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everyonewoo03 · 3 years ago

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Virtual reality AU

_Player 107 Wonwoo

_Oneshot (Part 1)

Genre: Action/Science Fic

Warning: Shooting will be mentioned.

Enjoy :)

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“You gotta be kidding me.” He laughs.

“It’s true Woo, you gotta believe me!”

“That sounds ridiculous, you know that right?” He side eyed me.

Oh come on.

“Me? Dying?” He coughs.

“It looked so real…” I pouted.

“I’m not going anywhere cupcake.” He pets my head, lips forming a smile.

“She’s just being dramatic.” Mingyu spoke from the kitchen.

“Oh come on Gyu, you’re worse.”

Wonwoo laughs.

“Shut up.” Mingyu answered.

I smiled like a kid.

“Come on guys, we need to go complete a mission.” Scoups called out.

I’ve been living with Seventeen ever since I woke up in this strange place.

They found me at my most vulnerable state, and they took me in. They’ve been my brothers and protectors ever since. Since I’ve been with them for almost a year, those nice mannered men had definitely changed. If you know what I mean.

We are currently living in 2032 where humanity has been taken over by the AI and we were a few of those humans left. Before we get on to the present, let me introduce to you to ‘The Boys’

SCoups: The fierce leader who has to take care of 13 + 1 (me) children, who can’t stay still when they are together on normal days. He may be strict and manly, but he has a soft heart in the inside and sometimes will just be a big cute softie. A great combat soldier. You can never win him in fights.

Jeonghan: The second oldest in the group. A huge prankster who also has great skills in a mission. He’s like a mom. I would go to him for emotional support.

Joshua: He’s the gentle sexy guy of the group who has good looks and is smart. He’s good in every language and also good in searching information for missions. I call him Shua hyung like the other guys. He gives me great hugs.

Jun: He’s the most naive guy in this group. But he is also very smart. Tend to find Plan B just in case Plan A doesn’t work out.

Hoshi: Horanghae of the group. Do I have to say more?

Wonwoo: A super cold guy at first. But at first sight I thought he looked like a black cat. He’s a gamer dude so killing robots are actually his speciality. He’s the ace in this. Tall, Black leather jacket, black hair, sharp eyes…you might want to stay away. (whisper) He’s actually a softie inside too, only to certain people.

Woozi: The mastermind behind all the missions. Also the smallest and fittest person in the group. Our group combat trainer.

DK: The clown. But don’t be fooled. He can kill you too.

Mingyu: The big tall athletic muscular guy. Don’t be afraid tho, he’s a huge softie that always gets bullied by his older brothers. He will protect you tho. A drama Queen too.

The8: The kungfu master. Can kill ten in one shot. No kidding. You do not want to piss him off. A advice giver too.

Seungkwan: Mr Boo. He’s my diva. He sings really well but he can be a diva at some times, no actually most of the time. He’s always talkative and I love to talk to him. He’s abit sassy tho.

Vernon: Swag. He and I share the same face expressions.

Dino: The maknae, sometimes I wonder why his hyungs treat him so badly. I mean look at him, he’s such a baby. Sometimes I have to stand up for him. He treats me the best and always gives me dance lessons.

Okay that was a long introduction. Oh and there me, Y/N a girl who just randomly ended up in this big family. Someone who also gets spoilt a lot for being the only girl to exist here. Somehow from what I heard, I have vision powers. And my vision tends to happen. That’s why I was concerned about Wonwoo in the first place.

“Wonwoo stay here, Gyu come with me.”

“Oh come on, you can’t expect me to stay here and wait for you guys to complete the mission right? I’m faster then all of you.”

I rolled my eyes. Him and his ego.

“She’s right hyung, we can do this.” Mingyu answered.

“Don’t worry guys, I’ll stay here and back up.” Joshua said.

“Thanks Shua Hyung.” I waved and ran off with Gyu.

The floor creaked as we entered the building. Mingyu cocked his rifle walking ahead of me, light shining into the dark dusty building. I held my rifle tightly to my body, fingers on the trigger pointing the gun straight ahead preparing to shoot anything that was going to jump infront of me. We walked quietly surveying the place, going to one of the rooms to find the piece Woozi asked us to look for. As we walked deeper in, I sensed something was off. I couldn’t quite tell. The air smelled different. Like there was humans, living here.

I shrugged it off and followed Mingyu. We looked into the room and found the piece that Woozi wanted in a cabinet.

“I got it.”

“Quick let’s go.” Mingyu whispered.

I nodded. We quietly exited the room.

“Wait,”

I turned back towards Mingyu.

Someone is coming. He mouthed.

Panicked appeared on my face.

He placed a finger on his mouth asking me to stay right where I was.

Shit shit shit.

He slowly stepped towards me silently as I slowly retreated back into the room.

Crack.

Shit.

Bullets starting flying towards us.

“Take cover!” Mingyu shouted as we both hid behind this huge slab of cement.

“Shit, how did they know we were here?” I exclaimed.

“I have no idea.” Mingyu answered.

Now what?

“Joshua, we’ve been attacked. Are you guys okay out there?” Mingyu sent a message on the radio.

Bullets we’re still flying as we took turns to shoot back.

I raised my gun towards the enemy as I saw, they were humans. Just like us.

But why?

“Gyu, they’re not AI, they are humans.”

He peek up from the slab of cement. “But they’re still shooting!”

We raised our hands up hoping they would recognise us being the same kind and stopped.

Of course they didn’t.

“Gyu watch out!” I pulled him away as a bullet flew pass my arm, grazing it in the process.

Ah great.

“They’re not humans Y/N.” He said with a serious tone.

“I saw they had blue robotic eyes, with no life in them like they were just ordered to shoot.”

The radio buzzed. “ Gyu, it’s not looking good out here.” Joshua shouted gun firing sounds heard in the background.

What are we going to do? This was an ambush. They know we were coming.

Wait. Wonwoo.

Is this what I saw in the vision?

“Hey Y/N! Listen to me!”

I looked at Mingyu face covered in dirt. He looks bad. Probably I looked like that too.

“We need to get out of here now. You got the piece right?” He told me.

I nodded.

“We can do this. On the count of 3.”

3.”

We held our guns up and shot any many as we can. Mingyu was right, they all had blue biotic eyes, emotionless expressions. Just walking and shooting forward. Their target was us. They were programmed to kill us. We managed to destroy all of them, one by one falling to the floor. I bend down to check if they were dead and saw on their neck there was a mark, and a chip was installed. Biochips on humans. They were creating humanoids. The AI are getting smarter now. Turning the creators into their machines.

Once the building was cleared, we ran out of the building, only to see the car we came in on fire, a pile of humanoids, and Joshua and Wonwoo nowhere to be seen.

“Josh, where are you?” Mingyu said into the radio.

No response.

Did it happen? My vision? Is Wonwoo.. gone?

I was too late.

The sound of roaring was heard from afar.

I turned around my gun ready to shoot…

Two motorbikes were coming our way, with a trail of AI running after them.

“Y/N don’t shoot! It’s them.”

Two guys in black suits, motorbikes roaring.

As one zooms and stops infront of me.

He opens his visor and I immediately recognise those eyes.

“Quickly put this on and get on.”

I fumbled with the helmet as I got onto the bike and put it on.

He grabbed my hands and placed it around his waist.

“Hold on tight.”

A sudden screen appeared inside of the helmet.

[ Player 108 ]

You have received a message from Wonwoo

To be continued…

Part 2? :)

#seventeen #wonwoo #wonwoo x you #seventeen wonwoo #aesthetic #svt #books & libraries #kpop #svt mingyu #svt joshua #wonwoo fluff #svt wonwoo #fanfics #seventeen fanfic #svt imagines #svt fanfic

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wildseedculturalgroup · 7 years ago

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SIR Rebekkah Holylove : A Funk Lesson in Solitude

At sixteen Luther Vandross founded and served as the official president of a famous diva’s fan club. I can see him now, watching her seasoned shoulder bounce and measuring the funk in the black church two-step she makes across soul music platforms. He’s standing stage left, holding onto the curtain for balance. He’s lip syncing every song, calculating the mastery of her diction and phrasing. He’s studying her like a text; setting the stage for his own practice—one that would place him at microphones behind David Bowie, Chaka Khan, Barbra Streisand, Bette Midler and Donna Summer. He was Twenty Feet from Stardom and rising. Luther Vandross, the teenage boy, understood how Patricia Holt-Edwards from Philadelphia, became the legendary kick-your-shoes-off and snatch-your-own-wig when the tension builds between audience, music and voice; Luther Vandross presided over the fan club of Queen Motha Patti Labelle.

Strange things happen when an artist is moved to a new depth by another; we become fanatical about the fantastical beings who place us deeper into the abyss of craft. The management of details of who these artists are and how they come to being becomes a rite of passage. We obsess over the decisions they make to bring an album to fruition and take pride in knowing all things, from the major to the mundane; collaborations, music video direction, hair color, shoe size, inspiration behind the lyrics. We fancy ourselves experts of our muses. And when it comes to black music, the stakes are higher—people stay questioning our responses to the brilliance of black artists; reading them as tribal reactions, as opposed to a focused study of mastery. But no. I’m from the school of Luther—committed to scholarship, research questions and methodology when pursuing the legends.

There’s a strong chance that I became the unofficial president of Joi’s fan club twenty-five years ago. For twenty-five years, I’ve paid attention to her musical movement. Today, I feel confident that if asked to build a theoretical framework around the genius of her crunk-funk sound, I’d have my fucking PhD. Dr. DJ Lynnée Denise.

She’s a beast.

Joi occupies space in the lineage of artists who thrive across genre lines. How is that possible? Ask Prince, Ask Aretha, Ask Nina. Ask Stevie. Black people live hyphenated lives, so it’s fair to say our musicians embody and shift the context of what DuBois called “Double Consciousness,” musical cross pollination made available to the Souls of Black Folk.

The three of us—Joi, DuBois and myself—have something in common: Nashville.

I saw Joi for the first time while I was sitting in the living room with a group of artists I met during my freshmen year at Fisk University in Nashville, Tennessee. She was in a straightjacket hanging on a meat hook in a blue lit walk-in meat refrigerator squirming with hopes of being released. The video was for the song “Sunshine in the Rain,” her first single. I’ve not turned away since.

DuBois graduated from Fisk in 1888, 109 years before me. Joi is the daughter of legendary NFL football player Joe Gilliam. She was a legacy student at the historically black public university Tennessee State on Nashville’s Jefferson Street. The intersections of our lives and the black excellence it carries spans centuries.

The artists in the room knew who she was and dismissed my awe with, “oh that’s Joi.” I was in her hometown. She was their hero. “Joi from down here” they said with regional pride from blunt stained lips, “she been on that different shit for years.” I took that to mean Joi was ahead of her time and an inspiration to the folks who watched her take shape.

I copped her debut album The Pendulum Vibe (1993) and listened to it nonstop for a good year. It filled the void created by LaFace’s TLC and the Sean Puffy girl group hip-hop soul phase. Don’t get me wrong, I fucked with Mary J Blige from day one and still do, but had real questions about the war on originality that was creeping into the black musical lexicon in a Bad Boy kinda way.

The Pendulum Vibe, ironically produced by the mind behind TLC—Dallas Austin, was a game changer, a call to arms for folks looking for sophisticated melodies and enough lyrical depth to drown in. Songs like Fatal Lovesick Journey had me pondering co-dependent relationships while puffing Black & Milds and drinking Alizé. There was well-placed wailing, playful and unapologetic sexual confidence and a genre defying southern rooted sound. Anti-formulaic, the music from this album spoke to my heart and gave me hope that Black America had something to compare to the brilliant UK Soul coming out of London and coming from my speakers. Though raunchier in her approach, Joi was in the Mica Paris and Caron Wheeler category for me. My ears recognized her as a kindred spirit. After the fiftieth listen of the Pendulum Vibe I sat myself down and said with all honesty, "this a bad bitch and the masses ain’t gon’ understand," hence her long-term relationship with the abstract term, the underground.

I'm torn.

Ever since I can remember I’ve been one of those people who rolls my eyes when I hear my favorite song from a new album I'm spending time with being played on the radio. I'm suspicious of what becomes widely accepted; afraid to see the artists I love hand over their authenticity to the police of mediocrity guarding the door of pop music in America. And yeah, everybody gotta eat, but why eating gotta equate to contractual agreements that alter your purpose? Prince’s decision to pen the word slave on his face in the 90s gave us an idea of what can happen when sitting down at the negotiating table with corporations who measure your worth by your marketability to an underdeveloped and musically ahistorical masses. I wanted to keep Joi underground where she was protected from the fuckery—following her own north star to musical freedom.

Her performances embodied all the funkiness my little soul had been waiting for at a time when black radio was pinned under the thumb of payola. She’s cut from the same cloth as Hendrix. Betty Davis. Vanity. One minute she gives you seasoned performer on a FunkJazzKafe stage alongside Too Short; then range and multi-dimensionality on stage with FishBone and De La Soul the next. Embedded in her vocal chords is a deep knowledge of Funkentelechy and Parliamentarian Cosmology, a heavy load of legacy to carry, but she’s bout it and lives inside the mashup.

Between 1996 and 2006, Joi recorded three more studio albums Amoeba Cleansing Syndrome (1997), a highly desired cult classic shelved before release due to the collapse of Universal Records. It can now be purchased through her website, a gift for fans who were diggin’ through the crates in search of a copy. She produced the next two albums Star Kitty’s Revenge (2002) and Tennessee Slim is the Bomb (2006) independently.

Joi had a major hand in shaping the Atlanta Dungeon Family/Organized Noize sound; she sang background on Goodie Mob’s classic first album Soul Food; she worked closely with many artists, among them George Clinton, Sleepy Brown, Big Krit, 2 Chainz, Queen Latifah, and Tricky from London; she collaborated with Raphael Sadiq’s on his Lucy Pearl project; she joined Outkast on their final tour in 2014; and became a backing vocal for D’Angelo during his Black Messiah Tour in 2015. And still, with curriculum vitaé in hand, Joi found time to help, as she would say, “wipe down,” a few aspiring singers through her artist development business.

Upon moving to Los Angeles, after a twenty-year stint in Atlanta, she sat her ass down in a studio and pulled diamonds from a year of solitude to create a new gem of an album. S.I.R. Rebekkah Holylove. But don’t call it a comeback.

There’s a white-supremacist-mean-spirited-anti-intellectual-creamsicle-looking-fuckboy in the white house. I applaud anyone who can navigate this political shit show and turn away from social media long enough to concentrate on their respective practices. I live for the kind of high art that can offer the world a break from this reality fiction, and for these reasons and more Joi came through. The journey of the album begins with three words that pushes us to the other side.

“Bitch I’m Free”

S.I.R. Rebekkah Holylove is what happens when anticipation meets expectations. Noteworthy is that this album, too, was produced independently in the spirit of Prince. He was one of the first artists to sell an album exclusively through a website because “Record company people are shady.”

Living liner notes are positioned between each track giving us poetic reflections that contextualize the song that follows or precedes it. Everything we need to move through the world of this album is provided, including a video for “Stare at Me” produced by Bruce Coles (Passerine Productions) and a cinematic vignette directed by Rahsaan Patterson.

Joi’s is the only voice on the album. Don’t be fooled into thinking that there are three fellow bad bitches in the studio making it happen. It’s just her. She writes all the album’s lyrics, arranges all its vocals, and produces some of the tracks. She uses very little of the vocal compressor, an effect that most contemporary singers rely on, creating distance between authenticity and the voices you think you love.

I had a chance to spend some time with Joi in her studio, a live/work space she calls “The Funky Jewelry Box.” Inspirational posters and album covers drape the walls from Dolly Pardon to Led Zepplin and Natalie Cole to Minnie Ripperton. It’s an incubator for critical artistic thought up in there.

As I settled and began to think about questions that would unlock the door to the mysteries of this project, she was unwrapping a detox products from Dr. Sebi. “It’s a perfect time to fast,” she says, while removing the bubble wrap from a dark brown bottle of bodily goodness. She’s sitting at her recording station in an electric blue velvet cushioned vintage chair, “a rare find from a spot in LA,” she brags “undiscovered by hipsters and still affordable in its dealings.” The chair is perfect for the matriarchal themed nature of this album. Above her is a classic studio microphone that looks committed to its job and familiar with the racy nature of her spirit. There’s an intimacy between the two. We agree to listen to the album. She presses play and guides me through the sonic journey—joint in hand, ears on guard.

“Ruler,” the album’s opening track sets an important tone. It’s a theme song straight out of The Wiz; a Glinda the Good witch anthem for women who understand the magic they walk with; Not Black Girl Magic, but Black Magic Women and their dominion over the proverbial Oz. Mind the distinction. Produced by Brook D’ Leux, Joi describes the song as a “declaration and celebration of the historical facts, a firm reminder of the greatness of women.” It’s a timely tune given the national dialogue concerning the crumbling of patriarchal-powered privilege. At the same time “Ruler” avoids being reactionary and trendy, there are no hashtags connected to this reckoning. The chorus is a command: “It's a never-ending, pitch black, goddess situation/Pussy power, life giving, matriarchy, salvation.” Period.

Joi takes the lead production credit in the song “Berlin,” and invites us inside the mind of a wanderluster fantasizing about a life alongside the people of Germany. While many artists fixate on cities like Paris and London, Joi paints a different kind of dance with a country rarely explored as a destination for aspiring Black American expatriates. “I’m on my way to Berlin, I hear it’s my kind of town.” She places herself under the light of a Berlin moon drinking a vintage glass of wine, but like a true gypsy spirit never commits to the place. “I want to call it home sometimes.” The song was written while Joi was getting her bearings in California. She uses the lyrics to negotiate a plan of action giving herself two years to make it happen, and when it does, the people of Berlin will know she’s arrived as an ATLien “Givin the Deutschland something they’ve never seen…High Priestess Funk Supreme.” Bopping her head from the blue chair she says “Berlin is one of my landing pads on the planet, it’s still on my mind and manifesting itself. The song is a call out to a future site.”

Joi’s racy songs have a long-standing history. On previous albums “Narcissica Cutie Pie” (Pendulum Vibe), explores sexual fluidity and bright dark fantasies about the spectrum of desire, while songs like “Lick” (Star Kitty’s Revenge) and “Dirty Mind” (Amoeba Cleansing Syndrome) help us hold the power of sex as a powerful tool that embodies Uses of the Erotic. Sir Rebekah HolyLove builds on Joi’s collection of sex positive cantatas with “The Edge” produced and arranged by Joi with additional editing by Brook D’ Leux. A bass heavy funk monster that promises listeners a key to cities where “We can fuck until the dawn, making love til cherries gone”. I mean, yeah you’re married boo, but this is a acomplicated situation, the song implies. Cheating could become an option if good dick [or fill in the blank] is involved, and not many of us are willing to share that kind of ethical vulnerability on wax. And I don’t mean no disrespect to your official union, she asserts, but “you fuck me right and you’re mine tonight.” We never once forget that Joi is a human being dealing with the most undesirable and the most pleasurably outrageous scenarios that life asks us to consider; infidelity, heartbreak, orgasmic accomplishments. But the appeal is that she’s aware of the costs; “I’m standing on the edge with you/so if I jump will I fall or fly?”

In the song “Kush,” Featuring 2 Chainz and produced by Joi and Organized Noize we get another low bass banger. This time about a woman and her healing smokable herb, and what it means to pass one with a person you know good-and-well you’ll be taking home that night. Smoking as a form of foreplay is under-discussed. High sex deserves a love song and she delivers.

Far from insane to the membrane Cypress Hill or Snoop Dog indo smoke antics, we get reminded of the overlooked relationship that women have with a strain of weed that finds home in our exhale. Both Joi and Rihanna manage to pull off their relationships to weed well. It’s tastefully performative, radically unladylike and part of the pleasure in her solitude.

“Kingless” is a soundtrack for heart work and not surprisingly, the last song. Reflective and heavy with confession, admission and surrender. Produced by Joi, it gives us space to imagine what it might feel like to return home alone with all your matriarchal musings, global adventures and funk fantasies without a mate to share it with. What does partnership look like for a rooted rock star? How does confidence read to potential companions who may or may not have received the necessary training one might need to be the queen’s match? Nevertheless, the desire (without desperation) to walk through the world with a lover is palpable. “Kingless” is the album’s only song that can be categorized as a ballad, should you feel compelled to pin it down to a style. But I heard it as a place of departure, a new turn on an old road. A shift in the spirit of the project, a bookend to a shelf of emotional intelligence in song. And she asks very simply who can match my royalty? My peer in love? My friend? Her answer; “Not a prince half grown”.

The song “Stare at Me” produced by Joi and Brook D’ Leau enjoyed an early release as a music video, but it strikes an important chord. I hear the song as a public health announcement about the egoist and narcissist nature of social media. She describes the song’s intent as representing “The multi-layeredness of wanting to be seen and of wanting to be left the fuck alone, also wanting to control the way you’re seen.” Social Media has created a kind of “hand-held seduction, hijacking my point of view.” Everybody’s watching she says “and I wish I didn’t care, I want to care less, but I want to be on your mind.” The video and the music do the song justice, there’s a visual narrative reinforcing selfie culture and the unwillingness to think through the nuances of big issues that’s shaping how we all relate. Instead, we get our opinions “hijacked” and find ourselves following the wave of the crowd. Musically, “Stare at Me” is so well constructed. The pauses and spaces, the kick drums and lyrics that dance through the bars.

S.I.R. Rebekkah Holylove is a tribute to an album culture long forgotten. With the push for iTunes singles and music streaming culture, the intimate relating of album between artist and audience has been compromised. The album also holds its own up against a culture that produces albums at a rate impossible to enjoy, I’ll be listening to S.I.R. Rebekkah Holylove for years to come and “The Pendulum Vibe” brought me here. Joi says she drew from various experiences to produce this album and she’s continued to work on other major projects (both in television and music), without compromising the integrity of her solo work. In her words “I have one of the most peaceful lives than anyone I know, but I recognize that solitude and peace is something I earned and it was necessary for this particular juncture.”

Writing this piece felt like that time when Patti Labelle, and a fully established Grammy awarded Luther Vandross, shared a stage one glorious night in 1985. It’s that moment when student, fan, and gatekeeper of the musical masters graduate into a league of their own with a platform to articulate the many ways they’ve been shaped, artists marked by the legends. And because Joi’s work has been canonized by a global community my work to unpack her work is really a citational practice. S.I.R. Rebekkah Holylove, is on a Black Atlantic continuum—a fantastic voyage will be had.

#Joi #DJ Lynnée Denise #SirRebekkah Holylove

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devilishdewitt · 6 years ago

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Cinématrographié Cabaret Show, April 2019

The time has come for the second instalment of Cabaret Show Cinématrographié!

Did it sizzle or shine?

Read on…

The vivacious Alice Shpiller and her beguiling partner-in-crime Katrin Gajndr brought their cinematographic creation back to it’s namesake location - Cinematographie karaoke.

The theme was, fittingly, ”movies”. The audience were encouraged to dress up as their favourite movie characters, but alas, the public is yet to indulge in the wonders of theme dressing.

The evening began with Alice Shpiller appearing as a modern version of the Little Mermaid - lip-syncing to "Part of Your World”, roaming from table to table & live streaming the whole thing. Her costume was just the right amount of camp (more camp than most Met Gala attendees, GOOD MORNING KARLIE KLOSS), and the performance was a sweet little warmup - perfectly in the style of the show, preparing us for what is to come - genuine beauty with a side of charming goofiness .

All was great! Apart from the wig.

To be honest, the wig made me quite sad.

Actually, to be perfectly frank, that wig was actively upsetting, darling.

It would be a service to mankind if it were thrown away and allowed to succumb to oblivion.

Shpillers’ hosting was definitely more coherent than last time - the jokes landed, the charm was undeniable and she felt more confident and in control. It was truly entertaining - I was equally excited by the acts and the hosting, and it’s a marvellous feeling!

It wasn’t long until we saw the first burlesque performance of the night - Katrin Gajndrs’ “Woman in Red”, inspired by the 1984 film. Dearest reader, I was smitten. The way she moved, the way she looked at the audience, the drive, the passion, the grace, the fun she had - she cast a powerful spell, not a soul went untouched by her classy, sassy performance. One of the best acts I’ve ever seen in Russia. Yes, you’ve read that right. Flawless mix of irony, indulgence & power in her attitude. The moves were sensually precise, she knew what she was doing and oh lordy was she enjoying it! Brava!

However, even her radiance couldn’t outshine the terror that was the stage lights (if they even deserve such a name). Horrible is a word that covers the situation pretty extensively. On a few particularly painful occasions I imagined that the lights from the audiences phones would do a better job than the chaotic colourful mess that this establishment calls “lights”.

However, even they didn’t take away from the excellence of the beginning of the show. Something else did. Or should I say…someone.

Miss April. Honey. Allow me to help.

You have a delicious chance to learn from the best (I mean Gajndr, not myself, you cheeky little thing!).

No lip colour, flat hair, ordinary lingerie, upsetting lack of the most basic acting skills, lack of story, drive and imagination just won’t do.

Especially when you take something as legendary as Breakfast at Tiffany’s. Especially when you’re on stage straight after Katrin. Especially when you have access to the expert advise of Shpiller & Gajndr!

Dearest reader, I was infuriated.

A slender lady who happens to be a good dancer walks in looking quite mediocre, bites a pastry, takes a sip of coffee, leaves them on the front table (all this is done with no energy whatsoever), goes on stage, takes off her dress, reveals a very basic set of black underwear (not lingerie) and gets in a bed that the stage kittens have meticulously prepared for her.

What for? What is the purpose? What can you possibly add to Holly Golightly? There’s so much that could’ve been done with this number - take the fact that Holly in the book is much more risqué than Holly in the film and dance the night away with your vision of Capotes timeless heroine!

Were they really so desperate for an act they let this half-baked croissant mop around, languidly perusing the stage?

An act of cruel sympathy, blind hope and/or unnecessary cruelty.

Thank goodness we were saved by Kristabel Otem.

Good God how I love that woman.

Sin City.

Need I say more?

Kristabel Otem.

Sin City.

My little noir heart pounded with inexplicable joy.

It hit every mark, was deliciously erotic, devilishly ironic and just wonderfully done.

And then a miracle appeared.

A sublime beauty.

The Swan Tsarevna.

A costume so gorgeous, I believe my jaw did indeed hang loose in the air for a few moments.

How I wish Lisa Alisa did the costume justice.

It’s a fantastic idea - an iconic Russian fairytale heroine, a song by one the best known folk rock bands in Russia…but unfortunately the performer brought her own brand of haste, hurry & dare I say, clumsiness. Someone, please give that girl a stage presence lesson. She’s literally two steps away from truly spreading her gorgeous wings and embracing her undoubtable talent.

After an intermission full of exciting murmurs, Shpiller emerged in a new emploi - Clockwork Orange diva. It worked marvellously well - the look really suited her, the vibe was playfully ultraviolent and her acting was excellent. There was no shedding of the clothes, but it was an enthralling number.

Overall I vigorously applaud the fact that the spotlight was directed at an eclectic collection of fantastic movies. Moving away from the ordinary does an artwork good!

A new incarnation of Lisa appeared - or did it? A tribute to Sally Rand, white costume, white feather fans, it looked a bit too similar to the Swan Princess act and lacked any character development. It was the same act, but with a different costume. Sigh.

And again, the screeches of excitement…I can imagine it working quite well on a few occasions, but at the moment she’s overusing it.

Shpiller! Contemporary dance tribute to “The Raven”! Unexpected, unusual, perhaps somewhat questionable, but she was convincing and clearly had a story to tell.

It’s her show, so why the hell not?

Kristabel performed as a 1920’s detective (Miss Fisher’s Murder Mysteries) and it was splendid. I just love how she unapologetically shows us different sides of her character - a coy Kristabel? Enchanting!

And then came The Dragon. Oh, dear reader, you might already know that I have a deep admiration for the art of Katerina Sahara. Her Dragon was as enrapturing as the first time I saw it. Despite the fact that there were a few technical mishaps (completely unnoticeable by the spectators, I assure you), and that she herself was not particularly pleased with this performance, it was hypnotising. The power! the smoothness! She immediately transports us all to a dimension of gorgeousness. A fantastic act by a fantastic performer.

Ah! Can you hear it? The time has come for the unavoidable venue promotion!

Ringmaster Alice gathered a group of enthusiastic air-musicians (some of them were real musicians, it seemed), the DJ turned on the karaoke version of “Bohemian Rhapsody” and off we went! Alice effortlessly ran from table to table, engaging every single member of the public into everyone’s favourite epic musical number. I do wish she paid a bit more attention to the “band” though, they were left somewhat abandoned on stage while she flew around. It did seem, however, that some of them were indeed entertainers, for they felt quite confident on the stage.

I must say, participating and witnessing it was great fun. Honestly, you can do no wrong with Bohemian Rhapsody, and my God, Shpiller has some pipes!

The grand finale of the night was the famous Cleopatra act by the mistress of the eve, Katrin Gajndr. Bathing in a chalice of real milk, surrounded by two slaves, legends have travelled of the exquisite vision of this act. However, somehow, it just did not deliver. It seemed as if Gajndr was either distracted or upset; there was no energy at all. The slaves were also quite timid and did not do the classic fabulousness of the act any justice. Good morning, this is performing 101 - a smoothing caress of a brush does a wig good. It’s still a spectacle, of course, but not quite as rich as the majestic Queen of the Nile.

THE FINALE

Ladies, congratulations!

The second instalment of Cinematographie truly was a major improvement from the first show. To put it quite simply, it was fun.

It was fun! I felt very entertained. Shpiller was feeling her mojo that night, and it was truly intoxicating. Gajndr was extraordinary (yes, even despite Cleopatra not quite rising to the occasion). Lisa Alisa had moments of divine beauty, Sahara stayed true to her fabulous brand, Kristabel revealed more colours of her tremendously intriguing diamond, and Miss April…well, everybody’s gotta start somewhere, right?

Extremely excited to see what they cook up next!

✶✶✶✶

UPDATE

As this review was being prepared, the next show has been announced - July 6th, Yes I Can-Can, in honor of Katrin’s birthday! And at a theatrical venue, too - how very curious!

#katrin gajndr #kristabel otem #lisa alisa #katerina sahara #alice shpiller #russian burlesque #burlesque #cleoparta #sin city #swan princess #miss fishers murder mysteries

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chadophotography · 5 years ago

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Enter the place get the place popping Deal with the pain don't say nuttin' If you look close see a tear dropping Don't answer the door that's the Jake's knocking Don't answer the phone don't know who's ringing I didn't wanna stop 'til the crews winning I swear I had a plan and a true vision, they closed down the youth clubs and build a new prison Just lost my pop's I weren't close with him, but it felt like part of my soul's missing Gotta move on cuh the world keeps spinning, take it from the streets but the streets in him Had to tell a queen just keep grinning, cuh your self-esteem needs refilling Just fucked up my zoot it needs re-billing, metaphor for the life that I been living Cah I bit one fruit and it was forbidden See your life fall apart from one poor decision It's only when you're stressed you turn to religion, if you wanna conquer them then cause a division Yeah I make a lot of bread but I'm stuck in the system There's no one like me cah I'm one in million Never ask for your help but ask for assistance I don't ever say nuttin', I watch from a distance Every story I tell is non-fiction, came out the court they gave me my bail conditions What's the point in being free when your brain's in prison? I'm by myself but I'm still with the coalition You don't make moves you're only just hoping and wishing Criticize me when your gang do a whole heap of snitching It's the remix ignition hot and fresh out of the kitchen If Shaytan prayed today would he be forgiven? From an adolescent, I never learned my lesson If my name was Smith, they'll have to add a Wesson See my aggression, I left a bad impression, self medicate myself through my depression All I need is money man, I'm more than eager I need to be a man, I need to be a leader I need to bun a zoot, I need to bun a reefer It's Meek Mill and Omelly, nah that's Hus and Creepa The way I've been roasting I think I need a diva Big bunda, she in the Bundesliga But every time I buss I wish I never seen her It's like every time I buss I catch an amnesia All I need is my notes and my calculator I've been out of town tryna' stay off the radar, cut the tension with a razor The next rare tear gone come with a laser Sweet talker smooth operator, you ain't ever never gonna shine cah you're a big hater Make 50 mil, become an innovator, before I get taken away by the Malaikah Risk taker not a compromiser, that's why I had to run away from a colonizer Never had a childhood like Lizzie McGuire, so I had to stack up and invest in a fire Why wait for the return of the Messiah? When they scheming on me now when they try to conspire Yeah now I lost a lot of faith but now I pray harder Still had to put a bullet in a slave master Came looking for me couple days after, don't know I'm clued up I play the game smarter All I see is bare opps and bare Garda If I don't see you now I'll see you in the hereafter Light a zoot and then I speak to my forefathers, still now I don't have all the answers Movers and shakers not break-dancers, you still ain't blown but had all the chances I know you feel the force but can't stop it, yeah you can see it but you can't touch it Take me for a fool but I'm far from it Now we shot lyrics not narcotics, how dare you put money in my opps pockets? My mood goes up and down like the stock market I had to finish it but I didn't start it I'm just a black hearted black bastard You heard the tape blast then the MAC blasted, the time your whole block got bombarded There's a war going on, don't close your eyelids I just raised hell just how I raised my kids I didn't bang off I just brandished it I saw a bad man doing gymnastics, saw your whole gang they was jumping ship Big Bonsam make you jump when it kicks, heard man chatting on a YouTube clip The way I turn up and then cause an eclipse Had a ting spitting fire like Charlie Clips Had to get a safe-house out in the sticks Bare mash and corn, not rice and peas Double my eyes and cross all my T's She wan' eat me while I'm smoking trees, too much chocolate give you diabetes I hopped out the ride and did a baiteze, gyal love me but they say I'm crazy We spin in your ends and start talking grease If you love me you're gon' get on your knees Her milkshake brought me to her yard like Kelis, long time you ain't had a real good squeeze I don't want the whole cake, I just get a piece Had to make a one move and go and get a cheese Why these police wan' put me on a leash? I can't even, I can't even roll in peace If you want a hook? thats like a hunnid geez

just wait for my tape to release.

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ralphlayton · 6 years ago

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Content Marketing Lessons from Music Icon Lizzo

Here in Minnesota, home of TopRank Marketing and birthplace of yours truly, we tend to take great (excessive?) pride in famous figures who carry the “one of us” label. When you encounter a Minnesotan in the wild, you’re very likely to overhear some level of boasting about Prince, or Bob Dylan, or F. Scott Fitzgerald. Why is this? Maybe it’s driven by an inferiority complex, stemming from our reputation as “flyover country.” Or maybe it’s just a natural extension of the “Minnesota nice” disposition. Whatever the case, we love to brag about our locally-sourced successes, and lately, that means showing lots of love for Lizzo. Who is Lizzo? For those who’ve somehow failed to take notice, she’s one of the biggest things in music right now. The singer/rapper/songwriter has rapidly transformed into an industry icon after finding mainstream traction with her third studio album, Cuz I Love You. Last month, Lizzo’s hit song “Truth Hurts” reached No. 1 on the Billboard Hot 100, passing up some obscure singer named Taylor Swift. Lizzo isn’t from Minnesota originally but moved here in 2011 and now calls the Twin Cities home. As a follower of the local hip-hop scene, and someone who had the opportunity to see her perform in front of tiny audiences at basement venues many years before her breakout, it’s been inspiring to see the uber-talented diva ascend to worldwide recognition. And as a content marketer, I find her story inspiring for different but no less impactful reasons. Today, I thought I would share a few of them.

Important Lessons Content Marketers Can Learn From Lizzo’s Success

Beyond sheer talent, Lizzo’s rise has been driven by persistence, authenticity, and honesty. Marketers everywhere can take note.

Not Every Eventual Hit Is an Immediate Winner

I pulled the above phrase directly from my recent post discussing holistic content strategy, and the importance of ongoing promotion. When I originally wrote those words, Lizzo immediately came to my mind. “Truth Hurts” recently set a Billboard record as the longest-standing solo female rap No. 1 song in history. By now you’ve almost certainly heard that infectious thumping piano melody on your radio, computer, or TV. But what you might not know about the song is that it was originally released back in 2017, to little fanfare. “The day I released ‘Truth Hurts’ was probably one of the darkest days I’ve had ever in my career,” Lizzo told People in an interview this past summer. “I remember thinking, ‘If I quit music now, nobody would notice. This is my best song ever, and nobody cares.’ ” If you’re a marketer, artist, or creator of any kind, you’ve surely had moments like this. You put your heart into something, you’re certain it’s going to be great… and then it falls flat. But as Lizzo’s story reminds us, a lackluster initial reception doesn’t mean you were wrong. That’s why it is so vital to extend content promotion beyond the initial burst. Sometimes it just takes the right platform and timing to break through. One signal-boost in front of a new audience can make all the difference. In Lizzo’s case, a co-sign from and collaboration with the aforementioned legendary “one of us” Prince was instrumental (pun intended) in vaulting her to stardom. When charting a new content initiative, it’s always smart to build in staggered promotion that crosses multiple channels, and is customized to the context of each. You never know when and where it’ll catch fire. [bctt tweet="When charting a new content initiative, it’s always smart to build in staggered promotion that crosses multiple channels, and is customized to the context of each. @NickNelsonMN" username="toprank"]

via GIPHY

Be Genuine. Be Yourself.

Lizzo does not look, act, or make music like others at the pinnacle of her field. And that’s exactly why she’s there. She conveys a resounding message of body positivity. She is unapologetic with her bluntness and snark (“It’s a me, myself kinda attitude,” she explains in the song “Soulmate”). And she doesn’t constrain herself to any category with her music. One minute she’s rapping forcefully, the next she’s crooning soulfully, and then all of a sudden she’s blowing your mind with a flute solo.

via GIPHY I’ve long preached the importance of authenticity in marketing. People want to do business with brands that are genuine and relatable, and not in a way that makes it seem like they’re trying too hard. Lizzo’s persona comes off as natural and effortless because it’s who she is. She isn’t pretending or conforming. Oh, and she also takes emphatic stands. In addition to embracing her body and encouraging folks of all shapes and sizes to do the same, she’s a vocal advocate and ally in the LGBQT community. To look at faces in the crowd at one of her performances is to understand how deeply connected Lizzo is with her fans. This rapport is built through shared values as much as the quality of her music. What values does your company share with its audience? How can you broadcast them, authentically? Here lies the key to affinity and loyalty. [bctt tweet="What values does your company share with its audience? How can you broadcast them, authentically? Here lies the key to affinity and loyalty. @NickNelsonMN" username="toprank"]

Sometimes, the Truth Hurts (and That’s OK!)

What made “Truth Hurts” such a viral hit? Well, for one thing, it’s an incredibly catchy jam. But it’s also bitingly honest and candid – a breakup song featuring lines such as “Why men great ‘til they gotta be great?” and “You're supposed to hold me down, but you're holding me back.”

via GIPHY Lizzo has plenty of upbeat, positive songs, but she’s not afraid to touch on the real struggles, frustrations, and setbacks of life. She shares in the pain of her listeners. This empathy leads to resonance, and it’s a valuable example for marketers. No one wants to deal with a brand that’s constantly enveloped in negativity, but at the same time, how can I connect with one that’s nothing but sunshine and roses? How can I trust them to shoot straight with me? Being honest with our marketing means being transparent with the good and the bad. Don’t run from your failures; learn from them, and improve. Don’t hide your flaws; fix them, and invite feedback. Don’t sweep bad reviews under the rug; respond to them, and try to make it right. As our CEO Lee Odden put it in a recent interview featured on the LinkedIn Marketing Blog*, “No one is fooled by brands only showing the positives. By being open and responsive, brands reveal they are relatable and worth trusting.” [bctt tweet="No one is fooled by brands only showing the positives. By being open and responsive, brands reveal they are relatable and worth trusting. @leeodden" username="toprank"]

Patient, Genuine, Strong: Be Like Lizzo

It fills me with joy to see Lizzo conquering the world. Yes, it’s partially because I love seeing my home state get some shine, but even more so, it’s because she embodies many qualities that I believe are essential to creating awareness, engagement, and loyalty in today’s world – whether you’re a musician, influencer, entertainer, or content marketer.

“When I have to make decisions, I always choose honesty and I always stay true to myself, because I know at the end of the day that is what’s going to remain. That is what’s going to be the legend: That I was true to myself and that I honored every person by staying truthful to them.” – Lizzo in an interview with the Rolling Stone

In addition the above, Lizzo also delivers unforgettable, epic experiences while on-stage. (See: her VMA performance.) If you’re looking for more marketing inspiration on that front, check out our collection of expert tips on creating memorable content experiences. *Disclosure: LinkedIn Marketing Solutions is a TopRank Marketing client.

The post Content Marketing Lessons from Music Icon Lizzo appeared first on Online Marketing Blog - TopRank®.

Content Marketing Lessons from Music Icon Lizzo published first on yhttps://improfitninja.blogspot.com/

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samuelpboswell · 6 years ago

Text

Content Marketing Lessons from Music Icon Lizzo

Important Lessons Content Marketers Can Learn From Lizzo’s Success

Beyond sheer talent, Lizzo’s rise has been driven by persistence, authenticity, and honesty. Marketers everywhere can take note.

Not Every Eventual Hit Is an Immediate Winner

via GIPHY

Be Genuine. Be Yourself.

Sometimes, the Truth Hurts (and That’s OK!)

Patient, Genuine, Strong: Be Like Lizzo

The post Content Marketing Lessons from Music Icon Lizzo appeared first on Online Marketing Blog - TopRank®.

from The SEO Advantages https://www.toprankblog.com/2019/10/content-marketing-lessons-lizzo/

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