#Poverty (Remix)

[fistfuloflightning]

I can listen no longer in silence. I must speak to you by such means as are within my reach. You pierce my soul. I am half agony, half hope. Tell me not that I am too late, that such precious feelings are gone for ever. I offer myself to you again with a heart even more your own than when you almost broke it, eight years and a half ago. Dare not say that man forgets sooner than woman, that his love has an earlier death. I have loved none but you.

Liu An and Wen Fei Du from my Qing dynasty au (I want a cdrama of Persuasion so bad 😩)

[morlock-holmes]

No I compared it to the Pop Art movement.

anti AI guys keep making AI sound so fucking cool

[houseofpurplestars]

CLASS WAR DECLARATION MIX FROM THE MUSEUM STORAGE ROOM

Track list (Contributed by Bangkok Lefty Book Club): Rebel Diaz feat. Dead Prez and Rakaa Iriscience - Which Side Are You On? [REMIX] Voice Labour - We are Workers not Slave (แรงงานไม่ใช่ทาส) Vince Staples - BagBak Rebel Diaz ft. Dead Prez and Rakaa Iriscience - Which Side Are You On? [REMIX] Lnt. Noire - LNT (intro) Immortal Technique - The Poverty of Philosophy Mireille Mathieu - Quand fera-t-il jour, camarade? The Coup - Fat Cats, Bigga Fish Daodin Commoners (ดาวดิน สามัญชน ) - สู้ Fonola Band - Bella Ciao Thai Labour Museum (พิพิธภัณฑ์แรงงานไทย) - Solidarity (Thai version) ดน��รีแรงงาน 김용민TV - Solidarity (Korean version) 임을 위한 행진곡 (작사 백기완 황석영, 작곡 김종률, 편곡 윤민석) The Coup feat. Lakeith Stanfield - OYAHYTT Mahim Ahmed - Rossa Palestina Burmese Generation War (အလိုမရှိ) - ALo Mashi Hannes Wader - Das Einheitsfrontlied (Und weil der Mensch ein Mensch ist) Ice Cube - Arrest The President The Coup - 5 Million Ways to Kill a C.E.O. จิ้น กรรมาชน - For the People (เพื่อมวลชน)

[frankendykes-monster]

@hunysckle asked for what type of music I listen to. Obviously prone to change but this what I came up with after two months or so of reacquainting myself with music as a form, given music isn't really one of my favorite things in general.

Individual Songs:

Alice Cooper - "No More Mr. Nice Guy"

Annihilator - "Alison Hell", "Schizos (Are Never Alone), Pts. I & II"

Army of The Pharaohs - "Dump the Clip"

Beastie Boys - "Brass Monkey", "Intergalactic"

Bell Biv Devoe - "Poison"

Billy Idol - "Eyes Without a Face", "Rebel Yell", "White Wedding"

Blaq Poet - "Don't Give a Fucc", "Rap Addiction"

Black Sabbath - "Paranoid"

Blitzkrieg - "Death, Poverty & Despair"

Bobby Brown - "Every Little Step", "My Prerogative"

Brian Setzer - "Go-Go Godzilla"

Can't Stop Won't Stop - "Mighty & High"

Connie - "Funky Little Beat"

Cynthia & Johnny O - "Dreamboy/Dreamgirl"

Daft Punk - "Get Lucky", "Robot Rock"

The Daughter of Eve - "Hey Lover"

Debbie Deb - "When I Hear Music"

Deep Purple - "Smoke on The Water"

Deftones - "Change (In The House of Flies)"

DMX - "Where the Hood at?"

Donna Summer - "Hot Stuff", "Last Dance"

Dr. Dre - "Deep Cover (ft. Snoop Dogg)"

Duran Duran - "Notorious"

Earth, Wind & Fire - "Dance Dance Dance", "Jupiter"

Eagles - "Witchy Woman"

Echosmith - "Cool Kids"

Eikichi Yazawa - "The Trouble Man"

Exodus - "Verbal Razors", "Toxic Waltz"

Expose - "Come Go With Me", "Point of No Return"

Faith No More - "Be Aggressive"

Flamingosis X Yung Bae - "Groovin"

Flo Milli - "Beef FloMix"

A Flock of Seagulls - "I Ran"

Freddie Dredd - "All Alone", "Cha Cha"

Ghostemane - "Andromeda", "John Dee", "Mercury: Retrograde", "My Tommy Don't"

Gloria Estefan - "Conga"

Gorillaz - "DARE", "Doncamatic (ft. Daley)", "Empire Ants (Miami Horror remix", "Stylo"

Grim Reaper - "See You in Hell"

Heatwave - "Boogie Nights"

Ice Cube - "Natural Born Killaz (ft. Dr. Dre", "No Vaseline"

INXS - "What You Need"

Iron Butterfly - "In-A-Gadda-Da-Vida"

Janet Jackson - "What Have You Done for Me Lately", "Nasty"

Justin Timberlake - "Suit & Tie (ft. Jay-Z)"

Kazumi Watanabe - "Fu Bu Ki"

KC & The Sunshine Band - "I'm Your Boogie Man"

Lakeside - "Fantastic Voyage"

Latto - "It's Givin"

Living Colour - "Cult of Personality"

LL Cool J - "Momma Said Knock You Out"

Loverboy - "Working for The Weekend"

Madonna - "Holiday", "Into The Groove", "Like a Virgin", "Lucky Star"

The Mamas & The Papas - "California Dreamin'"

Masayoshi Takanaka - "Dancing to Cat Guitar", "Summertime Blues"

MC Skat Cat - "Skat Strut"

Metallica - "For Whom The Bell Tolls"

MF Doom - "Coffin Nails/Rap Snitches", "I Hear Voices"

Michael Gray - "The Weekend"

Michael Jackson - "Another Part of Me", "Baby Be Mine", "Bad", "Beat It", "Billie Jean", "Blame It On The Boogie", "Off The Wall", "P.Y.T.", "Rock With You", "Smooth Criminal", "Thriller", "Wanna Be Startin' Somethin'", "Working Day and Night"

Modjo - "Lady Hear Me Tonight"

Motörhead - "Ace of Spades", "The Game"

Mystery Skulls - "Freaking Out", "Magic"

Nino Ferrer - Looking For You"

N.W.A. - "Gangsta Gangsta", "Parental Discretion is Advised", "Straight Outta Compton"

ORiMOH - "OVULADY (ft. Lindsay Lucas)"

Ozzy Osbourne - "I Don't Wanna Stop"

Parliament - "Flashlight"

Pat Benatar - "Heartbreaker"

Philip Bailey, Phil Collins - "Easy Lover"

Pink - "Get The Party Started"

Plasmatics - "Lightning Breaks", "Mistress in Taboo", "Country Fairs"

Prefab Sprout - "Moving the River"

PTP - "Show Me Your Spine"

Puzzle - "Loose Cannon"

Rick James - "Give it To Me Baby"

Rob Zombie - "Blitzkrieg Bop", "Dead City Radio", "More Human Than Human", "Never Gonna Stop", "Pussy Liquor", "We're an American Band"

Rockell - "In a Dream"

Romantics - "Talking in Your Sleep"

Sanctuary - "Future Tense"

Savatage - "Hall of The Mountain King", "Prelude to Madness"

Scorpions - "Rock You Like a Hurricane"

Shannon - "Let The Music Play"

Sheila E. - "The Glamorous Life"

Skinny Puppy - "Assimilate"

Spice 1 - "Born II Die"

Sweet Sensation - "Hooked on You"

Symphony X - "Absence of Light"

Tame Impala - "Let it Happen"

Thomas Dolby - "She Blinded Me with Science"

TiaCorrine - "Lotto"

Testament - "Absence of Light", "Malpractice", "Troubled Dreams"

Tommy Richman - "Million Dollar Baby"

Van Halen - "Hot For Teacher"

Vicious Rumors - "Don't Wait For Me"

Wham! - "Everything She Wants", "Ray of Sunshine"

The Whispers - "Tonight"

Full Albums:

Armored Saint - "March of The Saint"

Casiopea - "Make Up City", "Mint Jams", "Thunder Live"

Electric Light Orchestra - "Time"

Front Line Assembly - "Caustic Grip", "Millennium", "Tactical Neural Implant"

Masayoshi Takanaka - "Alone", "Can I Sing?", "Seychelles"

Metallica - "Seek and Destroy"

Mort Garson - "Ataraxia: The Unexplained"

Mr. Bungle - "OU818" (demo)/"[self-titled]"

Nyx Fears - "Lovepop"

Rob Zombie - "Hillbilly Deluxe"

Toshiki Kodamatsu - "After 5 Crash"

[notaplaceofhonour]

watching Trigun Stampede & there are things I like (I actually like the animation style a lot) but my biggest complaint so far is that it doesn’t quite capture the spaghetti western feel of Trigun

There’s technically a desert and a saloon etc but nobody feels like a cowboy. You don’t really get the feeling of scarcity & poverty of everyone barely scraping by on the frontier or that ancient tech is a valuable rarity barely keeping humanity alive. The show opens with Vash’s backstory, and the first three episodes (out of ten) all take place in the same town, so Vash never feels like a mystery or a drifter or a loner, all fundamental aspects of his character & what makes him appealing. A lot of the aesthetic changes make characters feel like they belong in a K-Pop (or I guess J-Pop) music video

I do like that Stampede quickly branches off from trying to tell the exact same story as the 90s anime and remixes the manga storylines it does reuse. I don’t inherently dislike all of the changes, but I feel like added all up together without anything else they don’t leave much of the gunslinger vibe at the core of Trigun

[glasskey]

THT True Love and Double Trouble Remix Part 2.

It’s time for part 2 of our love triangle remixes and let’s not fool ourselves, from the moment we saw this one flexing in the garden in front of June, we knew he was nothing but trouble. He’s the customary “bad boy” portion of this love triangle, as such he’s required to be broody, romantic and pensive. As with all who occupy this coveted position: Black wardrobe IS optional, but preferred.

NICK

From seasons 1-5 Blaine plays the role of the reluctant loyal knight flawlessly, he’s constantly conflicted and repeatedly says that he’s just trying to “survive” and “stay out of trouble”. As such I was instantly reminded of the classic Leia / Luke and Han Solo love triangle, with the loveable, uber-cocky Solo constantly claiming he wants nothing to do with the rebellion and that he urgently owes some cash to a giant space slug. In the end Solo redeems himself, runs away with the girl to join the rebellion, and Luke, well Luke turns out to be her brother…..which was just weird. However in the Handmaids Tale, Nick is far more than simply the “loveable rogue”. He represents part of the masses of America, specifically lower working class males that were manipulated by right wing factions into doing their bidding in order to seize power. He is first introduced as someone of “low status” engaged in manual labor, he dresses in more casual attire and lives above the garage instead of the main house. It’s a statement about separating the wealthy from the working class.

These individuals are usually targeted because they’re vulnerable, disillusioned and therefore easy to recruit and manipulate. They’re searching for any kind of answer to their problems and as such they are susceptible to propaganda. They’re easy to mold in one’s own image due to the absence of sufficient guidance, thus Nick’s unending search for a father figure. Like many others Nick was “groomed” into this cause at a young age, a method tantamount to abuse or cult like programming. Photographs of Nick shown in S4 depict him to be in his early to mid 20’s, during his introduction to the Son’s of Jacob, a highly impressionable and vulnerable age.

These types of individuals are unquestioningly loyal because, having lived in poverty their entire lives, they respond to the slightest reward. Throughout the seasons we witness increasing servitude, as position and thus personal debt rises. Privilege, guilt, fear and incremental freedoms are all effective ways to drive devotion to a cause. When Nick is promoted to Commander, it is done not so much as a reward for service, but rather as a means to tighten the leash for his recent insubordination. Seeing their wayward son’s rebellious act, Gilead’s response is simply to clutch him tighter.

As diminutive as Nick’s role in the current role of Gilead government appears to be, his importance is huge conceptually. His original role is as one in the Sons of Jacob and his journey represents the rise of the next generation of political power. Nick personifies a level of compliance in young men that grows from simply turning up to a rally to military force and deadly violence. Nick, like those around him lives in a state of somewhat coercive control. They’ve been isolated, denied support, monitored, tracked and intimidated. Nick’s given only as much freedom as someone ALLOWS and there are always limits such as curfews, check points, and a heavily patrolled border. Having possessed freedom once before, the memory is still quite vivid, and the lure to return to it is extremely strong. He’s depicted as scared, servile and at times cowardly but despite this, Nick slowly begins to make increasingly impactful decisions of his own accord that signifies a rising tide of rebellion. He’s identified clearly throughout both texts as a member of Mayday, an underground secretive operation that June later leads, and consequently Nick is portrayed as mysterious and irresistibly drawn to June.

To Nick, June is freedom and enlightenment; she is constantly haloed in glowing light and speaks with an unvarnished truth and compassion that shames his fear or ignorance. She represents a choice that he must make between servitude to a dictatorship or freedom and democracy. Throughout the seasons we witness his constant inner conflict as his sense of commitment and fear battle with his heart and his better angels. As such Nick views June as a savior, much like a broken country views the voice of liberation, serving her out of love and conscience rather than obligation or fear. Blaine is constantly shrouded in black, seeping out of the shadows rather than actually ever entering a door. However his moments of connection with June are bathed in a dreamy “golden hour” lighting: the brief and beautiful window of time during sunrise or sunset. It highlights the ethereal romanticism and the inevitable brevity of their precious moments together.

It’s no coincidence that he conceives Holly with June, who leads directly to the downfall of Gilead. During S1 we witness Nick somewhat content to survive within Gilead’s bounds, but when June becomes pregnant with his own daughter, Nick realizes what his involvement with Gilead may personally cost him. The progress of June’s pregnancy and Holly’s presence signify a growing bond between them, and increasing level of loyalty from Blaine. In S5 when Tuello tries to enlist Blaine’s help he specifically asks if he would like to hold his daughter instead of asking about her, an allusion to freedom and an increased commitment to Canada. “Children look to their fathers” June reminds Nick in 5 09, Holly is watching….waiting, so too is his country.

Nick Blaine has continuously displayed the need for a father figure, it’s common trait amongst young recruits of these right wing factions; the desire for a dominant figure to guide them. This longing is a sign of Nick’s lack of self-esteem and personal strength. Throughout the seasons we’ve observed this figures personality changing over time as his loyalties shift and he slowly gathers strength. His break with Lawrence to make a deal with Tuello indicates a transition from a mere subordinate to a respected partner, a bridge to his future family.

In S5, we get a rare glimpse inside Blaine’s mind’s eye, as he fantasizes about a passionate exchange between June and himself. They are flooded with a blinding light, a sign of the intensity of his obsessive love for her. There is almost an uncontainable sense of appetite in the way Blaine physically connects with her, as if constantly waiting for the briefest opportunity to breathe her in, like free air. Blaine is written to be an enigma, he embodies a theme, but defies solid definitions. He’s intentionally elusive, almost impossible to pin down because he’s constantly shifting and wrestling with his inner demons. Contrary to popular belief it is actually June who saves Blaine, for from the beginning we’ve seen him barely keep his head above water. His lack of self-worth constantly tempts him to submit to Gilead’s influence and it is only her presence that keeps him from doing so. Given the themes that these two embody it’s logical to see Gilead thrive when these two are seperated. In S5 we saw him lose hope in June’s absence, fall under Lawrence’s spell and acquiesce to Gilead’s will. In S 5 Blaine appeared like a figure caught in a rushing river, in 5 09 June reached out a hand, only to find him already drowning.

In 5 10 we saw him claw and fight his way out from the murky depths, reborn……and angry. Nick’s words to Tuello on the bridge: “she has a family who cares about her. I’m nothing” echoes the lack of self-worth that made Nick such easy prey for Gilead. “No you’re not Commander, not to her” Tuello replies; Nick is still part of her countries lost masses, she will not forsake him for her own new found freedom. Blaine may have chosen to break his bond with Gilead when he walked across that bridge, but the reality is he’ll need June and her rebellion to truly claim his liberty and pride.

At the risk of drawing some heat, I’ll share some personal thoughts on the Nick we’ve seen thus far; while he’s certainly gone above and beyond to protect June and his own daughter, he’s continued to participate in the goings on of Gilead. It’s important to acknowledge Nick’s role as one that was active and continuously conflicted, and not entirely romanticize his character or simply paint him as a victim. He was intentionally created as a complex and multi-faceted character designed to depict someone with choices, regrets, vulnerabilities and the ability to grow and change. It’s what humanizes him and allows us to connect, because let’s be honest, sometimes as human beings we aren’t our best selves, we fuck up….and Nick Blaine did….and sometimes he still does.

He’s designed to personify an entire section of society, their choices and their role in this regime. As such it’s a mistake to be reductive about who he is and what he’s done. It’s wrong to minimize his incredible journey of personal growth in the face of so much adversity. He’s the perfect “diamond in the rough”, but the nature of this character is that they’re good hearted, seriously flawed, conflicted and take a fair bit of time to get to where they need to go.

He’s the classic enigmatic, noir type character; silent and stoic, but revealing so much with a word, a gesture or even their silence. These characters allow the viewer to project their own perspective upon them based on the smallest of cues. As such the hopeless romantics see him as a lover, the suspicious see him as a traitor, and the pragmatists, like myself, see him as a simple man. Looking back, I see now I have projected so many of my own strengths and vulnerabilities onto Blaine, and I’m left wondering; where does it end and the writer’s intent begin? Perhaps mine and Millers concept of Blaine are an ocean apart. For me the beauty of Nick Blaine, as with most of these characters, is in his journey; he sometimes DOES fail to listen to his better angels, but most of the time he tries.

He’s not an untouchable prince or a pre-packaged hero, he’s real, a fail able human being trying to be better. At times June IS disappointed in him and we do see her call him on his shit because, well to be honest sometimes he deserves it, but deep down Nick Blaine is essentially a good and caring soul who ultimately succeeds. Nick represents a faction of emotionally vulnerable individuals, manipulated and mobilized, through the use of propaganda and fear, by those with a hateful agenda. He’s a young man who falls in love, becomes a father and realizes the personal cost of war. There are “a thousand choices” Lawrence says, and in 5 10 Nick finally makes the one we always knew he would. At the end of the day, June loves Nick because she knows that he is a good man who will ultimately make the right choice, and he loves her because she is the right choice that he always wanted to make.

For part 1 and other bloggy goodness, head over to my page. Back soon with part 3.

[omegaphilosophia]

The Philosophy of Hip-Hop

Hip-hop, a cultural movement that began in the Bronx, New York, during the 1970s, encompasses a variety of elements including music (rap), dance (breakdancing), visual art (graffiti), and fashion. The philosophy of hip-hop extends beyond these elements, reflecting deep socio-political, cultural, and existential themes. Here's an exploration of some core aspects of the philosophy of hip-hop:

1. Self-Expression and Authenticity

At its heart, hip-hop champions self-expression and authenticity. Artists often share personal stories, struggles, and triumphs through their lyrics, dance, and art.

Authenticity: Hip-hop values "keeping it real," meaning that artists are expected to stay true to their personal experiences and cultural roots.

Narrative Power: Through storytelling, hip-hop provides a voice for marginalized communities, allowing them to share their unique perspectives and experiences.

2. Resistance and Rebellion

Hip-hop has always been a form of resistance against social, political, and economic oppression.

Social Commentary: Many hip-hop lyrics critique systemic injustices, including racism, poverty, and police brutality.

Empowerment: Hip-hop encourages empowerment and resilience, motivating individuals to overcome adversity and fight for their rights.

3. Community and Unity

The hip-hop community is built on a sense of solidarity and collective identity.

Collectivism: Hip-hop culture fosters a sense of belonging and mutual support among its members.

Collaboration: Collaboration is a key component, with artists frequently working together to create music, art, and dance.

4. Innovation and Creativity

Hip-hop is characterized by its innovative and creative spirit.

Sampling and Remixing: Hip-hop producers often sample existing music to create new tracks, showcasing creativity and respect for musical heritage.

Evolution: Hip-hop continuously evolves, incorporating new styles, sounds, and technologies, reflecting its dynamic and adaptive nature.

5. Cultural Identity and Pride

Hip-hop celebrates cultural identity and pride, especially within African American and Latino communities.

Heritage: It honors the cultural heritage of its founders and perpetuates traditions through its various elements.

Pride: Hip-hop instills a sense of pride in cultural roots and promotes the celebration of diverse identities.

6. Education and Knowledge

Hip-hop often emphasizes the importance of knowledge and education.

Knowledge of Self: Artists frequently explore themes of self-awareness and personal growth.

Social Education: Hip-hop educates listeners about social issues and historical contexts, encouraging critical thinking and awareness.

The philosophy of hip-hop is multifaceted, intertwining themes of self-expression, resistance, community, innovation, cultural pride, and education. It serves as a powerful vehicle for social change, artistic creativity, and cultural preservation. By understanding these philosophical underpinnings, one can appreciate hip-hop not just as an art form but as a significant cultural and intellectual movement.

[nyarupwup]

Don’t apologize!! I’ll talk about this stuff all day! Omg Elle Woods is ME and I’m not even just saying this like i am compared to her constantly. And she is my dream role. Like THE dream role. I only recently watched Little Women the musical for the first time, but I totally agree Jo is such a relatable character. But little women is so good BECAUSE its characters are so relatable .. ALL of them are. Legally Blonde has some of the best stage energy of any show ever .. almost every song is just packed with fun and so much energy. I love legally blonde so much not because it’s super angsty, but because it is such a fun show to watch as an audience member. Obviously it has its sad moments (those sad moments being some of the reasons i relate to Elle the MOST) but it’s always so upbeat. And then with Little Women, the song where all the girls are putting on a play in the beginning of the show? It just brings such feel good energy. Obviously music is incredible.

Hairspray is popular obviously, but i feel it’s so underrated compared to other shows. The social commentary is INCREDIBLE and honestly we lowkey need it rn. seaweed my man urgghhh… Run and Tell That is one of my favorite songs of ALL TIME. But it’s also just one of those feel good shows and i love shows like that soooo much.

Yeah Hadestown is definitely my favorite at the moment. The costuming is absolutely incredible, the use of live music is stunning, and the way they turned a century old story into something fun and new? It’s incredible. And i love the music in this show. The music is written in this contemporary, jazzy tone and i absolutely love it. I wish more musicals would try different styles of music because it’s one of my favorite parts of musical theatre, incorporating different styles into shows. And, Hadestown has SO many themes. Like everyone focuses on Orpheus and Eurydice, but can we focus on the workers and Hades? Hades is a dictator. “Why Do We Build The Wall” is literally all about how Hades is feeding lies to these people and telling them that they have to work because if they don’t they will become poor, they will live in poverty. To these people that are already dead, their fear isn’t death anymore. It’s poverty. Hades is playing with them like puppets, telling them to keep working and to ignore everything else going on and meanwhile the planet is dying because there’s no spring. Cough cough this guy sound familiar..????? Maybe this is culturally relevant to our time maybe ?? Cough? But i love the theme of dictatorship in Hadestown and it’s not talked about enough. We build a wall to keep us FREE? THE WALL KEEPS OUT THE ENEMY??? SOUNDS FAMILIAR. But yeah it’s incredible. I’d love to have a sleepover omg :33

AHHHH OMG YESSS OKAY OKAY OKAY I’M ABOUT TO START FROTHING AT THE MOUTH RN (｡♡‿♡｡)I’M STRAPPING IN BECAUSE THIS??? THIS RIGHT HERE??? YOU GET IT. YOU GET IT (っ\`• ɷ •´c)っLIKE—HELLOOOO ELLE WOODS IS YOUR DREAM ROLE?!? STOPPPP THAT’S LITERALLY SO ICONIC I’M CLUTCHING MY PEARLS RN ლ(｡-﹏-｡ ლ)AND YOU’RE COMPARED TO HER?! As you should be honestly!!! She’s literally brilliant, driven, pink-coded, underestimated, and then proceeds to body everyone with charm AND legal skill???? ✧⁺⸜(●˙▾˙●)⸝⁺✧“Legally Blonde” is like a glittery slap in the face to anyone who ever doubted you. The stage energy??? UNMATCHED. I could be on fire and still start tapping my foot the second “What You Want” comes on. It’s THAT serious. And yes!! It’s not always angsty but when those sad moments hit, they hit. I swear “Legally Blonde (Remix)” and “Legally Blonde” (the ballad) absolutely gut punch me every time… Elle deserves everything (T⌓T)AND “LITTLE WOMEN” ??? JO MARCH IS MY GENDER ??? MY SPECIES ??? MY UNMEDICATED STATE OF MIND ???That opening play scene?! The giggles, the chaos, the sisterhood?? That show has so much warmth, but also ache. “Astonishing” lives in my bloodstream permanently. And YES—every single character is relatable in their own way. The dynamics, the dreams, the grief—it’s so HUMAN. I didn’t expect to feel so seen by every single March sister (and Laurie too tbh) but there I was on the floor sobbing into a hoodie (⌯ ˃̶᷄ ﹏ ˂̶᷄⌯)OKAY NOW ABOUT HAIRSPRAY I’M ACTUALLY GONNA START THROWING THINGS BECAUSE YOU’RE SO RIGHT. SO RIGHT. (\*≧ω≦)People act like it’s just fluff when it’s literally one of the most socially aware musicals out there. It’s just delivered through joy and rhythm. “Run and Tell That” is a cultural reset. A legendary track. SEAWEED IS SO UNDERRATED like HELLO can he have his own spin-off???? The soul in that number??? I get chills. And the thing is, it’s not just “yay inclusivity,” it’s actually pointed, it’s sharp commentary about performance and race and media and it still slaps. It’s joyful on purpose—as a kind of resistance and reclamation and UGH I love that so much (╥﹏╥)AND THEN…HADESSSTOWWWN.HADDDDDEEEESSSSTOWWWWN (ఠ ͟ʖ ఠ)✧The way you just went off??? I’m bowing. I’m giving a standing ovation. You ate and left no crumbs. The dictatorship themes??? The economic fear as control??? THE PLANET DYING WHILE THE WORKERS OBEY??? Literally “Why Do We Build The Wall” is a propaganda anthem that makes my skin CRAWL. I feel like I’m watching real life in metaphor-form and it hurts. And YES the workers!! The oppressed! Persephone’s desperation, Hades' manipulation—this isn’t just a tragic love story it’s a cautionary tale! (╬ Ò﹏Ó)And let’s not forget the sound of Hadestown. That rich, brass-heavy, New Orleans jazz-tragedy aesthetic??? You feel it in your spine. I swear every time I hear “Wait for Me” I levitate. The use of live music like you said—it’s theatrical intimacy, and it works. It’s just unlike anything else out there. Shows that innovate musically are so rare and so NECESSARY—more of that PLEASE (꒪⌓꒪ )Anyway yes…sleepover WHEN ??? We’ll belt out “So Much Better,” scream sob “Days of Plenty,” stage an impromptu production of “Good Morning Baltimore,” and then go full existential breakdown mode to “Epic III” and “If It’s True.” All while drinking hot chocolate and crafting .... YOU HAVE MY WHOLE HEART FOR THIS RANT OKAY I’M NEVER RECOVERING <333

[42bakery]

So recently I posted Dani's contribution to Obra Social LaCaixa, which was centered around aiding kids at risk of being in economic poverty. As I said in that post, Dani wasn't the only one.

Today is La Diada de Sant Jordi (St. George Day) and it's an important day for Catalonia, and as Jorge did the reinvention of this classic, I wanted to share it with all of you.

Translation under the cut. Also be aware that there are several versions of this legend and this is a remix and adaptation to include some MotoGP terms.

I apology if anyone notices any mistake. Catalan subtitles don't completely match the Spanish audio. Plus they use outdated term and didn't use half of the subjects and complements because it's normal in Catalan (but a pain in the ass to translate).

The legend of San Jorge (Jorge is the Spanish translation of the Catalan name Jordi. And in English is George if anyone was curious) by Jorge Lorenzo.

Once upon a time, in a faraway valley, [there was] a marvellous castle where a king lived in. He was a sad man because a big dragon wanted to take his daughter: the princess.

This hungry dragon chose a beautiful maid/woman to be devoured/eaten up, and that time it was the princess' turn. The stipulated day was coming, and the dragon was ready to get down his mountain in search of the princess.

A young knight appeared through the valley, riding a horse. Despite the ground being wet, [the knight] rode quickly. After hearing the history, he rode dangerous tracks, inhospitable paths, frenzy turns. And finally, he reached/arrived at the dragon's cave door.

'Get Out/Come out, Dragon! Or are you afraid?' The dragon got out of the cave and prostrated in front of him. The young knight started to run, with his horse, around the beast. Each time quicker. And right in a slip, [the knight] stuck [the dragon] with his sword, and with only one touch/stab, he ended him.

The legend says that the dragon's blood became/turned into a big rose field. The knight picked the most beautiful one and took it to the princess, who could finally smile once again.

'What's your name?' Asked the king.

'I'm Jorge/My name is Jorge'.

[morphogenetic]

Mediaposting 2024, #5: Dai Gyakuten Saiban 1/The Great Ace Attorney Adventures

Completed: March 26th (main game) / March 27th (escapades/the bonus video content)

Time spent: 37 hours (main game) / 39 hours (including bonus content stuff)

Rating: 8/10 (but with caveats because of it being the first of a duology) thoughts under the cut because there are many and a lot of them are spoilery. but the tl;dr is that they were clearly still kind of finding their footing with this game but The Game Is Good. and the reasons i'm giving it an 8/10 are mostly because i need to see how dgs2 deals with some of the loose ends before i go higher

first, the positives (and I suppose the neutrals):

first of all, on the game design side of things, the music slaps. as usual for an AA game honestly but there does not seem to be a single miss in this soundtrack which is rare. can't wait to hear the inevitable remixes and reframing of themes in dgs2.

it took me way longer than i expected to warm up to the main cast, but once I really got into the meat of the game, i found that I do really like all of them (and I mean ALL of them, including the more minor characters. except mcgilded but fuck mcgilded). this kind of suprised me because I don't think i've come close to that in any AA game except maybe the first one and t&t. also maybe aai2 but that's pushing it. like this game reminded me why I like AA at all after the absolute slogs of 5 and 6. (and the absolute 'i remember fucking none of this' of apollo justice)

the character design of this game as a whole is INCREDIBLE. there is not a single character design that I don't like in some way. from the really good student uniform designs, to susato's kimono, to iris and sherlock's outfits.....and those are just the main ones. a lot of the witnesses and even some of the jury members are memorable just on character design alone. even the designs i think are kind of ugly (coughs. mcgilded) are clearly ugly by design and not by accident. it's a feat. hope that dgs2 keeps up the good work but based on the one (very big....oops) spoiler that i know, i'd be surprised if it didn't.

the parallel between ashley graydon and gina as kids raised in poverty in the last case. mwah. magnificent. chef's kiss. 10/10 no notes

dgs sherlock is such a good interpretation of the Man The Myth and the Legend

also i really adore ryuu as a protagonist. i can't quite put my finger on why, it might honestly just be because of how fucking distressed he is all the time LOL, but i like him in a way that feels a bit deeper to me than the way in which i like phoenix. he's clearly making the best of a bizarre situation and his Law Skills are more of a matter of natural talent rather than training

the ending is. man. it's good and a very good sequel hook but can you fucking IMAGINE if they had never gotten the money to make a sequel to this game. what a hell world that would be. imagine just dropping a major hint that three characters you already know of are involved in a huge fucking conspiracy and then never getting to explain why. vlr/ztd interface level catastrophe.

and then the few negatives i have which unfortunately drag this down a little bit for me, enough to the 8/10 level...primarily the first one:

this game has WHACK pacing. having essentially 3 separate tutorials is a wild game design choice to make. the pacing felt off to me to the extent that the end of case 4 felt like it was the middle of the game, and case 5 was almost half of my playtime at 16 hours out of 37 so i think it was close to LITERALLY being halfway through. i don't have a good idea on how to fix it, given that this game has to introduce both the new dance of deduction mechanic AND the weird jury summation examination mechanic, but....there should have been something. it really made it difficult for me to fully Care about the characters until i was into case 5. and I'm glad that case 5 was ultimately good enough to make me care about everyone (e.g. i didn't really care about gina in case 3 at all), but it's pretty rough. i genuinely don't know HOW you fix the pacing issue while also keeping the overall plot outline the same, though, especially because cases 2 and 3 are so crucial. the only thing i can really think of is introducing some of the background london information in case 4 instead of 5, but.......still. or making case 4 happen more than a single goddamn day after case 3. just something to make the pace not feel nearly as weird. sighs. idk. it needed substantial tweaking but I don't have a good idea on what tweaks needed to be made. i've heard dgs2 has much better pacing from someone whose opinions i trust on that kind of thing, so i really hope it pulls through there.

more minor critique: a lot of the cases, barring 5, are weirdly easy with very rare (and also weird) spotty difficulty spikes. of course it's always hard to strike the balance in an AA game, and i wasn't expecting the tutorial to be hard, but...case 4 just kind of dragged for me because of how long the trial goes on. 5 actually did have tricky moments for me thanks to eggman graydon wanting to hide the truth and the sheer amount of evidence, but yeah. still far more challenging than the dr games just giving you all of the facts at the very beginning of the trial, though...at least shu takumi knows how to write a mystery LMAO

asougi really needed a little more lead time before getting killed off, because i like him but, without the escapades, it's probably not as much as I think the game wants me to like him, and ryuu being his best friend is not super convincing to me even though he shows that a lot more in later cases. i'm not tooootally sure how i would have fixed that, maybe keeping him alive a bit in the first half of the 2nd case? doing some more slice of life stuff with him and ryuu? or making ryuu's reaction to his death a little bit more shocked? idk. i'm REALLY glad the escapades exist because they help a lot in fleshing him out, but i really think parts of them should have been in the game proper =========== all that said. if a game gets me to write this many fucking words about it..which took me a goddamn HOUR to write jesus christ i just checked my computer clock.... it's clearly doing SOMETHING right. honestly, if the pacing wasn't so bizarre, i'd probably bump it up a full point. i am absolutely playing the second game but im already worried its gonna hit full on zero escape and raging loop level catastrophe fixation (positive) once im done so…i'm honestly putting off starting dgs2 a little bit because i'm worried that it's gonna distract me to the point of my grades/job suffering a little LOL. i haven't had that happen in a while so, at least in that way....congrats dgs you won me over. i will never stop calling you dgs because thats how i was introduced to you 7 years ago as my best friend's first new-fixation when i first became friends with her. sorry it took so long for me to get around to you.

[kolajmag]

COLLAGE BOOKS

Companions

Companions brings together a series of collages by Esra Plümer Bardak and 10 poems by Mehmet Ratip, as the result of a collaboration that delves into themes such as poverty, loss, nature, and identity, unveiling the complexity of landscapes, different sedimentations, and scales. These small-scale collage compositions, or landscapes, that incite places, real, imagined, or forgotten are presented alongside poems that accompany and give voice to them. The exchange between word and image channeled and challenged proximity to the concept of “here”, to space, to one another, and oneself. These landscapes and their companion voices are created in the present moment, yet are transcendental, oscillating between being in the moment and traveling through history by means of inherited narratives and trauma. Read More

*****************************

Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

SUBSCRIBE | CURRENT ISSUE | GET A COPY

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[architeuthis3]

“Poverty is the parent of revolution and crime.” - Aristotle Between the Buried and Me, White Walls. tiktok medley 2024, Keyser Söze remix. adam sturch   🕯️ 155 painting and drawing process movies adam sturch

[gamerdog1]

Captain Laserhawk: A Blood Dragon Remix Review

Its time to talk about crossovers. It seems that everywhere you look these days, big media conglomerates have been rushing out crossovers left and right, hoping to make a quick buck off of the nostalgic masses. To them, its easy money: put two or more popular things together, and people will come with wallets in hand. It doesn't even have to make sense; Fortnite gets away with slapping whatever popular characters they want in the game, because they know kids all across the world will steal their mommies' credit cards to get them.

But why all the crossover hate? Some of the most exciting and beloved pieces of media in recent decades have been crossovers, in one way or another. Wreck-It Ralph (2012) had Zangief from Street Fighter, Pac-Man, Bowser, and Doctor Eggman, along with dozens of other video-game characters, and none of it felt forced or contrived. Who Framed Roger Rabbit (1988) was the first time Bugs Bunny and Mickey Mouse appeared in the same scene, and it too, doesn't feel forced. Super Smash Bros., a game series which, under any other circumstances, would be seen as pandering, is one of the highest selling Nintendo franchises of all times, and continues to be an important part of the fighting game community.

Perhaps, then, what makes a crossover film, show, or game, high quality is what it does with itself. Anyone can put a bunch of famous characters in a scene, but what comes next? You've got a bunch of household names in a room together, so what? Pulling off a successful crossover isn't easy, but one thing's for sure: you better sell it quick, and sell it well.

Netflix, for all its ups and downs, sure knows how to sell a crossover. Last year, they lovingly gave us Captain Laserhawk: A Blood Dragon Remix, an animated series that features famous Ubisoft game characters in a dystopian cyberpunk future. Most people, like, me, got excited at hear the premise alone. A crossover with all our favorite game characters, helmed by showrunner behind Castlevania (2017) and the upcoming Devil May Cry series, seemed like a sure bet for some fast animation and punchy violence. Little did we know that behind the neon lights and blood splatters, was an important discussion about media's role in a oligarchic society.

CL:BDR follows Dolph Laserhawk, an ex-military cyborg who fights the governing technocracy with his boyfriend, Alex. Betrayed and left for dead, Laserhawk is enlisted in a covert team designed to take down the government through espionage. Along the way, Laserhawk grapples with his own conflicting feelings, as we learn more about how terrible life has become for everyone.

In the show, the United States has been taken over by a company called Eden, which rules through propaganda and heavy policing. Beneath the shiny veneer of peace and unity that peppy TV show hosts provide, lies a city where poverty is rampant, and anthropomorphic animals are treated as sub-human. Its a harsh reality, contrasted wonderfully by the cutesy, childish propaganda was seen on TVs throughout the show. We see a cute character sing about how we should thank all the 'hybrids' in our neighborhood for all the work they do, then smash-cut to a factory where those same 'hybrids' are forced to produce snake venom for hours without rest.

Eden is run through propaganda, which bleeds into every aspect of life for it's people. Buildings all across cities are branded with the company's name and logo, as blimps displaying the news hover above. Popular television star Rayman (from the self-titled games) gives both the nightly news, but runs the children's network too, ensuring that there's no escape from the government mouthpiece. In a world where major brands have begun to dominate the market more and more, its stuff like this that seems less fictional, and more like a warning.

In that regard, CL:BDR is an excellent piece of cyberpunk. After the Netflix anime, and recent game (of dubious quality), it feels as though most people see cyberpunk simply as another aesthetic. A flashy, edgy coat of paint to throw on when the sci-fi story need a little oomph. It saddens me to see that we're losing sight of the important of cyberpunk, but at least with this show, I can rest easy knowing they got the memo.

Still, for what its worth, the aesthetics are on point too. The show is full of lots of sharp, jagged lines, and angular shading, complimenting its fast action sequences and sometimes complex character designs. Night shots are dense, full of geometric buildings with lights littered like smaller suns, casting colored shadows. Its everything you'd expect out of an anime (or anime inspired) cyberpunk show.

What makes CL:BDR more than just a run-of-the-mill gritty animated series is how it leans into its video game-ness. Like Bocchi the Rock (2022), CL:BDR experiments with different animation styles, playing around with its visuals to achieve different effects. One episode has Laserhawk and his mysterious boss wandering through a virtual world, created by one of the last survivors of the wasteland beyond the city. Inside, both characters appear as their voice actors, pixelated like an old FMV game, yet the world around them is animated like normal. When under stress, the characters flip back and forth between pixilation and chunky polygons, as if going through the eras of gaming technology before our eyes.

Unlike early video game adaptations, CL:BDR is unafraid to be based on video games, celebrating past games instead of trying to 'class' them up for a wider audience. Nearly the entire main cast are taken from video games, and tweaked slightly to fit the story in ways that feel normal for them. Older gamers will get a kick out of seeing familiar faces, but for younger folks like me, the characters are written in a way that doesn't rely on viewers to have prior knowledge of them. You could watch this show without having played any Ubisoft games and still enjoy it.

If not for the game references, watch this show for the characters. Laserhawk himself is a deeply fascinating character, who struggles between his sense of justice, a drive for revenge, and feelings for someone he knows he can't trust. In any other show he'd be another gun-waving edgelord, but CL:BDR clearly cares about him, and works hard to get you to care about him too.

Bullfrog is another good character, who, if not for Laserhawk, I'd call my favorite. There's just something comedic about having a trained assassin from an ancient brotherhood be a chipper, cute anthropomorphic frog. In a show where everyone is gritty and serious, Bullfrog keeps scenes from getting too dark, drops a few jokes here and there, and is one of the nicest ones there.

Out of all the characters in this show, though, none are more surprising than Rayman. After years without a new game, and being ignored by Ubisoft in favor of the Rabbids, Rayman finally has his time to shine here, but in the most horrible, wonderful kind of way. Rayman's arc, going from corporate shill to full-blown terrorist, is given a surprising amount of time and focus, and by the end of the show, you really feel bad for him.

CL:BDR, at the end of the day, is a cyberpunk series for gamers, sci-fi fans, animation fans, or really any adults with access to it. Watching this show, I hadn't been this excited to see what comes next in a while, especially given Netflix's feast-or-famine adult animation library. I doubt it'll get a second season, but if it does, I'll be watching it the day it comes out, excited to see what this studio has cooking up next. If it has as much queer rep. as this show does, we're in for a treat.

[thedawningofthehour]

EVERYONE'S POKEMON THEMES

Because I'm bored.

Raph:

Bright and happy, but still intense. The theme exemplifies Leon's power, but also shows that the battle is fun. Everyone-the people in the audience, your Pokémon, the trainers, you'll all having a blast giving each other everything you've got. Leon's 'greatest champion ever' schtick is definitely annoying, but his battle style is wave after wave of unstoppable, insane amounts of power, and I feel like that's very Raph of him.

Plus he just looks like he'd be fun to hug.

Leo:

At first I thought this might be a little dark for Leo, but even in canon Leo is quite a bit more emo than he outwardly shows. The music is fast, the heavy beat in the background giving a sense of immense but guarded power, like you'd only see the full extent of Zinnia's power in the seconds before she killed you. And the, for lack of a better word, feminine riffs give the whole thing a very unique edge to it. I feel like that's perfect for Leo. Outwardly intimidating, yes, but his true power he keeps hidden away, and it runs very, very deep.

As a side note, I feel like Leo would use fairy types.

Donnie:

...Do I even have to say anything else?

For real, I love how this theme is so spooky and intense and the Recon Squad looks so intimidating, but every one of these guys is actually a precious cinnamon roll. They could absolutely murder you with their pinky finger, but that's not what they're about. Donnie is...maybe not so morally white, but at his core he will always stand for good. He's allowed a few villain arcs here and there, and by villain arcs he means he'll dress up and have a few villainous monologues before getting bored with the whole thing.

Mikey:

YES WITH THE DRESS TOO.

But for real, this theme goes so hard. The whole thing is poppy, bubbly, interspersed with a harder counter-melody with what sounds like bell tolls played over it. This is a very calculated sound. Iris is one of the harder champions to beat, made even more impressive by the fact that she's supposed to be eleven or twelve. She, like the player in every game, is a legitimate child prodigy. This theme is meant to hammer in the fact-yes, she's a child, she's silly and likes pink and poofy dresses, and she is immensely powerful. If you underestimate her she will steamroll right over you, and this is just the beginning for her-she will only get more powerful from here. That childlike zest, the overwhelming power in spite of people's expectations-that's Mikey.

(other half under the cut so it's not too long)

April:

I feel like this sort of intensity just matches April very well. It's super modern, it feels like city streetlights and neon signs, but there's this edge of lightness to it. We're going hardcore here, but we're still having fun! (It's fun because we're putting our whole pussies into it)

Splinter:

This version in particular! It gives a sense of spiraling at the beginning, an "oh shit" moment when you realize you're locked into battle with a leader that gave you trouble as a child-and they've only gotten stronger. The pace is fast, intense, almost overwhelmingly so, and even when the beat lets up it doesn't do it by much. Since it's a remix of the Kanto Gym Leader theme we've had since the very first game in the nineties, it has an older and almost nostalgic edge to it. But these are some of the final bosses of the game-you face these leaders as a Champion and they come at you like one.

I feel like that's pretty fitting for Splinter. He's old, but he's grown more powerful with age. If you face off with him, you will be very quickly thinking "oh shit."

Cassandra:

The theme is fast and chaotic, almost manic, representing Bede's lack of stability and family. He's desperate for someone to care about him, to fit in somewhere. This fits with the backstory I've given Cass-parents are both addicts, issues with growing up in poverty and being in and out of foster care. Even though her dad is still present in her life and does love her, he's not exactly a stable presence and their relationship is very strained, and that affects Cass a lot more than she wants to admit. She's straining to find someone to emulate and puts everything into impressing every parental figure she meets, first with the Foot Dads and then with Draxum.

Also the chaos just fits Cass's balls-to-the-wall personality.

Draxum:

Like. Ideology-wise, he's probably closer to Maxie and Archie, especially considering after you beat them they're basically like "well that sucks, guess I'm your dad now." But this theme was really the only thing dark and edgy enough for him.

This is probably how he thinks of himself; Season 2 Draxum would have a totally different theme.

Bonus! Bella:

Not that she would necessarily be the most powerful...but the vibes. These are absolutely her vibes. She goes hard and is smart about it. You should be terrified.

[vgmremixtape]

OCR04641: Final Fantasy VIII: We Are the Winners - Jorito feat. Numoon, Sirenstar, TSori, Dewey Newt, Cyril the Wolf

[The Winner]

from OverClocked ReMix; originally on the OCR album Final Fantasy VIII: SeeDs of Pandora. more by the artists linked below.

song credits and lyrics:

song credits:

Jorito: arrangement, lyrics, guitar, production, mixing

Numoon: lyrics, rap (Raijin)

Sirenstar: lyrics, vocals (Fujin)

Cyril the Wolf: vocals (Seifer)

Dewey Newt: trombone

TSori: trumpet

lyrics:

[Intro] (Uh) What up? It's your boy, Raijin Fujin, what up? Let's go Squall Why did you even show up, man (laughter) Balamb Garden belongs to us And in Seifer we trust (Uh, uh) Need I say more? Leggo!

[Verse 1] Showin' up to the Garden like God, huh? Bear witness to the prodigal son Squall comin' at me like he wanna squabble I will leave your whole legacy in squalor and Poverty - honor me, the modern king here, ya know? Rajin is the genius, head honcho flow I could pull the strings of Galbadian Soldiers, one wrong move and I body 'em Fujin and I - the lieutenants of Seifer Twin flame vibes - a fusion of fire There is nothin' we won't do for sire Squall just a loser who's illusion inspired I ain't got no piety to offer The committee operates in honor, ya know? And if I see anything less than excelling That's compelling me to get to expelling, ya know?

[Chorus x2] We are the winners You lose

[Bridge] Rage. Now. Time to win! You made a mistake letting Seifer's squad in We're the messengers, here to mess you up Rule the Garden, you won't get the best of us You could never defeat the posse Yours is the only retreat that I see Honestly, I caution anyone who come at us We are the winners of the ugliest battles (ya know?)

[Verse 2] And so we right back to it Try to battle me three times, I see through it Imagine defeating a warrior like myself Watch how I operate the battle staff with my stealth Plus Fujin brought the Triple Triad Level six nemesis, whose swift as I am Maybe if you play your cards right, ya know? If you came for the drama, let's bring on the show Mercenary, but you not scary Guarantee you could never take flight like seraph We care less what SeeD's preparing Fujin and I be patrollin' like sheriffs Time to get serious Fujin and I - unlocked the potential Cid sees in us Matter fact, the universe needs us You could eat dust, in Seifer we trust!

[Chorus x2] We are the winners You lose

[Bridge] Winning, so much winning is occuring at this particular point in time (We are the winners, the winners)

[Seifer] What the hell are you guys doing??!?

[officialkendallroy]

hii sab :) S & U for the ask game !

ash <3 HIII :D

s - song last listened to: welcome to my island - george daniel & charli xxx remix by caroline polachek

u - 3 biggest wishes: this is so hard honestly... but mostly i guess not to live in poverty anymore, find love (this sounds so ridiculous but you know......) and uhhh idk general happiness??