#☆ interactions ↳ sofia & lou

[sixthsensewulf]

Let's talk about my favourite duos in each IH campaign. . Not the player duos but the characters. Since all the players have the amazing chemistry with each other and know how to build relationships etc.

It's why most of the campaigns just go hard with Found Family with the exception of A Crown of Candy. . That's just Family. But the others - 100% found family.

FANTASY HIGH

All 3 of the campaigns in this world.. the Bad Kids friendship with each other is so heartwarming and sweet it's amazing. The kids are also traumatised as well as forced to grow up into the world. But also how they really do care for each other. So choosing a duo for each year was bloody hard.

Freshman Year : Gorgug and Fig

Honestly yeah. The friendship between Gorgug and Fig is basically why they started Fig and the Sig Figs. Fig got Gorgug into drumming to help with his rage etc.

Sophomore Year : Fabian and Gorgug

How can you not love this duo. They really come into their own this season. It's the hug when they reunite in the Nightmare Forest. Like take the fact that the first interaction these two had at high school was Fabian punching Gorgug. . Then to share a hug after Gorgug told Fabian that he remembers him.

Junior Year: Riz and Kristen

The class president and her campaign manager.. what's not to love. Honestly Junior Year was tough for me to pick a duo since I love all the duos out there. But Riz and Kristen take it. It's Riz watching Kristen when she goes and talks to her parents. It's him backing her play towards the Rat Grinders as well.

The Unsleeping City

This setting I feel like is one the underappreciated campaigns or the underestimated ones. Like it's not underrated. This weirdly has turned into my comfort campaign, I just can't get bored of this setting. Give me more urban fantasy settings D20 please. Like this campaign setting literally gave me my 3 favourite NPC to PC relationships (Ester and Ricky, Dale and Sofia, Liz and Kingston). In the first chapter, you get the very good example of "you don't need every character to have insane character development in order to tell the best story" in Ricky. Chapter Two has sort of the similar vibe with Ida and Rowan.

Chapter One : Kingston and Pete

The Voxs .. I could write an essay on the relationship of these two. The growth and development of both of them. Like come on. .from Kingston telling the rest of the team that he will and would put Pete down if Pete goes out of control... To apologise and revive Pete during the Robert Moses fight. The father - son relationship.. these two had

Chapter Two : Ricky and Cody

The Journey of these two is one of my favourites. Just the duo of Zac and Murph 100% helped, but the growth of the duo was soo good. Ricky and Cody, the paladins of the group are doing insane damage in the final fight.

****

A Crown of Candy : Lapin and Liam

There is a lot to say about the duos of ACoC. They all have their story to tell. They all grow. But the Lapin and Liam story is very bitter sweet. But the reunion between the two of them when Lapin saved the kid and told him of the Bulb etc, was so cute. Like literally the smile and small laugh from Lapin from Liam told him, that he will kill "that carrot".

****

Starstruck: Barry and Margaret

This season was hard to pick. They all are soo good and chaotic. But Barry and Margaret duo was honestly a good duo. The call to arms tactic, Margaret brought in. Make the already protective Barry, more protective.

****

Neverafter : Mother Goose and PiB

Just the two voices of reason of the group. . . Yeah PiB being the voice of reason half the time was very interesting. Like if a trickster spirit is telling the group to calm down a little or reign it in then oh boy. .. but Mother Goose and PiB are such an interesting duo. I honestly quite like the old man and his cat....

(also kinda clocked most of them are the quartet of Zac, Ally, Murph and Lou. . that's not intentional at all... )

[fizzytoo]

wanted to thank you for bringing dimension 20 into my life i've done nothing but live and breathe their campaigns since <33

i finished a crown of candy and the first season of the unsleeping city (the covid format of the second season is making it harder for me to fucus, so i'm delaying it) and i started neverafter today. i'm dying to hear all your thoughts, so if you don't mind writing 300 pages i'd love to read it <3 here are a couple of mine:

liam is everything to me, i love him i am him and personally i would have went way harder on the ppl who killed (spoiler); i have a crush on emily, but i'm guessing so does everyone else?; sophia and dale the only straight couple i care about <3; i need a pete lookbook like i've never needed anything else; wally is the most character ever; don confetti's voice is everything to me; the people who make the sets are superhuman and if i was in a group chat with ricky it could cure me

ps i can't watch the ravening war bc i'm pirating it and have to wait for the season to end, so i can't talk about that yet <33

GOD acoc had me in PIECES when it came out. the fandom was (and still is) in shambles over calroy and amethar’s potential unsaid past romantic relationship. the amount of sexy cake fanart i witnessed was crazy. i wish you were there 😞 i love every character lou plays, he’s just so me. acoc was also the first time d20 had major character deaths AAAAAA. i was broken </3 i loved everyone from the major cast but my favorite character was my hot pirate cheese wife captain annabelle cheddar 🧎 brennan loves a sexy masc woman I SWEAR. every d20 season there’s one

every sofia and dale interaction made me ball up and CRY. they’re just so perfect for each other. GOD WHEN YOU FINISH SEASON 2 ‼️‼️‼️‼️‼️ probably the most i’ve ever cried during a d20 season. pete gets even better in s2

haven’t started neverafter 🧍🏽 i heard it was heartbreaking and i’m not ready.

also idk if you know this but emily and murph are married! they have a separate dnd podcast called not another dnd podcast (naddpod) where murph is the dm. sometimes they have the d20 cast guest star. super fun and it’s free, but not actual play!

other seasons of d20 i’d recommend are fantasy high (it’s 2 seasons and it has 2 spin-off series: the seven and pirates of leviathan. brennan’s wife, izzy, is among the cast of the seven!), tiny heist, and starstruck odyssey (based off a comic series of the same name that brennan’s mom wrote in the 80s).

[stars-havefallen]

𝕀𝕟𝕥𝕣𝕠𝕕𝕦𝕔𝕚𝕟𝕘 𝕄𝕖.

Salut! Je m’appelle Sofie!!! You can spell it ‘Sophie’ too!! I also go by Lou, because of my middle name. So you can call me Lou too<3 or even..geez this intro was just supposed to be my name, Honestly I don’t care what you call me as long as it’s none of the following:

~Sofia

~Sophia

~Fia

~soapy

Great!! Now that’s out of the way…

a little bit about myself<3

I’m sixteen, Ravenclaw, Aphrodite cabin, Erudite, Aries, Ace, Female, my favorite color is mist grey, my favorite song is “blue hair” by TV girl, my favorite Movie is “the song of the sea”, my favorite fruit is mango, and I love peppermint. Also I’m a huge fan of seventies fashion and music and such so that might show up from time to time though that’s mostly a Pinterest thing<3

Now for some hobbies I have:

~Photography

~Painting (strictly water colour)

~Committing various quotes, poems, and philosophies to memory, many of which are often useless.

~Writing

~Reading (my librarian says she only likes me because I literally “inhale books then come back for more” I took this as a compliment…)

~I’m fairly good at understanding human anatomy so I spend my free time studying it!! (I want to be a mortician)

-ceramics

-poetry

-gardening(who knew I had a green thumb??)

-baking(only when I’m stressed though)

Fandoms!!!

*six of crows definitely one of my favourites

*twilight (team jacob pre-wolf… now in love with jasper)

*scott pilgrim

*DC

*The Kinks

*Fleetwood Mac

*some Harry Potter but I’m still learning about that…

*PERCY JACKSON!!!

*myth-o-mania

*asoue

*Crave

Some Links:

(I’ll add these later)

DNI:

~If I ask you not to interact. Simple.

My tags are below<3 and most of my dividers come from @/animatedglittergraphics-n-more

*ALSO IMPORTANT* I’m looking for mutuals..I made this blog awhile ago and I desperately want friends, I promise I’m nice<3, don’t be afraid to ask if you’d like to be mutuals!!

I’m a bit of a neat freak…sorry not sorry. My blog is organized because today I discovered how tags work!!!

‘✰.｡.✵°✵’ more broad categories i.e; stars(people adore/ moots), reblogs (uncategorised/tag games/polls) , rants (shitpost? I think you call them? Basically irrelevant stuff)

’꧁•⊹٭’ specific character/people stuff i.e James potter, Remus lupin, regulus black, Tobias Eaton, etc.

‘ミ★’ related to a specific fandom

★¸.•☆•.¸★ 🄵🄸🄲🅁🄴🄲🅂 ★⡀.•☆•.★ is its own thing. Anything I recommend for you to read will be here.

[llycaons]

finished unsleeping city! what a fun finale. everything came together super well in terms of satisfying character interactions and closing up plot threads, especially when it came to kugrash-esther-gabrielle-wally. I left off season one feeling very warm towards everyone :) I don't think I had one favorite bc I genuinely liked all the players and characters so much except for the obvious one I couldn't stand lol and even for her I'm like whatever at this point. I'm partial to lou and ally and zac as comedians and they were all really funny at one point or another but sofia and kugrash were great, they might have been my favorites overall. and I was glad wally had a nice ending, too, that he was still himself but is going to be surrounded by excitement and happiness and affection for the rest of his life. and of course brennan did just a phenomenal job. I may fundamentally disagree with some of the worldbuilding choices and find the attempts at social commentary inadequatebut he sure did build a hell of a magical new york city and I DO love urban fantasy

[supermarket-goblin]

Sofia Lee and Kingston Brown trying to work one computer is so funny cause 1) I love any Emily and Lou interaction, in character or out. 2) 'German Shepard in a Wet Suit' alone 3) 'I found Tony stuff' and then just the look on Emily's face

[goreprofonde]

Aaron Rodgers - Climax

“Life is a collective impossibility.”

There were so many languages. Aramaic, Phoenician, Etruscan, Tamil, Moabite, Umbrian. Too many languages. From where did they all come? It was a puzzlement, especially if you believed—and if you were authoring the Pentateuch you no doubt did—that all these speakers were branches of a single family tree. Why would Noah’s descendants, leaving the Ark to replenish the Earth, differ so greatly from one another? You needed an etiology, you did. If you were Greek, you might blame Hermes. If you were Bantu, you might blame a famine-induced madness. But if you were writing the Book of Genesis, you might blame, well, God.

The story of the Tower of Babel from Genesis 11 is short—very short. You’ve probably heard it, or at least something like its broadest outlines. In only nine verses no longer than your average nursery rhyme, the postdiluvian people (speaking but one language) decide in their arrogance to build a tower to reach the heavens; the Lord sees it and is displeased; and so the Lord confuses their language and scatters them about the globe. Short, sweet, and to the point: Pride goeth before the globe-scattering fall.

Or at least that is the traditional interpretation. And it’s not an unreasonable one—what few dots there are seem to connect in a pretty straight line, and old-timey Yahweh was quite prone to smiting, having just exited his “drown them all” Great Flood phase. Like so many ancient stories, it easily calcifies into something abstract and removed from the specifics of the story itself. But actually reading the nine relevant verses is quite a time—especially when read from the perspective of an acolyte of God fashioning an explanation for the world’s diversity of languages. For the Lord did not just punish the people for their hubris; he did so out of fear that their unity of language and of purpose would make them his rivals (“and now nothing will be restrained from them, which they have imagined to do”). And the Lord did not choose just any punishment; he chose exactly the thing that the people most feared (“and let us make us a name, lest we be scattered abroad upon the face of the whole earth” / “and from thence did the Lord scatter them abroad upon the face of all the earth”). Taken together, it paints an astonishingly bleak picture—humanity, its highest goals easily scuttled by outside forces, overseen by a vengeful, jealous God more interested in chaos and the psychological scars of a self-fulfilling prophecy than in peace or understanding. (And all this from Moses, one of God’s chief troubadours! Imagine the story a naysayer might have told.)

It’s hard not to think of the Tower of Babel in the wake of Climax, Gaspar Noé’s latest boundary-pushing entry in his own foreboding corner of the cinéma du corps/New French Extremity. Noé is not shy about citing his idols and reference points generally, from Godard to Kubrick to Lynch, nor has he been subtle about the influences on Climax—in addition to referencing the Tower of Babel, Shivers, and The Towering Inferno (among others) in interviews, Noé has helpfully laid out a wealth of data points surrounding the monitor on which he displays his dance troupe’s introductory interviews. Among the citations: Argento’s Suspiria; Fassbinder’s Querelle; Żuławski’s Possession; Pasolini’s Salò, or the 120 Days of Sodom; and Buñuel’s Un Chien Andalou, not to mention various books like Taxi Driver and How to Succeed at Suicide. The ways in which these influences play out are sometimes obvious (e.g., Selva’s (Sofia Boutella) agonized, writhing convulsion in the hallway explicitly recalls Isabelle Adjani’s subway paroxysm in Possession), sometimes less so (e.g., Oscar Wilde’s De Profundis, which—according to Noé, the little stinker—appears because “I like the title and I like the book...because it’s so cruel”). There is no Holy Bible propped up against Noé’s mid-1990s tube TV, but the idea of a vengeful and jealous overseer disrupting an attempt at something greater is central to Climax. As he did in Irréversible, Noé realizes that hell, unbearable as it can be, is only made more hellish by the possibility of heaven.

Climax begins (like Irréversible) with the ending. Lou (Souheila Yacoub), covered in blood, is seen from overhead stumbling through the snow before collapsing. Something terrible has obviously happened to her (this is Noé, after all), but unlike Irréversible, which unfurls a fully backward chronology, this prologue is only a brief flash-forward. After the credits play, Climax introduces us to its large cast via the aforementioned interviews, quickly sketching its players’ backgrounds, interests, and fears as the dancers—applying to be part of some sort of international touring group—discuss sex and drugs and other points of interest to the bohemian twentysomething circa 1996. From there, Climax moves to an abandoned school on the outskirts of Paris where the group is rehearsing, and it is at this point that Noé provides his greatest shock of all: joy. As the dancers krump and vogue and contort in what can only be called harmonious dissonance, Noé’s unbroken take evokes the bygone MGM musical of Stanley Donen and Gene Kelly, celebrating the amazing things a body in motion can do not by simulating that motion through quick-hitting edits but through the camera’s unblinking gaze.

Of course, Climax’s version of the cinematic dance number has a decidedly modern bent not incidental to its overarching themes. The participants in manager Emmanuelle’s (Claude Gajan Maull) group are not performing in the classical Astaire-and-Rogers style, nor do they look like the cast of Singin’ in the Rain. Instead, they are diverse in almost every way—nationally, ethnically, sexually, socioeconomically. What they have in common—in addition to youth—is an affinity for creative movement and a desire/belief (perhaps born of naïveté) that through their collective efforts they can make the world a better place. Climax early on declares that it is a French film and proud of it and a large sequined French flag hangs behind the dancers, framing their efforts. For a time, it seems as though these young performers, accepting of all comers and overflowing with joie de vivre, might represent a new, aspirational future for France, free of the petty jealousies and insecurities and bigotries that define (and mar) life as we know it.

But Noé is not one for uplift, and as the prophetic prologue cautions, this jubilant beginning must come to an end. After their astonishing first dance—several of the most infectious minutes one is likely to see onscreen—the performers become revelers, celebrating their upcoming tour with food and merriment and sangria. That sangria happens to be laced with LSD—something neither the dancers nor we yet know, though some pointed shots of the punch bowl and the too-frequent mentions of its contents suggest trouble—and will soon cause this utopian mini-society to erupt into death and madness. But the eruption is that of a festering boil. Cleverly, Noé follows the initial dance with a series of conversations among the participants, mostly broken off in pairs. While further fleshing out their characters and deepening certain audience connections (and introducing Tito (Vince Galliot Cumant), Emmanuelle’s young son who, being a child in a Noé film, cannot possibly meet a good end), these interactions also reveal the lie behind the seeming idyll we have just witnessed. Sexual gamesmanship, misogyny, mutual distrust, power dynamics, a general unease—even before the drugged wine has taken hold, no amount of common bond or feel-good sentiments can fully inoculate against the crassness and misanthropy of the human condition. Vive la France—unless that French flag plays less than wholesomely to some of the carousers whose skin color may have left them disadvantaged under its auspices. God is with us—unless God, wary of his waning primacy and unwilling to go down without a fight, has been against us all along.

From there, Noé gifts us one additional extended dance sequence—this time shot from above, like a devilish cousin to Busby Berkeley’s showstoppers—but the additional knowledge we have gained makes the number play very differently than its predecessor. It is still exuberant, still exciting, still full of technical and physical marvels, but there is a sense of disquiet coursing through it, of tenuous allegiances and bids for attention. The playful back-and-forth of the first dance feels slightly more strained; the seemingly effortless flow of before is supplemented with an element of jockeying and competition. All these workers building a tower, but unsure about one another’s methods or their mutual destination.

Being a Noé film, it is no surprise that from there Climax descends into recriminations and mutilation, child endangerment and incest, and ultimately into a crimson-lit nightmare resulting in death. Noé’s superb camerawork—always a hallmark—not only complements the dancing beautifully (one truly wishes that he, along with Edgar Wright, would make an out-and-out musical, though for Noé that would almost certainly have to be Sweeney Todd), it also brings to life the increasingly fragile (and ultimately disintegrated) mental states of his crew of revelers. While Selva is probably the closest thing Climax has to a protagonist as the camera follows her back and forth from the common space to the dorm rooms the group has been occupying, no one seems fully safe/sane—not Selva, as she comes undone in front of some nature-backdrop wallpaper; not Lou or Omar (Adrien Sissoko), who abstain from the sangria for personal reasons that end up visiting upon them violence (whether Western culture dislikes a Muslim or a sexually active woman more is a question Climax does not definitively resolve); not even Daddy (Kiddy Smile), as he good-naturedly DJs the proceedings. That Climax employs so much improvisation is nothing short of miraculous, given how intricately some of Noé’s long takes appear to be choreographed. But beyond mere showmanship (of his own or his performers), these extended sequences give Climax the disorienting effect of feeling both dreamlike (or, perhaps more accurately, nightmarish) and realistic. Real life does not employ the careful and selective cutting of a movie, unfolding as its own long take, yet the memories thereof are fragmented in a subconscious act of self-editing, making Noé’s aesthetic appropriately both distancing and suffocating.

This visual evocation of an unyielding descent into hell is complemented perfectly by Noé and Ken Yasumoto’s sound design. The music that previously served as an enthusiastic soundscape turns menacing and relentless, with the percussive beats and throbbing bass driving the drug-addled action perpetually forward, stymieing any possible reflective moment. Yet that merciless music is preferable to the screams and groans it sometimes drowns out—cries that are themselves preferable, in the case of Tito, to a sudden silence that is deafening in its horrific implications. Even the comparatively hospitable environs of the sleeping quarters see Dom (Mounia Nassangar) attacking Lou and Taylor (Taylor Kastle) taking advantage of his sister, Gazelle (Giselle Palmer). As the sangria brings out the group’s (somewhat) latent paranoia and aggression and worst impulses, a downward spiral is inevitable; once gravity takes hold, escape velocity becomes nearly impossible to achieve.

Unlike Irréversible, Noé does not end Climax on a tragic but perversely bittersweet note; instead, he ends it with a possible explanation for the madness that disquietingly suggests that the madness was unavoidable. The perpetrator’s outsider status implies the doomed nature of group activity. The lies told in the instigator’s interview speak to the inefficacy of preparatory efforts. Most upsettingly, the culprit’s name, drawn from Greek mythology and literally meaning “breath of life,” points back to God and the Tower of Babel. The people banded together in an attempt to do something great, something just within reach. But God wouldn’t have it. So he scrambled the synapses a bit—a different language here, a chemically disrupted neuro-receptor there—and voilà, his supremacy was re-established. But to what end? “Look on my works, ye Mighty, and despair,” said a king of kings, until nothing beside remained. Pride goeth before the fall; when the proud one is divine, the fall leads all the way to hell.

[evercharmed-a]

  i’ll preface this list by saying something i should have maybe put in my rules but i’m saying it here so it’s fine. that’s fine. i’m not a big fan of “collecting” muses with the same fc. i don't want to do it myself and i don’t want it to be done to me. i’m also not a fan of interacting with multiple muses sharing a fc if it’s with the same muse. as in, i really don’t vibe with the idea of playing garrett against another yugyeom fc or eunsoo against another jaebeom fc. this applies to ships especially but also to friendships. i get extremely attached and it’s just not my cup of tea. if i see the muse you want to use with me already interact with my muse’s fc i’ll probably back out pretty fast. uncomfortable zone. sorry.

  now to the exclusives list. i do two stages of exclusive -- soft exclusive and hard exclusive. soft exclusive means i will limit myself to interacting with two muses sharing a fc -- on different muses of mine, of course -- and hard exclusive means i will not play against muses with that fc at all anymore. i’ll put this under a read more because it might get a little longer.

  soft exclusives.

xiaojun - wayv/nct

sua - dreamcatcher

kim donghan

minho - shinee

t.o.p - big bang

taehyung - bts

daesung - big bang

joy - red velvet

joshua  - seventeen

yugyeom - got7

jinjin - astro

jb - got7

changkyun - monsta x

jaeyoon - sf9

jungkook - bts

sehun - exo

haechan - nct

bambam - got7

seokjin - bts

hangyul - x1

nayeon - twice

jihyo - twice

dahyun - twice

irene - red velvet

hongbin - vixx

woosung - the rose

namjoon - bts

jongin - exo

taecyeon - 2pm

donghae - suju

priyanka chopra

chris evans

siyeon - dreamcatcher

wu yifan 

hoàng quyên

eric nam

eunchae - dia

sojin - girl’s day

jimin - bts

sofia carson

ten - nct/wayv

  hard exclusives

mark - got7

chanyeol - exo

lou - vav

[carndriverrecords]

First Blog Post 3/20/20

Started CnD Records today. Feels Good.

Working on some diss tracks. Not sure if they see it coming - doesn’t matter either way.

Planning to release Car and Driver first real record this Friday 3/20/20. Driving Test Driver Fest 1. 

Self release first record - another 20 tracks next week. Compile top 10 - 15 for first release with other label - thinking Terrible, Kranky, blu ish label or Thrill Jockey. Citrus City a no-go for now. Maybe just keep building CnD records.

Be the middle man - take advantage of opportunities without sacrificing my bands’ (and those I represent) integrity.

Reach sleep destroyer.

Last night at Ted’s - great DJ set. Kidz bop remixes, Fancy. Crowd hated it. Ted disappointed we had to leave but it’s ok with everyone. Tall guy took aux right out of computer, have video. Started dancing - cucked everyone. Everyone thinks they’re the crazy charismatic guy. Am I actually? I think so. Syd thinks so. 

CnD Fest 2 , 3 , 4 at Purchase and beyond. Would like to play apartments, Scully’s den in BK (reach out) and Philly, DC etc.

Next voice memo album - 20 - 25 tracks right now. Better than the first. Danny said best album ever.

Working on “My oh Maia Reason Why” video - my favorite video I’ve ever seen. Getting good feedback.

Important to collab with certain SUNY people before I go:

Members of Lip Critic, Dawson, Neal, Gabe.

Send stuff back and forth with Joseph Kress. 

Need to write song about not sharing a stage w unstable Car and Driver - cost me 2 gigs. Ok because I had the police interaction that night. 

Things have been working out quite well. Syd is keeping me in check. Main priorities are keep the energy going while I can and make sure everyone around me is comfortable with me doing my thing, specifically mom, sofia.

Going to Only Angels tomorrow to collab with Alex.

Tues/Wed in RI with Zach Gorton. Need to see Nick Holcomb, Sofia, Will Orchard if he’s around. Riley in Boston? Would love to. 

Visit Dad soon on the way to Richmond, in a few weeks perhaps. Grandma Roberta etc. They have a BBQ place now - I bet it’s great. 

Follow up in the morning (3 hours from now) with wedding band, Kevin Daniels, drummer etc.

Film sunrise sessions at Purchase: My Ride’s Here, Splendid Isolation, Keep me in your heart, Studebaker, Cat’s in the Cradle, Everybody that you know. Don’t think twice, Boots of Spanish Leather, Someday my Prince, Teenage Dirtbag, Arthur (Woof Woof), Forget You, Signed Sealed Delivered, Superstition, The Promise, Hold me now (TT), Love on Top, Townes Van Zandt, 1-800 superstar, Evan Wright, Tom Petty, Blinded By the Light, Searching for a Heart, Mag Field’s, Barenaked Ladies, TMBG, Dolly Parton one sided love, Byrds, Beatles, Kinks, Stones, Parquet Courts, T Swift (Red, Way I loved you), Mitski, Sasami, Anything Could Happen, Beach House, He Needs Me, These Days, YLT, Beach Boys, Big Star Take Care, G500/Luna, Felt, Psychic TV, Shelia, BJM, Yellow Sarong, Over and Over, Hazel St, Heatherwood, Helicopter, He Would’ve Laughted, I wanna be your lover, The pump, Good enough (sleep destroyer), Them airs, BH (14, indian summer), help me scrape mucus off my brain), Beach Comber, DO YOUR THING, Icehead, Bobby, 1000 times, WIll Orchard, Bon Iver, MGMT, Tame impala, Instant Crush, etc. Art Vandelay, Quick Canal, Stereolab, Grouper, Broadcast, Animal Collective, Panda Bear, Bachelor Kisses, Cranberries, Cure, Pastels, MBV, I found a reason, pale blue eyes, Deerhoof, Gretel Alex G, Dancing w tears in my eyes, Elvis Costello, No age(things i did), Are ya ok, Maus, Ariel, R Stevie, Aphex Twin, Zomes, Vampire Weekend etc.

Bring Laptop for Beats on some and lyrics for all. 

Love life more than ever before. Music feels so good. Want to help, make amends, everything that moondog did. Don’t be homeless much longer.

Not sure if I like throbbing gristle - definitely like Psychic TV.

How savage should diss tracks be? Very? Match the severity of the person’s treatment of me/others. Aka - pretty bad for all except for Auto.

Listened to new Kanye today - 10x better and more influential than death grips. 

Realized today that i’ve spent my whole life wishing I was Kanye and now I am Kanye. Feels very good.

Everyone is gifted but internet makes us angst. 

I am mostly Camus right now - maybe more Kierkegaard soon. Religion and Terrence Malik. Still need to read books.

Order of Books: The graduate Portrait of the artist Consider Lobster Infinite Jest Pynchon Ulysses (At recommendation of American gamer association)

Syd is incredibly gifted. Want to help her feel comfortable doing art/work here in the chaos but also sort out the chaos for both of ours’ sake. I thrive in it, she tolerates well. Want to move to Riverdale still, maybe East Williamsburg with Backpack Chris. We’ll see about money. Philly perhaps, little too far. Jersey is good location but bad commute. Bad to RI. 

Visit RI and Boston Tues - Thurs. Sell Cigarettes at Concerts. Feels right.

Keep smoking for now - quit end of summer perhaps. 

Don’t have Corona Virus - glad we are not quarantined. Still be smart. Don’t expose mom regardless. Protect at ALL costs. 

Really though, why does Journee hate me? Write new track (Journee into forever nevermore not now not ever (Lou)) or Journee into SJW self righteous moral posturing (way too savage - maybe voice memo outro)

AR Kane album is incredible. Syd loves too. Sample everything.

Crazy - sound better at jazz than ever in my life. Exploring harmony - never practice. Teach free lessons all the time. Love the diminished scale. Might be best jazz guitarist to ever live. Time will tell. Would be cool long term. Prefer singing. 

Getting good at piano too.

I’m my favorite lyricist/comedian/actor.

Is maia right, acting isn’t hard? Weird they can’t act.

^Remember to delete^

Don’t share this on Facebook yet.

Why does Journee hate me so much? Just the Louis CK joke?

People who stay home and do nothing hate to see irreverent people doing things.

People like when you’re losing - don’t like to see you win.

^That makes me sound crazy.

F00D outsider might make me famous first.

Need to keep up with legal situation.

Hope mom and dad both live long. Call Syd, get something nice for everyone in family. Get weird jewel cases. Order jewelry from etsy. Post merch on bandcamp.

Finish album art soon. Music videos. Get better at animation etc. Pay Ben for his poster. Actually really good. Maybe album art? Duo album! Record in Wisconsin, release under his name. WIll success be good for Ben? I think so. Still can’t believe Liv told him I wasn’t ok. Wow - good content for lyrics. You truly cannot write this.

How will people react to diss tracks? Extremely negatively. Or no reaction. We shall see. Maybe no real names in the titles...... only on Oh my. 4 names in titles is too many. Don’t release Auto track. Maybe on Voice Memos. 

Track List: Good God Bed Head Rosa Reprise Oh My House Pop 1 skydive Pop 2 APhex GVO Pay 4 Take some Cherish Stars in F Are ya ok too bright Honeys Get to work Everybody That You Know Frost Bit BPC NYC New Age Heimet Helmet Deadbeat dads watermill for slitting bars romantic song david byrne Cinema study in cinema Brain ego Cherry doc marten Can’t liv w/o Venmo groceries Oh you like? Dancin DJ blues We are the State Farm robots Danny dorito is a dirty devito My funny valentine Zoomer blues The thing abt genres Blss Like minds ft dawson Lil toucha jazz Introducing car and driver The holy moment empire Ethics 101 - gma in the street Otto is sad I don’t know what it means! Operatic mellismatic Car and driver fest will be a success! Car and driver fest was a bust again! Cipha’s comedy corner Ryder Be gone evil atonal spirits!

Unreleased mental breakdown compilation ep:

I like all music! I’m a stupid pos Electric micro bike Get off your phone! John frusc Nice song Lap steel for 2 My masseuse advice Bed head wash sq Punchie John Maus yoyo interview Diminished  kinda thing

Build the NYC scene, w Blu ish, Evan, 1 800, sweet joseph, Comics Club, Dawson, Sloppy Jane, Wheatus,

See Jack Fortin in NYC soon. Either my event or his. 

Things are still good. Syd will be a great filmmaker. WIll maybe will end up with a dancer or a filmmaker - Probably not a musician. WIll have many loves. 

Things are good right now - hope they stay that way. 

Feel like Ezra Keonig - hopefully someone reads this one day and agrees. Different time in history and the internet - hope this is less cringe than Ezra’s blog , probably not. Ezra, if you’re reading this, sorry. See ya at Bernie’s rally. 

[newyorktheater]

In an extraordinary work of theater put together by Argentine director Lola Arias, six veterans who fought on opposite sides of the 1982 war between Argentina and Great Britain met and, under Arias’ guidance, pieced together a show. “Minefield,” which is running for just three days at the NYU Skirball Center as part of the Under the Radar Festival (the last performance is this afternoon), is ultimately a powerful and moving endeavor. It is also deeply odd. “Our rehearsals lasted longer than the war,” one of them tells us. Those rehearsals feel more important than the show itself.

From left to right: Gabriel Sagastume, Marcelo-Vallejo, David Jackson, Ruben Otero

The Falklands Island War (as the British call it; the Argentines call it Guerra de las Malvinas) lasted just 74 days, beginning in April when the Argentine military dictatorship of the time invaded the archipelago off its shore that had been a British colony since 1842. It ended in June after the British sent a naval armada to defeat the invaders. To outsiders at the time, it might have seemed an old-fashioned, almost quaint war, the fight over an isolated, sparsely populated territory, where (as wags liked to point out) the sheep outnumbered the human population. Yet, more than 900 people died. It is a strength of “Minefield” that it drives home the carnage, through the stories the veterans tell of witnessing the deaths of their comrades, and by their candid description of the long-lasting devastating personal effect. An emotional center of the show is a conversation between Marcelo Vallejo and David Jackson about what the war did to them. Vallejo, now a triathlon champion, tells Jackson that he was so angry and resentful that he would yell at his son for studying English. He became a drug abuser and more or less lost his mind, his family sending him to a mental hospital. Jackson, for his part, says that his experiences during the war led him to become a psychologist. The two joke about how much Vallejo owes Jackson for the session. Vallejo speaks in Spanish with English surtitles; Jackson speaks in English with Spanish surtitles. None of the veterans speak the language of their erstwhile enemy. But, as they explain to us, they all understood one another from the get-go. Their genuine-feeling interactions, which are occasionally confrontational, are heightened with the realization that this is no act, even though they are acting (or re-enacting.) We see photographs of them as youthful combatants in newspaper and television accounts at the time. That authenticity more than compensates for the moments during the 100-minute show that feel like filler, and for the director’s heightened theatrical effects, many of which are at best unnecessary. When one of the veterans tells the story of witnessing his comrades being blown up by a minefield while carrying a boat to the river, it’s accompanied by a video of toy soldiers and a toy boat. Two of the performers don masks of Margaret Thatcher and Leopoldo Galtieri, while we hear recordings from the two nations’ respective heads of state of the era. In a twist that would be ruled as too implausible were it not true, Ruben Otero, though he still refuses to learn English, now makes his living in a Beatles tribute band. I could have done without the veterans together taking up guitars and drums and offering a brief but very loud rock concert, but there’s no denying the symbolic heft of the British and Argentine survivors together making music, singing “Get back to where you once belonged.”

Minefield Under the Radar at NYU Skirball Center Written and Directed by Lola Arias Featuring: Lou Armour, David Jackson, Gabriel Sagastume, Ruben Otero, Sukrim Rai, Marcelo Vallejo Research and Production: Sofia Medici, Luz Algranti Set Designer: Mariana Tirantte Composer: Ulises Conti Lighting Designer/Technical Director: David Seldes Video Designer: Martin Borini

Minefield Review: Actual Enemy Combatants Meet and Make Theater In an extraordinary work of theater put together by Argentine director Lola Arias, six veterans who fought on opposite sides of the 1982 war between Argentina and Great Britain met and, under Arias' guidance, pieced together a show.

[fivepointshq]

Current Characters

Church of Dark

Valko Rathmore, (Ian Somerhalder), a warlock of the Church of Dark has come home. He is 42 years old, and brings his familiar, Nostradamus, a raccoon with him. He is best described as even-tempered, apathetic, and prone to vice. Peripheral character.

Maddox Keyes (Ben Barnes), a warlock of the Church of Dark, has come home. He is 30 years old and brings his familiar, Bowie, a coyote pup. He is described as charming, creative, and deceitful.  

Minerva Locke, (Jessica Lowndes), a witch of the Church of Dark has come home. She is 29 years old, and brings her familiar, Thackery, a black Turkish angora cat with her. She is described as perfectionist, blunt, and with a powerful memory for details. 

Samuel Sharpe (Mike Vogel), a warlock of the Church of Dark has come home. He is 35 years old, and brings his familiar, Lucy, a Peregrine falcon with him. He is described as intelligent, introverted, and doesn’t know how to tie shoelaces.

Tempest Wood, (Michelle Rodriguez), a witch of the Church of Dark has come home. She is 35 years old, and brings her familiar, Pumpkin, a rabbit with her. She is best described as dependable, judgmental, and bold.

Titania Wood, (Melissa Barrera), a witch of the Church of Dark has come home. She is 30 years old, and brings her familiar, Bosco, a great pyrenees with her. She is described as open-minded, wary, and scatter-brained

Community of Unholy Saints

Agnes “Mama” O'Connor, (Patricia Clarkson), a witch of the Community of Unholy Saints has come home. She is 63 years old, and brings her familiar, Jermaine, a ruby throated hummingbird with her. She is described as pragmatic, vengeful, and a fading Southern belle. Peripheral character.

Ambrosia Atwood, (Angela Bassett), a witch of the Community of Unholy Saints has come home. She is 60 years old, and brings her familiar, Liran, a bobcat with her. She is described as doting, intimidating, and a great party host.

Wendy Atwood, (Luca Hollestelle), a witch of The Community of Unholy Saints has come home. She is 24 years old, and brings her familiar, Scout, a Alaskan Malamute with her. She is described as kindhearted, stubborn, and a lovely singer. 

Warren Banquo Avett, (Charlie Hunnam), a warlock of the Community of Unholy Saints has come home. He is 32 years old, and brings his familiar, Sally, a dog with him. He is described as loyal, stubborn, and caustic.

Cypris Breaux, (Timothée Chalamet), a warlock of the Community of Unholy Saints has come home. He is 24 years old, and brings his familiar, Gris, a black squirrel, with him. He is described as compassionate, stubborn, and hedonistic.

Stella Dawes, (Amy Adams), a witch of the Community of Unholy Saints has come home. She is 41 years old, and brings her familiar, Cicero, an American Red Fox with her. She is described as clever, gossipy, and speaks very quickly.

Regan O'Connor, (Margot Robbie), a witch of the Community of Unholy Saints has come home. She is 28 years old, and brings her familiar, Bastard, a pine marten with her. She is described as inquisitive, volatile, and does acrobatics.

Circle of Nightfall

Devlin Burroughs (Idris Elba), a warlock of the Circle of Nightfall, has come home. He is 50 years old and brings his familiar Cornelius, a timber rattlesnake, with him. He is described as charming, decisive, and fastidious. Peripheral character.

Severin Ealing (Max Irons), a warlock of the Circle of Nightfall has come home. He is 33 years old and brings his familiar Lou, a raven, with them. He is best described as calm, ambitious, and creative. 

Imogen Grace Hayes, (Marie Avgeropoulos), a witch of Circle of Nightfall has come home. She is 28 years old, and brings her familiar, Charlie, a dog (bordeauxdog) with her. She is described as honest, reckless, and can’t stand people wearing odd socks.

Gaal “Eli” Kadesh, (Riz Ahmed), a warlock of the Circle of Nightfall has come home. He is 36 years old, and brings his familiar, Ithamar, a red-tailed black cockatoo with him. He is described as playful, reserved, and a great storyteller.

Declan Locke, (Nico Tortorella), a warlock of the Circle of Nightfall has come home. He is 26 years old, and brings his familiar, Grisha, a black American mammoth donkey with him. He is described as dedicated, untrusting, and enjoys beekeeping.

Rowan MacLain, (Sofia Boutella), a witch of the Circle of Nightfall has come home. She is 31 years old, and brings her familiar, Penelope, a golden eagle with her. She is described as outgoing, dramatic, and a good singer.

Zadie MacLain, (Sarah Gadon), a witch of the Circle of Nightfall has come home. She is 31 years old, and brings her familiar, Bertrand, an orange tabby cat with her. She is best described as clever, outspoken, and mercurial.

Peripheral characters are secondary (or tertirary, or quadrary) characters belonging to an otherwise active mun that are absolved from normal activity checks. These characters are vital to the plot of Five Points, and serve a purpose outside of the day-to-day. That said, there is no reason why you shouldn’t ask to interact with them!