#EVERYTHING... the blueprints.. no walkins......

[3416]

anyone else feel like blueprints are giving us nothing this year idk... the formula is the exact same basically but all the personality feels muted

[saarahrussooo]

Look, I was gonna go easy on you and not to hurt your feelings

But I'm only going to get this one chance (six minutes, six minutes)

Something's wrong, I can feel it (six minutes, six minutes, Slim Shady, you're on)

Just a feeling I've got, like something's about to happen, but I don't know what

If that means what I think it means, we're in trouble, big trouble

And if he is as bananas as you say, I'm not taking any chances

You are just what the doctor ordered

I'm beginning to feel like a Rap God, Rap God

All my people from the front to the back nod, back nod

Now who thinks their arms are long enough to slap box, slap box?

They said I rap like a robot, so call me Rapbot

But for me to rap like a computer must be in my genes

I got a laptop in my back pocket

My pen'll go off when I half-cock it

Got a fat knot from that rap profit

Made a livin' and a killin' off it

Ever since Bill Clinton was still in office

With Monica Lewinsky feelin' on his nutsack

I'm an MC still as honest

But as rude and indecent as all hell syllables, killaholic (kill 'em all with)

This flippity dippity-hippity hip-hop

You don't really wanna get into a pissing match with this rappidy brat

Packin' a MAC in the back of the Ac', backpack rap crap, yap-yap, yackity-yack

And at the exact same time, I attempt these lyrical acrobat stunts while I'm practicin' that

I'll still be able to break a motherfuckin' table

Over the back of a couple of faggots and crack it in half

Only realized it was ironic I was signed to Aftermath after the fact

How could I not blow? All I do is drop F-bombs, feel my wrath of attack

Rappers are having a rough time period, here's a Maxipad

It's actually disastrously bad

For the wack, while I'm masterfully constructing this masterpièce

'Cause I'm beginning to feel like a Rap God, Rap God

All my people from the front to the back nod, back nod

Now who thinks their arms are long enough to slap box, slap box?

Let me show you maintaining this shit ain't that hard, that hard

Everybody want the key and the secret to rap immortality like I have got

Well, to be truthful the blueprint's simply rage and youthful exuberance

Everybody loves to root for a nuisance

Hit the Earth like an asteroid, did nothin' but shoot for the moon since (pew)

Mc's get taken to school with this music

'Cause I use it as a vehicle to bus the rhyme

Now I lead a new school full of students

Me? I'm a product of Rakim

Lakim Shabazz, 2Pac, N.W.A, Cube, hey Doc, Ren, Yella, Eazy, thank you, they got Slim

Inspired enough to one day grow up, blow up and be in a position

To meet Run-D.M.C and induct them into the motherfuckin' Rock n' Roll Hall of Fame

Even though I walk in the church and burst in a ball of flames

Only hall of fame I'll be inducted in is the alcohol of fame on the wall of (shame)

You fags think it's all a game 'til I walk a flock of flames

Off a plank and tell me what in the fuck are you thinkin'?

Little gay lookin' boy

So gay I can barely say it with a straight face lookin' boy

You witnessin' a mass-occur

Like you're watchin' a church gathering take place lookin' boy

"Oy vey, that boy's gay", that's all they say, lookin' boy

You get a thumbs up, pat on the back

And a "Way-to-go" from your label every day, lookin' boy

Hey, lookin' boy, what you say, lookin' boy?

I get a "Hell yeah" from Dre, lookin' boy

I'ma work for everything I have

Never asked nobody for shit, get outta my face, lookin' boy

Basically boy, you're never gonna be capable

Of keepin' up with the same pace, lookin' boy

'Cause I'm beginning to feel like a Rap God, Rap God

All my people from the front to the back nod, back nod

The way I'm racin' around the track, call me NASCAR, NASCAR

Dale Earnhardt of the trailer park, the White Trash God

Kneel before General Zod, this planet's Krypton, no Asgard, Asgard

So you be Thor and I'll be Odin, you rodent, I'm omnipotent

Let off then I'm reloadin' immediately with these bombs I'm totin'

And I should not be woken

I'm the walkin' dead, but I'm just a talkin' head, a zombie floatin'

But I got your mom deep-throatin'

I'm out my ramen noodle, we have nothin' in common, poodle

I'm a Doberman, pinch yourself in the arm and pay homage, pupil

It's me, my honesty's brutal

But it's honestly futile if I don't utilize what I do though

For good at least once in a while

So I wanna make sure somewhere in this chicken scratch I scribble and doodle

Enough rhymes to maybe to try to help get some people through tough times

But I gotta keep a few punchlines just in case 'cause even you unsigned

Rappers are hungry lookin' at me like it's lunchtime

I know there was a time where once I

Was king of the underground, but I still rap like I'm on my Pharoahe Monch grind

So I crunch rhymes, but sometimes when you combine

Appeal with the skin color of mine

You get too big, and here they come tryin' to

Censor you like that one line I said on "I'm Back" from the Mathers LP One

When I tried to say, "I'll take seven kids from Columbine

Put 'em all in a line, add an AK-47, a revolver and a nine"

See if I get away with it now that I ain't as big as I was, but I'm

Morphin' into an immortal comin' through the portal

You're stuck in a time warp from 2004 though

And I don't know what the fuck that you rhyme for

You're pointless as Rapunzel with fuckin' cornrows

You write normal? Fuck being normal

And I just bought a new ray-gun from the future

Just to come and shoot ya like when Fabolous made Ray J mad

'Cause Fab said he looked like a fag at Mayweather's pad

Singin' to a man while he played piano

Man, oh man, that was a 24/7 special on the cable channel

So Ray J went straight to the radio station the very next day

"Hey, Fab, I'ma kill you"

Lyrics coming at you at supersonic speed, (JJ Fad)

Uh, sama lama duma lama, you assumin' I'm a human

What I gotta do to get it through to you, I'm superhuman?

Innovative and I'm made of rubber

So that anything you say is ricochetin' off of me and it'll glue to you

I'm devastating, more than ever demonstrating

How to give a motherfuckin' audience a feelin' like it's levitating

Never fading, and I know that the haters are forever waiting

For the day that they can say I fell off, they'll be celebrating

'Cause I know the way to get 'em motivated

I make elevating music, you make elevator music

Oh, he's too mainstream

Well, that's what they do when they get jealous, they confuse it

It's not hip-hop, it's pop, 'cause I found a hella way to fuse it

With rock, shock rap with Doc

Throw on Lose Yourself and make 'em lose it

I don't know how to make songs like that

I don't know what words to use

Let me know when it occurs to you

While I'm rippin' any one of these verses diverse as you

It's curtains, I'm inadvertently hurtin' you

How many verses I gotta murder to

Prove that if you were half as nice, your songs you can sacrifice virgins too? Uh

School flunkie, pill junkie

But look at the accolades the skills brung me

Full of myself, but still hungry

I bully myself 'cause I make me do what I put my mind to

And I'm a million leagues above you, ill when I speak in tongues

But it's still tongue in cheek, fuck you

I'm drunk so Satan take the fucking wheel, I'm asleep in the front seat

Bumping Heavy D and the Boys, still chunky but funky

But in my head, there's something I can feel tugging and struggling

Angels fight with devils and here's what they want from me

They're askin' me to eliminate some of the women-hate

But if you take into consideration the bitter hatred I have

Then you may be a little patient and more sympathetic to the situation

And understand the discrimination

But fuck it, life's handing you lemons, make lemonade then

But if I can't batter the women, how the fuck am I supposed to bake them a cake then?

Don't mistake him for (Satan)

It's a fatal mistake if you think I need to be overseas

And take a vacation to trip a broad

And make her fall on her face and

Don't be a retard, be a king? Think not

Why be a king when you can be a God?

(I sent this to India)

where is this from😭

[z4life]

Look, I was gonna go easy on you not to hurt your feelings

But I'm only going to get this one chance (six minutes-, six minutes-)

Something's wrong, I can feel it (six minutes, Slim Shady, you're on!)

Just a feeling I've got, like something's about to happen, but I don't know what

If that means what I think it means, we're in trouble, big trouble

And if he is as bananas as you say, I'm not taking any chances

You are just what the doc ordered

I'm beginnin' to feel like a Rap God, Rap God

All my people from the front to the back nod, back nod

Now, who thinks their arms are long enough to slap box, slap box?

They said I rap like a robot, so call me Rap-bot

But for me to rap like a computer, it must be in my genes

I got a laptop in my back pocket

My pen'll go off when I half-cock it

Got a fat knot from that rap profit

Made a livin' and a killin' off it

Ever since Bill Clinton was still in office

With Monica Lewinsky feelin' on his nutsack

I'm an MC still as honest

But as rude and as indecent as all hell

Syllables, skill-a-holic (kill 'em all with)

This flippity dippity-hippity hip-hop

You don't really wanna get into a pissin' match

With this rappity brat, packin' a MAC in the back of the Ac'

Backpack rap crap, yap-yap, yackety-yack

And at the exact same time, I attempt these lyrical acrobat stunts while I'm practicin' that

I'll still be able to break a motherfuckin' table

Over the back of a couple of faggots and crack it in half

Only realized it was ironic, I was signed to Aftermath after the fact

How could I not blow? All I do is drop F-bombs

Feel my wrath of attack

Rappers are havin' a rough time period, here's a maxi pad

It's actually disastrously bad for the wack

While I'm masterfully constructing this masterpièce

'Cause I'm beginnin' to feel like a Rap God, Rap God

All my people from the front to the back nod, back nod

Now, who thinks their arms are long enough to slap box, slap box?

Let me show you maintainin' this shit ain't that hard, that hard

Everybody want the key and the secret to rap immortality like Ι have got

Well, to be truthful the blueprint's

Simply rage and youthful exuberance

Everybody loves to root for a nuisance

Hit the Earth like an asteroid

Did nothing but shoot for the Moon since (pew!)

MCs get taken to school with this music

'Cause I use it as a vehicle to "Bus the rhyme"

Now I lead a new school full of students

Me? I'm a product of Rakim

Lakim Shabazz, 2Pac, N.W.A, Cube, hey Doc, Ren

Yella, Eazy, thank you, they got Slim

Inspired enough to one day grow up, blow up and be in a position

To meet Run-D.M.C., induct them

Into the motherfuckin' Rock and Roll Hall of Fame

Even though I'll walk in the church and burst in a ball of flames

Only Hall of Fame I'll be inducted in is the alcohol of fame

On the wall of shame

You fags think it's all a game, 'til I walk a flock of flames

Off a plank and, tell me what in the fuck are you thinkin'?

Little gay-lookin' boy

So gay, I can barely say it with a straight face, lookin' boy (ha-ha!)

You're witnessin' a mass-occur

Like you're watching a church gathering take place, lookin' boy

"Oy vey, that boy's gay!" That's all they say, lookin' boy

You get a thumbs up, pat on the back

And a "Way to go" from your label every day, lookin' boy

Hey, lookin' boy! What you say, lookin' boy?

I get a "Hell, yeah" from Dre, lookin' boy

I'ma work for everything I have, never asked nobody for shit

Get outta my face, lookin' boy!

Basically, boy, you're never gonna be capable

Of keepin' up with the same pace, lookin' boy, 'cause-

I'm beginnin' to feel like a Rap God, Rap God

All my people from the front to the back nod, back nod

The way I'm racin' around the track, call me NASCAR, NASCAR

Dale Earnhardt of the trailer park, the White Trash God

Kneel before General Zod

This planet's Krypton-, no, Asgard, Asgard

So you'll be Thor and I'll be Odin

You rodent, I'm omnipotent

Let off, then I'm reloadin'

Immediately with these bombs I'm totin'

And I should not be woken

I'm the walkin' dead, but I'm just a talkin' head, a zombie floatin'

But I got your mom deep-throatin'

I'm out my Ramen Noodle

We have nothin' in common, poodle

I'm a Doberman, pinch yourself in the arm and pay homage, pupil

It's me, my honesty's brutal

But it's honestly futile if I don't utilize what I do though

For good at least once in a while

So I wanna make sure somewhere in this chicken scratch I scribble and doodle enough rhymes

To maybe try to help get some people through tough times

But I gotta keep a few punchlines

Just in case 'cause even you unsigned

Rappers are hungry lookin' at me like it's lunchtime

I know there was a time where once I

Was king of the underground

But I still rap like I'm on my Pharoahe Monch grind

So I crunch rhymes, but sometimes when you combine

Appeal with the skin color of mine

You get too big and here they come tryin'

To censor you like that one line

I said on "I'm Back" from The Mathers LP 1 when I

Tried to say I'll take seven kids from Columbine

Put 'em all in a line, add an AK-47, a revolver and a .9

See if I get away with it now that I ain't as big as I was, but I'm

Morphin' into an immortal, comin' through the portal

You're stuck in a time warp from 2004 though

And I don't know what the fuck that you rhyme for

You're pointless as Rapunzel with fuckin' cornrows

You write normal? Fuck being normal!

And I just bought a new raygun from the future

Just to come and shoot ya, like when Fabolous made Ray J mad

'Cause Fab said he looked like a fag at Mayweather's pad

Singin' to a man while he played piano

Man, oh man, that was a 24-7 special on the cable channel

So Ray J went straight to the radio station

The very next day, "Hey Fab, I'ma kill you!"

Lyrics comin' at you at supersonic speed (J.J. Fad)

Uh, summa-lumma, dooma-lumma, you assumin' I'm a human

What I gotta do to get it through to you I'm superhuman?

Innovative and I'm made of rubber so that anything

You say is ricochetin' off of me, and it'll glue to you and

I'm devastating, more than ever demonstrating

How to give a motherfuckin' audience a feeling like it's levitating

Never fading, and I know the haters are forever waiting

For the day that they can say I fell off, they'll be celebrating

'Cause I know the way to get 'em motivated

I make elevating music, you make elevator music

"Oh, he's too mainstream"

Well, that's what they do when they get jealous, they confuse it

"It's not hip-hop, it's pop, " 'cause I found a hella way to fuse it

With rock, shock rap with Doc

Throw on "Lose Yourself" and make 'em lose it

I don't know how to make songs like that

I don't know what words to use

Let me know when it occurs to you

While I'm rippin' any one of these verses that versus you

It's curtains, I'm inadvertently hurtin' you

How many verses I gotta murder to

Prove that if you were half as nice, your songs you could sacrifice virgins too?

Ugh, school flunky, pill junkie

But look at the accolades these skills brung me

Full of myself, but still hungry

I bully myself 'cause I make me do what I put my mind to

And I'm a million leagues above you

Ill when I speak in tongues, but it's still tongue-in-cheek, fuck you

I'm drunk, so, Satan, take the fucking wheel

I'ma sleep in the front seat

Bumpin' Heavy D and the Boyz, still "Chunky but Funky"

But in my head, there's something I can feel tugging and struggling

Angels fight with devils and here's what they want from me

They're askin' me to eliminate some of the women hate

But if you take into consideration the bitter hatred

I have, then you may be a little patient

And more sympathetic to the situation

And understand the discrimination

But fuck it, life's handin' you lemons? Make lemonade then!

But if I can't batter the women

How the fuck am I supposed to bake them a cake then?

Don't mistake him for Satan; it's a fatal mistake

If you think I need to be overseas and take a vacation

To trip a broad, and make her fall on her face and

Don't be a retard, be a king? Think not

Why be a king when you can be a god?

Look, I was gonna go easy on you not to hurt your feelings

But I'm only going to get this one chance (six minutes-, six minutes-)

Something's wrong, I can feel it (six minutes, Slim Shady, you're on!)

Just a feeling I've got, like something's about to happen, but I don't know what

If that means what I think it means, we're in trouble, big trouble

And if he is as bananas as you say, I'm not taking any chances

You are just what the doc ordered

I'm beginnin' to feel like a Rap God, Rap God

All my people from the front to the back nod, back nod

Now, who thinks their arms are long enough to slap box, slap box?

They said I rap like a robot, so call me Rap-bot

But for me to rap like a computer, it must be in my genes

I got a laptop in my back pocket

My pen'll go off when I half-cock it

Got a fat knot from that rap profit

Made a livin' and a killin' off it

Ever since Bill Clinton was still in office

With Monica Lewinsky feelin' on his nutsack

I'm an MC still as honest

But as rude and as indecent as all hell

Syllables, skill-a-holic (kill 'em all with)

This flippity dippity-hippity hip-hop

You don't really wanna get into a pissin' match

With this rappity brat, packin' a MAC in the back of the Ac'

Backpack rap crap, yap-yap, yackety-yack

And at the exact same time, I attempt these lyrical acrobat stunts while I'm practicin' that

I'll still be able to break a motherfuckin' table

Over the back of a couple of faggots and crack it in half

Only realized it was ironic, I was signed to Aftermath after the fact

How could I not blow? All I do is drop F-bombs

Feel my wrath of attack

Rappers are havin' a rough time period, here's a maxi pad

It's actually disastrously bad for the wack

While I'm masterfully constructing this masterpièce

'Cause I'm beginnin' to feel like a Rap God, Rap God

All my people from the front to the back nod, back nod

Now, who thinks their arms are long enough to slap box, slap box?

Let me show you maintainin' this shit ain't that hard, that hard

Everybody want the key and the secret to rap immortality like Ι have got

Well, to be truthful the blueprint's

Simply rage and youthful exuberance

Everybody loves to root for a nuisance

Hit the Earth like an asteroid

Did nothing but shoot for the Moon since (pew!)

MCs get taken to school with this music

'Cause I use it as a vehicle to "Bus the rhyme"

Now I lead a new school full of students

Me? I'm a product of Rakim

Lakim Shabazz, 2Pac, N.W.A, Cube, hey Doc, Ren

Yella, Eazy, thank you, they got Slim

Inspired enough to one day grow up, blow up and be in a position

To meet Run-D.M.C., induct them

Into the motherfuckin' Rock and Roll Hall of Fame

Even though I'll walk in the church and burst in a ball of flames

Only Hall of Fame I'll be inducted in is the alcohol of fame

On the wall of shame

You fags think it's all a game, 'til I walk a flock of flames

Off a plank and, tell me what in the fuck are you thinkin'?

Little gay-lookin' boy

So gay, I can barely say it with a straight face, lookin' boy (ha-ha!)

You're witnessin' a mass-occur

Like you're watching a church gathering take place, lookin' boy

"Oy vey, that boy's gay!" That's all they say, lookin' boy

You get a thumbs up, pat on the back

And a "Way to go" from your label every day, lookin' boy

Hey, lookin' boy! What you say, lookin' boy?

I get a "Hell, yeah" from Dre, lookin' boy

I'ma work for everything I have, never asked nobody for shit

Get outta my face, lookin' boy!

Basically, boy, you're never gonna be capable

Of keepin' up with the same pace, lookin' boy, 'cause-

I'm beginnin' to feel like a Rap God, Rap God

All my people from the front to the back nod, back nod

The way I'm racin' around the track, call me NASCAR, NASCAR

Dale Earnhardt of the trailer park, the White Trash God

Kneel before General Zod

This planet's Krypton-, no, Asgard, Asgard

So you'll be Thor and I'll be Odin

You rodent, I'm omnipotent

Let off, then I'm reloadin'

Immediately with these bombs I'm totin'

And I should not be woken

I'm the walkin' dead, but I'm just a talkin' head, a zombie floatin'

But I got your mom deep-throatin'

I'm out my Ramen Noodle

We have nothin' in common, poodle

I'm a Doberman, pinch yourself in the arm and pay homage, pupil

It's me, my honesty's brutal

But it's honestly futile if I don't utilize what I do though

For good at least once in a while

So I wanna make sure somewhere in this chicken scratch I scribble and doodle enough rhymes

To maybe try to help get some people through tough times

But I gotta keep a few punchlines

Just in case 'cause even you unsigned

Rappers are hungry lookin' at me like it's lunchtime

I know there was a time where once I

Was king of the underground

But I still rap like I'm on my Pharoahe Monch grind

So I crunch rhymes, but sometimes when you combine

Appeal with the skin color of mine

You get too big and here they come tryin'

To censor you like that one line

I said on "I'm Back" from The Mathers LP 1 when I

Tried to say I'll take seven kids from Columbine

Put 'em all in a line, add an AK-47, a revolver and a .9

See if I get away with it now that I ain't as big as I was, but I'm

Morphin' into an immortal, comin' through the portal

You're stuck in a time warp from 2004 though

And I don't know what the fuck that you rhyme for

You're pointless as Rapunzel with fuckin' cornrows

You write normal? Fuck being normal!

And I just bought a new raygun from the future

Just to come and shoot ya, like when Fabolous made Ray J mad

'Cause Fab said he looked like a fag at Mayweather's pad

Singin' to a man while he played piano

Man, oh man, that was a 24-7 special on the cable channel

So Ray J went straight to the radio station

The very next day, "Hey Fab, I'ma kill you!"

Lyrics comin' at you at supersonic speed (J.J. Fad)

Uh, summa-lumma, dooma-lumma, you assumin' I'm a human

What I gotta do to get it through to you I'm superhuman?

Innovative and I'm made of rubber so that anything

You say is ricochetin' off of me, and it'll glue to you and

I'm devastating, more than ever demonstrating

How to give a motherfuckin' audience a feeling like it's levitating

Never fading, and I know the haters are forever waiting

For the day that they can say I fell off, they'll be celebrating

'Cause I know the way to get 'em motivated

I make elevating music, you make elevator music

"Oh, he's too mainstream"

Well, that's what they do when they get jealous, they confuse it

"It's not hip-hop, it's pop, " 'cause I found a hella way to fuse it

With rock, shock rap with Doc

Throw on "Lose Yourself" and make 'em lose it

I don't know how to make songs like that

I don't know what words to use

Let me know when it occurs to you

While I'm rippin' any one of these verses that versus you

It's curtains, I'm inadvertently hurtin' you

How many verses I gotta murder to

Prove that if you were half as nice, your songs you could sacrifice virgins too?

Ugh, school flunky, pill junkie

But look at the accolades these skills brung me

Full of myself, but still hungry

I bully myself 'cause I make me do what I put my mind to

And I'm a million leagues above you

Ill when I speak in tongues, but it's still tongue-in-cheek, fuck you

I'm drunk, so, Satan, take the fucking wheel

I'ma sleep in the front seat

Bumpin' Heavy D and the Boyz, still "Chunky but Funky"

But in my head, there's something I can feel tugging and struggling

Angels fight with devils and here's what they want from me

They're askin' me to eliminate some of the women hate

But if you take into consideration the bitter hatred

I have, then you may be a little patient

And more sympathetic to the situation

And understand the discrimination

But fuck it, life's handin' you lemons? Make lemonade then!

But if I can't batter the women

How the fuck am I supposed to bake them a cake then?

Don't mistake him for Satan; it's a fatal mistake

If you think I need to be overseas and take a vacation

To trip a broad, and make her fall on her face and

Don't be a retard, be a king? Think not

Why be a king when you can be a god?

[beelshamburger]

Hey I discovered you from your main blog and i really liked the sugar baby headcanon ❤️❤️❤️❤️ if you don't mind can you please write a hc for mammon Satan and Lucifer when mc is having one of those sad days and just wants cuddles,hugs and kisses? If you decide to do my request thank you so much❤️❤️❤️❤️

Sure! I had this written before and I was about to finish when tumblr just said nope and deleted everything 😒😞

Anyway I’m glad you enjoyed reading the request from my other blog, and I hope I do a good job with these guys! I’m not used to writing for them so I’m a bit nervous!

Lucifer, Mammon and Satan comforting an MC that’s had a bad day:

Lucifer:

Lucifer had a feeling that you were having a rough day

You hadn’t been acting like your usual self, and he noticed you were behaving differently from normal

Lucifer wanted to wait for a bit until you decided to go and talk to him, but when he saw you wouldn’t come, he decided to go and talk to you.

Lucifer quickly went to your room and gently knocked on the door, opening it after you gave him permission.

He slowly made his way in, and made his way over to your bed,where you were laying face first on your pillow.

He sat on the foot of your bed and after a few minutes, decided to speak up.

“Y/N, is everything alright? I noticed that you weren’t acting like yourself today, and I have to admit that I got a bit worried. Everyone did. If there’s anything bothering you, please don’t be afraid to tell me.”

You slowly sat up and fidgeted with your hands, and then you looked up at him.

You explained that you were just having one of those days. You were feeling a bit down, and you were tried and sad.

“I see...” he said. Then he looked back at you. “Is there anything I can do to help you feel better?”

You bit your lip and then shyly looked at the floor, and then at him, and then at the floor. “Uhm...some hugs and kisses would help.”

Lucifer was taken aback for a second, but then he chuckled and smiled. “My, my, what a bold human. But alright, I did say I would do anything to help you feel better, and if that helps, then I will do it.”

You smiled up at him and then you threw your arms around him

The rest of the day you spent it cuddling with each other. Every once in a while Lucifer would kiss your forehead and tell you that you were doing an amazing jobwith everything, and that if you needed any help, to not be afraid to call him, since he would do anything for you.

Mammon:

Mammon was also quick to notice how down you were feeling

He was torn between directly talking to you about it, or waiting for you to come him, but as the day progressed he decided to just confront you about it

He quickly made his way to your bedroom, and was about to turn the door handle, when he pulled back. I mean was this a good idea?

Mammon decided to ignore the thought and reached for the door handle again, but immediately pulled back.

What if you didn’t want to see him?

And so, the next fifteen minutes Mammon spent his time pacing around the hall and reaching for the door handle before pulling back.

He was about to actually open your door (he was really gonna do it guys, totally!) when you opened the door and found a very flustered Mammon in front of your doorway.

“Mammon?” You asked.

Mammon quickly cleared his throat and then acted as if he didn’t know where he was, trying (and failing) to act casual

“Oh hey Y/N, I uh, I didn’t know you were here! I was just walkin’ around the place and then remembered that your room was around here and decided to pay you a visit. How amazing is that, huh? A visit from the great Mammon!”

You slowly smiled up at him telling him sure, and gestured for him to come in.

Mammon was confused, but he smiled in victory and made his way to your bed, while you leaned against your desk on the side of the room.

“So, uh what’s up? it’s not everyday that you get to have a deep talk with me y’ know?! So tell me what’s happening!”

You immediately deflated and tried to look anywhere that wasn’t Mammon. You looked at your walls, the ceiling, your closet, anywhere else.

Mammon was about to yell something esle at you, (he thought you were just ignoring him) but then he saw your face and his words died in his throat.

You looked so sad...and Mammon quickly got up and walked towards you.

“What happened? Did anyone do anything’ to you? Because I swear I will make them regret to have even touched you! Or did any of my brothers bother you? Don’t tell me Levi tried to get you to dress up as one of his anime girls again, or that maybe Lucifer gave you too much work? I’m not afraid of him! I’ll tell him to stop right now!” Mammon quickly turned around and was about to leave the room, when you grabbed his hand and shook your head.

“No, no, you don’t have to say anything to Lucifer.”

“Oh thank you.” He let out a sigh of relief but then stopped. “I-I mean! I didn’t say that because I was afraid, but because today I am just tired! That’s it...but wait...then...what’s wrong?” He asked, this time concern visible in his face.

You led Mammon to your bed, and you explained that you were just having a bad day and that you were feeling a bit down.

Mammon was glad to know that nothing else had happened to you,but then he asked if there was anything you needed. “I’ll do whatever ya want, but just this time since it’s a special occasion.”

You actually smiled at that and leaned against Mammon. “I think some kisses and cuddles would make me feel better.”

Mammon let out a gasp as you looked up at him, and he tried to cover his face with the back of his hands before letting out a tch.

“F-fine! Just today! Although...I wouldn’t mind if you asked for this more often...” he mumbled.

“What?”

“I SAID, that ya better do it quick, I’m a busy demon y’ know? You’re lucky I’m even makin’ time for you.” He blushed as he opened his arms wide for you to come and hug him.

You quickly smiled and hugged him tight.

Afterwards the two of you spent the time cuddling each other, sometimes Mammon would give you little pecks, while mumbling something or another, his face a deep shade of red.

Satan:

You quickly made your way to the library, where you were sure Satan was probably in.

He had sent you a message asking you to come to the library to come and talk to him

Satan was pretty quick to figure out you were having a bad day, so he decided to make you spend the rest of the afternoon in the library with him, relaxing

He had made a tiny pillow fort (it was amazing, he made all the blueprints and everything, Belphie would be so jealous.) and got some tea and music ready for when you came over

When you walked into the library Satan smiled and you tiredly smiled back at him, coming to sit where he was with a bunch of pillows around him.

You didn’t really talk, but that was fine. Just being by each other’s side was enough for you. Satan gave you some cookies and tea (yummy) and told you that you could confide in him if you wanted

After eating, you confessed to him that you were actually feeling pretty down...and tired.

Satan listened the whole time, and when you where done he gently wrapped his arms around you.

“Satan...?”

“I read on a human book a long time ago, that whenever someone was feeling like this hugging them and kissing them were the best ways to make them feel better. Is it working?” He asked.

You bit your lip. “Hmm I don’t know...why don’t we try the kissing part?”

Satan smirked at you being so bold, and then he gently cupped your face in his hands and gave you a chaste kiss.

“Does that help?” Satan asked.

“Why don’t...why don’t you try again?”

He chuckled and gave you more and more kisses.

The rest of the day, you were both laying on the pillows, you leaning against Satan’s chest, listening to him reading one of his books aloud for you.

That day, Lucifer found the two of you sleeping in the library. Belphie then decided to come in a join you, after all he had just woken up from a nap and now he was tired again. Then Beel had to grab Mammon and pull him away since he was screaming something about ‘not fair’ and that Satan shouldn’t be touching you.

Of course it made matters worse when Satan open one eye and hugged you tighter against his body, smirking evilly at Mammon.

Then the house exploded

But the two of you just spent the rest of the day together!

[slaygentford]

Miss Emily, since I think you are the expert in everything Mark Antony, I wanted to ask you which version of him - of the ones we got through the years - is your favorite one/the most accurate.

ok I am at best an enthusiast and at worst someone who feels that antony’s slamming his palm on the hood of my consciousness and shouting EY. IM FUCKIN WALKIN HERE. so take this with a grain of salt. 

so as always it’s about historiography you kno. who wrote the antony that we know? to oversimplify, his enemies. cuz he lost. pretty spectacularly. we don’t know what portrayal is accurate cuz the real antony is so obscured by the propaganda. ALL historical figures are obscured by propaganda and the game of telephone that is history in general, but antony is one of the more obscured ones imho. I will say I think that a common thing across all portrayals is a complete lack of nuance and thats why I've never been really satisfied with any depiction of him. EXCEPT in Julius Caesar which is like, the MOST nuanced, the blueprint, the best. but have I seen a single definitive performance of the antony of Julius Caesar that does it for me? nop. Brando is good, but not antony to me. Richard Burton came closest in Cleopatra maybe but not because he did anything in particular, just because he was a very good actor. Rome hbo’s antony is a VERY cynical take and is successful in that cynicism but I dont particularly buy all of it all the time. and those are the only three performances really worth examination. so yeah. hm. complete non answer it seems 

[bellatrixobsessed1]

The Mechanical Dragon (Part 8)

She poses the idea to her father. “Do you think that you can do it?”

 “Do ya think that she’s gonna let me?” He is still weary from the event days prior.

 She knows that he is more than capable of accomplishing executing the blueprints she spent the night creating. She just has to get Azula to cooperate. The princess is still sleeping, sleeping and running a very high fever. “She will.” Zirin answers as she mixes up another fever remedy. “It shouldn’t be painful, just uncomfertable. I think she only reacts bad if you go ‘n hurt her.” In a way that was how Azula had always been, she just doesn’t hide it anymore.

 Okon doesn’t give her a definitive yes or no. But she leaves the room anyhow—purposely neglecting to take the blueprints with her. She knows that when she comes back down that the blueprints will no longer be on the table and her father will have arranged the necessary devices.

 Zirin sits the groggy princess up and tips the glass. Azula seems to go slack and falls against her. Zirin doesn’t move her. Instead she waits for the princess to move herself. She doesn’t do that for a very long while.  Eventually Zirin decides that it is time to bathe the princess. Simply scrubbing the infected area is no longer cutting it. She leads Azula to the bathroom, fills the basin, and leaves to retrieve a bar of soap and some shampoo. Shampoo, she gnaws on the inside of her cheek before placing it back on the shelf. She finds Azula already sitting in the water when she gets back. Her legs are drawn up to her chest as she shivers against the chill of the water and she looks miserable. Zirin thinks that she is going out of her way to not look at the fresh scars splayed all over her body.

 “Do you want me to…” Zirin motions to the bar of soap.

 Azula holds out her hand and Zirin takes that as a no. It doesn’t matter, it is probably good for the princess to do things on her own again anyways. Personal hygiene and upkeep had always been a priority to and a high point for her.

 She watches the woman run the soap carefully over her arms.

She feels weird watching.

She doesn’t know why.

 She has seen Azula without clothing before. Many times in fact. Most times, Azula had been the one to initiate it. But that seems so far off. She wonders if there’s anything left of that. Azula herself is very different…

Very subdued.

 But she doesn’t shoo Zirin away so, she remains. Her deep brown eyes linger on Azula, she hopes that she isn’t making her uncomfortable or self-conscious, not that she’s even seen the princess doubt herself before.

 It is only when Azula stands, water running off of her in rivulets, that Zirin remembers that she had forgotten the towels and a change of clothes. The princess stares expectantly. She tries not to keep her waiting for too long. Mostly Azula dries herself, but then she hands Zirin the towels and turns around. It takes Zirin a moment to realize that Azula is weary of drying her back with such new wounds to watch for. So Zirin gently runs the towel over her back and—with more care—dabs at the areas closer to where the wings had once been. She notes to herself how pale the princess’ completion is, save for her blotchy, fever-flushed cheeks.

 Zirin decides that she will take Azula into the garden. She could use the sunlight and she could use some fresher air. It is strange, Zirin notes, that before now, she has never seen Azula in her clothing before. Usually she stuck to her own attire, likely because it was more elaborate and made from pricier materials. Regardless of the simplicity, Zirin thought that the change suited her well.  It is also good to see her on her feet again as opposed to being confined to a bed. “Azula and I are goin’ ou’side for a bit.” She calls to Okon.

 He is in his work room, she notes with a smile.

And the blueprints are no longer on the table.                                                         

Zirin wonders if she should run the idea by Azula first, she gets a sense that the princess wouldn’t care what happened to her at this point as long as it didn’t cause her any more pain. “Are you feeling any better?” She asks once they are situated in the garden amid a host of fragrant flowers. Mint takes precedence over all other scents.

 Azula pucks a firelily and twirls it absently between her fingers.

 “At least a little?” Zirin tries again.

 She thinks that she notices Azula nod affirmatively. The firebender tosses the lily aside and begins running her hands through the grass, Zirin sees the longer blades sprouting up from the cracks between her fingers. She assumes that Azula is pleased to see lush nature again. To have the sun on her skin again. To feel a warm breeze once more. But she still can’t seem to bring herself to smile, Zirin wishes that she would. Her smile is nice. She touches the back of her hand to Azula’s cheek, it is hot, too much so. Azula’s hand comes around her wrist and for a moment she thinks that the woman remembers the more tender times, that’s why she smiles. Only seconds later though, she finds that Azula simply did so, to move Zirin’s hand away from her.

Zirin doesn’t understand. “What did I do wrong?” She finally asks. “I found you! saved you!” She doesn’t mean to be harsh, but her impatience is taking its toll. “Again!” She adds, “I saved you again…” Her temper dies down and she trails off. She didn’t even realize that she had stood up so she sits back down. Azula watched the display stoically, it both aggravates and relieves Zirin. She rubs her forehead. “I jus’ don’t get you sometimes.” She thinks, not for the first time, that whatever happened to her in that dank cellar had frayed Azula’s already questionably stable mind beyond repair.

 Without warning, Azula stands. She is wandering and Zirin knows that she should stop her. But all the same she kind of wants to let Azula explore, at least that way she has something to do. At least it would give her some sense of control. So she lets the princess lead the way. Mostly they wander through fields, the same ones where Zirin is sometimes sent to collect herbs that aren’t found in her own garden. Eventually though, Azula finds the nearby village. “A’rite, I think that’s enough walkin’ for today, we should head back, yeah?”

 Apparently, no. Azula draws nearer to the village. She hesitates, Zirin wonders if Azula really wants to encounter other people—she hopes that the princess will shy away. But she does not. Then again, Zirin thinks that maybe seeing other people would do her as good as a little sunlight. She had been so isolated for so long…

“A’rite, fine, we can go into town.” Zirin mutters as if it had ever been her choice to make.

 She watches Azula pick up trinkets and beaded necklaces from random stalls, just to look at them and set them down again, much to the annoyance of the vendors who were hoping to earn at least a coin or two.

Faintly she wonders if any of them recognize their princess.

 She passes various food stands, pausing to graze her fingers over a large peach. It only costs a coin, so Zirin buys it for her. No doubt, Azula could pay her back if need be—not that she plans on getting pushy over one coin.

Azula chews on the peach as they wander, occasionally she stumbles. “Are you dizzy?” Zirin asks. But the firebender dismisses the question and moves forward like nothing had happened. As they near the edge of the village they come to more curious things; a vendor selling superstitious trinkets, a man selling animal bones (Azula cringes away from this one very quickly), an older woman, scantily clad and adorned with faux gold preforming a strange and ancient dance, and a man with more tattoos than she’d ever seen on a person. He is quite a sight, his earlobes are stretched to fit small rocks in them. She wonders if he’d done the ink himself. Azula watches him for a moment before moving on. She finishes the peach and discards the pit.

 Halfway home she seems to be losing her spark, her stride is becoming sluggish. Eventually Zirin is concerned enough to carry her the rest of the way back, regardless of looks she is shot and the other silent protests she is given.

 .oOo.

 Okon refused to work on her until her fever had come to pass. It seemed to last ages, but it finally did. Zirin instructs the princess to lay on her stomach and trust her. Turst. It is something Azula doesn’t give easily and Zirin resents that all of the trust she had earned was taken by circumstance. To something that wasn’t her fault at all. She is thankful, however, that she had built enough trust back to be able to persuade Azula to let Okon help her. She hands her shirt to Zirin and lays back down on the table, with her cheek resting on her arms.

 “Yer gonna feel some pressure. It ain’t gonna hert but it ain’t ‘sactly pleasant neither.” Okon warns. “Hol’ still.” He turns around holding a drill.

 Her composure slips immediately, she is on her feet, hollering, fire in her palms. The fear in her eyes is frenzied and unchecked. Zirin is angry that she didn’t account for this. Of course drills didn’t bode well with Azula, a drill is probably what drove the wolf-bat bone into her in the first place.

 Zirin takes Azula by the wrists, doing everything she can to avoid hurting her. “He ain’t gonna hurt you, Azula. I promise. It ain’t gonna be the same as what they did.” She fights to keep her voice soft and level as the princess struggles against her. “Trust me. You gotta.” She regrets not disclosing her idea in full.

 “She don’t hav’ ta do this if she ain’t want it.” Okon says. “We ken try again some other time.”

 Zirin knows that his word is final. She knows that it doesn’t matter anyways, there is no way she’d be getting Azula back on that table. At least not then.

 The next day is a different matter. Azula is calmer. Zirin watches her eat breakfast, thankful that the princess has her appetite back again and twice as thankful that she can keep her food down. With the fever a few days over, she—though pale—is looking at least some healthier. Just in case Zirin helps her apply aloe to the scars and the skin around the wolf-bat bones.

 She decides to bring it up again. “They ain’t have to be ugly.” She motions to the jutting bones. “The can be somethin’ beautiful, you know.”

 Azula’s gaze catches hers and she knows that the firebender is listening.

 “I jus’ need you to let my father do his thing. He’s real careful. He ain’t hurt you yet has he? Not if he could help it.”

 Zirin doesn’t know that her words have any effect until Azula is laying back on the table with her shirt off and her cheek nuzzled against her arms again.

 “This time, ya hol still.” He instructs and reminds her that she’ll feel some pressure.

 Azula, Zirin finds, is rather good at keeping still.  She tenses some at the sight of the drill but lets him bring it to the wolf bone. He is working to hollow it out, the only movement made by the princess is that which is created by the rocking of the drill. Her face contorts in displeasure at points, but otherwise she takes it well.

 The bone is hard to grind and Zirin knows that they can’t finish in one session. Such matters can’t be rushed. Azula pulls a sleep shirt on.

“See that weren’t so bad now were it?”

 Azula doesn’t answer, opting to brush her fingers over excess fabric instead. Finally, she shakes her head no.

 “No it weren’t so bad?”

 Azula clarifies with a nodded yes.

 “I tol’ you it wouldn’t be.” Zirin hopes to herself that this had earned her a heap of trust points. She believes that it has because this time Azula lets her hold her hand as they would to the bedroom.

[hollywoodglees]

Posted by Larry Gleeson

  Chusy Jardine’s IT ALL BEGINS WITH A SONG: THE STORY OF THE NASHVILLE SONGWRITER is the Opening Night selection and Benjamin Kasulke’s BANANA SPLIT is the Closing Night choice

T ALL BEGINS WITH A SONG: THE STORY OF THE NASHVILLE SONGWRITER

BANANA SPLIT

Special screening events include “Hollywood & Vines” presentations and two top titles from Sundance: Adam Carter Rehmeier’s DINNER IN AMERICA and Sam Feder’s DISCLOSURE: TRANS LIVES ONSCREEN

San Luis Obispo, CA (February 18, 2020) – The 26th Annual San Luis Obispo International Film Festival presented by Hotel San Luis Obispo (March 17-22) today announced this year’s gala selections and special event screenings. Chusy Jardine’s IT ALL BEGINS WITH A SONG: THE STORY OF THE NASHVILLE SONGWRITER is the Opening Night selection, and Benjamin Kasulke’s BANANA SPLIT is the Closing Night selection. Special events include the “Hollywood & Vines” screening events celebrating the intersection of food, wine, and film. The Central Coast Filmmaker Showcase titles were also announced.

Wendy Eidson, San Luis Obispo Film Festival Director

“We have set ourselves up for a very musical start, which will lead into a number of special film events that set us apart from a lot of other film festivals: joining our love of food, wine and great cinema into one combined evening” said San Luis Obispo Film Festival Director Wendy Eidson. “When you then add on two very popular films to come out of Sundance this year, 64 George Sidney Independent Film selections, and our growing Central Coast Filmmaker Showcase, we will be rolling out one our most impressive lineups of films and events yet.”

Jardine’s IT ALL BEGINS WITH A SONG: THE STORY OF THE NASHVILLE SONGWRITER will open the San Luis Obispo International Film Festival on Tuesday, March 17 at the Fremont Theatre (1035 Monterey Street). The film documents songwriters’ struggles, from paying their dues to working through the creative process. Drawing from more than 100 hours of footage, the film includes more than 80 interviews with well-known and lesser-known music industry figures and songwriters, such as Garth Brooks, Ben Folds, John Hiatt, Brett James, Alison Mosshart, Kacey Musgraves and Keb’ Mo.’ Attending are Jardine, Executive Producer Kathryn Montgomery, John Godsey, as well as singer-songwriter with local roots, Jude Johnstone and Jade Jackson, who will also perform following the screening. The Opening Night celebration will include an Opening Night Pre-Screening Party at Luna Red (1023 Chorro Street), featuring a performance by popular SLO County band Mother Corn Shuckers.

The Closing Night selection will be Kasulke’s teen comedy, BANANA SPLIT. Screening on Sunday, March 22 at the Fremont Theatre, the film marks the return of one of the SLO Film Fest’s favorite filmmakers, Hannah Marks, who stars alongside Dylan Sprouse, Liana Liberato and Luke Spencer Roberts in a film where two high school senior girls have to figure out how to maintain their friendship while one of them dates the other’s ex-boyfriend. Marks, who also wrote and produced the film returns after premiering her feature film directorial debut AFTER EVERYTHING at the film festival last year.

DINNER IN AMERICA

DISCLOSURE, TRANS LIVES ONSCREEN

Two hot titles were picked up out of the recently concluded Sundance Film Festival for SLO Film Fest fans to catch: Adam Carter Rehmeier’s audacious crowd-pleasing comedy stars Kyle Gallner as an on-the-lam punk rocker who connects with a young woman (Emily Skeggs) obsessed with his band. They go on an unexpected and epic journey together through the decaying suburbs of the American Midwest. The film features a cast of favorites including Pat Healy, Hannah Marks, Jennifer Prediger, Mary Lynn Rajskub, and Lea Thompson. Sam Feder’s documentary, DISCLOSURE: TRANS LIVES ONSCREEN looks at how Hollywood has deeply influenced how Americans feel about transgender people, and how transgender people have been taught to feel about themselves. Both screenings are expected to have the filmmakers and special guests attending.

Special events this year are highlighted by something that the SLO Film fest is famous for (next to its previously announced Surf Nite): the intersection and celebration of Food, Wine, and Film on the Central Coast. Described as “Hollywood & Vines” events, the carefully curated and produced events include East Meets West, a double feature of Peter Schroeder III’s FULL BOAR, about Gary Eberle, the godfather of the Paso Robles wine industry, and Tim Clott and Libbie Agran’s 91 HARVESTS, which tells the story of the Dusi Vineyards and their wines. Naturally, wine and appetizers will be served in the lobby of the historic Fremont Theatre in between the screenings on Wednesday, March 18.

THE BIGGEST LITTLE FARM

The Octagon Barn Movie Night features John Chester’s hit documentary THE BIGGEST LITTLE FARM about the filmmaker and his wife’s experience leaving the city for farm life, along with a special sneak preview of PBS’s WALKIN’ CALIFORNIA – PISMO PRESERVE, which takes us on a journey through the newly opened Pismo Preserve. The evening will include a delicious BBQ dinner with wine, to go along with the films in the historic and recently renovated barn in San Luis Obispo.

Other films in the “Hollywood & Vines” presentations include Beth Elise Hawk’s BREAKING BREAD, about the A-sham Arabic Food festival in Haifa, Israel; Abby Ainsworth’s STAGE: THE CULINARY INTERNSHIP about the apprenticeship experience at one of the best Michelin-starred restaurants in the world – Mugaritz; NOTHING FANCY: DIANA KENNEDY, about Mexican cuisine cookbook author and environmental activist; and the Tastes and Flavors of Japan afternoon event featuring Hironori Sakurai’s THE STORY BEYOND A CUP OF SAKE and Sky Bergman’s MOCHITSUKI.

The Coastal Awakening this year will sponsor a special sidebar of films celebrating the life and art of renowned composer and pianist Philip Glass with presentations of Scott Hick’s documentary, GLASS: A PORTRAIT OF PHILIP IN TWELVE PARTS (2007), and two films that feature Academy Award-winning original scores by Glass: Godfrey Reggio’s KOYAANISQATSI (1982), and Martin Scorsese’s KUNDUN (1997).

Passes are now on sale and information on the film festival can be found at https://slofilmfest.org.

SPECIAL PRESENTATION FILMS

HOLLYWOOD AND VINES PRESENTATIONS

91 HARVESTS Directors:  Tim Clott and Libbie Agran Country: USA, Running Time: 45 min The story of the Dusi Vineyard began in the early 1920s, when Sylvester and Caterina Dusi emigrated from Northern Italy and settled in Paso Robles. The Dusi Vineyard introduced some of the first Zinfandels to California’s Central Coast; vineyards were rare in Old California in the early 1900’s.  Sylvester and Caterina were highly enterprising, and working together with their three sons – Guido, Dante and Benito, eventually bought an additional property on the west side of Highway 101 in 1945 and planted Zinfandel. Three generations after Janell Dusi’s great-grandparents first planted the land to Zinfandel, she is continuing the legacy of one of the area’s most well-loved vineyards, and taking ten percent of the production off the Dante Dusi Vineyard to create J Dusi Wines.

THE BIGGEST LITTLE FARM Director: John Chester Country: USA, Running Time: 91 min This beautiful, multi-award winning documentary chronicles the eight-year quest of John and Molly Chester as they trade city living for 200 acres of barren farmland and a dream to harvest in harmony with nature. By doggedly persevering and embracing the opportunity provided by nature’s conflicts, the couple unlocks a biodiverse design for living that exists far beyond their farm, its seasons and our wildest imagination. Featuring breathtaking cinematography, captivating animals and an urgent message to heed Mother Nature’s call, this film provides us all a vital blueprint for better living and a healthier planet.

BREAKING BREAD Director: Beth Elise Hawk Country: USA, Running Time: 86 min A visually beautiful film that offers a recipe for tolerance – and hope. Dr. Nof Atamna-Ismaeel, the first Muslim Arab to win Israel’s MasterChef television competition, is on a quest to effect social change. So she starts the A-sham Arabic Food Festival in Haifa, Israel, where pairs of Arab and Jewish chefs collaborate on mouthwatering local dishes – and become friends. Set in a region beset with conflict, Breaking Bread sends a clear message: Strip away politics and religion and you’ll find that people are people. And what better way to do that than over a great meal?

FULL BOAR Director: Peter Schroeder III Country: USA, Running Time: 50 min In this insightful documentary about Gary Eberle, you’ll get a sense of the man called the godfather of the Paso Robles wine industry – his astute winemaking skills, warmth, self-deprecating humor, genuine compassion and determination in overcoming a hostile corporate takeover. Now celebrating his namesake winery’s 40th year, the man once destined for medical research credits legendary football coach Joe Paterno and famed winemaker Robert Mondavi for teaching him key lessons along the way.

NOTHING FANCY: DIANA KENNEDY Director: Elizabeth Carroll Countries: USA/Mexico, Running Time: 82 min Cookbook author and environmental activist Diana Kennedy reflects on an unconventional life spent mastering Mexican cuisine. It’s a candid, comprehensive whirlwind tour through the life and work of this 96-year-old uncompromising chef who’s been called an “adorable narcissist.” “If her enthusiasm were not beautiful, it would border on mania,” says influential New York Times food editor Craig Claiborne in a quote that opens the film.

STAGE: THE CULINARY INTERNSHIP Director: Abby Ainsworth County: Spain, Running Time: 78 min A group of interns work together during a nine-month apprenticeship at one of the best Michelin-starred restaurants in the world, Mugaritz. They’re unpaid, away from home, speaking a different language and working brutally long hours. While the restaurant’s notorious avant-garde cuisine and creative working environment elevate those young hopefuls to think outside the confines of a kitchen, the extremely high standards prove to be mentally and physically challenging.

THE STORY BEYOND A CUP OF SAKE Director: Hironori Sakurai Country: Japan, Running Time: 62 min A wonderfully intimate and special look at the delicate care and production of a local sake brewery in Japan through the eyes of a married couple who create the sake and oversee the brewery. We also meet many individuals who work in and care for the gorgeous rice fields and distribute the finished sake, drawing interesting parallels to the wine industry in California. Screening with

MOCHITSUKI Director: Sky Bergman Country: USA, Running Time: 5 min The ancient tradition of preparing Mochi to celebrate the Japanese New Year goes back centuries. Join one close-knit intergenerational community in San Luis Obispo County who revels in the ceremonial pounding of the cooked rice, the forming of the warm Mochi cakes, and of course eating the yummy results! Elders and kids alike reflect on what Mochi means to them, leaving not a cheek untouched by rice flour.

WALKIN’ CALIFORNIA – PISMO PRESERVE Director: Cameron Mitchell Country: USA, Running Time: 27 min WALKIN’ CALIFORNIA – PISMO PRESERVE is about getting out of the office and off the couch and exploring all the diversity this incredible state has to offer. Join host Steve Weldon as he and Land Conservancy staff take a hike on the newly opened Pismo Preserve, located just north of Pismo Beach. As we meet a variety of Central Coast residents along the way, this episode highlights the natural beauty of the area and the important work the Land Conservancy is doing in our community.

ADDITIONAL SPECIAL PRESENTATION FILMS

ALMOST FAMOUS Director: Ben Proudfoot Country: USA, Running Time: 51 min Pop stars who never were. Household names who remain unknown. Astronauts who never entered space. Rock stars whonever had their day. The lives of these fascinating and incredibly talented individuals are chronicled in this collection of four wonderful short films, produced by the New York Times Op-Docs series and directed by SLO Film Fest alum Ben Proudfoot (RWANDA AND JULIET, 2016), KIM I AM, THE LOST ASTRONAUT, THE OTHER FAB FOUR, and THE KING OF FISH & CHIPS are all memorable stories that will amaze, inspire, and most importantly, entertain.

THE BIG PARADE (1925) Director: King Vidor Country: USA, Running Time: 151 min Wealthy young idler Jim Apperson (John Gilbert) enlists during the early days of World War I, to the worry of his mother (Claire McDowell) and the pride of his father (Hobart Bosworth). Sent to the front lines in the French countryside, Jim bonds with his working-class bunkmates and falls in love with young French farm girl Melisande despite having a girlfriend back home. But the romance of war is soon shattered for good. This 1925 silent film features a wonderful score by Carl Davis.

DINNER IN AMERICA Director: Adam Carter Rehmeier Country: USA, Running Time: 106 min An on-the-lam punk rocker and a young woman obsessed with his band go on an unexpected and epic journey together through the decaying suburbs of the American Midwest.

DISCLOSURE: TRANS LIVES ONSCREEN Director: Sam Feder Country: USA, Running Time: 100 min An investigation of how Hollywood’s fabled stories have deeply influenced how Americans feel about transgender people, and how transgender people have been taught to feel about themselves.

ENAMORADA (1946) Director: Emilio Fernández Country: Mexico, Running Time: 96 min This 1946 Mexican drama was shot on location in Puebla. The revolutionary José Juan Reyes (Pedro Armendáriz, a Cal Poly graduate!) takes the town of Cholula, Puebla and demands contributions from its wealthiest citizens for the Mexican Revolution. However, his plans are disrupted when he falls in love with the Señorita Beatriz Peñafiel (María Félix), the tempestuous daughter of the town’s richest man. The film was fully restored by UCLA in 2018. Film will be introduced by Latino Film expert Maria Elena de las Carreras.

GLASS: A PORTRAIT OF PHILIP IN TWELVE PARTS (2007) Director: Scott Hicks Country: USA, Running Time: 119 min An eventful year in the career and personal life of distinguished Western classical composer Philip Glass as he interacts with a number of friends and collaborators, who include Chuck Close, Ravi Shankar, and Martin Scorsese.

HEARTS OF GLASS: A VERTICAL FARM TAKES ROOTS IN WYOMING Director: Jennifer Tennican Country: USA, Running Time: 68 min Vertical Harvest (VH) is a highly innovative but risky experiment in growing crops and providing meaningful employment for people with disabilities. Built on 1/10 of an acre at an elevation of 6,237 feet, the high tech hydroponic greenhouse is located in Jackson, Wyoming, a mountain town with extreme seasonal fluctuations in weather, population and demand for goods and services. Business drama is interwoven with the personal journeys of individuals who are part of an underemployed and underestimated group, adults with intellectual and developmental disabilities. Plants and people grow together in this intimate portrait of one community’s attempt to address timely and pressing issues around local food production, inclusion and opportunity.

KOYAANISQATSI (1982) Director: Godfrey Reggio Country: USA, Running Time: 86 min A collection of expertly photographed phenomena with no conventional plot. The footage focuses on nature, humanity, and the relationship between them.

KUNDUN (1997) Director: Martin Scorsese Country: USA, Running Time: 134 min From childhood to adulthood, Tibet’s fourteenth Dalai Lama deals with Chinese oppression and other problems.

CENTRAL COAST FILMMAKER SHOWCASE

FEATURE DOCUMENTARY 91 HARVESTS (see above)

BETTER TOGETHER Director: Isaac Hernandez Country: USA, Running Time: 50 min Community makes the difference. The response to a horrendous oil blowout fifty years ago in Santa Barbara sparked the modern environment, creating a culture that continues to inspire local solutions to global problems. The legacy of the oil spill continues to inform this community, which keeps coming together, providing local solutions to global environmental problems; such as when over 3,000 volunteers jointed the Santa Barbara Bucket Brigade to dig the mud from homes after the deadly 2018 debris flow.

BY HAND Director: Kellen Keene Country: USA, Running Time: 67 min In an attempt to escape comfort, reconnect to the natural world and set a new bar for ocean adventure, SLO County residents and twin brothers Casey and Ryan Higginbotham made a decision that would reshape their loives. On March 18, 2016, they embarked on a 2200-mile paddle from Alaska to Mexico with 18-foot paddle boards. SPOONS: A SANTA BARBARA STORY Director: Wyatt Daily Country: USA, Running Time: 58 min Dusty archives have been re-discovered remastered to bring a new perspective to one of the most crucial periods in surfing’s evolution. This is a film compiled of never-before-seen footage from surfing’s Golden Age, with outtakes and extras from some of surfing’s most well-known filmmakers to tell a history that has never been told before. A story of craftsmanship, work ethic, renegades and tradition; a film that goes beyond the time spent in the ocean to define how one spends a lifetime.

NARRATIVE SHORT FILMS THE ADVENTURES OF COWMAN AND LAMBOY Director: Dominic Hure Country: USA, Running Time: 7 min

BLUE NOISE Director: Jonah Moshammer Country: USA, Running Time: 12 min

CAL POLY SHORTS Directors: Cal Poly Liberal Arts students Country: USA, Running Time: 50 min

CRIMSON CUFFS Director: Madeline Vail Country: USA, Running Time: 7 min

DIRTY LITTLE SECRETS Director: Dale Griffiths Stamos Country: USA, Running Time: 13 min

THE INCIDENT Director: Johannes S. Beals Country: USA, Running Time: 5 min

LOCKDOWN Director: Jorrit Van Der Kooi Country: USA, Running Time: 8 min

MOVING PAINS Director: Michael Gould Country: USA, Running Time: 14 min

NICKEL IN THE SAND Director: Mike Winger Country: USA, Running Time: 3 min

ODD BIRD Director: Katy Dore Country: USA, Running Time: 9 min

ROSIE Director: Shanti Herzog Country: USA, Running Time: 17 min

DOCUMENTARY SHORT 93: LETTERS FROM MARGE Director: Heather Hudson Country: USA, Running Time: 30 min

BIRDS OF LOS BANOS Director: Gail Osherenko Country: USA, Running Time: 14 min

CARRIZO PLAIN: A SENSE OF PLACE Director: Jeff McLoughlin Country: USA, Running Time: 32 min

THE EDGE OF PURPOSE Director: Winslow Perry Country: USA, Running Time: 40 min

FARM TO FLOAT: THE MAKING OF THE CALIFORNIA GROWN ROSE PARADE ENTRIES Director: Alex Raban Country: USA, Running Time: 17 min

FOREVER VOTERS Director: Sky Bergman Country: USA, Running Time: 7 min

KUT TO BE THE BEST: THE LAST BLACK BARBERSHOP IN SAN LUIS OBISPO Director/Writer: Justice Whitaker Country: USA, Running Time: 40 min

LIFESAVER: THE SLO NOOR FOUNDATION STORY Director: Bob Williams Country: USA, Running Time: 40 min

MARGARET SINGER: SEEKING LIGHT Director: Louise Palanker Country: USA, Running Time: 20 min

MOCHITSUKI (see above)

ORANGEBURG: A TOWN, A TEAM, AN AMERICAN TRAGEDY Director: Jim Fabio Country: USA, Running Time: 20 min

PASO ROBLES: A GOODBYE STORY Director: Brandt Goodman Country: USA, Running Time: 4 min

REFORGING A LEGACY Director: Bryan McLain Country: USA, Running Time: 8 min

ABOUT SAN LUIS OBISPO INTERNATIONAL FILM FESTIVAL Located half-way between Los Angeles and San Francisco, San Luis Obispo’s laid-back vibe and serene natural beauty is the perfect setting for this highly regarded annual film celebration. Filmmakers rave about the warmth and attentiveness that is so much a part of the SLO Film fest experience, as does the swelling tide of industry pros and film critics who are fast discovering the film festival’s thoughtful audiences and unique programming sensibility. At the SLO Film Fest, “Movies Matter!”

*Featured photo: HollywoodGlee at the SLO Film Fest Festival Tent (Photo by Kevin O’Connor, in memoriam)

(Source: Press release provided by John Wildman, Wildman PR)

The 2020 San Luis Obispo International Film Festival (@SloFilmFest) presented by Hotel San Luis Obispo #SLOHotel announces galas & special event screenings (March 17-22) #SLOFilmFest #SLOIFF2020 Posted by Larry Gleeson Chusy Jardine’s IT ALL BEGINS WITH A SONG: THE STORY OF THE NASHVILLE SONGWRITER is the Opening Night…