hallmark of so many films of its type, and the style is distinctly noir. The characters themselves also follow pretty familiar noir archetypes. But there are things that separate from other film noirs. Borzage's romantic style, even when shrouded in darkness and brutality, is still very much present, giving the film a much more hopeful feeling than a lot of noirs have. The southern setting is also something that's a it unusual. Southern noir was both something of an oddity and a subtype of film noir, with films trading the concrete jungles of New York and LA for the decaying mansions and humid swamps of the American south. This changes a lot of the themes of noir. The paranoia and isolation comes not from being one person among faceless thousands, but from being a well known and much talked about figure in a small town. Dark alleys and streets as places of fear and mystery are replaced with wildlife and endless roads. Moonrise is a different world from so many other noirs.

It's a beautiful, unique piece of noir filmmaking, and it makes me wish Borzage had made more films of this type. His silent and 1930s films are among some of my favorites, and I love how he took elements from those films and brought them over into film noir. It makes Moonrise something unusual and very special.

Ed Brubaker and Sean Phillips' noir horror comic Fatale served as a good transition from Halloween to Noirvember. It's a strange and exciting mix of crime fiction and existential Lovecraftian horror. These genres tend to explore similar themes and ideas and rely on similar tactics. Fear and paranoia, people hiding things and keeping secrets, making decisions that could lead to their own downfall. Death and misery. All of these are building blocks of both noir and horror, so it's a bit surprising that they haven't been smooshed together more.

Crime and noir are familiar territory for Brubaker and Phillips (and I would not be surprised of some of their other works end up being written about this month). From Criminal to The Fade Out, Incognito to Gotham Noir, their work together has largely been characterized by the inspiration it draws from classic noir and crime stories. Adding a horror element to it with Fatale was a bit of a curveball, but one that works stunningly well.

The femme fatale becomes the main character in this story, and the horror elements lend the character the ability to be a commentary on the undying idea of this character archetype. With the focus on her, the femme fatale morphs from the dangerous woman who leads men to their doom into a much more complex character, powerless in many things, and in full control of many others, who ends up suffering for the way men react to her far more than she benefits. On the surface it seems that we're being presented with the femme fatale in the traditional way: through the eyes of the male protagonist. While it's true that the character of Nick is the narrator, and we often do see Jo through his eyes, the exploration in to the character and her past is far deeper than merely a subjective POV

As with so many noir and horror stories, the narrative is driven by questions that keep the reader hooked, whether they're answered or not. It gets dark, really dark, and we see the incredible tragedy of this femme fatale, the things that make her so irresistible, the things she wants, that she wishes she could have, and the ways the things she tries to have for herself fall apart. Dread exists in every corner of this story, and the existential crisis of hopelessness that comes along with a lot of noir and Lovecraftian horror is present on a massive scale.

#noirvember #moonrise #fatale #film noir #comics #film

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